Thursday Evening, November 8, 2018, at 7:30

The presents Juilliard Orchestra Jeffrey Milarsky , Conductor Brenden Zak ,

AUGUSTA READ THOMAS (b. 1964) Prayer Bells

LEONARD BERNSTEIN (1918 –90) Serenade (After Plato’s “Symposium”) Phaedras - Pausanias: Lento - Allegro Aristophanes: Allegretto Eryximachus: Presto Agathon: Adagio Socrates - Alcibiades: Molto tenuto - Allegro molto BRENDEN ZAK , Violin

Intermission

SERGEI PROKOFIEV (1891 –1953) Suite from Romeo and Juliet Montagues and Capulets The Young Juliet Romeo and Juliet Before Parting Romeo at Juliet’s Tomb Masks Balcony Scene Death of Tybalt

Performance time: approximately 1 hour and 45 minutes, including one intermission

The taking of photographs and the use of recording equipment are not permitted in this auditorium.

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Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program Thomas composed Prayer Bells in 2001 on commission from the Symphony by James M. Keller Orchestra and its conductor, Mariss Jansons, who presented its premiere on May 4 of Prayer Bells that year. She provided this comment AUGUSTA READ THOMAS about the piece: Born April 24, 1964, in Glen Cove, New York Currently residing in There is an indisputable journey taking place during the 12-minute composition. Augusta Read Thomas, who began com - In general the score falls into a three-part posing as a child, has become one of the form: a slow-growing introduction of 90 most admired and fêted of her generation seconds (which is a section of music I of American composers. She honed her craft composed in 1988 as a student and wanted through studies at , to rework in a more refined manner); a (where she was a pupil of central section of about five minutes, ), and the Royal Academy which is led by the line of music in the of Music in London. She taught at the East- cellos, violas, and other strings [and] is man School of Music and at Northwestern, often punctuated by brassy flares; and but in 2006 she resigned in order to devote the final section of about five minutes, herself full time to composing. She concur - which is best described as relentless, rently served as composer-in-residence at sinuous fanfares which are alternating the Chicago Symphony Orchestra, from with other earnest, more expansive mate - 1997 to 2006, the longest such association rials. The music is passionate throughout in that orchestra’s history. In 2010 she as if something big is at stake in it. returned to academia when she was appointed to the composition faculty of the The “bells” are not only simply percus - . There she founded sion instruments in this work. Rather, the the Center for Contemporary Composition, bells are often implied by blended wood - an interdisciplinary initiative involving com - wind, brass, and string sounds. The title posers, performers, and scholars. In 2016 Prayer Bells can mean anything from she was named Chicagoan of the Year by miniature, intimate prayer bells one the Chicago Tribune in recognition of her would find in a meditation context, to a establishing and overseeing the Ear Taxi massive carillon of bells in a cathedral, to Festival, which that newspaper described metaphorically representing an inner as “a Chicago-centric marathon of new- tolling to pray in the human soul. music performances that, for six heady days, brought together some 500 local Serenade (After Plato’s “Symposium”) musicians to present roughly 100 recent LEONARD BERNSTEIN classical works, 54 of them world pre - Born August 25, 1918, in Lawrence, mieres; 87 living composers were repre - Massachusetts sented.” She was elected to the American Died October 14, 1990, in Academy of Arts and Letters in 2009 and to the American Academy of Arts and Leonard Bernstein and his wife, Felicia Sciences in 2012. In 2015 she was Montealegre, spent the summer of 1954 in awarded the Order of Cultural Merit by the a home they rented on Martha’s Vineyard, Principality of Monaco. where he concentrated on two major com positions. “My life is all Lillian Hellman Aristophanes … does not play the role of and Candide ,” he wrote to friends, “and clown in this dialogue, but instead that of the violin for to pre - the bedtime story-teller, invoking the miere at the Venice Festival in September.” fairytale mythology of love. Candide would end up dragging on and on; it was brought to its first completion two Eryximachus … The physician speaks of years later, but Bernstein kept rewriting it bodily harmony as a scientific model for for the rest of his career. The “violin con - the workings of love-patterns. This is an certo,” however, was accomplished in less extremely short fugato scherzo, born of a than a year once he set about working on blend of mystery and humor. it seriously in the previous fall. People close to Bernstein reported that it Agathon … Perhaps the most moving remained one of the works of which he speech of the dialogue, Agathon’s pane - remained the fondest through ensuing gyric embraces all aspects of love’s pow - decades. Its roots go back to the summer ers, charms, and functions. This movement of 1951, when the Koussevitzky Music is a simple three-part song. Foundation commissioned him to write a piece in memory of the recently departed Socrates: Alcibiades … Socrates describes conductor , who had his visit to the seer Diotima, quoting her served as mentor to the young Bernstein. speech on the demonology of love. This is a slow introduction of greater weight Although he was reading the of than any of the preceding movements; Plato at about that time, he seems not to and serves as a highly developed reprise have decided to attach Plato to the piece of the middle section of the Agathon until later, superimposing references to the movement, thus suggesting a hidden character of the Symposium over a compo - sonata-form. The famous interruption of sition that had already found its own Alcibiades and his band of drunken revel - shape. The day after he signed off on the ers ushers in the Allegro, which is an score, Bernstein penned a lengthy pro - extended Rondo ranging in spirit from gram note that included these observa - agitation through jig-like dance music to tions about what he called “a series of joyful celebration. related statements in praise of love” in which “each movement evolves out of ele - Suite from Romeo and Juliet ments in the preceding one”: Born April 23, 1891, in Sontsovka, For the benefit of those interested in lit - Yekaterinoslav district, Ukraine erary allusion, I might suggest the follow - Died March 5, 1953, in , ing points as guideposts: Today everybody agrees that Sergei Phaedrus: Pausanius … Phaedrus opens Prokofiev’s Romeo and Juliet is one of the the symposium with a lyrical oration in finest ballet scores of all time, but that was praise of Eros, the god of love. (Fugato, not the general consensus at the outset. How begun by the solo violin). Pausanias con - puzzling it is to be reminded that the dancers tinues by describing the duality of lover of the Bolshoi Ballet, preparing for a Russian and beloved. This is expressed in a clas - premiere that would be repeatedly delayed, sical sonata-allegro, based on the mater - complained bitterly about Prokofiev’s score, ial of the opening fugato. dismissing it as “undanceable!” It was a joint project of Prokofiev and after—a twist that should have met with Sergei Radlov, a modernist stage director pleasure from the Soviet cultural authori - who had staged the Russian premiere of ties, who liked nothing more than optimism. Prokofiev’s opera The Love for Three “The reason for this bit of barbarism was Oranges in 1926. In 1935 he crafted a sce - purely choreographic: the living can dance, nario of 58 episodes of roughly equal the dying cannot,” the composer recalled. length based on Shakespeare’s play about “What really caused me to change my Romeo Montague and Juliet Capulet, the mind about the whole thing was a remark idealistic young lovers whose passion is someone made to me: ‘Your music does doomed by the animosity of their feuding not express real joy at the end.’ That was families, a hostility that the conciliatory quite true. After several conferences with efforts of Friar Laurence cannot enable the choreographer, it was found that the them to overcome. tragic ending could be expressed in dance after all, and in due course the music for Political turmoil caused the planned pre - that ending was written.” miere to be moved from Leningrad to Moscow’s Bolshoi Theatre; but there the Prokofiev ended up publishing three sepa - production again failed to coalesce. With rate concert suites from his ballet score, frustration mounting, Prokofiev created an but conductors have frequently assembled orchestral suite from his completed ballet their own suites, following Prokofiev’s lead score and unveiled it in November 1936, by reordering the extracts from how they two years before the ballet reached the appear in the ballet’s chronology. Juliet’s stage. As it happened, Romeo and Juliet demise occurs into the middle of the received its first performances not in Russia seven movements played here, and the but rather in Czechoslovakia (in 1938), and suite instead concludes with the death of only later made its way to Russia—first to her hot-tempered cousin Tybalt, after whose Leningrad (in 1940, with the Kirov Ballet) murder (by Romeo) there is no turning back and eventually to Moscow (in December on Shakespeare’s tragic path. 1946), where the members of the Bolshoi Ballet company were finally convinced that James M. Keller is the long-time program the music was not “undanceable ” after all. annotator of the and the San Francisco Symphony, and In the original scenario Prokofiev and serves as critic-at-large for The Santa Fe Radlov changed Shakespeare’s plot: they New Mexican , the oldest newspaper west had Romeo arrive just before Juliet ingests of the Mississippi. His book Chamber poison, with the result that the young Music: A Listener’s Guide is published by lovers do not die but rather live happily ever Oxford University Press. Meet the Artists percussionist, Milarsky has been the prin - ci pal timpanist for the Santa Fe Opera since 2005. He has also performed and recorded with the New York Philharmonic,

O Orchestra, and Pittsburgh K R

E Symphony. He has recorded extensively N O K

for Angel, Bridge, Teldec, Telarc, New R E

T World, CRI, MusicMasters, EMI, Koch, and E

P Jeffrey Milarsky London records. American conductor Jeffrey Milarsky is music director of AXIOM and senior lec - turer in music at T O O L

where he is music director and conductor S R E of the Columbia University Orchestra. He D N A V received his bachelor and master of music B O degrees from Juilliard where he was C A

J Brenden Zak awarded the Prize for out - standing leadership and achievement in the Violinist Brenden Zak is currently pursuing arts. In recent seasons he has worked with a bachelor’s degree at Juilliard under the ensembles including the New York Philhar- tutelage of Li Lin. He was a finalist in the monic, San Francisco Symphony, Los 2016 Stulberg Inter national String Com - Angeles Philharmonic, Milwaukee Sym - petition and has soloed with the Ocean phony, American Composers Orchestra, City Pops, Ambler Sym phony, Philharmonic MET Chamber Ensemble, Bergen Phil- of Southern New J ersey, Sinfonietta Nova, harmonic, Chamber Music Society of Lincoln Temple University Orchestra, and Lansdowne Center, New World Symphony, and Tangle- Symphony Or chestra. He was the 2014 –15 wood Festival Orchestra. In the U.S. and junior peace and music ambas sador for the abroad he has premiered and recorded Harmony for Peace Foundation and works works by many groundbreaking contempo - to further the foundation’s goal of a world rary composers in , Zankel brought together through music. His string Hall, Davies Symphony Hall, Alice Tully quartet at Juilliard was a member of the Hall, Walt Disney Concert Hall, Boston’s Juilliard Honors Program dur - Symphony Hall, and at IRCAM in , ing the 2017 –18 school year, and he among others. Milarsky has a long history attended the Juilliard String Quartet Seminar of premiering, recording, and performing in May. Zak has taken part in the Luzerne American composers and throughout his Music Festival, where he worked with com - career has collaborated with , posers John Corigliano, Richard Danielpour, , John Cage, , and Tommie Haglund on their compositions John Corigliano, George Crumb, Mario Stomp , As Night Falls on Barjeantane , and Davidovsky, Jacob Druckman, Michael Epilogue, Hymns to the Night (world pre - Gordon, David Lang, Steven Mackey, miere), respectively. He also attended the Christopher Rouse, , Morton Heifetz Inter national Music Institute, Subotnick, , and an entire where he worked with Ilya Kaler, Nicholas generation of young and developing com - Kitchen, and Elmar Oliviera, and the posers. In 2013 he was awarded the Perlman Music Program, where he worked Ditson Conductor’s Award for his commit - closely with Itzhak Perlman. ment to the performance of American Mitchell Palmer Scholarship, Jeanne M. music. A much-in-demand timpanist and Bennett Violin Scholarship Juilliard Orchestra conduc tors this season including John Juilliard’s largest and most visible student Adams, Marin Alsop, Joseph Colaneri, Sir performing ensemble, the Juilliard Orchestra Mark Elder, Barbara Hannigan, Anne Manson, is known for delivering polished and pas - Steven Osgood, and Peter Oundjian, as sionate performances of works spanning well as faculty members Itzhak Perlman, the repertoire. Comprising more than 350 Matthias Pintscher, and David Robertson. students in the bachelor’s and master’s The Juilliard Orchestra has toured across degree programs, the orchestra appears the U.S. and throughout , South throughout the season in concerts on the America, and Asia, where it was the first stages of , Carnegie Hall, Western conservatory ensemble allowed , and Juilliard’s Peter Jay to visit and perform following the opening Sharp Theater. The orchestra is a strong of the People’s Republic of China in 1987, partner to Juilliard’s other divisions, appear - returning two decades later, in 2008. Other ing in opera and dance productions, as well ensembles under the Juilliard Orchestra as presenting an annual concert of world umbrella include the conductorless Juilliard premieres by Juilliard student composers. Chamber Orchestra, the Juilliard Wind Or- The Juilliard Orchestra welcomes an im- chestra, and the new-music groups AXIOM pres sive roster of world-renowned guest and New Juilliard Ensemble.

Juilliard Orchestra Jeffrey Milarsky , Conductor

Violin Viola Markus Lang Bass Clarinet Cherry Choi Tung Hannah Geisinger, Vincent Luciano Phillip Solomon Yeung, Principal Justin Smith Concertmaster Howard Cheng Tenor Saxophone Angela Wee, Principal Rae Gallimore Flute Zachary Hann Second Jay Julio Mei Stone, Principal Yuki Beppu Yong Ha Jung Giorgio Consolati, Bassoon Arianna Brusubardis Frida Siegrist Oliver Principal Rebecca G. Krown, Ji Soo Choi Ao Peng Yejin Lisa Choi Principal Courtenay Cleary Tabby Rhee Audrey Emata Soo Yeon Lee, Principal Gabrielle Despres Samuel Rosenthal Emmali Ouderkirk Leerone Hakami Sequoyah Sugiyama Piccolo Jordan Hendy Sophia Sun Giorgio Consolati Contrabassoon Sean Hsi Shuhan Wang Mei Stone Emmali Ouderkirk Angela Kim Dawn Kim Violoncello Oboe French Horn Hyo Jin Kim Matthew Chen, Lucian Avalon, Principal David Alexander, Andrew Koonce Principal Alexandra von der Principal Sayuri Kuru Clara Abel Embse, Principal Vincent Kiray, Principal Ariel Seunghyun Lee Michael Cantú Alexander Mayer Jason Friedman Haokun Liang Geirþrúður Anna Gabrielle Pho Katherine Kyu Hyeon Guðmundsdóttir English Horn Jaimee Reynolds Lim Sanae Kodaira Alexandra von der Anastasiia Mazurok Jonah Krolik Embse Trumpet George Meyer Han Lee Marshall Kearse, Amy Oh Joshua McClendon Clarinet Principal Haeun Oh Sung Moon Park Hanlin Chen, Principal Benedetto Salvia, Hava Polinsky Kamalia Freyling, Principal Emma Richman Double Bass Principal Anthony Barrington Sophia Steger Brittany Conrad, Wonchan Doh Benjamin Keating Sophia Stoyanovich Principal Sumina Studer Daniel Chan Jieming Tang Szu Ting Chen Hee-Soo Yoon Blake Hilley Wei Zhu Jacob Kolodny Trombone Tuba Percussion Harp Kevin Carlson, Principal David Freeman Joseph Bricker, Lee Yun Chai Stephen Whimple, Giovanni S. Maraboli Principal Adam Phan Principal Toby Grace, Principal Clara Warford George Foreman Timpani Yibing Wang, Principal Simon Herron Jacob Borden Piano/Celesta Bass Trombone Yibing Wang Simon Herron Chang Wang Marco Gomez Euijin Jung

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

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

June Noble Larkin, Chair Emerita Evening Division Danielle La Senna, Director Mary Ellin Barrett Elizabeth McCormack Sidney R. Knafel Enrollment Management and Student Development Joseph W. Polisi, President Emeritus Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Barrett Hipes, Associate Dean for Student Development JUILLIARD COUNCIL Sabrina Tanbara, Assistant Dean of Student Affairs Cory Owen, Assistant Dean for International Advisement and Diversity Mitchell Nelson, Chair Initiatives Michelle Demus Auerbach Terry Morgenthaler William Buse, Director of Counseling Services Barbara Brandt Howard S. Paley Katherine Gertson, Registrar Brian J. Heidtke John G. Popp Tina Gonzalez, Director of Financial Aid Gordon D. Henderson Grace E. Richardson Camille Pajor, Title IX Coordinator Peter L. Kend Jeremy T. Smith Todd Porter, Director of Residence Life Younghee Kim-Wait Alexander I. Tachmes Howard Rosenberg MD, Medical Director Sophie Laffont Anita Volpe Beth Techow, Administrative Director of Health and Counseling Services Jean-Hugues Monier Holly Tedder, Director of Disability Services and Associate Registrar

Development EXECUTIVE OFFICERS Katie Murtha, Acting Director of Development AND SENIOR ADMINISTRATION Amanita Heird, Director of Special Events Lori Padua, Director of Planned Giving Damian Woetzel, President Ed Piniazek, Director of Development Operations Edward Sien, Director of Foundation and Corporate Relations Office of the President Rebecca Vaccarelli, Director of Alumni Relations Jacqueline Schmidt, Vice President and Chief of Staff Kathryn Kozlark, Special Projects Producer Public Affairs Alexandra Day, Vice President for Public Affairs Office of the Provost and Dean Maggie Berndt, Communications Director Ara Guzelimian, Provost and Dean Benedict Campbell, Website Director José García-León, Dean of Academic Affairs and Assessment Jessica Epps, Marketing Director Susan Jackson, Editorial Director Dance Division Alicia Graf Mack, Director Office of the COO and Corporate Secretary Taryn Kaschock Russell, Associate Director Lesley Rosenthal, Chief Operating Officer and Corporate Secretary Katie Friis, Administrative Director Christine Todd, Vice President and CFO Joseph Mastrangelo, Vice President for Facilities Management Drama Division Kent McKay, Associate Vice President for Production Evan Yionoulis, Richard Rodgers Director Betsie Becker, Managing Director of K-12 Programs Richard Feldman, Associate Director Michael Kerstan, Controller Katherine Hood, Managing Director Irina Shteyn, Director of Financial Planning and Analysis Nicholas Mazzurco, Director of Student Accounts/Bursar Music Division Scott Adair Holden, Director of Office Services Adam Meyer, Director, Music Division, and Deputy Dean of the Nicholas Saunders, Director of Concert Operations College Tina Matin, Director of Merchandising Bärli Nugent, Assistant Dean, Director of Chamber Music Kevin Boutote, Director of Recording Joseph Soucy, Assistant Dean for Orchestral Studies Mario Igrec, Chief Piano Technician Administration and Law Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Maurice F. Edelson, Vice President for Administration and General Counsel Historical Performance Myung Kang-Huneke, Deputy General Counsel Robert Mealy, Director Carl Young, Chief Information Officer Benjamin D. Sosland, Administrative Director; Assistant Dean for Steve Doty, Chief Technology Officer the Kovner Fellowships Dmitriy Aminov, Director of IT Engineering Jeremy Pinquist, Director of Client Services, IT Jazz Caryn G. Doktor, Director of Human Resources Wynton Marsalis, Director of Juilliard Jazz Adam Gagan, Director of Security Aaron Flagg, Chair and Associate Director Helen Taynton, Director of Apprentice Program