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Home , Brandenburg Concertos, Nicholas McGegan

Monday Evening, February 10, 2020, at 7:30

The Juilliard School presents Juilliard415 Juilliard Nicholas McGegan, Conductor

GONZALO X. RUIZ (b. 1964) Sweet Pulcinella, 1749 Revision (2015; New York premiere) I. Allegro Adagio Prefetto Allegro

II. Gigue Bourrée Gavotte I—II—III Allegro Imbriagon Recitative—Minuetto Tambourin JUILLIARD415

J.S. BACH (1685–1750) Concerto No. 3 in , BWV 1048 (1721) [Allegro] Adagio Allegro JUILLIARD415

Intermission

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

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

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. (1882–1971) Concerto in E-flat, “Dumbarton Oaks” (1938) Tempo giusto—Allegretto—Con moto JUILLIARD ORCHESTRA

STRAVINSKY Pulcinella Suite (1922, revised 1949) Serenata Scherzino—Allegretto—Andantino Tarantella Toccata Gavotta (con due variazioni) Vivo Minuetto—Finale JUILLIARD ORCHESTRA

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

About the Program material. Wherever one places Pulcinella on the spectrum from simple arrangement to original composition, it certainly involves Sweet Pulcinella, 1749 Revision substantial plagiarism. There is no other GONZALO X. RUIZ word for incorporating entire movements by Born: December 8, 1964, in La Plata, other composers into your own, neglecting Argentina to credit even the ones you know, and then Lives in New York City covering your tracks. Stravinsky made lots of money from the Pulcinella Suite and made The Pulcinella Suite is one of Stravinsky’s changes to extend his copyright. Nowadays most popular works and the story of the version we hear most frequently is the its creation is familiar to music lovers. “1949 revision.” After setting off a veritable revolution in the music world with his early trio of I wrote Sweet Pulcinella, 1749 Revision modernist masterpieces, culminating in as a response to this wonderful but , the young genius problematic work. While I wanted to turned towards the past in 1920, making carry the banner for the 18th century, a radical break with the angular, dissonant the simple paths of orchestrating either style that had brought him fame. His the original material or Stravinsky’s re- new ballet, brimming with fresh melodies, working for a baroque orchestra seemed was as accessible as his earlier works uninteresting. Instead, the work took on were enigmatic. Pulcinella, so it was said, a more interactive shape and became a was loosely based on unknown works , followed by a suite of by Pergolesi, fragments of which he had dances (a form common in Dresden and found among manuscripts in an Italian beyond in the 1730s), in which the past monastery. Practically everything about summons Stravinsky to settle the score, this story is false. so to speak. In the first movement, the orchestra mocks Stravinsky’s alterations In reality, Stravinsky had undertaken by misplacing and subverting them. In the the project, reluctantly, at the behest of second, his geometric and angular tattoos his impresario Diaghilev, who had been are replaced by perhaps their opposite, pressuring him to write a new work based choirs of birds and ghosts. In the third on so he could stage a ballet and fifth movements, Stravinsky is further featuring the classic commedia dell’arte “trolled,” first with snippets of Rite, then characters. Diaghilev went to the British with allusions to his own orchestration Museum and procured an assortment of of Gallo. unknown works, about a third of which were used by Stravinsky. While some Stravinsky awakens with the gigue that were indeed by Pergolesi, a collection begins the suite, which forms the second of trios by Gallo that became the source half of the work. I believe this is the most for several movements in Pulcinella were brilliant part of his work, and his strongest misattributed to Pergolesi, while works by defense, setting up a moment where Monza and Wassenaer were used and something close to real Stravinsky comes simply uncredited. Stravinsky orchestrated face to face with the pure baroque of the the music, transposed it, manipulated it bourrée’s opening. “Baroqueness” mostly in various ways (some that in retrospect holds sway until the “party crashers,” appear mundane, others enduring genius), while, in the final movements, Stravinsky, and in spots added completely original the older composers, the present, Juilliard and the past (I hope) reach some kind into the overall texture, yielding a surface of understanding. sound that is constantly in a state of —Gonzalo X. Ruiz subtle flux. This concerto is cast in only Composer Gonzalo X. Ruiz has been a two fast movements connected by a pair member of Juilliard’s Historical Performance of modulatory chords, marked Adagio, in faculty since 2009. common time, and with a fermata placed (curiously) over the second of the chords Brandenburg Concerto No. 3 in G major, rather than the first, where it would make BWV 1048 more sense. In performance, this riddle J.S. BACH is sometimes solved by having one or Born March 21, 1685, in Eisenach, more of the players improvise a bit, or by Thuringia (now Germany) importing a slow movement from another Died July 28, 1750, in Leipzig, Saxony piece. (now Germany) —James M. Keller James M. Keller is the longtime program Bach was 32 years old when he assumed annotator of the New York Philharmonic the position of (music (where he occupies the Leni and Peter May director) at the court of Prince Leopold Chair) and the Symphony. of Anhalt in Cöthen, in December 1717. His book : A Listener’s Many buoyant instrumental works Guide is published by Oxford University date from his years there, including his Press. Brandenburg . He assembled these six concertos into a collection in Concerto in E-flat, “Dumbarton Oaks” 1721, after the prince’s marriage to a IGOR STRAVINSKY music-hating bride inspired Bach to think Born: June 5 (old style)/17 (new style), about finding a new position. On March 1882, in Oranienbaum, now Lomonosov, 24 of that year, he inscribed a servile near St. Petersburg, Russia dedication letter in courtly French to the Died: April 6, 1971, in New York City Margrave of Brandenburg, whom he had met a couple of years before, and attached Following an American concert tour with his six concertos—the whole serving as a his violinist friend Samuel Dushkin in 1937, job application. No offer was forthcoming. Stravinsky found that one of his shipmates on his transatlantic crossing back to Europe Each of the six Brandenburg Concertos (as was Nadia Boulanger, the eminent teacher, they became known long after the fact) has ex-composer, and Stravinskyphile. She, a distinct character and employs a different too, had been on a concert and lecture tour, combination of instruments. In general, in the course of which she had encountered the Brandenburg Concerto No. 3 (BWV Mildred (Mrs. Robert Woods) Bliss. The 1048) exemplifies what we recognize as Blisses maintained a mansion and 10 acres an orchestral style, stressing the blend or of gardens in the Georgetown section of contrast of instrumental sections. It was Washington, D.C., that served as a social written for an expanded string orchestra hub for the capital’s elite. The estate was alone (three parts each of , , situated above a steep slope rising from and , with ) without the Potomac River, and already by the any soloists—or, if you prefer the piece mid-18th century, the location was known as chamber music, then with nothing as “The Rock of Dumbarton,” thanks to but soloists. Solo sections or groups of its supposed resemblance to Dumbarton sections emerge from and recede back Rock in Scotland. When naming their Juilliard

home, the Blisses used that geographical Boulanger conduct. Samuel Dushkin served allusion with a reference to the oak trees as concertmaster for the program, which adorning the property. also included Stravinsky’s Duo Concertant (played by Dushkin and pianist Beveridge Boulanger proposed that the Blisses Webster) and a selection of Bach arias commission a work from Stravinsky on the sung by Doda Conrad and Hugues Cuénod. occasion of their 30th anniversary, which Dushkin suggested that Stravinsky continue they would celebrate in 1938. Arrangements further on the same path and produce an were accordingly made for Stravinsky entire group of concertos—a Brandenburg to compose a modestly scaled piece for set for the 20th century— but this idea chamber orchestra of (as the contract put went nowhere. it) “‘Brandenburg Concerto’ dimensions.” Stravinsky had actually conducted Bach’s The Blisses were so pleased by Stravinsky’s Third Brandenburg Concerto in Cleveland new piece and its rendition at their party in February 1937, and that summer it that they immediately sent a telegram to was apparently still on his mind since he the composer in Paris: “PERFORMANCE incorporated the motivic cell that engenders CONCERTO DUMBARTON OAKS that work’s first movement into the new WORTHY OF THE WORK.” Stravinsky piece that was taking form. The critic René had been calling the new work simply Leibowitz (an ardent Schoenbergian) attacked Concerto in E-flat, and this strange name, Stravinsky for the “insolent borrowing of “Dumbarton Oaks,” threw him for a loop. [this] theme from Bach.” That does seem He wrote to Willy Strecker, his editor at rather an overstatement, since the figure is the Schott publishing firm, to pass on the so basic as to figure in all manner of music— news with a tinge of regret: “It wasn’t by Bach and everyone else. Nadia who conducted, for reasons they don’t give me. Illness? Or was she at the In addition to that near-quotation from Bach, last minute afraid of not knowing the work Stravinsky made good on the Brandenburg well enough? According to Mrs. Bliss’ comparison through the general size of his cable it was a certain Dumbarton Oaks ensemble (though his wind component is who conducted.” Within a few days decidedly un-Bachian) and his decision to everything was explained; Mrs. Bliss, use three each of violins and violas (just as finding the simple title Concerto in E-flat Brandenburg No. 3 does), not to mention lacking in character, had taken it upon the richly contrapuntal flavor in the first and herself to impose the name of her estate third movements. The second movement on the new work. Stravinsky, who on many proved surprisingly spare. Here, brief occasions could be intractable, proved gestures are passed off from instrument to entirely accommodating. Strecker was not instrument, the fragments combining into so happy about the new title, arguing, to overarching melodic phrases—a technique no avail, that “in both French and German associated more with Webern than it sounds like the noises of ducks or frogs.” Stravinsky, though in the 1950s Stravinsky would head in a serial direction himself. The composer was able to conduct at the work’s public premiere, in Paris that The premiere was a private anniversary June, when the audience adored the party at Dumbarton Oaks on May 8, 1938, work and demanded that it be encored. and since Stravinsky was undergoing The critics were less enthusiastic. Most treatment for tuberculosis he requested that of their reviews were laced through with Juilliard disappointment that this new concerto a look in the mirror, too. No critic understood seemed dry, academic, and constrained. It this at the time, and I was therefore attacked was, in short, not the sort of music that had for being a pasticheur, chided for composing made such an impact in the early years of ‘simple’ music, blamed for deserting Stravinsky’s Ballets Russes collaborations. ‘modernism,’ accused for renouncing my Otherwise put, the Concerto in E-flat had ‘true Russian heritage’” little in common with The Rite of Spring, which had been performed only two weeks What the critics did not understand was earlier in Paris to mark the 25th anniversary that, although the material and aesthetic of its premiere and was therefore fresh in of the music may have seemed classical, everyone’s ears. But Stravinsky had moved the underlying philosophy of Modernism on since then. One recalls the anecdote of remained true. Stravinsky’s idea was not to a fan expressing disappointment that the steal from classical literature, but to recreate composer no longer wrote music like The and perceive it under a different light. Rite of Spring. “But why did you stop?” she asked Stravinsky. After staring at his The conception of Pulcinella marked interlocutor for some while in silence, he what scholars consider to be the end responded, “Why did you stop?” of Stravinsky’s Russian period and the —James M. Keller beginning of his Neoclassical period. It was, he wrote, the “epiphany through which the Pulcinella Suite whole of my late work became possible.” STRAVINSKY The idea was first brought to him in After his groundbreaking, controversial 1919 by the Russian impresario, Sergei early 20th century works—Petrushka, Diaghilev (the same impresario who The Firebird, and The Rite of Spring— funded The Firebird Suite, Petrushka, and Igor Stravinsky was regarded as a leading The Rite of Spring), who found a large composer of the Modernist movement: that collection of unfinished and unknown is, until he wrote Pulcinella. manuscripts that were then thought to be by the early 18th-century Italian composer Modernism came about as a reaction Giovanni Battista Pergolesi (certain of to the past, a reevaluating of traditional those works were later discovered to values, qualities, and beliefs. Philosopher be by other composers). Upon studying Friedrich Nietzsche embodied this idea by the manuscripts, Stravinsky fell in love: saying “What is needed above all is an “When composers show me their music absolute skepticism toward all inherited for criticism, all I can say is that I would concepts.” Until 1920, Stravinsky had have written it quite differently. Whatever challenged audiences and artists with his interests me, whatever I love, I wish to unapologetically unique musical fingerprint, make my own. I am probably describing a taking and manipulating harmony and rhythm rare form of kleptomania.” into a style that is unmistakably his own. His innovation of musical language influenced Thus it was to be: a one-act ballet, with and inspired many composers who followed. music based on themes, fragments, and However, Stravinsky’s Pulcinella did not pieces by Pergolesi, with Pablo Picasso as receive the praise and respect expected the set and costume designer, and Léonide of his reputation. The composer said: Massine as the choreographer. Stravinsky “Pulcinella was my discovery of the past … It later rearranged the work as an orchestral was a backward look, of course—but it was suite, without singers or dancers. (Tonight’s Juilliard performance is of the 1949 revision of audience that expected the likes of Rite, Stravinsky’s suite.) and instead got elegance, wit, and charm more reminiscent of classical aesthetics. What is fascinating is how little had to Perhaps that was the real controversy. It be changed to make Pergolesi sound like was as though Stravinsky was saying that Stravinsky. “I knew that I could not produce artists may grow as much by perceiving the a ‘forgery’ of Pergolesi,” he said, “because past as pursuing the future. my motor habits are so different; at best, —Stephen Joven-Lee I could repeat him in my own accent.” It Stephen Joven-Lee is a pianist pursuing his would have certainly been a surprise for the Master’s degree at Juilliard.

Meet the Artists Wroclaw philharmonics. Summer festivals include Aspen and La Jolla. McGegan’s prolific discography includes more than 100 releases spanning five decades. Having recorded more than 50 albums of Handel, McGegan has explored the depths of the composer’s output with a dozen Nicholas oratorios and close to 20 of his operas. RANDY BEACH McGegan Under its own label, Philharmonia Baroque As he embarks on his sixth decade on the Productions, Philharmonia has recently podium, Nicholas McGegan is recognized released albums of Handel, Scarlatti, for his probing and revelatory explorations Vivaldi, Brahms, Haydn, Beethoven, and of music of all periods. The 2019–20 more. McGegan’s latest release with PBO season marks the final year of his 34-year is Handel’s rarely performed Joseph and tenure as music director of Philharmonia His Brethren. McGegan is committed to the Baroque Orchestra (PBO) and Chorale. He next generation of musicians, frequently is principal guest conductor of the Pasadena conducting and coaching students in Symphony. Though he is best known as a residencies and engagements at Juilliard, Baroque and Classical specialist, McGegan’s Yale, Harvard, the Colburn School, Aspen approach—intelligent, infused with joy, and Music Festival and School, Sarasota Music never dogmatic—has led to appearances Festival, and Music Academy of the West. with many of the world’s major . The English-born conductor, who was His 2019–20 guest appearances include a educated at Cambridge and Oxford, was return to the Cleveland Orchestra and the made an Officer of the Most Excellent Houston, Baltimore, St. Louis, New Jersey, Order of the British Empire “for services to and Pasadena symphonies. He led an all- music overseas.” Other awards include the Mozart program last fall at the Hollywood ; Order of Merit of the Bowl and rejoins the Los Angeles Chamber State of Lower Saxony (Germany); Medal Orchestra for a program of Rameau, Mozart, of Honor of the City of Göttingen; and a and Schubert. He also leads the Royal declaration of Nicholas McGegan Day by the Scottish National Orchestra and makes Mayor of San Francisco in recognition of his guest appearances with the Szczecin and work with Philharmonia. Juilliard

Juilliard415 Celebrating its 10th anniversary season, Juilliard415, which takes its name from Juilliard415, the school’s principal the pitch commonly associated with the period-instrument ensemble, has made performance of baroque music (A=415), significant contributions to musical life has performed major oratorios and baroque in New York and beyond, bringing major operas every year since its founding, figures in the field of early music to lead including a rare fully-staged production performances of both rare and canonical of Rameau’s Hippolyte et Aricie during works by composers of the 17th and 18th the 2017–18 season. During the 2018–19 centuries. The many distinguished guests season, the ensemble presented Purcell’s who have led Juilliard415 include Harry Dido and Aeneas at Opera Holland Park Bicket, William Christie, Monica Huggett, in London and the Royal Opera House of Nicholas McGegan, Rachel Podger, and Versailles. A frequent collaborator with . Juilliard415 tours extensively Juilliard’s Dance division, Juilliard415 in the U.S. and abroad, having now premiered new choreography by Juilliard performed on five continents, with notable dancers last season in an all-Rameau appearances at the Boston Early Music program led by Robert Mealy and teams Festival, Leipzig Bachfest, and Utrecht Early up again with Juilliard Dance this season Music Festival (where Juilliard was the first- for a new work choreographed by Andrea ever conservatory in residence), and on a Miller. Juilliard415 has had the distinction 10-concert tour of New Zealand, where it of premiering new works for period returns for a second tour in spring 2020. instruments, most recently for its Seven Last Words Project, a Holy Week concert With its frequent musical collaborator, the at the Cathedral of St. John the Divine Yale Institute of Sacred Music, the ensemble for which the ensemble commissioned has played throughout Scandinavia, Italy, seven leading composers, including Japan, Southeast Asia, the U.K., and India. Nico Muhly, , and Tania Juilliard415 made its South American debut León. This season’s highlights include with concerts in Bolivia, a tour sponsored performances with William Christie and by the U.S. Department of State. In a Les Arts Florissants at the Philharmonie concert with the Bach Collegium Japan, de Paris; Handel’s conducted by conducted by , Juilliard415 Nicholas McGegan in New York and at the played a historic period-instrument Göttingen Handel Festival in Germany; a performance of Mendelssohn’s Elijah at the program of music inspired by Shakespeare Leipzig Gewandhaus in Germany. Previous led by Rachel Podger; the Juilliard415 seasons have been notable for side-by-side debut of Pablo Heras-Casado in a program collaborations with Philharmonia Baroque in of music from the Spanish Baroque; and San Francisco, as well as concerts directed another side-by-side collaboration with by such eminent musicians as Ton Koopman, Philharmonia Baroque in San Francisco. Robert Mealy, Kristian Bezuidenhout, and the late . Juilliard

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

Juilliard415

Brandenburg Concerto No. 3 in G major Sweet Pulcinella, 1749 Revision

Violins Cellos 1 Bass Chloe Kim Cullen O’Neil Shelby Yamin John Stajduhar Rachel Prendergast Sydney ZumMallen Rachel Prendergast Shelby Yamin Charlie Reed Chloe Kim Kako Miura Kelsey Burnham Violas Edward Li Manami Mizumoto John Stajduhar Natalie Rose Kress Violin 2 Emily Ostrom Rebecca Nelson Rebecca Nelson Matthew Hudgens Carl Patrick Bolleia Aniela Eddy Majka Demcak Natalie Rose Kress Catalina Guevara Viquez

Viola Harpsichord Manami Mizumoto Carl Patrick Bolleia Carolyn Farland Theorbo Joshua Stauffer Cullen O’Neil Sydney ZumMallen Jin Nakamura Juilliard

Juilliard Orchestra

STRAVINSKY Concerto in E-flat, “Dumbarton Oaks” STRAVINSKY Pulcinella Suite Violin Flute Solo String Quintet Double Bass Kevin Zhu, Audrey Emata Sumina Studer, Bennett Norris Concertmaster First Violin Bowen Ha Isabella Geis Clarinet Kevin Zhu, Nathan Meltzer Ning Zhang Second Violin Flute Lynn Marie Sue-A-Quan, Yiding Chen, Principal Bassoon Viola Audrey Emata Lynn Marie Sue-A-Quan, Joey Lavarias Elena Ariza, Cello Principal Nina Bernat, Piccolo Isabella Bignasca French Double Bass Audrey Emata Carolyn Farnand Alana Yee, Principal Gabrielle Pho Violin 1 Oboe Cello Brenden Zak Victoria Chung, Elena Ariza, Principal Nathan Meltzer Principal Rachel Siu In Ae Lee Rachel Ahn

Double Bass Violin 2 Bassoon Nina Bernat, Principal Isabella Geis Joshua Elmore, Bennett Norris Anastasiia Mazurok Principal Haesol Lee Joey Lavarias

Viola Isabella Bignasca Gabrielle Pho, Principal Claire Satchwell Alana Yee Carolyn Farnand Cello Alexander Ramazanov Rachel Siu Julia Lee Trombone Ethan Shrier

Juilliard Historical Performance

Juilliard’s full-scholarship Historical performers and scholars in the field. Performance program offers comprehensive Frequent collaborations with Juilliard’s study and performance of music from Ellen and James S. Marcus Institute for the 17th and 18th centuries on period Vocal Arts, the integration of modern instruments. Established and endowed instrument majors outside of the Historical in 2008 by the generous support of Performance program, and national and Bruce and Suzie Kovner, the program is international tours have introduced new open to candidates for master of music, repertoires and increased awareness of graduate diploma, and doctor of musical historical performance practice at Juilliard arts degrees. A high-profile concert season and beyond. Alumni of Juilliard Historical of opera, orchestral, and chamber music Performance are members of many of is augmented by a performance-oriented the leading period-instrument ensembles, curriculum that fosters an informed including the Portland Baroque Orchestra, understanding of the many issues unique Les Arts Florissants, Mercury, and to period-instrument performance at the Tafelmusik, and they have also launched level of technical excellence and musical such new ensembles as the Sebastians, integrity for which Juilliard is renowned. House of Time, New York Baroque The faculty comprises many of the leading Incorporated, and New Vintage Baroque. Juilliard

Juilliard Historical Performance Administration

Robert Mealy, Director Benjamin D. Sosland, Administrative Director Rosemary Metcalf, Assistant Administrative Director Annelise Wiering, Coordinator for Scheduling and Educational Support Masayuki Maki, Chief Tuner and Coordinator for Historical Keyboard Collection

Juilliard Historical Performance Faculty

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

Juilliard Orchestra 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 Megan Zhang, Orchestra Management Apprentice