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Home , Edward Elgar, George Enescu

Thursday Evening, December 6, 2018, at 7:30

The Juilliard School presents Juilliard Itzhak Perlman , Conductor Zlatomir Fung ,

ANTONIN DVO Rˇ ÁK (1841 –1904) Cello in B minor, Op. 104 (1896) Allegro Adagio, ma non troppo Finale: Allegro moderato ZLATOMIR FUNG , Cello

Intermission

EDWARD ELGAR (1857 –1934) , Op. 36 ( Variations on an Original Theme ) (1899) Theme I. (C.A.E.) II. (H.D.S-P) III. (R.B.T.) IV. (W.M.B.) V. (R.P.A.) VI. (Ysobel) VII. (Troyte) VIII. (W.N.) IX. (Nimrod) X. (Dorabella)— XI. (G.R.S.) XII. (B.G.N.) XIII. (* * *)—Romanza XIV. (E.D.U.)—Finale (played without pause)

Performance time: approximately 1 hour and 30 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. Notes on the Program as the in F major (Op. 96, the “American”), String Quintet in E-flat by James M. Keller major, From the New World , and (in his final year here) . Cello Concerto in B minor, Op. 104 ANTONÍN DVO Rˇ ÁK This grand and noble work was first heard Born September 8, 1841, in Mühlhausen when Dvo rˇák played through it privately in (Nelahozeves), Bohemia August 1895 with his close friend Hanuš Died May 1, 1904, in Prague, Bohemia Wihan, an eminent cellist and the work’s dedicatee. Wihan suggested a few techni - As a young man, Antonín Dvo rˇák was cal alterations, which the incor - worthily employed as a musician, though porated; but Dvo rˇák rejected as superflu - his position as principal violist in Prague’s ous Wihan’s idea of inserting a large-scale Provisional Theatre orchestra earned him solo in the Finale —to the distress little money. In 1871 he left the orchestra of the cellist, who had spent considerable to devote himself to composing full-time, care crafting one that incorporated material but still some years would pass until he from the earlier movements. Dvo rˇák took managed to get his music published the precaution of spelling out his position thanks to the support of the influential in a letter to his publisher early that October: music critic Eduard Hanslick and fellow composer . Even then, I shall only give you my work if you his mature masterpieces were slow to promise not to allow anybody to make make their way into the international reper - any changes—my friend Wihan not toire, embraced in and America excepted— without my knowledge and sooner than in the rest of Europe. Except consent, and this includes the cadenza for the Slavonic Dances, Carnival , which Wihan has added to the last move - and Symphony From the New World , ment … I told Wihan straight away when Dvo rˇák remained little played outside his he showed it to me that it was impossi - native land until practically the middle of ble to stick bits on like that. The finale the 20th century. closes gradually diminuendo , like a sigh—with reminiscences of the first and In 1891 Dvo rˇák received a communication second movements—the solo dies from Jeannette Thurber, a -trained down to pianissimo —then swells again American musician who was now a New and the last bars are taken up by the York philanthropist bent on raising American orchestra and the whole concludes in musical pedagogy to European standards. stormy mood. That was my idea and I To this end she had founded the National cannot depart from it. Conservatory of Music in New York, incor - porated by special act of Congress in 1891, Feathers were apparently ruffled enough and she set about persuading Dvo rˇák to that Dvo rˇák enlisted a different cellist, Leo serve as its director. She succeeded, and Stern, for the premiere (in London on the following year Dvo rˇák and his family March 19, 1896), as well as for the first moved to New York. He would remain until Prague performance. But a truce was soon 1895 (though spending summer vacations struck, and within a few years Wihan elsewhere), building the school’s curricu - began performing this piece, too, includ - lum and faculty, appearing as a guest con - ing, on one occasion in Budapest, with ductor, and composing such masterworks Dvo rˇák —and with no cadenza. Dvo rˇák enjoyed a long and happy marriage Music Society. The following year he got a to Anna Cˇ ermáková, whom he wed in public performance, in , of an 1873. But she had not been his first love; orchestral intermezzo he had written, and several years before he had experienced a he very gradually built a reputation from serious infatuation for one of her elder sis - there. By the mid-1890s he was deemed a ters, Josefina, who had been taking piano name to reckon with, and in 1900 his ora - lessons from him at the time. Nothing torio , presented physical came of that early attraction at the Birmingham Festival, established (which in any case seems to have been him as Britain’s leading composer, a per - strictly one-way), and Josefina and Antonín fect embodiment of the plushly comfort - spent 30 years living as affectionate and able, healthily vigorous spirit of the entirely platonic in-laws. Josefina’s health Edwardian moment. declined while the Dvo rˇ áks were in America, and she died just a month The year before Gerontius (deemed by they returned to Prague. It appears that the many to be his masterpiece), the British composer worked a tribute to her into his public got its first taste of what would Cello Concerto by incorporating into the become the most performed—and most slow movement a quotation from his song discussed—of Elgar’s major instrumental “Lasst mich allein” (“Leave Me Alone,” compositions, his Variations on an Original Op. 82, No. 1), which Dvo rˇák’s biographer Theme (Op. 36), popularly known as the Otakar Šourek maintained was a particular Enigma Variations . The work’s title, as favorite of Josefina’s. It was on learning of announced on the program at its premiere her death that Dvo rˇák crafted the coda at (in 1899 in London), was simply Variations the concerto’s end. for Full Orchestra. But more mischief was afoot than that perfunctory title might sug - Enigma Variations , Op. 36 ( Variations gest. The program note on that occasion on an Original Theme ) revealed that Elgar had crafted each of the variations to describe some friend or Born June 2, 1857, at Broadheath, acquaintance, but he would not reveal their , England identities; the connection was suggested Died February 23, 1934, in Worcester, by initials attached to each section, but it England was understood that these might not always be simplistic renderings of the ini - Edward Elgar holds sway as the preemi - tials of the names of the subjects of “por - nent representative of the , traits” but rather encodings of some more the late-Imperialist moment of British his - arcane sort (perhaps alluding to a nick - tory named after the monarch who reigned name, for example). And then the com - over it—Edward VII, who on July 4, 1904, poser suggested that something deeper turned the composer into Sir Edward. The might be going on: son of an in Worcester, Elgar enjoyed a none-too-spectacular career The enigma I will not explain—its “dark early on, deputizing for his father in church saying” must be left unguessed, and I lofts, picking up a bit of instruction on vio - warn you that the apparent connection lin, serving as bandmaster at the Worcester between the Variations and the Theme is County Lunatic Asylum, and, in 1882, often of the slightest texture; further, acceding to the position of music director through and over the whole set another of the Worcester Amateur Instrumental and larger theme “goes,” but is not played—so the principal Theme never At least part of Elgar’s enigma was solved appears, even as in some late dramas— quickly. The identities of the subjects por - e.g. Maeterlinck’s L’Intruse and Les Sept trayed by the variations leave not much princesses —the chief character is never room for doubt: an assortment of family, on the stage. friends, and colleagues. Many believe that the larger enigma of these variations, the Predictably, this made everyone terribly “dark saying” to which Elgar alluded, may curious, and a flurry of hypothesizing be mere subterfuge: that the enigma can - ensued, some of it so imaginative as to not be guessed with certainty because no verge on the certifiably batty. For his part enigma exists. What there can be no Elgar fanned the flames of speculation by doubt about is that in this work Elgar sup - dropping elusive comments such as “the plied the symphonic repertoire with one of theme is so well known that it is extraordi - its richest sets of orchestral variations, nary that no one has spotted it,” as he captivating in their working out, evocative remarked to Arthur Toye Griffith (portrayed in their instrumentation, elegant in their in Variation VII) or, to Dora Penny (a.k.a. overall balance. Mrs. Richard Powell, and the “Dorabella” of Variation X), that he was flabbergasted James M. Keller is the longtime program that “you, of all people” had not solved the annotator of the puzzle. At the same time he resolutely and the San Francisco Symphony, and refused to reveal anything at all about the serves as critic-at-large for the Santa Fe solution, and whatever he did say tended New Mexican , the oldest newspaper west to toss what may be red herrings into of the Mississippi. His book Chamber waters that were already muddy. For Music: A Listener’s Guide is published by example, in a program note written for a Oxford University Press. performance in Italy in 1911, Elgar wrote, “It may be understood that these person - These notes appeared in an earlier form in ages comment or reflect on the original the programs of the New York Philharmonic theme and each one attempts a solution of and are used with permission. © New the Enigma, for so the theme is called.” York Philharmonic Meet the Artists Perlman’s recordings have garnered 16 Grammy Awards and regularly appear on the best-seller charts. In 2008 he received O

C a Grammy Lifetime Achievement Award C U Z

Z for excellence in the recording arts, and he A M - has also won four Emmy Awards and a E I R

A Genesis Prize. M - A S I

L Itzhak Perlman Undeniably the reigning virtuoso of the vio - lin, Itzhak Perlman (Pre-College ’63; ’68 vio - lin ) enjoys superstar status rarely afforded a E N classical musician. Beloved for his charm I D

T and humanity as well as his talent, he is T A treasured by audiences throughout the M Zlatomir Fung world who respond not only to his remark - Zlatomir Fung, a cellist of Bulgarian-Chinese able artistry, but also to his irrepressible joy heritage, won first prize at the 2018 for making music. Having performed with Schoenfeld International String Competition every major orchestra and at concert halls and was awarded the compe tition’s sole around the globe, Perlman was granted a performance engagement prize , a concert Presidential Medal of Freedom, the nation’s with Poland’s Poznan Philharmonic Orchestra. highest civilian honor, by President Obama He has appeared as a soloist with many in 2015, a Kennedy Center Honor in 2003, U.S. and European . As a first- a National Medal of Arts by President prize winner of the 2017 Young Concert Clinton in 2000, and a Medal of Liberty by Artists International Auditions, Fung makes President Reagan in 1986. The 2018 –19 his recital debuts in the 2018 –19 Young season marks the 60th anniversary of Concert Artists Series at Merkin Concert Perlman’s U.S. debut and appearance on Hall and the Kennedy Center. He will per - The Ed Sullivan Show on November 2, form Bloch’s Schelomo with Orchestra 1958. This milestone was celebrated Iowa this season, and give recitals for the with a return to the Ed Sullivan Theater Cosmos Club, Hopkins Center, Port Wash- on November 2, 2018, in a special guest ington Library, School of appearance on The Late Show With Music/Queens College, Jewish Community Stephen Colbert . Highlights of this season Alliance, Colgate Uni versity, Patrons for include performances with Gustavo Dudamel Young Artists in Poughkeepsie, Salon de and the Los Angeles Philharmonic, Michael Virtuosi, Tryon Concerts, Chamber on the Tilson Thomas and the San Francisco Mountain in Washington state, and the Symphony, and duo concerts with Evgeny American Friends of the London Philharmonic Kissin in Boston, Chicago, Washington, D.C., Orchestra. Fung was a 2016 Presidential and New York. A documentary on Perlman, Scholar for the Arts, and won the 2017 Itzhak , premiered in October 2017 as the Astral National Auditions as well as first opening night film of the 25th annual prizes at the International Hamptons International Film Festival. Cello Com petition in , Johansen Directed by Alison Chernick, it was International Competition for Young String released theatrically in more than 100 cine - Players, Stulberg International String Com - mas nationwide in March, with interna - petition, and the Irving Klein International tional releases following in the summer. Competition. He has participated at Ravinia’s Steans Music Institute, Heifetz International Sharp Theater. The orchestra is a strong Music Institute in Virginia, and the Aspen partner to Juilliard’s other divisions, appear - Music Festival. He is a regular member of ing in opera and dance productions, as well the Jupiter Symphony Chamber Players for as presenting an annual concert of world their 2018 –19 season, and has been fea - premieres by Juilliard student . tured on NPR’s radio show From the Top The Juilliard Orchestra welcomes an impres - six times, as well as on Performance sive roster of world-renowned guest con - Today . He is a student of Richard Aaron ductors this season including John Adams, and Timothy Eddy at Juilliard, and he plays Marin Alsop, Joseph Colaneri, Barbara a 1705 Mattio Popella cello generously on Hannigan, Steven Osgood, and Peter loan from Marc Pasciucco. Oundjian, as well as faculty members Kovner Fellowship Jeffrey Milarsky, Matthias Pintscher, and David Robertson. The Juilliard Orchestra has Juilliard Orchestra toured across the U.S. and throughout Juilliard’s largest and most visible student Europe, South America, and Asia, where it performing ensemble, the Juilliard Orchestra, was the first Western conservatory ensem - is known for delivering polished and pas - ble allowed to visit and perform following sionate performances of works spanning the opening of the People’s Republic of the repertoire. Comprising more than 350 China in 1987, returning two decades later, students in the bachelor’s and master’s in 2008. Other ensembles under the Juilliard degree programs, the orchestra appears Orchestra umbrella include the conductor - throughout the season in concerts on the less Juilliard Chamber Orchestra, the Juilliard stages of Alice Tully Hall, , Wind Orchestra, and the new-music groups David Geffen Hall, and Juilliard’s Peter Jay AXIOM and New Juilliard Ensemble.

Juilliard Orchestra Itzhak Perlman , Conductor Violin Ziyao Sun Cello Flute Timothy Chooi, Muyun Tang Anne Richardson, Chan, Principal Concertmaster Helenmarie Vassiliou Principal Chun Sum Chris Wong, Mark Chien, Principal Jessica Jo-Tzu Yang Sterling Elliott Principal Second Naxin Yin Zlatomir Fung Yiding Chen Shenae Anderson Hikaru Yonezaki Julia Lee Yejin Lisa Choi Katherine (Kit Ying) Yutong Zhang Shangwen Liao Cheng Emma Zhuang Derek Louie Piccolo Amelia Dietrich Woojin Nam Yiding Chen Rinat Erlichman Viola Dawn Song Yejin Lisa Choi Randall Goosby Charles Galante, Marza Merophi Wilks Jeremy Lap Hei Hao Principal Eliana Razzino Yang Oboe Jordan Hendy Yoonsoo Cha Rachel Ahn, Principal HoJung Kim En-Chi Cheng Double Bass Daniel Gurevich, Stephen Kim Howard Cheng Justin Smith, Principal Principal Valerie Kim Yuchun Cheng Michael Gabriel Abigél Králik Joshua Kail Blake Hilley Clarinet Hsueh-Hung Lee Zitian Lyu Attila Kiss Phillip Solomon, In Ae Lee Claire Satchwell Jonathan Luik Principal Mai Matsumoto Lauren Siess Zachary Marzulli Sunho Song, Principal K.J. McDonald Elijah Spies Dimitrios Mattas Jason Moon Sarah Semin Sung Fox Myers Bassoon Kenneth Ryu Naito Cameren Williams Kyle Olsen, Principal Oliver Neubauer Steven Palacio, Kenneth Renshaw Principal Grace Rosier Troy Baban Contrabassoon Trumpet Bass Percussion Troy Baban Marshall Kearse, Aaron Albert Euijin Jung, Principal Principal Mizuki Morimoto, French Horn William Leathers, Tuba Principal Jasmine Lavariega, Principal Deandre Desir Jacob Borden Principal Peter Hoyle Cort Roberts, Principal Organ Vincent Kiray Trombone Stella Perlic Daniel Ficcari Hannah Miller Stephen Whimple, Tyler Cunningham Ryan Williamson Principal Hanae Yoshida, Principal Carlos Jiménez Fernández

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 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