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 , 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 , 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 , Morton Feldman, Michae l audition for Juilliard composition students, Nyman, Per Nørgård, , receives its premiere tonight. Griffey writes: Henryk Górecki, , , 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 ’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 , 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), 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 , 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. This is what has hap - templation of the life cycle of a mushroom pened in practically all my compositions. child as it grows, decomposes, and pro - Go figure.” liferates in perpetuity. The mushroom child spends most of its life under - Kinokonoko ground, only coming into its recognizable SATO MATSUI state of fruition near the end of its life. Born in Chitose, Japan, in 1991 The first movement explores ideas of germination, organic growth, vital energy , Sato Matsui (M.M., ’17, composition) is a and the ultimate maturation of the fruit New York –based composer and collabora - body as it releases its spores. The sec - tor whose musical language draws influ - ond movement observes the process of ence from traditional Japanese sonorities decomposition as the mushroom child as well as her training as a classical violin - gradually loses its form and identity. ist. Her current projects include a commis - Amid a fading reminiscence of what it sion from flutist Carol Wincenc for her 50th once was, it returns to the earth. The Anniversary Commissioning Project, a con - final movement celebrates the prolifera - certo for flutist Stephanie Kwak, and the tion of the mushroom children and the scoring of Shakespeare’s As You Like It, to cyclical nature of life. Japanese Buddhist be produced by director Ian Belknap at percussion instruments are used through - Juilliard’s McClelland Drama Theater in out the piece; this movement more specifically reflects on the tradition of from the ritsu and ryo scales , which are shômyô (声明 ) (clear voice) chanting associated with the life cycle of the used in sitting meditation. The harmonic phoenix as well as the inhalation and language of the movement also borrows exhalation of breath.

Meet the Artists He often appears on radio as a commenta - tor on recent music and has been a regular delegate to international music confer - ences. A graduate of Harvard, Sachs received his Ph.D. from Columbia. In 2011 he was made an honorary member of Phi Beta Kappa at Harvard for his work in sup - Joel Sachs port of new music and received the National Gloria Artis Medal of the Polish Joel Sachs, founder and director of the Government for his service to Polish New Juilliard Ensemble, performs a vast music. In 2002 he was given Columbia’s range of traditional and contemporary Alice M. Ditson Award for his service to music as conductor and pianist. As co- American music. director of the internationally acclaimed new-music ensemble Continuum, he has appeared in hundreds of performances in New York, nationally, and throughout Europe , Asia, and Latin America. He has also con - A M ducted orchestras and ensembles in N I L

Austria, Brazil, Canada, China, El Salvador, R A

C Max Tan , Iceland, Mexico, Switzerland, and Ukraine, and has held new music res - Born in Rockville, Maryland, Taiwanese- idencies in , Shanghai, London, American violinist Max Tan (Pre-College Salzburg, Curitiba (Brazil), Newcastle-Upon- ’11; M.M., ’17, violin) has performed as Tyne (U.K.), Helsinki, and the Banff Centre soloist with the Juilliard Orchestra, (Canadian Rockies). Last fall he gave Longwood Symphony, Harvard-Radcliffe recitals featuring Charles Ives’ rarely heard orchestras, and others, appearing on Piano Sonata No. 1 at St. John’s Smith prominent stages in the U.S. and Europe. Square, London, as part of a yearlong An active chamber musician, he has partic - American music festival; at the University ipated in festivals including Yellow Barn, of Newcastle-upon-Tyne; and in Juilliard’s Ravinia Steans Music Institute, and Morse Hall faculty recitals series. One of Perlman Music Program. Devoted to advo - the most active presenters of new music in cacy and global citizenship, Tan joined the New York, Sachs founded the New Juilliard artist rosters of the Si-Yo Music Foundation, Ensemble in 1993. He produces and directs the Center for Musical Excellence, and Juilliard’s annual Focus! festival and has Music for Food. Tan is faculty assistant to been artistic director of Juilliard’s concerts Catherine Cho at Juilliard, where he is an at the Museum of Modern Art since 1993. artist diploma candidate. A Harvard gradu ate A member of Juilliard’s music history fac - with a major in human developmental and ulty, he wrote the first full biography of the regenerative biology and a minor in music, American composer Henry Cowell, pub - he earned his M.M. at Juilliard as a student lished by Oxford University Press in 2012. of Catherine Cho and Donald Weilerstein. He just received the 2019 Foote Prize from piano diploma at the Alessandria Con - the Harvard Musical Association. servatory under the guidance of Maria Celia Ascher Artist Diploma Fellowship Tipo. He then studied at the Fiesole Music School and Ferrara Conservatory with con - cert pianist Andrea Lucchesini. In 2016 he earned his M.M. from Manhattan School of Music in the studio of Solomon Mikowsky. The recipient of several awards and prizes, Turbil has performed exten - Edoardo Turbil sively throughout Europe and the U.S. as a solo pianist and with orchestra. In 2016 he Turin-born Edoardo Turbil began his piano entered Juilliard’s C.V. Starr doctoral pro - studies at age four. At 16 he received his gram in the studio of Yoheved Kaplinsky.

New Juilliard Ensemble Joel Sachs , Founding Director and Conductor Matthew Wolford , Manager The New Juilliard Ensemble, led by founding Celebration for the U.S. premieres of works director Joel Sachs and in its 26th season, by Magnus Lindberg and Judith Weir. The presents music by a variety of international ensemble has also participated in collabora - composers who write in the most diverse tions with London’s Royal Academy of Music styles, and has premiered some 100 com - and the Franz Liszt Music University in positions. The ensemble was a featured Budapest. The ensemble’s 2018 –19 season ensemble four times at the Lincoln Center has included music by Ukrainian-American Festival and appears annually at MoMA’s composer-pianist-conductor Virko Baley, Summergarden (which will not take place Betsy Jolas (Paris), Juilliard composition alum - this summer due to MoMA’s closure for nus Sunbin Kevin Kim, Ursula Mamlok construction of new galleries). In 2009 the (Germany/U.S.), Akira Nishimura (Japan), ensemble collaborated with Carnegie Hall’s Sansar Sangidorj (Mongolia), Roberto Sierra Ancient Paths, Modern Voices festival; in (Puerto Rico/ U.S.), Josefino Chino Toledo 2011 with its Japan/NYC festival; in 2012 (Philippines), Zhu Jian-er (China), Younghi with its Voices from Latin America festival, Pagh-Paan (Korea/Germany), Colin Matthews and in 2014 its festival UBUNTU: Music (U.K.), Salvatore Sciarrino (Italy), and Akira and Arts of South Africa . A highlight of the Nishimura (Japan). The ensemble’s 2019 –20 2013 –14 season was a collaboration with season will begin on October 1 at Juilliard’s the Royal Philharmonic Society’s Bicentennial Peter Jay Sharp Theater. 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 Julie Anne Choi Ellen Marcus Brian Zeger, Artistic Director Kent A. Clark Greg Margolies Kirstin Ek, Director of Curriculum and Schedules Kenneth S. Davidson Nancy A. Marks Monica Thakkar, Director of Performance Activities Barbara G. Fleischman Stephanie Palmer McClelland Keith R. Gollust Christina McInerney Lila Acheson Wallace Library and Doctoral Fellows Program Mary Graham Lester S. Morse Jr. Jane Gottlieb, Vice President for Library and Information Resources; Joan W. Harris Stephen A. Novick Director of the C.V. Starr Doctoral Fellows Program Matt Jacobson Susan W. Rose Jeni Dahmus Farah, Director, Archives Edward E. Johnson Jr. Jeffrey Seller Alan Klein, Director of Library Technical Services Karen M. Levy Deborah Simon Teresa E. Lindsay Sarah Billinghurst Solomon Pre-College Division Laura Linney William E. "Wes" Stricker, MD Yoheved Kaplinsky, Artistic Director Michael Loeb Yael Taqqu Ekaterina Lawson, Director of Admissions and Academic Affairs Vincent A. Mai Damian Woetzel Anna Royzman, Director of Performance Activities

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