Mirian Conti, Michael White
In the last decade of his life (1740-1750), Johann Sebastian Bach, having completed an incredible career of composing sacred music, began to compose monumental secular works. One beloved work of this amazing decade was later given the nickname “Goldberg Variations.” Over the two days of this course, we study every fascinating aspect of this masterpiece, including its background, the enormous challenge it has presented to all keyboard players over time, and how it has acted as a perfect model for the themes and variations of great composers like Beethoven, Schumann, and Brahms. Finally, as we study each movement, that variation will be performed in class by pianist Mirian Conti, who will then lead us in a discussion of interesting performance problems. Part I covers variations 1-15; Part II covers variations 16-30. The ability to read scores is highly recommended.
Part I: EVDOL 077
Tuesday, June 19
Part II: EVDOL 078
Wednesday, June 20
As a set, Bach’s Brandenburg Concertos represent the most important works of the genre in the Baroque period. Together they function as an elegant, musical treatise on Baroque instrumentation and orchestration. No work of any composer before or since compares to these six monumental studies of the concerto and instrumentation of the Baroque. This class examines the concept of the Baroque concerto and discovers Bach’s unique approach to the concept of instrumental color. We address questions such as: what is a ripieno concerto, a concerto grosso, or a solo concerto for Bach and other Baroque composers? What is a ritornello in the Baroque and what does it really mean in the hands of Bach in relation to his predecessors and contemporaries? Problems in performance practice and interpretation are also discussed in order to understand the music and its meaning. The ability to read and follow scores is highly recommended, but not necessary.
Monday, July 16
$250 Includes one ticket to the 7:30pm Lincoln Center performance on July 27
Mozart was an outstanding pianist. Thus, it is not surprising that despite his extraordinary ability to excel in all the musical genres of his time, when he needed a quick success or a musical “offering” for one of his aristocratic hosts, he often chose to write music that he would himself perform at the piano. Several of his piano concertos are regarded among his most accomplished works and his piano sonatas represent a turning point in the history of keyboard music. In this class, we take a close look at a representative selection of Mozart’s music for the piano, taken from his concertos (many of which will be performed this summer at Lincoln Center’s Mostly Mozart festival), sonatas, chamber music, and concert arias with piano. By analyzing his approach to the keyboard in his dual role as composer and performer, we gain insight on how Mozart approached both the compositional process and his own public performances. In addition, this class features in-class performances by Juilliard College Division students to bring Mozart’s masterful piano works to life.
Wednesday, July 18
John J.H. Muller
This summer, the Mostly Mozart Festival presents Mozart’s Requiem, the composer’s final work. He hadn’t finished it at the time of his death, and controversy has surrounded it since the 19th century. In this class we begin with the circumstances of the composition of the Requiem and the role Mozart’s student Süssmayr played in finishing it as well as more recent attempts to complete it. Equally important is the study of the musical style of the Requiem and how Mozart draws upon elements of rigorous contrapuntal writing as well as a cantabile melodic style. This class also examines Mozart’s work in a larger context; we consider the origin of the Mass for the Dead and its liturgy along with some earlier settings of the Requiem by Renaissance composers. We also explore how later composers responded musically to some of the same texts set by Mozart, such as the famous Dies Irae. Coverage includes excerpts ranging from the dramatic requiems of Berlioz and Verdi to the intimate work of Fauré.
Thursday, August 2
$250 Includes one ticket to the 7:30pm Lincoln Center performance on August 10
Sergei Rachmaninoff was the last great representative of Romanticism in 20th-century Russian classical music. Today, 145 years after his birth and 75 years after his death, Rachmaninoff’s name has not been forgotten, ignored, or diminished. He was a complex musical personality, a force of nature at the piano, and legendary as both a composer and performer of his own and others’ works. In this course, we celebrate Rachmaninoff’s legacy by exploring his best known piano compositions as well as his famous recordings.
Thursday, June 7
No other 20th century work has had as much influence and been the focus of as much curiosity and fascination as Stravinsky’s Rite of Spring, which he composed at the age of 27. Booed at its premiere, the Rite as a ballet has found an unusual place in the concert hall as a concert work. This class delves into the creation of this seminal, groundbreaking masterpiece. Important collaborators, such as Nijinsky, Diaghilev and the Ballet Russes, Roerich, and the events at the Theatre des Champs-Elysees are discussed. Questions of music and dance and their effect on the premiere are also examined. And most importantly, why is this music so compelling, so rich and unforgettable? The ability to read and follow scores is highly recommended, but not necessary.
Monday, July 9
George Gershwin was a master at creating a vivid picture of time and place through his unique compositional palette. Born in Brooklyn and growing up on New York’s Lower East Side in the heart of the Yiddish Theater District, he wrote classically infused music that reverberates with elements from the American melting-pot of his youth: syncopations of African-American blues and ragtime, flattened notes, Hispanic rhythms; the rollicking joy of klezmer tunes, soulful ballads, and Broadway melodies. This blend of highbrow and lowbrow idioms reveals Gershwin’s signature sound, and through compositions like An American in Paris and Rhapsody in Blue, presents a fascinatingly evocative snapshot of urban and American life, or as he called it, “our metropolitan madness.” The musical material is not always meant to blend neatly; we are invited to revel in the world of discontinuities, hear “music in the heart of noise,” enjoy stark surprises, and take in all manner of diverse pleasures that constituted life in 1920s New York and Paris. We look closely at these and other Gershwin compositions, to come away with a deeper appreciation of his style, which was decades ahead of its time.
Tuesday, July 24
$250 Includes one ticket to the 7:30pm Lincoln Center performance on July 24
While the jazz community has always made serious strides to help ease the racial issues that are deeply entrenched in the American experience, its record on gender equity and inclusion remains in arrested development. Listeners, industry leaders, and artists alike often fail to give women a modicum of the recognition their male counterparts enjoy. And still, women have not only participated but also led in aspects of the genre since its inception. This course elevates and explores the role of women in jazz, highlighting the “leading ladies” including Mary Lou Williams, Ella Fitzgerald, Sarah Vaughan, Betty Carter, and Nina Simone, as well as the lesser-known influencers, such as Hazel Scott and Melba Liston. We use documented recordings, publications and oral history to retell the stories of this vibrant and musically diverse sisterhood.
Thursday, July 26
Reggie Quinerly, Sally Sommer
From the 1930s through the early 1940s, America was swept off its feet by a transformational period known as the Swing Era. On one hand, the nation’s collective conscience was coming to grips with the harsh reality of the Great Depression. On the other, the masses were introduced to the red-hot sounds being broadcasted from opulent ballrooms that featured the likes of Fletcher Henderson, Count Basie, Duke Ellington, and Benny Goodman. At the Savoy Ballroom in Harlem, African American dancers developed a new couples’ dance alongside this new music. The Lindy Hop (named in 1928 in honor of Charles Lindberg’s solo flight across the Atlantic) was also known as the Jitterbug and/or Swing. It contained many ingredients of the Charleston, but involved new developments in dance, such as the “breakaway,” where the partners split apart, as well as spectacular lifts and throws where the women were tossed in the air. Swing dancing and music spread from the Savoy and other ballrooms to the white mainstream across the nation and then out to the world as an international craze. In this class, we explore both the music and the dance of the Swing Era. We listen to the recordings and highlight the elements that defined this period in musical history, and watch videos that show the popular dance forms that were enjoyed during this time—and are still practiced today.
Tuesday, June 26
$240 Includes one ticket to the 6:00pm Lincoln Center’s Midsummer Night Swing on June 26
Widely considered to be one of the best musicals of the century, My Fair Lady is now being staged at the Lincoln Center Theater. This course explores the origin of the Pygmalion myth and the George Bernard Shaw versions of it both in his play Pygmalion and his movie adaptation in 1938 for a film by Gabriel Pascal. We discuss why Shaw’s Pygmalion was originally considered to be too difficult to turn into a musical—Rodgers and Hammerstein had tried and felt that it couldn’t be done—and how Lerner and Loewe eventually found a solution. This will be followed by an analysis of some of the individual songs of My Fair Lady. In the afternoon we attend a performance of My Fair Lady at Lincoln Center. The day ends with a post-performance discussion back at Juilliard.
Wednesday, June 13
10am-6pm (including the matinee performance)
$280 Includes one ticket to the 2:00pm matinee Lincoln Center performance on June 13
Many of Broadway’s most enduring musicals have been created from Disney movies. Currently there are three such musicals on Broadway—Aladdin (running since 2014), Frozen (opening this February), and The Lion King (running since 1994). In this course, we discuss why Disney musicals remain so popular, and how this popularity is a reflection of our times. While the course will draw on music from other musicals, the main focus will be Aladdin, starting from the original tale and then looking at the Disney movie before moving on to a discussion of the songs of the musical in preparation for attending this show together as a class.
Wednesday, June 20
$280 Includes one ticket to the 7:00pm Broadway performance on June 20
Brad Balliett, Doug Balliett
The Beatles’ music continues to be among the most popular ever produced, even 50 years after they came onto the scene. Their contributions to the development of popular music cannot be overstated. However, what did John, Paul, George, and Ringo do in the immediate aftermath of the Beatles’ demise in 1970? A lot, actually—each former Beatle produced his first real solo album, including work now acknowledged as uncontested masterpieces. Join the Brothers Balliett as they examine each debut solo effort, song by song, with detailed coverage of John Lennon/Plastic Ono Band, McCartney, All Things Must Pass, and Ringo!
Monday, June 25
How is a dance work created? What is involved in choreography and bringing an artist's vision to the stage? In this class, students are introduced to dance technique and terminology, observe a live rehearsal with a choreographer and her dancers in a Juilliard dance studio, and participate in a short session of learning a dance. Finally, the choreographer and dancers engage with students in a discussion and reflect on the process. This is a unique chance to experience the creative process as well as to critically and joyfully analyze choreographic work as it is freshly made. Please wear comfortable clothes to move in. Movement participation to physically understand choreographic concepts is not required.
Monday, June 4
William Shakespeare wrote Twelfth Night in 1601, the dramatic midpoint between his earlier light comedies and late tragedies. As many directors who have tackled the play over the centuries attest, it contains elements of both genres: cheerful, uproarious humor that is laced with a sense of loss. In this class we examine how laughter and tears brush up against each other in the play—as they often do in real life—and how Shakespeare’s biography (especially the recent death of his only son) informed its themes. Together we will watch excerpts from past stage productions and film versions of Twelfth Night and be treated to live performances of its scenes by Juilliard actors and alumni. We will also look at how New York’s Shakespeare in the Park—the world-famous institution of free summer Shakespearean theater in Central Park—is tackling the play in its 2018 award-winning production. After a day of study, students attend the show, with their newfound insights into the play hopefully deepening their experience.
Wednesday, August 1
$230 Includes one ticket to the 8:00pm performance on August 1
Gregory Knowles, Melanie Williams
This intensive course teaches the basics of how to read music and is designed for those who have never tried to read a piece of music as well as those who need a brush-up from having read music previously. We discuss everything from the staff, clefs, notes, rests, and measures, to rhythm, meter, time signatures, key signatures, and score reading. Students are given ample time to not only learn the music symbols, but to also practice the skills and techniques necessary to understand and recognize the music they are looking at and listening to. For avid arts appreciators who want to dig deeper into the works they know and love (and better understand those they don’t), and practicing performers who want to be able to learn new pieces quickly and accurately, this class is your entry point for accessing the language of music.
Two weeks, Monday, Tuesday, Thursday
August 13, 14, 16, 20, 21, 23