Q&A和大卫·路德维希

今年夏天, David Serkin Ludwig (研究生文凭 ’02, 作文), the dean 和 director of the 音乐 Division, 采访了 杂志 editor Susan Jackson about what to expect this year. You can find more details about these performances at 朱丽亚.edu/calendar.

What’s the big picture version of what’s happening in the 音乐 Division?
I’m truly excited about all the incredible things happening in the 音乐 Division right now! 我们一直在努力教育学生接受建设21世纪职业生涯的挑战，并找到各种各样的机会与世界分享他们的艺术.

When thinking about what guides us in the big picture, I keep coming back to how the core values of the school—Excellence, 创意企业, 和 EDIB (公平、多元化、包容, 和 归属感)—are preconditions for each other. 我们所做的很多事情都来自这些核心价值观，是为了确保学校里的每个学生, 校友, 和 employees—knows they belong to the community 和 can contribute to it.

What are some of the other themes of the division?
音乐部一直在寻求与舞蹈和戏剧部门的跨学科合作，并为我们的学生在艺术实践中定期寻求合作. 我们也寻求机会与筹备和推广部门以及场地, 机构, 和 community organizations around the city. 当然 technology is key for Juilliard, 作为一所顶尖的表演艺术学校, to reach a worldwide audience of learners 和 music lovers.

It should come as no surprise that as a composer, I’m looking to center creative work in the conservatory. 我的近期目标之一是通过促进来自esball世博社区的一系列作曲家的新作品的创作，进一步推动我们的委托项目. 好几个系已经在积极地进行委托，我想在整个音乐学院看到这一点. 我很高兴能和同事们一起设计支持新音乐的项目和课程.

你说过, 前进, creating a new contemporary music series—what will that look like this year?
I’ll be co-curating a new series with guest conductors, 作曲家, 乐器演奏家, 以及来自不同媒体的艺术家，为我们的学生创作引人注目的当代音乐节目，为现场观众表演, which will also be streamed to the world. There are already a number of exciting performances planned for this year. 一个是斯特拉文斯基的双帐单 《士兵的历史 和 小提琴手的故事 温顿·马萨利斯(1981)著, trumpet; director of 爵士乐的研究) conducted by David Robertson on January 19, which will also include dance 和 drama students.

然后到了春天, we’re doing a concert showcasing the music of Reena Esmail (BM ’05, 作文), a composer who works between the worlds of Indian 和 Western classical music. It will be great to have her back at Juilliard! We’ll also have a performance of Terry Riley’s 在C语言中 (1964), which many consider to be the first mainstream minimalist piece. 它将与纽约和天津esball世博的学生一起实时演出. I think it’s going to be wild to have a synchronized concert seven thous和 miles apart, 和 it’s  the first time Tianjin 和 New York will be literally performing together. 我也期待着在学年结束时，由客座教师Amy Beth Kirsten教授的新戏剧练习曲课程的高潮表演. 该课程的学生将把戏剧元素和动作融入到他们的音乐创作和表演中. AXIOM继续提供神话般的音乐会，从20世纪的音乐，以及从过去20年的新作品. 杰夫·米拉斯基(1988届mba, MM ’90, percussion) has done an amazing job programming this season, 在一起工作很愉快.

当然，我们全年都会继续举办以学生作品为特色的音乐会. I’m excited about all of these projects, 和 they all point to the future of our contemporary music programming.

Are there any curricular changes afoot immediately 和 in the long term?
巴赫, 贝多芬, 布拉姆斯, Boulanger—this is repertoire through which musicians develop technique 和 artistry, 和 it remains firmly at the center of Juilliard’s musical training. 从制度上讲，我们正在探索的音乐远远超出了几十年前的范畴，同时也拓宽了我们对曲目本身的定义. 这包括专注于演奏过去和现在未被充分代表的作曲家的作品，与我们对所谓的“标准代表”的承诺相同.”

我喜欢这句谚语:演奏老音乐就像演奏新音乐一样，演奏新音乐就像演奏旧音乐一样——这样我们就能以一种全新的视角来看待老作品, even if it’s a piece that we’ve played 和 heard countless times. 相反, 我们对新作品的关注与我们从小排练和表演的音乐是一样的. I want to bring that approach 和 energy to everything we do.

我也很有兴趣找到方法，让esball世博帮助音乐学生在表演和创造性工作中实际应用他们的教育. Can our musicians meaningfully speak about music from the stage? 他们能客观地描写音乐吗? Can they effectively record themselves in audio 和 video to share their work? 学生只会从学习如何以不同的方式向不同的听众最好地呈现音乐中受益. 培养这种技能——每个音乐学院的学生都应该具备——首先要在听觉训练的音乐学术领域打下坚实的基础, 历史, 理论, 和分析.

我们如何与他人沟通和行为也是学生专业训练的重要组成部分, 和 we continue to encourage collegiality, 尊重, 和 positive collaboration in our work together.

Can you talk about the legacy of new music at Juilliard?
我很乐意! There’s an incredible 历史 of new music here, 我很荣幸能成为从这所学校毕业的令人印象深刻的作曲家之一. I was fortunate to have John Corigliano (faculty 1991-present) as my teacher at Juilliard. 多年来，他不可思议的鼓励和支持一直激励着我去鼓励和支持年轻的作曲家. 作曲家是我们音乐生活的创作核心:我想起威廉·舒曼和他长期领导学校, I think of Luciano Berio (faculty 1965-71) teaching here 和 running a new music ensemble, 以及乔尔·萨克斯(1970年至2022年任教)和他几十年来对当代音乐的许多贡献. 当然, 这是温顿·马萨利斯, a performer 和 composer of international acclaim working across disciplines.

In addition to classical 和 jazz concert music endeavors, we’re also making more opportunities for students to learn about film composing, 以及为混合媒体写作, 电子产品, 以及非传统乐器. 所有这些机会都提供给茱莉亚学院的学生，这很好地说明了学校是一个作曲家可以在表演者同事的帮助和倡导下为艺术形式做出贡献的地方.

When I was appointed to the position of dean 和 director, 我很欣赏学校对引进一个有活跃音乐事业的人的重视. I bring my life task as a composer to my work at Juilliard in many ways, including prioritizing the creation 和 performance of new works.

So should “contemporary music” still be its own category?
在理论上, 人们希望当代音乐的特殊节目变得过时，因为演奏新音乐应该成为我们所做的一切的一部分, 早在我来之前，esball世博就有无数关于当代音乐的倡议，这些倡议在各个院系都在继续. 布莱恩·泽格的1981年MM, piano) direction of 声乐艺术 has always included contemporary works—this year, 我们要演米西·马佐利的歌剧. 罗伯特·米利(Robert Mealy)领导下的“历史演奏”(历史性能)积极委托创作新的历史乐器作品, which is an area that has a tremendous future for 作曲家. And 爵士乐的研究 under Wynton Marsalis (’81, 小号)和艾伦·弗拉格(92届mba), MM ’93, trumpet) leadership has an extraordinary 历史 of commissioning a range works.

So this is already in the groundwater at Juilliard, 和 I think we’re ready to take our work with living 作曲家 even further.

Students come to the school now with a new kind of openness 和 curiosity

How has the school changed since you were a student?
Returning in this new role has been a great honor. 我20年前上过esball世博, 在坚持高标准和严格训练的承诺方面，它在某些方面并没有改变. 但在许多其他方面, 这与我还是学生的时候完全不同，因为世界本身是如此的不同. Students come to the school now with a new kind of openness 和 curiosity. 这在一定程度上反映了我们对艺术家作为公民角色的看法的演变，以及学生如何才能最好地驾驭和应对我们都面临的深刻挑战.

对我来说, the opportunity to lead 音乐 Division at Juilliard, one of the top music conservatories in the world, while also pursuing my work as a composer—it’s nothing short of a dream come true.

>>In January, 大卫·路德维希将介绍他的新当代音乐系列的愿景，并与大卫·罗伯逊交谈, 进行研究主任, in advance of the Juilliard Orchestra’s January 19 Stravinsky/Marsalis double bill. $1,250以上会员可获邀请. 了解更多关于成为会员的信息.