Historical Performance

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Photo by Sarah Pierpont

The Juilliard School presents

Historical Performance: L’Art de toucher le clavecin

Music of François Couperin Curated by Béatrice Martin

Thursday, February 8, 2018, 7:30pm Paul Hall

FRANÇOIS Allemande La Ténébreuse from Premier Livre, Troisième Ordre COUPERIN Première Courante from Premier Livre, Troisième Ordre (1668–1733) Les Regrets from Premier Livre, Troisième Ordre La Favorite, Chaconne from Premier Livre, Troisième Ordre Francis Yun, Harpsichord

Les Baricades mistérieuses from Seconde Livre, Sixième Ordre Le Rossignol-en-amour from Troisième Livre, 14ème Ordre with Jonathan Slade, flute Les Culbutes Jxcxbxnxs (Jacobins) from Troisième Livre, 19ème Ordre La Muse-Plantine from Troisième Livre, 19ème Ordre L’Anguille from Quatrième Livre, 22ème Ordre Katarzyna Kluczykowska, Harpsichord

Les Fastes de la grande et anciénne Mxnxstrxndxsx (Ménéstrandise), in five acts, from Seconde Livre, Onzième Ordre Les Notables et Jurés Mxnxstrxndxurs Les Viéleux et les Gueux Les Jongleurs, Sauteurs et Saltimbanques, avec les Ours et les Singes Les Invalides, ou gens estropiés au service de la Grande Mxnxstrxndxsx Désordre et Déroute de toute la troupe, causés par les Yvrognes, les Singes et les Ours Caitlyn Koester, Harpsichord

(Program continues)

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

Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul.

Cover photo by Nan Melville 1

La Couperin from Quatrième Livre, 21ème Ordre Passacaille from Seconde Livre, Huitième Ordre Eunji Lee, Harpsichord

Intermission

FRANÇOIS Seconde Ordre: L’Espagnole from Les Nations (1724) COUPERIN Sonade Allemande, gracieusement Courante, noblement Seconde Courante, un peu plus vivement Sarabande, gravement Gigue lourée, modérément Gavotte, tendrement et sans lenteur Rondeau, affectuëusement Bourrée, gayement Double de la bourrée précédente Passacaille, noblement et marqué

Bethanne Walker, Flute Andrew Blanke, Oboe Sarah Jane Kenner, Ruiqi Ren, Violin Joe Jones, Bassoon Matt Zucker, Viola da Gamba Adam Cockerham, Eunji Lee, Harpsichord

Performance time: approximately 1 hour and 40 minutes, including one intermission

Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium.

2 Program Notes

Pièces de clavecin

At the turn of the 17th and , French harpsichord suites were dance cycles generally consisting of four “obligatory” dances— allemande, courante, sarabande and gigue. They could also include other movements, which were called galanteries: lighter dances like the minuet, gavotte, passepied and bourée.

François Couperin did something very different. He didn’t collect his harpsichord pieces in suites but rather put them into ordres, or “orders.” He explained his usage of the term quite enigmatically: “Ceci n’est pas une , encore qu’il y ait bien les dances obligatoires. Vous vouliez de l’ordre? Voici un Ordre.. On l’appellerait Désordre tout aussi bien.” (“This is not a suite, although it includes the obligatory dances. Would you like an order? Here is an Order … But it could be also called a Disorder.”) This quote from the preface of his Premier Livre doesn’t really guide us Couperin’s in understanding what the word ordre meant to him. Nonetheless, one harpsichord can already get a feel for his attitude and sense of humor. He seems to music is a not care about any specific form for his pieces, although after thorough fascinating analysis of his works this seems to be far from the truth. portrait of his time. In Couperin wrote 240 pieces for harpsichord. They are gathered in 27 his pieces he ordres and published in four books (plus the eight preludes in L’ar t d e presents his toucher le clavecin): friends and Premier Livre (1713)–Ordres 1-5 enemies, often Seconde Livre (1717)–Ordres 6-12 important court Troisième Livre (1722)–Ordres 13-19 personalities, in Quatrième Livre (1730)–Ordres 20-27 an enigmatic and disguised way. Structurally, Couperin’s harpsichord pieces can be divided into three main groups: the binary-form movements, the rondeaux, and the chaconnes. Texturally, the predominant style is the style luthé or style brisé, the “broken style.” Couperin believed that “le dessus, et la basse travaillent toujours” (“the treble and lines always work”), so he often uses simple two-part technique, with voices leading in either a more polyphonic or a more homophonic way. The influence of Italian style can be observed in his motivic consistency.

Couperin’s harpsichord music is a fascinating portrait of his time. In his pieces he presents his friends and enemies, often important court personalities, in an enigmatic and disguised way. One can notice his full participation in the realm of theater and literature. He refers to popular plays, playwrights, actors, and the whole colorful world of magic shows, street fairs, and the circus. In a witty way, he exposes the hypocrisy of contemporary society, the triviality of intrigues and rumors, and the boredom of the aristocracy. Couperin observes all the aspects of court life

3 Program Notes (Continued)

and the colorful characters around him. His Pièces de clavecin is a kind of a diary of his remarks, feelings, and attitudes. From them, we learn a lot about the ’s life: who he knew, where he went out, what was his source of inspiration.

Some pieces bear the simple names of dances, but most of them have very interesting titles. Translating them is a challenge because often they are coded, often ambiguous references which would have been obscure to people outside Couperin’s immediate circle; sometimes their meanings are both literal and non-literal. This is music for an informed audience, but it is still possible to clarify some of his obscure titles.

Among the pieces you will hear tonight will be some great examples of Couperin’s musical portraits. La Favorite probably represents Madame de Maintenon, Louis XIV’s official mistress (and secret wife). La Muse- Plantine refers to the talented and composer Mademoiselle de La Plante, while La Couperin paints a complex self-portrait.

Couperin's At a less refined level are two satirical pieces which are vicious caricatures Pièces de of hypocritical organizations. Les Culbutes Jxcxbxnxs (Jacobins) depicts clavecin is a the moral failings of the monks and nuns from the Dominican order, while kind of a diary Les Fastes de la grande et ancienne Mxnxstrxndxsx (Ménéstrandise) is of his remarks, a cycle of pieces mocking members of the ancient Parisian entertainers’ feelings, and guild which (in Couperin’s version) includes musicians, jugglers, minstrels, attitudes. cripples, beggars, and animals.

Other titles remain enigmatic. Les Baricades mystérieuses, a great example of the style luthé, may refer to women’s eyelashes, or it might evoke the masks worn by performers in a play put on for the Duchesse du Maine, one of Couperin's patrons, in 1714: Le Mystère ou les Fêtes de l'Inconnu (The Mysterious One or the Celebrations of the Unknown One). You can also find some portraits of animals: Le Rossignol-En- Amour (The Nightingale in Love) and L’Anguille (The Eel). La Ténébreuse, possibly written after the death of one of the French princes, is a dark, melancholic .

Couperin’s great Passacaille doesn’t even need a descriptive title: even without it one can hear the theatrical gestures of the dance. This grand union of French and Italian styles was characteristic of Couperin’s musical diplomacy. His passion for Italian music can be heard in the simplicity of the melody, the expressive harmony, and the clarity of musical form. —Katarzyna Kluczykowska

4

“L’Espagnole” from Les Nations

Les Nations: Sonades et suites de simphonies en trio (1726) is a large compilation of François Couperin’s chamber pieces that contains four ordres (suites) that are named after , Spain, the Holy Roman Empire, and the Savoy dynasty of Piedmont (at that point, a French ally). It is tempting to look into Couperin’s attitude toward these various countries in each ordre, but in fact there is a larger program that overarches the whole collection.

Like his collection Les goûts-réunis, Couperin’s Les Nations is an attempt to bring together the Italian and French style. The famous quote from Rousseau’s article on Sonate in the Encyclopédie—“Sonate, que me veux-tu?” (“, what do you want from me?”)—shows how the non-strict form of Italian posed a conceptual challenge to French listeners. Couperin himself was one of the first French to write freely composed sonatas. He explains in the preface to Les Nations that early in his career he pretended to be an Italian composer so he could introduce his sonatas to the public since he lacked self-confidence to write in the style of Corelli, a composer whom Couperin greatly admired. Les Nations is However, Couperin continues that he became more confident in his an attempt to Italianate writing after these early efforts received “great applause.” bring together the Italian and Indeed, we hear in the opening “Sonade” from L’Espagnole how French style. beautifully Couperin merged the free form of Italian sonata and the rich harmonies and ornaments of French dance music. The sonade from L’Espagnole ends with an especially Italianate section marked Vivement, et marqué, with an unusual badinage par le Clavecin si l’on veut, a written-out right hand part for the harpsichord.

The sonatas of Les Nations were written in the 1690’s; 30 years later, towards the end of his career, Couperin says he “merely joined them to grand suites of pièces, to which the sonatas serve simply as preludes or as a sort of introduction.”

A series of classic French dances follow, in which Couperin shows another side of his mastery. In fact, around that time, French composers were equally active in writing character pieces as well as traditional dance movements. Couperin was obviously one of them: in the first book of Pièces de clavecin (1713), there are many character pieces included in the later part of the book. His fourth book of harpsichord pieces, published a year later than Les Nations, is more oriented toward character pieces, and contains few actual dances. But in Les Nations, Couperin displays his great knowledge of French dance movements: this is the language at the heart of French music, in contrast to the Italian taste for sonatas.

5 Program Notes (Continued)

The most obvious hint about the Spanish character in L’Espagnole might be found in the last movement of the dances, the Passacaille. In the middle of this beautiful, expansive movement, we hear the frisky sound of castanets. This sudden character change to the energetic and heroic theme pleasantly introduces the excitement of Spanish-like rhythm. And toward the end, the syncopations against the bass line gives a strongly dramatic dance rhythm which is rarely found in French dances.

Les Nations is written for two treble instruments and a continuo section of viola da gamba and figured bass (each with their own part). This “trio” is orchestrated for today’s performance with flute, oboe, two , viola da gamba, theorbo, and harpsichord. The delightful and shimmering colors created by various instruments take us on a tour of the fascinating nation of L’Espagnole, portrayed with the tasteful “reunion” of the French and Italian style. —Eunji Lee

6 Meet Béatrice Martin

Harpsichordist Béatrice Martin was born in Annecy, France, and has been a faculty member at Juilliard since 2015. She attended Geneva Conservatory and the Paris Conservatory. Ms. Martin created and directed the harpsichord class in the Escola Superior de Música of Catalunya in Barcelona (2001–2013). She was a jury member for the International Harpsichord Competition of Bruges in 2011 and 2015. Festivals where she has taught include the Festival of Ambronay, La Roque d’Anthéron, Festival d’Aix-en-Provence, Festival Couperin, Bach in Combrailles, Festival of Lanvellec, Printemps Baroque du Sablon, the festivals of Utrecht, the MA Festival of Bruges, Daroca, Girona, Malta, Tallinn, ‘Cycle clavecinistes Français’ in Mexico, the London Festival of , Folles Journées of Nantes, and the Lisbon Festival. She has played recitals at Théâtre du Châtelet, Opéra Comique, and the Cité de la Musique in Paris. Ensembles she has played with include Les Talens Lyriques, Le Concert Spirituel, Ricercar, Il Seminario Musical, and Les Arts Florissants. Martin is co-founder, with Patrick Cohën-Akenine, of Les Folies Françoises. With Les Folies Françoises, she recorded four discs of music by J.S. Bach: the dialogue cantatas (Cypres); the complete sonatas for violin and harpsichord; and for harpsichord, BWV 1052, 1053, 1055 and 1056. With Les Arts Florissants, she has recorded more than 20 CDs and DVDs. She won the first prize, audience prize, and Bärenreiter Prize at the International Harpsichord Competition of Bruges in 1998.

7 Juilliard Historical Performance

Juilliard’s full-scholarship Historical Performance program offers comprehensive study and performance of music from the 17th and 18th centuries on period instruments. Established and endowed in 2009 by the generous support of Bruce and Suzie Kovner, the program is open to candidates for the Master of Music, Graduate Diploma, and Doctor of Musical Arts degrees. A high-profile concert season of , orchestral, and is augmented by a performance-oriented curriculum that fosters an informed understanding of the many issues unique to period-instrument performance at the level of technical excellence and musical integrity for which Juilliard is renowned. The faculty comprises many of the leading performers and scholars in the field. Frequent collaborations with Juilliard’s Ellen and James S. Marcus Institute for Vocal Arts, the integration of modern-instrument majors outside of the Historical Performance program, and national and international tours have introduced new repertoires and increased awareness of historical performance practice at Juilliard and beyond. Alumni of Juilliard Historical Performance are members of many of the leading period- instrument ensembles, including the Portland Baroque , Les Arts Florissants, Mercury, and Tafelmusik, as well as launching such new ensembles, as the Sebastians, House of Time, New York Baroque Incorporated, 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 Elizabeth Blumenstock Robert Mealy Cynthia Roberts

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

8 Juilliard Board of Trustees and Administration

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 Laura Linney William E.“Wes” Stricker, MD Enrollment Management and Student Development 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. Roberts Tina Gonzalez, Director of Financial Aid Teresa McKinney, Director of Community Engagement Todd Porter, Director of Residence Life JUILLIARD COUNCIL Howard Rosenberg MD, Medical Director Beth Techow, Administrative Director of Health Mitchell Nelson, Chair and Counseling Services Michelle Demus Auerbach Sophie Laffont Holly Tedder, Director of Disability Services Barbara Brandt Jean-Hugues Monier and Associate Registrar Brian J. Heidtke Terry Morgenthaler Finance Gordon D. Henderson Pamela J. Newman Christine Todd, Vice President and Chief Financial Officer Peter L. Kend Howard S. Paley Irina Shteyn, Director of Financial Planning and Analysis Younghee Kim-Wait John G. Popp Nicholas Mazzurco, Director of Student Accounts/Bursar Paul E. Kwak, MD Grace E. Richardson Min Kyung Kwon Kristen Rodriguez Administration and Law Jeremy T. Smith Maurice F. Edelson, Vice President for Administration and General Counsel Joseph Mastrangelo, Vice President for Facilities Management EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION Myung Kang-Huneke, Deputy General Counsel Carl Young, Chief Information Officer Office of the President Steve Doty, Chief Operations Officer Joseph W. 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 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

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