Juilliard Wind Orchestra Photo by Claudio Papapietro

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For more information please contact Tori Brand at (212) 799-5000, ext. 692, or [email protected]. Give online at giving.juilliard.edu/scholarship. iii The Juilliard School presents Juilliard Wind Orchestra Erik Ralske, Conductor

Sunday, November 11, 2018, 3pm Paul Hall

JOHANNES BRAHMS Serenade No. 2 in A Major, Op. 16 (1859) (1833-1897) Allegro moderato Scherzo: Vivace Adagio non troppo Quasi menuetto Rondo: Allegro

RICHARD STRAUSS Sonatina No. 2 in E-flat Major, TrV 291, (1864-1949) “Happy Workshop” (1944-45) Allegro con brio Andantino Minuet Introduction and Allegro

Performance time: approximately 1 hour and 10 minutes

This afternoon’s concert will be played without an intermission.

Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs have been granted by The Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul.

Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium.

1 Notes on the Program By David Crean

Johannes Brahms Serenade No. 2 in A Major, Op. 16

In September 1853, a 20-year-old Johannes Brahms arrived at the home of Johannes Brahms Robert and Clara Schumann bearing a letter of introduction from their mutual friend . Robert Schumann was one of the most esteemed Born: May 7, 1833, composers and critics in Europe, but only a few months after Brahms’ Hamburg, Germany arrival, he attempted to take his own life by jumping into the Rhine, and was subsequently institutionalized for the remainder of his life. In the intervening Died: April 3, 1897, time, he had published an article called “New Paths,” in which he hailed Vienna, Austria Brahms as one who would “give ideal expression to the times” and become the standard-bearer for absolute music in general and the symphony in particular. The lofty expectations placed on so young a composer had a profound, and initially stifling, effect on Brahms’ compositional development. Determined to avoid being an epigone of his idol Beethoven, Brahms found it difficult to compose in genres so closely associated with him, and in fact completed no orchestral music before Robert’s death in 1856. Nevertheless, in the late 1850s he began to apply himself to the study of orchestration, producing his first piano (intended to be a first symphony) and the two . The second serenade is a work for small ensemble: five woodwind pairs (, , , horn) and three string parts (notably without ). In addition to the outer fast movements and inner slow movement, the five-movement serenade includes both a scherzo and a minuet.

While Brahms’ abilities as an orchestrator may have been as yet underdeveloped, other aspects of his mature style are already obvious in this work: persistent rhythmic vitality, including cross-rhythms and hemiola (the division of two measures of three beats into three notes of two beats), pervasive but not obtrusive chromaticism, and motivically rich themes that invite developmental creativity and tightly unified designs. The serenade opens with the expected sonata-form movement, cast in the mold of Beethoven but unmistakably Brahmsian. The primary theme begins relatively four-square, but soon breaks into cascades of chromatically inflected triplets. The sharp double-dotted rhythms and narrow range of the secondary theme provide maximum contrast. A seeming repeat of the exposition turns out to be a feint, and the development begins with an unexpected move toward F Major (the flat-submediant, a favored key area of Schubert, whom Brahms also greatly admired). Brahms focuses mainly on the primary theme here, which allows him to slip into the recapitulation almost unnoticed—not with a strong cadence, but with a long tonic pedal.

The scherzo, in the somewhat unusual key of C Major, is rhythmically ambiguous from the outset: the accent pattern of the first phrase strongly suggests duple time while the second phrase is a clear example of hemiola. The strings attempt to maintain the underlying triple meter. The ensuing trio

2

is slightly more regular and its chromatic descending lines seem to recall the primary theme of the first movement. The expansive slow movement demonstrates the extent to which Brahms had internalized the contrapuntal language of 17th-century music. The three part-form opens with a plaintive A Minor melody that unfolds over a quasi-ground bass. It is unexpectedly interrupted by a series of fully diminished chords and wrenched abruptly toward A-flat Major. After a lyrical second section, the opening theme returns by way of C Minor, and a final return to A concludes one of Brahms’s most harmonically adventurous movements.

After a brief minuet, the final Allegro begins with the same rising fourth motive that began the opening movement and the central slow movement. A light-hearted affair that utilizes the piccolo for the first time, the finale proceeds through a sonata-rondo form largely as expected and brings Brahms’ precocious exercise in orchestration to a delightful close.

Richard Strauss Sonatina No. 2 in E-flat Major, TrV 291, “Happy Workshop”

By the early 1940s, a nearly 80-year-old Richard Strauss was one of the most famous and accomplished composers in the world. He had burst onto Richard Strauss the scene in the late 1880s with a series of genre-defining “tone poems” before embarking upon an equally successful, though often controversial, Born: June 11, career as Germany’s premiere post-Wagner opera composer. The rise 1864, in Munich, of the Nazis put an effective end to his operatic career—his final opera Germany Capriccio was seen as a peculiarly lighthearted offering in the midst of the devastation engulfing Europe. But Strauss was neither deaf to, nor immune Died: September 8, from, the outrages of the Nazi regime. His last years were marked both by 1949, in Garmisch- anxiety over the situation of his Jewish friends and family (coupled with Partenkirchen, frequent, frantic attempts at intervention) and general depression over the Germany degradation of German culture by the Nazis and the physical destruction of its monuments in the war. Musically, Strauss felt himself creatively exhausted after completing Capriccio and declared that all subsequent compositions were merely “wrist exercises.” It was in this atmosphere of malaise and anxiety, however, that Strauss unexpectedly experienced a personal artistic renaissance, producing a number of expertly crafted large-scale instrumental works before his death in 1949. Strauss devoted particular attention during this time to a genre that he had generally neglected since his teenage years: music for winds. The first of the two sonatinas for winds was written in 1943 as Strauss recovered from the flu, but its gloomy subtitle “From an Invalid’s Workshop” seems more a reflection of a jaded worldview than a temporary illness. Its companion piece, begun just a few months later but completed after the surrender of Germany in 1945, bears the more upbeat title of “Happy Workshop” and the dedication, “To the spirit of the divine Mozart at the end of a life full of gratitude.”

3 Notes on the Program By David Crean (continued)

An expert orchestrator, Strauss scores both sonatinas for the same unprecedented combination of two , two , five , two , contrabassoon, and four very prominent horns (his father was a well-known horn virtuoso). Strauss’s early wind works were greatly indebted to 18th-century classicism, and it is no surprise to find those same elements in a work that invokes Mozart’s name. In Strauss’s mature style, however, the forms no longer circumscribe musical decisions but serve as a barely perceptible framework, overlaid with Strauss’s usual colorful harmonies and organically unfolding melodic lines. The main theme of the opening allegro is a deceptively simple elaboration of a descending arpeggio coupled with a hemiola figure. Modulation begins almost immediately as the main theme is tossed around the ensemble, passing through G Minor before settling into B-flat Major for the second theme, a stately chorale for the four horns and bassoons. The perception of a slower tempo is achieved through hemiola, occasionally disrupted by an interjection of the main theme. The development section begins with a lyrical clarinet melody derived from, and juxtaposed with, the main theme, but an abrupt increase in tempo brings unsettled harmonies and thicker textures. A gradual slackening of tempo and decrescendo to nothing heightens the surprise of the recapitulation, followed by an extensive coda.

The two shorter middle movements are heavily indebted to 18th-century music in manner as well as in form. Were it not for the disjunct melodies and colorfully chromatic harmonies, the andantino could pass for one of Mozart’s elegant and courtly wind serenades. Featuring florid, highly virtuosic writing for the upper parts (often in elaborate duets) melded with characteristically Classical accompaniment figures, it might be described as Strauss’s idiosyncratic take on Neoclassicism—minus the acerbic tone and dissonant harmonies. The minuet too hearkens back to earlier times, with its strong rhythmic profile and clear form. Minuets in 18th-century symphonies often feature the winds in the trio section. Strauss replicates that contrast in his all-wind ensemble by featuring the clarinets and horns prominently in his trio, which is followed by an abbreviated reprise of the minuet.

The final movement, the first to be written, was originally intended to be a standalone work. Its unsettled introductory motive, in stark contrast to the upbeat tone in general, is taken from the opening movement, where it is fleetingly stated before the arrival of the secondary theme. That bleak opening mood quickly gives way to the sunny main theme and a quintessentially Straussian sonata-rondo. Virtually monothematic, the harmonically stable exposition provides an important counterweight to the extended and kaleidoscopic development, which is set off by a return of the introductory theme. That theme returns once more, where it once again gives way to the bright main theme and an ebullient conclusion.

David Crean teaches organ at Wright State University in Ohio. He is a graduate of the C.V. Starr Doctoral Program at Juilliard and was the recipient of the 2014 Richard F. French Doctoral Prize. 4 Meet the Artist

Erik Ralske Conductor

On July 6, 2010, Erik Ralske was featured in a front-page article in the New York Times for having won principal horn positions with the and in the same week. After a distinguished symphonic career (previously he held principal positions with the , and Houston, Vancouver, Florida, and Tulsa orchestras), he began his tenure as principal horn of the Metropolitan Opera Orchestra in fall 2010. Since then, he has been in demand by leading orchestras as guest principal, notably with the Berlin Staatskapelle, Cleveland, and Philadelphia Orchestras, and Los Angeles Philharmonic. He has been a soloist with the New York Philharmonic more than a dozen times on three continents with former music directors Kurt Masur and Lorin Maazel. His live performance of Siegfried’s horn call was selected as a Met Opera ringtone and is available on iTunes. He is a faculty member at Juilliard (his alma mater) and Mannes College of Music, in addition to teaching and performing at the Aspen Music Festival in the summer.

5 Juilliard Wind Orchestra

Viola Clarinet En-Chi Cheng, Principal Dan Giacobbe, Principal Sofia Basile Na Yoon Kim, Principal Kayla Cabrera Alec Manasse Bethlehem Hagdu Ruogu Wang

Violoncello C Clarinet Yifei Li, Principal Keeheon Nam David Bender Songhee Lee Bass Clarinet Ruogu Wang Double Bass Nina Bernat, Principal Basset Horn Zachary Marzulli Dan Giacobbe

Flute Bassoon Lorenzo Morrocchi, Principal Troy Baban, Principal Emma Resmini, Principal Joshua Elmore, Principal Ipek Karataylioglu Thalia Navas

Piccolo Contrabassoon Emma Resmini Thalia Navas

Oboe Mitchell Kuhn, Principal Harry Chiu Chin-pong, Principal Robert Nunes, Principal Jasmine Lavariega, Principal Mia Fasanello Lee Cyphers Pablo O'Connell Hannah Miller Ryan Williamson

Orchestra Administration

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

Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Matthew Wolford, Operations Manager Lisa Dempsey Kane, Principal Orchestra Librarian Michael McCoy, Orchestra Librarian Daniel Pate, Percussion Coordinator Adarsh Kumar, Orchestra Personnel Manager Geoffrey Devereux, Orchestra Management Apprentice

6 Attend an Upcoming Juilliard Orchestra Concert

THURSDAY, DECEMBER 6 7:30pm • Alice Tully Hall Juilliard Orchestra Itzhak Perlman, Conductor DVORÁKˇ Cello Concerto (soloist to be announced) ELGAR Enigma Variations, Op. 36 (Variations on an Original Theme) TICKETS $30

MONDAY, DECEMBER 10 7:30pm • Alice Tully Hall Juilliard Orchestra John Adams, Conductor Kaija SAARIAHO Ciel d’hiver (Winter Sky) John ADAMS Doctor Atomic Symphony BRAHMS Symphony No. 4 in E Minor, Op. 98 TICKETS $30

FRIDAY, FEBRUARY 8 7:30pm • Alice Tully Hall Juilliard Orchestra Barbara Hannigan, Conductor Meghan Kasanders, Soprano STRAUSS “Salome’s Dance” from Salome HAYDN Symphony No. 96 DEBUSSY Syrinx (flute soloist to be announced) SIBELIUS Luonnotar BARTOK Suite from The Miraculous Mandarin TICKETS $30

MONDAY, FEBRUARY 25 7:30pm • Alice Tully Hall Juilliard Chamber Orchestra BEETHOVEN Overture to Creatures of Prometheus MENDELSSOHN Concerto in E Minor (soloist to be announced) RAVEL Le Tombeau de Couperin PROKOFIEV Symphony No. 1, “Classical” TICKETS $20

THURSDAY, FEBRUARY 28 7:30pm • Alice Tully Hall Juilliard Orchestra Composers Concert Jeffrey Milarsky, Conductor FREE For tickets or more information visit juilliard.edu/calendar Juilliard Board of Trustees and Administration

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 Teresa McKinney, Director of Community Engagement TRUSTEES EMERITI June Noble Larkin, Chair Emerita Evening Division Danielle La Senna, Director Mary Ellin Barrett Elizabeth McCormack Sidney R. Knafel Enrollment Management and Student Development Joan D. Warren, Vice President Joseph W. Polisi, President Emeritus Kathleen Tesar, Associate Dean for Enrollment Management Barrett Hipes, Associate Dean for Student Development Sabrina Tanbara, Assistant Dean of Student Affairs JUILLIARD COUNCIL Cory Owen, Assistant Dean for International Advisement and Diversity Mitchell Nelson, Chair Initiatives William Buse, Director of Counseling Services Michelle Demus Auerbach Terry Morgenthaler Katherine Gertson, Registrar Barbara Brandt Howard S. Paley Tina Gonzalez, Director of Financial Aid Brian J. Heidtke John G. Popp Camille Pajor, Title IX Coordinator Gordon D. Henderson Grace E. Richardson Todd Porter, Director of Residence Life Peter L. Kend Jeremy T. Smith Howard Rosenberg MD, Medical Director Younghee Kim-Wait Alexander I. Tachmes Beth Techow, Administrative Director of Health and Counseling Services Sophie Laffont Anita Volpe Holly Tedder, Director of Disability Services and Associate Registrar Jean-Hugues Monier Development Katie Murtha, Acting Director of Development EXECUTIVE OFFICERS Amanita Heird, Director of Special Events AND SENIOR ADMINISTRATION Lori Padua, Director of Planned Giving Ed Piniazek, Director of Development Operations Damian Woetzel, President Edward Sien, Director of Foundation and Corporate Relations Rebecca Vaccarelli, Director of Alumni Relations Office of the President Jacqueline Schmidt, Vice President and Chief of Staff Public Affairs Kathryn Kozlark, Special Projects Producer Alexandra Day, Vice President for Public Affairs Maggie Berndt, Communications Director Office of the Provost and Dean Benedict Campbell, Website Director Ara Guzelimian, Provost and Dean Jessica Epps, Marketing Director José García-León, Dean of Academic Affairs and Assessment Susan Jackson, Editorial Director

Dance Division Office of the COO and Corporate Secretary Alicia Graf Mack, Director Lesley Rosenthal, Chief Operating Officer and Corporate Secretary Taryn Kaschock Russell, Associate Director Christine Todd, Vice President and CFO Katie Friis, Administrative Director Joseph Mastrangelo, Vice President for Facilities Management Kent McKay, Associate Vice President for Production Drama Division Betsie Becker, Managing Director of K-12 Programs Evan Yionoulis, Richard Rodgers Director Michael Kerstan, Controller Richard Feldman, Associate Director Irina Shteyn, Director of Financial Planning and Analysis Katherine Hood, Managing Director Nicholas Mazzurco, Director of Student Accounts/Bursar Scott Adair Holden, Director of Office Services Music Division Nicholas Saunders, Director of Concert Operations Adam Meyer, Director, Music Division, and Deputy Dean of the Tina Matin, Director of Merchandising College Kevin Boutote, Director of Recording Bärli Nugent, Assistant Dean, Director of Chamber Music Joseph Soucy, Assistant Dean for Orchestral Studies Administration and Law Mario Igrec, Chief Piano Technician Maurice F. Edelson, Vice President for Administration and General Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Counsel Myung Kang-Huneke, Deputy General Counsel Historical Performance Carl Young, Chief Information Officer Robert Mealy, Director Steve Doty, Chief Technology Officer Benjamin D. Sosland, Administrative Director; Assistant Dean for Dmitriy Aminov, Director of IT Engineering the Kovner Fellowships Jeremy Pinquist, Director of Client Services, IT Caryn G. Doktor, Director of Human Resources Jazz Adam Gagan, Director of Security Wynton Marsalis, Director of Juilliard Jazz Helen Taynton, Director of Apprentice Program Aaron Flagg, Chair and Associate Director Behind every Juilliard artist is all of Juilliard —including you. Photo by Claudio Papapietro

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