Wednesday Evening, October 25, 2017, at 7:30

The Juilliard School

presents

Le monde galant

Juilliard415Nicholas McGegan, ConductorAlana Youssefian, Violin

ANDRÉ CAMPRA (1660–1744) Ouverture from L’Europe galante

SouthFRANCEMICHEL-RICHARD DE LALANDE (1657–1726) Air de trompettes from Les folies de Cardénio

ITALYJEAN-MARIE LECLAIR (1697–1764) Forlane and Sicilienne from Scylla et Glaucus

SPAINCHRISTOPH WILLIBALD GLUCK (1714–87) Menuet from Don JuanDE LALANDE Chaconne légère des Maures from Les folies de CardénioCHARLES AVISON (1709–70) Con Furia from Concerto No. 6 in D major, aftera sonata by Domenico Scarlatti

Program continues on next page

Juilliard’s full-scholarship Historical Performance program was established and endowed in 2009by the generous support of Bruce and Suzie Kovner.

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.

NorthSCOTLANDGEORG PHILIPP TELEMANN (1681–1767) L’Ecossoise, TWV55:D19NEIL GOW (1727–1807) Lament for the Death of his Second WifeRACHELL WONG, Violin

IRELANDTELEMANN L’Irelandoise, TWV55:D2

SLAVIC COUNTRIESTELEMANN Dance from Danses d’Polonie, TWV45:4 (arr. Georg Philipp Telemann)Polonaise from Concerto Polonois, TWV43:G7Dance from Danses d’Polonie, TWV45:1 (arr. Georg Philipp Telemann)La Hanaquoise, TWV55:D3TRADITIONAL Two Hungarian Folk Songs (manuscript, Fer. Vigiliarum Magister,18th century)TELEMANN Les Moscovites from Overture-Suite in B-flat major, TWV 55:B5(“Les Nations”)

Intermission

EastOTTOMAN EMPIRE TELEMANN Les Janissaires, TWV55:D17ANTONIO VIVALDI (1678–1741) Violin Concerto in D major, RV 208 (“Il Grosso Mogul”)Allegro — Grave: Recitativo — AllegroALANA YOUSSEFIAN, Violin

TELEMANN Mezzetin en turc, TWV55:B8

PERSIAJEAN-PHILIPPE RAMEAU (1683–1764) Premier et Seconde Air pour Zéphirefrom Les Indes galantes

CHINARAMEAU Entrée des Chinois from Les PaladinsAir pour les Pagodes from Les Paladins

WestTHE AMERICAS RAMEAU Prélude from Les Indes galantesAir des Incas pour l’adoration du Soleil from Les Indes galantesDanse du grand calumet de la paix from Les Indes galantesChaconne from Les Indes galantes

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

Notes on the Programby Jonathan Slade

Le monde galantThe depiction, both musically and dramati-cally, of faraway places and exotic peoplesexisted from the earliest days of Venetianopera. As a trading capital, particularlyinvested in the import of ornate and luxuryitems from the Ottoman Empire, it is easyto see how Venice helped fuel Europe’sobsession with the exotic. Writers andartists joined composers in new and excit-ing depictions of foreign lands. Attitudeswere not wholly benign or disinterested,however. The constant spectre of war andthe growth of colonization and the slavetrade are equally important to understand-ing what was a complex, frequently contra-dictory notion of the foreigner throughoutEurope, often steeped in a sense of superi-ority and abounding with crude stereotypes.

That such stereotypes are far from absentin music of the time is not to take awayfrom the incredible richness and varietythat this sense of adventure engendered inthe most gifted European musicians. Jean-Baptiste Lully, whose influence on the nextgeneration of French composers is impos-sible to overstate, provides a particularlyinteresting example in his late collaborationwith Molière, Le Bourgeois gentilhomme,which includes a famous Turkish scenewith music to match. This musical other-ness was not just confined to farawayplaces, the pair also finding time to pokefun at the poor savage folk from Gasconyin the south of France.

While Le Bourgeois gentilhomme was acomédie-ballet, a spoken play that includedmusic, singing, and dance, André Campra’sL’Europe galante was an early and seminalexample of the new genre of opera-ballet(a mix of dance and music that did not contain

any speaking parts) which owed much toLully’s earlier work and which was tobecome extremely popular at the ParisOpera from around the turn of the 18thcentury. With acts (entrées) set in France,Spain, Italy, and Turkey, it proved enor-mously successful and influential, both interms of its exploration of the exotic, andin its unusual modern-day setting that con-trasted sharply with the mythological talesthat dominated French opera at the time.

SouthAlthough something of a rarity today, Michel-Richard de Lalande’s court ballet Les foliesde Cardénio could hardly have had a moreauspicious opening. Based on an episodefrom Don Quixote, it premiered in 1720 inthe Salle des Machines at the TuileriesPalace, a vast, little-used performancespace that had been recently renovated atenormous expense. If this were not honorenough, the young Louis XV (then king atthe age of ten) distinguished the produc-tion by making a rare (indeed, possibly hisonly) appearance in a dancing role.

Some 13 years later, Jean-Marie Leclair wasappointed by the same king, filling some ofthe responsibilities held by de Lalande beforehis death in 1726. Not known as an operacomposer, Leclair waited until his 15th yearin the position before composing Scylla etGlaucus. Similarities with Rameau—whoalso started writing opera around the sameage—end here, for this was to be Leclair’sonly operatic venture. Famed for reconcil-ing Corellian sonata traditions with Frenchtastes, he also brings his love of Italianmusic to his only opera. The Forlane andSicilienne, contrasting dances in 6/8—theformer brisk and the latter slow and lilt-ing—both have Italian roots, albeit fromopposite ends of the country.

Another adaptation, this one from the DonJuan legend, comes from Christoph Willibald

Gluck, a composer who, like Leclair, spentsome of his formative years in Italy, bring-ing elements of its musical style to Frenchopera. Don Juan was conceived in Viennaas a pantomime ballet—a production inwhich dance alone was responsible forconveying the narrative. Previously adaptedfor more comic, less highbrow purposes,the instant popularity of Gluck’s more dra-matic score for Don Juan helped lay thefoundations for what is often consideredthe ultimate version, Mozart’s Don Giovanniof 1787.

Perhaps best placed of all to understandand assimilate the Spanish style wasDomenico Scarlatti. Having spent time inPortugal in the service of the royal family,Scarlatti would later settle in Madrid, con-tinuing to teach Princess Maria Barbara,recently married to the future Ferdinand VIof Spain. The “Con Furia” from his K.29D-major piano sonata (published in 1738and dedicated to the princess) was orches-trated by the English composer CharlesAvison as part of his 12 Concerti GrossiAfter Scarlatti.

NorthWe begin our northern program in Scotland,with extracts from Telemann’s early Overture-Suites, a relatively inflexible form to whichTelemann nevertheless brought consider-able invention and verve. Early examplesevoke the spirit of Lully, but increasinglyfeatured dances from Britain, a key tradingpartner of Hamburg during Telemann’stime there. Only single examples fromIreland and Scotland survive; fortunatelyboth are presented this evening, sand-wiching the mercurial Scottish fiddler NeilGow’s famous Lament for the Death of hisSecond Wife. Listen out for the pentatonicflavor of Telemann’s L’Ecossoise, and forthe unmistakable reverse-dotted rhythmsknown as Scotch snaps.

Although there was interest in Polish cul-ture and music during Telemann’s life, pub-lic opinion of the country had mirrored thedecline that Poland itself suffered, botheconomically and socially, during a devas-tating set of wars in the years followingthe death in 1696 of King John III Sobieski.Visitors to the region returned with shock-ing testimonies of a nation almost devoidof culture, ravaged by famine and death.As such it was seen vaguely as a glimpseinto the poverty and barbarism of theancient past, and either depicted as suchmusically, or sanitized to such an extentthat little of the original character remainedintact. In either case, appearances of Polishmusic in western composition are generallyof greater interest as a reflection of prevail-ing attitudes to the country at the time thanof Poland’s genuine musical traditions.

Telemann, however, seems to have had arather more nuanced appreciation for boththe country and its music. As a young manhe spent a number of years as kapellmeisterto Count Erdmann II of Promnitz at Sorau(part of the Electorate of Saxony, now Z

·ary

in western Poland), during which time hebecame fascinated by local folk music,especially from the Hanák tradition, an exam-ple of which is presented this evening.Telemann often referred to its barbaricbeauty, but in contrast to his contempo-raries, was frequently at pains to point outthe music’s greater emotive possibilities,describing it as “useful in many endeavors,including serious ones.” This is borne outby his compositional output, a canon witha greater number and variety of musicaltributes to Poland than that of any com-poser of the period.

The style of polonais Telemann popular-ized was inspired almost exclusively bydance, with two beautiful examples fromDanses d’Polonie represented in tonight’s

program. Then we have a quick diversion toMoscow, by way of Telemann’s earthy LesMoscovites movement from his Overture-Suite “Les Nations,” before another con-certo for strings and basso continuo, theConcerto Polonois, brings us back to Poland.This piece features a rather more politepolonaise, with rhythms typical of the tradi-tional dance keeping the company of sensi-ble harmonies in the lower strings, thoughTelemann still finds time for a satisfyingdominant pedal early in the B section.

East and WestOur journey to the Ottoman Empire startswith the second movement of Telemann’sOverture-Suite in D, the Janissaries of thetitle referring to the elite group of soldierstasked with the protection of the Sultan.When played alongside Telemann’s Mezzetinen turc, we can quickly formulate an ideaof Telemann’s Turkish aesthetic: one inwhich an urgent, repetitive pedal and rhyth-mic insistency helps fashion a quite aliensound world, albeit one that would proba-bly not have been immediately familiar toactual Turks of the period.

Interestingly, these musical traits also fea-ture heavily in Vivaldi’s RV 208 “GrossoMogul” concerto. Although the title wasnot explained by the composer, it seemslikely to have referred to the Indian court ofthe Grand Mughal Akbar, the third Mughalemperor, who oversaw a significant expan-sion of the empire during his reign in thelatter half of the 16th century. The secondmovement is particularly unusual: a wan-dering, enigmatic recitative for the solo vio-lin in the relative minor that provides asstark a contrast from the surroundingenergy and frenzy as could be imagined.

For a Gallic perspective we turn to Rameau,whose masterpiece Les Indes galantesowes as much to Campra’s L’Europegalante as the latter did to Lully. As in

Campra’s opera-ballet, Rameau chooses amodern setting, with acts in different cornersof the globe. The later composer, however,adds a new intensity to the music, trans-forming what had been considered a lessserious genre into something far moresubstantial dramatically. Les Paladins wasa rare late opera, composed during a farless fruitful period in the composer’s life,and was ultimately far less successful com-mercially. The introduction of a Chinesesetting for part of the opera could wellhave been inspired by Campra’s Le Carnivalde Venise, in which guests donned Chinesemasks for one of the dances.

In the Airs pour Zéphire, from Les Indesgalantes, the god of the West Wind is rep-resented in the flutes and piccolos, with thelatter creating a particularly evocative soundin an unusually isolated role. By contrast,the Chinese music of Les Paladins, has astrange, almost disjointed feel, the Entréedes Chinois full of syncopations, and the Airpour les Pagodes constructed of slurredpairs of notes likely indicating a crude nod-ding of onstage dancers. Again, musicalsimilarities to traditional Chinese music arenotable by their absence, yet Rameau con-jures his own musical otherness, inauthen-tic but very evocative in its own way.

In one of the original and unchanged actsin Les Indes galantes, a work that Rameaurevised on a number of occasions, the sec-ond entrée is set in Peru, with an air anddances for the Incas, both performed intonight’s program. The Air des Incas, inparticular, features a number of musicalsurprises. Hammered-out repeated notesrecall Lully’s famous Turkish march fromLe Bourgeois gentilhomme, though Rameauextends the repetition still further as thoughto emphasize the simple, rustic nature ofthe onstage characters. A final act, addedlater to some acclaim, shows that NorthAmerica, too, was sometimes represented

Meet the Artists

As he embarks on his fifth decade on thepodium, Nicholas McGegan is recognizedfor his probing and revelatory explorationsof music of all periods. The 2017–18 sea-son marks his 32nd year as music directorof the Philharmonia Baroque Orchestra andChorale and he is also principal guest con-ductor of the Pasadena Symphony. Bestknown as a baroque and classical special-ist, Mr. McGegan’s approach has led toappearances with many of the world’s lead-ing orchestras and opera companies. Heled close to 20 Handel operas as the artis-tic director and conductor at the GöttingenInternational Handel Festival (1991–2001)and numerous Mozart works as principalguest conductor at the Scottish Opera inthe 1990s when he was also principal con-ductor of the Drottningholm Opera inSweden. Mr. McGegan’s discographyincludes more than 100 releases. Havingrecorded more than 50 albums of Handel,he has explored the depths of the com-poser’s output with a dozen oratorios andclose to 20 of his operas. Under its own

label, Philharmonia Baroque Productions hasreleased almost a dozen acclaimed albumsof Handel, Scarlatti, Vivaldi, Brahms, Haydn,and Beethoven, among others. Since the1980s Mr. McGegan has also released morethan 20 recordings with Hungary’s CapellaSavaria on the Hungaroton label, the latestbeing the complete Mozart violin concertos.

Born in England, Mr. McGegan was edu-cated at Cambridge and Oxford. He is anhonorary professor at the Georg-AugustUniversity in Göttingen and was also givenan honorary doctorate of music at the SanFrancisco Conservatory of Music. In 2010he was made an Officer of the MostExcellent Order of the British Empire forservices to music overseas. He was alsoawarded the Verdienstkreuz am Bandefrom Niedersachsen (Germany) in 2011,named the Christoph Wolff DistinguishedVisiting Scholar at Harvard in 2016, and is afrequent visitor to Yale.

Baroque violinist Alana Youssefian is anative of New Jersey and has quicklyforged a reputation as an engaging and

STEVE SHERMAN

NicholasMcGegan

by baroque composers. Rameau had appar-ently seen two Native Americans dancingonstage in Paris some years earlier, inspiringhim to write his harpsichord piece, slightlyuncharitably titled Les Sauvages, uponwhich he built the music for a new fourth actof Les Indes galantes. The calumet de lapaix refers to the ceremonial pipe used,among other sacred functions, at the seal-ing of peace treaties. Of all the journeysthroughout Les Indes, this was perhaps the

most arresting of all for French audiences,both visually and musically, and their acclaimhelped ensure the enduring success of thisnew final act, and of the work as a whole.

Jonathan Slade is a British flutist, baroqueflutist, and accidental collector of degrees.A graduate of the Royal Academy of Musicand Yale School of Music, he is pursuinghis master’s in historical performance andperforms regularly with Juilliard415.

Alana Youssefian

spirited soloist, chamber player, andorchestral musician. She studied withMarilyn McDonald at Oberlin Conservatoryand completed her master’s degree at RiceUniversity’s Shepherd School of Music whereshe was a student of Kenneth Goldsmith.She is currently pursuing her master’s atJuilliard in the Historical Performance pro-gram. Ms. Youssefian has played interna-tionally as concertmaster and soloist andhas performed with Ars Lyrica Houston,Bach Society Houston, Mercury, TrinityBaroque Orchestra, The Sebastians, andLes Arts Florissants as a representative ofJuilliard in France at Dans les Jardins deWilliam Christie. Ms. Youssefian has per-formed as a featured soloist with Juilliard415on several occasions, most recently ontours of India and New Zealand.

Juilliard Historical PerformanceJuilliard’s full-scholarship Historical Per -formance program offers comprehensivestudy and performance of music from the17th and 18th centuries on period instru-ments. Established and endowed in 2009by the generous support of Bruce andSuzie Kovner, the program is open to can-didates for master of music, graduatediploma, and doctor of musical arts degrees.A high-profile concert season of opera,orchestral, and chamber music is augmentedby a performance-oriented curriculum thatfosters an informed understanding of themany issues unique to period-instrumentperformance at the level of technical excel-lence and musical integrity for whichJuilliard is renowned. The faculty com-prises many of the leading performers andscholars in the field. Frequent collabora-tions with Juilliard’s Ellen and James S.Marcus Institute for Vocal Arts, the inte-gration of modern-instrument majors out-side of the Historical Performance pro-gram, and national and international tourshave introduced new repertoires andincreased awareness of historical perfor-mance practice at Juilliard and beyond.

Alumni of Juilliard Historical Performanceare members of many of the leadingperiod-instrument ensembles, includingthe Portland Baroque Orchestra, Les ArtsFlorissants, Mercury, and Tafelmusik, andhave also launched such new ensemblesas the Sebastians, House of Time, NewYork Baroque Incorporated, and NewVintage Baroque.

Juilliard415Since its founding in 2009, Juilliard415, theschool’s principal period-instrument ensem-ble, has made significant contributions tomusical life in New York and beyond, bring-ing major figures in the field of early musicto lead performances of both rare andcanonical works of the 17th and 18th cen-turies. The many distinguished guests whohave led Juilliard415 include Harry Bicket,William Christie, the late ChristopherHogwood, Monica Huggett, Ton Koopman,Nicholas McGegan, Lars Ulrik Mortensen,Jordi Savall, and Masaaki Suzuki. Juilliard415tours extensively in the U.S. and abroad,with notable appearances at the BostonEarly Music Festival, Leipzig Bachfest, andUtrecht Early Music Festival (where Juilliardwas the first-ever conservatory in resi-dence). With its frequent musical collabo-rator the Yale Institute of Sacred Music,the ensemble has played throughout Italy,Japan, Southeast Asia, the U.K., and, mostrecently, India. Juilliard415 has performedmajor oratorios and fully staged Baroqueoperas every year since its founding.Recent performances include Handel’sAgrippina and Radamisto, Bach’s Matthewand John Passions, Cavalli’s La Calisto,Charpentier’s Actéon with William Christie,and performances in the U.S. and Hollandof Bach’s Mass in B minor conducted byTon Koopman (a collaboration with the RoyalConservatoire of The Hague). The ensem-ble’s most recent international engage mentwas a ten-concert tour throughout NewZealand with Bach specialist MasaakiSuzuki. The 2017–18 season is notable for

Juilliard415

Violin ISarah Jane KennerAlana YoussefianRachell Ellen WongKeats DieffenbachEthan Lin

Violin IIAnnie GardRuiqi RenNaomi DumasChiara Fasani Stauffer

ViolaStephen GoistIsabelle Seula Lee

CelloMadeleine BouïssouMatt ZuckerMorgan Little

Double BassHugo Abraham

FluteJonathan SladeMili Chang

OboeWelvin Potter Andrew Blanke

BassoonJoseph Jones

TrumpetFederico Montes

PercussionEvan Saddler

HarpsichordKatarzynaKluczykowska

RecorderWelvin Potter

Theorbo/GuitarArash Noori

Violin/ViolaElizabeth BlumenstockRobert Mealy Cynthia Roberts

CelloPhoebe Carrai

Viola da GambaSarah Cunningham

Double BassDouglas Balliett

FluteSandra Miller

OboeGonzalo Ruiz

BassoonDominic Teresi

HornR.J. Kelley

TrumpetJohn Thiessen

Plucked InstrumentsDaniel Swenberg Charles Weaver

HarpsichordRichard Egarr Béatrice Martin Peter Sykes

RecorderNina Stern

Continuo SkillsSteven Laitz Avi Stein

Baroque Vocal LiteratureAvi Stein

Core StudiesRobert Mealy David Schulenberg

Artists in ResidenceWilliam ChristieRichard EgarrMonica HuggettRachel PodgerJordi Savall

Juilliard Historical PerformanceAdministrationRobert Mealy, DirectorBenjamin D. Sosland, Administrative DirectorRosemary Metcalf, Assistant Administrative DirectorAnnelise Wiering, Coordinator for Scheduling and Educational Support

Faculty

the Juilliard debuts of the rising conductorJonathan Cohen and the Belgian vocalensemble Vox Luminis, a side-by-side col-laboration with Philharmonia Baroque in SanFrancisco, as well as return visits by RachelPodger in a program of Telemann, WilliamChristie leading Monteverdi’s Il ballo delle

ingrate, a concert of music from Handel’sLondon under the direction of Robert Mealy,an all-Bach concert for the 500th anniversaryof the Reformation with Mr. Suzuki, and therare opportunity to see a fully staged pro-duction of Rameau’s Hippolyte et Aricie,with Stephen Stubbs conducting.