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Home , Arcadiana, Asyla, Cello Concerto (Albert), Cello Concerto (Muhly), In Seven Days, Le Tombeau de Couperin

Monday Evening, November 13, 2017, at 7:30

The presents Juilliard Thomas Adès , Conductor Rachel Siu ,

THOMAS ADÈS (b. 1971) …but all shall be well , Op. 10 (1993)

EDWARD ELGAR (1857–1934) Cello in E minor, Op. 85 (1919) Adagio—Moderato Lento—Allegro molto Adagio Allegro—Moderato—Allegro, ma non-troppo RACHEL SIU , Cello

Intermission

ADÈS Three Studies From Couperin (2006) Les amusemens Les Tours de Passe-passe L’Âme-en-Peine

IGOR STRAVINSKY (1882–1971) in Three Movements (1942 –45) Overture—Allegro Andante—Interlude: L’istesso tempo Con moto

Performance time: approximately 1 hour and 25 minutes, including one 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 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 a “consolation,” which is indeed what the richly allusive Adès calls the piece by Thomas May (echoing the name Franz Liszt gave to his set of six Consolations ). The instru - …but all shall be well , Op. 10 mental layout pays homage to Benjamin THOMAS ADÈS Britten’s War Requiem . Brief in its span Born March 1, 1971, in London, England but emotionally dense, …but all shall be well is laid out in three sections, juxta - While The Exterminating Angel continues posing timbres and continually transform - to play this month at the Metropolitan ing the material’s stepwise gestures. Opera, tonight's concert by the Juilliard Dedicating it to the memory of his grand - Orchestra affords an opportunity to com - father, Adès has remarked “this 1993 pare and contrast instrumental music by composition is a piece about now, about Thomas Ad ès, likewise conducted by the our own fin-de-siècle .” composer. He looks back to the years when he was just starting out for this first Cello Concerto in E minor , Op. 85 selection, composed when Ad ès was only EDWARD ELGAR 22. Commissioned to mark the 150th Born June 2, 1857, in Broadheath, England anniversary of the Cambridge Music Died February 23, 1934, in Worcester, Society, …but all shall be well is his first score England calling for the resources of a large orchestra. The last major work for orchestra com - This backward glance is particularly fascinat - pleted by Edward Elgar, the Cello Concerto ing in that aspects of the Ad ès personality is imbued with an elegiac sensibility— can already be recognized: the confidently Romanticism at (or even after) its sunset. original use of the orchestral palette, the As the Great War was nearing its end, ear for telling details, and the uncanny Elgar retired from London to his beloved sense of “magnetism” between notes and countryside in Sussex, seeking to be harmonies (to use one of his favored closer to the healing powers of nature. He terms, which he defines as “the magnetic experienced a late-career burst of inspira - pull of the notes put in a given disposition, tion with a series of chamber music works their shifting relative weights”). and the Cello Concerto from the summer of 1919. These works manifest a relatively …but all shall be well takes its title from T.S. economical line of thinking. Eliot, a poet toward whom Adès has long gravitated. His first official opus, Five Eliot Elgar ’s brand of Romanticism owed much to Landscapes (1990), setting minor Eliot poems the wellspring of the Central European tradi - for soprano and piano, appeared when he tion. Although he didn’t necessarily intend it was 19. The source here is Little Gidding , the as a valedictory statement, the score is full final poem in Eliot’s (already highly musi - of backward glances—as if the composer cal) Four Quartets : “Sin is Behovely, but/ All were sifting for some meaning to hold on to shall be well, and /All manner of thing shall in the wake of the First World War, which be well. ” This, in turn, is Eliot quoting the had forever shattered the old certainties. medieval English mystic and anchoress Julian of Norwich (1342 –1416). So the ellipses in The Concerto’s autumnal sensibility was Adès ’ title might be taken as the missing exploited to underscore the flashback “sin is Behovely” (i.e., “necessary,” “fit - technique used so prominently in Hilary ting”): the human condition that requires and Jackie , the 1998 musical biopic about the cellist Jacqueline du Pré , who “redis - piece). This is explicitly, intriguingly mani - covered” the piece—a fiasco at its 1919 fest in Three Studies From Couperin for premiere—and made it a signature , reclaim - chamber orchestra, which was c ommis - ing it for the contemporary repertoire. sioned by the Basel Chamber Orchestra and premiered in 2006. In addition to com - The cello enters the spotlight at the very posing and conducting, Adès is a superb beginning with a dramatic recitative. Elgar pianist and has stated: “My ideal day stages the interplay between orchestra would be staying home and playing harpsi - and soloist with finely judged details: vio - chord works of Couperin—new inspiration las , for example, first trace the elegiac on every page.” main theme—recognizable from its lilting, wavelike motion—before the cello elabo - François Couperin (1668 –1733) had already rates its deeper implications. Another kind inspired Adès to write his 1994 piece Les of melancholy emerges in the middle sec - Baricades mistérieuses , an arrangement of tion’s theme—as contrasting as the differ - the French Baroque master’s music for a ence between public and private grief. five-person ensemble. Three Studies brings the Adèsian perspective to selections from Pizzicato chords on the cello pull us directly the Pièces de clavecin , pieces for solo key - into the next movement, a lighthearted board published in four volumes scherzo pulsing with rapid-fire repeat in early-18th-century . Couperin’s music notes. The Adagio ’s lengthy melody distills has found unexpected resonances in later a deeply tragic sens ibility—here is the real centuries: most famously, in the World leave-taking—serene in its resignation. War I –tinged homage of ’s Elgar touches on the realm of experience Le tombeau de Couperin. Like Ravel, Adès in which the same memory can simultane - filters the source material he has chosen ously provide consolation and trigger pain. through his unique orchestral sensibility. The woodwinds and brass players are instructed Elgar’s unusual formal design is such that the to be seated in one line along the back of the finale is the longest of the four movements. orchestra, with the strings divided into two Once again a recitative-like solo cadenza and the percussionist placed in serves as a transition from the Adagio and at the center, behind the other players. the same time is a prelude to the finale proper. Springing to life with a lively main Adès retains the Frenchman’s characteristi - theme, this highly varied movement pro - cally quirky titles: Les Amusemens [sic], Les ceeds alternates between confident asser - Tours de Passe-passe (“Sleight of Hand”), tions and somber introspection. Towards the and L’Âme-en-Peine (“The Tormented Soul”). end a slower, graver theme calls forth the “New inspiration” does indeed emanate cellist’s fullest eloquence. Flashbacks to pre - from every page, each of these pieces evok - viously heard material cast a shadow against ing a separate little world of its own. Adès lav - the music’s dying glow before the tempo ishes loving attention on his treatment of quickens for Elgar’s impassioned adieu. Couperin’s ornamentation, clothing the mate - rial in slightly unexpected instrumental guises Three Studies From Couperin (alto and bass , bass marimba) that defa - THOMAS ADÈS miliarize slightly, without being mannered.

A predilection for creative engagement In Full of Noises , his book of conversations with the past was already apparent early in with fellow Briton and music critic Tom Adès’ work (as we heard in the opening Service, Adès offers a memorable description of his creative process: “You sense this form But this “ Russian period ” took place during internally and have to find a way to realize Stravinsky’s American exile, when he was liv - it…. It may be like seeing the face in the ing in West Hollywood. Taking on a larger bur - fire, which isn’t actually there, but once den of conducting assignments to finance his you’ve written it down, it becomes real. expensive tastes, Stravinsky worked intermit - Just as if an artist draws a face they see in tently during the last three years of the war on the fire, then once it is drawn that face the Symphony in Three Movements, a com - becomes a real face. Writing music is like mission from the New York Philharmonic , trying to draw the face in the fire.” With which the composer led in the premiere, in Three Studies Adès draws a remarkable 1946. The score fuses material from widely orchestral doppelgänger of Couperin, real disparate projects into a powerful but con - enough to convince us it was always there. densed symphonic statement.

Symphony in Three Movements Although the notion of program music was anathema to his artistic credo, Stravinsky Born June 17, 1882, in St. Petersburg, Russia himself described the Symphony as an Died April 6, 1971, in New York City outcome of “this our arduous time of sharp and shifting events, of despair and Despite having published a symphony as hope, of continual torments, of tension, his official Opus 1 (the youthful Symphony and at last cessation and relief.” He ner - in E-flat, composed while he was still heav - vously followed the course of the war from ily under the influence of his teacher Rimsky- his outpost in Los Angeles by pinning the Korsakov), Igor Stravinsky only returned to front lines on maps. The outer movements the genre with his two mature instrumen - have been read as Stravinsky’s take on the tal at a relatively late stage in “war symphony, ” as practiced by his com - his career. [His two other symphonic patriot Dmitri Shostakovich. Stravinsky also works— Symphonies of Wind Instruments referred to the influence of war documen - (1920) and the (1930 )— taries showing arrogantly marching Nazis are not truly symphonies at all, but anom - and their defeat by advancing Allied forces. alous, one-of-a-kind creations.] The first movement begins in a state of tur - Both the Symphony in C (1940) and the moil, deploying the full fury of Stravinsky’s Symphony in Three Movements (1942 –45) large orchestra and then bringing the solo might suggest further stations in Stravinsky’s piano’s mechanical sonority into the fore - “neoclassical” style, but they actually ground. Savage, angular, syncopated rhyth - return to aspects of the composer’s earlier mic accents will immediately remind listeners style from the revolutionary ballets predat - of how much The Rite of Spring was on ing World War I: the Symphony in Three Stravinsky’s mind. He had recently revised Movements in particular echoes some - its score. thing of the wild energy of The Rite of Spring . The critic and scholar Paul Griffiths During his time in Los Angeles, Stravinsky describes the work in the context of contemplated several film projects, but Stravinsky’s other World War II composi - Fantasia became the only collaboration tions as representing “another Russian with Hollywood that took off. Another period, beholden less to folksong…than to project that was discussed but never real - Soviet music and Tchaikovsky, to steel fac - ized was the scoring of The Song of tories and the Mariinsky.” Bernadette , based on Franz Werfel’s novel about a teenage girl’s visions of the work. Each has a solo role in the first and Virgin Mary. It didn’t pan out, but the second second movements, respectively; both movement recycles some ideas he had take part in the final movement. “Only at sketched for the film. A gentle respite and the turning-point , the Nazi queue de counterpart to the seismic violence of the poisson ,” the composer wrote, “are the outer movements, this music brings the harp two heard together and alone.” The into relief and anticipates some ideas from Symphony suddenly reaches a note of Stravinsky’ s later opera The Rake’ s Progress . “victory” as abrupt as it is convulsive.

A connecting interlude leads to the third Thomas May is the English-language editor movement and a resurgence of the Rite - for the Lucerne Festival and writes about infused intensities of the first. Stravinsky the arts for a wide variety of publications. described the piano and harp as the “ prin - His books include Decoding Wagner and cipal instrumental protagonists ” of this The Reader .

Meet the Artists Symphony, Barbican Centre, and other major presenting institutions. He has also written prizewinning works for chamber ensemble, solo piano, and chorus.

E Mr. Adès also maintains international C O V

careers as both a conductor and pianist. In N A I addition to the orchestras mentioned ear - R

B Thomas Adès lier, he has led, among others, the Vienna British composer Thomas Adès is one of Philharmonic and London Symphony, and the foremost musicians of his generation. currently serves as the first-ever artistic To date he has composed three operas: partner to the Boston Symphony Orchestra, had its premiere in 1995 where he has also appeared with the at the Cheltenham Festival; Boston Symphony Orchestra Chamber premiered at House, Players in addition to his conducting Covent Garden, in 2004, and has subse - responsibilities. He frequently performs as quently been staged for productions at the a pianist in solo recital or with colleagues , Vienna State Opera, including , cellist Steven Hungarian State Opera, and in Frankfurt, Isserlis, and pianist Kirill Gerstein. His many Quebec, and Lübeck, Germany; and The awards include the Grawemeyer Award for Exterminating Angel , which had its world (1999); Royal Philharmonic Society premiere in 2016 at the Salzburg Festival, large-scale composition awards for Asyla , was performed at Covent Garden last The Tempest, and ; the Ernst von spring and had its North American pre - Siemens composers’ prize for ; miere at the Metropolitan Opera in October. and the British Composer Award for The Commissions for large-scale orchestral Four Quarters . His CD recording of The works including , , Tempest from Covent Garden (EMI) won Tevot, and have come from phil - the contemporary category of the 2010 harmonic orchestras in Berlin, Los Angeles, Gramophone Awards and his DVD of the and New York, as well as the Royal production from the Metropolitan Opera Concertgebouw Orchestra, San Francisco was awarded the Diapason d’Or de l’année (2013), a Grammy Award for best opera Glenn Dicterow. Irene Land Scholarship, recording (2014), and an ECHO Klassik Argyll Campbell Rice and Argyll Pryor Award for music DVD recording of the year Rice Scholarship (2014). In 2015 he was awarded Denmark’s Léonie Sonning Music Prize. Juilliard Orchestra Juilliard’s largest and most visible student Mr. Adès appears courtesy of the Metro - performing ensemble, the Juilliard Orchestra, politan Opera. is known for delivering polished and pas - sionate performances of works spanning the repertoire. Comprising more than 350 students in the bachelor’s and master’s S N

I degree programs, the orchestra appears L L

O throughout the 2017–18 season in more C

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A than a dozen performances on the stages M O

H of Alice Tully Hall, Carnegie Hall, David T Rachel Siu Geffen Hall, and Juilliard’s Peter Jay Sharp Cellist Rachel Siu was born and raised in Theater. The season opened in August with Australia where she studied with Peter a collaboration between Juilliard and Finland’ s Rejto before moving to New York in 2015 Sibelius Academy members conducted by to pursue her bachelor’s degree at Juilliard Esa-Pekka Salonen with concerts in Alice as a student of Joel Krosnick. She made Tully Hall, Helsinki, and Stockholm. her solo debut at the age of seven, and her orchestral debut at age nine, performing The orchestra is a strong partner to the Saint-Saëns Cello Concerto with the Juilliard’s other divisions, appearing in Beecroft Orchestra. In 2017 Ms. Siu made opera and dance productions. Under the her international debut with the Guangzhou musical leadership of Alan Gilbert, the Symphony Orchestra conducted by Long director of conducting and orchestral stud - Yu in the New Year’s concert held in the ies, the Juilliard Orchestra welcomes an Xinghai Concert Hall. impressive roster of world-renowned guest conductors this season including Joseph In 2009, at the age of 11, she became the Colaneri, Edo de Waart, Chen Lin, David youngest winner in the 33-year history of the Robertson, Speranza Scappucci, Gerard National Youth Concerto Competition in Schwarz, and Emmanuel Villaume, as well Australia. After winning the Young Virtuoso as faculty members Jeffrey Milarsky and Award Program in 2014, she became the Mr. Gilbert. The Juilliard Orchestra has toured youngest finalist in the 2015 ABC Symphony across the U.S. and throughout Europe, Australia Young Performers Awards national South America, and Asia, where it was the competition. In 2017 she was a semi-finalist in first Western conservatory ensemble allowed the Stulberg International String Competition. to visit and perform following the opening of the People’s Republic of China in 1987, In the summer of 2016 Ms. Siu attended returning two decades later, in 2008. Other the Music Academy of the West, held in ensembles under the Juilliard Orchestra Santa Barbara, California, where she was umbrella include the conductorless Juilliard one of the principal cellists for the orches - Chamber Orchestra, the Juilliard Wind tra, and performed chamber music with Orchestra, and the new-music groups world-renowned artists, Karen Dreyfus and AXIOM and New Juilliard Ensemble. Juilliard Orchestra Alan Gilbert , Director of Conducting and Orchestral Studies, William Schuman Chair in Musical Studies Thomas Adès , Guest Conductor

Violin I Cello English Horn Tenor Hannah Tarley, Philip Sheegog, Lucian Avalon George Foreman, Concertmaster Principal Pablo O’Connell Principal Ewald Cheung Frankie Carr Ryan Roberts Hanae Yoshida, Mark Chien Sterling Elliott Principal Ann Sangeun Cho Jan Fuller Hannah Cho Zlatomir Fung Shen Liu, Principal Bass Trombone Timothy Chooi Jessica Hong Sydney Lusby, Principal Aaron Albert, Principal Amelia Dietrich Noah Krauss Noemi Sallai, Principal Filipe Alves, Principal Isabella Geis Shangwen Liao Randall Goosby Yu Yu Liu E-flat Clarinet Andrew Koonce Mark Prihodko Shen Liu Samantha Lake, Seung Hyun Lee Aaron Wolff* Principal In Ae Lee Giovanni S. Maraboli, George Meyer* Double Bass Sydney Lusby Principal Sophia Steger Nicholas Myers, Helenmarie Vassiliou Principal William Ching Yi Wei Nina Bernat Thomas English, Toby Grace, Principal Daniel Chan Principal Harrison Honor, Violin II Timothy Chen Joey Lavarias, Principal Principal Zeynep Alpan, Principal Nicholas Tyler Kleinman Steven Palacio, Rinat Erlichman Markus Lang Principal Percussion Emma Frucht Dominic Law* Benjamin Cornavaca, Phoebe Gardner Justin Smith Principal Nikayla Kim Joey Lavarias David Yoon, Principal Jonathan Miron Flute Toby Grace Manami Mizumoto Emily Duncan, Principal Harrison Honor Jason Moon Olivia Staton, Principal David Alexander, Sophia Stoyanovich Yejin Lisa Choi Principal Harp Momo Wong Thea Humphries, Deanna Cirielli, Principal Mira Yamamoto Piccolo Principal Clara Warford, Principal Manjie Yang Yejin Lisa Choi Kaitlyn Resler, Principal Cherry Choi Tung Yeung* Emily Duncan Lee Cyphers Piano Yutong Zhang Olivia Staton Christopher Reynolds, Principal Viola Alto Flute Brandon Bergeron, Thomas Steigerwald, Emily Liu, Principal Olivia Staton Principal Principal Graham Cohen Maximilian Morel, Kunjing Dai Bass Flute Principal Celeste Andrea Fortier Emily Duncan Benedetto Salvia, Thomas Steigerwald Andrew Lavelle Principal Ji Eun Park * denotes String Joseph Peterson Lucian Avalon, Principal Cornet Orchestra 2 principals Alaina Rea Pablo O’Connell, Principal Brandon Bergeron for Adès’ Three Elijah Spies Ryan Roberts, Principal Studies From Sequoyah Sugiyama Couperin Lisa Sung* Sarah Semin Sung

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