Monday Evening, April 1, 2019, at 7:30 The Juilliard School presents New Juilliard Ensemble Joel Sachs , Founding Director and Conductor Max Tan , Violin Edoardo Turbil , Piano ROSS S. GRIFFEY (b. 1990) Night Music (2019) Dream Chorale Lullaby World premiere, commissioned by the New Juilliard Ensemble ZYGMUNT KRAUZE (b. 1938) Canzona (2011) EDOARDO TURBIL, Piano In honor of the composer’s 80th birthday Intermission JUKKA TIENSUU (b. 1948) Hou (2012) MAX TAN, Violin SATO MATSUI (b. 1991) Kinokonoko (2019) Earthly birth Decomposition Forest of a thousand World premiere, commissioned by the New Juilliard Ensemble Performance time: approximately 1 hour and 20 minutes, with 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 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 melodic fragments suggest frogs, birds, and crickets, while rich chords in the by Joel Sachs strings convey the beauty of the scene. A solo trombone links the second move - Night Music ment to the third. Lilting figures in the ROSS S. GRIFFEY harp and woodwinds, along with string Born in Houston, Texas, in 1990 melodies, evoke the lullaby of the title, but sleep is thwarted as the music grad - Ross S. Griffey (M.M., ’14; D.M.A., ’18, com - ually intensifies. After a harried climax, position) is the recipient of several national the glockenspiel and piano attempt to and regional awards, including an ASCAP bring the movement back to rest. Morton Gould Young Composer Award, first prize in the Voices of Change/Dallas Canzona Symphony Orchestra Texas Young Com - ZYGMUNT KRAUZE posers Project, and first prize in the New Born in Warsaw, Poland, in 1938 York Composers Circle Competition. After receiving his bachelor’s degree at Rice After Zygmunt Krauze studied composition University studying with composers Pierre and piano at the Frederic Chopin Academy Jalbert and Shih-Hui Chen, he received his of Music in Warsaw and with Nadia M.M. and D.M.A. from Juilliard studying Boulanger in Paris, winning first prize in the with Samuel Adler and Robert Beaser. His 1966 Gaudeamus Competition (Holland) award-winning dissertation traces the launched his career as a pianist performing National Endowment for the Arts’ pro - mostly 20th- and 21st-century music. An grams supporting composers. Subsequently active teacher, he has given seminars and he was named Albi Rosenthal visiting fel - master classes in composition and con - low in music at the University of Oxford’s temporary music performance in Poland Bodleian Libraries in the first year the posi - and at centers of new music including tion was offered to a composer. The result Darmstadt, Basel, Stockholm, Los Angeles, of this fellowship is a new song cycle about Tokyo, Jerusalem, and Hong Kong. In 1967 19th-century Arctic exploration, which will he founded the Warsaw Music Workshop be premiered at the Oxford Lieder Festival Ensemble, serving as its artistic director in October. and pianist for more than two decades. The ensemble commissioned more than Night Music (2019), commissioned by the 100 compositions by composers including New Juilliard Ensemble through its annual Louis Andriessen, Morton Feldman, Michae l audition for Juilliard composition students, Nyman, Per Nørgård, Mauricio Kagel, receives its premiere tonight. Griffey writes: Henryk Górecki, Wojciech Kilar, Kazimierz Serocki, and Witold Szalonek. In 1982 Night Music loosely depicts several con - Krauze served as a visiting professor at cepts associated with night and sleep. Yale; in 1996 he was named eminent cor - Gongs and plucked strings open the first responding professor at Keimyung University, movement, Dream , which then proceeds South Korea. He has been professor of into a restless passage characterized by composition at the Music Academy in string tremolos and solo woodwinds. A Łó dz since 2002 and at the Frederic dream it may be, but not a restful one. Cho´pin Music University in Warsaw since The second movement, Chorale , was 2006. He was a member of the repertoire inspired by the sounds of a late summer committee of the Warsaw Autumn evening in Florida. Here, unsynchronized Festival for ten years, president of the International Society for Contemporary must have no shame in order to com - Music, and, at Pierre Boulez’s invitation, an pose such music. advisor to IRCAM (Paris). Krauze has won honors in Poland, Chile, and France, where Hou he has been named Chevalier de l’Ordre JUKKA TIENSUU des Arts et des Lettres and appointed to Born in Helsinki, Finland, in 1948 the national Order of the Légion d’honneur. He has composed several operas, instru - Finnish harpsichordist, pianist, conductor, mental concertos, symphonic and cham - and composer Jukka Tiensuu (’73, compo - ber works, and spatial compositions in col - sition) studied at Juilliard; the Sibelius laboration with architects. His music, publi - Academy as a student of Paavo Heininen; shed by Durand (Paris), Universal Edition the Freiburg Hochschule with Brian (Vienna), and PWM (Warsaw), has been Ferneyhough and Klaus Huber; and at recorded on many labels. Recent composi - IRCAM, Paris. For some time he was tions include Declaration, for 14 instru - engaged in composition and research at ments, two voices and electronics, which San Diego and Cambridge, Massachusetts . is based on the Declaration of Human An active harpsichordist, pianist, and con - Rights 70 years after its creation; and ductor, he has appeared in the U.S., Francesco , for organ and baroque ensem - Europe, and Asia, with repertoire from the ble, which was premiered in Gda nsk by the late renaissance to the contemporary with Goldberg Baroque En semble las´t October. emphasis on early baroque and recent He is currently working on a children’s avant-garde music. His compositions have opera, Yemaya—The Queen of the Sea, been performed at contemporary music which will premiere in June at the festivals on three continents and broad - Wrocław Opera House. cast worldwide. Commissions have come from IRCAM/Ensemble InterContemporain , Canzona , for instrumental ensemble, was Goethe Institute, Nordic Music Council, composed for and premiered by the L’Itineraire (Paris), Helsinki Philharmonic Asko/Schoenberg Ensemble in Holland. Orchestra, Finnish Broadcasting Company, In 2012 the New Juilliard Ensemble gave and others. Active in many aspects of its first performance outside Europe. musical life, Tiensuu has written for inter - Krauze writes: national music magazines; taught chamber music and composition at the Sibelius The question: Is melody still attractive in Academy and computer music at IRCAM; new music? Can it be of any help to and lectured and led workshops on express the emotions or conflicts of our baroque and avant-garde music in many time? In popular songs—maybe yes. But countries. He has been president of the in contemporary pieces? Most com - Finnish section of the International Society posers are afraid of melody; I also tried to for Contemporary Music, and artistic direc - avoid it in my early pieces. Now I decided tor of the Helsinki Biennale (1979 –83, now to try. Canzona is my second work, after known as Musica Nova Helsinki). Tiensuu Serenade (1999), in which I have fol - also was founder and artistic director of lowed the simple advice of Jean Baptiste the Time of Music international festival and Lully, who stated that a musical piece is summer academy of contemporary music built of a melody with accompaniment! in Viitasaari. Canzona consists of several stanzas, sometimes in the form of variations, Along with more than 100 works in the tra - which mean: cry, scream, and sing. One ditional instrumental, vocal, and orchestral fields—in various styles, often microtonal April. Other recent collaborators have and with electronic or computer music included cellist Philip Sheegog, choreogra - adjuncts—Tiensuu’s compositional output phers Sean Lammer and Ofilio Sinbadiño, also includes many curiosities such as and the Uhuru String Quartet, for which works for traditional Chinese orchestra, she wrote Free and So Thankful, a piece accordion ensemble, clarinet orchestra, based on a compositional workshop con - instrumental theater, and baroque orches - ducted at a Women in Need shelter in tra, along with works for unspecified Manhattan. Matsui is a C.V. Starr Doctoral instrumentation. Most of his works have Fellow at Juilliard, where she earned her stayed in the repertoire and half of them M.M. as a student of Robert Beaser. She have been recorded. His music is available received her B.A. from Williams College, through the Finnish Music Information where she studied composition with Ileana Center. His Tango Lunaire was played at Perez-Velazquez, violin with Joana Genova, Juilliard’s Focus! festival in 1993; other and conducting with Ronald Feldman. In compositions have been played by the 2019 Matsui was named a recipient of the New Juilliard Ensemble. Charles Ives Prize. Hou, for violin and chamber orchestra, was Kinokonoko, commissioned by the New commissioned in 2012 by the Koussevitzky Juilliard Ensemble through the annual audi - Music Foundation for New Paths in Music tion process for Juilliard composition stu - in New York. When asked the meaning of dents, has its world premiere tonight. the title, Tiensuu responded, “Oh, my! I Matsui writes: know that Joel means ‘Yahweh is God’ and that Jukka means ‘Yahweh is gracious’ ... Kinokonoko means “mushroom child” in but what Hou could possibly mean, I don't Japanese. It is also a play on words since have a clue. At some point the piece just the original meaning of kinoko (mush - told me it wants its name to be Hou —and room) is “tree child.” The piece is a con - I could not resist.