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Juilliard Orchestra Alan Gilbert , Conductor Giorgio Consolati , Flute

Juilliard Orchestra Alan Gilbert , Conductor Giorgio Consolati , Flute

Monday Evening, April 16, 2018, at 7:30

The presents Juilliard , Conductor Giorgio Consolati ,

SAMUEL BARBER (1910–81) Essay No. 1 for Orchestra, Op. 12 (1937–38)

CHRISTOPHER ROUSE (b. 1949) Flute (1993) Amhrán Alla Marcia Elegia Scherzo Amhrán GIORGIO CONSOLATI , Flute

Intermission

JOHANNES BRAHMS (1833–97) No. 1 in C minor, Op. 68 (1862–76) Un poco sostenuto—Allegro Andante sostenuto Un poco allegretto e grazioso Adagio—Più andante—Allegro non troppo, ma con brio

Performance time: approximately 1 hour and 35 minutes, including one intermission

This concert is made possible with a generous gift from the Celia Ascher Fund for Juilliard.

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).

David Geffen Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program Essay No. 2 followed in 1942). It is a single- movement work in two parts plus a coda: by James M. Keller an opening Andante sostenuto in which the principal thematic material is pre - Essay No. 1 for Orchestra, Op. 12 sented before speeding up to a nervous Allegro molto and, at the very end, relaxing Born March 9, 1910, in West Chester, again, this time to a brief Largamente sostenuto . The doleful slow sections may Died January 23, 1981, in New York City call to mind Barber’s most familiar compo - sition, his . That work was Samuel Barber’s Essay No. 1 for Orchestra arranged from the slow movement of the was the work of a young composer firmly he had just written (it is his on the way to a stellar career. While he Op. 11, and the Essay his Op. 12). In fact, was still a Curtis Institute student he when Barber sent the score of his Essay to began traveling to Europe with his fellow Toscanini, he decided to pop a copy of the composition student and romantic partner Adagio for Strings in the same envelope. . He enjoyed fortunate familial circumstances; his aunt, the con - Barber’s feelings were hurt when Toscanini tralto Louise Homer, was a mainstay at the returned the two scores without comment. Metropolitan , and her husband, Toscanini meant no offense by it, but Barbe r Sidney Homer, was a well-known song was miffed. “Tell him not to be mad,” composer. In August 1933 Barber and Toscanini begged Menotti. “I’m not going Menotti happened to pass near conductor to play one of his pieces. I’m going to play ’s villa in Lago Maggiore both.” This he did on the NBC Symphony and made bold to drop in unannounced. broadcast of November 5, 1938, an event They probably would have been sent away of surpassing historical importance as the but for the fact that they introduced them - first time the world heard the Adagio for selves as friends of a New York music Strings. It rather overshadowed the piece critic Toscanini admired, and then there at hand, but Toscanini took the Essay just was the common ground of Aunt Louise, as seriously. Reviewing in the New York who had performed under Toscanini’s baton. Times , Olin Downes reported that “Toscanini conducted the scores as if his Toscanini took a liking to the two young reputation rested upon the results.” composers and floated the idea that he might be inclined to conduct a piece by Barber. Nothing resulted immediately, but CHRISTOPHER ROUSE in 1937 Toscanini heard Barber’s Symphony Born February 15, 1949, in Baltimore, in One Movement at the Salzburg Festival. Maryland, where he currently resides. He had been taking heat about not champi - oning contemporary music, but he related Christopher Rouse is acclaimed for works to Barber’s essentially conservative style of compulsive rhythm, vivid color, and and thought it might be a modern voice in catholicity in bringing together the tradi - line with his personal taste. tions of classical and popular music. He graduated from the Oberlin College Con - It was for Toscanini that Barber composed servatory of Music in 1971, and 25 years his Essay for Orchestra in 1937–38 (or later his alma mater also awarded him an Essay No. 1, as it became known after an honorary doctorate. Following private study with George Crumb, he pursued composi - solo flute over the accompaniment of tion studies with Karel Husa and Robert orchestral strings. They were intended in Palmer at Cornell University, which granted a general way to evoke the traditions of him a D.M.A. in 1977. Also influential in his Celtic, especially Irish, folk music but to formation was the composer William couch the musical utterance in what I Schuman, past president of Juilliard and hoped would seem a more spiritual, first president of Lincoln Center. even metaphysical, manner through the use of extremely slow tempi, perhaps Rouse went on to teach at the University not unlike some of the recordings of the of Michigan, the Eastman School of Irish singer Enya. Music, and Juilliard (where he has taught since 1997). In 1988 he received the The second and fourth movements are Kennedy Center Friedheim Award for his both fast in tempo. The second is a Symphony No. 1, and in 1993 he was rather sprightly march which shares awarded the Pulitzer Prize in Music for his some of its material with the fourth, a Concerto. In 2009 he was scherzo which refers more and more as named Composer of the Year by Musical it progresses to that most Irish of America , which cited particularly his skill as dances, the jig. However, by the time the a composer of symphonic scores. From jig is stated in its most obvious form, the 2012 to 2015 he served as the Marie- tempo has increased to the point that the Josée Kravis Composer-in-Residence at music seems almost frantic and breath - the . less in nature.

His Flute Concerto, composed in 1993, Symphony No. 1 in C minor, Op. 68 gives voice to his appreciation of Celtic tra - ditional music. Rouse has commented Born May 7, 1833, in Hamburg, Germany about this work: Died April 3, 1897, in Vienna, Austria

The concerto, in a general sense at least, “I shall never write a symphony!” Brahms was inspired by my reactions to and reflec - famously declared in 1872 to the conduc - tions upon the Celtic tradition, though in tor Hermann Levi. “You can’t have any idea no sense is the piece intended to be heard what it’s like to hear such a giant marching as music to a specific program…. The kin - behind you.” The giant was Beethoven, of ship I feel with the heritage—reflected course, and although his music provided in musical sources as distinct as Irish essential inspiration for Brahms, it also set folk songs, Scottish bagpipe music, and such a high standard that the younger English coronation marches—never composer found it easy to discount his fails to summon forth from me a pro - own creations as negligible in comparison. foundly intense reaction of both recog - nition and homesickness. … Nonetheless, the young Brahms proved relentless in confronting his compositional I have attempted to reflect my response s demons. Rather than lead to a creative to these stimuli in my Flute Concerto, a five- block, his self-criticism pushed him to movement work cast in a somewhat loose forge ahead even when his eventual path arch form. The first and last movements seemed obscure. He drafted the first bear the title Amhrán (Gaelic for “song”) movement of this symphony in 1862 and and are simple melodic elaborations for the shared it with his friend Clara Schumann. She copied out the opening and sent it further prior to its publication the following along to their friend Joseph Joachim (the year. He was 43 years old and had been violinist) with this comment: “That is struggling with the piece on and off for rather strong, for sure, but I have grown 14 years. used to it. The movement is full of wonder - ful beauties, and the themes are treated “My symphony is long and not particularly with a mastery that is becoming more and lovable,” wrote Brahms to his fellow com - more characteristic of him. It is all interwo - poser Carl Reinecke when this piece was ven in such an interesting way, and yet it unveiled. He was right about it being long, moves forward with such momentum that at least when compared to other “typical” it might have been poured forth in its of his era. He was probably entirety in the first flush of inspiration.” also right about it not being particularly lov - Calling the opening “rather strong” is able. Even the warmth of the second surely an understatement. That first move - movement and the geniality of the third are ment’s introduction is one of the most interrupted by passages of anxiety, and the astonishing preludes in the entire sym - outer movements are designed to impress phonic literature, with throbbing timpani rather than to charm. Brahms’ First is a big, underpinning the orchestra’s taut phrases— burly symphony, certainly when compared a texture that seizes the listener’s atten - to his next one. It is probably no more tion and remains engraved in the memory. “lov able” than Michelangelo’s The Last Judgment , Shakespeare’s King Lear , or Word got around that Brahms was working Goethe’s . on a symphony, and he found himself hav - ing to deflect inquiries about his progress, James M. Keller is the long-time program most pointedly from his eager publisher, annotator of the New York Philharmonic Fritz Simrock. Eleven years later Simrock (The Leni and Peter May Chair) and the wrote a beseeching letter to the com - San Francisco Symphony, and serves as poser: “Aren’t you doing anything any critic-at-large for The Santa Fe New Mexican . more? Am I not to have a symphony from you in ’73 either?” No, he was not—nor in Earlier versions of these essays appeared ’74 or ’75 either. Not until 1876 did Brahms in the programs of the New York Phil - finally sign off on his First Symphony, at harmonic and are used with permission. least provisionally, since he would revise it © New York Philharmonic Meet the Artists Mr. Gilbert has received honorary doctor of music degrees from the Curtis Institute of Music and Westminster Choir College, as well as ’s Ditson

N Conductor’s Award. He is a member of the O S Y

A American Academy of Arts and Sciences, L N I

F and was named an Officier de l’Ordre des

D I

V Arts et des Lettres by the French govern - A

D Alan Gilbert ment. After giving the 2015 lecture on Alan Gilbert is the first holder of the William “ in the 21st Century—a new Schuman Chair in Musical Studies at paradigm” at London’s Royal Philharmonic Juilliard and is director of and Society, he received a 2015 Foreign Policy orchestral studies at the school. He was Association Medal for his commitment to recently named the chief conductor of cultural diplomacy. Hamburg’s NDR Elbphilharmonie Orchestra, an appointment he takes up in September 2019. The Grammy Award –winning conduc - tor previously served for more than a decade as principal guest conductor of the ensemble when it was known as NDR Symphony Orchestra Hamburg; it has since adopted the Giorgio Consolati name of its already-iconic new home, the Elbphilharmonie, which opened in January A native of Italy, Giorgio Consolati was the 2017. Mr. Gilbert’s new position follows his first flutist in the Milan Conservatory of transformative eight-year tenure as music Music’s 210-year history to graduate with director of the New York Philharmonic. He top honors. Now completing his bachelor’s is also conductor laureate of the Royal degree at Juilliard, where he is a student Stockholm Philharmonic and the founder and of Carol Wincenc, he is a laureate of sev - president of Musicians for Unity. eral flute competitions including the De Lorenzo and the Krakamp, and has per - Mr. Gilbert makes regular guest appear - formed in New York in , Alice ances with orchestras including the Berlin Tully Hall, and . Mr. Philharmonic, Royal Concertgebouw Or - Consolati was recently heard as a soloist chestra, Cleveland Orchestra, Boston Sym - with the National Repertory Orchestra in phony Orchestra, Philadelphia Orchestra, Mozart’s Flute and Harp Concerto. A pas - Dresden Staatskapelle, and Orchestre Phil- sionate advocate of new music, he has per - harmonique de Radio France. He has led pro - formed with Juilliard’s AXIOM ensemble ductions for La Scala, the , and in the annual Focus! festival, as well as Los Angeles Opera, Zurich Opera, Royal at the Milano Musica Festival, where his Swedish Opera, and Santa Fe Opera, where performances were broadcast by Italy’s he was the inaugural music director. His RAI Radio 3. An avid chamber musician, he discography includes The Nielsen Project , a has performed at Juilliard’s ChamberFest boxed set recorded with the New York and the Norfolk Chamber Music Festival, Philharmonic, and John Adams’ Doctor and has been invited to the 2018 Marlboro Atomic , captured on DVD at the Metropolitan Music Festival. Opera, for which he won a Grammy Award. Kovner Fellowship Juilliard Orchestra Alan Gilbert , Director of Conducting and Orchestral Studies, William Schuman Chair in Musical Studies

Violin I Flute Emma Frucht, Emily Liu, Principal Jake Chabot, Principal Brandon Bergeron, Concertmaster Kayla Cabrera Viola Chan, Principal Principal Sara Staples Howard Cheng JiHyuk Park, Principal Lasse Bjerknaes- Yuki Beppu Kunjing Dai Jacobsen, Principal Mark Chien Lydia Grimes Federico Montes, Tal First Joshua SangHa Kail Emily Beare, Principal Principal Njioma Grevious James Chanha Kang Emily Moscoso, Leerone Hakami Natalie Loughran Principal Trombone Jordan Hendy Alaina Rea Ryan Roberts, Principal Ricardo Pedrares Jason Moon Sequoyah Sugiyama Patiño, Principal Hava Polinsky Yin-Ying Tseng Hanae Yoshida, Grace Rosier Chien Tai Ashley Wang Wonchan Doh, Principal Principal Lukas Stepp Kamalia Freyling, George Foreman Natsuko Takashima Principal Chia Fu Kathy Weng Chloe Hong, Principal Dan Giacobbe, Principal Bass Trombone Mira Yamamoto David Bender Aaron Albert Chener Yuan Clare Bradford John-Henry Crawford Jonathan Gibbons, II Jessica Hong Principal Samantha Lake Kyung-Ji Min, Principal Connor Kim Soo Yeon Lee, Principal Zeynep Alpan Sanae Kodaira Blair Shepperd, Timpani Annie Bender Jonathan Lien Principal Jake Darnell, Principal Jessie Chen Emily Mantone Sae Hashimoto, Yimiao Chen Erik Wheeler Principal Kit Ying Katherine Blair Shepperd Marty Thenell, Principal Cheng Ann Sangeun Cho Brittany Conrad, Percussion Alice Ivy-Pemberton Principal Harry Chiu Chin-pong, Omar El-Abidin, Angela Kim Daniel Chan Principal Principal Katherine Kyu Hyeon Szu Ting Chen Eric Huckins, Principal Benjamin Cornavaca Lim Michael Gabriel Cort Roberts, Principal Marty Thenell Mo Lei Luo Fox Myers Jasmine Lavariega Guangnan Yue Paris Myers William Loveless VI Harp Andi Zhang Justin Smith Madeline Olson Wei Zhu Reed Tucker Piano Gabrielle Chou About the Juilliard dance productions. Under the musical lead - ership of Alan Gilbert, the director of con - Orchestra ducting and orchestral studies, the Juilliard Orchestra welcomes an impressive roster Juilliard’s largest and most visible student of world-renowned guest conductors this performing ensemble, the Juilliard Orchestra , season including Thomas Adès, Joseph is known for delivering polished and pas - Colaneri, Edo de Waart, Chen Lin, David sionate performances of works spanning Robertson, Speranza Scappucci, and Gerard the repertoire. Comprising more than 350 Schwarz, as well as faculty members students in the bachelor’s and master’s Jeffrey Milarsky and Mr. Gilbert. The degree programs, the orchestra appears Juilliard Orchestra has toured across the throughout the 2017–18 season in more U.S. and throughout Europe, South America, than a dozen performances on the stages and Asia, where it was the first Western of Hall, Carnegie Hall, David conservatory ensemble allowed to visit and Geffen Hall, and Juilliard’s Peter Jay Sharp perform following the opening of the Theater. The season opened in August with People’s Republic of China in 1987, return - a collaboration between Juilliard and Finland’s ing two decades later, in 2008. Other Sibelius Academy members conducted by ensembles under the Juilliard Orchestra Esa-Pekka Salonen with concerts in Alice umbrella include the conductorless Juilliard Tully Hall, Helsinki, and Stockholm. The Chamber Orchestra, the Juilliard Wind orchestra is a strong partner to Juilliard’s Orchestra, and the new-music groups other divisions, appearing in opera and AXIOM and New Juilliard Ensemble.

Administration Adam Meyer, Associate Dean and Director, Music Division Joe Soucy, Assistant Dean for Orchestral Studies

Joanna K. Trebelhorn, Director Matthew Wolford, Operations Michael McCoy, Orchestra of Orchestral and Ensemble Manager Librarian Operations Lisa Dempsey Kane, Principal Deirdre DeStefano, Orchestra Orchestra Librarian Management Apprentice

BOARD OF TRUSTEES Jazz Wynton Marsalis, Director of Juilliard Jazz Bruce Kovner, Chair Aaron Flagg, Chair and Associate Director J. Christopher Kojima, Vice Chair Katheryn C. Patterson, Vice Chair Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Artistic Director Julie Anne Choi Greg Margolies Kirstin Ek, Director of Curriculum and Schedules Kent A. Clark Vincent A. Mai Monica Thakkar, Director of Performance Activities Kenneth S. Davidson Ellen Marcus Barbara G. Fleischman Nancy A. Marks Pre-College Division Keith R. Gollust Stephanie Palmer McClelland Yoheved Kaplinsky, Artistic Director Mary Graham Christina McInerney Ekaterina Lawson, Director of Admissions and Academic Affairs Joan W. Harris Lester S. Morse Jr. Anna Royzman, Director of Performance Activities Matt Jacobson Stephen A. Novick Evening Division Edward E. Johnson Jr. Joseph W. Polisi Danielle La Senna, Director Karen M. Levy Susan W. Rose Teresa E. 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Roberts Katherine Gertson, Registrar Tina Gonzalez, Director of Financial Aid Teresa McKinney, Director of Community Engagement Camille Pajor, Title IX Coordinator JUILLIARD COUNCIL Todd Porter, Director of Residence Life Howard Rosenberg MD, Medical Director Mitchell Nelson, Chair Beth Techow, Administrative Director of Health and Counseling Services Michelle Demus Auerbach Jean-Hugues Monier Barbara Brandt Holly Tedder, Director of Disability Services Terry Morgenthaler and Associate Registrar Brian J. Heidtke Pamela J. Newman Gordon D. Henderson Howard S. Paley Finance Peter L. Kend John G. Popp Christine Todd, Vice President and Chief Financial Officer Younghee Kim-Wait Grace E. Richardson Michael Kerstan, Controller Paul E. Kwak, MD Jeremy T. Smith Irina Shteyn, Director of Financial Planning and Analysis Min Kyung Kwon Alexander I. Tachmes Nicholas Mazzurco, Director of Student Accounts/Bursar Sophie Laffont Anita Volpe Administration and Law Maurice F. Edelson, Vice President for Administration and General Counsel EXECUTIVE OFFICERS Joseph Mastrangelo, Vice President for Facilities Management Myung Kang-Huneke, Deputy General Counsel AND SENIOR ADMINISTRATION Carl Young, Chief Information Officer Office of the President Steve Doty, Chief Operations Officer Joseph W. Polisi, President Dmitriy Aminov, Director of IT Engineering Jacqueline Schmidt, Chief of Staff Caryn Doktor, Director of Human Resources Adam Gagan, Director of Security Office of the Provost and Dean Scott A. 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Trebelhorn, Director of Orchestral and Ensemble Operations Juilliard Global Ventures Courtney Blackwell Burton, Managing Director for Operations Historical Performance Betsie Becker, Managing Director of Global K–12 Programs Robert Mealy, Director Gena Chavez, Managing Director, The Tianjin Juilliard School Benjamin D. Sosland, Administrative Director; Nicolas Moessner, Managing Director of Finance Assistant Dean for the Kovner Fellowships and Risk Management

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