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Home , Arcangelo Corelli, Concerto grosso, Thomas Arne

Friday Evening, December 8, 2017, at 7:30

The Juilliard School presents Juilliard415 Robert Mealy , Director and Eunji Lee ,

The Pleasure Garden: From Handel’s London

GEORGE FRIDERIC HANDEL (1685–1759) grosso in G major, Op. 6, No. 1, from Twelve Grand in Seven Parts , Op. 6 (1740) A tempo giusto Allegro e forte Adagio Allegro Allegro ROBERT MEALY and SARAH JANE KENNER , Violin MORGAN LITTLE , Concertino

HANDEL in B-flat major, Op. 6, No. 7 , HWV 325 (1739) Largo Allegro Largo Andante Hornpipe

MICHAEL CHRISTIAN FESTING (1705–52) Concerto in G major, Op. 3, No. 9, from Twelve Concertos in Seven Parts (1742) Largo Allegro Largo Allegro Assai Hornpipe—Andante—Hornpipe JONATHAN SLADE and BETHANNE WALKER, Flute Concertino

Program continues on next page

Juilliard’s full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner.

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. (1710–78) Concerto No. 5 in G minor from Six Favourite Concertos for the Organ, Harpsichord, or Piano Forte (1793) Largo Allegro spirito Adagio Vivace EUNJI LEE , Harpsichord

Intermission

HANDEL Suite in F major from Water Music , HWV 348 (1717) Overture (Largo-Allegro) Adagio e Staccato Allegro—Andante—Allegro Andante Air Minuet Bourrée Hornpipe Andante Allegro Alla Hornpipe

Performance time: approximately 1 hour and 40 minutes, including one intermission

Notes on the Program This form of the concerto, where a small concertino trio is set against the full by Robert Mealy ripieno ensemble, was perfected first in Rome by in the late 17th The pleasure garden was a particularly century. A contemporary remarked upon 18th-century invention: a space open to all the dramatic effect of contrast inherent in who could pay a shilling, a pastoral oasis in the form: the midst of the new urban sprawl, a place for entertainment of all sorts. London had At the direction piano or p all are to play dozens of these pleasure gardens in the at once so softly and tenderly that one 18th and 19th centuries, and many of them barely hears them, at the direction forte offered a regular diet of music to entertain or f with so full a tone, from the first note the masses. In the gardens one could hear so marked, that the listeners are left, as it the latest airs from (which were were, astounded at such vehemence. ... By then published as “favorite airs from exactly observing this opposition or Vauxhall Gardens”) or—as we hear tonight— rivalry of the slow and the fast, the loud that new invention, the orchestral concert. and the soft, the fullness of the great The house band would entertain the prom - ensemble and the delicacy of the little enading citizens with diverting music, most trio, the ear is ravished by a singular frequently featuring the popular orchestral astonishment, as is the eye by the oppo - genre of the concerto grosso . sition of light and shade. Though this has often been reported by others, it cannot , who produced his be said or enjoined sufficiently. own Op. 6 concerti grossi as a tribute to Corelli’s Op. 6 concerti. In this collection, The English obsession with Corelli and his Handel takes Corelli’s model and greatly concerti grossi was part of a larger fascina - expands its proportions, with a sure sense tion for Italian culture. A young English of theatrical effect. The first concerto in gentleman would not consider his educa - this collection is a particularly good exam - tion finished without a year or two on the ple of this, with a nice balance of “learned” Grand Tour, examining the antiquities of (the of the fourth movement, which Rome, collecting paintings and sculptures, rapidly devolves into a highly theatrical hearing operas, and often having a violin les - drama between the concertino and the rip - son with one of the great Roman violinists. ieno ) and “popular” (the cascading of the last movement). For the first time, the ability to play the violin was considered as much a mark of culture One of the most striking works in Handel’s as one’s taste in buying art. It’s no surprise Op. 6 is the seventh concerto, which is that the moment when English nobility scored for orchestra throughout, with no were developing a taste for string playing is solo excursions. Like the Festing concerto, exactly the time when we get the first Op. 6, No. 7 ends with a gesture toward book on how to play the violin, Geminiani’s English tradition in the form of a hornpipe. The Art of the Violin . This is an especially quirky dance which Handel’s German friend Johann Mattheson The genre of the concerto grosso was par - said has “something so extraordinary that ticularly appealing for gentleman violinists one might think it originated from the court because the orchestral parts—the ripieno, of the North or South Pole.” or parts that filled out the picture—were often relatively straightforward, allowing The German Michael Christian the gentry to play alongside their teachers Festing was the music director at the who would take the more challenging con - Ranelagh Pleasure Gardens and led the certino parts. band there for more than a decade. Several of his Op. 2 concerti grossi are written for Just as English noblemen asked their a pair of flutes, rather than the usual vio - architects to build more lavish versions of lins, and display an elegant sense of galant the beautifully proportioned Italian villas of tunefulness. In his ninth concerto in this Palladio, so too with their composers. The set, the challenge of writing for the soft concerto grosso becomes, in the hands of 18th-century traverso is overcome by stag - George Frideric Handel and his contempo - ing the flutes as a separate ensemble, who raries, far more theatrical and more gener - are accompanied sometimes by the con - ously proportioned than the elegant classi - tinuo, and sometimes only by the cism of Corelli. The English concerto on their own. grosso is like walking through the rooms of a great country estate: each movement Another regular at these gardens was opens new vistas of elegant proportion, Thomas Arne, a composer best known with plenty of delightful details to admire. today for writing “Rule, Britannia” as part of his nationalistic epic . A son of a Tonight we present several different musi - well-to-do family, Arne was so keen on cal palaces, beginning with that most influ - music that he tormented his fellow stu - ential musical figure of 18th-century England, dents at Eton by practicing the recorder night and day. His father put together an In fact, despite a brief falling-out in 1713, English company for him in a theater Handel and George I got on so well that in the Haymarket, where Arne’s operatic Handel was asked to accompany the king version of Tom Thumb was heard in 1734; on a trip abroad in 1716. Shortly after his later Arne went on to write everything return, the king (feeling the need to delight from (a setting of Metastasio’s his nobles) proposed to sell subscriptions ) to a fully orchestrated version of for a festive boat ride down the Thames. the hit ballad-opera The Beggar’s Opera. The impresario Baron Kilmanseck, who arranged this sort of thing, had to explain Arne’s Six Favourite Concertos for the Organ, that a pleasure cruise couldn’t really bring in Harpsichord or Piano Forte were only pub - that much in the way of subscription-money. lished posthumously in 1793, but they When he saw how crestfallen the king was, seem to have been intended for Arne’s son he diplomatically offered to fund it himself. Michael to play in venues like Vauxhall or Ranelagh Gardens in the 1750s. The sixth So it was that Handel was commis - concerto, in the serious key of G minor, sioned to write some of the greatest begins with a grand French overture party music of all time. We have a great before revealing itself as a harpsichord report of the occasion via that new concerto. The brief slow movement offers invention of the 18th century, the daily the soloist a chance to improvise exten - newspaper. The Daily Courant reported sively, while the last movement is a head - on Friday, July 19, 1717: long gigue reminiscent of Scarlatti’s brilliant keyboard compositions. On Wednesday Evening, at about 8, the King took Water at Whitehall in an open Moving from gardens to rivers, Handel ’s Barge, wherein were also the Dutchess Celebrated Water-Musick (as it was already of Bolton, the Dutchess of Newcastle, known in his lifetime) owes its creation to the Countess of Godolphin, Madam George I himself. This monarch had come Kilmanseck, and the Earl of Orkney. And to the English throne through a compli - went up the River towards Chelsea. cated genealogical transaction, in which Many other Barges with Persons of Quality English politicians managed to arrange that attended, and so great a Number of a safely Protestant descendant of James I, Boats, that the whole River in a manner king a century before, receive the crown was cover’d; a City Company’s Barge instead of the direct (but Catholic) heir. was employ’d for the Musick, wherein One small complication: their choice was were 50 instruments of all sorts, who currently the elector of Hanover and spoke play’d all the Way from Lambeth (while almost no English. the Barges drove with the Tide without Rowing, as far as Chelsea) the finest As it happened, Handel knew George well, Symphonies, compos’d express for this having served as his kapellmeister in Occasion, by Mr. Hendel; which his Hanover since 1711. Thanks to Handel’s Majesty liked so well, that he caus’d it to earliest biographer, the Water Music has be plid over three times in going and always carried with it a story; that it was returning. At Eleven his Majesty went a- written as a peace offering to his former shore at Chelsea, where a Supper was employer, who was angry with him for prepar’d, and then there was another very abandoning his German court when Handel fine Consort of Musick, which lasted till 2; moved to London in 1712. after which, his Majesty came again into his Barge, and return’d the same Way, the to an English audience, Handel made sure Musick continuing to play till he landed. he included several catchy hornpipes, but there’s also room for spacious loures and Although the original trip may well have elegant as well as several brilliant had a mix of movements, by 1730 the Italianate movements in the style of Corelli. Celebrated Water Musick had been pub - Although the king liked Handel’s music so lished as three large suites: one in F, featur - much that he asked for it to be played ing some spectacular writing for horns three times over, tonight’s performance (their first orchestral appearance in England), will not re-create that particular element. one in D that contrasts the horns with This suite brings our excursion through the trumpets, and a quiet one in G, with strings musical pleasure gardens of 18th-century and flute. All these were frequently heard London to a close; we’re only sorry we in Vauxhall Gardens, under the direction of can’t offer you the food, drink, and card the composer himself. games that would have accompanied these works in their original setting! Our program tonight features the extro - verted suite in F, containing some of Robert Mealy is the director of Juilliard Handel’s most memorable dances. Playing Historical Performance.

Meet the Artists medieval music for New York’s TENET ensemble. Mr. Mealy is principal concert - master at Trinity Wall Street, where they recently completed a survey of Bach ’s can - R O

N tatas. He is orchestra director of the N O C

’ Grammy Award –winning Boston Early Music O

E

I Festival Orchestra, and has led them in L A

S many festival performances, including a O

R Robert Mealy special performance at Versailles in 2009. Robert Mealy is one of America’s most prominent violinists. He began A devoted chamber musician, he directs exploring early music in high school with the 17th-century ensemble Quicksilver and the Collegium of University of California was a founding member of the Renaissance Berkeley and then at the Royal College of violin band The King’s Noyse, which has Music in London, where he studied harpsi - made 11 recordings for H armonia Mundi. chord and . While an under - He served for over a decade as an instru - graduate at Harvard College, he joined the mental soloist and leader with the Boston Canadian Tafelmusik. Camerata. Mr. Mealy is the director of Since then he has recorded and toured the Historical Performance program at with many distinguished early music Juilliard and from 2003 to 2015 taught at ensembles including Les Arts Florissants, Yale, directing the postgraduate Yale American Bach Soloists, Tragicomedia, Baroque Ensemble and the Yale Collegium Sequentia, Seattle Baroque, and the Handel Musicum. Prior to that he taught at Harvard and Haydn Society. Recent projects include for over a decade, where he founded the performing the complete works by J.S. Harvard Baroque Chamber Orchestra. In Bach for violin and harpsichord at the 2004 he received EMA’s Binkley Award for Smithsonian, and curating a series of out standing teaching and scholarship. He has recorded more than 80 CDs on most been heard on radio in performances broad - major labels. cast on WQXR, NPR, and WFIU in which she performed with noted cornet player Bruce Dickey. Ms. Lee was an artist in residence at the Piccola Accademia di Montisi in and harpsichord assistant and accompanist at the Aestas Musica Summer School in Croatia. She holds a master’s degree as a double Eunji Lee major in harpsichord and piano from Indiana University where she was also an associate Born in Seoul, South Korea, Eunji Lee enjoys instructor in harpsichord and . an active career as a harpsichordist. Winner Pursuing a doctoral degree in historical key - of the Jurow International Harpsichord Com- boards at Indiana University with Elisabeth petition, she has appeared in noted festivals Wright, Ms. Lee is also in the Historical including the Boston Early Music Festival, Performance program at Juilliard where she Indianapolis Early Music Festival, and is studying with Richard Egarr, Béatrice Bloomington Early Music Festival. She has Martin, and Peter Sykes.

Juilliard415

Violin I Flute Horn Robert Mealy Stephen Goist Jonathan Slade Eric Huckins Alana Youssefian Keats Dieffenbach Bethanne Walker William Loveless Rachell Ellen Wong Ethan Lin Ruiqi Ren /Guitar Chiara Fasani Stauffer Cello Andrew Blanke Arash Noori Manami Mizumoto Morgan Little Caroline Giassi Matt Zucker Harpsichord/Organ Violin II Ana Kim Francis Yun Sarah Jane Kenner Madeleine Bouissou Joseph Jones Annie Gard Cornelia Sommer Harpsichord Naomi Dumas Caitlyn Koester Isabelle Seula Lee Hugo Abraham Juilliard415 many of the leading performers and schol - Juilliard’s full-scholarship Historical Per- ars in the field. Frequent collaborations with formance program offers comprehensive Juilliard’s Ellen and James S. Marcus Institute study and performance of music from the for Vocal Arts, the integration of modern- 17th and 18th centuries on period instru - instrument majors outside of the Historical ments. Established and endowed in 2009 Performance program, and national and by the generous support of Bruce and international tours have introduced new Suzie Kovner, the program is open to can - repertoires and increased awareness of didates for master of music, graduate historical performance practice at Juilliard diploma, and doctor of musical arts degrees. and beyond. Alumni of Juilliard Historical A high-profile concert season of opera, Performance are members of many of the orchestral, and is augmented leading period-instrument ensembles, includ - by a performance-oriented curriculum that ing the Portland Baroque Orchestra, Les fosters an informed understanding of the Arts Florissants, Mercury, and Tafelmusik, many issues unique to period-instrument as well as launching such new ensembles performance at the level of technical excel - as the Sebastians, House of Time, New lence and musical integrity for which York Baroque Incorporated, and New Juilliard is renowned. The faculty comprises Vintage Baroque.

Administration Robert Mealy , Director Benjamin D. Sosland , Administrative Director Rosemary Metcalf , Assistant Administrative Director Annelise Wiering , Coordinator for Scheduling and Educational Support

Faculty Violin/Viola Oboe Harpsichord Core Studies Elizabeth Blumenstock Gonzalo Ruiz Richard Egarr Robert Mealy Robert Mealy Béatrice Martin David Schulenberg Cynthia Roberts Bassoon Peter Sykes Dominic Teresi Artists in Residence Cello Recorder William Christie Phoebe Carrai Horn Nina Stern Richard Egarr R.J. Kelley Monica Huggett Viola da Gamba Continuo Skills Rachel Podger Sarah Cunningham Trumpet Steven Laitz John Thiessen Avi Stein Double Bass Douglas Balliett Plucked Instruments Baroque Vocal Daniel Swenberg Literature Flute Charles Weaver Avi Stein Sandra Miller

BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Bruce Kovner, Chair Brian Zeger, Artistic Director J. Christopher Kojima, Vice Chair Kirstin Ek, Director of Curriculum and Schedules Katheryn C. Patterson, Vice Chair Monica Thakkar, Director of Performance Activities Pierre T. Bastid Michael Loeb Pre-College Division Julie Anne Choi Vincent A. Mai Yoheved Kaplinsky, Artistic Director Kent A. Clark Ellen Marcus Ekaterina Lawson, Director of Admissions and Academic Affairs Kenneth S. Davidson Nancy A. Marks Anna Royzman, Director of Performance Activities Barbara G. Fleischman Stephanie Palmer McClelland Evening Division Keith R. Gollust Christina McInerney Danielle La Senna, Director Mary Graham Lester S. Morse Jr. Joan W. Harris Stephen A. Novick Lila Acheson Wallace Library Matt Jacobson Joseph W. Polisi Jane Gottlieb, Vice President for Library and Edward E. Johnson Jr. Susan W. Rose Information Resources; Director of the C.V. Starr Karen M. Levy Deborah Simon Doctoral Fellows Program Teresa E. Lindsay Sarah Billinghurst Solomon Enrollment Management and Student Development Laura Linney William E.“Wes” Stricker, MD Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Sabrina Tanbara, Assistant Dean of Student Affairs TRUSTEES EMERITI Cory Owen, Assistant Dean for International Advisement June Noble Larkin, Chair Emerita and Diversity Initiatives Mary Ellin Barrett William Buse, Director of Counseling Services Sidney R. Knafel Katherine Gertson, Registrar Elizabeth McCormack Tina Gonzalez, Director of Financial Aid John J. Roberts Barrett Hipes, Director, Alan D. Marks Center for Career Services and Entrepreneurship Teresa McKinney, Director of Community Engagement JUILLIARD COUNCIL Todd Porter, Director of Residence Life Howard Rosenberg MD, Medical Director Mitchell Nelson, Chair Beth Techow, Administrative Director of Health Michelle Demus Auerbach Sophie Laffont and Counseling Services Barbara Brandt Jean-Hugues Monier Holly Tedder, Director of Disability Services Brian J. Heidtke Terry Morgenthaler and Associate Registrar Gordon D. Henderson Pamela J. Newman Finance Peter L. Kend Howard S. Paley Christine Todd, Vice President and Chief Financial Officer Younghee Kim-Wait John G. Popp Irina Shteyn, Director of Financial Planning and Analysis Paul E. Kwak, MD Grace E. Richardson Nicholas Mazzurco, Director of Student Accounts/Bursar Min Kyung Kwon Kristen Rodriguez Jeremy T. Smith Administration and Law Maurice F. Edelson, Vice President for Administration and General Counsel EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION Joseph Mastrangelo, Vice President for Facilities Management Myung Kang-Huneke, Deputy General Counsel Office of the President Carl Young, Chief Information Officer Joseph W. Polisi, President Steve Doty, Chief Operations Officer Jacqueline Schmidt, Chief of Staff Dmitriy Aminov, Director of IT Engineering Caryn Doktor, Director of Human Resources Office of the Provost and Dean Adam Gagan, Director of Security Ara Guzelimian, Provost and Dean Scott Holden, Director of Office Services José García-León, Associate Dean for Academic Affairs Jeremy Pinquist, Director of Client Services, IT Robert Ross, Assistant Dean for Preparatory Education Helen Taynton, Director of Apprentice Program Kent McKay, Associate Vice President for Production Development and Public Affairs Dance Division Elizabeth Hurley, Vice President Taryn Kaschock Russell, Acting Artistic Director Alexandra Day, Associate Vice President for Marketing Lawrence Rhodes, Artistic Director Emeritus and Communications Katie Friis, Administrative Director Benedict Campbell, Website Director Drama Division Amanita Heird, Director of Special Events Richard Feldman, Acting Director Susan Jackson, Editorial Director Katherine Hood, Managing Director Sam Larson, Design Director Katie Murtha, Director of Major Gifts Music Division Lori Padua, Director of Planned Giving Adam Meyer, Associate Dean and Director Ed Piniazek, Director of Development Operations Bärli Nugent, Assistant Dean, Director of Chamber Music Nicholas Saunders, Director of Concert Operations Joseph Soucy, Assistant Dean for Orchestral Studies Edward Sien, Director of Foundation and Corporate Relations Stephen Carver, Chief Piano Technician Adrienne Stortz, Director of Sales Robert Taibbi, Director of Recording Tina Martin, Director of Merchandising Joanna K. Trebelhorn, Director of Orchestral Rebecca Vaccarelli, Director of Alumni Relations and Ensemble Operations Juilliard Global Ventures Historical Performance Christopher Mossey, Senior Managing Director Robert Mealy, Director Courtney Blackwell Burton, Managing Director for Operations Benjamin D. Sosland, Administrative Director; Betsie Becker, Managing Director of Global K–12 Programs Assistant Dean for the Kovner Fellowships Gena Chavez, Managing Director, Tianjin Juilliard School Nicolas Moessner, Managing Director of Finance Jazz and Risk Management Wynton Marsalis, Director of Juilliard Jazz Aaron Flagg, Chair and Associate Director