The UCLA Herb Alpert School of Music

Department of Music Presents

UCLA Philharmonia

“Tanguy and Dutilleux”

Neal Stulberg Music Director & Conductor

Thursday, December 11, 2014 8:00 p.m.

Schoenberg Hall

PROGRAM

String Quartet No. 2 ................................................................... Eric Tanguy (b. 1968) I. Animé II. Très lent III. Tres vif

Anna Kouchnerov, violin Stephanie Spencer, violin

Nick Laham, viola Charles Tyler, cello

Three Strophes on the Name of Sacher, for solo cello ................................. Henri Dutilleux (1916-2013) I. Un poco indeciso II. Andante sostenuto III. Vivace

Charles Tyler, cello

“Affettuoso” in memoriam Henri Dutilleux (2014) ........................................... Eric Tanguy (U.S. Premiere)

INTERMISSION Symphony No. 2 (“Le Double”) (1959) ............................................... Henri Dutilleux I. Animato, ma misterioso II. Andantino sostenuto III. Allegro fuocoso - Calmato

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ABOUT THE PERFORMERS

Heralded by the Los Angeles Times as ". . .a shining example of podium authority and musical enlightenment," NEAL STULBERG garners consistent international acclaim for performances of clarity, insight and conviction.

In North America, Mr. Stulberg has led the Philadelphia Orchestra, Los Angeles Philharmonic, Atlanta, Houston, Indianapolis, Milwaukee, National, New Jersey, New World, Pacific, Saint Louis, San Francisco, Utah and Vancouver symphonies, St. Paul Chamber Orchestra and Los Angeles Chamber Orchestra, among others. He is a recipi-ent of the Seaver/National Endowment for the Arts Conductors Award, America's most coveted conducting prize, and has served as assistant conductor of the Los Ange-les Philharmonic under Carlo Maria Giulini and music director of the New Mexico Symphony Orchestra.

Mr. Stulberg's European career was launched in September 1997 when he stepped in on short notice to conduct the Netherlands Radio Symphony Orchestra and Chorus in a program of Bartók and Kodály. He was immediately re-engaged by that orchestra to conduct on the prestigious VARA series in the Amsterdam Concertgebouw and has subsequently appeared in Holland with the Netherlands Radio Chamber Orchestra, North Holland Philharmonic, Gelders Orchestra, Netherlands Ballet Orchestra and Nieuw Sinfonietta Amsterdam. Engagements in Germany include the WDR Rund-funkorchester Köln and the orchestras of Augsburg, Bochum, Dortmund, Herford, Freiburg, Muenster, Nürnberg, Oldenburg and Rostock. In September 2000, he made his Scandinavian debut with the Stavanger Symphony Orchestra, and subsequently led performances with the Athens State Orchestra, London Royal Ballet Sinfonia, Barce-lona Liceu Orchestra and Norwegian National Opera Orchestra.

A frequent guest conductor in Asia, Israel and Russia, Mr. Stulberg has appeared with the Hong Kong Philharmonic, Seoul Philharmonic, Korea Philharmonic (KBS), Taipei Symphony, Haifa Symphony Orchestra, Israel Sinfonietta, St. Petersburg Sym-phony Orchestra and Moscow Chamber Orchestra, among others. In July 1999, he made his Australian debut, conducting the Queensland, Adelaide and West Australian symphonies and, in November 2002, led debut performances with the Mexico City Philharmonic.

Neal Stulberg is also an acclaimed pianist, appearing regularly as recitalist, chamber musician and with major orchestras and at international festivals as pianist/conductor. His performances of Mozart concertos conducted from the keyboard are uniformly praised for their buoyant virtuosity and interpretive vigor. In 2011-2012, he performed the complete Mozart sonatas for violin and piano with his UCLA violinist colleague, Guillaume Sutre, at UCLA’s Schoenberg Hall and at the Grandes Heures de Saint Emilion festival in France.

Mr. Stulberg has given premieres of works by Steve Reich, Dmitri Smirnov, Joan Tower, Peter Schat and Peter van Onna, led the period-instrument orchestra Philhar-monia Baroque in a festival of Mozart orchestral and operatic works, and has brought to life several silent movies from the early 1900s, including the Russian classic New Babylon, Shostakovich's first film score. In 2001, he conducted Philip Glass' opera Akhnaten at the Rotterdam Festival and Thomas Adès' Powder Her Face with Long Beach Opera in Los Angeles. He has recorded for West German Radio, Donemus, Yarlung Records, Sono Luminus and the Composers Voice label.

A native of Detroit, Mr. Stulberg is a graduate of Harvard College, the University of Michigan and the Juilliard School. He studied conducting with Franco Ferrara at the Accademia Nazionale di Santa Cecilia in Rome, piano with Leonard Shure, Theodore Lettvin, William Masselos and Mischa Kottler, and viola with Ara Zerounian. He cur-

rently serves as Professor and Director of Orchestral Studies at UCLA, and recently began a three-year tenure as Music Department Chair.

UCLA PHILHARMONIA is the flagship orchestra of the UCLA Herb Alpert School of Music, and one of Southern California’s premiere training orchestras. Its music directors have included Lukas Foss, Richard Dufallo, Mehli Mehta, Samuel Krachmalnick, Alexander Treger and Jon Robertson.

Since 2005, Philharmonia has been led by Neal Stulberg, who has greatly expanded the scope of the ensemble’s activities. Highlights of his tenure have included perform-ances of Mahler and Bruckner symphonies, Duke Ellington’s Harlem, an evening-long exploration of Berlioz Symphonie Fantastique with commentary by UCLA Professor Robert Winter; a concert/lecture co-sponsored by the UCLA Departments of Music and Evolutionary Biology titled Messiaen’s Birds: The Greatest Musicians featuring Grammy Award-winner and UCLA faculty pianist Gloria Cheng; a 70th birthday celebration of UCLA composition professor Paul Chihara; a Royce Hall birthday tribute to Kenny Burrell; UCLA Opera productions of Verdi Falstaff, Mozart Le Nozze di Figaro, Jonathan Dove Flight (West Coast premiere) and Poulenc Dialogues des Carmélites, Offenbach Or-pheus in the Underworld; annual youth concerts at Royce Hall sponsored by UCLA Center for the Art of Performance Design for Sharing; annual appearances on the Sundays Live series at the Los Angeles County Museum of Art’s Bing Theater; a special Getty Center revival of the groundbreaking 1914 silent film In the Land of the Head Hunters, directed by famed photographer Edward Curtis with a restored original score by John Braham; an acclaimed Royce Hall Halloween concert titled One Foot in the Grave; the world premiere of UCLA Professor David Lefkowitz’ cantata, Lincoln Echoes; a special Royce Hall per-formance of works by Recovered Voices composers Franz Schreker, Alexander Zem-linsky and Arnold Schoenberg, conducted by Los Angeles Opera Music Director James Conlon; Philharmonia’s inaugural appearance at the Broad Stage; a national conducting workshop sponsored by the Conductors Guild, North America’s major service organi-zation for conductors; and Philharmonia’s first two commercial CDs: a Yarlung Re-cords release of previously unrecorded orchestral works by Viennese émigré composer Eric Zeisl; and a world-premiere Sono Luminus recording of Mohammed Fairouz’s Symphony No. 3 (“Poems and Prayers”) and his clarinet concerto “Tahrir.”

Since 2005, Philharmonia has accompanied staged UCLA Opera productions in-cluding Verdi Falstaff, Britten Midsummer Night's Dream, Puccini Gianni Schicchi and Suor Angelica, Weill Threepenny Opera, Mozart Le Nozze di Figaro and Don Giovanni, West Coast premieres of Francesco Cavalli's Giasone and Jonathan Dove's Flight, Poulenc Dialogues des Carmélites, Offenbach Orpheus in the Underworld, Ravel L'Enfant et les Sortiléges and Wolf-Ferrari Il Segreto di Susanna.

2014-15 highlights include the Verdi Requiem, Dutilleux Symphony No. 2 (“Le Double”), the world premiere of Ian Krouse’s Armenian Requiem, Philharmo-nia’s tenth annual “All Star” concert, and “Sundays Live” Bing Theater appearance.

UCLA Philharmonia's CDs are available on iTunes, amazon.com, Naxos Music Library and other retail outlets.

If you wish to receive information about Philharmonia’s activities, please contact us by e-mail at uclaorch@gmail.com, or visit us at www.uclaorchestras.com.

Born in Caen in 1968, ERIC TANGUY has become one of the most widely per-

formed and broadcast French composers of our days. A student of Horatiu Radulescu, he subsequently completed his education with Ivo Malec, Gérard Grisey and Betsy Jolas at the Conservatoire National Supérieur de Musique in Paris, from which he graduated in 1991.

Eric Tanguy has been recognized with numerous awards and prizes along the years. In November 2012, he received the “Grand prix de la SACEM,” the highest distinction for achievements throughout a career, and in April 2014 the Composers’ “Grand prix des Lycéens” awarded by high school students from all across France. He was twice declared “Composer of the Year” at the Victoires de la musique classique (in 2004 and 2008). He was also the recipient of the Stipendienpreis in Darmstadt (1988), the “Villa Medicis hors les murs” prize (1989), the Prize of the French-German Cultural Council (1991), the Villa Medicis Competition (1992), the Kranich-stein Musikpreis in Darmstadt (1992), the André-Caplet Prize of the Institut de France (1995) and the Hervé-Dugardin Prize of the SACEM (1997).

A resident of the Académie de France in Rome (1993-1994), Eric Tanguy was a guest of the Tanglewood Music Center on a special invitation from Henri Dutilleux. He was composer-in-residence in Champagne-Ardenne (1995), in Lille (1996), at the Orchestre de Bretagne (between 2001 and 2003) and at the Festival des Arcs (2011). He was guest composer at the Festival “Aspects des Musiques d’Aujourd'hui” in Caen (2007) and the Holstebro Festival in Denmark (2012).

His output comprises more than hundred works to this day, ranging from solo pieces to concertos, vocal pieces and symphonic works. They have been included into the repertoire of major performers of our time: conductors (Alain Altinoglu, Lionel Bringuier, Semyon Bychkov, Jesús López Cobos, Paul Daniel, Paavo Järvi, Theodor Guschlbauer, Louis Langrée, Seiji Ozawa, Michel Plasson, Jean-Jacques Kantorow, Ariane Matiakh, Pascal Rophé, Christopher Russel, Yutaka Sado, Marko Letonja, Heinrich Schiff, Stefan Sanderling); soloists (Piotr Anderszewski, Nicholas Angelich, Suzana Bartal, Frank Braley, Renaud et Gautier Capuçon, Henri Demarquette, Anne Gastinel, Ivry Gitlis, François-Frédéric Guy, Natalia Gutman, François Leleux, Vahan Mardirossian, Emmanuel Pahud, Mstislav Rostropovitch, Akiko Suwanai, Janne Thomsen, Cecilia Tsan) as well as actors such as Michel Blanc, who premiered Tan-guy’s monodrama Sénèque, dernier jour in 2004; ensembles (Quatuor Arditti, Quatuor Attaca, Quatuor Diotima, Quatuor Modigliani, Quatuor Psophos, Quatuor Rosa-monde, Quatuor Ysaÿe, Ensemble Intercontemporain, Ensemble Köln, Tokyo Sinfo-nietta, London Sinfonietta) and numerous French and foreign orchestras (Orchestre National de France, Orchestre Philharmonique de Radio-France, Orchestre National de Montpellier, Orchestre National de Toulouse, Orchestre National de Lyon, Or-chestre de Paris, Orchestre de chambre de Paris, Orchestre d'Aarhus, Boston Sym-phony Orchestra, Florida Orchestra, Gävle Orchestra, Helsinki Philharmonic Orches-tra, Lahti Sinfonia, Liège Orchestra, Mainz Orchestra, Minsk Orchestra, Novossibirsk Orchestra, Rome Symphony Orchestra, Tapiola Sinfonietta, Roma Tre Orchestra, Rostov Orchestra, Tonhalle Orchestra Zürich, Royal Northern Philharmonia, Sinfonia Varsovia, Ljubljana Orchestra, etc.)

In 2001, Mstislav Rostropovitch commissioned and premiered Tanguy's Second Cello Concerto at the Flâneries Musicales in Reims, following which he performed it again in Boston and at Carnegie Hall with the Boston Symphony Orchestra under the baton of Seiji Ozawa.

Just a few years later, in 2007, Anne Gastinel premiered (again at the Flâneries Musicales in Reims) In Terra Pace, an homage to Mstislav Rostropovitch, with the Orchestre Philharmonique de Radio-France conducted by Michel Plasson.

In 2009, for its thirtieth anniversary, the Ensemble Orchestral de Paris premiered In Excelsis for orchestra at the Théatre des Champs-Elysées. Tanguy was also com-missioned the compulsory piece by the Ninth Mstislav Rostropovitch Cello Competi-tion for which he wrote Invocation for solo cello (premiered in November 2009).

Only a year later, his vocal piece Les mains papillon for mixed choir and children's choir (a commission of the Orchestre de Paris) received its premiere at Salle Pleyel.

In 2012, his Trio for piano, violin and cello was premiered in France at Radio France by Marie-Josephe Jude, Stéphanie-Marie Degand and Cecilia Tsan (who com-missioned the work) and also in the US by the Pantoum Trio at the prestigious Jaca-randa concert series in California.

Tanguy's latest compositions include his Organ Concerto premiered in Caen in 2013 by Stéphane Béchy and the Orchestre de Caen conducted by Vahan Mardiros-sian and his latest symphonic work Affettuoso - in memoriam Henri Dutilleux pre-miered in January 2014 by the Orchestre de Paris under the baton of Paavo Järvi.

In March 2014, he was invited by the International Music Fesival NIPPON in Nagoya, on which occasion Akiko Suwanai and Akira Eguchi performed the premiere of In a dream for violin and piano.

Highlights of future seasons include a new symphonic work to be premiered by the Orchestre National d'Ile de France under the baton of Enrique Mazzola in the newly built Philharmonie de Paris (March 2015), a new work for solo piano to be pre-miered by Steven van Hauwaert in Los Angeles in the Piano Sphere concert series (June 2015), a commission of the Jyväskylä Symphony Orchestra for the 150th anni-versary of the birth of Sibelius (December 2015) and a Piano Concerto for Nicholas Angelich and the Orchestre Philharmonique de Radio-France with Daniel Harding (December 2016).

His chamber opera after an original libretto by Michel Blanc (commission of the Théâtre des Bouffes du Nord) will receive its premiere in Paris also in 2016.

Since 2002, Eric Tanguy has been teaching composition at the Conservatoire Paul Dukas in Paris. His reputation as a composer and professor has brought him invitations for masterclasses and lectures all around the world (New England Conser-vatory, Cardiff University, Royal College in London, UCLA in Los Angeles, Giuseppe Verdi Conservatory in Milan, Ferienkurse für Neue Musik in Darmstadt, Composers' Union in Zagreb, French Music Academy in Kyoto, as well as institutions from Bel-gium, Denmark, Spain etc). He was invited to appear on numerous television and radio shows in France and abroad.

Eric Tanguy's works are published by Salabert/Universal Music since 1989. Many of them have been recorded and are available under the label of Virgin Classics, Na-ïve, Transart and Intrada.

HENRI DUTILLLEUX was born in Angers (France) on 22 January 1916. As

early as his school days, he began to study piano, harmony and counterpoint with Victor Gallois at the Douai Conservatoire. From 1933-1938 he attended the Paris Conservatoire, studying harmony and counterpoint with Jean and Noël Gallon, com-position with Henri Paul Busser and music history with Maurice Emmanuel. After his brief military service, Dutilleux returned to Paris in 1940 where he earned a living as a pianist, arranger and teacher before becoming choral director at the Paris Opera in 1942. From 1945 to 1963 he held the post of director of music productions with the French radio company ORTF. From 1961 to 1970 he taught composition at the Ecole Normale de Musique de Paris until he returned to the Paris Conservatoire for two years as guest professor.

Even though personal contacts with colleagues such as André Jolivet, Darius Milhaud, Francis Poulenc and Georges Auric always gave him suggestions and inspira-tions, Henri Dutilleux never belonged to a particular composition movement or group. Since his international breakthrough with Symphony No. 1 (1951) Dutilleux

had been active in various genres: apart from symphonic works, he also composed chamber music, solo concertos and ballet music.

2007 saw the premiere of the first version of the piece Le temps l'horloge for so-prano and orchestra in Matsumoto (Japan) under the direction of Seiji Ozawa and Renée Fleming. The extended version was performed at the Paris Théâtre des Champs-Elysées in May 2009. Correspondances (2003), also composed for soprano and orches-tra, is one of the most frequently played works of the composer. It was letters of vari-ous authors – from Rilke to van Gogh – that inspired Dutilleux to write the five dif-ferent movements of the work dedicated to Dawn Upshaw and Simon Rattle, and to each of them he assigned a particular timbre. Apart from the different meanings that can be attached to the word ‘correspondence’ (Engl. ‘exchange of letters’), the title of the work refers to Baudelaire's famous poem of the same name.

In the solo concerto genre, Dutilleux' concertos for violin are outstanding: L'arbre des songes (1958) and Sur le même accord (2002). Anne-Sophie Mutter's first recording of Sur le même accord was awarded the Echo Klassik. This work contains an ever-present six-tone chord – partly hidden, partly obvious – which is played and permanently var-ied by soloists from the ranks of the orchestra and the solo violin.

Among the numerous honours and prizes awarded to Henri Dutilleux are the Grand Prix de Rome (1938), the French Grand Prix National de la Musique (1967), the Praemium Imperiale (1994) in recognition of his oeuvre, the Cannes Classical Award for his orchestral work The Shadows of Time (1999) and the Grand Prix 1999 de la Presse Musicale Internationale. In 2005 Dutilleux received the Ernst von Siemens Music Award, two years later the MIDEM Lifetime Achievement Award, in 2011 the Marie-Josée Kravis Prize for New Music at the New York Philharmonic. In addition, Henri Dutilleux has been an honorary member of the American Academy and Insti-tute of Arts and Letters since 1981 and of the Académie Royale de Belgique.

Henri Dutilleux died on 22 May 2013 in Paris.

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“AFFETTUOSO” In memoriam Henri Dutilleux

Commissioned by the Orchestre de Paris and composed in 2013, this work

was written on the demand of Paavo Järvi who conducted the premiere at Salle Pleyel in Paris on January 2014.

The Italian title is a reference to my first personal contact with Henri Dutil-leux: one morning, while I was a resident at the Villa Medici in Rome (1993-94), I suddenly received a phone call: “Hello, this is Henri Dutilleux, I am calling you from Paris.”

I could not believe that I just had been contacted by one of the legends of music history.

Ever since, Henri Dutilleux has never missed an occasion to ring me up or write me whenever I had a premiere or a CD release. I fondly remember the fax that he sent me to my hotel just hours before the premiere of my Second Cello Concerto by Mstislav Rostropovitch as well as the numerous phone messages he left me right after the radio broadcast premiere of my work “In Terra Pace” per-formed by Anne Gastinel and Michel Plasson in 2007. One should also mention those cheerful moments shared in restaurants, at his home during an “aperitif” or while my trip to Tanglewood (1995). Another moving memory remains his last phone message that sounded as a farewell.

Beyond the great sadness felt by all those who he had rewarded by his friend-ship, I tried to musically express in this work what I was left with after his passing away: a feeling of immense affection. Henri Dutilleux, together with his wife Geneviève Joy, gave much of their time to composers, performers and all those people they valued.

From a musical point of view, I chose to express myself in a mainly moderate tempo that fits the idea of meditation especially well, even if several moments of great intensity contrast with this original idea. As far as the aesthetic standpoint goes, this new work belongs to the research in modality that I began twenty years ago, at the border of consonance and dissonance. Henri Dutilleux told me once: “J'aime votre musique parce qu'elle est corrosive” (“I like your music because it is corrosive”).

I hope to keep this singularity he found in my music for a long time.

The duration of the work, in one movement, is of about 11 minutes.

— Eric Tanguy

UCLA PHILHARMONIA

Neal Stulberg, Music Director and Conductor

Dean Anderson and Geoffrey Pope, Assistant Conductors

Gary Smith, Orchestra Manager

Andrea Yu, Librarian

Jasmine Lau Matthew Tong DOUBLE BASS Sean O’Hara,

principal Mark Gutierrez Ema Jordan Lauren Lee Jules Levy Noah Yanicki FLUTE / PICCOLO Renee Henn Devan Jaquez Cecily Lan OBOE Charlie Bond Kyle Kurihara Jisoo Lee* CLARINET Kenji Bellavigna* Tyler Hsieh Nicolina Logan BASS CLARINET Tyler Hsieh BASSOON Sumner Arano Ryan Yamashiro Daniel Zimardi* CONTRABASSOON Sumner Arano HORN Aija Mattson Kelsi Nelson Rachel O’Connor Matt Pennington Andrew Pickett TRUMPET Jon Bhatia Tristan Hurd* Erick Jovel

TROMBONE Olivia Aoki Hin Yau* BASS TROMBONE Jacob Kraft TUBA Luke Storm TIMPANI Mariam Kaddoura Gary Smith* PERCUSSION Nikolaus Keelaghan,

principal Mariam Kaddoura Dante Luna Gary Smith HARP Amy Ahn HARPSICHORD Andrew Munro* CELESTE Timothy Rantung* THEATER MANAGER Michele Eckart PROGRAMS & PUBLICITY Kathleen Moon

VIOLIN I Nicole Sauder,

concertmaster Yasmeen Al-Mazeedi Catherine Arai Tim Chin Anna Corcoran* Tracey Kim Anna Kouchnerov Ashley Mao Stephanie Nagler Stephanie Spencer Mizuki Tanagi VIOLIN II Nicolette Kocsardy,

principal Anjelina Lopez-Rosende Chris May Zoe Merrill Camille Miller Isabella Reyes Brita Tastad* Francis Wong Sarah Worden Viola You VIOLA Emma Stansfield,

principal Julien Altmann Larry Chew Nick Laham Lydia Luce Theo Ma Clara McMahon Daniel Mireles* Alec Santamaria VIOLONCELLO Andrea Yu,

principal Niall Ferguson Jeffrey Ho Jamie Kang Killian Kelly Daniel Kim Luke Kim* Youjin Ko

*Performer in the small orchestra in Dutilleux Symphony No. 2 (“Le Double’)

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FUTURE CONCERTS

Dec. 13 Holiday Choral Concert “Sounds of the Season” Lesley Leighton, conductor Jan. 15 UCLA Philharmonia “All-Star Concert” Student Soloists Neal Stulberg, Dean Anderson, Geoffrey Pope, conductors Feb. 4 UCLA Wind Ensemble Travis J. Cross, conductor D. Thomas Lee, Director of Bands Emeritus, guest conductor Feb. 12 chambermusic@ucla “It’s a Woodwind World IX” UCLA Woodwind Faculty Mar. 1 UCLA Percussion Ensemble Theresa Dimond, director “Mostly Marimba”

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Coming February 13, 15, 20 , 22, at Freud Playhouse … An Opera UCLA production presented in collaboration with the UCLA Department of Theater

THE TWO FIGAROS Music by Saverio Mercadante, Libretto by Felice Romani Critical edition by Paolo Casio and Víctor Sánchez Sánchez (presented by agree-ment with UT Orpheus) Joseph Colaneri, conductor, Peter Kazaras, director, UCLA Philharmonia

A rollicking sequel to the Figaro story, this West Coast premiere traces the fur-ther adventures of the roguish servant and his intrigues and eventual come-uppance at the hands of several extremely intelligent and clever women.

I DUE FIGARO will be a part of the LA Opera's “Figaro Unbound” festival, celebrating the revolutionary spirit of this timeless character created by Pierre-Augustin Caron de Beaumarchais.