Juilliard Music Advancement Program

Wind Ensembleand Orchestra Concert

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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

Music Advancement Program (MAP)Wind Ensemble and Orchestra Concert

Murray Colosimo and Terry Szor, Conductors

Saturday, April 28, 2018, 7:30pmPeter Jay Sharp Theater

MAP Wind EnsembleTerry Szor, Conductor

JOHANN SEBASTIAN Es ist das Heil uns kommen her, BWV 9BACH (1732–35; arr. Mayhew Lake)(1685–1750)

GUSTAV HOLST Second Suite in F for Military Band, Op. 28, No. 1 (1911)(1874–1934)

JOHN PHILIP SOUSA The Washington Post (1889)(1854–1932)

ASTOR PIAZZOLLA Oblivion (1982; arr. Robert Longfield)(1921-1992) Alexander Acosta, Tuba Francisco Verastegui, Flute

DUKE ELLINGTON Caravan (1937; arr. Jayan Nandagopan)(1899–1974)/IRVING MILLS(1894-1985)/JUAN TIZOL(1900–84) Intermission

The Music Advancement Program is generously supported through an endowed gift in memory of Carl K. Heyman.

Additional support for this performance was provided, in part, by the Muriel Gluck Production Fund.

Cover photo by Claudio Papapietro

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MAP OrchestraMurray Colosimo, Conductor

WOLFGANG Der Schauspieldirektor (The Impresario), K486 (1786)AMADEUS MOZART Overture(1756-1791)

GEORG PHILIPP Viola Concerto in G Major (1716–1721)TELEMANN Largo(1681-1767) Allegro Alyssa Wu, Viola

EDWARD ELGAR Variations on an Original Theme, Op. 36,(1857–1934) “Enigma Variations” (1898-1899) Variation IX (Adagio) "Nimrod"

MORTON GOULD American Symphonette No. 2 (1939)(1913–96) Pavanne Sebastian Arias, Trumpet

AARON COPLAND Rodeo (1942)(1900-1990) Hoe-Down

Approximate performance time: 1 hour and 15 minutes, including one intermission.

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About This Program

Es ist das Heil uns kommen her, BWV 9JOHANN SEBASTIAN BACH“Es ist das Heil uns kommen her” was written by Johann Sebastian Bach, a famous German composer of the Baroque era who was born in 1685 and died in 1750. This chorale is part of Bach’s chorale cantata cycle, where each occasion of the religious year would have its own chorale. He composed numerous cantatas, sonatas, suites, and concertos, as well as multiple keyboard, choral, and organ works. Some of his better known works include the “Brandenburg” concertos, the “Passions,” and the “Goldberg Variations.”

—Estelle Balsirow, age 13

Second Suite in F for Military Band, Op. 28, No. 1GUSTAV HOLSTThe Second Suite in F for Military Band was the second suite for concert band and the last that Holst ever wrote. While this work is not performed often as the first suite in E-flat Major, it is still a popular selection in band music repertoire. Written in 1911 but not officially published until 1922, the piece was dedicated to conductor and classical musician James Causley Windram and is considered longer and significantly more difficult to play than its sister suite.

—Natassia Rodriguez, Age 13

The Washington PostJOHN PHILIP SOUSAJohn Philip Sousa was born in November 6, 1854, in Washington, D.C., and died in Pennsylvania on March 6, 1932. He was nicknamed the March King because of all the well-played marches he and his band performed. He always liked playing the violin but also played other instruments. When he reached the age of 13, he was set to join a circus band but his father instead enlisted him to a marine band. The Washington Post march was composed in 1889 and was commissioned by the newspaper of the same name to celebrate the first awards presented by the Washington Post Amateur Authors Association, a club that was created to encourage children to write. The music celebrated the children who won the writing contest in 1889.

—Alexandra DiGennaro, age 14

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About This Program (Continued)

OblivionASTOR PIAZZOLLAAstor Piazzolla was born March 11, 1921, in Mar del Plata, Argentina, and died in Buenos Aries on July 4, 1992. Known as an Argentine tango composer, bandoneon player, and arranger, he also composed for a variety of ensembles and created a new style of tango, nuevo tango, that combined elements of jazz and classical music that is used in his piece, Oblivion. Nuevo tango is different from other tangos because of the use of extended harmonies, dissonances, and counterpoint. Counterpoint is the relationship between harmonic voices that are interdependent in rhythm and contour, and was commonly practiced during the renaissance and baroque periods. Something else Piazzolla used in his compositions was called passacaglia, which is the rotation of the bass line and harmonic sequences. In 1959 he created a structural pattern for his compositions known as fast-slow-fast-coda, and this structure helped the rhythms standout in the fast section and the solos in the slow section. In 1992 the American music critic Stephen Holden named Piazzolla “the world’s foremost composer of tango music.”

—Aziza Cazaubon, Age 16

CaravanDUKE ELLINGTON/IRVING MILLS/JUAN TIZOLCaravan by Duke Ellington, Irving Mills, and Juan Tizol, and arranged by Jayan Nandagopan, is an energetic and exotic jazz piece. The tempo marking is Malfuf, meaning the tempo is wrapped or spun around creating a very short and cyclical feeling and is primarily used in folk and popular Arabic music. Caravan showcases instruments like the soprano saxophone, oboe, and trombone. It uses lots of brass and syncopated percussion with very Arabic, Middle Eastern sounding melodic lines throughout all instruments. It also has an improvisation solo section with very interesting harmony lines underneath. At one moment in the piece, the trombone is acting as an elephant. Throughout the piece it changes from a swing feeling to a straight feel.

—Angelica Markevich, Age 16

Overture from Der Schauspieldirektor (The Impresario), K486WOLFGANG AMADEUS MOZARTWolfgang Amadeus Mozart (1756–1791) was born in Salzburg, Austria, and composed many famous operas during his short lifetime. In 1786, at the age of 30, he was commissioned to compose the opera Der Schauspieldirektor (The Impresario) by the Roman emperor Joseph II for a special court festival. A German musical comedy, The Impresario was performed in a competition setting against an Italian opera by Mozart’s rival, Antonio

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Salieri. Although the opera itself is not one of Mozart’s most famous works, its overture is frequently performed in symphonic concerts. It is a very grand and lively piece, presto or fast in pace, with themes that are both bold and festive as well as warm and graceful. A wide range of instruments, including flutes, oboes, clarinets, bassoons, horns, trumpets, tympani, and strings can be heard throughout the piece.

—Arav Amin, age 10

Largo and Allegro from Viola Concerto in G MajorGEORG PHILIPP TELEMANNGeorg Philipp Telemann displayed remarkable musical talent at an early age, but was discouraged by his family and members of the Lutheran church who said he would turn out no better than “a clown.” Despite this, Telemann continued to study music in secrecy. Mostly self-taught, he began composing at age 10 and was capable of playing the flute, violin, viola, oboe, trombone, double bass, and several keyboard instruments. Telemann went to Leipzig to study law but was drawn back to music after meeting Georg Frederic Handel. Telemann composed the Viola Concerto in 1716 and it is the first known viola concerto of the Baroque era. The opening movement, Largo, begins with a slow, melancholy melody and develops with hesitation. Many of the solo viola passages expose the rich tonal resonance of the viola’s lower register. The Allegro movement displays a light hearted, graceful melody often contrasting the soloist playing in the upper register, with the orchestra.

—Amaryllis Herron, age 15

Variation IX, “Nimrod,” from Variations on an Original Theme, Op. 36, “Enigma Variations”EDWARD ELGARThe English composer Edward Elgar was born on June 2, 1857, and died on February 23, 1934. As a young boy, he was surrounded by the arts and nature, and his father was a piano tuner who owned a music shop. When he was not in the shop learning violin and piano, Edward spent his time riding in the British countryside, which had a major influence on his compositions. Elgar created his first piece at the age of 10. Because his family was not wealthy, he was self-taught, which always made him feel like an outsider in the world of music. He married Caroline Alice Roberts in 1889 and she was the inspiration for many of his compositions. Among his best-known works are the “Enigma Variations,” the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. The “Enigma Variations” is a set of 14 short musical portraits of Elgar’s friends and family, which premiered 1899. Enigma IX, “Nimrod,” the most famous of these pieces, is a portrait of Elgar’s

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About This Program (Continued)

friendship with his music editor Augustus J. Jaeger. This variation tells the story of a time when Jaeger encouraged Elgar to continue composing when he wanted to give it all up and was deeply depressed. A serene and lyrical piece, it is often played at British funerals, memorial services, and other solemn occasions.

—Alexandra Ebanks, age 12

Pavanne from American Symphonette No. 2MORTON GOULDMorton Gould was an American composer, pianist, and conductor who was born in Richmond Hill, N.Y., in 1913. As a child, he was considered a musical prodigy and had his first composition published when he was only 6 years old. Gould soon began to study at the New York Institute of Musical Art—now called The Juilliard School. His music successfully brought together two unique styles of music—popular and classical music. In 1939 he composed one of his most convincing compositions blending classical, jazz, and popular music together in his American Symphonette No. 2. The second movement in the Symphonette, the Pavanne, features a solo trumpet with a blend of popular idioms capturing the unique characteristics and culture of the time in New York City.

—Dream Champell-Aldrich, age 12

Hoe-Down from Rodeo AARON COPLANDAaron Copland was an American composer born in Brooklyn in 1900. His music, mainly written for a symphonic orchestra, has jazz and folk roots. A shining example of this is one of his best-known pieces, the “Hoe-Down” section from his ballet Rodeo which has become an icon of American culture. The piece creates the impression of a dance on a farm in the country. It was even used in a commercial for beer in 1990 called “Beef–It’s What’s for Dinner.” The "Hoe-Down" uses string, percussion, and wind voices together to form this image. This piece is fun to listen to and to play!

—Haile Southward, age 14

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Meet the Artists

Murray Colosimo

Canadian conductor, concert clarinetist, and music educator Murray Colosimo received his formal musical training at the Manhattan School of Music and New York University. Currently Music Director of the Bergen Sinfonia, Mr. Colosimo has conducted some of the world’s greatest artists appearing at Alice Tully Hall and NJPAC, and has served as music director of the Wayne Chamber Orchestra and Ridgewood Symphony and director of orchestras at the Hartwick College Music Festival. As a concert clarinetist, Mr. Colosimo received critical acclaim for a series of solo and chamber music recitals in New York City and has commissioned and recorded new works for solo clarinet. A distinguished music educator, Mr. Colosimo has held faculty positions at Seton Hall University, William Paterson University, and Montclair State University and served as music supervisor/director of orchestras in Ridgewood, N.J., where a newly built campus center, Colosimo Center, was dedicated in his honor. Mr. Colosimo’s outstanding career as a dedicated music educator spans virtually every area of music and age level.

Terry Szor

Trumpeter Terry Szor has served on the brass department faculty of the Music Advancement Program since 1997 and currently conducts the MAP Wind Ensemble. As a freelance musician, Mr. Szor has appeared with the New York Philharmonic, Boston Pops Esplanade Orchestra, Brooklyn Philharmonic, and Bronx Arts Ensemble, among many others. He has performed for several Broadway shows, Radio City Music Hall, numerous television and radio commercials, and on soundtracks for video games. As a member of the award-winning (Walter W. Naumburg Chamber Music Award, Fischoff, etc.) Saturday Brass Quintet, Mr. Szor performed recitals and led educational programs at venues including the Kennedy Center, Lincoln Center, and Carnegie Hall. He performs as the principal trumpet with Opera Saratoga, Hudson Valley Philharmonic, and New York Gilbert and Sullivan Players. As a freelance educator, he has taught and performed extensively in the New York City area through the Center for Arts Education, New York Young Audiences, Midori and Friends, and Queens Symphony Orchestra, among others. He is a graduate of the New England Conservatory of Music.

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Music Advancement Program

FluteFrancisco VerasteguiJordan CastroKenya PerezLauryn MidgettKwanasia ColeBrownEmily Duncan*

OboeAngelica MarkevichHailey UngerJohn CossentinoKevin KimEstelle BalsirowJames CrespoEmily Beare*

ClarinetAnna SpeckIvan MorozovBryant Hernandez- CondemarinLeonardo VargasRyan WangNatassia RodriguezSam Boutris*

SaxophoneEthan McIntoshDevin LewisNicole BalsirowOlivia CookLluc Casares*

BassoonAhonesty NisbettSophia Markevich Steven Palacio*

TrumpetSebastian AriasEduardo AristizabalAziza CazaubonThanddnes PalmerMalak TaillouliZahir BocioMaximilian Morel*

French HornItayetzy UrangaAlexandra DiGennaroChristian RiveraJackson SimonelliItzel UrangaCort Roberts*

TromboneCarl Geiselhart, BaritoneElise MontenoraSophia BorderonStephen Whimple*

TubaAdrian GeronimoAlexander AcostaCameron FaisonSamantha Lake*

PercussionAaron BarronAlexis CarterAnya SenAyesha SenMiles WinleySae Hashimoto*Evan Saddler*

ViolinSidney Wong, ConcertmasterAshleigh ConnerArav AminDream Champell- Aldrich, Principal SecondTade AdeyeriCarlos SantamariaZeynep Alpan*Ann Cho*

ViolaAlyssa WuGenevieve DuguidHaile SouthwardAmaryllis HerronKaydee OliverArianelle ArroyoAndrea Fortier*

CelloRaina BrooksChristian ConnerAlexandra EbanksJoseph DarcourtThapelo Masita*

Double BassOlivia McCallumVeronica NeroneAthena AllenEnrique PerezParis Myers*

FluteFrancisco VerasteguiJordan CastroEmily Duncan*

OboeAngelica MarkevichHailey UngerEmily Beare*

ClarinetAnna SpeckIvan MorozovSam Boutris*

BassoonAhonesty NisbettSophia MarkevichSteven Palacio*

French HornItayetzy UrangaAlexandra DiGennaroChristian RiveraCort Roberts*

TrumpetSebastian AriasEduardo AristizabalMaximilian Morel*

TromboneCarl GeiselhartElise MontenoraStephen Whimple*

TubaAdrian GeronimoSamantha Lake*

PercussionAaron BarronAlexis CarterAnya SenAyesha SenMiles WinleySae Hashimoto*Evan Saddler*

PianoSae Hashimoto*

MAP Wind EnsembleTerry Szor, Conductor

MAP OrchestraMurray Colosimo, Conductor

* MAP MentorNames in Italics indicate a Juilliard College Division student.

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About the Music Advancement Program

Juilliard president Joseph W. Polisi introduced the idea of MAP in 1991 in the wake of massive cuts in music education in the New York City public schools. It was his intention to help students most affected by those cuts, whose communities were underrepresented in the classical music world. Forty young people from Manhattan, Brooklyn, Queens, and the Bronx were chosen that year from a competitive pool to take part in the initial program. Today, MAP offers instruction to intermediate students from New York City’s five boroughs and the tristate area who exhibit great musical potential. As it did in its first year, MAP actively seeks students from diverse backgrounds who are underrepresented in the classical music field and is committed to enrolling the most talented and deserving students regardless of their financial background. Through a comprehensive curriculum, performance opportunities, and summer study partnerships, MAP students gain the necessary skills to pursue advanced music studies while developing their talents as artists, leaders, and global citizens.

The Music Advancement Program is administered by the Juilliard School’s Office of Community Engagement.

Community Engagement and MAP Administration

Teresa McKinney, DirectorYisset Gomez, Associate DirectorRebecca Reuter, Assistant DirectorSam Nester, Artistic AdministratorMason Kinkead, Administrative Associate

Rob Ross, Assistant Dean for Preparatory EducationAnthony McGill, MAP Artistic Adviser

Since 1991 MAP has contributed to the diversity, range, and excellence of the future performing arts community.

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Juilliard Board of Trustees and Administration

JUILLIARD COUNCIL

Mitchell Nelson, Chair

EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION

Office of the PresidentJoseph W. Polisi, PresidentJacqueline Schmidt, Chief of Staff

Office of the Provost and DeanAra Guzelimian, Provost and DeanJosé García-León, Associate Dean for Academic AffairsRobert Ross, Assistant Dean for Preparatory Education Kent McKay, Associate Vice President for Production

Dance DivisionTaryn Kaschock Russell, Acting Artistic DirectorLawrence Rhodes, Artistic Director EmeritusKatie Friis, Administrative Director

Drama DivisionRichard Feldman, Acting Director Katherine Hood, Managing Director

Music DivisionAdam Meyer, Associate Dean and DirectorBärli Nugent, Assistant Dean, Director of Chamber MusicJoseph Soucy, Assistant Dean for Orchestral StudiesStephen Carver, Chief Piano TechnicianJoanna K. Trebelhorn, Director of Orchestral

and Ensemble Operations

Historical PerformanceRobert Mealy, DirectorBenjamin D. Sosland, Administrative Director;

Assistant Dean for the Kovner Fellowships

Jazz Wynton Marsalis, Director of Juilliard JazzAaron Flagg, Chair and Associate Director

Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Artistic DirectorKirstin Ek, Director of Curriculum and SchedulesMonica Thakkar, Director of Performance Activities

Pre-College DivisionYoheved Kaplinsky, Artistic DirectorEkaterina Lawson, Director of Admissions and Academic AffairsAnna Royzman, Director of Performance Activities

Evening DivisionDanielle La Senna, Director

Lila Acheson Wallace LibraryJane Gottlieb, Vice President for Library and

Information Resources; Director of the C.V. Starr Doctoral Fellows Program

Enrollment Management and Student DevelopmentJoan D. Warren, Vice PresidentKathleen Tesar, Associate Dean for Enrollment ManagementBarrett Hipes, Associate Dean for Student Development Sabrina Tanbara, Assistant Dean of Student AffairsCory Owen, Assistant Dean for International Advisement

and Diversity InitiativesWilliam Buse, Director of Counseling ServicesKatherine Gertson, RegistrarTina Gonzalez, Director of Financial AidTeresa McKinney, Director of Community EngagementCamille Pajor, Title IX CoordinatorTodd Porter, Director of Residence LifeHoward Rosenberg MD, Medical DirectorBeth Techow, Administrative Director of Health

and Counseling ServicesHolly Tedder, Director of Disability Services

and Associate Registrar

FinanceChristine Todd, Vice President and Chief Financial OfficerMichael Kerstan, ControllerIrina Shteyn, Director of Financial Planning and Analysis Nicholas Mazzurco, Director of Student Accounts/Bursar

Administration and LawMaurice F. Edelson, Vice President for Administration

and General CounselJoseph Mastrangelo, Vice President for Facilities ManagementMyung Kang-Huneke, Deputy General Counsel Carl Young, Chief Information Officer Steve Doty, Chief Operations OfficerDmitriy Aminov, Director of IT EngineeringCaryn Doktor, Director of Human Resources Adam Gagan, Director of SecurityScott A. Holden, Director of Office ServicesJeremy Pinquist, Director of Client Services, ITHelen Taynton, Director of Apprentice Program

Development and Public AffairsAlexandra Day, Associate Vice President for Marketing

and CommunicationsKatie Murtha, Acting Director of DevelopmentBenedict Campbell, Website DirectorAmanita Heird, Director of Special EventsSusan Jackson, Editorial DirectorSam Larson, Design DirectorLori Padua, Director of Planned GivingEd Piniazek, Director of Development OperationsNicholas Saunders, Director of Concert OperationsEdward Sien, Director of Foundation and Corporate RelationsAdrienne Stortz, Director of SalesTina Matin, Director of MerchandisingRebecca Vaccarelli, Director of Alumni Relations

Juilliard Global VenturesCourtney Blackwell Burton, Managing Director for Operations Betsie Becker, Managing Director of Global K–12 ProgramsGena Chavez, Managing Director, The Tianjin Juilliard SchoolNicolas Moessner, Managing Director of Finance

and Risk Management

BOARD OF TRUSTEES

Bruce Kovner, ChairJ. Christopher Kojima, Vice ChairKatheryn C. Patterson, Vice Chair

Julie Anne ChoiKent A. ClarkKenneth S. DavidsonBarbara G. FleischmanKeith R. GollustMary GrahamJoan W. HarrisMatt JacobsonEdward E. Johnson Jr.Karen M. LevyTeresa E. LindsayLaura LinneyMichael Loeb

Greg MargoliesVincent A. MaiEllen MarcusNancy A. MarksStephanie Palmer McClellandChristina McInerneyLester S. Morse Jr.Stephen A. NovickJoseph W. PolisiSusan W. RoseDeborah SimonSarah Billinghurst SolomonWilliam E. “Wes” Stricker, MD

TRUSTEES EMERITI

June Noble Larkin, Chair Emerita

Mary Ellin BarrettSidney R. KnafelElizabeth McCormackJohn J. Roberts

Michelle Demus AuerbachBarbara BrandtBrian J. HeidtkeGordon D. HendersonPeter L. KendYounghee Kim-WaitPaul E. Kwak, MDMin Kyung KwonSophie Laffont

Jean-Hugues MonierTerry MorgenthalerPamela J. NewmanHoward S. Paley John G. PoppGrace E. RichardsonJeremy T. SmithAlexander I. TachmesAnita Volpe

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Applications for viola, double bass, oboe, bassoon, trombone, and tuba, are still open for the 2018–19 academic year.

Eligible students must be between the ages of 8 and 17, reside in the tristate area (New York, New Jersey, and Connecticut), and have played their instrument for at least two years.

Families should not let cost stand in the way of applying. Significant financial aid is available to families who qualify.

For more information visit juilliard.edu/map.

APPLY TODAY FOR MAP’S 2018–19 ACADEMIC YEAR

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