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Home , Christoph Graupner, Duchy of Magdeburg, Galanterie, Georg Philipp Telemann, Rachel Podger

Monday Evening, January 29, 2018, at 7:30

The Juilliard School presents Juilliard415 , and Leader

Musique de Table

GEORG PHILIPP TELEMANN (1681–1767) (Suite) in E minor for Two Flutes, Strings, and Continuo, TWV 55:e1 Ouverture Réjouissance Rondeau Loure Air Conclusion

Quartet in G major for Flute, , Violin, and Continuo, TWV 43:G2 Largo Allegro Vivace Moderato Grave Vivace

Trio in E-flat major for Two and Continuo, TWV 42:Es1 Affettuoso Vivace Grave Allegro

Intermission

Juilliard’s full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner.

The taking of photographs and the use of recording equipment are not permitted in this auditorium.

Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving).

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. in A major for Flute, Violin, and , TWV 53:A2 Largo Allegro Gratioso Allegro

Sonata in A major for Violin and Continuo, TWV 41:A4 Andante Vivace Cantabile Allegro

Conclusion in E minor for Two Flutes, Strings, and Continuo, TWV 50:e5

Performance time: approximately 2 hours, including one intermission

Notes on the Program legacy. Its conception is an interesting one. Famously savvy and entrepreneurial, by Jonathan Slade Telemann was already the dominant force of the powerful scene, running Musique de Table a concert series and responsible for much of the city’s ceremonial occasions, including Born March 14, 1681, in , banquets. Perhaps it was for these occa - of Magdeburg, Brandenburg- sions that some of tonight’s music was , (now written, or perhaps Telemann simply -Arnhalt, Germany) iden tified a need and filled it himself. Died June 25, 1767, in Hamburg, Holy Funding what was a very considerable pro - Roman Empire (now Germany) ject through a subscription service, with subscribers including legendary contem - When considering the career and output of po raries Handel and Quantz, Telemann Georg Philipp Telemann, comparisons with released a collection quite unprecedented Bach seem almost inevitable. The musico - in its variety and length. logical field has generally not been as kind to the former, despite a reputation at the The tradition of musique de table , time easily surpassing that of Bach. , or “table music” can be traced Indeed, Bach was memorably chosen for back to the 14th century, in the form of art - the position at only work depicting meals with an accompany - because Telemann and ing musician known as a herald. Over the were not available. In the years following years multiple sources document the his death, however, Telemann’s huge out - gradual expansion of musicians, often put seemed destined for obscurity, but the con cealed from view lest the guests be dis - works featured this evening were to con - tracted from their meal. tribute to a revival that continues to this day. Republished in 1927, it was Telemann’s Each of the four Productions of Telemann’s Musique de Table of 1733 that prompted a Musique de Table opens with an Overture- serious reevaluation of the great ’s Suite, a form deeply inspired by Lully and reflecting Telemann’s fascination with (in a concerto style). This was to become a French music that started in his teens. hallmark of Telemann’s writing, in Rather than produce mere imitations, how - which he brought some of the declamation ever, Telemann developed and expanded and structure of the concerto to his the genre more than any composer before . The second movement of this or since. In the following decades the rela - represents a particularly daring tively prescriptive nature of the Overture- example, with the characteristically innova - Suite meant that Telemann ultimately tive composer introducing a B section in found other, richer forms better suited to which the tempo, meter, and key change his unique synthesis of national styles, dramatically, before an enjoyable da capo known as the mixed taste. Indeed, audi - return to the Vivace . This da capo form ences tired of the Overture-Suite during recalls by Bach, Vivaldi, and his lifetime, and recent research suggests Telemann himself. he stopped writing them in the late 1730s or early 1740s. Telemann’s sonatas with auf Concertenart movements frequently favor a three- rather The E-minor Overture-Suite that opens the than four-movement structure, as is typical first production of the Musique de Table of concertos. Here we have something in likely represents one of Telemann’s earli - between: the briefest of minor-key inter - est examples of the concert en ouverture , ludes, melodic explorations passing from one of the ways in which he brought a one soloist to another, taking us fleetingly more soloistic approach to non-concerto into a darker world before the levity and works (more on that later!). Pairs of flutes wit of the final Vivace draws the sonata to and violins form the solo group in TWV 55:e1, a lively close. involved both in doubling the string parts and in their own concerto-style explo - The opening Affettuoso of the Trio in E-flat rations. Telemann chooses a number of major, scored for two violins and continuo, galanterie movements for Production 1— represents a quite dramatic scene change, dances not considered an essential part of both harmonically and emotionally. Full of a French dance suite but sometimes plangent appoggiaturas and suspensions, added for the sake of variety and interest— unexpected rests and changes in harmony, lending a unique and unusual flavor to the it is one of the most adventurous movements suite. Although the concluding Gigue is a to come out of this period in Telemann’s dance suite staple, Telemann also writes a life. The following Vivace is full of virtuosic less common slower version: a stately, writing for the solo violins, again more poised Loure , which in turn is immediately reminiscent of a concerto, taking us on fre - offset by a fleet Passepied that draws on quent journeys to C minor in anticipation of the light colors of the solo flutes. the quietly sorrowful Grave . In the final Allegro , the violins follow each other up The next item in the production is the joyful scales, with the melancholy of the Quartet in G major for Flute, Oboe, Violin, preceding movement quickly forgotten. and Continuo. The diverse instrumentation is not particularly unusual for Telemann, The galant style which characterizes the who wrote very frequently for as many as Concerto in A for Flute, Violin, and Cello four soloists in his sonatas. Indeed, the is arguably responsible, in part at least, greater the number of soloists, the more both for Telemann’s incredible success and inclined he was to write auf Concertenart for his lifetime and his rather unfavor able rep utation in the years that followed. its own surprise in store: adagio conclu - Easily dismissed as less consequential in sions to each half of fast music, striking a comparison to Bach’s weightier output, rather grandiose note in comparison with the more melody-oriented galant style is the 12/8 bounciness of the rest of the ultimately a more accurate reflection of movement. If the Cantabile has a rather prevailing tastes at the time, with Telemann French flavor, the last movement if any - perhaps its ultimate practitioner. thing recalls the final Allegro from Bach’s famous “Brandenburg” Concerto No. 5. We might be forgiven, however, for not expecting to find the best examples We return to Production 1 and its ram - among Telemann’s concertos. Some 15 bunctious Conclusion in E minor. Listeners years previously, Telemann had com - might reasonably expect the same instru - mented in his first autobiography that his mentation as the Overture-Suite, but earlier concertos never really came “from Telemann decides it is time for the solo my heart,” that he had written them violins to rejoin the section and let the “because change amuses,” and that they flute players come to the fore. Written in mostly “smell of .” Nonetheless, da capo form, a short, beautiful largo this concerto should prove that by 1733, wrought with string suspensions catapults Telemann was wholly at ease with the for - us back to the frenetic energy of the mat, and if his earlier concertos smell of Allegro . What could be a more fitting way France, this one opens with a distinct whiff to conclude an evening of table music of Scotland, with its “scotch snap” rhythms than a demonstration of just how charac - and percussive bass. The sunniness of the terful, fiery, and extrovert the genre can two Allegro movements that follow suggests be in Telemann’s hands? Little wonder a move away from Scotland, sandwiching a that this music reignited a sense of wonder short, elegant Gratioso , with solo flute and lost since the 18th century. It is perhaps violin in particular given time to shine. one of the great examples of a composer in a constant state of exploration and innova - Obligingly lending itself from the Second tion. In his hands both the Overture-Suite Production, the Sonata in A major for Violin and the musique de table are alive with a and Continuo opens with a delightfully new sense of scale and variety, while poised Andante , the epitome of carefree simultaneously exploring the synthesis of galanterie until a sudden shift into B minor French and Italian idioms to cultivate the adds a nervous edge. As we have perhaps mixed taste so admired by audiences and come to expect by this stage of the pro - by his contemporaries. gram, Telemann often chooses to take us to darker places before redemption and Jonathan Slade is a British flutist, relief comes to the rescue. In this case the flutist, and accidental collector of degrees. unusual tonal world of F-sharp minor is the A graduate of the home for the work’s slow movement: a and Yale School of Music, he is pursuing particularly beautiful Cantabile , sorrowful his master’s in historical performance and yet full of Gallic poise. The final Allegro has performs regularly with Juilliard415 . Meet the Artists of Enlightenment and a tour with Brecon Baroque. She will take part in international festivals throughout 2018 and 2019 and tour with BBC National Orchestra of

L Wales. Solo concerts and tours include E W

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T Rachel Podger Lincoln Center. Rachel Podger is the founder and artistic director of the Brecon Baroque Festival and As a director and soloist, Ms. Podger has her ensemble Brecon Baroque, and was enjoyed countless collaborations with musi - resident artist at Kings Place for their 2016 cians all over the world including Robert Levin, season Baroque Unwrapped. In celebration , Masaaki Suzuki, European Union of her 50th birthday this year, she is releas - , , ing three CDs: one of Bach on the Orchestra of the Age of Enlightenment, violin; another of Vivaldi’s Four Seasons ; , Holland Baroque and Guardian Angel , a collaboration with Society, Tafelmusik (Toronto), Handel and the a cappella group Voces8. Recent Haydn Society, Berkeley Early Music, engagements include a collaboration and Oregon Bach Festival, and Philharmonia tour with Kristian Bezuidenhout with per - Baroque Orchestra. formances in , , , the , Germany, Spain, Music at Ms. Podger records exclusively for Channel Oxford, and the Boston Early Music Classics with more than 25 discs including Festival. Last summer she led Brecon the complete Mozart Sonatas. Bach’s Art Baroque in its debut at the Edinburgh of with Brecon Baroque was International Festival, and she performed released in 2016 and her latest recording solo recitals and broadcasts for BBC Radio 3 with Brecon Baroque, Grandissima Gravita , throughout the U.K. and Europe with - was released in 2017. She is artist in resi - sichordist Marcin Swiatkiewicz. She also dence at Juilliard and holds the Micaela collaborated with the vocal group I Fagiolini Comberti Chair for at the to open the BBC Proms Chamber Music Royal Academy of Music and the Jane Series. Highlights of this season include an Hodge Foundation International Chair in extensive tour to Australia (Musica Viva) Baroque Violin at the Royal Welsh College and Europe with the Orchestra of the Age of Music and Drama. Juilliard415

TELEMANN Overture (Suite) in E minor for Two Flutes, Strings and Continuo, TWV 55:e1 Flute Jonathan Slade, Bethanne Walker Violin 1 Rachel Podger, Alana Youssefian, Chiara Fasani Stauffer, Keats Dieffenbach Violin 2 Annie Gard, Rachell Ellen Wong, Naomi Dumas Stephen Goist, Sarah Jane Kenner Cello Ana Kim, Madeleine Bouissou, Matt Zucker Bass Hugo Abraham Katarzyna Kluczykowska Arash Noori

TELEMANN Quartet in G major for Flute, Oboe, Violin, and Continuo, TWV 43:G2 Flute Mili Chang Oboe Andrew Blanke Violin Alana Youssefian Viola da gamba Adam Young Harpsichord Katarzyna Kluczykowska Theorbo Arash Noori

TELEMANN Trio in E-flat major for Two Violins and Continuo, TWV 42:Es1 Violin 1 Keats Dieffenbach Violin 2 Naomi Dumas Cello Ana Kim Harpsichord Katarzyna Kluczykowska Theorbo Arash Noori

TELEMANN Concerto in A major for Flute, Violin, and Cello, TWV 53:A2 Solo Flute Jonathan Slade Solo Violin Rachell Ellen Wong Solo Cello Madeleine Bouissou Violin 1 Rachel Podger, Alana Youssefian, Chiara Fasani Stauffer, Keats Dieffenbach Violin 2 Annie Gard, Naomi Dumas Viola Stephen Goist, Sarah Jane Kenner Cello Ana Kim, Matt Zucker Bass Hugo Abraham Harpsichord Katarzyna Kluczykowska Theorbo Arash Noori

TELEMANN Sonata in A major for Violin and Continuo, TWV 41:A4 Violin Rachel Podger Cello Matt Zucker Harpsichord Katarzyna Kluczykowska Theorbo Arash Noori

TELEMANN Conclusion in E minor for Two Flutes, Strings, and Continuo, TWV 50:e5 Flute Mili Chang, Jonathan Slade Violin 1 Rachel Podger, Alana Youssefian, Chiara Fasani Stauffer, Keats Dieffenbach Violin 2 Annie Gard, Rachell Ellen Wong, Naomi Dumas Viola Stephen Goist, Sarah Jane Kenner Cello Ana Kim, Madeleine Bouissou, Matt Zucker Bass Hugo Abraham Harpsichord Katarzyna Kluczykowska Theorbo Arash Noori Juilliard415 comprises many of the leading performers Juilliard’s full-scholarship Historical Per- and scholars in the field. Frequent collabo - formance program offers comprehensive rations with Juilliard’s Ellen and James S. study and performance of music from the Marcus Institute for Vocal Arts, the integra - 17th and 18th centuries on period instru - tion of modern instrument majors outside ments. Established and endowed in 2009 of the Historical Performance program, by the generous support of Bruce and and national and international tours have Suzie Kovner, the program is open to can - introduced new repertoires and increased didates for master of music, graduate awareness of historical performance prac - diploma, and doctor of musical arts tice at Juilliard and beyond. Alumni of degrees. A high-profile concert season of Juilliard Historical Performance are members , orchestral, and chamber music is of many of the leading period-instrument augmented by a performance-oriented cur - ensembles, including the Portland Baroque riculum that fosters an informed under - Orchestra, Les Arts Florissants, Mercury, standing of the many issues unique to and Tafelmusik, they have also launched period-instrument performance at the level such new ensembles as the Sebastians, of technical excellence and musical integrity House of Time, New York Baroque In- for which Juilliard is renowned. The faculty corporated, and New Vintage Baroque.

Administration Robert Mealy , Director Benjamin D. Sosland , Administrative Director Rosemary Metcalf , Assistant Administrative Director Annelise Wiering , Coordinator for Scheduling and Educational Support

Faculty Violin/Viola Oboe Harpsichord Core Studies Elizabeth Blumenstock Gonzalo Ruiz Richard Egarr Thomas Forrest Kelly Robert Mealy Béatrice Martin Robert Mealy Cynthia Roberts Peter Sykes Dominic Teresi Artists in Residence Cello Recorder William Christie Phoebe Carrai Nina Stern Richard Egarr R.J. Kelley Monica Huggett Viola da Gamba Continuo Skills Rachel Podger Sarah Cunningham Trumpet Steven Laitz Jordi Savall John Thiessen Avi Stein Douglas Balliett Plucked Instruments Baroque Vocal Daniel Swenberg Literature Flute Charles Weaver Avi Stein Sandra Miller

BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Bruce Kovner, Chair Brian Zeger, Artistic Director J. Christopher Kojima, Vice Chair Kirstin Ek, Director of Curriculum and Schedules Katheryn C. Patterson, Vice Chair Monica Thakkar, Director of Performance Activities Pierre T. Bastid Michael Loeb Pre-College Division Julie Anne Choi Vincent A. Mai Yoheved Kaplinsky, Artistic Director Kent A. Clark Ellen Marcus Ekaterina Lawson, Director of Admissions and Academic Affairs Kenneth S. Davidson Nancy A. Marks Anna Royzman, Director of Performance Activities Barbara G. Fleischman Stephanie Palmer McClelland Evening Division Keith R. Gollust Christina McInerney Danielle La Senna, Director Mary Graham Lester S. Morse Jr. Joan W. Harris Stephen A. Novick Lila Acheson Wallace Library Matt Jacobson Joseph W. Polisi Jane Gottlieb, Vice President for Library and Edward E. Johnson Jr. Susan W. Rose Information Resources; Director of the C.V. Starr Karen M. Levy Deborah Simon Doctoral Fellows Program Teresa E. Lindsay Sarah Billinghurst Solomon Enrollment Management and Student Development Laura Linney William E.“Wes” Stricker, MD Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Barrett Hipes, Associate Dean for Student Development TRUSTEES EMERITI Sabrina Tanbara, Assistant Dean of Student Affairs June Noble Larkin, Chair Emerita Cory Owen, Assistant Dean for International Advisement Mary Ellin Barrett and Diversity Initiatives Sidney R. Knafel William Buse, Director of Counseling Services Elizabeth McCormack Katherine Gertson, Registrar John J. 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Polisi, President Dmitriy Aminov, Director of IT Engineering Jacqueline Schmidt, Chief of Staff Caryn Doktor, Director of Human Resources Adam Gagan, Director of Security Office of the Provost and Dean Scott Holden, Director of Office Services Ara Guzelimian, Provost and Dean Jeremy Pinquist, Director of Client Services, IT José García-León, Associate Dean for Academic Affairs Helen Taynton, Director of Apprentice Program Robert Ross, Assistant Dean for Preparatory Education Kent McKay, Associate Vice President for Production Development and Public Affairs Elizabeth Hurley, Vice President Dance Division Alexandra Day, Associate Vice President for Marketing Taryn Kaschock Russell, Acting Artistic Director and Communications Lawrence Rhodes, Artistic Director Emeritus Benedict Campbell, Website Director Katie Friis, Administrative Director Amanita Heird, Director of Special Events Drama Division Susan Jackson, Editorial Director Richard Feldman, Acting Director Sam Larson, Design Director Katherine Hood, Managing Director Katie Murtha, Director of Major Gifts Lori Padua, Director of Planned Giving Music Division Ed Piniazek, Director of Development Operations Adam Meyer, Associate Dean and Director Nicholas Saunders, Director of Concert Operations Bärli Nugent, Assistant Dean, Director of Chamber Music Edward Sien, Director of Foundation and Corporate Relations Joseph Soucy, Assistant Dean for Orchestral Studies Adrienne Stortz, Director of Sales Stephen Carver, Chief Piano Technician Tina Matin, Director of Merchandising Joanna K. Trebelhorn, Director of Orchestral Rebecca Vaccarelli, Director of Alumni Relations and Ensemble Operations Juilliard Global Ventures Historical Performance Christopher Mossey, Senior Managing Director Robert Mealy, Director Courtney Blackwell Burton, Managing Director for Operations Benjamin D. Sosland, Administrative Director; Betsie Becker, Managing Director of Global K–12 Programs Assistant Dean for the Kovner Fellowships Gena Chavez, Managing Director, The Tianjin Juilliard School Nicolas Moessner, Managing Director of Finance Jazz and Risk Management Wynton Marsalis, Director of Juilliard Jazz Aaron Flagg, Chair and Associate Director