Juilliard String Quartet Joseph Lin and Ronald Copes , Violins Roger Tapping , Viola Astrid Schween , Cello

Home , Juilliard String Quartet, String quartet

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Thursday Evening, April 12, 2018, at 7:30

presents Juilliard String Quartet Joseph Lin and Ronald Copes , Violins Roger Tapping , Viola Astrid Schween , Cello

Part of the Daniel Saidenberg Faculty Recital Series

LUDWIG VAN BEETHOVEN (1770–1827) String Quartet No. 5 in A major, Op. 18, No. 5 Allegro Menuetto Andante cantabile Allegro

JAMES MACMILLAN (b. 1959) String Quartet No. 2, Why is This Night Different?

Intermission

BEETHOVEN String Quartet No. 12 in E-ﬂat major, Op. 127 Maestoso—Allegro Adagio ma non troppo e molto cantabile Scherzo: Vivace Finale

Performance time: approximately 1 hour and 40 minutes, including one 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 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. 04-12 JSQ.qxp_GP 4/2/18 12:27 PM Page 2

Notes on the Program general revision took place late in the process, including a substantial re-writing by James Keller of the quartets in F and G. It is no surprise that by the time Beethoven finished pen - String Quartet No. 5 in A major, ning the six, he should have learned Op. 18, No. 5 lessons that he wanted to incorporate into LUDWIG VAN BEETHOVEN the earliest of them. Born in Bonn, Germany, probably on December 16, 1770—he was baptized on The sunny Fifth Quartet is the one most the 17th overtly molded on Mozart. Of Mozart’s Died in Vienna, Austria, on March 26, 1827 quartets, the most famous (then as now) were the six he published in 1785 bearing Ludwig van Beethoven’s early string quar - a dedication to Haydn. One in that set is tets were born into the lineage of his great particularly relevant to the work played predecessors Haydn and Mozart, yet they here—Mozart’s Quartet in A major (K.464). already strained in new directions. Succinct Beethoven’s pupil Carl Czerny reported, themes capable of extensive develop - “Beethoven once saw at my house the ment; imaginative melodic manipulation; score of six quartets by Mozart dedicated startling dynamic contrasts; complete, to Haydn. He opened the fifth in A and sometimes radical, formal mastery—these said: ‘That’s what I call a work! In it, are all evident in his first set of six quar - Mozart was telling the world: Look what I tets, Op. 18, which he composed from the could do if you were ready for it!’” We summer or autumn of 1798 to the summer know that Beethoven copied out at least of 1800. They were introduced at private the last two movements of that quartet. house-concerts given on Friday mornings at the Vienna home of Prince Karl Lobkowitz, Apart from sharing a key, the Mozart and the Austrian aristocrat to whom the set is Beethoven quartets align in their ordering dedicated. These were attended by the of movements; it would be more charac - city’s cultural and philanthropic elite, and teristic of Beethoven to place his slow shortly after Beethoven’s quartets were movement second and his minuet (or unveiled, patrons showed an increasing scherzo) third. Notwithstanding impres - interest in commissioning works from the sive melodic, harmonic, and structural intractable genius. niceties, Beethoven hews to relatively standard procedures in this work. Still, The three sketchbooks in which Beethoven this is no mere imitation of Mozart; at recorded and worked out his ideas for some places Beethoven emulates his these quartets reveal that they were com - predecessor but at others he offers an posed in a different order from how they original, personal response to Mozart’s were positioned when published, in 1801. model. On the whole straightforward and The D-major Quartet (Op. 18, No. 3) was uncomplicated, the piece builds in impres - the first to be written; the F-major (No. 1) siveness as it unrolls, achieving in its and G-major (No. 2) followed, probably in third movement a particularly expressive that order; and those in A major (No. 5), B-flat set of variations and, in the finale, a major (No. 6), and C minor (No. 4)—possibly delightful balance of good humor and in that order—came last. At least some contrapuntal vigor. 04-12 JSQ.qxp_GP 4/2/18 12:27 PM Page 3

String Quartet No. 2, Why is This Night His Second String Quartet, named Why is Different? This Night Different? , was composed in JAMES MACMILLAN 1998 and premiered that same year in Born July 16, 1959, in Kilwinning, London by the Maggini Quartet. It unrolls Ayrshire, Scotland in a single continuous movement compris - Currently residing in Glasgow, Scotland ing four clearly apprehended sections. The title comes from the seder, the Passover The music of James MacMillan—Sir James meal commemorating the flight of the since he was awarded a knighthood in the Children of Israel from Egypt. Mr. MacMillan 2015 Queen’s Birthday honors—startles writes, “The youngest present asks ‘Why listeners with its combination of vivacious is this night different from all other nights?’ energy and emotional intensity. Where many before the father relates the tale of flight of his contemporaries who are drawn to and liberation from slavery. The drama of expressing spiritual ideals in music turn to the story, the centrally important figure of a sort of minimalist mysticism, MacMillan the child in the ritual, the closeness achieves that end through music of greater between elation and despair and between complexity, reflecting his early attraction joy and fear together suggested the arche - to the compositions of Lutosławski or types which lie behind my musical inter - Penderecki and later admiration for such ests. They provided the initial spark of diverse figures as Harrison Birtwistle, inspiration for this piece.” Alfred Schnittke, and Sofia Gubaidulina. He continues: “Certain concerns prevalent MacMillan studied music at the University in some of my works of the 1990s, namely of Edinburgh and the University of a sense of ambiguity between darkness Durham, which awarded him a Ph.D. in and light and the confrontation of extremes, 1987. His predilections include an interest resurface here in my Second String in Scottish folk music, Renaissance music, Quartet. In terms of mood there is an firmly held Roman Catholic religious attempt to present a sense of celebration beliefs, and concern for social and political within a context of danger and violence. morality. Around 1990 he remarked: Children’s themes appear again as they did “There are strong Scottish traits in [my in my opera Ines de Castro, Cello Concerto , recent music], but also an aggressive and and Symphony: ‘Vigil.’ However, the themes forthright tendency with a strong rhythmic used here are quotations of and allusions physicality, showing the influence of to melodies written by me as a child some Stravinsky, Messaien, and some minimal - 30 years before.” ist composers. … The ‘modernist’ zeal of the post-war generation of composers String Quartet No. 12 in E-ﬂat major, who attempted to eschew any continua - Op. 127 tion of tradition is anathema to me. I LUDWIG VAN BEETHOVEN respect tradition in many forms, whether cultural, political, or historical, and in keep - No listener at the premieres of Beethoven’s ing up a continuous, delicate scrutiny of old Op. 18 quartets—the composer included, forms, ancient traditions, enduring beliefs, surely—could have conceived that anyone and lasting values one is strengthened in would ever write the sort of music that one’s constant, restless search for new pervades string quartets clustered at the avenues of expression.” end of his life. By the time he embarked on 04-12 JSQ.qxp_GP 4/2/18 12:27 PM Page 4

his final five (and the Grosse Fuge , destined four-movement format of most Classical forever to sound avant-garde), Beethoven string quartets: fast first and last move - was pretty much surviving on a planet of ments (here with a slow introduction to his own, cut off by deafness from the hear - the first), separated by a slow second ing world, showing rather little interest in movement and a scherzo. That’s where musical developments around him, wrapped the resemblance to tradition pretty much up in his uniquely advanced compositional ends—and it almost didn’t make it that technique and emotional expression. far, since, for a while, Beethoven contem - plated expanding even this work to six The first three of his late quartets were movements. (The extra movements written at the urging of the composer’s would have been one titled La Gaité , Russian patron Prince Nikolas Galitzin, to falling between the first two movements whom Op. 127 is dedicated. The composi - as they now exist, and a searching Adagio tion of the E-flat-major Quartet was carried preceding the Finale .) The composer out mostly from May 1824 to February referred to his music of this period as 1825, and the piece was first performed involving “a new kind of part-writing,” an on March 6, 1825, in Vienna, by the intensely polyphonic style in which each Schuppanzigh Quartet. This long-suffering line operates with considerable indepen - ensemble had done yeoman’s service for dence while still blending into the overall Beethoven over the years but in this case harmony (though not always in a way that they had only two weeks in which to make listeners might anticipate). Similarly, he sense of a work that was at all turns baf - manipulates the larger structure of these fling, and their performance got the chilly works in a way that stresses the indepen - reception it possibly deserved. Beethoven dence of sections: he extracts structural immediately summoned the violinist Joseph pieces as monumental blocks of music, Böhm to replace Ignaz Schuppanzigh as highlighting their contours much as, at first violinist and to lead the players as they the end of the 19th century, Cézanne relearned the piece under his tutelage. would extract and emphasize the elemen - This they did—though Böhm’s account of tal designs of his visual images without their coaching sessions with the deaf com - completely deracinating them from the poser is harrowing—and apparently the overall image. ensemble handled the work far more adeptly the second time around. They James M. Keller is the longtime program struck a popular success when they played annotator of the New York Philharmonic it three weeks later, on March 26, and then (The Leni and Peter May Chair) and the parlayed that triumph into nine further per - San Francisco Symphony. His book formances in short order. Chamber Music: A Listener’s Guide, pub lished in 2011 by Oxford University Unlike all but one of its companions among Press , is available as an e-book and an the late quartets, Op. 127 adheres to the Oxford paperback. 04-12 JSQ.qxp_GP 4/2/18 12:27 PM Page 5

Meet the Artists appearances in Seattle, Santa Barbara, Pasadena, Memphis, Raleigh, Houston, Amsterdam, and Copenhagen. The quartet continues its acclaimed annual perfor - mances in Detroit, Philadelphia, and at the Ravinia Festival, along with numerous con - certs here in New York, including tonight’s performance in Alice Tully Hall and at Town Hall. Adding to its celebrated discography, the JSQ released a new album featuring S I

W the world premiere recording of Mario O P

N Davidovsky’s Fragments (2016), together O M I

S with Beethoven Op. 95 and Bartók No. 1, which will shortly be issued on the SONY Juilliard String Quartet label. Highlights of concert programming With unparalleled artistry and enduring throughout the season include visionary vigor, the Juilliard String Quartet (JSQ) con - works by Beethoven, Bartók, and Dvo rˇák, tinues to inspire audiences around the as well as tonight’s performance of James world with its performances. Founded in MacMillan’s haunting and evocative Quartet 1946 and widely known as “the quintes - No. 2, Why is This Night Different? (1998). sential American string quartet,” the quar - Devoted master teachers, members of the tet draws on a deep and vital engagement JSQ offer classes and open rehearsals when with the classics, while embracing the mis - on tour. At Juilliard they are the string quartet sion of championing new works—a vibrant in residence and are all sought-after mem - combination of the familiar and the daring. Each performance of the Juilliard String bers of the string and chamber music facul - Quartet is a unique experience, bringing ties; each May they host the five-day interna - together the four members’ profound tionally recognized Juilliard String Quartet understanding, total commitment, and Seminar. During the summer the ensemble unceasing curiosity in sharing the wonders works closely on string quartet repertoire of the string quartet literature. with students at the Tanglewood Music Center. The group recently announced that Having celebrated its 70th anniversary last Joseph Lin will leave the quartet at the end season, the ensemble marks the 2017–18 of the current season and that Areta Zhulla season with highly anticipated return will become the first violinist in September. 04-12 JSQ.qxp_GP 4/2/18 12:27 PM Page 6

BOARD OF TRUSTEES Jazz Wynton Marsalis, Director of Juilliard Jazz Bruce Kovner, Chair Aaron Flagg, Chair and Associate Director J. Christopher Kojima, Vice Chair Katheryn C. Patterson, Vice Chair Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Artistic Director Julie Anne Choi Greg Margolies Kirstin Ek, Director of Curriculum and Schedules Kent A. Clark Vincent A. Mai Monica Thakkar, Director of Performance Activities Kenneth S. Davidson Ellen Marcus Barbara G. Fleischman Nancy A. Marks Pre-College Division Keith R. Gollust Stephanie Palmer McClelland Yoheved Kaplinsky, Artistic Director Mary Graham Christina McInerney Ekaterina Lawson, Director of Admissions and Academic Affairs Joan W. Harris Lester S. Morse Jr. Anna Royzman, Director of Performance Activities Matt Jacobson Stephen A. Novick Evening Division Edward E. Johnson Jr. Joseph W. Polisi Danielle La Senna, Director Karen M. Levy Susan W. Rose Teresa E. Lindsay Deborah Simon Lila Acheson Wallace Library Laura Linney Sarah Billinghurst Solomon Jane Gottlieb, Vice President for Library and Michael Loeb William E.“Wes” Stricker, MD Information Resources; Director of the C.V. Starr Doctoral Fellows Program Enrollment Management and Student Development Joan D. Warren, Vice President TRUSTEES EMERITI Kathleen Tesar, Associate Dean for Enrollment Management June Noble Larkin, Chair Emerita Barrett Hipes, Associate Dean for Student Development Sabrina Tanbara, Assistant Dean of Student Affairs Mary Ellin Barrett Cory Owen, Assistant Dean for International Advisement Sidney R. Knafel and Diversity Initiatives Elizabeth McCormack William Buse, Director of Counseling Services John J. Roberts Katherine Gertson, Registrar Tina Gonzalez, Director of Financial Aid Teresa McKinney, Director of Community Engagement Camille Pajor, Title IX Coordinator JUILLIARD COUNCIL Todd Porter, Director of Residence Life Howard Rosenberg MD, Medical Director Mitchell Nelson, Chair Beth Techow, Administrative Director of Health and Counseling Services Michelle Demus Auerbach Jean-Hugues Monier Barbara Brandt Holly Tedder, Director of Disability Services Terry Morgenthaler and Associate Registrar Brian J. Heidtke Pamela J. Newman Gordon D. Henderson Howard S. Paley Finance Peter L. Kend John G. Popp Christine Todd, Vice President and Chief Financial Officer Younghee Kim-Wait Grace E. Richardson Michael Kerstan, Controller Paul E. Kwak, MD Jeremy T. Smith Irina Shteyn, Director of Financial Planning and Analysis Min Kyung Kwon Alexander I. Tachmes Nicholas Mazzurco, Director of Student Accounts/Bursar Sophie Laffont Anita Volpe Administration and Law Maurice F. Edelson, Vice President for Administration and General Counsel EXECUTIVE OFFICERS Joseph Mastrangelo, Vice President for Facilities Management Myung Kang-Huneke, Deputy General Counsel AND SENIOR ADMINISTRATION 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 A. 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 Alexandra Day, Associate Vice President for Marketing Dance Division and Communications Taryn Kaschock Russell, Acting Artistic Director Katie Murtha, Acting Director of Development 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 Lori Padua, Director of Planned Giving Ed Piniazek, Director of Development Operations Music Division Nicholas Saunders, Director of Concert Operations Adam Meyer, Associate Dean and Director Edward Sien, Director of Foundation and Corporate Relations Bärli Nugent, Assistant Dean, Director of Chamber Music Adrienne Stortz, Director of Sales Joseph Soucy, Assistant Dean for Orchestral Studies Tina Matin, Director of Merchandising Stephen Carver, Chief Piano Technician Rebecca Vaccarelli, Director of Alumni Relations Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Juilliard Global Ventures Courtney Blackwell Burton, Managing Director for Operations Historical Performance Betsie Becker, Managing Director of Global K–12 Programs Robert Mealy, Director Gena Chavez, Managing Director, The Tianjin Juilliard School Benjamin D. Sosland, Administrative Director; Nicolas Moessner, Managing Director of Finance Assistant Dean for the Kovner Fellowships and Risk Management 04-12 JSQ.qxp_GP 4/2/18 12:27 PM Page 7

A Tianjin Primer

A great deal has happened in Tianjin since September 28, 2015, when Juilliard president Joseph W. Polisi announced plans for The Tianjin Juilliard School. Last spring, Alexander Brose was selected to serve as the ﬁrst executive director and C.E.O. and Wei He as the artistic director and dean. From the ceremonial ground breaking over the summer to the start of construction earlier this year, the school is gearing up to welcome its ﬁrst class in 2019.

Beijing Tianjin The Tianjin Juilliard School

CHINA

Where is The Tianjin Juilliard School? • Tianjin is the third largest city in China, and • Designed by the internationally the school will be adjacent to a high-speed renowned ﬁrm, Diller Scoﬁdio + rail station with one-hour service to Renfro, The Tianjin Juilliard School downtown Beijing. The school is located building will have state-of-the-art in a beautiful, riverside park along the Hai teaching and performance spaces, River in the New Binhai Area, Tianjin. and a multi-faceted learning environment.

• The Tianjin Juilliard School builds on the city’s rich artistic heritage by establishing a new crossroad for Juilliard’s network of artists, teachers, friends, and students. o

• The ribbon-like Hai River—the largest r t e i

water body in Northern China—weaves p a p a P

through Tianjin. It is spanned by 21 bridges o i d

and offers easy access to the Haihe u a l C Cultural Square and Haihe River Bund Alex Brose and Wei He Park, among other attractions. 04-12 JSQ.qxp_GP 4/2/18 12:27 PM Page 8

Learn and Play at The Tianjin Juilliard School • The inaugural group of 100 students in the U.S.-accredited master of music program will be immersed in one of three core areas: orchestral studies,

chamber music, or collaborative piano. n u S

g n a i l n

• The audition-based Tianjin Juilliard School a Y Pre-College program will admit up to 200 Joseph W. Polisi at the ground breaking ceremony of students, ages 8 to 18. The Tianjin Juilliard School in June 2017

• As many as 150 performances every year will be presented in the 700-seat concert Become Part of the Culture hall, 299-seat recital hall, or 250-seat • Tianjin’s artistic tapestry includes the black box theater. development of Peking Opera and China’s ﬁrst conservatory offering • Juilliard Imagination, an innovative study in Western music. learning environment, will feature interactive exhibitions curated for • When in Tianjin, one can take a stroll adults and children alike. through Five Great Avenues, a fascinating area with historic buildings featuring a wealth of diverse architectural styles from across Europe. o r f n e R

o i d ﬁ o c S

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y s e t r u o C Artist rendering of The Tianjin Julliard School campus