Friday Evening, May 4, 2018, at 7:30

The Juilliard School presents The Argus Quartet Clara Kim and Jason Issokson , Violins Dana Kelley , Viola Joann Whang , Cello

LISA ARNHOLD MEMORIAL RECITAL

FELIX MENDELSSOHN (1809–1847) No. 1, Opus 12 Adagio non troppo—Allegro non tardante Canzonetta: Allegretto in G minor Andante espressivo Molto allegro e vivace

AUGUSTA READ THOMAS (b. 1964) Chi (2017) Chi—vital life force Aura—atmospheres, colors, vibrations Meridians—zeniths Chakras—center of spiritual power in the body

Intermission

CHARLES WUORINEN (b. 1938) Josquiniana (16th century/2002) Hélas madame Faulte d’argent Cela sans plus Comment peult Vive le Roy El Grillo, “Joasquin d’Ascanio”

WITOLD LUTOSŁAWSKI (1913–94) String Quartet (1964) Introductory movement Main movement

Performance time: approximately 1 hour and 30 minutes, including one 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. Notes on the Program including Die Hebriden (“Fingalshöhle”) and the “Scottish” Symphony. And it was by Gavin Plumley during the same period that he composed his String Quartet No. 1 in E-flat major, Op. 12 String Quartet No. 1, Opus 12 (though he had already completed an FELIX MENDELSSOHN A- minor Quartet, catalogued as No. 2, Born on February 3, 1809, in Hamburg, Op. 13, two years earlier). Germany Died on November 4, 1847, in Leipzig, The E-flat major Quartet is an ardent com - Germany position, imbued with the same intense poetry as the Scottish works. It begins Chamber music was in Felix Mendelssohn’s with a searching Adagio non troppo , more blood. From an early age, Felix and his sis - readily suggesting a minor key than the ter Fanny curated Sunday afternoon cham - true tonic of E-flat major. The same hymn- ber concerts at the Rebecksches Palais, like tones inform the initial gestures of the the family’s home in the heart of Berlin. main Allegro non tardante , though this Leading figures flocked to the events, soon stirs into ebullient life. The develop - including the poet Heinrich Heine, the ment, beginning in the same manner as philosopher Georg Wilhelm Friedrich the exposition, reveals fierier passions and Hegel, and the scientist Alexander von an even broader harmonic palette, but the Humboldt. In March 1844 Fanny even markings of tranquillo and dolce in the boasted that “Liszt and eight princesses recapitulation show that nothing can ruffle were present” at one such concert. And it the first movement’s prayerful demeanor. was for these gatherings that Fanny and Felix wrote their earliest chamber compo - The ensuing Canzonetta has a lighter tread, sitions, including the latter’s youthful Octet recalling the Scherzo from Mendelssohn’s Op. 20, completed in 1825. Octet and the tripping fairies of A Midsummer Night’s Dream . The beseech - By the time Felix wrote his First String ing tones of the first movement then Quartet, four years later, he had flown the return in the Andante espressivo , albeit nest. He had already met Goethe, his sounding even more vital here, with aching Overture to A Midsummer Night’s Dream sevenths and suspensions. The music’s was a veritable sensation, and his study of call does not appear to have been Bach had led to a pioneering revival of the answered at the close of the movement St. Matthew Passion in March 1829. and instead bursts forth in restive counter - Success never led to complacency, how - point. Evoking Beethoven’s late quartets, ever, and despite studying at the University this finale tips the weight of balance of Berlin, being an accomplished classicist towards the end of the Quartet. The and even taking to painting, Mendelssohn imploring nature of so much of its music is felt his education was incomplete. Shortly recollected, though so too is the insistence after the performance of the St. Matthew of the first movement’s development sec - Passion , he therefore planned a grand tour, tion. Both characters—are they two sides beginning in Britain, where performances of the same coin?—have to be acknowl - of his music scored further triumphs. edged in order for there to be reconciliation Mendelssohn’s time in London was then and that takes the form of a coda recalling followed by a trip to Scotland, where he the end of the first movement, now with - was inspired to write several new works, out its uneasy shadow. Chi but is in constant play with the other AUGUSTA READ THOMAS instruments. Indeed, the juxtaposition of Born on April 24, 1964, in Glen Cove, bowed and pizzicato textures and the New York intense counterpoint, with motifs volleyed from one player to the other, in the manner Distinct atmospheres are likewise present of a medieval “hocket” (or hiccup), indi - in Augusta Read Thomas’ 2017 string quar - cate a playful exploration of the idea of Yin tet Chi . Commissioned by the Rockefeller and Yang. Memorial Chapel and the Spektral Quartet, it was first performed at the chapel on the That duality is further mirrored by the contrast campus of the University of Chicago on between the first and second movements. April, 29, 2017. The setting for the pre - Aura , characterized by “atmospheres, colors, miere was fundamental to the way in vibrations,” begins in prayerful poise. Yet which Thomas composed, emphasizing Thomas’ choice of the plural for these what she describes as “the extraordinary three elements indicates that different spiritual qualities and acoustic properties” types will unfold, as in the gradual intensifi - of its “grand cathedral space.” Reflective, cation of harmonic palette and mood that fol - too, of the all-inclusive spiritual life of the lows. The “bebop” like Meridians , also institution, Thomas’ string quartet takes as labeled “zeniths,” constitutes the scherzo, its inspiration the idea of Chi , found in the where the hocket technique of the first beliefs of various countries and communi - movement returns, bouncing ideas around ties, as the composer explains: the ensemble, just as it does around the per - formance space. And then, repeating the The Chinese refer to the vital life force fast-slow combination of the first two move - energy of the universe, present within ments, Meridians is followed by the other - every living thing, as Chi . Chi has been worldly Chakras , representing the “center of studied for more than 10,000 years, from spiritual power in the body.” Here, the China and Japan to India, the Hawaiian propulsive energy of the quartet finds rest: a Islands, and South America. Chi is the perfect fifth, radiating light and strength. energy of life itself, recognized as the balance of Yin and Yang (male and Josquiniana female, positive and negative, electro - magnetic energy), which flows through Born on June 9, 1938, in New York City everything in creation. The power of Chi emits soulful colors (the Aura), giving While the hockets of Chi have their roots in expressive vibrational frequency, and the motets of 13th- and 14th-century sound. Chi flows through the body path - France, the impetus for Charles Wuorinen’s ways—known as Meridians (highpoints) 2002 quartet Josquiniana comes from a and Chakras (deep, subtle spiritual nodes century later, specifically the music of of the profound essential center)—of all Josquin des Prez. Born in the mid-15th living forms. century, his polyphonic music heralded the Renaissance and was widely dissemi - The various elements of this multinational, nated, just as he moved from one country multilinguistic, multifaith viewpoint take and chapel to the next. Josquin thereby the form of four movements here. The came to typify an age, even when other Quartet opens with Chi , the “vital life greats appeared on the scene, such as force,” in which the first violin dominates, Gombert, Morales, Lassus, and Palestrina. A celebrity though he may have been, Although never directly imitating Cage’s Josquin remains problematic. That is par - approach, Lutosławski embarked on a series ticularly true for musicologists, who have of works, including this Quartet and his struggled to produce a verifiable work list Second Symphony, which were character - and chronology, not least because of the ized by “aleatory counterpoint.” And it is number of pieces falsely attributed to him. specifically the counterpoint, the interaction Yet there is no doubt that referring to between the instruments, rather than the Josquin is a means of summoning an material being played, that is spontaneous. entire era and body of music. And it was this corpus of creativity that inspired The String Quartet is conceived in two Wuorinen’s “setting of six secular works movements—again, a Yin and Yang duality (some presumably instrumental and others might apply—with Lutosławski describing vocal) by the great composer.” the pair as “introduction” and “main movement.” The former proves episodic, The soulful nature of the string instru - while the latter is free-flowing, with a lust ments in the opening Hélas madame sum - for development and, in the end, recapitu - mons the sound of the “three to five lation. The hesitant nature of the Introductory voices” that originally sang these works, movement is made apparent in skittering trembling here and there, with occasional violin fragments, which Lutosławski termed pizzicato passages. After the capricious “recitative.” Tension is further engendered rhythms of Faulte d’argent comes the by the absence of the other players. And more measured polyphony of Cela sans when they enter, their music refuses to plus , though this too has a vigorous alter cluster. Ensuing “episodes” are “framed” ego. Dances further characterize Comment (again, Lutosławski’s term) by “groups of peult , the original text of which reminds us octaves,” though nervousness remains, as that “he who lives unhappily has no care to does the feeling of untapped potential. sing.” The festal origins of Vive le Roy find voice in fanfaric writing, before the set That is realized, of course, in the Main closes with El Grillo . Wuorinen acknowl - movement , which begins with hectic edged that the music for this movement counterpoint, “culminating finally in a ‘cri - “is probably not by Josquin, but was too sis’ played in the highest registers of all much fun to leave out.” four instruments.” Each section, taking the form of a chorale and then an elegy, devel - String Quartet ops from what has gone before, marking WITOLD LUTOSŁAWSKI the distinction between this and the frag - Born on January 25, 1913, in Warsaw, Poland mented first movement. And although Died on February 7, 1994, in Warsaw Poland frantic energies continue, there is coalesc - ing, too, indicative of a movement whose Polyphony is also evident in Lutosławski’s “purpose,” according to the composer, “is sole String Quartet, completed in 1964. But to complete or to fulfil.” rather than the medieval or Renaissance period, the Polish-born composer was Gavin Plumley specializes in the music and inspired by John Cage’s Concert for piano culture of Central Europe and appears fre - and orchestra. Begun in 1957 and first quently on BBC radio, as well as writing for heard in New York the following year, the newspapers, magazines, opera houses, and Concert is made up of 63 pages, “to be concert halls around the world. He is the played, in whole or in part, in any sequence, commissioning editor of English-language involving 84 ‘types’ of composition.” program notes for the Salzburg Festival. Meet the Artists Last fall the Argus Quartet began a two-year appointment as the graduate quartet in resi - dence at Juilliard, where it works closely with the . From 2015 to 2017 the quartet was the fellowship quar - tet in residence at the Yale School of Music (as the first ensemble mentored by the Brentano String Quartet in that capacity), and during the 2016 –17 season it was the Ernst Stiefel quartet in residence at the Caramoor Center for Music and the Arts. Argus was the quartet in residence at New S B B

I Music on the Point under the guidance of G

N the JACK Quartet and was also one of three E B ensembles to perform works from Kronos Argus Quartet Quartet’s Fifty for the Future commissioning Violinists Clara Kim and Jason Issokson, project at Carnegie Hall. Recent commis - violist Dana Kelley, and cellist Joann sions include new quartets by Donald Whang are the Argus Quartet, recognized Crockett, composer and Grammy nominee as one of today’s most dynamic and versa - Eric Guinivan, the 2014 Hermitage Prize tile young ensembles. The quartet has winner Thomas Kotcheff, and Guggenheim recently won first prize at the 2017 Concert Fellowship recipient Juri Seo. The Quartet Artists Guild Victor Elmaleh Competition has received grants from Chamber Music and the 2017 M-Prize Chamber Arts Com- America and the Caramoor Center for petition. Recent and upcoming performances Music and the Arts in support of its com - include appearances at Carnegie Hall’s Weill missioning efforts, and it has also per - and Zankel halls, Roulette, the Albany formed works by some of today’s most Symphony’s American Music Festival, important composers, including Augusta Bang on a Can at the Noguchi Museum, the Read Thomas, Garth Knox, Jason Eckardt, Hear Now Music Festival, Providence Christopher Theofanidis, Martin Bresnick, College, University of Michigan, James and Andrew Norman. The Argus Quartet Madison University’s Contemporary Music has performed at the Ravinia Steans Music Festival, , the Shalin Liu Institute, Norfolk Chamber Music Festival, Performance Center at Rockport Music, and Birdfoot Festival, Cello Biënnale Amsterdam, the Muziekgebouw aan ‘t IJ in Amsterdam. and Music Academy of the West, and has played alongside many of today’s leading Dedicated to reinvigorating the audience- chamber musicians, including the Brentano performer relationship through innovative Quartet and David Shifrin. concerts and diverse programming, the quartet’s core mission is to connect with Education and outreach are an important and build up a community of engaged lis - part of the Argus Quartet’s mission. The teners, with the strong belief that today’s quartet has worked with students through ensembles can honor the storied chamber residencies and master classes at Yale music traditions of our past while forging a University, James Madison University, new path forward. In that spirit, the ensem - Rockport Music, the Milken School, the ble’s repertoire includes not just master Young Musicians Foundation, California works of the chamber music canon, but also State University Long Beach, Los Angeles a wide range of pieces by living composers. City College, and Princeton University.

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

A great deal has happened in Tianjin since September 28, 2015, when Juilliard president Joseph W. Polisi announced plans for The Tianjin Juilliard School. Last spring, Alexander Brose was selected to serve as the first executive director and C.E.O. and Wei He as the artistic director and dean. From the ceremonial ground breaking over the summer to the start of construction earlier this year, the school is gearing up to welcome its first class in 2019.

Beijing Tianjin The Tianjin Juilliard School

CHINA

Where is The Tianjin Juilliard School? • Tianjin is the third largest city in China, and • Designed by the internationally the school will be adjacent to a high-speed renowned firm, Diller Scofidio + rail station with one-hour service to Renfro, The Tianjin Juilliard School downtown Beijing. The school is located building will have state-of-the-art in a beautiful, riverside park along the Hai teaching and performance spaces, River in the New Binhai Area, Tianjin. and a multi-faceted learning environment.

• The Tianjin Juilliard School builds on the city’s rich artistic heritage by establishing a new crossroad for Juilliard’s network of artists, teachers, friends, and students. o

• The ribbon-like Hai River—the largest r t e i

water body in Northern China—weaves p a p a P

through Tianjin. It is spanned by 21 bridges o i d

and offers easy access to the Haihe u a l C Cultural Square and Haihe River Bund Alex Brose and Wei He Park, among other attractions.

Learn and Play at The Tianjin Juilliard School • The inaugural group of 100 students in the U.S.-accredited master of music program will be immersed in one of three core areas: orchestral studies,

chamber music, or collaborative piano. n u S

g n a i l n

• The audition-based Tianjin Juilliard School a Y Pre-College program will admit up to 200 Joseph W. Polisi at the ground breaking ceremony of students, ages 8 to 18. The Tianjin Juilliard School in June 2017

• As many as 150 performances every year will be presented in the 700-seat concert Become Part of the Culture hall, 299-seat recital hall, or 250-seat • Tianjin’s artistic tapestry includes the black box theater. development of Peking Opera and China’s first conservatory offering • Juilliard Imagination, an innovative study in Western music. learning environment, will feature interactive exhibitions curated for • When in Tianjin, one can take a stroll adults and children alike. through Five Great Avenues, a fascinating area with historic buildings featuring a wealth of diverse architectural styles from across Europe. o r f n e R

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y s e t r u o C Artist rendering of The Tianjin Julliard School campus