Saturday Evening, December 14, 2019, at 7:30

The Juilliard School presents Juilliard Orchestra Carlos Miguel Prieto, Conductor Sean Juhl, Viola

GABRIELA ORTÍZ (b. 1964) Téenek—Invenciones de Territorio

JOHN HARBISON (b. 1938) Concerto for Viola and Orchestra Con moto, rubato Allegro brillante Andante Molto allegro, gioioso SEAN JUHL, Viola

Intermission

AARON COPLAND (1900–90) Symphony No. 3 Molto moderato Allegro molto Andantino quasi allegretto Molto deliberato—Allegro risoluto

Performance time: approximately 1 hour and 45 minutes, including an intermission

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

Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving).

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. About the Program in its own right and as a major influence over life in California. As such, the work’s rooting By Gavin Plumley within a native culture stands as a point of challenge, in that its first performance was Epitomizing a nation in musical form is a not “here” but “there.” It offers, as Mexican significant if not insurmountable challenge. composer and flutist Alejandro Escuer wrote When Antonin Dvo˘rák came to the “New at the time, “a sonorous metaphor of our World” in 1892, “a great and lofty task” was transcendence, a strength that alludes to expected of him. The Czech composer had a future where there are no borders, but been asked to lead his students at the Na- rather, a recognition of the actual particulari- tional Conservatory “into the Promised Land, ties and differences between us that propiti- the realm of a new, independent art, in short ate our development while at the same time a national style of music.” While some of his enriching and uplifting us.” efforts may now be considered cultural ap- propriation, there is no doubt that he sought The work, spanning 15 minutes, juxtaposes to show the United States in all its ethnic and various musical “inventions,” as per the cultural breadth. And such was the challenge subtitle. At first, these combinations under- facing Aaron Copland in the work that closes line disparity, with violence set against sass. tonight’s concert, written at a particularly puz- There is unhurried music too, though this zling point in the nation’s history. soon bubbles with Lutosławskian dazzle. Priority then shifts to the lyrical, led by the woodwind and passed to the strings, though Téenek—Invenciones de Territorio brilliance is never far away, both in its metal- GABRIELA ORTÍZ lic urgency and in rhythms that have mani- Born: December 20, 1964, in Mexico City festly Mexican roots. Yet it is in this sense of locality, echoing as far afield as Stravinsky Similar questions pervade the work that and Varèse—as well as Lutosławski—that a opens the program. Mexican composer universality is revealed. Gabriela Ortíz’s Téenek—Invenciones de Territorio is firmly rooted in a music she has known well since childhood, having Concerto for Viola and Orchestra been raised by two of the founders of the JOHN HARBISON Mexican trad ensemble Los Folkloristas. Born: December 20, 1938, in Orange, New As is the case with her parents’ musical Jersey projects, Ortíz’s Téenek refers to vernacular traditions, specifically those of the Huastec There is locality too in John Harbison’s people, who were subjugated by the Spanish Concerto for Viola and Orchestra, in that during the 16th century, with many sold as it was written for the composer’s “instru- slaves. Nonetheless, the Huastec language ment of choice, the one I picked out as a and identity continues to this day, as under- very young concertgoer.” And there is cer- lined by the word téenek, a contraction of te’ tainly a sense of homage to what the com- inik, meaning “people from here.” poser calls his chosen instrument’s “some- what veiled, slightly melancholic tone qual- Ortíz’s composition was commissioned ity.” Yet there is also great ferocity in the and first performed by the Los Angeles score, giving rise to further allusions to Philharmonic as part of the 2017 CDMX Stravinsky, specifically the ballet scores, (Ciudad de Mexico) Festival at Walt Disney in the critical response that followed the Hall, which celebrated Mexican culture both concerto’s premiere in May 1990. Its four-movement structure moves, throughout World War II, at first concerned according to Harbison’s own description, with his homeland’s involvement in the “from inwardness to ebullience and from hostilities and then seeking to celebrate an ambiguous and shifting harmonic lan- its history and identity in works such guage to tonality.” The first movement— as Rodeo (1942) and Appalachian Spring Con moto, rubato—is at turns searching (1943–44) as well as Lincoln Portrait (1942) and improvisatory. Its intricate web of for speaker and orchestra. motifs, overlapping with increasing inten- sity, eventually gives birth to the solo- It was not a president, however, but a vice ist, though not without returning to clip president who inspired Copland’s most and undermine, as well as support, the stirring statement of the time, Fanfare instrument’s soulfulness. Indeed, solo for the Common Man (1942). The work lines often move through the orchestra, was the result of an idea from Eugene inspiring both comment and development, Goosens, based at the Cincinnati Symphony though it is not until the second movement Orchestra, who wanted to reprise a scheme that a true sense of purpose returns. Here, from World War I when he had asked instead of a ruminatory, fantasia-like form, British composers to write a series of fan- we are treated to something more much fares to begin concerts. “It had been so metrical, repetitive, brittle. But throughout, successful,” Copland explained, “that he in spite of strident language, there is also thought to repeat the procedure in World great delicacy, even tenderness. War II with American composers.”

The latter is the predominant quality of For his contribution, Copland drew inspiration the Andante, where extended, Barber- from a May 1942 speech by Vice President like lyricism contrasts with clear, tolling Henry A. Wallace. To some, its words are a motifs, though resolution of that juxtapo- bellicose call for U.S. entry into World War II; sition is delayed. Instead, there is an erup- for others, they are a cry de profundis for the tion of surprising vehemence, momen- speedy cessation of hostilities: tarily defying the chamber-like scoring of the concerto as a whole and leading us This is a fight between a slave world and into the unbridled energy of its finale. a free world. Just as the United States in Sensuousness now gives way to savagery, 1862 could not remain half slave and half though never without a mischievous, danc- free, so in 1942 the world must make its ing glint in its eye. decision for a complete victory one way or another. As we begin the final stages of this fight to the death between the free Symphony No. 3 world and the slave world, it is worthwhile AARON COPLAND to refresh our minds about the march of Born: November 14, 1900, in Brooklyn freedom for the common man. The idea Died: December 2, 1990, in North Tarrytown, of freedom—the freedom that we in the New York United States know and love so well—is derived from the Bible with its extraordi- When Copland began his Third (and final) nary emphasis on the dignity of the indi- Symphony during summer 1944, he was vidual. Democracy is the only true political immensely aware of the pressure to expression of Christianity. deliver a work that could encapsulate a time, place, and nation. The Brooklyn-born composer had wrestled with those ideas The music Copland wrote, while suitably The success of the work at its first perfor- martial in nature, spoke more of the rallying mance in Boston in October 1946 confirmed hopefulness of Wallace’s speech. And it Copland as the “dean of American compos- was music that would return to Copland ers.” The impression persists to this day, when he embarked on his Third Symphony, including in Matthew Lopez’s two-part play, at first fitfully during summer 1944, work- The Inheritance, now on Broadway, in which ing in Tepoztlan in Mexico, and then with a “star of track and field” is described as greater determination the following year in being “as American as an Aaron Copland Bernardsville, New Jersey. symphony.” Those sentiments echo Koussevitzky’s original claim that Copland’s The impetus had come from Serge Third was “the greatest American sym- Koussevitzky, who hoped to launch the phony” and, according to the conductor’s 1946–47 season at the Boston Symphony protégé Bernstein, “like the Washington Orchestra with a major new work. Copland Monument or the Lincoln Memorial.” admitted that he had been working “on various sections whenever I could find time Others were less convinced by what they during the past few years,” but that “the saw as the grandiloquence of its finale, commission from Koussevitzky stimulated including Virgil Thomson, who noted that the me to focus my ideas and arrange the New Deal speeches, so beloved of the ide- material I had collected into some sem- alistic Copland, may have been “striking in blance of order.” phraseology” but were “all too reminiscent of Moscow.” As such, a link was made to Motivically, at least, that order came from the kind of “enormous optimistic lift” at the the Fanfare for the Common Man, whose end of Shostakovich’s Fifth, in turn harking contours (if not very notes) are present back to Mahler, another of Copland’s heroes, throughout the symphony. It not only and to what Theodor W. Adorno had called appears, revised and rearranged, at the the vain jubilation of his symphonic finales. head of the fourth and final movement, but But, as Mahler himself wrote about the also informs the opening Molto moderato, elated end to his First Symphony, “it is not written in Tepoztlan in 1944. The thudding easy to be or to become a hero.” timpani that launches the scherzo (Allegro molto) of summer 1945 is likewise familiar Whatever the politics of the day, Copland’s and, much more quietly, the music of the symphony of the “common man,” written Fanfare returns in the Andantino quasi alle- between Mexico and the Eastern Seaboard, gretto that followed during a Connecticut- sought to be as universal as it was local. based exile in April 1946. Here, however, And its wish to express “the dignity of the the sounds of Mexico, often so inspirational individual,” regardless of borders or walls, to Copland, are also never far away. And is surely as pertinent today as it was in then, finally, working at the MacDowell 1946. Or, as another U.S. politician once Colony in Peterborough, New Hampshire, declaimed, “you have to give them hope.” during summer 1946, he was able to sign Gavin Plumley specializes in the music and off the draft score with a dazzling finale, culture of Central Europe and appears fre- fully imbued with the positivity and punch quently on BBC radio as well as writing for of the original Fanfare, though now treated newspapers, magazines, opera houses, and to contrapuntal investigation before deliver- concert halls around the world. He is the ing a suitably robust conclusion. commissioning editor of English-language program notes for the Salzburg Festival. Meet the Artists London Philharmonic Orchestra, Royal Liverpool Philharmonic, Beijing Symphony, and NDR Elbphilharmonie. Recent record- ings include works by Bruch, Beethoven and Mendelssohn, with violinist Philippe Quint and the Orquesta Sinfónica de Minería, on Avanticlassic, and Korngold’s Carlos Miguel Violin Concerto on Naxos, which received Prieto two Grammy nominations. In 2013 Prieto Carlos Miguel Prieto—Musical America’s released a 12-DVD set of live recordings of 2019 Conductor of the Year—is known for Mahler’s complete symphonies as part of his charismatic conducting and dynamic, the Orquesta Sinfónica de Minería’s 35th expressive interpretations. A graduate of Anniversary season. Princeton University and Harvard Business School, Prieto is a highly influential cultural A passionate proponent of music educa- leader as well as the leading Mexican tion, Prieto was principal conductor of the conductor of his generation. He has been Orchestra of the Americas from its incep- music director of the Orquesta Sinfónica tion until 2011, when he was appointed Nacionalde México (OSN) since 2007. In music director. In 2010 he conducted the 2008 he was appointed music director of ensemble alongside Valery Gergiev on the the Orquesta Sinfónica de Minería, a hand- occasion of the 40th anniversary of the picked orchestra which performs a two- World Economic Forum at Carnegie Hall. month-long series of summer programs In 2018 Prieto led the Orchestra of the in Mexico City. Having conducted more Americas on its European tour with con- than 100 world premieres of works by certs from Ukraine to Scotland and was Mexican and American composers, Prieto awarded an honorary doctor of music by is renowned for championing and com- Loyola University. missioning the music of Latin American composers. In 2016 he led the OSN on a nine-concert tour of Germany and Austria performing the works of Mexican and Latin American composers in halls such as the Wiener Musikverein.

Following a summer leading Carnegie Sean Juhl Hall’s first NYO2 tour and the invitation to A native of New York City, Sean Juhl (Pre- lead NYO2 again in summer 2019, Prieto College ‘18, viola) began studying the violin began the 2018–19 season conducting the with his mother at age four. After experi- BBC National Orchestra of Wales, made menting with the viola for the first time in his debut with the National Symphony 2014, he fell in love with the instrument and Orchestra, and returned to the Detroit has since performed as a soloist, chamber Symphony. In the spring, Prieto made return musician, and orchestral player in venues appearances with The Hallé, Frankfurt around the world including the Royal Albert Radio Symphony, and Bilbao Orkestra Hall in London, New York’s Carnegie Hall, Sinfonikoa. Prieto has appeared with inter- Royal Concertgebouw in Amsterdam, and national orchestras including the Chicago Kimmel Center in Philadelphia. He took Symphony Orchestra, Boston Symphony part in the Juilliard Orchestra’s tour to Orchestra, Los Angeles Philharmonic, London last summer, performing alongside colleagues from the Royal Academy of Perlman Music Program and was also a Music in the 2019 BBC Proms under the quarterfinalist at the 2017 Fischoff National direction of Edward Gardner. Juhl also Chamber Music Competition. His past served as a principal violist with the National teachers include Toby Appel, Joey Corpus, Youth Orchestra—USA during its 2016 and and Bela Horvath, and he is a sophomore 2017 seasons, performing under the batons at Juilliard studying with Carol Rodland. of Marin Alsop, Christoph Eschenbach, and William Randolph Hearst Scholarship, Valery Gergiev. An avid and passionate Joseph F. McCrindle Scholarship chamber musician, Juhl is an alum of the

Juilliard Orchestra Juilliard’s largest and most visible stu- this season including Marin Alsop, Karina dent performing ensemble, the Juilliard Canellakis, Elim Chan, Anne Manson, Orchestra, is known for delivering polished Nicholas McGegan, Mark Wigglesworth, and passionate performances of works Jörg Widmann, and Keri-Lynn Wilson as spanning the repertoire. Comprising more well as faculty members Jeffrey Milarsky than 350 students in the bachelor’s and and David Robertson. The Juilliard Orchestra master’s degree programs, the orchestra has toured across the U.S. and throughout appears throughout the season in concerts Europe, South America, and Asia, where it on the stages of Alice Tully Hall, Carnegie was the first Western conservatory ensem- Hall, David Geffen Hall, and Juilliard’s Peter ble allowed to visit and perform follow- Jay Sharp Theater. The orchestra is a strong ing the opening of the People’s Republic partner to Juilliard’s other divisions, appear- of China in 1987, returning two decades ing in opera and dance productions, as well later, in 2008. Other ensembles under the as presenting an annual concert of world pre- Juilliard Orchestra umbrella include the mieres by Juilliard student composers. The conductorless Juilliard Chamber Orchestra, Juilliard Orchestra welcomes an impressive Juilliard Wind Orchestra, and new-music roster of world-renowned guest conductors groups AXIOM and New Juilliard Ensemble.

Administration Adam Meyer, Director, Music Division, and Deputy Dean of the College Joe Soucy, Assistant Dean for Orchestral Studies Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Matthew Wolford, Operations Manager Daniel Pate, Percussion Coordinator Lisa Dempsey Kane, Principal Orchestra Librarian Michael McCoy, Orchestra Librarian Adarsh Kumar, Orchestra Personnel Manager Michael Dwinell, Orchestral Studies Coordinator Juilliard Orchestra Carlos Miguel Prieto, Conductor

Violin Cello English Horn Trombone Valerie Kim, Anne Richardson, Pablo O’Connell Carlos Jiménez Concertmaster Principal Sarah Williams Fernández, Principal Rannveig Marta Sarc, Jenny Bahk Addison Maye-Saxon, Principal Second Drew Cone Clarinet Principal Claire Arias-Kim Drake Driscoll Hanlin Chen, Principal Arianna Brusubardis Sterling Elliott Wonchan Will Doh, Bass Trombone Gabrielle Despres Connor Kim Principal Zachary Neikens Randall Goosby Hannah J. Kim Hector Noriega Othon, Njioma Chinyere Osheen Manukyan Principal Tuba Grevious Woojin Nam David Freeman Ludvig Gudim Namisa Sun E-flat Clarinet Joshua Williams Leerone Hakami Yi Qun Xu Hanlin Chen Abigail Hong Timpani Angela Kim Double Bass Bass Clarinet Jake Borden HoJung Kim Markus Lang, Principal Phillip Solomon Simon Herron Stephen Kim Bowen Ha Leo Simon William Lee Peter Hatch Bassoon Nathan Meltzer Attila Kiss Troy Baban, Principal Percussion Coco Mi Dominic Law Morgan Davison, Simon Herron, Principal Kenneth Ryu Naito Dimitrios Mattas Principal Euijin Jung, Principal Oliver Neubauer Paris Myers Soo Yeon Lee, Principal Yibing Wang, Principal Amy Oh Xingyuan Weng Jake Borden Hava Polinsky Contrabassoon Leo Simon Emma Richman Flute Troy Baban Sophia Steger Héléna Macherel, Morgan Davison Piano Lucas Stratmann Principal Seoyon Susanna Sumina Studer Mei Stone, Principal French Horn MacDonald Sophia Szokolay Chris Wong, Principal David Alexander, Naoko Tajima Yiding Chen Principal Celeste Jaewon Wee Logan Bryck, Principal Benjamin Pawlak Anna Wei Piccolo Jaimee Reynolds, Eliza Wong Yiding Chen Principal Harp Kevin Zhu Mei Stone Jessica Elder Clara Warford, Principal Chris Wong Hannah Miller Lee Yun Chai Viola Natalie Loughran, Alto Flute Trumpet Principal Chris Wong Anthony Barrington, Harmony Chiang Principal Carolyn Farnand Oboe William Leathers, Lydia Grimes Alexander Mayer, Principal James Chanha Kang Principal Alexander Ramazanov, Jeremy Klein Pablo O’Connell, Principal Laura Liu Principal Huanyi Yang Kam Yee Ma Alexandra von der Mikel Rollet Embse, Principal Sequoyah Sugiyama Sarah Williams Shuhan Wang Kayla Williams