Juilliard Wind Orchestra

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Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium.

The Juilliard Schoolpresents

Juilliard Wind OrchestraWilliam Short, Conductor

Saturday, October 13, 2018, 3pmRosemary and Meredith Willson Theater

WOLFGANG AMADEUS Selections from Don Giovanni (1787)MOZART (arr. Josef Triebensee)(1756-1791) Introduzione Notte e giorno faticar Dalla sua pace: Fin ch'han dal vino Batti, batti, o bel Masetto Finale: Già la mensa è preparata

LUDWIG VAN Symphony No. 7 (1813)BEETHOVEN Poco sostenuto - Vivace (1770–1827) Allegretto Presto Allegro con brio

Performance time: approximately 1 hour

This afternoon’s concert will be played without an intermission.

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Notes on the Program By David Crean

Wolfgang Amadeus MozartSelections from Don Giovanni

The final scene of Mozart’s Don Giovanni contains perhaps the most famous example of self-parody in the operatic repertoire. Upon sitting down to dine, the Don is entertained by an onstage group of wind players—a Harmonie, as it was known at the time—consisting of pairs of oboes, clarinets, horns, and bassoons, plus a double bass. As was customary for noblemen of the late 18th century, Giovanni’s dinner entertainment consisted of excerpts from popular operas, including Mozart’s own Marriage of Figaro, at that time a very recent, but already widely popular, work. With a wink to the audience, Giovanni’s servant Leporello remarks that he knows that excerpt only too well.

All joking aside, however, Harmoniemusik was a significant (and lucrative) enterprise for composers of the late 18th century. At less than 10 players, the ensemble was not only cheaper to maintain than a full symphony orchestra, but also more portable. By the end of the century, most Austrian aristocrats of any financial means kept such a group on hand to provide entertainment for meals and (especially) outdoor parties. Many of Mozart’s serenades and divertimentos written during his Salzburg years feature winds prominently, with nearly a dozen written exclusively for that group. He continued to rely on that experience with winds after his move to Vienna, writing to his father in July 1782 that he was working quickly on a Harmonie arrangement of his opera The Abduction from the Seraglio so that another musician might not preempt him and enjoy the profits. The fact that Mozart’s letter was written just a few days after the premiere testifies to the popularity and profitability of these arrangements, which he described as “no little trouble.”

“A work of uninterrupted perfection,” according to composer Charles Gounod, Don Giovanni was the second of Mozart’s three collaborations with Italian librettist and court composer Lorenzo Da Ponte. Like The Marriage of Figaro and Così fan tutte, Don Giovanni is structurally an opera buffa (comic opera), although its emotional range, supernatural elements, and dramatic conclusion—where the title character is dragged to hell—transcend the generally lighthearted conventions of that genre. Don Giovanni is the prototypical lothario, a callously selfish (and prodigiously successful) seducer of women whose single-minded pursuit of pleasure leaves a wake of emotional destruction. Premiered in Prague in 1788 to great acclaim, Mozart’s score is remarkable for its harmonic richness and for the fascinating characterizations of the Don and his foils. It has never really left the repertoire and as of 2018 is the 10th most performed opera in the world, according to the website Operabase.

Either due to lack of interest or (more probably) lack of time, Mozart seems not to have attempted a wind transcription of Don Giovanni, despite his earlier enthusiasm. Several of his contemporaries were, however, only

Wolfgang Amadeus Mozart Born: January 27, 1756, in Salzburg, Austria Died: December 5, 1791, in Vienna, Austria

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too happy to accommodate the still significant demand for such works. Perhaps the most popular arrangement (and the one we're hearing at today's concert) was made by Josef Triebensee, a Czech oboist who was part of the orchestra for the premiere of The Magic Flute in 1791. As Mozart wrote in reference to his earlier opera, the process of transforming a full-scale opera into a suite for eight wind players is a daunting task. Much of the drama is inevitably lost, along with the libretto and stage action, but the nuances of chamber music orchestration add new and surprising shadings to some of Mozart’s most memorable melodies.

Ludwig van BeethovenSymphony No. 7 in A Major, Op. 92

Late in his life, Beethoven wrote to a friend that “If I had wanted to devote my life’s power to such a [married] life, what would have remained for the nobler, better things?” While the Beethoven of the 1820s might have preferred to portray his lifelong bachelorhood as high-minded artistic renunciation, in actual fact he had made several attempts at romantic relationships, the most famous of which was the “immortal beloved” episode of 1812. Bound up in this last and most passionate of Beethoven’s romantic endeavors was his work on the seventh symphony, finished that summer and premiered in 1813 at a concert benefiting wounded soldiers.

The seventh symphony is one of Beethoven’s more energetic, upbeat works, although it also contains perhaps his most poignant and well-loved slow movement. Beginning with the fifth symphony of 1808, Beethoven had been experimenting with various means of unifying symphonies, no easy task given the disparate keys, tempos, and moods explored over the course of an extended multi-movement work. The fifth symphony is the paradigm of thematic integration, while the sixth is held together by its loose narrative framework. As most analysts have observed, the unifying element in the seventh symphony is a reliance on rhythm, which Lockwood describes as its “characteristic form of expression ... exuberant in the first movement; slow and steady in the second; rapid, hurtling forward motion in the third; wild abandon in the finale.”

The first movement, famously described by Richard Wagner as “the apotheosis of dance” and possibly influenced by Beethoven’s work arranging Scottish folk songs, opens with the most extensive slow introduction in his symphonic oeuvre. Stately and elegant, its transition into the movement proper is at once effortless and startling. Beethoven’s use of 6/8 meter for a symphonic first movement was largely unprecedented at the time, but his idiosyncratic approach to traditional forms was already well established. Thematic contrast, traditionally one of the hallmarks of Classical sonata form, is here all but eliminated thanks to the primary and secondary themes’ similar rhythmic profiles.

Ludwig van Beethoven Born: Probably on December 16, 1770 (he was baptized on the 17th), in Bonn, then an independent electorate of Germany Died: March 26, 1827, in Vienna, Austria

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Notes on the Program By David Crean (continued)

While thematic differentiation is notably downplayed in the opening movement, the contrast between the first and second movements is quite stark. The allegretto (a “slow” movement only in relation to the rest of the symphony) proved so popular at its premiere that it was encored, and has remained one Beethoven’s most admired works. Its slow, deliberate crescendo from low strings to full orchestra and obsessively repetitive rhythm have occasionally led to comparisons with the funeral march from the third symphony. There does seem to be something inexorably tragic about the opening section, which was used as the soundtrack to nephew Karl’s suicide attempt in the 1994 biopic Immortal Beloved (starring Gary Oldman as Beethoven). The subsequent move to A Major offers a welcome respite, and the two ideas seem to vie for supremacy in the remainder of the movement, with the bleak opening ultimately prevailing.

The lighthearted mood of the first movement returns for good in the scherzo, which, like many of Beethoven’s late works, contains two contrasting trio sections. The scherzo is characterized by dialog between the sections punctuated by occasional orchestral tuttis. A scherzo is literally a musical “joke,” and the joke here is the replacement of those tuttis with pianissimo figures in the second appearance of that section.

Donald Tovey described the final movement, which is also indebted to Beethoven’s folk song arrangements, as “a triumph of Bacchic fury.” As with the rest of the symphony, the movement draws much of its momentum from its strongly defined rhythmic profile. A rare fff (extremely loud) dynamic concludes “one of the most fully satisfying of all Beethoven’s works” (Lockwood). The arrangement for winds heard in this afternoon’s concert dates from Beethoven’s lifetime and was purportedly done under his supervision, although no evidence for his involvement has emerged apart from the statement of the original publisher.

David Crean teaches organ at Wright State University in Ohio. He is a graduate of the C.V. Starr Doctoral Program at Juilliard and was the recipient of the 2014 Richard F. French Doctoral Prize.

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Meet the Artist

William Short was appointed principal bassoon of the Metropolitan Opera Orchestra in 2012. He previously served in the same capacity with the Delaware Symphony Orchestra and has also performed with the Houston Symphony and the Philadelphia Orchestra. He serves on the faculties of Juilliard, Manhattan School of Music, and Temple University, and has presented classes at colleges and conservatories around the country and at the 2014 International Double Reed Society Conference. He has performed and taught at the Interlochen, Lake Champlain, Lake Tahoe, Mostly Mozart, Stellenbosch (South Africa), Strings, Twickenham, and Verbier Festivals, and in 2015 made his solo debut with the Vermont Symphony Orchestra, performing David Ludwig’s Pictures from the Floating World. He has toured the United States with Curtis on Tour and has performed and taught in Belize, Cuba, Guatemala, and Nicaragua with the Philadelphia-based wind quintet Liberty Winds. His performances have been featured on American Public Media's “Performance Today” and on WHYY’s “Onstage at Curtis.” As a composer, his works have been published by TrevCo-Varner Music. Committed to forging connections between audiences and performers, he has written articles for the MET Orchestra Musicians’ website, which have been lauded by the Wall Street Journal and New York Times.

Short received his Bachelor of Music from the Curtis Institute of Music, where he studied with Daniel Matsukawa and Bernard Garfield, and his Master of Music from Rice University’s Shepherd School of Music, where he studied with Benjamin Kamins. Additional major teachers have included Jeanine Attaway, Kristin Wolfe Jensen, and William Lewis.

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Juilliard Wind Orchestra

Orchestra Administration

Adam Meyer, Director, Music Division, and Deputy Dean of the CollegeJoe Soucy, Assistant Dean for Orchestral Studies

Joanna K. Trebelhorn, Director of Orchestral and Ensemble OperationsMatthew Wolford, Operations ManagerLisa Dempsey Kane, Principal Orchestra LibrarianMichael McCoy, Orchestra LibrarianDaniel Pate, Percussion CoordinatorAdarsh Kumar, Orchestra Personnel ManagerGeoffrey Devereux, Orchestra Management Apprentice

OboeDaniel Gurevich, PrincipalAlexander Mayer

Clarinet Hanlin Chen, PrincipalHector Noriega Othon

BassoonSteven Palacio, PrincipalRebecca Krown

HornJaimee Reynolds, PrincipalVincent Kiray

OboeLucian Avalon, PrincipalKate Wegener

ClarinetSunho Song, PrincipalHector Noriega Othon

BassoonEmmali Ouderkirk, PrincipalRebecca Krown

ContrabassoonEmmali Ouderkirk, Principal

HornJason Friedman, PrincipalVincent KirayJaimee Reynolds

MOZART Selections from Don Giovanni

BEETHOVEN Symphony No. 7

Attend a Juilliard Orchestra Concert This Fall

MONDAY, OCTOBER 157:30pm • Alice Tully Hall

Juilliard OrchestraSir Mark Elder, conductorBRITTEN “Four Sea Interludes” from Peter GrimesSTRAUSS Oboe Concerto in D Major, TrV 292 (soloist to be announced)SIBELIUS Night Ride and Sunrise and Symphony No. 7 in C Major, Op. 105TICKETS $30

THURSDAY, NOVEMBER 87:30pm • Alice Tully Hall

Juilliard Orchestra Jeffrey Milarsky, conductorAugusta Read THOMAS Prayer Bells BERNSTEIN Serenade (After Plato’s Symposium) (violin soloist to be announced)PROKOFIEV Suite from Romeo and JulietTICKETS $30

SUNDAY, NOVEMBER 113pm • Paul Hall

Juilliard Wind OrchestraErik Ralske, conductorBRAHMS Serenade No. 2 in A Major, Op. 16STRAUSS Sonatina No. 2 in E-flar Major, TrV 291 “Happy Workshop”TICKETS $10

THURSDAY, DECEMBER 67:30pm • Alice Tully Hall

Juilliard OrchestraItzhak Perlman, conductorDVORÁK Cello Concerto (soloist to be announced)ELGAR Enigma Variations, Op. 36 (Variations on an Original Theme)TICKETS $30

MONDAY, DECEMBER 107:30pm • Alice Tully Hall

Juilliard OrchestraJohn Adams, conductorKaija SAARIAHO Ciel d’hiver (Winter Sky)John ADAMS Doctor Atomic SymphonyBRAHMS Symphony No. 4 in E Minor, Op. 98TICKETS $30

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