Saturday Evening, November 2, 2019, at 7:30

The Juilliard School presents Juilliard415 Yale Voxtet , Conductor

Telemann: The Day of Judgment

GEORG PHILIPP TELEMANN (1681–1767) in D major for Two Flutes, Bassoon, Horn, Strings, and Basso Continuo, TWV 55: D23 (1763) Ouverture Menuets I & II Plainte Gaillarde Sarabande Passepieds I & II Passacaille Fanfare

TELEMANN Der Tag des Gerichts (The Day of Judgment), TWV 6:8 (1762) Die Erste Betrachtung Introduction Chorus. Der Herr kommt mit viel tausend Heiligen (Chor der Gläubigen) . Ruft immerhin, des Pöbels Wut zu zähmen (Unglaube) . Fürchtet nur, fürchtet des Donnerers Schelten (Unglaube) Recitative. Wer ist, der kühn sein Joch zerreißt? (Unglaube, Vernunft, Spötter) Aria. Jetzt weiß ich’s, überkluge Köpfe (Spötter) Recitative. Genug der Schande bloßgestellt! (Vernunft) Aria. Des Sturmes Donnerstimmen schallen (Vernunft) Recitative. Ganz recht, das Endliche vergeht (Religion) Chorus. Dann jauchzet der Gerechten Same (Chor der Gläubigen)

Intermission

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

Juilliard’s full-scholarship Historical Performance program was established and endowed in 2008 by the generous support of Bruce and Suzie Kovner.

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Die Zweite Betrachtung Chorus. Es rauscht, so rasseln stark rollende Wagen (Chorus) Accompagnato. Da sind sie, der Verwüstung Zeichen! (Andacht) Aria. Da kreuzen verzehrende Blitze (Andacht) Recitative. Gewaltig Element! (Glaube) Arioso. Ich aber schwinge mich empor (Glaube)

Die Dritte Betrachtung Accompagnato. Ich sehe, Gott, den Engel deiner Rache! (Andacht) Arioso. So spricht der Herr, der mich gesandt (Erzengel) Recitative. Nun dränget sich der Kreis der ganzen Erde (Andacht) Aria. Seid mir gesegnet, ihr Gerechten (Jesus) Chorus. Du, Ehrenkönig, Jesu Christ (Chor der Gläubigen) Recitative. Da sitzet er, o wie nenn ich ihn? (Unglaube) Chorus. Ach Hilfe! Weh uns! Hilfe! Rat! (Chor der Laster) Recitative. Wir flehn umsonst (Unglaube) Aria. Hinweg von meinem Angesichte! (Jesus)

Die Vierte Betrachtung Chorus. Schallt, ihr hohen Jubellieder! (Chor der Engel und Auserwählten) Arioso and Chorus. Nun ist das Heil und die Kraft (Johannes, Chor der Engel und Auserwählten) Arioso and Chorus. Ein ew’ger Palm umschlingt mein Haar (Ein Seliger) Arioso. Heil! Wenn um des Erwürgten willen (Ein zweiter Seliger) Arioso and Chorus. Das Lamm, das erwürget ist (Johannes, Chor der Seligen) Aria. Ich bin erwacht nach Gottes Bilde (Ein dritter Seliger) Chorus. Lobt ihn, ihr Seraphinen-Chöre! (Chor der Seligen) Recitative. Es ist geschehen! Die Tugend ist gerächt! (Glaube) Chorus. Die Rechte des Herrn ist erhöhet! (Chöre der Himmlischen)

Orchestral preparation: Performing edition of Der Tag des Gerichts by Robert Mealy Supertitles: Celeste Montemarano

Performance time: approximately 1 hour and 50 minutes, including an intermission Notes on the Program continuo that paid homage to the French Baroque suite. A fluent French-speaker and confirmed francophile, Telemann believed Born: March 14, 1681, Magdeburg, that in the music of Lully and his compa- Germany triots, the “best kernel of France’s sci- Died: June 25, 1767, , Germany ence” had “grown into a tall tree with the ripest of fruit.” This cosmopolitan outlook Telemann was famously prolific. The was mirrored in Telemann’s music, which 18th-century music writer John Hawkins combined the German love of counterpoint called him “a very voluminous compos- with the French affinity for suave melodies er” and quoted Handel as saying that Te- and harmonies and the newly fashionable lemann “could write a church piece of Italian taste for brilliant display. In contrast eight parts with the same expedition as to Bach, whose intricately contrapuntal another would write a letter.” Telemann’s music was considered old-fashioned by catalogue includes several thousand the time he died in 1750, Telemann culti- works in all the major genres of the day, vated the “noble simplicity” of the up-to- including some 1,700 sacred and secular date galant style, whose playful elegance, , 50 or more , and dozens transparent textures, and formal freedom of . The sheer quantity of his out- offered an attractive alternative to Bach’s put made it easy for later generations to strict, “learned” idiom. According to the overlook the consistently high quality of influential critic Friedrich Wilhelm Marpurg, his workmanship and inspiration. But in Telemann’s music gave the lie to the widely the eyes of his contemporaries, Telemann held assumption that “the so-called galant was a giant. “A Lully is renowned; Corelli style cannot be combined with elements one may praise; but Telemann alone has borrowed from polyphony.” above mere fame been raised,” the com- —Harry Haskell poser Johann Mattheson poeticized in Overture in D major, TWV 55:D23 1740. When the post of cantor at ’s “Make a list of all the songwriters who St. Thomas School fell vacant in 1722, were composing great tunes in 1958,” Rob Telemann was widely tipped to be a shoo- Sheffield wrote in Rolling Stone magazine in. Only after he withdrew his application last year. “Now make an overlapping list of (his employers in Hamburg belatedly raised the ones who are still writing brilliant songs his salary rather than let him go) did the in 2018. Your list reads: Paul McCartney.” Leipzig town council offer the coveted job Considering his lengthy career and vast cat- to Bach instead. Telemann remained in alogue of works, Georg Philipp Telemann Hamburg for the rest of his life, enjoying could easily have received such praise the artistic autonomy afforded by his well- more than 250 years ago. paid sinecure as cantor of the local Latin school and music director of the Hanseatic Throughout the late 17th and early 18th cen- city’s five principal churches. turies, an ardor for French aesthetics swept across German lands. Electors, landgraves, Unlike the stay-at-home Bach, Telemann counts, and emperors were spellbound traveled throughout German-speaking Eu- by the opulent court of Louis XIV and the rope and even made an extended foray to work of his music-master Jean-Baptiste Paris, where he ingratiated himself with Lully, and were eager to emulate the tastes, his hosts by composing a set of six quar- sights, and sounds of France back home. tets for flute, violin, viola da gamba, and Telemann was himself a lifelong admirer of French music, recalling in his autobiography lament, which the strings sing alone. The that he studied the works of Lully and others interjection of a galliarde offers an ephem- and “completely devoted myself to it, not eral distraction before grief returns to the without good success.” strings. The sarabande is followed by a pair of passepieds, the second of which Different from stand-alone concert over- features a lively conversation between the tures, the overture-suite typically com- flutes and bassoon. The closing passacaille prised a series of dances and is named for is typically followed by a galloping fanfare, its first movement. Though an explosively where the added horn calls the musicians popular genre throughout the early 17th and listeners to the hunt. This exciting century, tastes shift and fashion evolves. close was perhaps a nod to the work’s “Lully has provided some good models for dedicatee, who was widely known as the it,” wrote Johann Joachim Quantz of the Jagd-Landgraf, or hunting landgrave. genre in 1752, “but some German compos- ers, among others, especially Handel and However contextually antiquated, Tele- Telemann, have far surpassed him. Since mann’s final collection of overture-suites the overture produces such a good effect, served as a sort of oldies station for the however, it is a pity that it is no longer aging landgrave, who was undoubtedly in vogue in Germany.” moved by this homage to the past. “Sixty years after ‘Love Me Do,’ his legend already In August 1763, an 82-year-old Telemann inviolable, [McCartney] keeps adding new sent a curious package to Ludwig VIII, the gems to his songbook,” Sheffield continued Landgrave of Hesse-Darmstadt 10 years in Rolling Stone, “with nothing to prove ex- his junior, on the occasion of his highness’ cept he’s the only genius who can do this.” name day. This gift was a collection of freshly minted overture-suites, including The only genius in this century, that is. the Overture-Suite in D major, TWV 55:D23. —Georgeanne Banker By this time, Louis XIV had been dead for Now in her second year at Juilliard, baroque nearly half a century, a seven-year-old W.A. bassoonist Georgeanne Banker holds a Mozart was dazzling audiences across Eu- Historical Performance scholarship. rope, and modern ears were yearning for exciting new genres including the string Der Tag des Gerichts (The Day of Judg- quartet and symphony. Though the elderly ment), TWV 6:8 Telemann was doubtlessly aware of the The quasi-theatrical musical language of overture-suite’s waning popularity, these Der Tag des Gerichts (The Day of Judg- heartfelt works were meant for private use ment), the last of Telemann’s sacred ora- rather than publication, and were perhaps torios, reflects the 80-year-old composer’s intended as a nostalgic, feel-good throw- deep immersion in earlier in his ca- back for both composer and recipient. reer. Perhaps in acknowledgment of its hybrid style, he labeled his religious drama The Overture-Suite in D major is scored a Singgedicht, or musical poem, implicitly for an intimate ensemble of two flutes, connecting it to the popular German variety bassoon, strings, and continuo. Opening of light opera known as . Whatever with a French-style overture, regal dotted name it went by, the baroque had rhythms fit for a monarchical procession much in common with opera. The two are decorated by the colors of the wood- genres originated in Italy around the same winds. An elegant pair of minuets precedes time, grew up side by side, and attracted two accounts of the passionate plainte, or many of the same composers, performers, and audiences. Indeed, the oratorio had either by various members of the orchestra all the musical trappings of opera—, or by the basso continuo alone. Although in , ensembles, and choruses; or- earlier oratorios Telemann had moved away chestral accompaniments and interludes; from the conventional operatic , and so on—but was typically presented here he seems to embrace its rounded ABA in concert form, with no (or minimal) sets form in a spirit of religious affirmation and and costumes. Indeed, the premiere of reaffirmation. The festive atmosphere of Der Tag des Gerichts, on March 17, 1762, the oratorio’s outer sections is enhanced by took place not in a church but in Hamburg’s the addition of trumpets, horns, and timpani recently inaugurated Concertsaal auf dem to the core ensemble of oboes and strings, Kamp, Germany’s first purpose-built con- with the distinctive of the grosse cert hall. Mattheson had introduced local oboe (a mezzo- member of the burghers to the more theatrical style of oboe family), bassoon, and viola da gamba church music nearly half a century earlier as contributing special coloristic effects. music director of Hamburg Cathedral. That deliberate breach of tradition, in tandem As befits the solemn theme of Der Tag with Mattheson’s insistence on employing des Gerichts, the First Meditation is pref- female singers (a practice hitherto verboten aced by a majestic orchestral introduction; in both Protestant and Catholic churches), Telemann’s contemporaries would have had provoked a backlash on the part of con- associated its jerky dotted rhythms and servative clergymen and city fathers. But two-part, slow-fast format with the controversy had long since died down, to French operas and ballets. The open- and Telemann felt free to recount the Last ing chorus of Believers, in resplendent Judgment story in his most vivid and dra- D major, balances multilayered counter- matically efficacious manner. point with the simpler homophonic textures of the galant style. The ensuing arias and In any case, the division of the oratorio into recitatives are sung by allegorical charac- four act-like sections titled “meditations” ters representing both sides of the faith- (Betrachtungen), underscoring its funda- versus-reason debate. Disbelief launches mentally devotional character, surely al- this expository exchange with an aria char- layed any lingering audience resistance acterized by sharp contrasts of dynamics to the new church music style. Taking his and articulation. (Telemann’s score is pep- cue from the pietistic by his former pered with German expressive markings student, the poet (and soon-to-be Lutheran like stark [strong], gelinde [gentle], and pastor) Christian Wilhelm Alers, Telemann munter [cheerful], which he often used in cast his musical meditation on the Day preference to the traditional Italian terms.) of Judgment as a conversation between The quivering sixteenth notes that accom- voices of belief and disbelief, religion and pany the words “zittert im Staube” (tremble reason. In its lucid dialectical structure, Der in the dust), and the rising triplet figures on Tag des Gerichts dramatized the arguments “wir steigen empor” (we are climbing up- over rationality and faith that spread across ward), exemplify Telemann’s tone-painting the continent like wildfire in the age of En- skills. In the following highly dramatic rec- lightenment, sparked by the writings of itative, Disbelief is summarily silenced by iconoclastic philosophers like Voltaire and Reason, who in turn yields the floor to the Kant. Musically, the score is structured as Mocker’s jaunty certitudes. Thereupon Rea- a sequence of discrete solo arias and cho- son returns to the fray, invoking the destruc- ruses, speech-like recitatives and more me- tive forces of nature in an aria marked by lodious ariosos; the latter are accompanied clashing two-against-three rhythms. Religion ultimately intervenes in a harmonically ec- The Fourth Meditation—dominated, as one centric recitative, gently but firmly steering might expect, by the voices of the blessed us back to the straight and narrow path of and the heavenly choirs—returns to the D major for the concluding chorus of praise. home key of D major and brings back the festive brass and timpani we heard at the Devotion—both personified and ideated— beginning of the oratorio. After a jubilant takes center stage in the Second and Third opening chorus, in which the angels are Meditations, which range increasingly far joined by those whom God has deemed afield from the oratorio’s tonal center. In worthy of salvation, John the Baptist—who an agitated chorus, the nameless masses preached the Last Judgment and is often (significantly, no longer identified as be- seen as a Christ figure himself—delivers the lievers) who are awaiting God’s judgment first of two short sermons in song, while in give voice to their hopes and fears. Devo- the background the chorus intones “Heilig tion responds in an accompanied recitative ist unser Gott” (Holy is our God) in long, sus- that flickers mercurially between stern- tained notes. This fervent prayer is repeat- ness and compassion, darkness and light. ed as a kind of refrain amid three sweetly This contrast is magnified in the following rapturous arias sung by soloists drawn from numbers, as both the prospect of divine the ranks of the blessed and accompanied, retribution and the promise of deliverance respectively, by obbligato viola da gamba, become steadily more apparent. Real, not violin duo, and oboe and bassoon. Telemann metaphorical, trumpets sound early in the ends his “musical poem” with a pair of Third Meditation, as Devotion invokes the grand, brassy choruses, framing a quietly avenging angel and the “transfigured Son exultant recitative in which Faith settles the of Man.” Jesus addresses his faithful flock argument once and for all. in a tenderly consolatory arioso, accompa- —Harry Haskell nied by obbligato oboe and plucked strings. A former music editor for Their serene C-major chorale speaks confi- Press, Harry Haskell is a program annotator dently of redemption, but once again Disbe- for Carnegie Hall in New York, the Pierre lief demurs, his anguished outburst echoed Boulez Saal in Berlin, and other venues, by a tumultuous chorus of Vices screaming and the author of several books, including “Weh uns!” (Woe to us!) in the remote key The Early Music Revival: A History and of F minor. The third section closes with an Maiden Flight. implacable Jesus cursing the “Godless” and consigning them to perdition. Meet the Artists in Amsterdam under and Piet Kee. In 2012, Suzuki was awarded the Leipzig , and in 2013, the Bach Prize. In 2001, he was decorated with Das Verdienstkreuz am Bande des Verdienstordens der Bundes- republik from Germany.

MARCO BORGGREVE Masaaki Suzuki Since founding Bach Collegium in 1990, Masaaki Suzuki has established him- self as a leading authority on the works of Bach. As the Collegium’s music director, he takes the ensemble regularly to major ven- RACHEL COOPERSTEIN Rhianna Cockrell ues and festivals in Europe and the U.S. and Mezzo-soprano Rhianna Cockrell recently has built an outstanding reputation for the performed as the alto soloist in Bach’s expressive refinement of his performances. 34 with the Oregon Founder and head of the early music depart- under the baton of Scott Allen Jarrett. She ment at the Tokyo University of the Arts, also completed a two-week residency with he was also on the choral fac- the Internationale Bachakademie Stuttgart ulty at the from 2009 as a member of its JSB Ensemble, sang until 2013, where he remains as principal mezzo-soprano solos in Saint-Saëns’s guest conductor of Yale Schola Cantorum. Oratorio de Noël with the NoVA Lights In addition to working with renowned period Chorale, and sang with the Washington ensembles, Suzuki is invited to conduct rep- Master Chorale and Chorsymphonica. The ertoire as diverse as Britten, Fauré, Mahler, 2019–20 season includes performances and Stravinsky with orchestras including the with The Thirteen. Bergen Philharmonic, Danish National Radio Symphony, Deutsches Symphonie Orches- ter Berlin, Montreal Symphony, , and San Francisco and Sydney symphony orchestras. Suzuki’s discography on the BIS label, featuring all of Bach’s major choral works as well as complete works for Harrison Hintzsche , has brought him many critical Baritone Harrison Hintzsche is a recitalist, plaudits. The year 2014 marked the trium- soloist, and ensemble musician who has phant conclusion of ’s been praised for his warm lyric tone, mu- epic recording of the complete church canta- sical subtlety, and dedication to text. He tas initiated in 1995, comprising 55 volumes. made his international debut in 2018 at The ensemble is extending its repertoire Wigmore Hall (London) with pianist Graham with discs of Mozart’s and Mass in Johnson, and he won first prize at the 2018 C Minor and Beethoven’s Missa Solemnis. voice competition of the Edvard Grieg Soci- Suzuki is an active organist and harpsichord- ety of Minnesota. Hintzsche has sung with ist. Born in , he graduated from the To- the VocalEssence Ensemble Singers, In- kyo University of Fine Arts and Music with ternationale Bachakademie Stuttgart’s JSB a degree in composition and organ perfor- Ensemble, and Minnesota Chorale. A native mance and went on to study harpsichord of DeKalb, Illinois, he holds a B.M. in vocal and organ at the Sweelinck Conservatory performance from St. Olaf College. Alex Longnecker Corey Shotwell Alex Longnecker, a tenor from Ankeny, Iowa, Tenor Corey Shotwell is a soloist and cham- has sung with Dallas’s Orpheus Chamber ber musician specializing in music from the Singers, the Dallas , Incarnatus, 17th and 18th centuries. Recent concert and Verdigris Ensemble. He recently sang engagements have included performances operatic roles with Opera in the Rock, Cedar with Theatre of Voices at Carnegie Hall, the Rapids Opera Theater, Pittsburgh Festival Shenandoah Valley Bach Festival, Newberry Opera, University of North Texas Opera, and Consort, Santa Fe Desert Chorale, Haymar- the Tanglewood Music Center. Longnecker ket Opera Company, and Bach Collegium holds a bachelor’s degree in music educa- of Fort Wayne. He has been a young artist tion from Iowa State University and a mas- apprentice with Apollo’s Fire and the Boston ter’s degree in vocal performance from the Early Music Festival, and most recently was University of North Texas. the tenor fellow of the Virginia Best Adams Masterclass at the Carmel Bach Festival.

Adrienne Lotto Adrienne Lotto is a soprano with an equal Christopher Talbot passion for solo and ensemble singing Baritone Christopher Talbot has recently per- as well as both early and contemporary formed in the Boston area as a soloist and music. A native of New Jersey, she came ensemble singer. He sang Carson Cooman’s to the Yale Voxtet from Williamsburg, Vir- Acts of the Apostles with the Harvard Uni- ginia, where she worked for two years as versity Choir, music of Schütz with Canto a costumed interpreter and singer for the Armonico, and newly commissioned choral Governor’s Musick, Colonial Williamsburg’s works with the chamber ensemble Carduus. resident Baroque ensemble. Lotto earned He earned his undergraduate degree in a B.F.A. from Carnegie Mellon University in music and Spanish at Drew University, and Pittsburgh, where she sang with the Pitts- spent a term studying voice and composi- burgh Camerata, Chatham Baroque, and tion at IUNA, a national conservatory in Bue- CMU Contemporary Ensemble, and was nos Aires. A Massachusetts native, Talbot a founding member of the vocal quintet began singing as a treble in the choirs of All Ping. On the operatic stage, she recently Saints Church, Worcester. appeared in Lully’s Cadmus et Hermione at the Amherst Early Music Festival. In her first year at Yale, Lotto was a featured soloist in projects conducted by David Hill, Nicholas McGegan, Peter Oundjian, and Masaaki Suzuki. Yale Institute of Sacred Music The Yale Institute of Sacred Music is an in- terdisciplinary graduate center dedicated to the study and practice of sacred music, wor- ship, and the arts. Institute students receive rigorous training for careers in performance, Andrea Walker church music, pastoral ministry, the acade- Andrea Walker, a soprano from San Anto- my, and much more. The institute sponsors nio, was recently featured in a world pre- several choruses, including the Yale Cam- miere with Apollo Chamber Players and a erata and Yale Schola Cantorum, and as a concert of Mozart arias with Echo Orches- major arts presenter in New Haven, it offers tra of Houston. She received her B.M. a full schedule of concerts, art exhibitions, from the University of Houston, where she literary readings, lectures, conferences, and gained experience as a soloist, ensemble multimedia events during the year. musician, and choral conductor, and was associate music director at St. John Vian- Yale Schola Cantorum ney Catholic Church. Yale Schola Cantorum is a chamber choir that performs sacred music from the 16th century to the present day in concert settings and choral services around the world. It is spon- sored by Yale Institute of Sacred Music and conducted by David Hill; Masaaki Suzuki is principal guest conductor. Open by audition Karolina Wojteczko to students from all departments and profes- Mezzo-soprano Karolina Wojteczko has sional schools across Yale University, the choir been singing in New Haven area churches has a special interest in historically informed since shortly after immigrating to the U.S. at performance practice, often in collaboration age 12 from Dabrowa Bialostocka, Poland. with instrumentalists from Juilliard415. Schola She is a cantor at Saint Thomas More Chapel was founded in 2003 by Simon Carrington. In at Yale and at Saint Theresa’s and Saint recent years, the choir has also sung under Catherine’s churches in Trumbull. She holds the direction of internationally renowned con- a B.M. in vocal performance from Western ductors Matthew Halls, Simon Halsey, Paul Connecticut State University and has taught Hillier, Stephen Layton, Sir Neville Marriner, music at Saint Mary–Saint Michael Elemen- Nicholas McGegan, James O’Donnell, Stefan tary School in Derby. Wojteczko’s recent per- Parkman, Krzysztof Penderecki, Helmuth formances include solos in Mendelssohn’s Rilling, and Dale Warland. In addition to per- Elijah, Lukaszewski’s Ascensio Domini, and forming regularly in New Haven and New Haydn’s Lord Nelson Mass. She is the recip- York, the ensemble records and tours nation- ient of numerous scholarships and awards, ally and internationally. Schola’s 2018 Hype- including the James Somer Opera Scholar- rion recording featuring Palestrina’s Missa ship, a Metropolitan Opera National Coun- Confitebor tibi Domine garnered enthusiastic cil regional prize, and the James Furman reviews. A live recording of Heinrich Biber’s competition, and has been a finalist in the 1693 Vesperae longiores ac breviores with Mirabell competition in Salzburg. Robert Mealy and Yale Collegium Musicum received international acclaim from the early music press, as have subsequent CDs of J.S. Bach’s rarely heard 1725 version of the St. John Passion and Antonio Bertali’s Missa resurrectionis. A Naxos recording of Yale Voxtet Mendelssohn and Bach Magnificats was re- Members of the Yale Voxtet are students of leased in 2009, and recent years have seen professor James Taylor and visiting profes- the release of two CDs by Delos Records. Hy- sor Bernarda Fink at the Yale Institute of Sa- perion released Schola Cantorum performing cred Music and Yale School of Music, where a chamber version of the Brahms Requiem; they are candidates for graduate degrees in recordings of the music of Roderick Williams voice. The select group of eight singers spe- and Juilliard alumna Reena Esmail are forth- cializes in early music, oratorio, and cham- coming. On tour, Schola Cantorum has given ber ensemble. In addition to performing a performances in England, Hungary, France, variety of chamber music programs each China, South Korea, Italy, Greece, Turkey, year, the group sings, tours, and records as Japan, Singapore, Russia, Estonia, Latvia, part of Yale Schola Cantorum. India, Spain, and Scandinavia.

Yale Schola Cantorum

David Hill, Principal Conductor Masaaki Suzuki, Principal Guest Conductor Noah Horn, Choral Preparation Laura Adam, Manager of Music Programs and Concert Production Harrison Hintzsche, Oscar Osicki, Maura Tuffy, Ensemble Managers

Soprano Alto Tenor Bass Cora Hagens Rhianna Cockrell* Harry Castle Benjamin Beckman Elizabeth Hanna Katharine Li James Davis Jr. Harrison Hintzsche* Adrienne Lotto* Emma Simmons Joe Lerangis David McIntosh Sarah Noble Meghan Stoll Wonhee Lim Oscar Osicki Phoebe Oler Karolina Wojteczko* Alex Longnecker* Christopher Talbot* Sofia Schroth-Douma Madeleine Woodworth Corey Shotwell* Joel Thompson Maura Tuffy Edward Vogel Andrea Walker* *member of Yale Voxtet

About Juilliard415 Celebrating its 10th anniversary season, first-ever conservatory in residence), and on Juilliard415, the school’s principal period- a 10-concert tour of New Zealand, where it instrument ensemble, has made significant returns for a second tour in spring 2020. contributions to musical life in New York and beyond, bringing major figures in the field With its frequent musical collaborator, the of early music to lead performances of both Yale Institute of Sacred Music, the ensem- rare and canonical works by composers of ble has played throughout Scandinavia, Italy, the 17th and 18th centuries. The many dis- Japan, Southeast Asia, the U.K., and India. tinguished guests who have led Juilliard415 Juilliard415 made its South American debut include Harry Bicket, William Christie, with concerts in Bolivia, a tour sponsored by Monica Huggett, Nicholas McGegan, Rachel the U.S. Department of State. In a concert Podger, and Jordi Savall. Juilliard415 tours with the Bach Collegium Japan, conduct- extensively in the U.S. and abroad, having ed by Masaaki Suzuki, Juilliard415 played a now performed on five continents, with no- historic period-instrument performance of table appearances at the Boston Early Mu- Mendelssohn’s Elijah at the Leipzig Ge- sic Festival, Leipzig Bachfest, and Utrecht wandhaus in Germany. Previous seasons Early Music Festival (where Juilliard was the have been notable for side-by-side collab- orations with Philharmonia Baroque in San season for a new work choreographed by Francisco, as well as concerts directed by Andrea Miller. such eminent musicians as Ton Koopman, Robert Mealy, Kristian Bezuidenhout, and Juilliard415 has had the distinction of pre- the late Christopher Hogwood. miering new works for period instruments, most recently for its Seven Last Words Proj- Juilliard415, which takes its name from the ect, a Holy Week concert at the Cathedral of pitch commonly associated with the per- St. John the Divine for which the ensemble formance of (A=415), has commissioned seven leading composers, performed major oratorios and baroque op- including Nico Muhly, Caroline Shaw, and eras every year since its founding, including Tania León. Upcoming highlights include a rare fully-staged production of Rameau’s performances with William Christie and Les Hippolyte et Aricie during the 2017–18 Arts Florissants at the Philharmonie de Par- season. During the 2018–19 season, the is; Handel’s conducted by Nicholas ensemble presented Purcell’s Dido and McGegan in New York and at the Göttingen Aeneas at Opera Holland Park in London Handel Festival in Germany; a program of and the Royal of Versailles. A music inspired by Shakespeare led by Ra- frequent collaborator with Juilliard’s Dance chel Podger; the Juilliard415 debut of Pablo division, Juilliard415 premiered new chore- Heras-Casado in a program of music from ography by Juilliard dancers last season in the Spanish Baroque; and another side-by- an all-Rameau program led by Robert Mealy side collaboration with Philharmonia Ba- and teams up again with Juilliard Dance this roque in San Francisco.

Juilliard415

Violin 1 (Overture) Violin 2 Viola da Gamba Trumpet Rebecca Nelson (Der Tag des Gerichts) Charlie Reed Michael Chen Edward Li Rebecca Nelson Robert Garrison Chloe Kim Majka Demcak Bass Kako Miura Kako Miura John Stajduhar Timpani Majka Demcak Aniela Eddy Jacob Borden Flute Violin 2 (Overture) Viola Taya König-Tarasevich Harpsichord Manami Mizumoto Shelby Yamin Kelsey Burnham Jacob Dassa Rachel Prendergast Lydia Grimes Aniela Eddy Oboe Organ Natalie Rose Kress Cello (Overture) Matthew Hudgens Nicola Canzano Angela Lobato Emily Ostrom Violin 1 Sydney ZumMallen Theorbo (Der Tag des Gerichts) Cullen O’Neil Bassoon Joshua Stauffer Manami Mizumoto Georgeanne Banker Natalie Rose Kress Cello Chloe Kim (Der Tag des Gerichts) Horn Rachel Prendergast Cullen O’Neil Hannah Miller Edward Li Angela Lobato David Alexander Sydney ZumMallen Steven Marquardt Juilliard Historical Performance Juilliard’s full-scholarship Historical Per- the field. Frequent collaborations with Juil- formance program offers comprehensive liard’s Ellen and James S. Marcus Institute study and performance of music from the for Vocal Arts, the integration of modern 17th and 18th centuries on period instru- instrument majors outside of the Histori- ments. Established and endowed in 2008 cal Performance program, and national and by the generous support of Bruce and Suzie international tours have introduced new Kovner, the program is open to candidates repertoires and increased awareness of for master of music, graduate diploma, and historical performance practice at Juilliard doctor of musical arts degrees. A high- and beyond. Alumni of Juilliard Historical profile concert season of opera, orchestral, Performance are members of many of and chamber music is augmented by a the leading period-instrument ensembles, performance-oriented curriculum that fos- including the Portland Baroque Orches- ters an informed understanding of the many tra, Les Arts Florissants, Mercury, and issues unique to period-instrument perfor- Tafelmusik, and they have also launched mance at the level of technical excellence such new ensembles as the Sebastians, and musical integrity for which Juilliard is House of Time, New York Baroque Incorpo- renowned. The faculty comprises many rated, and New Vintage Baroque. of the leading performers and scholars in

Administration Robert Mealy, Director Benjamin D. Sosland, Administrative Director Rosemary Metcalf, Assistant Administrative Director Annelise Wiering, Coordinator for Scheduling and Educational Support

Juilliard Historical Performance Faculty

Violin Flute Continuo Skills Secondary Lessons Elizabeth Blumenstock Sandra Miller Avi Stein Nina Stern (recorder) Robert Mealy John Thiessen (trumpet) Cynthia Roberts Oboe Core Studies Todd Williams (horn) Gonzalo Ruiz Thomas Forrest Kelly Cello Robert Mealy Artists in Residence Phoebe Carrai Bassoon Peter Sykes William Christie Dominic Teresi Richard Egarr Viola da Gamba Historical Theory/ Rachel Podger Sarah Cunningham Plucked Instruments Improvisation Daniel Swenberg Peter Sykes Bass Charles Weaver Charles Weaver Douglas Balliet Harpsichord Richard Egarr Béatrice Martin Peter Sykes