Monday Evening, December 10, 2018, at 7:30

The Juilliard School presents Juilliard Orchestra , Conductor

KAIJA SAARIAHO (b. 1952) Ciel d’hiver (2013)

JOHN ADAMS (b. 1947) Symphony (2007) The Laboratory Panic

Intermission

JOHANNES BRAHMS (1833 –97) Symphony No. 4 in E minor, Op. 98 (1884–85) Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionate

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

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 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 create timbres that subtly mix with those produced by acoustic instruments. by Thomas May

This spectralist background, however, is Ciel d’hiver (2013) only one dimension of the unique aesthetic that Saariaho has developed. “Rich timbral Born October 14, 1952, in , nuances, focused musical material evolv - Currently resides in Paris ing into unique musical forms as well as works that call for careful listening remain “There was always one wise old guy with her musical fingerprints,” writes musicolo - a bald head, the male authority whose aes - gist Pirkko Moisala. Saariaho’s meticulous thetics or politics ruled … I felt squeezed attention to textures and resonances, to to be something I’m not,” Kaija Saariaho the weight of sound itself, taps into a rich once remarked, referring to the culture of potential that involves a great deal more her native Finland—with the imposing, than “color,” pushing beyond conventional patriarchal figure of (the very bald) Jean musical parameters . Sibelius clearly in mind. Growing up in a family that was not particularly interested The result is notably different from the sen - in music, she nevertheless found herself suous qualities often attributed to French as a child drawn to the wondrous worlds Impressionism. At times suggesting an that could be evoked by sounds and, austerity and sense of expansive spaces, despite a sexist environment, became Saariaho’s music can convey a sensation the only woman in the class of Paavo of hovering as it imbues sounds and their Heininen at the in contexts with an uncanny and ghostlike Helsinki. Heininen belonged to the mod - tangibility—mesmerizing mirages that shift ernist generation reacting against Sibelius, about the listener like mobile sculptures. while, for her part, Saariaho joined up with fellow composers Esa-Pekka Salonen, Relying on a purely acoustic orchestra, Ciel , and others in an exper - d’hiver (“Winter Sky”) is an outstanding imental collective known as Korvat Auki! example of Saariaho’s soundscapes. It is a (“Ears Open!”)—a society intended to reworking of the second movement of encourage experimentalism. Orion , a work for large orchestra written in 2002 for the . Her Like those compatriots, Saariaho chose a largest symphonic composition to date at life of exile, resettling in Paris in the early that time, Orion was inspired by the mytho - 1980s and finding a new artistic home at logical hunter—the mortal son of Poseidon ’s IRCAM Institute for musi - who was made into a constellation. cal research after discovering the advances of the French spectralists. Spectralism Saariaho returned to this score to com - refers to the processes developed by a plete a new commission in 2013, making loosely associated group of composers Orion ’s contemplative second movement such as G érard Grisey and . into the independent orchestral work Ciel They devoted attention to the behavior of d’hiver . Her unpredictable blends of timbre sonic spectra, using computer-assisted spec - and nuanced effects against a seemingly tral analysis of sound. Some of Saariaho’s static background convey sensations of compositions also employ microtonality transformation and timelessness alike—a and electronic sources or “ extensions ” to contemporary music of the spheres. Doctor Atomic Symphony (2007) says has exerted “an immense effect on JOHN ADAMS my compositional thinking.” Born February 15, 1947, in Worcester, Massachusetts An apocalyptic jangle of darkly ominous, Currently resides in the San Francisco Bay shardlike harmonies ( The Laboratory ), drawn area from the ’s overture, conjures the alien environment of a nuclear landscape In November 2017 John Adams unveiled superimposed on the desert setting where his most recent opera, Girls of the Golden the Trinity test is scheduled to take place. West , at . It was for Coils of dissonance are underscored by the same company that Adams had returned and eerie fanfares that may call the to writing for the opera stage, after a long beginning of Brahms’ First Symphony to hiatus, with Doctor Atomic , which pre - mind: a secular Day of Judgment proclaimed. miered in 2005. Three years later Doctor Atomic became the first work by Adams to Immediately after comes the longest of be presented at the . the Symphony’s subsections ( Panic ). This music comes from the opera’s nocturnal Doctor Atomic is a two-act opera that second act, just hours before the bomb is revolves around the figures involved in to be tested, as a powerful electrical storm the first atomic bomb test during the fran - whips across the desert. The potentially tic final months of the Second World War. dire consequences of a mishap trigger J. Robert Oppenheimer, the physicist who grim debate among the scientists. Adams’ directed that project, is the protagonist. frenzied rhythms and anxious pauses sug - The opera climaxes with the final count - gest varieties of nervousness. down before the detonation itself, which took place in the New Mexican desert in As the men in this unrelentingly gender- summer 1945. segregated environment worry over the outcome of the test, Pasqualita, a Doctor Atomic Symphony , composed in Tewa Indian maid who works for the 2007, is no mere pastiche or suite of excerpts Oppenheimers, comforts the children of from Adams’ opera. It approaches material Oppenheimer and his wife, Kitty, with a from the opera score from a purely orches - lullaby and is reminded of the Corn Dance tral perspective, developing ideas accord - ceremony of the Tewa, whose ancestral ing to a musical logic independent of the home is the desert landscape about to drama. During the opera’s initial produc - be demolished by the explosion. (The tion, Adams came to realize that certain indige nous peoples whose health was musical ideas in Doctor Atomic ’s score adversely affected by the testing remain, seemed to be cut short and remain under - to this day, without compensation from developed as the result of practical neces - the federal government.) sity: the pace of action onstage had to take priority over what was happening in the pit. A conveys the voice of Oppenheimer in the Symphony’s final The symphony unfolds in a single move - sec tion ( Trinity ). It gravitates toward a ment, subdivided into three sections. As tragic, fateful D minor. The corresponding a precedent for the sustained, single- scene (which ends the opera’s first act) movement structure, Adams refers to the depicts the physicist, a passionate devo - Seventh Symphony of Sibelius—a work he tee of poetry and the arts, in an agony of self- doubt. The text comes from one of his once right into the heart of the matter, with beloved poets, John Donne (the poem no preliminaries. The first movement as a that, historically, prompted Oppenheimer whole unfolds as varying processes of to name the test site “Trinity”: “Batter development. Brahms continually trans - my heart, three-person’d God … ”). Two forms and remixes his material—and in a ideas, in different tempos, alternate: a distinctly individual way. You couldn’t mis - complex rhythmic pulsation and a reflec - take this for Beethovenian development tive, neo-Baroque elegy, which ends (Brahms having long since overcome what Doctor Atomic Symphony on a note of was anyway an exaggerated inferiority humanist melancholy. complex). The late composer/conductor Gunther Schuller compared the complex Symphony No. 4 in E minor, Op. 98 layering of Brahmsian development here (1884–85) to the Fourth Symphony of Charles Ives. JOHANNES BRAHMS Born May 7, 1833, in Hamburg, Germany For example, the subtle alterations that Died April 3, 1897, in Vienna, Austria prepare the moment of recapitulation or that press the coda along enhance the “I’m rather afraid that it tastes like the cli - tragic implications inherent in the main mate here,” Brahms wrote about his latest theme. However abstractly Brahms’ pro - work-in-progress while summering in cesses of variation can be classified, an southern Austria. “The cherries don’t ripen intense physicality is built into the Fourth in these parts; you wouldn’t eat them!” as well. Along with the “sighs” of the The slyly cautionary metaphor was apt. opening theme, dance impulses that Despite containing some of the most emerge elsewhere tether the music to the impassioned, even exuberant, moments in organic, patterned rhythms of the body. Brahms’ entire output, the Fourth (com - posed in the summers of 1884 and 1885) Starting with a modal horn tune with an conveys an aura of implacable tragedy. No insistent rhythmic profile, the second sweetener is mixed in to palliate the harsh movement can also suggest an invitation truths of this music. Even its brief to the dance, albeit a rather solemn one. moments of joy emerge more as jolts of Brahms blends instrumental timbres, surprise than relief. developing his thematic material through contrasts of light and shade and creating What’s more, Brahms’ nature metaphor stirring effects of sonic chiaroscuro. hints at the process of musical germination that permeates the score, in which com - In the third movement, Allegro giocoso , plex structures blossom organically from Brahms adds a piccolo and tinkling triangle the simplest musical seeds (or, to use to his soundscape—though it is only here today’s trendy microbiological metaphor, that these instruments are employed in DNA)—but with such concentrated force, this remarkably economical score. The and tragic implications, that the image of brevity of relief, framed in C major (which life-affirming growth suggests an unresolv - plays a pivotal role throughout the Fourth able, painful paradox. in relation to the tonic E minor), comes as a shock. Unlike a Beethoven scherzo, the The primary “seed” here—melodically and energy of this music is organized in duple harmonically—is the interval of the third. meter. Its animated—and at times outra - Brahms uses it from the outset (along with geously comic—spirit cannot deter the its inversion as a sixth), plunging us at inevitably tragic conclusion that follows. Brahms saves the grimmest music of the combines the predictability of the har - symphony for this finale. Like Adams, he, monic repetitions (over 30 variations plus too, resorts to a neo-Baroque strategy, coda) with the forward-moving dramatic reviving the form of the passacaglia—a sensibility of sonata form, meanwhile form that posits another kind of “develop - organizing the unfolding variations into ing variation” (Schoenberg’s famous phrase various subgroups that can be classified for Brahmsian process). Using triple meter, on multiple levels. Out of the simple pas - the passacaglia involves a series of varia - sacaglia idea grows a wild, turbulent tions that unfold over a relatively simple, tragedy, which Brahms concludes with - constantly repeating harmonic sequence: out consolation. here, it’s a mere eight chords that Brahms borrowed from the final movement of an Thomas May is the English-language editor early Bach cantata, “Nach dir, Herr, ver - for the and writes about langet mich” (“For Thee, O Lord, I Long”). the arts for a wide variety of publications. His books include Decoding Wagner and But he never allows this strict form to The John Adams Reader . turn into a formal straightjacket. Brahms © 2018 Thomas May

Meet the Artists himself—and Scheherazade.2 , a dramatic symphony for and orchestra written for Leila Josefowicz. Adams also leads the world’s major orchestras in repertoire from Beethoven and Mozart to Stravinsky, Ives,

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V John Adams moniker, London Symphony Orchestra, Los John Adams’ works stand out among con - Angeles Philharmonic, Wiener Symphoniker, temporary classical compositions for their Orchestra dell’Accademia Nazionale di depth of expression, brilliance of sound, Santa Cecilia, and BBC Symphony Orchestra, and the profoundly humanist nature of their as well as orchestras in Cleveland, Dallas, themes. Works spanning more than three Cincinnati, Seattle, Miami, Baltimore, decades are among the most performed of Barcelona, and Oslo. In 2017 Adams cele - all contemporary classical music, among brated his 70th birthday with festivals of them , , El his music in Europe and the U.S., including Niño, Doctor Atomic, , and retrospectives at London’s Barbican and . His stage works, all Cité de la Musique in Paris, and in Am - in collaboration with director , sterdam, New York, Geneva, Stockholm, have transformed the genre of contempo - Los Angeles, and San Francisco. Born and rary music theater. His opera about the raised in New England, Adams learned the California gold rush, Girls of the Golden from his father and played in West, premiered in 2017 in San Francisco. marching bands and community orchestras Nonesuch Records has recorded all of during his formative years. He began com - Adams’ music over the past 30 years: the posing at age ten and his first orchestral latest are the premiere recording of the pieces were performed while just a opera Doctor Atomic —conducted by Adam s teenager. He is creative chair of the . He has received as well as presenting an annual concert honorary doctorates from Yale, Harvard, of world premieres by Juilliard student Northwestern, Cambridge, and Juilliard, composers. The Juilliard Orchestra wel - and is visiting professor of composition at comes an impressive roster of world- London’s Royal Academy of Music. He is renowned guest conductors this season the author of the autobiography Hallelujah including John Adams, Marin Alsop, Junction and is a frequent contributor to Joseph Colaneri, , Steven Book Review . Osgood, and Peter Oundjian, as well as faculty members Jeffrey Milarsky, Itzhak Juilliard Orchestra Perlman, Matthias Pintscher, and David Juilliard’s largest and most visible student Robertson. The Juilliard Orchestra has performing ensemble, the Juilliard Or - toured across the U.S. and throughout chestra, is known for delivering polished Europe, South America, and Asia, where it and passionate performances of works was the first Western conservatory ensem - spanning the repertoire. Comprising more ble allowed to visit and perform following than 350 students in the bachelor’s and the opening of the People’s Republic of master’s degree programs, the orchestra China in 1987, returning two decades appears throughout the season in concerts later, in 2008. Other ensembles under the on the stages of Alice Tully Hall, Carnegie Juilliard Orchestra umbrella include the Hall, David Geffen Hall, and Juilliard’s conductorless Juilliard Chamber Orches- Peter Jay Sharp Theater. The orchestra is a tra, the Juilliard Wind Orchestra, and the strong partner to Juilliard’s other divisions, new-music groups AXIOM and New appearing in opera and dance productions, Juilliard Ensemble.

Juilliard Orchestra John Adams , Guest Conductor

Violin Naoko Tajima Hannah J. Kim Piccolo Emma Frucht, Agnes Tse Sanae Kodaira Giorgio Consolati Concertmaster Katherine Woo Ian Lum Hon Wah Ipek Karataylioglu Ashley Jeehyun Park, Christine Wu Mark Prihodko Emma Resmini Principal Second Cherry Choi Tung Tomsen Su Zeynep Alpan Yeung Mariel Werner Yuki Beppu Chener Cherry Yuan Pablo O’Connell, David Bernat Double Principal Ann Sangeun Cho Alexander Alexandra von der Njioma Chinyere Yin-Ying Tseng, Bickard, Principal Embse, Principal Grevious Principal Nina Bernat Gabriel Young, Principal Ludvig Gudim Natalie Clarke Brittany Conrad Kate Wegener Leerone Hakami Hannah Geisinger Janice Gho Mary Grace Johnson Sean Juhl Jacob Kolodny English Horn Yigit Karatas James Chanha Kang Paris Myers Pablo O’Connell Chisa Kodaka Esther Kim Andrew Sommer Heewon Koo Jeremy Klein Reed Tucker Clarinet Ariel Seunghyun Lee Rosemary Nelis Kamalia Freyling, Yi Hsin Cindy Lin Erin Pitts Principal Nathan Meltzer Taylor Shea Giorgio Consolati, Alec Manasse, Principal Naoko Nakajima Sophia Sun Principal Lirui Zheng, Principal Yaegy Park Lisa Sung Emma Resmini, Keeheon Nam Yue Qian Principal Yeri Roh Audrey Emata E-flat Clarinet Inori Sakai Chloe Hong, Principal Ipek Karataylioglu Keeheon Nam Carolyn Semes Chen Cao Sophia Stoyanovich Drew Cone Lucas Stratmann Mizuki Hayakawa Jaimee Reynolds, Percussion Lirui Zheng Principal Kevin Carlson, Principal Benjamin Cornavaca, Lee Cyphers Steven Osborne, Principal Gabrielle Pho Principal Yibing Wang, Principal Joshua Elmore, Kaitlyn Resler Ethan Shrier, Principal Simon Herron Principal George Foreman Yoon Jun Kim Emmali Ouderkirk, Trumpet James Tobias Principal Michael Chen, Principal Harp Rebecca G. Krown Madison Lusby, Bass Trombone Lenka Petrovic Principal Filipe Pereira Clinton McLendon, Rebecca G. Krown Principal Jiaying Ding Benjamin Keating Joshua Williams Erik Larson Celeste Jessica Elder, Principal Timpani Jiaying Ding Jason Friedman, Omar El-Abidin Chang Wang Principal Harrison Honor Yoon Jun Kim

Administration Adam Meyer, Director, Music Division, and Deputy Dean of the College Joe Soucy, Assistant Dean for Orchestral Studies

Joanna K. Trebelhorn, Director Lisa Dempsey Kane, Principal Adarsh Kumar, Orchestra of Orchestral and Ensemble Orchestra Librarian Personnel Manager Operations Michael McCoy, Orchestra Geoffrey Devereux, Orchestra Matthew Wolford, Operations Librarian Management Apprentice Manager Daniel Pate, Percussion Coordinator BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Artistic Director Bruce Kovner, Chair Kirstin Ek, Director of Curriculum and Schedules J. Christopher Kojima, Vice Chair Monica Thakkar, Director of Performance Activities Katheryn C. Patterson, Vice Chair Julie Anne Choi Vincent A. Mai Lila Acheson Wallace Library and Doctoral Fellows Program Kent A. Clark Ellen Marcus Jane Gottlieb, Vice President for Library and Information Resources; Kenneth S. Davidson Nancy A. Marks Director of the C.V. Starr Doctoral Fellows Program Barbara G. Fleischman Stephanie Palmer McClelland Jeni Dahmus Farah, Director, Archives Keith R. Gollust Christina McInerney Alan Klein, Director of Library Technical Services Mary Graham Lester S. Morse Jr. Joan W. Harris Stephen A. Novick Preparatory Education Matt Jacobson Susan W. Rose Robert Ross, Assistant Dean for Preparatory Education Edward E. Johnson Jr. Jeffrey Seller Karen M. Levy Deborah Simon Pre-College Division Teresa E. Lindsay Sarah Billinghurst Solomon Yoheved Kaplinsky, Artistic Director Laura Linney William E. "Wes" Stricker, MD Ekaterina Lawson, Director of Admissions and Academic Affairs Michael Loeb Yael Taqqu Anna Royzman, Director of Performance Activities Greg Margolies Music Advancement Program Anthony McGill, Artistic Advisor TRUSTEES EMERITI Teresa McKinney, Director of Community Engagement

June Noble Larkin, Chair Emerita Evening Division Danielle La Senna, Director Mary Ellin Barrett Elizabeth McCormack Sidney R. Knafel Enrollment Management and Student Development Joseph W. Polisi, President Emeritus Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Barrett Hipes, Associate Dean for Student Development JUILLIARD COUNCIL Sabrina Tanbara, Assistant Dean of Student Affairs Cory Owen, Assistant Dean for International Advisement and Diversity Mitchell Nelson, Chair Initiatives Michelle Demus Auerbach Terry Morgenthaler William Buse, Director of Counseling Services Barbara Brandt Howard S. Paley Katherine Gertson, Registrar Brian J. Heidtke John G. Popp Tina Gonzalez, Director of Financial Aid Gordon D. Henderson Grace E. Richardson Camille Pajor, Title IX Coordinator Peter L. Kend Jeremy T. Smith Todd Porter, Director of Residence Life Younghee Kim-Wait Alexander I. Tachmes Howard Rosenberg MD, Medical Director Sophie Laffont Anita Volpe Beth Techow, Administrative Director of Health and Counseling Services Jean-Hugues Monier Holly Tedder, Director of Disability Services and Associate Registrar

Development EXECUTIVE OFFICERS Katie Murtha, Acting Director of Development AND SENIOR ADMINISTRATION Amanita Heird, Director of Special Events Lori Padua, Director of Planned Giving Damian Woetzel, President Ed Piniazek, Director of Development Operations Edward Sien, Director of Foundation and Corporate Relations Office of the President Rebecca Vaccarelli, Director of Alumni Relations Jacqueline Schmidt, Vice President and Chief of Staff Kathryn Kozlark, Special Projects Producer Public Affairs Alexandra Day, Vice President for Public Affairs Office of the Provost and Dean Maggie Berndt, Communications Director Ara Guzelimian, Provost and Dean Benedict Campbell, Website Director José García-León, Dean of Academic Affairs and Assessment Jessica Epps, Marketing Director Susan Jackson, Editorial Director Dance Division Alicia Graf Mack, Director Office of the COO and Corporate Secretary Taryn Kaschock Russell, Associate Director Lesley Rosenthal, Chief Operating Officer and Corporate Secretary Katie Friis, Administrative Director Christine Todd, Vice President and CFO Joseph Mastrangelo, Vice President for Facilities Management Drama Division Kent McKay, Associate Vice President for Production Evan Yionoulis, Richard Rodgers Director Betsie Becker, Managing Director of K-12 Programs Richard Feldman, Associate Director Michael Kerstan, Controller Katherine Hood, Managing Director Irina Shteyn, Director of Financial Planning and Analysis Nicholas Mazzurco, Director of Student Accounts/Bursar Music Division Scott Adair Holden, Director of Office Services Adam Meyer, Director, Music Division, and Deputy Dean of the Nicholas Saunders, Director of Concert Operations College Tina Matin, Director of Merchandising Bärli Nugent, Assistant Dean, Director of Chamber Music Kevin Boutote, Director of Recording Joseph Soucy, Assistant Dean for Orchestral Studies Mario Igrec, Chief Piano Technician Administration and Law Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Maurice F. Edelson, Vice President for Administration and General Counsel Historical Performance Myung Kang-Huneke, Deputy General Counsel Robert Mealy, Director Carl Young, Chief Information Officer Benjamin D. Sosland, Administrative Director; Assistant Dean for Steve Doty, Chief Technology Officer the Kovner Fellowships Dmitriy Aminov, Director of IT Engineering Jeremy Pinquist, Director of Client Services, IT Jazz Caryn G. Doktor, Director of Human Resources Wynton Marsalis, Director of Juilliard Jazz Adam Gagan, Director of Security Aaron Flagg, Chair and Associate Director Helen Taynton, Director of Apprentice Program