Juilliard Orchestra David Robertson, Conductor Cynthia Millar, Ondes Martenot Tengku Irfan, Piano

Friday Evening, May 3, 2019, at 7:30

The Juilliard School presents Juilliard Orchestra David Robertson, Conductor Cynthia Millar, Ondes Martenot Tengku Irfan, Piano

OLIVIER MESSIAEN (1908–92) Turangalîla-Symphonie Introduction Chant d’amour I Turangalîla I Chant d’amour II Joie du Sang des Étoiles Jardin du Sommeil d’amour Turangalîla II Développement de l’amour Turangalîla III Final CYNTHIA MILLAR, Ondes Martenot TENGKU IRFAN, Piano

Performance time: Approximately 1 hour and 15 minutes, with no intermission

The taking of photographs and the use of recording equipment are not permitted in this auditorium.

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David Geffen Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program in World War II (he spent two years as a prisoner-of-war in Silesia, where he com- by James M. Keller posed his famous Quartet for the End of Time [1940–-41]), and then in the mid-‘60s Turangalîla-Symphonie when the church’s organ was being rebuilt. OLIVIER MESSIAEN Already before World War II he accepted Born December 10, 1908, in Avignon, posts on the faculties of the École Normale France de Musique and the Schola Cantorum, two Died April 28, 1992, in Paris of the leading music schools in Paris. In addition he had helped establish the musical The conductor Serge Koussevitzky, who for movement La Jeune France, which hoped 25 years served as the Boston Symphony’s to reinject a spirit of humanism and spiri- music director, had superb instincts when tuality into French composition following it came to commissioning new pieces. the more cynical, even frivolous, attitudes “Never has a commission been given with prevalent during the 1920s. conditions as easy to fulfill as those for Turangalîla,” Olivier Messiaen told an inter- By that time he had composed few of the viewer. “Serge Koussevitzky essentially said works for which he is remembered today, to me, ‘Make for me the work you want, in but he had produced enough to gain at- the style you want, of the length you want, tention in modern-music circles, including with the instrumental make-up you want, L’Ascension (1932–33, first for orchestra, and I’m not setting any deadline for you to then recast for organ), organ works La submit your work.’… Koussevitzky was an Nativité du Seigneur (1935) and Les corps astute psychologist; he understood full well glorieux (1939), and keyboard compositions that he would reach his goal most quickly by Visions de l’Amen (1943, for two pianos) allowing a maximum of freedom.” and Vingt regards sur l’Enfant Jésus (1944, for one piano). Still, Koussevitzky could When the commission was extended scarcely have imagined what his no-strings- by the Koussevitzky Foundation in 1945, attached commission would generate; Messiaen was 36 years old and far from Turangalîla-Symphonie was then and re- well-known. Born into a culturally active mains today one of the most jaw-dropping family—his father was a professor and works in Messiaen’s entire catalog. English-French translator, his mother a poet—he received premiers prix in four At the mention of Messiaen, two charac- subjects at the Paris Conservatoire: or- teristics immediately come to mind: his gan, piano accompaniment, improvisation, musical meditations on ideas and images and composition. His education there was relating to Roman Catholic theology and of the highest order; his composition pro- the inspiration he drew from birdsong. fessors included Paul Dukas and Maurice (One might be reluctant to claim that the Emmanuel (a specialist in Greek metrics) two were greatly separated in his mind.) and his principal organ teacher was Marcel But other focal points also exist in his work. Dupré. In 1931, the year after he left the One is a fascination with complicated rhyth- Conservatoire, he was named organist at mic relations, in some cases derived from the Église de la Trinité in Paris. He would strictly “Western” theoretical impulses, reign over its Cavaillé-Coll organ for the rest sometimes inspired by various musics of of his life. His tenure there was interrupted Asia. Another, for a brief while, was carnal only twice—once due to his military service love as embodied in the ideal of the tale of Tristan and Isolde—not so much as con- means something analogous to what we veyed through Wagner’s opera as in the call tempo. Literally, it would be the pace essence of the myth. Wrote Messiaen of of a swift horse.… Precisely put, it is the this impulse: “I preserved only the idea of only one of my works in which I may say a fatal and irresistible love, which, as a rule, I have not been susceptible to outside leads to death and which, to some extent, influences, at least not in terms of its invokes death, for it is a love that transcends language. From a harmonic standpoint, the body, transcends even the limitations of this work is the summa of my polymodal the mind, and grows to a cosmic scale.” His writing. In addition, it is not an homage Tristan fascination was played out through to the major mode, as some critics have a triptych of works: the song cycle Harawi said, but rather a celebration of the ma- (1945) and the choral work Cinq rechants jor third (poor major third, I shall never (1948)—both drawing on Quechua folklore get over its disappearance!). Finally, it from Peru and Ecuador—with the extrava- contains my most important rhythmic gant Turangalîla-Symphonie (1946–48) stand- innovations, most notably the system- ing between them. “Turangalîla-Symphonie atic use of rhythmic characters, in the is a love song,” Messiaen stated in his fifth piece (Joie du sang des étoiles) and Treatise on Rhythm, Color, and Ornithology. a chromaticism of mixed meters in a “It is also a hymn to joy. Not the respect- “mode of sonorities” in the ninth piece. able, calmly euphoric joy of some good man Neither the modes nor the rhythms used of the 17th century, but joy as it may be in Turangalîla are borrowed from Hindu conceived by someone who has glimpsed folk music. (translation, J.M. Keller) it only in the midst of sadness, that is to say, a joy that is superhuman, overflowing, The world premiere, to which the composer blinding, unlimited.” referred in his comments, took place on December 2, 1949, at Symphony Hall in In interviews with Antoine Goléa, gath- Boston, with Leonard Bernstein conducting ered into a book under the title Rencontres the Boston Symphony Orchestra; Yvonne avec Olivier Messiaen (1960), the com- Loriod (Messiaen’s future wife) dispatched poser provided some useful comments the virtuosic obbligato piano part and about Turangalîla-Symphonie: Ginette Martenot played the ondes martenot, an electronic instrument developed by At the top of the program for the pre- her brother Maurice. This vast ten-movement miere in Boston, I had written these sim- piece, unrolling over 75 minutes, had ple words: This work is a song of love. I evolved considerably in the two-and-a-half think it is unnecessary to provide further years Messiaen devoted to it. At first it explanation. So far as concerns the word looked like a relatively standard (if colorfully Turangalîla, which has greatly intrigued orchestrated) symphony of four generally audiences and critics, I chose it merely bright-spirited, richly melodic movements: for its euphonic properties. It is not a a keystone first movement (later named woman’s name, as some would have Introduction), a scherzo (the eventual it; it is a Sanskrit word that symbolizes “Chant d’Amour II”), a slow movement quite nicely the dynamism and the sense (which became “Jardin du sommeil of life that I have tried to communicate d’amour”), and a finale (Final). It kept grow- through this work. Indeed, Lîla means ing from there, first with the intermixing the life-force, the act of creation, rhythm, of three “Turangalîla” movements; these and movement. [Turanga] is a word that differed from the earlier movements in their use of extravagantly complicated, James M. Keller is the longtime program mathematically involved metric arrange- annotator of the New York Philharmon- ments. Messiaen felt the work’s overall ic and the San Francisco Symphony. His balance was not quite right, so he added book Chamber Music: A Listener’s Guide is the “Chant d’amour I” and the “Dévelop- published by Oxford University Press. An pement de l’amour,” which reinforced the earlier version of this note appeared in the Tristanesque ideal of passionate love, and programs of the New York Philharmonic finally “Joie du sang des étoiles,” an or- and is used with permission. © New York chestral frenzy embedded near the work’s Philharmonic center—or, as the composer termed it, a “long and frenetic dance of joy.” Meet the Artists Orchestra, Seattle Symphony, Royal Stock- holm Philharmonic, Oslo Philharmonic, Sin- gapore Symphony, Orchestre de Paris, and BBC Symphony Orchestra at the BBC Proms. This season includes returns to the Los Angeles Philharmonic, Orches- tre Philharmonique de Radio France, and NHK Symphony Orchestra. She performed David Robertson the ondes martenot part specially written David Robertson is a sought-after figure for her by Thomas Adès in his opera The in the worlds of opera, orchestral music, Exterminating Angel at its Salzburg Festival and new music. A champion of contem- premiere; and at the Royal Opera House, porary composers and an advocate for his Covent Garden; Metropolitan Opera; and art form, Robertson is the chief conductor Royal Danish Opera. The 2016–17 season and artistic director of the Sydney Sym- featured a tour of Turangalîla-Symphonie phony Orchestra and recently completed with the Simón Bolívar Symphony Orches- a 13-year tenure as music director of the tra and Gustavo Dudamel, beginning in St. Louis Symphony Orchestra. He has Caracas and ending at Carnegie Hall. Millar served as artistic leader to many musical studied the ondes martenot with John institutions, including the Orchestre Na- Morton in England and Jeanne Loriod in tional de Lyon, and—as a protégé of Pierre France. Since her first performance at the Boulez—Ensemble Intercontemporain. 1986 BBC Proms with the National Youth With frequent projects at the world’s lead- Orchestra under Mark Elder, she has played ing opera houses, including the Metropol- Turangalîla around 200 times with conduc- itan Opera, La Scala, Théâtre du Châtelet, tors including Simon Rattle, Sakari Oramo, and San Francisco Opera, he is also a Esa-Pekka Salonen, Franz Welser-Möst, frequent guest with the leading orches- Susanna Mälkki, Andrew Davis, and Mariss tras of the world: New York, Los Angeles, Jansons. She has recorded Turangalîla with Boston, Chicago, Philadelphia, Cleveland, the Bergen Symphony Orchestra for Juanjo Amsterdam, Berlin, Beijing, and the BBC Mena and the Trois petites liturgies twice: Symphony Orchestra, where he served as with the Seattle Symphony for Ludovic principal guest conductor. Devoted to sup- Morlot and London Sinfonietta for Terry porting young musicians, Robertson became Edwards. She has played in more than 100 Juilliard’s director of conducting studies, film and television scores and has written distinguished visiting faculty, in September music for film, television, and theater, in- 2018. He has received numerous awards cluding for directors Robert Wise, Arthur and in 2011 was named a Chevalier de Penn, Martha Coolidge, and Peter Yates. l’Ordre des Arts et des Lettres by the gov- ernment of France.

Tengku Irfan Malaysian pianist, composer, and conduc- Cynthia Millar tor Tengku Irfan made his debut at age 11, Cynthia Millar has recently performed with performing Beethoven’s Piano Concerto the London Symphony Orchestra, Cleveland WoO4, improvising his own cadenzas with Claus Peter Flor and the Malaysian Phil- His compositions have been premiered by harmonic Orchestra. He has performed as the New York Philharmonic, MDR Sinfo- soloist with orchestras worldwide under nieorchester, New York Virtuoso Singers, conductors Neeme Järvi, Kristjan Järvi, MusicaNova, Malaysian Philharmonic, and Robert Spano, George Stelluto, and Jeffrey Peoria and Singapore Symphony orches- Milarsky, among others. He has performed tras. Irfan made his conducting debut with with AXIOM, MDR Sinfonieorchester, and the MusicaNova Orchestra in 2015, and the Singapore Symphony, São Paulo State conducted the Malaysian Philharmonic Or- Youth, Estonian National Symphony, and chestra during its 20th anniversary gala. At Peoria Symphony orchestras. He won the Juilliard he is a double major in piano and 2013 Aspen Music Festival Prokofiev Piano composition with Veda Kaplinsky and Robert Concerto No. 2 Competition and for four Beaser, respectively, and studies con- consecutive years was pianist for the As- ducting with George Stelluto and Jeffrey pen Contemporary Ensemble. Irfan received Milarsky. Irfan was recently appointed as the ASCAP Charlotte Bergen Award in Youth Ambassador of the Malaysian Phil- 2012 and the ASCAP Morton Gould Young harmonic Orchestra. Composer Award in 2012, 2014, and 2017. Kovner Fellowship

About the Juilliard Orchestra renowned guest conductors this season in- Juilliard’s largest and most visible student cluding John Adams, Marin Alsop, Joseph performing ensemble, the Juilliard Orches- Colaneri, Barbara Hannigan, Steven Osgood, tra, is known for delivering polished and pas- and Gil Rose as well as faculty members sionate performances of works spanning the Jeffrey Milarsky, Itzhak Perlman, and repertoire. Comprising more than 350 stu- Matthias Pintscher. The Juilliard Orchestra dents in the bachelor’s and master’s degree has toured across the U.S. and throughout programs, the orchestra appears through- Europe, South America, and Asia, where it out the season in concerts on the stages of was the first Western conservatory ensem- Alice Tully Hall, Carnegie Hall, David Geffen ble allowed to visit and perform following the Hall, and Juilliard’s Peter Jay Sharp Theater. opening of the People’s Republic of China in The orchestra is a strong partner to Juilliard’s 1987, returning two decades later, in 2008. other divisions, appearing in opera and dance Other ensembles under the Juilliard Orches- productions, as well as presenting an an- tra umbrella include the conductorless Juil- nual concert of world premieres by Juilliard liard Chamber Orchestra, Juilliard Wind Or- student composers. The Juilliard Orchestra chestra, and new-music groups AXIOM and welcomes an impressive roster of world- New Juilliard Ensemble. Juilliard Orchestra

David Robertson, Conductor

Violin 1 Frida Siegrist Oliver English Horn Tuba Carolyn Semes, Ji Eun Park Alexandra von der Deandre Desir Concertmaster Ao Peng Embse Cherry Choi Tung Yeung, Lisa Sung Percussion Principal Second Chien Tai Ashley Wang Clarinet Joseph Bricker, Principal Shenae Anderson Cameren Williams Sunho Song, Principal Benjamin Cornavaca Yuki Beppu Kamalia Freyling Tyler Cunningham David Bernat Cello Omar El-Abidin Ji Soo Choi Anne Richardson, Bass Clarinet Euijin Jung Courtenay Cleary Principal Wonchan Will Doh Yoon Jun Kim Emma Frucht Clare Bradford Mizuki Morimoto Qianru Elaine He Chen Cao Bassoon Stella Perlic Alice Ivy-Pemberton Issei Herr Steven Palacio, Principal Leo Simon Hee Yeon Jung Connor Kim Joshua Elmore Yibing Wang Angela Kim Emily Mantone Kyle Olsen Heewon Koo Philip Sheegog Celeste Eunsae Lee Joseph Staten French Horn Derek Wang In Ae Lee Yi Qun Xu Harry Chiu Chin-pong, Xingyu Li Principal Keyboard Glockenspiel Katherine Kyu Hyeon Lim Double Bass Jason Friedman Jiaying Ding Jason Moon Andrew Sommer, Jasmine Lavariega Naoko Nakajima Principal Jaimee Reynolds Ha Eun Oh Nina Bernat Ryan Williamson Grace Rosier Yi-Hsuan Annabel Chiu Adrian Steele Janice Gho Trumpet Sophia Steger Blake Hilley Brandon Bergeron, Sophia Stoyanovich Zachary Marzulli Principal Jieming Tang Dimitrios Mattas Anthony Barrington Agnes Tse Reed Tucker Marshall Kearse Helenmarie Vassiliou Madison Lusby Yutong Zhang Flute Kevin Zhu JiHyuk Park, Principal Cornet Emma Zhuang Ipek Karataylioglu Erik Larson

Viola Piccolo Trombone Sarah Semin Sung, Hae Jee Ashley Cho James Tobias, Principal Principal Hanae Yoshida Lindan Burns Oboe Graham Cohen Mitchell Kuhn, Principal Bass Trombone Bethlehem Hadgu Alexander Mayer Filipe Pereira Yong Ha Jung Pablo O’Connell Esther Kim

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