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The Juilliard School presents New Juilliard Ensemble

Joel Sachs, Founding Director and Conductor Vivian Yau, Soprano

Tuesday, November 7, 2017, 7:30pm Bruno Walter Orchestral Studio, Room 309

MAURICIO From Die Stücke der Windrose (1988–94) KAGEL Südosten (1991) (1931–2008) Süden (1989) U.S. Premieres

Intermission

GIYA Exile (1993–94) KANCHELI Einmal, da hörte ich ihn () (b. 1935) Zähle die Mandeln (Paul Celan) Psalm (Paul Celan) Exil (Hans Sahl) Psalm 23 (Old Testament) Vivian Yau, Soprano

Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 1 Cover photo by Nan Melville Notes on the Program by Joel Sachs

"Südosten" and "Süden" from Die Stücke der Windrose MAURICIO KAGEL

Argentina has produced two of the seminal figures of unconventional Mauricio Kagel post-war music, Mario Davidovsky, who became a New Yorker after years at Harvard, and Mauricio Kagel, one of the primary instigators of Born: new ideas in . Buenos Aires, Argentina, The unconventional Kagel household—Jewish and leftist, a dangerous in 1931 combination during the Perón dictatorship—must have influenced their son’s thinking. His musical training included music theory, voice, Died: , , cello, and organ (but not composition, in which he was Cologne, , self-taught), as well as philosophy and literature. At 18 he became advisor in 2008 to a new-music group in Buenos Aires, and soon began to compose, challenging himself to write in a style that violated Perón’s mandated neo-classicism. He also conducted, helped found a cinematheque, and was film and photography editor of an avant-garde journal. His decisive opportunity arrived in 1957 when a grant from the German Academic Exchange Commission allowed him to study in Cologne, a major hub of the industrial Rhineland and major center of European new music thanks to its excellent conservatory and Westdeutscher Rundfunk (WDR), the non-commercial radio and television center that has been a breeding ground for experimental performing arts. By the time Kagel arrived, WDR had become a pioneer in electronic music, hosting one of the world’s first synthesizer studios under the direction of Herbert Eimert and Karlheinz Stockhausen, making Cologne a mecca for performers and , some of whom—especially Stockhausen­—were determined to destroy the old bourgeois aesthetic which they regarded as part of the root of Nazi culture.

Cologne rapidly embraced Kagel, who became an insider by virtue of being an outsider. He studied at the summer course in Darmstadt, which presented the newest musical ideas, and soon began lecturing there; he conducted new music concerts and began traveling, visiting the U.S., where his music roiled many critics. In 1964–65 he served as visiting professor at the State University of New York at Buffalo, another hotbed of musical innovation. In 1969 he became director of the Cologne Conservatory’s Institute for New Music. Five years later he was appointed director of new-music-theater at the school. Kagel lectured internationally, conducted, and produced films and radio plays. Numerous prizes and honors included France’s Order of Arts and Letters. His publishers include Universal Edition () and Litolff/Peters.

Kagel’s work defies a brief summary because he embraced virtually all of the possibilities inherent in the music of the 20th century. Some compositions are fully written out; others employ graphic notation and

2

aleatoric procedures. Theatrical elements, whether in the foreground or not, are a common thread. Not striving to combine many arts in a joint effort, he preferred to transplant modes of thinking from one art to another. Yet he retained his devotion to the western tradition, to which he paid tribute in compositions whose irony does not dampen their respect for the past. Even the underlying tonal structure of his later works did not render them at all reactionary. All of Mauricio Kagel’s creative efforts display the mind of an immensely witty, urbane gentleman with a love for the absurd. Like those of many South Americans, his creations often have surreal or Dadaist qualities perfectly suited to artistic cross- fertilization.

The eight compositions called Stücke der Windrose, (Compass Points Pieces) written between 1988 and 1994 and scored for salon , are named for the eight points of the compass and bear references to various parts of the world. They can be played separately or in any combination. After considerable difficulty choosing among them, I felt that “Südosten” (1991) and “Suden” (1989) make a nice pair. Kagel described “Southeast” as stretching from the Caribbean to the Amazon. “South” refers to Europe south of the Alps, which Kagel evokes with what he called “an unambiguous tarantella.” Both pieces receive their U.S. premieres tonight.

Exil GIYA KANCHELI

Giya Kancheli, the only Georgian with an international Giya Kancheli reputation, was educated at the Conservatory, whose faculty he joined in 1972. Originally also a jazz performer and film composer, he Born: directed the music department of the distinguished Rustaveli Theater Tbilisi, , for two decades (one of the most important theatrical institutions in in 1935 the former ), received important state prizes for his music and served on the board of the Georgian Composers’ Union. In the early 1990s, however, he and his family moved to to escape the post-Soviet chaos that devastated large sections of Tbilisi. A short-term appointment as composer in residence to the Royal Flemish Philharmonic brought them to , where he and his wife Lula still make their home in a neighborhood that, other than them, is almost entirely orthodox Jewish. Although his music is not yet well known in the U.S., its frequent performances in Europe allow the couple to live on commissions and royalties from performances and broadcasts that result from the strong new-music culture at many European radio stations, and from his prolific output of music for small ensembles and chamber after an earlier career writing for immense orchestras. His most recent pieces are Nu.Mu.Zu for orchestra (2015) and a piano trio (2016); he is now

3 Notes on the Program (Continued)

finishing Maternal Alphabet, for narrator, children’s choir, and chamber orchestra, and working on a for wind quintet and orchestra. His music is distinguished by its extreme quiet and spaciousness, and the sudden intrusion of almost violent outbursts. It is published by Sikorski and Belaieff.

My association with Kancheli’s Exil and the Kanchelis began in 1993. Having gotten to know the couple through mutual Muscovite friends, I enjoyed a wonderful visit with them while in Berlin for a Continuum concert shortly after our performance of Daytime Prayers. At that time, Cheryl Seltzer and I were researching a program of music from the Caucasus for a forthcoming Continuum concert in Bonn. I told the composer that we were stymied by the fact that he had not yet written much chamber music. (The large scoring of Daytime Prayers would not have been practical in Bonn.) As it happened, on the same night as our Berlin concert, Kancheli had the premiere of a new work in a local church. To our amazement, he rushed to our concert hall following the premiere of the piece, a setting of Psalm 23, which happened to be perfectly scored for our Bonn concert. We gave its American premiere in November 1993. Not long afterward, during a visit to New York, the composer revealed that he had extended Psalm 23 into a large cycle of songs about exile. The new version enabled us to give an entire concert of his music at Alice Tully Hall on February 25, 1995. That occasion was the second performance of Exil; the premiere had taken place in Italy the previous summer.

Exil is a personal reflection on the composer’s own displacement from Georgia, through the words of Psalm 23 and its eternal expression of God’s protection to those who are alone, and through two poets whose lives were torn apart by Nazism: the Jewish Romanian Paul Celan (who was forced into slave labor) and the Jewish German Hans Sahl (who spent much of the war in New York). Exil is a magnificent distillation of Kancheli’s style—unadorned by superfluous ornament, unhurried, sparse of texture to the point that every slight change, every infrequent dissonance, assumes remarkable power. Above all, it displays Kancheli’s unfailing ear for the lyric line. Through it one hears his interest in music from the period before Bach through the present, and although the material rarely reflects the latest techniques, it is also in no way a recycling of the past but a fresh expression of timeless values.

With the composer’s permission, Exil is performed with Psalm 23 at the end rather than the beginning, as Continuum did in his presence at the U.S. premiere.

4 Texts and Translations

Paul Celan poems from Gesammelte Werke (Frankfurt/Main: Suhrkamp, 1983)

Einmal Text: Paul Celan (1920–70)

Einmal, Once da hörte ich ihn, I heard him, da wusch er die Welt, he was washing the world, ungeseh’n, nachtlang, unseen, nightlong, wirklich. real.

Eins und Unendlich, One and Infinity, Vernichtet, dieing Ichten, were I’ing.

Licht war. Rettung. Light was. Salvation.

From , 1967 From Paul Celan: Speech-Grille and Selected Poems, translation by Joachim Neugroschel (New York: Dutton, 1971)

5 Texts and Translations (Continued)

Zähle die Mandeln Count the Almonds Text: Paul Celan

Zähle die Mandeln, Count the almonds. zähle, was bitter war und dich wachhielt, Count what was bitter and kept you awake, zähle mich dazu: count me along:

Ich suchte dein Aug, also du’s aufschlugst I looked for your eye when you raised it und niemand dich ansah, and nobody watched you, ich spann jenen heimlichen Faden, I spun that secret thread an dem der Tau, den du dachtest, on which the dew, that you thought, slipped hinunterglitt zu den Krügen, down to the jugs die ein Spruch, der zu niemandes Herz fand, all guarded by a decree that found behütet. nobody’s heart.

Dort erst tratest du ganz in den Namen, It was there that you first entered fully der dein ist, the name which is yours, schrittest du sicheren Fusses zu dir, that you strode to yourself with sure feet schwangen die Hämmer frei im Glockenstuhl that the hammers heaved free in the deines Schweigens, bell-yoke of your silence. stiess das Erlauschte zu dir, that the hearkened joined you, legte das Tote den Arm auch um dich, that the dead put its arm around you too, und ihr ginget selbdritt durch den Abend. and the three of you walked through the evening. Mache mich bitter, Zähle mich zu den Mandeln. Make me bitter. Count me along with the almonds. From Mohn und Gedächtnis, 1952 From Paul Celan: Speech Grille and Selected Poems, translated by Joachim Neugroschel (New York: Dutton, 1971)

6

Psalm Text: Paul Celan

Niemand knetet uns wieder aus Erde No one molds us again out of earth und Lehm, and clay, niemand bespricht unsern Staub. no one conjures our dust. Niemand. No one.

Gelobt seist du, Niemand. Praised be your name, no one. Dir zulieb wollen For your sake wir blühn. we shall flower Dir Towards entgegen. you.

Ein Nichts A nothing waren wir, sind wir, werden we were, are, shall wir bleiben,blühend: remain, flowering: die Nichts, die the nothing, the Niemandsrose. no one’s rose.

Mit With dem Griffel seelenhell, our pistil soul-bright dem Staubfaden himmelswüst, with our stamen heaven-ravaged der Krone rot our corolla red vom Purpurwort, das wir sangen with the crimson word, which we sang über, o über over, o over dem Dorn. the thorn

From , 1963 From Nineteen Poems by Paul Celan, translated by Michael Hamburger (1972)

7 Texts and Translations (Continued)

Exil Text: Hans Sahl

Es ist so gar nichts mehr dazu zu sagen. There is absolutely nothing more to say Der Staub verweht. about it. Ich habe meinen Kragen hochgeschlagen. The dust scatters. Es ist schon spät. I have thrown up my collar. Die Winde kreischt. Sie haben ihn begraben. It is already too late. Es ist so gar nichts mehr dazu zu sagen. The wind screams. They have buried him. Zu spät. There is absolutely nothing more to say about it. From Die hellen Nächte, 1942 Too late.

Hans Sahl “Exil” published by Heidelberg: Lambert Schneider, 1976

8

Psalm 23

Der HERR ist mein Hirte, The Lord is my shepherd; mir wird nichts mangeln, I shall not want. Er weidet mich auf einer grünen Aue He maketh me to lie down in green pastures; Und führet mich zum frischen Wasser. He leadeth me beside the still waters.

Er erquicket meine Seele; He restoreth my soul; Er führet mich auf rechter Strasse He guideth me in straight paths um seines Namens willen. for His name’s sake.

Und ob ich schon wanderte im Yea, though I walk through the finstern Tal, valley of the shadow of death, fürchte ich kein Unglück; I will fear no evil, Denn du bist bei mir, dein Stecken For Thou art with me; Thy rod and und Stab trösten mich. Thy staff, they comfort me.

Du bereitest vor mir einen Tisch Thou preparest a table before me im Angesicht meiner Feinde; in the presence of mine enemies; Du salbest mein Haupt mit Öl Thou anointest my head with und schenkest mir voll ein. oil; my cup runneth over.

[Der HERR ist mein Hirte…] [The Lord is my shepherd…]

Gutes und Barmherzigkeit werden mir Surely goodness and mercy shall folgen mein Leben Lang, follow me all the days of my life Und ich werde bleiben im Hause des And I shall dwell in the house of HERRN immerdar. the Lord for ever.

Psalm 23

Die Heiden sind versunken in The nations are sunk down in the der Grube, die sie gegraben. pit that they made.

Psalm 9/16

Herr, höre meine Stimme. Lord, hearken unto my voice.

Psalm 130/2

9 Meet the Artists

Joel Sachs

Joel Sachs, founder and director of the New Juilliard Ensemble, performs a vast range of traditional and contemporary music as conductor and . As co-director of the internationally acclaimed new music ensemble Continuum, he has appeared in hundreds of performances in New York, nationally, and throughout Europe, Asia, and Latin America. He has also conducted orchestras and ensembles in , Brazil, Canada, China, El Salvador, Germany, Iceland, Mexico, Mongolia, , and Ukraine and has held new-music residencies in Banff (Canada), Berlin, Curitiba (Brazil), Helsinki, Salzburg, and Shanghai, and in the U.K. in Birmingham, Brighton, , and Newcastle-Upon-Tyne. In June he was in residence as pianist and conductor at the Brighton (U.K.) Fringe Festival, where his recital of American piano music featured Ives’s Sonata No. 1. On November 25 he will play Brahms' Piano Concerto No. 2 near London.

One of the most active presenters of new music in New York, Mr. Sachs produces and directs Juilliard’s annual Focus! festival and has been artistic director of Juilliard’s concerts at MoMA Summergarden since 1993. A member of the Juilliard music history faculty, he wrote a biography of the American composer Henry Cowell [Oxford UP, 2012] and is working on a study of music and the law in Britain (1737–1843). A graduate of Harvard College, he received his MA and PhD from Columbia University. Sachs received Columbia’s Alice M. Ditson Award for his service to American music, was made an honorary member of Phi Beta Kappa at Harvard for his work in support of new music, and received the Gloria Artis Medal of the Polish Government for his service to Polish music.

Vivian Yau

Soprano Vivian Yau, from Hong Kong, is in her fourth year at Juilliard where she studies with Edith Bers. At the age of 14, she won her first international award at the Llangollen International Musical Eisteddfod, Wales. In 2011 she was selected My Favorite Young Music Maker by Radio Television Hong Kong and now appears regularly on television and radio there. She made her Weill Recital Hall debut in 2012 after winning the Barry Alexander International Vocal Competition. In 2013, at England’s Mid-Somerset Festival, she triumphed in all categories for her age group. In 2015, Ms. Yau won the Bel Canto Institute Orchestral Award and her prize included a performance at the Vermont Philharmonic Orchestra's annual opera gala. She made her operatic debut as Rosina in The Barber of Seville at the Mediterranean Opera Festival this past summer.

10 New Juilliard Ensemble

Joel Sachs, Founding Director and Conductor Matthew Wolford, Manager

The New Juilliard Ensemble, led by founding director Joel Sachs, celebrates the liveliness of today’s music, focusing primarily on repertory of the last decade. Now in its 25th season, it presents music by international composers writing in the most diverse styles. Its members, current students at Juilliard, are volunteers admitted by audition. NJE brings to New York compositions from all over the world and American music; it has commissioned and premiered some 200 pieces. Beyond training performers, it offers opportunities for students in Juilliard’s composition program through an annual audition. NJE appears annually at MoMa’s Summergarden, has been featured four times at the Lincoln Center Festival, collaborated with in four of its regional, and has performed in France, Germany, Israel, Japan, Poland, Russia, Switzerland, the U.K., and elsewhere in the U.S. While emphasizing very new music, the ensemble also has played rarely-heard older works and 20th-century classics, especially in the concerts that open Juilliard’s annual Focus! festival. Its recording of Virko Baley’s Violin Concerto with violinist Tom Chiu can be found on the TNC label; a joint project with the Royal Academy of Music was recorded for the academy’s own label. The 2010 performance of Henry Cowell’s “Madras” can be heard on SoundCloud.

On January 19, 2018, the New Juilliard Ensemble will open the 2018 Focus! festival celebrating the music of China. The final event of the 2017–18 NJE season, on April 28, 2018, at Alice Tully Hall, includes world premiere pieces written for NJE by Kolbeinn Blarnasson (Iceland), Jonathan Dawe (U.S.) and Sunbin Kevin Kim (Korea/U.S.); and the U.S. premiere of Sweet Tijuana—Danzas Fronterizas for and ensemble, by Alejandro Cardona (Costa Rica).

Orchestra Administration

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

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

11 Juilliard Board of Trustees and Administration

BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Bruce Kovner, Chair Brian Zeger, Artistic Director J. Christopher Kojima, Vice Chair Kirstin Ek, Director of Curriculum and Schedules Katheryn C. Patterson, Vice Chair Monica Thakkar, Director of Performance Activities Pierre T. Bastid Michael Loeb Pre-College Division Julie Anne Choi Vincent A. Mai Yoheved Kaplinsky, Artistic Director Kent A. Clark Ellen Marcus Ekaterina Lawson, Director of Admissions and Academic Affairs Kenneth S. Davidson Michael E. Marks Anna Royzman, Director of Performance Activities Barbara G. Fleischman Nancy A. Marks Evening Division Keith R. Gollust Stephanie Palmer McClelland Danielle La Senna, Director Mary Graham Christina McInerney Joan W. Harris Lester S. Morse Jr. Lila Acheson Wallace Library Matt Jacobson Stephen A. Novick Jane Gottlieb, Vice President for Library and Edward E. Johnson Jr. Joseph W. Polisi Information Resources; Director of the C.V. Starr Karen M. Levy Susan W. Rose Doctoral Fellows Program Teresa E. Lindsay Deborah Simon Laura Linney Sarah Billinghurst Solomon Enrollment Management and Student Development Joan D. Warren, Vice President William E.“Wes” Stricker, MD Kathleen Tesar, Associate Dean for Enrollment Management Sabrina Tanbara, Assistant Dean of Student Affairs TRUSTEES EMERITI Cory Owen, Assistant Dean for International Advisement and Diversity Initiatives June Noble Larkin, Chair Emerita William Buse, Director of Counseling Services Mary Ellin Barrett Katherine Gertson, Registrar Sidney R. Knafel Tina Gonzalez, Director of Financial Aid Elizabeth McCormack Barrett Hipes, Director, Alan D. Marks Center for John J. Roberts Career Services and Entrepreneurship Teresa McKinney, Director of Community Engagement Todd Porter, Director of Residence Life JUILLIARD COUNCIL Howard Rosenberg MD, Medical Director Mitchell Nelson, Chair Beth Techow, Administrative Director of Health and Counseling Services Michelle Demus Auerbach Sophie Laffont Holly Tedder, Director of Disability Services Barbara Brandt Jean-Hugues Monier and Associate Registrar Brian J. Heidtke Terry Morgenthaler Gordon D. Henderson Pamela J. Newman Finance Peter L. Kend Howard S. Paley Christine Todd, Vice President and Chief Financial Officer Younghee Kim-Wait John G. Popp Irina Shteyn, Director of Financial Planning and Analysis Paul E. Kwak, MD Grace E. Richardson Nicholas Mazzurco, Director of Student Accounts/Bursar Min Kyung Kwon Kristen Rodriguez Administration and Law Jeremy T. Smith Maurice F. Edelson, Vice President for Administration and General Counsel Joseph Mastrangelo, Vice President for Facilities Management EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION Myung Kang-Huneke, Deputy General Counsel 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 Office of the Provost and Dean Adam Gagan, Director of Security Ara Guzelimian, Provost and Dean Scott Holden, Director of Office Services José García-León, Associate Dean for Academic Affairs Jeremy Pinquist, Director of Client Services, IT Robert Ross, Assistant Dean for Preparatory Education Helen Taynton, Director of Apprentice Program Kent McKay, Associate Vice President for Production Development and Public Affairs Dance Division Elizabeth Hurley, Vice President Taryn Kaschock Russell, Acting Artistic Director Alexandra Day, Associate Vice President for Marketing Lawrence Rhodes, Artistic Director Emeritus and Communications Katie Friis, Administrative Director Benedict Campbell, Website Director Amanita Heird, Director of Special Events Drama Division Susan Jackson, Editorial Director Richard Feldman, Acting Director Sam Larson, Design Director Katherine Hood, Managing Director Katie Murtha, Director of Major Gifts Music Division Lori Padua, Director of Planned Giving Adam Meyer, Associate Dean and Director Ed Piniazek, Director of Development Operations Bärli Nugent, Assistant Dean, Director of Chamber Music Nicholas Saunders, Director of Concert Operations Joseph Soucy, Assistant Dean for Orchestral Studies Edward Sien, Director of Foundation and Corporate Relations Stephen Carver, Chief Piano Technician Adrienne Stortz, Director of Sales Robert Taibbi, Director of Recording Tina Martin, Director of Merchandising Joanna K. Trebelhorn, Director of Orchestral Rebecca Vaccarelli, Director of Alumni Relations and Ensemble Operations Juilliard Global Ventures Historical Performance Christopher Mossey, Senior Managing Director Robert Mealy, Director Courtney Blackwell Burton, Managing Director for Operations Benjamin D. Sosland, Administrative Director; Betsie Becker, Managing Director of Global K–12 Programs Assistant Dean for the Kovner Fellowships Gena Chavez, Managing Director, Tianjin Juilliard School Nicolas Moessner, Managing Director of Finance Jazz and Risk Management , Director of Juilliard Jazz Aaron Flagg, Chair and Associate Director

12 Juilliard Scholarship Fund

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