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Home , Alan Gilbert (conductor), Boris Godunov (opera), Conjurer (composition), Ralph Shapey, The Ghosts of Versailles, The Red Violin

Monday Evening, February 19, 2018, at 7:30

The presents Juilliard Orchestra , Conductor Alice Ivy-Pemberton ,

MAURICE RAVEL (1875–1937) Ma M ère l ’Oye (Suite) : Cinq pieces enfantines (1908 –10) Pavane de la Belle au bois dormant Petit Poucet Laideronnette, Impératrice des pagodes Les Entretiens de la Belle et de la Bête Le Jardin féerique

MODEST MUSSORGSKY (1839–81) : A Symphonic Synthesis (1868 –73; arr. , 1936) Outside the Novodievichi Monastery—The people ask Boris for protection—Pilgrims are heard singing in the distance—They come closer and enter the Monastery Coronation of Boris Monks chanting in the Monastery of Choudov Siege of Kazan Outside the Church of Saint Basil—The Idiot foretells the fate of Russia—The starving crowd asks Boris for bread Death of Boris

Intermission

JOHN CORIGLIANO (b. 1938) for Violin and Orchestra (“The Red Violin”) (2003) Chaconne Pianissimo Scherzo Andante flautando Accelerando Finale ALICE IVY-PEMBERTON, Violin

Tonight’s performance of the Concerto for Violin and Orchestra (“The Red Violin”) is played in celebration of ’s 80th birthday.

Performance time: approximately 1 hour and 35 minutes, including one intermission

This concert is made possible with a generous gift from the Celia Ascher Fund for Juilliard.

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. Notes on the Program of childhood: a past recaptured by the know ing adult’s memory. Tom Thumb (one by Thomas May of the many folktale variants of this story involving miniature people) recounts the Ma M ère l ’Oye (Suite) : Cinq pieces episode in which the poor woodcutter’s enfantines son tries to plan a way out of the woods by MAURICE RAVEL dropping breadcrumbs, only to discover Born March 7, 1875, in Ciboure, that birds have eaten them. Tom Thumb Pyrénées-Alantiques, France () wanders in confusion, trying to find Died December 28, 1937, in Paris, France the path, while Ravel’s vivid depiction of the birds near the end shows off his facility Even in full maturity, Maurice Ravel mar - for conjuring nature. veled at the enchantment of bygone inno - cence, taking refuge in what he called “the In Little Ugly, Empress of the Pagodas , a poetry of childhood.” Ravel initially con - princess has been made the ugliest ceived Ma mère l’Oye (Mother Goose ) woman in the world by a witch’s spell but between 1908 and 1910 as a duet finds herself transported into a magical for two children he had befriended, whose kingdom where her miniature subjects, artistic parents provided a kind of alterna - robed in gems, serenade her with an tive home for the . orchestra whose instruments (the “pago - das” in Ravel’s sense) are made of the In 1911 Ravel transformed the already fas - shells of walnuts and almonds. The cinating piano score into a five-movement enchanting use of pentatonic melody and concert suite (which we hear), creating a nuanced touches from percussion mimic completely different sound world by an Asian gamelan. deploying his ultra-refined and spellbind - ing art of . He went on to Conversations of Beauty and the Beast concoct a ballet scenario linking the details the unlikely love story in three famous fairy-tale stories from Ma mère parts, charting the appearance of Beauty l’Oye that were his starting point; the bal - () in a Satie-like waltz; the gruff let premiered in 1912 (to which he added pleas of Beast (), which preludial material and connecting inter - emerge from the ; and the mixture of ludes). Ravel drew from multiple French both in a duet. A glissando from the harp sources, most notably Charles Perrault’s signals Beast’s transformation into a hand - 1697 anthology Histoires ou contes du some prince (now represented by violin in temps passé, avec des moralité s, with place of the contrabassoon). this title on the back: Les contes de ma mère l’Oye (Stories or Tales from Times In the concluding scene (which presents a Past, with Morals , or The Tales of My generalized fairy-tale atmosphere con - Mother Goose ). cocted by Ravel), Prince Charming arrives to awaken the Princess, and the wood Sleeping Beauty’s Pavane ushers us, becomes The Enchanted Garden —the along with the Princess, into a dreamlike very site of imaginative fantasy. A crescendo state with its brief, solemn processional. steadily builds, reaching an apotheosis and The music’s sustained wistfulness hints ending the Suite with the triumphant at the ambivalence of Ravel’s summoning sounds of wedding and coronation. Boris Godunov: A Symphonic Synthesis Orchestra, the following year. Stokowski determined to fashion an inde - Born March 21, 1839, in Karevo, Pskov, pendent orchestral work to make this music Governorate, Russian Empire (now Russia) better known, drawing only on Mussorgsky’s Died March 28, 1881, in St. Petersburg, original material a score that, according to the Russian Empire (now Russia) conductor, “is full of inspired music of sym - phonic quality …. The result is something like In 1869 Modest Mussorgsky (all while a free modern symphony.” holding down a day job) finished the first version of Boris Godunov —an astounding Set in the years 1598 –1605, Boris Godunov feat for the 30-year-old composer whose combines psychological portraiture with longest completed piece to date was Night historical epic to tell the story of the ill- on the Bare Mountain (c. 12 minutes). As fated title —who may or may not be Stephen Walsh observes in his excellent guilty of Macbeth-like murders to gain the Mussorgsky and His Circle , in composing throne—his downfall, and the emergence his innovative music , the Russian of a pretender who claims to be the right - “effectively discovered himself as a cre - ful heir allegedly slaughtered by Boris. For ative artist.” But this was only the first his “symphonic synthesis,” Stokowski stage in the extraordinarily complicated chose the following passages: the open - genesis of Mussorgsky’s operatic transfor - ing, as the Russian people plead for Boris mation of a verse drama by Pushkin mod - to accept the crown and a chorus of chanting eled on Shakespeare’s history plays. After pilgrims approaches; the grand Coronation the was rejected for production, Scene; the monastery where the false Mussorgsky embarked on a radical new Dmitry (the pretender) hatches his plan; a revision and expansion. Despite the initial scherzo-like passage from a song depicting rejection of this version as well, it found its the Siege of Kazan under the earlier Tsar way to the stage (though with cuts) to ; the crowd confronting great success in 1874. Boris outside the Cathedral of St. Basil, where a simpleton predicts the dark fate of The reception of Boris Godunov has been Russia; and the Death of Boris, who begs almost as complicated. Nikolai Rimsky- forgiveness as he collapses, overcome by Korsakov, Mussorgsky’s colleague (and, for guilt/madness (the last of the seven scenes a time, literal roommate), created a new of the first, 1869, version of the opera). posthumous edition (which he also revised) that significantly altered the composer’s Concerto for Violin and Orchestra vision, but this is the Boris that first became (“The Red Violin”) known in the West and prevailed for many JOHN CORIGLIANO years—much as Ravel’s orchestration of Born February 16, 1938, in Pictures at an Exhibition continues as the incarnation in which most concertgoers This month, as John Corigliano reaches the experience that work. milestone of 80, the music world cele - brates an American master who has cre - A Soviet musicologist published ated enduring works across the genres, at Mussorgsky’s original version of Boris in the same time substantially influencing a 1928, which was performed in (then) new generation of —including, Leningrad. It was Leopold Stokowski who Juilliard alumni Nico Muhly, Eric Whitacre, introduced this version to Western audi - and Mason Bates—through his inspiration ences in a concert performance with the as a teacher and mentor. Born into a musical family (his father was Corigliano remarks that the experience of the ’s concertmas - scoring the film and collaborating with ter and his mother a pianist) Corigliano Joshua , who played the solos on the came of age during a period of deep uncer - soundtrack, “galvanized” him to take up tainty about the future of . the challenge of writing his first concerto His opera (1991), for this instrument. This in turn became a commissioned by the , loving tribute to his concertmaster father played a role in generating the current (to whose memory the score is dedicated). renaissance in American opera that contin - “It is an ‘in the great tradition’ kind of con - ues to unfold. Corigliano’s First Symphony certo,” the composer remarks, because (1988), in which he offered music of rage with it he attempted “to write the piece and lamentation as a counterpart to the my father would love to play.” While the AIDS quilt, won the Grawemeyer Award, Red draws on material while his Second took the Pulitzer in 2000. from the film score associated with its characters, this isn’t program music per se Corigliano also received an Academy but a reimagining and celebration of the Award for his score to the French-Canadian tradition represented by his father, for audi - director François Girard’s 1998 film The ences of today. Red Violin . Traversing three centuries and three continents as it traces the shifting The previously composed Chaconne serves fortunes of a Cremonese master instru - as the first (and the longest) of the con - ment, The Red Violin relies to an unusual certo’s four movements. In keeping with degree on music as the story’s binding ele - the late-17th-century origins of the auratic ment. Corigliano devised musical themes red violin, Chaconne uses the Baroque to characterize the eponymous violin as device of a readily recognizable, repeated the thread linking these stories together. pattern of chords that provides the har - He had to compose most of the score monic foundation. Following a preludial before filming—the reverse of the normal haze of indeterminate orchestral swirling, practice—so that the many shots featuring low brass and winds spell out the cha - actors playing the instrument could be real - conne pattern: a grim procession of seven istically synchronized with the soundtrack. chords. The violin soloist traces out a Corigliano used this material to write an haunting melody against these chords. For independent concert piece, Chaconne for fans of the film, this is the music associ - Violin and Orchestra, which premiered ated with the ill-fated Anna, the instrument before the film opened. Other satellite maker’s wife. Together, these form a pow - works derived from The Red Violin include erfully associative musical image for the a suite from the film score, caprices for relentless power of fate and for the tragic solo violin, and the concerto we hear—a memory of Anna—whose spirit in a sense genre in which Corigliano has distin - possesses the violin. Alternately brooding guished himself multiple times. ( , and fiery, the music incorporates virtuoso, his Concerto for Percussion, won the 2014 etude-like passages, riveting climaxes, and Grammy Award for best instrumental a remarkable solo cadenza voicing differ - solo.) The process that led from the stand- ent facets of the instrument’s personality. alone chaconne to full-fledged concerto, the composer points out, is reminiscent of Three movements follow, forming a coun - the way in which Schumann expanded his terweight to the Chaconne ’s imposing Phantasie for piano and orchestra into his architecture. In the film the Red Violin is Piano Concerto. transported from Italy in 1681 to Vienna in 1793, Oxford in the late 1890s, in This segues into the troubadour/gypsy the 1960s, and in 1997, in the style of the finale—all passion and fire— process being subjected to the varying which recalls the traditional Romantic con - temperaments and styles of those into certo’s face-off between soloist and whose possession it comes. Corigliano orchestra as each proceeds at contrasting notes that the brisk Pianissimo Scherzo , a tempos. Corigliano calls for special effects— “wild and colorful” movement, is meant to such as a series of pressured “crunches,” “break the Romantic mood of the first which elicit a non-Western percussive movement with sonoric and timbral effect—to enhance the sense of a “rollick - effects.” The composer’s rightly admired ing race,” while a gripping new theme (asso - flair as a master orchestrator is always in ciated with another of the film’s characters) evidence, while at the same time showcas - introduces an air of introspection. The ing the solo violin’s unique personality. Chaconne theme returns to round out the Anna’s theme makes a spectral appearance concerto—a symbol of survival of the Red in the trio, acquiring melancholy hues in the Violin, and of music itself, through the eras. third movement ( Andante flautando ). The imitations that Corigliano has the Thomas May is the English-language editor soloist play in the third movement pit grace for the Lucerne Festival and writes about against gravity, with a nod to the lyricism of the arts for a wide variety of publications. Samuel Barber (a composer Corigliano hon - His books include Decoding Wagner and ored in an early work, from 1965). The Reader.

Meet the Artists Chamber Music Society of Lincoln Center, New World Symphony, and the Tanglewood Festival Orchestra. In the U.S. and abroad he has premiered and recorded works by

O many groundbreaking contemporary com - K R

E posers, in Carnegie Hall, Zankel Hall, N O K

Davies Symphony Hall, Alice Tully Hall, R E

T Walt Disney Concert Hall, Boston’s E

P Jeffrey Milarsky Symphony Hall, and at IRCAM in Paris, American conductor Jeffrey Milarsky is the among others. Mr. Milarsky has a long his - music director of AXIOM and a senior lec - tory of premiering, recording, and perform - turer in music at Columbia University ing American composers and throughout where he is the music director and conduc - his career has collaborated with John tor of the Columbia University Orchestra. Adams, Milton Babbitt, , Elliott He received his bachelor and master of Carter, John Corigliano, George Crumb, Mario music degrees from Juilliard where he was Davidovsky, Jacob Druckman, Michael awarded the Peter Mennin Prize for out - Gordon, David Lang, Steven Mackey, standing leadership and achievement in the Christopher Rouse, Ralph Shapey, Morton arts. In recent seasons he has worked with Subotnick, , and an ensembles including the New York Phil - entire generation of young and developing harmonic, San Francisco Symphony, Los composers. He was recently awarded Angeles Philharmonic, Milwaukee Symphony, with the Ditson Conductor’s Award for his American Composers Orchestra, MET commitment to the performance of Chamber Ensemble, Bergen Philharmonic, American music. A much-in-demand timpanist and percus - City, she began her music studies at age sionist, Mr. Milarsky has been the principal four and studied violin with Nurit Pacht at timpanist for the since the Kaufman Music Center for ten years. 2005. In addition he has performed and She first performed on National Public recorded with the New York Philharmonic, Radio’s From the Top program at the age Philadelphia Orchestra, and Pittsburgh of ten and has also been featured as a Symphony. He has recorded extensively soloist on the PBS series From the Top: for Angel, Bridge, Teldec, Telarc, New Live from Carnegie Hall . She has won World, CRI, MusicMasters, EMI, Koch, and numerous concerto competitions, includ - London Records. ing those of the New York Chamber Players’ Orchestra, Ensemble 212, the Sound Symphony, and the Greenwich Village Orchestra. The Conservatoire Américain de Fontainebleau awarded her the Prix du Directeur in 2016 and she Alice also took the audience prize at the Ivy-Pemberton Conservatoire’s Prix Ravel competition. Ms. Ivy-Pemberton has performed as Violinist Alice Ivy-Pemberton is pursuing a soloist in many venues in New York her bachelor of music degree at Juilliard, including Bargemusic, Zankel Hall, Mer- where she is a student of Itzhak Perlman kin Concert Hall, and Carnegie Hall. and Catherine Cho. A native of New York Kovner Fellowship Juilliard Orchestra Alan Gilbert , Director of and Orchestral Studies, Chair in Musical Studies Jeffrey Milarsky , Guest Conductor

Violin I English Horn Agnes Tse, Iona Batchelder, Rachel Ahn Christopher Houlihan, Concertmaster Principal Mitchell Kuhn Principal Sara Staples David Bender Ricardo Pedrares Mark Chien John-Henry Crawford Clarinet Patiño, Principal Amelia Dietrich Shangwen Liao Wonchan Doh, Principal George Foreman Rinat Erlichman Yun-Ya Lo Sydney Lusby, Principal Hiu Sing Fan Derek Louie Phillip Solomon, Bass Trombone Isabella Geis Kei Otake Principal Aaron Albert, Principal Ludvig Gudim Maria Shim Lirui Zheng Filipe Alves, Principal Leerone Hakami Sebastian Stöger Nikayla Kim Mariel Werner E-flat Clarinet Jasmine Lin Wonchan Doh Samantha Lake, Manami Mizumoto Principal Angela Wee Sheng-Yao Wu, Giovanni S. Maraboli, William Wei Principal Phillip Solomon Principal Manjie Yang Daniel Chan Lirui Zheng Wei Zhu Michael Gabriel Nicholas Tyler Kleinman Joseph Bricker, Violin II Dominic Law Joshua Elmore, Principal Emma Frucht, Principal Zachary Marzulli Principal Tyler Cunningham, Yuki Beppu Jack McGuire Jacob Wellman, Principal Jessie Chen Kathryn Morgan Principal Sae Hashimoto, Hannah Cho Stewart Troy Baban Principal Qianru Elaine He Emmali Ouderkirk Zhi Ma Flute Percussion George Meyer Emily Duncan, Principal Contrabassoon Joseph Bricker, Jason Moon Lorenzo Morrocchi, Joshua Elmore Principal Naoko Nakajima Principal Jacob Wellman Tyler Cunningham, Inori Sakai JiHyuk Park, Principal Principal Mira Yamamoto Yejin Lisa Choi Evan Saddler, Principal Pinhua Zeng Harry Chiu Chin-pong, Sae Hashimoto Andi Zhang Piccolo Principal Euijin Jung Yutong Zhang Emily Duncan William Loveless VI, Lorenzo Morrocchi Principal Harp JiHyuk Park Kaitlyn Resler, Principal Deanna Cirielli, Principal Lisa Sung, Principal Lee Cyphers Clara Warford, Principal Kayla Cabrera Alto Flute Vincent Kiray Katy Wong, Principal Howard Cheng Emily Duncan Hannah Geisinger Piano Esther Kim Oboe Wyeth Aleksei, Yu Fu Ji Eun Park Rachel Ahn, Principal Principal Thomas Steigerwald Erin Pitts Mitchell Kuhn, Principal Maximilian Morel, Taylor Shea Pablo O’Connell, Principal Celeste Elijah Spies Principal Peter Hoyle Yu Fu Lynn Sue-A-Quan Daniel Gurevich Marshall Kearse Thomas Steigerwald Sequoyah Sugiyama Sophia Sun About the Juilliard in opera and dance productions. Under the musical leadership of Alan Gilbert, the Orchestra director of conducting and orchestral stud - ies, the Juilliard Orchestra welcomes an Juilliard’s largest and most visible student impressive roster of world-renowned guest performing ensemble, the Juilliard Orchestra, conductors this season including Thomas is known for delivering polished and pas - Adès, Joseph Colaneri, Edo de Waart, Chen sionate performances of works spanning Lin, David Robertson, Speranza Scappucci, the repertoire. Comprising more than 350 and Gerard Schwarz, as well as faculty students in the bachelor’s and master’s members Jeffrey Milarsky and Mr. Gilbert. degree programs, the orchestra appears The Juilliard Orchestra has toured across throughout the 2017–18 season in more the U.S. and throughout Europe, South than a dozen performances on the stages America, and Asia, where it was the first of Alice Tully Hall, Carnegie Hall, David Western conservatory ensemble allowed Geffen Hall, and Juilliard’s Peter Jay Sharp to visit and perform following the opening Theater. The season opened in August with of the People’s Republic of China in 1987, a collaboration between Juilliard and returning two decades later, in 2008. Other Finland’s Sibelius Academy members con - ensembles under the Juilliard Orchestra ducted by Esa-Pekka Salonen with con - umbrella include the conductorless Juilliard certs in Alice Tully Hall, Helsinki, and Chamber Orchestra, the Juilliard Wind Stockholm. The orchestra is a strong part - Orchestra, and the new-music groups ner to Juilliard’s other divisions, appearing AXIOM and New Juilliard Ensemble.

Orchestra Administration Adam Meyer, Associate Dean and Director, Music Division Joe Soucy, Assistant Dean for Orchestral Studies

Joanna K. Trebelhorn, Director Lisa Dempsey Kane, Principal Kate Northfield Lanich, of Orchestral and Ensemble Orchestra Librarian Orchestra Personnel Operations Michael McCoy, Orchestra Manager Matthew Wolford, Operations Librarian Deirdre DeStefano, Orchestra Manager Management Apprentice