Friday Evening, February 16, 2018, at 7:30

The Juilliard School

presents

Juilliard Chamber OrchestraEric Bartlett, CoachAngie Zhang, Pianist

GIOACHINO ROSSINI (1792–1868) Overture to La scala di seta (1812)

WOLFGANG AMADEUS MOZART (1756–91) Piano Concerto in E-flat major, K. 271, (“Jenamy”) (1777) Allegro Andantino Rondeau: Presto

Intermission

EDWARD ELGAR (1857–1934) Introduction and Allegro for String Quartet andString Orchestra, Op. 47 (1905)

IGOR STRAVINSKY (1882–1971) Suite from Pulcinella (1919–20) Sinfonia (Overture) Serenata Scherzino Allegro Andantino Tarantella Toccata Gavotta con due variazioni Duetto Minuetto Finale

Performance time: approximately 1 hour and 40 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 devicesare turned off during the performance.

Notes on the Programby James M. Keller

Overture to La Scala di seta (TheSilken Ladder)GIOACHINO ROSSINI Born February 29, 1792, in Pesaro, ItalyDied November 13, 1868, in Paris, France

When Gioachino Rossini wrote his one-actfarsa comica (comic farce) La scala di seta,in 1812, he was practically a beginner inthe art of writing stage works, but he wasprogressing rapidly. His first opera to beproduced, Il cambiale di matrimonio, hadbeen introduced in November 1810. Lascala di seta, premiered just a year and ahalf later, was his fifth to reach the stage,and three more would be unveiled before1812 was over. By mid-1813 his famespread beyond Italian borders thanks tothe unveiling of his Tancredi in February1813 and the comic opera L’Italiana inAlgeri that May.

The earliest of his operas to achieveunequivocal success was L’inganno felice.Rossini composed it in Venice for theTeatro San Moisè, which premiered it onJanuary 8, 1812, to considerable enthusi-asm. It played until the theater’s winterseason ended on February 11. The libret-tist was Giuseppe Maria Foppa (1769–1845),a busy writer—his output ran to more than100 librettos—who specialized in comicoperas. The theater’s management quicklyacted to build on the piece’s success. Amonth and a day after L’inganno feliceclosed, a Venice newspaper reported, “Forthe spring season to be inaugurated at theTeatro San Moisè on the second feast-dayof Easter, the Signor Maestro Rossini willwrite a new farce of the poet Foppa.”

That new farce would be La scala di seta,and it was generally agreed that Foppa’s

libretto fell short of his earlier one. Someof the objections derived from the plot’ssimilarity to that of Domenico Cimarosa’s Ilmatrimonio segreto (itself a virtual rip-offof The Clandestine Marriage, by GeorgeColman and David Garrick). Nonetheless,Rossini’s new opera played on and off atSan Moisè for about a month, on a triplebill with a one-act opera by Stefano Pavesiand a ballet, and it would go on to a fewfurther productions: in Sinigaglia in 1813, ina revival at the San Moisè in 1818, inBarcelona in 1823, in Lisbon in 1825. It hasenjoyed a few modern revivals, but on thewhole La scala di seta lives on through itsoverture alone. Even the Rossini biogra-pher Herbert Weinstock wrote, “Almosteverything after its overture is anticlimac-tic.” But, he continued, “That overturewas one of Rossini’s gayest and most art-fully constructed, the earliest of his orches-tral pieces presenting him at or near hisunique best.”

Piano Concerto in E-flat major(“Jenamy”), K. 271WOLFGANG AMADEUS MOZARTBorn January 27, 1756, in Salzburg, AustriaDied December 5, 1791, in Vienna, Austria

When Wolfgang Amadeus Mozart wrotehis Piano Concerto in E-flat major (K. 271),in January 1777, he was just turning 21.Compared to anything he had written pre-viously, the concerto stands as nothingless than a miracle. One might argue that itis the composer’s first indisputable master-piece, at least among his instrumentalworks, and it certainly marks the momentwhen he began to produce works of great-ness with regularity.

The concerto opens with a surprise—notwith a strictly orchestral exposition, butinstead an opening phrase shared by theorchestra and the piano. The composerputs listeners on notice that this concerto

will be no simple back-and-forth alternationbetween orchestra and soloist, but rather awork in which the protagonists interweavewith some complexity. The slow move-ment is also a breakthrough. This melan-choly Andantino is an exercise in the Sturmund Drang aesthetic popular at that time(exemplified, at its best, in certain worksby C.P.E. Bach and Haydn, and very occa-sionally in Mozart). Accordingly, it is thefirst concerto middle-movement that Mozartpens in the minor mode (C minor, in thiscase). The opening theme incorporates afalling figure, which, when the strings giveit voice, comes across as at least a sighand perhaps a sob. The piano sometimesdeclaims its sorrow in recitative-like pas-sages, and the strings underscore the emo-tional effect by playing with mutes exceptfor an anguished four-measure outburst nearthe movement’s end. In the finale (Rondeau:Presto) Mozart again experiments withstructure: in the midst of a highly energizedrondo, he interpolates a minuet—leisurely,long, and unusually expressive—with fourelegantly turned variations.

This concerto was formerly known by thenickname “Jeunehomme.” That name datesfrom a little more than a century ago—1912—when the French scholars Théodore deWyzewa and Georges de Saint-Foix, in theirmagisterial W.-A. Mozart: Sa vie musicale etson oeuvre, posited the existence of aMademoiselle Jeunehomme, a French musi-cian they thought commissioned it. They tookthe liberty of correcting what they assumedto be misspellings—“jenomy,” “jenomè,” or“genomai”—in letters that passed betweenMozart and his father. (Spelling was a moreapproximate exercise then than it is today.)Recent research has revealed the exis-tence of Louise Victoire Jenamy, a daugh-ter of the ballet master Jean-GeorgesNoverre (a friend of the Mozarts). She wasan excellent pianist and all but surely themusician connected with this piece.

Introduction and Allegro for StringQuartet and String Orchestra, Op. 47EDWARD ELGARBorn June 2, 1857, at Broadheath,Worcestershire, EnglandDied February 23, 1934, in Worcester,England

In 1899 the British public got its first tasteof Edward Elgar’s Enigma Variations, andthe following year his oratorio The Dreamof Gerontius established him as Britain’sleading composer, a perfect embodimentof the comfortably plush, vigorouslyhealthy spirit of the incipient Edwardianmoment. Reviewing an Elgar Festival atCovent Garden in March 1904, the SundayTimes proclaimed that “he is at once theforemost and the most individual of theyounger generation of our composers, andhe has compelled even the Continentalcritics to admit that English music isdeserving of serious attention.”

In the wake of the festival, Elgar wasbesieged with professional requests andoffers, many of which he declined, withunfailing courtesy. One he did accept wasfrom the newly founded London SymphonyOrchestra to write a new piece for an all-Elgar concert they had scheduled the fol-lowing March. “Why not a brilliant quickString Scherzo, or something for those finestrings only?” suggested Elgar’s friendAugust Jaeger, of the Novello publishingfirm, “a real bring down the house torrentof a thing such as Bach could write(Remember that Cologne BrandenburgerConcerto!) … You might even write a mod-ern Fugue for Strings, or Strings & Organ!That would sell like Cakes.”

The idea of a work for strings struck fertileground, as did Jaeger’s suggestions of a bril-liant scherzo and a modern fugue. Elgar didnot seem attracted to considering a work forstrings and organ (cakes notwithstanding),

but he did pursue expanding the textureby dividing his strings into two units—thefull string orchestra and a “solo” stringquartet, which does have something of theBachian concerto grosso about it. OnJanuary 26, 1905, Elgar wrote to Jaeger:“I’m doing that string thing in time for theSym:orch: concert. Intro: & Allegro—noworking-out part but a devil of a fugueinstead. G major & the sd. divvel in G minor … with all sorts of japes & coun-terpoint.” For his principal theme, Elgardrew on a melody he had jotted down dur-ing a trip to Wales in 1901. “The sketchwas forgotten until a short time ago,” hewrote in a program note, “when it wasbrought to my mind by hearing, far downour own Valley of the Wye, a song similarto those so pleasantly heard on YnysLochtyn. … And so my gaudery becametouched with romance. The tune maytherefore be called … a canto populare.”

Suite from PulcinellaIGOR STRAVINSKY Born June 5 (old style)/17 (new style), 1882,in Oranienbaum (now called Lomonosov)in the northwest St. Petersburg region ofRussiaDied April 6, 1971, in New York City

Igor Stravinsky owed much of his earlyfame to ballet scores he created to bedanced by Serge Diaghilev’s BalletsRusses: Firebird (premiered in 1910),Petrushka (1911), and The Rite of Spring(1913). Numerous other Diaghilev collabo-rations followed, of which Pulcinella (1920)has proved the most endearing to audi-ences. In his book Expositions and De -velopments (jointly authored with RobertCraft), Stravinsky recalled that Diaghilevproposed: “I want you to look at somedelightful 18th-century music with the ideaof orchestrating it for a ballet.” Diaghilevspecifically mentioned the short-livedGiovanni Battista Pergolesi (1710–36),

which Stravinsky found off-putting sincethe only Pergolesi pieces he knew werethe Stabat Mater and the opera La servapadrona, neither of which he liked. None -theless, he dug into the available editionsand came up with a number of movementsthat might serve the project.

These were fitted to a scenario involvingPulcinella, the hero of the traditional com-media dell’arte, which was popular inPergolesi’s Naples. Stravinsky craftedarrangements (for small orchestra andthree vocal soloists) that maintained theoriginal melodies and bass lines practicallyunaltered but nevertheless transposed themusic to 1920 by way of his modernist har-monies, rhythms, and asymmetrical elon-gations or diminutions of phrase lengths.Although Stravinsky viewed Pulcinellaessentially as a standalone pièce d’occasion,he later realized that his prolonged expo-sure to Pergolesi’s music had certainlyplayed a part in ushering him into the“neoclassical” phase of his composition.“Pulcinella was my discovery of thepast,” he wrote, “the epiphany throughwhich the whole of my late work becamepossible. It was a backward look, ofcourse—the first of many love affairs inthat direction—but it was a look in themirror, too.”

The premiere production of Pulcinellaincluded sets by Pablo Picasso and chore-ography by Leonide Massine, who dancedthe title role himself. Stravinsky character-ized it as “one of those productionswhere everything harmonizes, where allthe elements—subject, music, dancing,and artistic setting—form a coherent andhomogenous whole.” In 1922 Stravinskycreated an 11-movement concert suite outof his ballet score, with instruments replac-ing the vocal lines. Many of the Pergolesipieces Stravinsky chose were later dis-covered to be misattributed. So far as

Meet the Artists

Eric Bartlett teaches orchestral repertoirefor cello at Juilliard and has been leadcoach of the Juilliard Chamber Orchestrasince 2007. As a cellist, he has been amember of the Orpheus Chamber Orchestrasince 1983 and the New York Philharmonicsince 1997, where he holds the third chair.He served 14 seasons as principal cellist ofLincoln Center’s Mostly Mozart Festivaland was a guest principal of the AmericanBallet Theatre Orchestra. Mr. Bartlett grewup in Marlboro, Vermont, where he was astudent of Stanley Eukers, George Finckel,and Leopold Teraspulsky. He received hisbachelor’s and master’s degrees fromJuilliard in 1978 and 1979 as a student ofLeonard Rose and Channing Robbins. Hemade his New York Philharmonic solodebut in 2015, as the soloist in PerNørgård’s Second Cello Concerto on thePhilharmonic’s Contact series. Mr. Bartletthas appeared frequently as a membersoloist with Orpheus and is featured onseveral of its Deutsche Grammophon

recordings. In addition to Orpheus, othersolo appearances include the Cabrillo Festival,Mostly Mozart Festival Orchestra, AnchorageSymphony, Hartford Chamber Orchestra,Aspen and Juilliard Orchestras, and theNew York Phil harmonic’s Horizons ’84series. Dedicated to contemporary music,Mr. Bartlett recently released a CD of fourcommissioned works, entitled Essence ofCello, on the Albany Records label.

Pianist Angie Zhang is a graduate studentat Juilliard where she studies with YohevedKaplinsky and Joseph Kalichstein. She hasperformed as a soloist with orchestrassince her debut at the age of ten inPortland, Oregon. Since 2016 she hasappeared with the Olympia SymphonyOrchestra under Huw Edwards, JuilliardOrchestra under Fabio Luisi, MilwaukeeSymphony Orchestra under Andrews Sill,Indianapolis Chamber Orchestra underMatthew Kraemer, and the DowntownSinfonietta of White Plains (consisting ofmembers of the Metropolitan OperaOrchestra) under Vincent Lionti. She has

Eric Bartlett MATT DINE PHOTOGRAPHY

concerns the Suite, the Serenata is fromPergolesi’s opera Il flaminio, the Vivo isfrom his Sinfonia for Cello and Basso, andthe Minuetto is from his opera Lo frate’nnammorato. The Sinfonia (Overture),Scherzino, the first Allegro, Andantino, andconcluding allegro assai originated in triosonatas by Domenico Gallo (1730–68);the Tarantella is by Unico Wilhelm vanWassenaer (1692–1766); and the Toccataand Gavotta are from a harpsichord suiteby Carlo Ignazio Monza (1680–1739).

James M. Keller is program annotator ofthe New York Philharmonic and the SanFrancisco Symphony. His book ChamberMusic: A Listener’s Guide (Oxford Uni -versity Press) is also available as an e-bookand an Oxford paperback.

Portions of these essays appeared in ear-lier form in the programs of the New YorkPhilharmonic (Rossini, Elgar) and SanFrancisco Symphony (Mozart), and areused with permission.

Angie Zhang

also appeared as a return soloist withthe National Symphony Orchestra of theDominican Republic, Portland ColumbiaSymphony Orchestra, and MissouriSymphony Orchestra. Ms. Zhang wasawarded the Gluck Fellowship during herundergraduate studies at Juilliard andtraveled with other musicians, dancers,and actors to perform interactive concertsin hospitals, hospices, nursing homes,pediatric centers, and psychiatric wardsthroughout New York City. Aside from hermusical initiatives, she has served aschair of the school’s Student Council, aStudent Ambassador, has written for theJuilliard Journal, led admission tours, spo-ken on panels for prospective students,and been a faculty teaching assistant,departmental assistant, and college divi-sion teaching fellow. At the Juilliard com-mencement ceremony last spring shewas awarded the Peter Mennin Prize forOutstanding Achievement and Leadershipin Music and graduated with AcademicHonors. She also sings in the Barnard-Columbia Chorus and will be artist in resi-dence at pianoSonoma this summer.Kovner Fellow

Juilliard Chamber OrchestraThe Juilliard Chamber Orchestra works with-out a conductor, using the shared leadershipmodel of Orpheus. The players changeseats between pieces, thereby putting a dif-ferent group of players in the leadershipchairs for each work on the program. In theensemble everyone is expected to be both aleader and a follower. The players them-selves make all the musical decisions, whilethe coaches try only to guide the decision-making process. The players also explore allthe roles that a conductor normally fills anddecide collectively how best to distributethose responsibilities. All the players aregiven a score to the works that they areincluded in and they bring those scores torehearsals and consult them extensively.Additionally, they take turns listening to theensemble from the audience position, aresponsibility called the “Designated Lis -tener.” It is the goal of the program that allparticipants will develop enhanced leader-ship skills, have renewed respect for theconductor’s complicated role, and acquirenew insight into their own ability andresponsibility to enhance the music mak-ing process. The lead coach is Eric Bartlett.

ViolinShenae AndersonCarter Coleman M*, S*Phoebe GardnerSumire Hirotsuru SQ, R*Valerie Kim R, E*Harriet LangleyByungchan Lee SQ, SKatherine Kyu HyeonLim

Hava PolinskyCarolyn Semes ELucas StratmannJieming Tang M

ViolaNatalie Loughran RAo Peng S

Alice PingGrace Takeda M, EMeagan Turner SQ

CelloChloe Hong M, EIsabel Kwon SQEdvard Pogossian SAnne Richardson R

Double BassTimothy Chen MJanice Gho ENicholas Myers R, S

FluteHae Jee Ashley Cho SMei Stone R

PiccoloMei Stone

OboeLucian Avalon R, MEmily Beare S

ClarinetShen Liu RAlec Manasse

BassoonJonathan Gibbons SSoo Yeon Lee R

French HornEric Huckins SJasmine Lavariega R, M

TrumpetBrandon Bergeron S

TromboneKevin Carlson S

R ROSSINI PrincipalM MOZART PrincipalE ELGAR PrincipalSQ ELGAR StringQuartet

S STRAVINSKYPrincipal

* Concertmaster

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