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JUILLIARD415 Touring NZ: 27 February - 13 March JUILLIARD415 Touring NZ: 27 February - 13 March Core Funder VOCES84–10 July Prepare yourself for the exceptionally smooth sounds of VOCES8 as they take you on an acoustic tour of cathedrals throughout NZ. chambermusic.co.nz/voces8 Baroque Invention: A Tale of Two Countries HANDEL Overture to Agrippina Page 15 MARAIS Dances from Sémélé Page 16 VIVALDI Concerto for flute, op 20, no 2, RV 439 (“La notte”) Page 17 MUFFAT Sonata V in G major from Armonico tributo Page 18 —interval— CORELLI Concerto grosso in D major, op 6, no 7 Page 19 GILLIAN WHITEHEAD time steps out of line Page 20 RAMEAU Suite from Dardanus Page 21 95 minutes including interval Thu 27 Feb, 7.30pm | Gallagher Academy of Performing Arts, Hamilton Fri 28 Feb, 7.30pm | Holy Trinity Cathedral, Auckland Mon 2 Mar, 7.30pm | 4th Wall Theatre, New Plymouth Tue 3 Mar, 7.30pm | The Globe, Palmerston North Thu 5 Mar, 7.30pm | MTG Century Theatre, Napier Sat 7 Mar, 7.30pm | Salvation Army Citadel, Wellington Mon 9 Mar, 7.30pm | Nelson Centre for Musical Arts Tue 10 Mar, 7.30pm | The Piano, Christchurch Thu 12 Mar, 7.30pm | Glenroy Auditorium, Dunedin Fri 13 Mar, 7.30pm | Civic Theatre, Invercargill *Presented in association with The Juilliard School through the generous support of Sarah Billinghurst Solomon. Programme notes by Kate Gerrard and Robert Mealy. The Auckland concert is being recorded for later broadcast by RNZ Concert TĒNĀ KOUTOU What better way to open the 2020 of a number of people and concert season than in celebration organisations including Pub Charity. of the musical virtuosity and Travelling round the country youthful exuberance of Juilliard415, with Juilliard415 is a beautiful directed by renowned Baroque Rubio harpsichord generously music exponent, violinist Robert provided by the New Zealand Mealy. This is Juilliard415’s second School of Music, Victoria University tour for CMNZ and just as eagerly of Wellington and a double anticipated as the first—with the bass kindly loaned by Richard added pleasure of welcoming Hardie. I would also like to thank back those who have become Interislander for assisting with the our friends and those who will crossing of the Cook Strait. become so. The association with The Juilliard In a programme that celebrates School is one we truly value and both the old world and new, I would like to thank Benjamin Italian and French Baroque Sosland, the Administrative Director traditions will be uncovered of the Historical Performance alongside the premiere of a brand programme for his assistance in the new work written for Juilliard415 planning and execution of the tour. by New Zealand’s Arts Laureate, To our international performers— Dame Gillian Whitehead, aptly titled welcome! And to our audiences time steps out of line. The creation all around the country, please do of this new work was made enjoy this very special musical possible through the generous experience. support of an anonymous donor. This epic tour is quite an undertaking for CMNZ and musicians alike and would not be possible without the support Catherine Gibson Chief Executive Chamber Music New Zealand A MESSAGE FROM BENJAMIN SOSLAND When I learned that Juilliard415 of music, written just for us, would be returning to this by the esteemed Dame Gillian gorgeous country on the other Whitehead. Talk about rolling out side of the world from us, I the red carpet! It is a true honor was giddy with joy. The great to share the music we love with memories we have from our first you. This music, which highlights tour are imprinted in our memories the invention and virtuosity of forever. Flat whites! Charming the Italian and French Baroque accents! Sheep! But above all, traditions, lives on because of it’s the people I remember: the talent and commitment of the openness and flexibility of our extraordinary students—and our CMNZ colleagues and the because you are here to receive it. enthusiasm of the audiences who We hope you find, as we do, that cheered us on at every stop. this music speaks to us as vibrantly Despite being so far away and directly today as it must have from our home in the heart of when it was heard for the very Manhattan, the hospitality and first time so many years ago. What warmth showered on us makes a great reminder of music’s power us feel very much like we belong to supersede the barriers of time here. And imagine the privilege and geography. What a great of premiering a brand-new piece reminder of music’s power to bring us together. Benjamin Sosland Administrative Director Juilliard Historical Performance Juilliard415 1 JUILLIARD HISTORICAL PERFORMANCE Juilliard’s full-scholarship Historical field. Frequent collaborations Performance program offers with Juilliard’s Ellen and James S. comprehensive study and Marcus Institute for Vocal Arts, the performance of music from the integration of modern-instrument 17th and 18th centuries on period majors outside of the Historical instruments. Established and Performance program, and endowed in 2009 by the generous national and international tours support of Bruce and Suzie Kovner, have introduced new repertoires the program is open to candidates and increased awareness of for the Master of Music, Graduate historical performance practice Diploma, and Doctor of Musical at Juilliard and beyond. Alumni of Arts degrees. A high-profile Juilliard Historical Performance are concert season of opera, members of many of the leading orchestral, and chamber music is period-instrument ensembles, augmented by a performance- including the Portland Baroque oriented curriculum that fosters Orchestra, Les Arts Florissants, an informed understanding of the Mercury, and Tafelmusik, as well many issues unique to period- as launching such new ensembles instrument performance at the as the Sebastians, House of Time, level of technical excellence New York Baroque Incorporated, and musical integrity for which and New Vintage Baroque. Juilliard is renowned. The faculty comprises many of the leading performers and scholars in the DID YOU KNOW? Juilliard415 is so named because, like many period instrument ensem- bles, they tune to a pitch frequency standard of A=415Hz. The generally agreed standard for modern orchestras/ensembles is between A=440– 442Hz with some even tuning as high as A=445Hz. 5 JUILLIARD415 Celebrating its 10th anniversary the first-ever conservatory in season, Juilliard415, the school’s residence), and 2017’s 10-concert principal period-instrument tour of New Zealand. ensemble, has made significant With its frequent musical contributions to musical life in collaborator, the Yale Institute of New York and beyond, bringing Sacred Music, the ensemble has major figures in the field of early played throughout Scandinavia, music to lead performances of Italy, Japan, Southeast Asia, both rare and canonical works by the U.K., and India. Juilliard415 composers of the 17th and 18th recently made its South American centuries. The many distinguished debut with concerts in Bolivia, guests who have led Juilliard415 a tour sponsored by the U.S. include Harry Bicket, William Department of State. In a Christie, Monica Huggett, Nicholas concert together with the Bach McGegan, Rachel Podger, Jordi Collegium Japan, conducted Savall, and Masaaki Suzuki. by Masaaki Suzuki, Juilliard415 Juilliard415 tours extensively in recently played a historic the U.S. and abroad, having now period-instrument performance performed on five continents, of Mendelssohn’s Elijah at with notable appearances at the Leipzig Gewandhaus in the Boston Early Music Festival, Germany. Previous seasons have Leipzig Bachfest, and Utrecht Early been notable for side-by-side Music Festival (where Juilliard was collaborations with Philharmonia Baroque in San Francisco, as well as concerts directed by such eminent musicians as Ton Koopman, Robert Mealy, Kristian Bezuidenhout, and the late Christopher Hogwood. Juilliard415 3 Juilliard415, which takes its name Project, a Holy Week concert from the pitch commonly at the Cathedral of St. John the associated with the performance Divine for which the ensemble of Baroque music (A=415), has commissioned seven leading performed major oratorios and composers, including Nico Muhly, Baroque operas every year since Caroline Shaw, and Tania Leon. its founding, including the rare Highlights of the upcoming opportunity to see a fully-staged concert calendar include production of Rameau’s Hippolyte performances with William et Aricie during the 2017-18 season. Christie and Les Arts Florissants During the 2018-19 season, the at the Philharmonie de Paris; ensemble presented Purcell’s Dido Handel’s Rinaldo conducted by and Aeneas at Opera Holland Park Nicholas McGegan in New York in London and the Royal Opera and at the Göttingen Handel House of Versailles. A frequent Festival in Germany; a program of collaborator with Juilliard’s Dance music inspired by Shakespeare, division, Juilliard415 premiered led by Rachel Podger; the new choreography by Juilliard Juilliard415 debut of Pablo dancers in an all-Rameau program Heras-Casado in a program of led by Robert Mealy and teams music from the Spanish Baroque; up again with Juilliard Dance and another side-by-side this season for a new work collaboration with Philharmonia choreographed by Andrea Miller. Baroque in San Francisco. Juilliard415 has had the distinction of premiering new works for period instruments, most recently for its Seven Last Words 4 Chamber Music New Zealand JUILLIARD415 Music director/concertmaster Flute Robert Mealy Kelsey Burnham Taya König-Tarasevich Violin Majka Demcak
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