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Juilliard Orchestra student cOmpOsers Monday, February 25, 2013 at 8 PM The Peter Jay Sharp Theater PrinTed on recycled PaPer The Juilliard School presents the Juilliard Orchestra featuring fOur wOrld premieres by Juilliard cOmpOsers Jeffrey milarsky, Conductor Monday, February 25, 2013 at 8 PM The Peter Jay Sharp Theater paul frucht Relic* yuri bOguinia Margarita at the Ball Maxwell FoSTer , piano inTerMiSSion stefan cwik The Illusionist The Nectar, Suite no. 1 (from the Two-act Ballet) peng-peng gOng City Scenes Dance of the Boy The Blue-Eyed Awakening Pas de Deux Dance of the Killers *winner, 2013 arthur Friedman composition Prize this performance is supported in part by the muriel gluck production fund. Please make certain that the electronic signal on your watch, pager, or cell phone is turned off during the concert. The taking of photographs and the use of recording equipment are not permitted in this theater. aBouT The PrograM Relic That being said, this is not a re-working paul frucht of anyone’s music in particular nor is this piece paying homage to any particular com - at the same time as i was beginning to con - poser. instead, this piece pays homage to ceive this piece, i was studying harmony and sonority, a relic and cornerstone of harmony, counterpoint fairly rigorously. i began to filtered through my own contemporary find myself fascinated with the triad as one voice. of the most, if not the most, important har - monic formation in western music since the —Paul Frucht 16th century. as i learned how the triad came to be —out of contrapuntal rules relat - aBouT Paul FruchT ing to consonances and dissonances —i Paul Frucht is a composer and percussionist found it astonishing how far the triad had dedicated to creating and performing music come and how it has survived through all of with a vibrant, unique sound that engages a the periods of harmonic innovation through - wide spectrum of audiences. originally out the past 400-plus years. even after from danbury, connecticut, Mr. Frucht is a impressionism, expressionism, and serialism second-year master of music degree compo - are either over with or in full swing much of sition student of robert Beaser at Juilliard. the material copland uses in his 1944 ballet, in May 2011, he graduated magna cum laude Appalachian Spring, is derived from the major from new york university’s Steinhardt triad. School with a bachelor of music degree in This piece is my contribution to what can composition, studying with Justin dello Joio be done with the “simple” triad. while the and an instrumental concentration in classi - triad may sound pedestrian, or even pleas - cal percussion, studying with Jonathan haas antly primitive to our contemporary ears, i and Simon Boyar. strived with this piece not only to integrate in February 2012, Mr. Frucht’s orchestral contemporary orchestral ideas and practice, work Penumbra was selected as a winning but to also make the triad itself sound as composition in the San diego Symphony though it has a place in the 21st century. earshot readings competition. his piece was over the last year, i’ve discovered the impor - read and performed by the San diego tance of musical roots and bloodline among Symphony in copley Symphony hall last musical cultures and in some cases, com - april, led by guest conductor James posers. while i always make a concerted Feddeck. his works have been also been effort to sound somewhat predictably like performed at Merkin concert hall, the “me” in my music, i have also begun to find aspen Music Festival, Fredrick loewe that there is great satisfaction in paying hom - Theatre, la Schola cantorum in France, and age to others filtered through my own voice. in Juilliard’s Paul hall. his music has been a particular and very specific example of commissioned and performed by the altius this that is influential to me is Stravinsky’s winds, node contemporary Music, PulSe Pulcinella , in which he re-works music writ - new Music, and the nyu Symphony ten by Pergolesi. i find this to be extremely orchestra. recently, Mr. Frucht collaborated meaningful because it magnifies that idea of with Juilliard’s dance division as part of “pushing forward” in music, something that “composers and choreographers,” for i think is important. whenever we look back which he wrote a piece for specific choreo - in music, it becomes clearer how far we’ve graphic use by a Juilliard dance student. come, but it also sheds light on exactly how in 2012, he was awarded the arlene J. composers can use elements of the past to Smith Scholarship by The Juilliard School, push forward. both of which he gratefully acknowledges for their continued support. -2- aBouT The PrograM Margarita at the Ball schools. Prior to enrolling at Juilliard, Mr. yuri bOguinia Boguinia lived in colorado and studied composition with colorado university of and again Margarita flew out of the room Boulder professor daniel Kellogg and violin with the pool. on the stage behind the with first violinist of the Moscow String tulips, where the waltz King and his orches - Quartet, eugenia alikhanova. he attended tra had been playing, a monkey jazz band high school at the interlochen arts academy now ranted in rage. a huge gorilla with in Michigan, where he studied composition shaggy sideburns and a trumpet in his hand with John Boyle. Mr. Boguinia won the 2008 was conducting as he danced ponderously and 2009 aScaP Morton gould young to the beat. in one row sat orangutans, blow - composer awards in the younger division ing shinny trumpets. Perched on their shoul - and the 2011 aScaP Morton gould young ders were merry chimpanzees with accor - composer award in the senior division. he dions. Two baboons with leonine manes also placed first in the 2008 and 2009 Pikes were playing grand pianos, and these Peak young composer competitions. pianos were drowned out by the thunder - Mr. Boguinia has been commissioned by ing, squealing, and banging violins and the Mannheim School of Music, the drums in the paws of gibbons, mandrills, longmont Symphony orchestra, and the and marmosets. on the mirror-like floor Boulder youth Symphony orchestra, among countless pairs seemed to merge into one in others. he has participated in master classes a remarkable display of agility and graceful - by composers John harbison, Steven Stucky, ness, all whirling in one direction, and mov - Julia wolfe, nico Muhly, and Marilyn ing forward like a wall that threatened to Shrude. in the summers of 2009 and 2010 he sweep away everything in its path. live attended the Tanglewood young artist satin butterflies swooped up and down composition Program where he worked above the dancing hordes; flowers fluttered with composer Martin amlin. Two summers down from the ceilings. whenever the elec - ago Mr. Boguinia traveled to washington, tricity went off, myriad glowworms lit up in d.c. with the Moscow String Quartet for the the tops of the columns, and will-o’-the- rewarding experience of working alongside wisps floated in the air. Sofia gubaidulina in the performance of her String Quartet no. 4 and String Trio at the —Yuri Boguinia Smithsonian Freer art gallery. aBouT yuri Boguinia yuri Boguinia was born in Stavropol, russia The Illusionist in 1991 and immigrated to the u.S. with stefan cwik aspirations to develop his skills as a com - poser, pianist, and violinist. he is currently The Illusionist is a tone poem for orchestra in his third year the bachelor of music that is meant to illustrate the theatrical degree program in composition at Juilliard, prowess and awe of a master illusionist. in where he studies with christopher rouse as order to represent this musically, the piece a grateful recipient of the Jerome l. greene needed to be designed in a way where Fellowship. Mr. Boguinia spent the last two there was an “entity” behind the progres - years working with Samuel adler, and he is sion of the music. it was also necessary that a teaching fellow for music theory level i, ii, this “entity” create a collage of musical and iii. he received a concert Fellowship in ideas that combine to make a theatrical 2011 and an arts enrichment Fellowship experience. The form and use of instru - this year administered by Juilliard’s ments in the piece are designed around educational outreach Program. The fellow - this idea. ships give him the opportunity to teach There is an introduction to the piece music in east harlem and Bronx middle that builds in power in order to announce -3- aBouT The PrograM the entrance of the illusionist. upon the ini- this explosion the piano appears, pulling tial piano entrance it becomes apparent everything together once more. one by that the piano represents this “entity.” one, and slowly, the orchestra enters and although the piano plays an important takes hold of the music as the illusionist re- role i have avoided making it a soloist establishes sonic and emotional stability to part. instead the piano acts only in transi- the listener. The piece ends with soft tional points of the piece. in this way it ambiguous harmonies that settle the heart represents the illusionist progressing his rate of the listener, but still maintain a deep act forward. The piano always acts to emotional power. even though the change and progress the music but the illusionist has finished his act, we are orchestra then takes over. This way the reminded that reality has returned only audience witnesses the transformation of because he has commanded it to. the music from one catalyst to the entire orchestra, just as the illusionist will take an —Stefan Cwik idea that seems impossible and shows us that it can be reality.

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