Saturday Evening, September 21, 2019, at 7:30

The presents Juilliard Orchestra Karina Canellakis, Conductor

MISSY MAZZOLI (b. 1980) Sinfonia (for Orbiting Spheres)

LUDWIG VAN BEETHOVEN (1770–1827) Piano Concerto No. 2 in B-flat major, Op. 19 Allegro con brio Adagio Rondo: Molto allegro

Intermission

RICHARD STRAUSS (1864–1949) Ein Heldenleben (A Hero’s Life), Op. 40 The Hero The Hero’s Adversaries The Hero’s Companion The Hero’s Deeds of War The Hero’s Works of Peace The Hero’s Retirement

Performance time: approximately 1 hour and 45 minutes, including 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. and gently out-of-tune guitars, and I draw on Notes on the Program inspirations as diverse as Baroque music, by James M. Keller noise, and modern electronica.” Much of that description characterizes Sinfonia (for Sinfonia (for Orbiting Spheres) Orbiting Spheres), written in 2013 for cham- MISSY MAZZOLI ber orchestra and revised in 2016 for full Born October 27, 1980, in Lansdale, symphony orchestra. She described it as Pennsylvania “music in the shape of a solar system, a collection of rococo loops that twist around An esteemed and productive presence in each other within a larger orbit.” New York City’s new-music scene, Missy Mazzoli has written works in many genres, “The word ‘sinfonia’ refers to baroque from chamber music to symphonic scores works for chamber orchestra,” Mazzoli to . “To some extent,” she told an said, “but also to the old Italian term for interviewer when Sinfonia (for Orbiting a hurdy-gurdy, a medieval stringed instru- Spheres) was played at a 2017 Proms con- ment with constant, wheezing drones that cert in London, “I try to reinvent myself are cranked out under melodies played with each piece; I always try to explore a on an attached keyboard. It’s a piece that new organizational technique, a different churns and roils, that inches close to the approach to orchestration or texture. There listener only to leap away at breakneck are also some techniques I return to again speed, in the process transforming the en- and again—I’m obsessed with harmony semble turns into a makeshift hurdy-gurdy, and will often start a piece by creating a flung recklessly into space.” chord progression.” Clustered harmonies are apparent from Mazzoli received advanced musical training the outset (marked “slow, stately”), with at University, , groups of instruments (sometimes the and Royal Conservatory of the Hague in the microtonal exhalations of harmonicas) Netherlands with teachers including Louis hovering nebulously, typically entering and Andriessen, , , exiting gently against the prolonged orna- , and . From mental lines of the violins, flutes, or oboes. 2007 to 2010 she served as executive di- Although the piece is notated mostly in rector of the MATA Festival in New York 6/8 time, a listener would be hard-pressed and in 2011–12 was composer/educator-in- to identify its metric pulse except in a residence at the Albany Symphony. In 2012 persistently energized section in the mid- she was named composer-in-residence of dle. There, flashes of urgently repeated the Company of Philadelphia (now rhythms seem generated from the loins of Opera Philadelphia), and since then she has minimalism. On the whole, though, a lis- had three operas produced: Song from the tener is likely to be left with an impression Uproar (2012), (2016), of waves gradually emerging and receding, and Proving Up (2018). She teaches compo- an evocation of precisely the cosmic vast- sition at the Mannes School of Music/The ness the title implies. New School in New York and in 2018 began a two-year appointment as the Chicago Symphony’s composer-in-residence.

“My music is usually composed of strange, dense harmonies and propulsive rhythms,” Mazzoli observed, “often layered in unex- pected ways. I’m interested in unusual in- struments like harmonicas, junk percussion, Piano Concerto No. 2 in B-flat major, major Concerto, although it is conceivable Op. 19 that the “new concerto of his invention” LUDWIG VAN BEETHOVEN he played was the C-major one. His friend Born December 16, 1770 (probably, since Franz Wegeler related that “not until the he was baptized on the 17th), in Bonn, afternoon of the second day before the con- Germany cert did he write the rondo, and then while Died March 26, 1827, in Vienna suffering from a pretty severe colic which frequently afflicted him. … In the anteroom Ludwig van Beethoven’s Piano Concerto sat four copyists to whom he handed sheet in B-flat major occupied him sporadically after sheet as soon as it was finished.” He through the decade of the 1790s, and he didn’t set down the piano part until six years may have premiered it as early as March 29, later, when he wrote to his publisher, “As 1795. His Piano Concerto No. 1 in C major is usual with me, the pianoforte part in the appears to date entirely from 1795 and to concerto was not written out in the score, have been premiered on December 18 of and only now have I done so, hence be- that year. Concerto No. 1 was brought out in cause of the haste, you will receive that part print in March 1801 and Concerto No. 2 not in my own illegible manuscript.” until that December, with the result that the C-major one was identified as the compos- Anyone writing a piano concerto in Vienna er’s Piano Concerto No. 1 and the earlier one at that time did so in the shadow of the late was labeled No. 2. lamented Mozart. Beethoven sticks to a Mozartean norm in this work’s general Beethoven was an adept keyboard play- structure: The first movement is a sonata er from an early age. In 1783 his teacher, form with an orchestral exposition, the sec- Christian Gottlob Neefe, contributed a glow- ond a lyrical slow movement, and the third ing report of his pupil to Cramer’s Magazine a rondo. The orchestral writing follows the der Musik, noting that “he plays the piano Mozartean ideal of an integrated texture in very skillfully and with power, reads at sight which the piano is primus inter pares. None- very well, and … would surely become a theless, within this idealized scoring the so- second Wolfgang Amadeus Mozart if he loist has plenty to keep busy; and if the fin- were to continue as he has begun.” In 1787 ger-work sounds not quite Mozartean, the Beethoven visited Vienna, where he may fact remains that the apple has not fallen far have taken piano lessons from Mozart. In from the tree November 1792 he finally moved to Vienna, which remained his home for the rest of Ein Heldenleben (A Hero’s Life), Op. 40 his life. In his luggage was the preliminary RICHARD STRAUSS work he had done on his Piano Concerto in Born June 11, 1864, in Munich B-flat major. Died September 8, 1949, in Garmisch- Partenkirchen, Germany. A high-profile event came his way on March 29, 1795, when he was featured as both An enduring contribution of the “Music of composer and pianist at a charity concert the Future” camp of Berlioz, Wagner, and at Vienna’s Burgtheater, held for the bene- especially Liszt, was the symphonic poem fit of the Vienna Composers Society, which or tone poem—a single-movement (if multi- looked after the welfare of musicians’ wid- sectioned) orchestral work based on literary ows and orphans. It is widely assumed that or other extra-musical inspiration. One of the he seized this occasion to premiere his B-flat circle’s ancillary figures was Alexander Ritter, who composed six symphonic poems of his such an exercise. It would be a symphonic own and served as associate concertmaster poem with strong classical leanings in terms of the Meiningen Court Orchestra, which was of structure, a sort of expanded “Classical conducted by Hans von Bülow. In Meiningen symphony.” It would be set in E-flat major, a he grew friendly with the young Richard key resonant with memories of Beethoven’s Strauss, whom von Bülow had brought in as Sinfonia eroica, which had been inscribed an assistant music director in 1885. Strauss “To celebrate the memory of a great man”— would later say that Ritter revealed to him the an idea not so very different from that con- greatness of the music of Wagner, Liszt, and veyed by the title “A Hero’s Life.” Like Berlioz and, by extension, opened his eyes Beethoven’s Eroica, it would be a work of to the possibilities of the symphonic poem. hefty proportions—Ein Heldenleben typically runs to three-quarters of an hour—and its or- From 1886 through 1915, Strauss produced chestration, including 8 horns and 5 trumpets ten tone poems that many feel represent the in its imposing 18-member brass section, genre at its height. He was drawn to the idea would leave the ears highly stimulated. (as he would recall in a memoir) that “new ideas must search for new forms; this basic Asked to explain his piece’s program, Strauss principle of Liszt’s symphonic works, in which declined, insisting: “There is no need of a the poetic idea was really the formative program. It is enough to know that there is a element, became henceforward the guiding hero, fighting his enemies.” His early biogra- principle for my own symphonic work.” pher Richard Specht, who viewed it as a sort of symphony, declared: “Of all Strauss’ sym- Ein Heldenleben, composed in 1897–98, can phonies, there is … none bolder in its heroic be read as musical autobiography. By that loftiness, or more touching in its final serene point of his career—he was 34 years old resignation, than this symphonic reflection of when he conducted its premiere—Strauss’ himself and his life’s adventure.” sense of self-esteem was highly developed. After his Meiningen appointment, he had James M. Keller is the longtime program proceeded to positions at the Munich Court annotator of the New York Philharmonic Opera, the Bayreuth opera house, and the and the San Francisco Symphony and is Court of the Grand Duke of Saxe-Weimar- the author of Chamber Music: A Listener’s Eisenstadt. He was routinely hailed at the Guide (Oxford University Press) premieres of his new compositions, was in demand as a guest conductor, and was on Earlier versions of these notes were written for the verge of signing a contract to become the programs of the Oklahoma City Philharmonic (Mazzoli) and New York Philharmonic (Beethoven, music director of the Berlin Court Opera. Strauss) and are used with permission.

It seemed to Strauss a reasonable moment to produce a musical reflection on himself and the struggles he had faced in achieving his success. The genre of the symphonic poem provided a perfect framework for Meet the Artists Philadelphia Orchestra, San Francisco Sym- phony, London Symphony Orchestra, Or- chestre Philharmonique de Radio France, Munich Philharmonic, NDR Hamburg, and Rotterdam Philharmonic. Return invitations include the and the symphony orchestras of Toronto, Dallas, Houston, and North Carolina. In Europe, in MATHIAS BOTHOR MATHIAS Karina Canellakis addition to her concerts with the Nether- Karina Canellakis (M.M. ’13, conducting lands Radio Philharmonic Orchestra and studies) begins her tenure as chief con- RSB, she returns to the Orchestre de Paris, ductor of the Netherlands Radio Philhar- Stockholm Philharmonic, Gurzenich Or- monic this season. Also this season she chester, and Zurich Opera to conduct becomes the first principal guest con- Verdi’s Requiem. On the operatic stage ductor in the history of the Berlin Radio Canellakis has conducted Die Zauberflöte Symphony Orchestra (RSB), and she is with the Zurich Opera, Don Giovanni and featured as the RSB’s artist in focus. In- Le nozze di Figaro with Curtis Opera The- ternationally acclaimed for her emotionally atre, and the world premiere of David Lang’s charged performances, technical command, opera The Loser at the Brooklyn Academy of and interpretive depth, Canellakis has con- Music. She also led Peter Maxwell Davies’ ducted many of the top orchestras in North opera The Hogboon with the Luxembourg America, Europe, the U.K., and Australia Philharmonic. Canellakis previously served since winning the Sir Georg Solti Con- as assistant conductor of the Dallas Sym- ducting Award in 2016. Highlights of the phony Orchestra. She is a graduate of the 2019–20 season include debuts with the Curtis Institute of Music and Juilliard. Atlanta Symphony, Minnesota Orchestra,

Juilliard Orchestra Juilliard’s largest and most visible student Marin Alsop, Elim Chan, Anne Manson, performing ensemble, the Juilliard Orches- Nicholas McGegan, Carlos Miguel Prieto, tra, is known for delivering polished and Jörg Widmann, Mark Wigglesworth, and passionate performances of works span- Keri-Lynn Wilson as well as faculty mem- ning the repertoire. Comprising more than bers Jeffrey Milarsky and David Robertson. 350 students in the bachelor’s and mas- The Juilliard Orchestra has toured across ter’s degree programs, the orchestra ap- the U.S. and throughout Europe, South pears throughout the season in concerts America, and Asia, where it was the first on the stages of Alice Tully Hall, Carnegie Western conservatory ensemble allowed Hall, David Geffen Hall, and Juilliard’s to visit and perform following the opening Peter Jay Sharp Theater. The orchestra is a of the People’s Republic of China in 1987, strong partner to Juilliard’s other divisions, returning two decades later, in 2008. Other appearing in opera and dance productions, ensembles under the Juilliard Orchestra as well as presenting an annual concert of umbrella include the conductorless Juilliard world premieres by Juilliard student com- Chamber Orchestra, Juilliard Wind Orches- posers. The Juilliard Orchestra welcomes tra, and new-music groups AXIOM and New an impressive roster of world-renowned Juilliard Ensemble. guest conductors this season including Juilliard Orchestra Karina Canellakis, Conductor

Violin Violoncello E-flat Clarinet Euphonium Angela Wee, Yifei Li, Principal Alec Manasse Carlos Jiménez Concertmaster David Bender Fernández Valerie Kim, Michael Cantú Bass Clarinet Principal Second Tzu-Wei Jack Huang Lirui Zheng Tuba Austin Haley Berman Ayoun Alexandra Kim David Freeman Rinat Erlichman Sanae Kodaira Bassoon Fanny Fheodoroff Han Lee Joshua Elmore, Principal Timpani Tal First Derek Louie Rebecca G. Krown, Omar El-Abidin Leerone Hakami Joshua McClendon Principal Jeremy Lap Hei Hao Tomsen Su Thalia Navas, Principal Percussion Hee Yeon Jung Michael Lamar Stella Perlic, Principal Angela Kim Double Bass Leo Simon, Principal Chae-won Kim Nina Bernat, Principal Contrabassoon Jake Borden William Lee Daniel Chan Rebecca G. Krown Tanner Tanyeri Peter Lin Szu Ting Chen MoLei Luo Blake Hilley French Horn Harp Mai Matsumoto Fox Myers Logan Bryck, Principal Miriam Ruf, Principal KJ McDonald Bennett Norris Jessica Elder, Principal Clara Warford Jason Moon Justin Smith Jason Friedman, Ha Eun Oh Xingyuan Weng Principal Piano/Synthesizer Hava Polinsky David Alexander Jiaying Ding Emma Richman Flute Lee Cyphers Adrian Steele Viola Chan, Principal Gabrielle Pho Lucas Stratmann Emma Resmini, Jaimee Reynolds Kelly Talim Principal Lauren Robinson Jieming Tang Mei Stone, Principal Ryan Williamson Helenmarie Vassiliou Ipek Karataylioglu Eliza Wong Trumpet Naxin Yin Piccolo Erik Larson, Principal Brenden Zak Emma Resmini Clinton McLendon, Yutong Zhang Principal Kevin Zhu Oboe Marshall Kearse Rachel Ahn, Principal Viola Lucian Avalon, Principal E-flat Trumpet Erin Pitts, Principal Kate Wegener, Principal Michael Chen Kayla Cabrera Alexander Mayer Robert Garrison Yoonsoo Cha Rae Gallimore English Horn Trombone Hannah Geisinger Lucian Avalon George Foreman, Bethlehem Hadgu Principal Joshua S. Kail Clarinet Ethan Shrier, Principal Zitian Lyu Phillip Solomon, Rosemary Nelis Principal Bass Trombone Frida Siegrist Oliver Lirui Zheng, Principal Marco Gomez Samuel Rosenthal Na Yoon Kim Claire Satchwell

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 Daniel Pate, Percussion Coordinator Lisa Dempsey Kane, Principal Orchestra Librarian Michael McCoy, Orchestra Librarian Adarsh Kumar, Orchestra Personnel Manager Michael Dwinell, Orchestral Studies Coordinator Nolan Welch, Orchestra Management Apprentice 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 Nancy A. Marks Lila Acheson Wallace Library and Doctoral Fellows Program Kent A. Clark Stephanie Palmer McClelland Jane Gottlieb, Vice President for Library and Information Resources; Barbara G. Fleischman Christina McInerney Director of the C.V. Starr Doctoral Fellows Program Mary Graham Lester S. Morse Jr. Jeni Dahmus Farah, Director, Archives Joan W. Harris Stephen A. Novick Alan Klein, Director of Library Technical Services Matt Jacobson Susan W. Rose Edward E. Johnson Jr. Jeffrey Seller Preparatory Division Karen M. Levy Deborah Simon Weston Sprott, Dean Teresa E. Lindsay Sarah Billinghurst Solomon Yoheved Kaplinsky, Artistic Director, Pre-College Laura Linney William E. "Wes" Stricker, MD Anthony McGill, Artistic Director, Music Advancement Program Michael Loeb Yael Taqqu Rebecca Reuter, Administrative Director, Music Advancement Vincent A. Mai Damian Woetzel Program Ellen Marcus Camille Zamora Ekaterina Lawson, Director of Admissions and Academic Affairs, Greg Margolies Pre-College Anna Royzman, Director of Performance Activities, Pre-College

TRUSTEES EMERITI Enrollment Management and Student Development Joan D. Warren, Vice President June Noble Larkin, Chair Emerita Kathleen Tesar, Associate Dean for Enrollment Management Mary Ellin Barrett Sidney R. Knafel Barrett Hipes, Dean for Student Development Kenneth S. Davidson Elizabeth McCormack Sabrina Tanbara, Assistant Dean of Student Affairs Keith R. Gollust Cory Owen, Associate Dean of Student Development William Buse, Director of Counseling Services Joseph W. Polisi, President Emeritus Rachel Christensen, Administrative Director, Alan D. Marks Center for Career Services and Entrepreneurship JUILLIARD COUNCIL Katherine Gertson, Registrar Tina Gonzalez, Director of Financial Aid Mitchell Nelson, Chair Teresa McKinney, Director of Community Engagement Michelle Demus Auerbach Jean-Hughes Monier Camille Pajor, Title IX Coordinator Barbara Brandt Terry Morgenthaler Todd Porter, Director of Residence Life Brian J. Heidtke John G. Popp Howard Rosenberg MD, Medical Director Gordon D. Henderson Grace E. Richardson Dan Stokes, Director of Academic Support and Disability Services Peter L. Kend Jeremy T. Smith Beth Techow, Administrative Director of Health and Younghee Kim-Wait Alexander I. Tachmes Counseling Services Sophie Laffont Anita Volpe Development Alexandra Wheeler, Vice President and Chief Advancement Officer EXECUTIVE OFFICERS Katie Murtha, Director of Major Gifts AND SENIOR ADMINISTRATION Lori Padua, Director of Planned Giving Rebecca Vaccarelli, Director of Alumni Relations Damian Woetzel, President Kim Furano, Director of Foundation and Corporate Relations Robyn Calmann, Director of Special Events Office of the President Jacqueline Schmidt, Vice President and Chief of Staff Public Affairs Kathryn Kozlark, Special Projects Producer Rosalie Contreras, Vice President of 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 Chief Operating Officer and Corporate Secretary Alicia Graf Mack, Director Lesley Rosenthal, Chief Operating Officer and Corporate Secretary Katie Friis, Administrative Director Christine Todd, Vice President and CFO Cameron Christensen, Associate Vice President, Facilities Drama Division Management Evan Yionoulis, Richard Rodgers Director Kent McKay, Associate Vice President for Production Richard Feldman, Associate Director Betsie Becker, Managing Director of K-12 Programs Katherine Hood, Managing Director Michael Kerstan, Controller Irina Shteyn, Director of Financial Planning and Analysis Music Division Nicholas Mazzurco, Director of Student Accounts/Bursar Adam Meyer, Director, Music Division, and Nicholas Saunders, Director of Concert Operations Deputy Dean of the 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 Maurice F. Edelson, Vice President for Administration and Operations General 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 Dmitriy Aminov, Director of IT Engineering for the Kovner Fellowships Clara Perdiz, Director of Client Services, IT Jeremy Pinquist, Director of Enterprise Applications 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