Friday Evening, December 1, 2017, at 7:30

The presents AXIOM Jeffrey Milarsky, Conductor

Giorgio Consolati, Kady Evanyshyn, Mezzo-soprano Tengku Irfan, Khari Joyner,

LUCIANO BERIO (1925–2003) I (1958) GIORGIO CONSOLATI, Flute

Folk Songs (1965–67) Black Is the Color I Wonder as I Wander Loosin yelav Rossignolet du bois A la femminisca La donna ideale Ballo Motettu de tristura Malurous qu’o uno fenno Lo fiolaire Azerbaijan Love Song KADY EVANYSHYN, Mezzo-soprano

Intermission

BERIO Sequenza XIV (2002) KHARI JOYNER, Cello

“points on the curve to find…” (1974) TENGKU IRFAN, Piano

Performance time: approximately 1 hour and 20 minutes, including one intermission

The taking of photographs and the use of recording equipment are not permitted in this auditorium.

Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving).

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program faith, in spite of it all, in the lingering pres- ence of the past. This gave his work a dis- by Matthew Mendez tinctly humanistic bent, and for all his experimental impulses, Berio’s relationship to the musical tradition was a cord that Born October 24, 1925, in Oneglia, Italy never would be cut. Died May 27, 2003, in Rome, Italy In 1968 during his tenure on the Juilliard One way Berio’s interest in networks of faculty, Luciano Berio wrote: “Every mean- meaning-making manifested itself was his ingful work can be considered an expres- predilection for open-ended series of sion of a doubt, an experimental step in a scores, as well as for works that literally poetic process, an acknowledgement of rewrote or overwrote previous ones—both the need continuously to modify, to reinter- means of honoring that imperative, “con- pret, to verify, to renounce forever the tinuously to modify, to reinterpret, to ver- comfortable utopia of a super-code that ify.” Best-known is Berio’s series of 14 would guarantee absolutely faultless com- , composed at intervals munication.” These words speak with over the course of almost a half-century, unusual directness to the core attitudes each for a different instrument (in one and beliefs that made up their author’s case, voice). Significantly, the first Sequenzas richly multilayered creative psychology. were among the founding documents of Like so many European composers of his the so-called “new virtuosity,” a label that generation, Berio’s worldview had been described the interchange between avant- shaped utterly by the events of the 1930s garde composers and soloists working and 1940s—in his case, growing up under actively to extend the range of techniques the shadow of the Mussolini regime, and playing methods available on their instru- which was “capable of actually falsifying ments. Among the most celebrated torch- spiritual reality.” As such, he always bearers for the new virtuosity was the remained deeply skeptical of the prospect American singer , Berio’s first of “absolutely faultless communication,” wife and the instigator of some of his most let alone the unproblematic embrace of memorable works (including Sequenza III). any utopian envisionings. Yet it was also Another was the Darmstadt stalwart typical of the man that he never rejected , the trailblazing flutist these notions out of hand, either: on the for whom Berio composed what became contrary, Berio was uniquely catholic- the very first entry in the series in 1958. minded, especially amid the 1950s mod- ernist milieu of the Darmstadt Summer Never one to unhesitatingly adopt any phi- Courses, of which he became a part. losophy, by the late 1950s Berio had aban- Indeed, Berio maintained a longstanding doned most of Darmstadt ’s more fascination (as some of the vocabulary in extreme, inflexible implications, and the the above citation indicates) for the pre- flute Sequenza was written against this cisely communicative fields of linguistics backdrop. What instead remained was and semiotics (the study of signs). It was something like a generalized series principle, this close attention to processes of meaning- a way of organizing 12-note linear—that is, making that lent his music much of its spe- sequence-like—pitch material. Decades cial texture: if its warp was that concern later, Berio explained that the piece had with contemporary “problems of commu- instead been structured according to a nication,” then its woof was Berio’s enduring scheme inflected by his study of linguistics. He spoke of four organizational parame- whole range of distant echoes and mem- ters: pitch, dynamics, duration, and the ories, […] a musical space inhabited by “morphological dimension,” which is “at the significant presence of absences and the service of the other three and is […] by the echo of absent presences. their rhetorical instrument.” Each parame- ter can be in a state of minimal, average, or maximal tension, and Berio made the pre- Among the constants of Berio’s career compositional decision that two or more of was a deep-rooted curiosity about vernac- the parameters would be at maximum ten- ular traditions from around the world. Berio sion at any given moment in the piece. The expert David Osmond-Smith hypothesizes melody line’s darting hyperactivity was the that this was a byproduct of his disgust at direct result of this decision, but so ardu- the way the fascists had weaponized sup- ous did Berio fear the music would be to posed folk art to engender a collective perform that he instead adopted a new sense of italianità during the 1920s and form of flexible, proportional notation to 1930s. Hence Berio’s interest lay instead give the flutist a freer hand. He later cre- in the broadening of horizons he thought ated a conventional version of the score, the study of traditional musics could but either way, he insisted, there would be encourage, if approached with the right “a feeling of instability, an openness which balance of deference and analytical detach- is part of the expressive quality of the work— ment. Here Berio’s humanistic colors a kind of ‘work-in-progress’ character.” showed, for if he had few illusions about the fallaciousness of “the pretense of total identi- Most of the Sequenzas challenged precon- fication” with alien cultures, that did not ceptions relating to the essence of their mean that common ground was not to be respective instruments, and so it was with sought, either. Drawing on musical ideas, the first. Hence the frantic density of the techniques, and materials native to those flute’s music reflected Berio’s “desperate other traditions could be “an act of aware- search for polyphony with the most ness and respect, of love, for cultural iden- monodic [single-lined] instrument in his- tities which can also tell us something tory.” Yet at the same time, this striving for about ourselves.” virtual polyphony—the illusion of multiple voices, provoked by sudden register Situated somewhere between arrange- shifts—brought Berio right back to the ment and creative recomposition, Berio’s instrument’s deep history: this very tech- Folk Songs was his most straightforward nique was already being employed cen- realization of those ideals. Written for turies ago, in works like J.S. Bach’s flute Cathy Berberian in 1963 and 1964, by Partita. Ever sensitive to the histories sed- which point their marriage was on the imented within instruments, Berio knew rocks, it was nevertheless tailor-made for this perfectly well, even if he also aspired her artistic persona. (Given the nature of to simultaneously transcend those histo- some of the texts, it has been speculated ries. As he confessed in 1993: that Berio wrote Folk Songs in a spirit of atonement.) Indeed, the selection of songs I am deeply fascinated by musical ideas was almost entirely a function of Berberian’s which manage to develop a polyphony of tastes and preferences: by that point, she different formations of meaning—ideas had been performing many of them in that do not reject the possibility of deal- recital—in one form or another—for some ing with specific and concrete instru- time. Positively dizzying is the sheer stylis- mental gestures which then set up a tic and linguistic variety of the songs, and after Berberian died, Berio would complain Most offbeat of all, however, is the final that only by using multiple vocalists could “Azerbaijan Love Song,” whose lyrics he achieve the effect she had once single- Berberian actually transcribed phoneme- handedly masterminded. In this sense, by-phoneme from a 78-rpm record she and there is a direct continuity between the Berio found on a visit to the Soviet Union. Folk Songs, which encourage the vocalist The result is said to be incomprehensible to range beyond the neutral, uninflected to Azeri speakers—a perverse conundrum delivery of classical singing, and Berio’s that surely excited Berio’s linguistic sensi- more abstract investigations of vocal tech- bilities. So much, then, for “absolutely nique, where he wanted to expand the faultless communication”—and yet the palette of sounds (hums, sighs, mutters) essential optimism expressed by Folk proper to the singing voice. Songs is that we must, and will, always try to communicate, anyway. The influence of Berio’s stint in America arguably shows in the first two songs, Sequenza XIV “Black Is the Color” and “I Wonder as I Berio never lost his fondness for “virtu- Wander.” While neither is technically a folk osos not only of the fingers but of the song—they were composed by the bal- mind,” and if anything, his final Sequenza ladeer John Jacob Niles, to traditional is as closely tied to the identity of the com- texts—both were associated with the missioning performer as any of his scores American folk revival of the 1950s and for Berberian. One of the last works Berio 1960s, and Berberian’s of them completed, it was written for cellist Rohan in her performances of Folk Songs has de Saram, whose Sri Lankan heritage been described as Joan Baez-like. Very dif- became integral to the finished work—he ferent is “Loosin yelav” (“The Moon has has been a lifelong player of the gäta bera, Risen”), from Armenia—Berberian was of the principal drum used in Sri Lanka’s Armenian descent—while the French national dance, the Kandyan. Berio there- “Rossignolet du bois” (“Little Nightingale fore had de Saram send him recordings of of the Woods”) is the first of three characteristic Kandyan rhythms, which melodies associated with arranger Joseph made their way into Sequenza XIV in sur- Canteloube. Then comes a series of Italian prisingly direct fashion. Thus the score’s songs: “A la femminisca” (“To Women”), most arresting effect, heard extensively at a guttural Sicilian fish wife’s tune; in an the outset: a totally percussive re-conception echo of the Niles settings, two tunes “La of the cello, achieved by having the right donna ideale” (“The Ideal Woman”) and (bowing) hand strike the body of the instru- “Ballo” (“Dance”), neither of which— ment while the left, somewhat unusually, again—is a folk song proper, but which plucks. Working in tandem, the two hands were instead written by Berio himself produce a brand new composite sonority, while he was a student, to Genoese and one not so far removed from a talking Sicilian texts, respectively; and the drum. Yet in classic Berio form, Sequenza Sardinian lament “Motettu de tristura” XIV pits these sounds against the cello’s (“Song of Sadness”). The following pair, more familiar manner of song-like, cantabile the bourée “Malurous qu’o uno fenno” expression, giving rise to a polyphonic dia- (“Wretched Is He Who Has a Wife”) and logue between antipodes. “Lo fiolaire” (“The Spinner”), are in the Auvergnat and deviate “points on the curve to find…” tellingly from the form they take in Though Berio’s compositional language Cantaloube’s famous Chants d’Auvergne. underwent considerable evolution in the years leading up to 1974, when he wrote between note pairs, albeit with much dart- the pocket piano concerto “points on the ing about the keyboard’s wide compass. In curve to find…”, residues of his serial past limiting the piano, the quintessential chord- remained in evidence even in the latter generating instrument, to but one note at a work, which was organized around a time, Berio again subverted instrumental repeating (though partial) cycle of the 12 conventions, with the consequent paradox chromatic pitches. Yet now such formal that its perpetual motion—a constant pro- thinking was to be harnessed to a more liferation of isolated “points”—comes straightforward delight in the sheer sensu- almost to resemble a continuous “curve” ous stuff of sound, something intimately (which the piano, a percussion instrument, connected to the manner in which “points” cannot, of course, literally produce). It was was composed: Berio began by writing the in this sense that Berio characterized the entire solo part, around which he then relationship between soloist and fashioned the accompanying music. This as like “a template or drawing, where one latter is always keyed directly to whatever adds more lines at various points—they the piano does, and the result is a resonant change the sense while also illuminating “echo chamber” effect—in the words of other latent aspects.” Also apt, given Osmond-Smith, a “harmonic kaleidoscope Berio’s lifelong enthusiasm for the elec- that constantly inflects the same circum- tronic studio, would be sound processing scribed harmonic resources in new ways.” metaphors: the ensemble acts as an audio The idea is akin to that of Berio’s Chemins filter, alternately boosting, amplifying, and series, which transformed the Sequenzas diffusing the sonorities offered in turn by into concerto-like vehicles by “painting the soloist. over” the originals with all manner of new orchestral detail. The difference is that in Matthew Mendez is a New Haven–based “points”, the basic kernel was not a preex- critic and musicologist with a focus on istent piece. 20th- and 21st-century repertoire. He is a graduate of Harvard University and is cur- The teeming, tingling piano music, which rently a Ph.D. student at Yale. Mr. Mendez runs all but continuously, is comprised was the recipient of a 2016 ASCAP almost entirely of a single, monophonic Foundation Deems Taylor/Virgil Thomson line, built from quick, repeated alternations Award for outstanding music journalism.

Texts and Translations

Folk Songs (1965–67) Music: Luciano Berio (1925–2003)

Black Is the Color Black is the color Of my true love’s hair, his lips are something rosy fair, the sweetest smile and the kindest hands; I love the grass whereon he stands. I love my love and well he knows, I love the grass where on he goes; If he no more on earth will be, ’twill surely be the end of me.

Black is the color, etc.

I Wonder as I Wander I wonder as I wander out under the sky how Jesus our Savior did come for to die for poor orn’ry people like you and like I, I wonder as I wander out under the sky.

When Mary birthed Jesus ’twas in a cow stall with wise men and farmers and shepherds and all, but high from the Heavens a star’s light did fall The promise of ages it then did recall.

If Jesus had wanted of any wee thing a star in the sky or a bird on the wing or all of God’s angels in Heav’n for to sing He surely could have had it ’cause he was the king.

Loosin yelav The Moon has Risen Loosin yelav ensareetz The moon has risen over the hill, saree partzòr gadareetz over the top of the hill, shegleeg megleeg yeresov its red rosy face Pòrvetz kedneen loosni dzov. casting radiant light on the ground.

Jan a loosin O dear moon jan ko loosin with your dear light jan ko gòlor sheg yereseen. and your dear, round, rosy face!

Xavarn arten tchòkatzav Before, the darkness lay Oo el kedneen tchògatzav spread upon the earth; Loosni loosov halatzvadz moonlight has now chased it Moot amberi metch mònadz. into the dark clouds.

Jan a loosin, etc. O dear moon, etc.

Rossignolet du bois Little Nightingale of the Woods Rossignolet du bois, Little nightingale of the woods, rossignolet sauvage, little wild nightingale, apprends-moi ton langage, teach me your secret language, apprends-moi-z à parler, teach me how to speak like you, apprends-moi la manière show me the way comment il faut aimer. to love aright. Comment il faut aimer The way to love aright je m’en vais vous le dire, I can tell you straight away, faut chanter des aubades you must sing serenades deux heures après minuit, two hours after midnight, faut lui chanter: ‘La belle, you must sing to her: “My pretty one, c’est pour vous réjouir’. this is for your delight.”

On m’avait dit, la belle, They told me, my pretty one, que vous avez des pommes, that you have some apples, des pommes de renettes some rennet apples, qui sont dans vot’ jardin. growing in your garden. permettez-moi, la belle, Allow me, my pretty one, que j’y mette la main. to touch them.

Non, je ne permettrai pas No, I shall not allow you que vous touchiez mes pommes, to touch my apples. prenez d’abord la lune First, hold the moon et le soleil en main, and the sun in your hands, puis vous aurez les pommes then you may have the apples qui sont dans mon jardin. that grow in my garden

A la femminisca To Women E Signuruzzu miù faciti bon tempu May the Lord send fine weather, ha iu l’amanti miù’mmezzu lu mari for my sweetheart is at sea; l’arvuli d’oru e li ntinni d’argentu his mast is of gold, his sails of silver. la Marunnuzza mi l’av’aiutari. May Our Lady give me her help, chi pozzanu arrivòri ‘nsarvamentu so that they get back safely. E comu arriva ‘na littra And if a letter arrives, ma fari ci ha mittiri du duci paroli may there be two sweet words written, comu ti l’ha passatu mari, mari. telling me how it goes with you at sea.

La donna ideale The Ideal Woman L’omo chi mojer vor piar, When a man has a mind to take a wife, de quattro cosse de’e spiar. there are four things he should check: La primiera è com’el è naa, the first is her family, l’altra è se l’è ben accostumaa, the second is her manners, l’altra è como el è forma, the third is her figure, la quarta è de quanto el è dotaa. the fourth is her dowry. Se queste cosse ghe comprendi If she passes muster on these, a lo nome di Dio la prendi. then, in God’s name, let him marry her!

Ballo Dance La la la la la la … La la la la la … Amor fa disviare li più saggi Love makes even the wisest mad, e chi più l’ama meno ha in sé misura and he who loves most has least judgment. Più folle è quello che più s’innamura. The greater love is the greater fool. La la la la la la … La la la la la … Amor non cura di fare suoi dannaggi Love is careless of the harm he does. Co li suoi raggi mette tal cafura His darts cause such a fever Che non può raffreddare per freddura. that not even coldness can cool it.

Motettu de tristura Song of Sadness Tristu passirillanti Sorrowful nightingale comenti massimbillas. how like me you are! Tristu passirillanti Sorrowful nightingale, e puita mi consillas console me if you can a prongi po s’amanti. as I weep for my lover.

Tristu passirillanti Sorrowful nightingale, cand’ happess interrada when I am buried, tristu passirillanti sorrowful nightingale, faimi custa cantada sing this song cand’ happess interrada. when I am buried.

Malurous qu’o uno fenno Wretched Is He Who Has a Wife Malurous qu’o uno fenno, Wretched is he who has a wife, maluros qué n’o cat! wretched is he who has not! Qué n’o cat n’en bou uno He who hasn’t got one wants one, qué n’o uno n’en bou pas! he who has not, doesn’t! Tradèra ladèrida rèro, etc. Tralala tralala, etc.

Urouzo lo fenno Happy the woman qu’o l’omé qué li cau! who has the man she wants! Urouz inquéro maito Happier still is she o quèlo qué n’o cat! who has no man at all! Tradèra ladèrida rèro, etc. Tralala tralala, etc.

Lo fiolaire The Spinner Ton qu’èrè pitchounèlo When I was a little girl gordavè loui moutous, I tended the sheep. lirou lirou lirou … Lirou lirou lirou … lirou la diri tou tou la lara. Lirou la diri tou tou la lara.

Obio n’o counoulhèto I had a little staff e n’ai près un postrou. and I called a shepherd to me. Lirou lirou, etc. Lirou lirou, etc.

Per fa lo biroudèto For looking after my sheep mè domond’ un poutou. he asked me for a kiss. Lirou lirou, etc. Lirou lirou, etc.

E ièu soui pas ingrato: And I, not one to be mean, En lièt d’un nin fau dous! Gave him two instead of one. Lirou lirou, etc. Lirou lirou, etc. Azerbaijan Love Song Apart from a passage in Russian which likens love to a stove, the words of this song are in the dialect of the former Soviet Asian Republic of Azerbaijan. They were taken down syllable by syllable from a scratched 78rpm disc by the composer’s former wife and dis- tinguished interpreter Cathy Berberian, who knew not a word of the language, and they have so far defied translation.

Text for Luciano Berio’s Folk Songs, © copyright 1968 by (London), Ltd., London/UE34112, is reprinted with permission.

Meet the Artists , , , John Corigliano, George Crumb, , Jacob Druckman, Michael Gordon, David Lang, Steven Mackey, Christopher Rouse, , , , and an entire generation of young and developing com- posers. He was recently awarded with the

PETER KONERKO Jeffrey Milarsky Ditson Conductor’s Award for his commit- American conductor Jeffrey Milarsky is the ment to the performance of American music. music director of AXIOM and a senior lec- turer in music at A much-in-demand timpanist and percus- where he is the music director and conduc- sionist, Mr. Milarsky has been the principal tor of the Columbia University Orchestra. timpanist for the Santa Fe since He received his bachelor and master of 2005. In addition he has performed and music degrees from Juilliard where he was recorded with the , awarded the Peter Mennin Prize for out- Philadelphia Orchestra, and Pittsburgh standing leadership and achievement in the Symphony. He has recorded extensively arts. In recent seaso ns has worked with for Angel, Bridge, Teldec, Telarc, New ensembles including the New York Phil - World, CRI, MusicMasters, EMI, Koch, and harmonic, San Francisco Symphony, Los London Records. Angeles Philharmonic, Milwaukee Symphony, American Composers Orchestra, MET Chamber Ensemble, Bergen Philharmonic, Society of Lincoln Center, New World Symphony, and the Tanglewood Festival Orchestra. In the U.S. and abroad, he has premiered and recorded works by Giorgio Consolati many groundbreaking contemporary com- posers, in Carnegie Hall, Zankel Hall, Flutist Giorgio Consolati is pursuing his Davies Symphony Hall, Alice Tully Hall, master’s at Juilliard where he is a student Walt Disney Concert Hall, Boston’s Sym - of Carol Wincenc. As a member of the phony Hall, and at IRCAM in Paris, among Juilliard Orchestra, he has performed in others. Mr. Milarsky has a long history of several of ’s major concert premiering, recording, and performing halls, including Carnegie Hall, David Geffen American composers and throughout his Hall, and Alice Tully Hall and has worked career has collaborated with John Adams, with notable conductors including Alan Gilbert, David Robertson, Peter Oundjian, in Vocal Arts, Constance Goulandris Scholar - and David Zinman. A passionate performer ship, Anna Schoen-René Fund of contemporary repertoire, Mr. Consolati regularly appears with AXIOM and has per- formed in the Milano Musica Festival with radio broadcasts on RAI RADIO 3, one of Italy’s leading Italian radio stations. He has also won prizes at several competitions, including third prize at the ninth De Lorenzo Tengku Irfan International Flute Compet ition. Over the past few summers he has performed with Pianist and composer Tengku Irfan is from the National Repertory Orchestra, where Malaysia and made his debut at the age of he also played a solo concerto, and at the 11 performing Beethoven’s Piano Concerto Norfolk-Yale Chamber Music Festival. Born WoO4 and improvising his own cadenzas and raised in Italy, Mr. Consolati studied at with Claus Peter Flor conducting the the Giuseppe Verdi Conservatory in Milan, Malaysian Philharmonic Orchestra. In where, in 2010, he was the first under- addition to AXIOM, he has also performed graduate flutist to graduate with honors as a soloist with orchestras including the and special mention. Kovner Fellowship Singapore Symphony Orchestra, São Paulo State Youth Orchestra, Estonian National Symphony Orchestra, Peoria Symphony Orchestra, and MDR Sinfonieorchester; and conductors Neeme Järvi, Kristjan Järvi, Robert Spano, George Stelluto, and Sydney Hodkinson, among others. He won the Kady Evanyshyn 2013 Aspen Music Festival Prokofiev Piano Concerto No. 2 Competition and was Canadian mezzo-soprano Kady Evanyshyn the pianist for the Aspen Contemporary recently started her master’s degree at Ensemble for four consecutive years. Mr. Juilliard studying with Edith Wiens. She Irfan received the 2012 ASCAP Charlotte recently appeared in The Genius of Bergen Award and won the ASCAP Monteverdi with Juilliard415 led by William Morton Gould Young Composer Award in Christie at Juilliard’s Peter Jay Sharp 2017, 2014, and 2012. His compositions Theater. Last season Ms. Evanyshyn sang have been premiered by the New York Annio in La clemenza di Tito (Aspen Opera Philharmonic, MDR Sinfonieorchester, New Center), Celia in La fedeltà premiata, cov- York Virtuoso Singers, MusicaNova Orches - ered Narciso in Agrippina (Juilliard Opera), tra, Malaysian Philharmonic Or chestra, and made her Alice Tully Hall debut in the and Singapore Symphony Or chestra. He Wednesdays at One concert series. In made his conducting debut with the 2015 she won the Tudor Bowl at the MusicaNova Orchestra in 2015 for the Winnipeg Music Festival. Ms. Evanyshyn premiere of his composition Nocturne. He earned her bachelor’s degree from Juilliard is a double major in piano and composi- where she received the John Erskine Prize tion at Juilliard, studying under Yoheved for exceptional scholastic and artistic Kaplinsky and Robert Beaser, and con- achievement. She is supported by the ducting with George Stelluto and Jeffrey Manitoba Arts Council. Lilli Jank Scholarship Milarsky. Kovner Fellowship AXIOM AXIOM is dedicated to performing the masterworks of the 20th- and 21st-century repertoire. Since its debut in 2006, the group has established itself as a leading Khari Joyner ensemble in New York City’s contemporary music scene with performances through- A native of Atlanta, cellist Khari Joyner has out Lincoln Cen ter, in addition to frequent performed throughout Asia, North America, appearances at Columbia University’s and Europe, appearing as a soloist, cham- Miller Theatre and Le Poisson Rouge in ber musician, and ambassador for the arts. Greenwich Village. AXIOM is led by music He has collaborated with artists including director Jeffrey Milarsky and is grounded in Magnus Lindberg, Barbara Hannigan, and Juilliard’s curriculum. Students receive a Hubert Laws, and has performed with the credit in chamber music for performing in Atlanta, Buffalo, New World, New Jersey, the ensemble, and during any four-year and Sphinx symphony orchestras, among period, AXIOM members will have the others. He was awarded a career grant from opportunity to perform works by John the Leonore Annenberg Fellowship for the Adams, Harrison Birtwistle, Magnus Performing and Visual Arts, and won first Lindberg, and Arnold Schoenberg, among prizes in the Juilliard Concerto Competition other composers. Guest conductors of and 12th Annual Sphinx Com petition. Mr. AXIOM have included Alan Gilbert, Susanna Joyner is a founding member of the Altezza Mälkki, and David Robertson. AXIOM’s cur- Piano Trio and has made numerous guest rent season opens with tonight’s concert appearances at concert series and festivals celebrating the music of composer and that include the Chamber Music Society of former Juilliard faculty member Jacob Central Virginia, Highlands-Cashiers Chamber Druckman, followed by a concert in Music Festival, Ritz Chamber Players, Festival December featuring the works of Luciano Daniou, Fontainebleau Music Festival, and at Berio, and concluding in February 2018 the Jerome L. Greene Space for WXQR’s with ’s complete Schnee. Midday Masterpieces series. He is currently Highlights of the 20 16-17 season included completing his candidacy in Juilliard’s D.M.A. programs honoring John Adams on his program and serves as a teaching assistant 70th birthday, Steve Reich on his 80th for his former teacher Joel Krosnick. In addi- birthday, and one devoted to the music of tion to concertizing, Mr. Joyner also pursued a Kaija Saariaho. In 2015-16 AXIOM per- mathematics concentration in an exchange formed works by George Benjamin, Thomas program with Columbia University while Adès, Harrison Birtwistle, , studying in Juilliard’s accelerated B.M./M.M. Oliver Knussen, Kaija Saariaho, Giacinto program. C.V. Starr Doctoral Fellowship Scelsi, and John Zorn. AXIOM Jeffrey Milarsky, Music Director and Conductor Tim Mauthé, Manager

BERIO Sequenza 1 Flute, Giorgio Consolati

BERIO Folk Songs Mezzo-soprano, Kady Evanyshyn Flute, Rosa Jang , Kamalia Freyling , Lauren Siess Cello, Clare Bradford Harp, Deanna Cirielli Percussion 1, Joseph Bricker Percussion 2, Harrison Honor

BERIO Sequenza XIV Cello, Khari Joyner

BERIO “points on the curve to find…” Solo Piano, Tengku Irfan Flute 1, Mira Magrill Flute 2, Rosa Jang Flute 3, Lorenzo Morrocchi , Pablo O’Connell English Horn, Lucian Avalon Clarinet 1, Phillip Solomon Clarinet 2, Noemi Sallai Clarinet 3, Bixby Kennedy 1, Jonathan Gibbons Bassoon 2, Steven Palacio Alto and Tenor Saxophones, Zachary Hann Horn 1, Katherine Jordan Horn 2, Taylor Peterson 1, Benedetto Salvia Trumpet 2, Max Morel , Stephen Whimple Tuba, Samantha Lake Celesta, Candace Chien Viola, Joseph Peterson Cello 1, Issei Herr Cello 2, Shangwen Liao , John McGuire

Orchestra Administration Adam Meyer, Associate Dean and Director, Music Division Joe Soucy, Assistant Dean for Orchestral Studies

Joanna K. Trebelhorn, Director Lisa Dempsey Kane, Principal Kate Northfield Lanich, of Orchestral and Ensemble Orchestra Librarian Orchestra Personnel Operations Michael McCoy, Orchestra Manager Matthew Wolford, Operations Librarian Deirdre DeStefano, Orchestra Manager Management Apprentice

BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Bruce Kovner, Chair Brian Zeger, Artistic Director J. Christopher Kojima, Vice Chair Kirstin Ek, Director of Curriculum and Schedules Katheryn C. Patterson, Vice Chair Monica Thakkar, Director of Performance Activities Pierre T. Bastid Michael Loeb Pre-College Division Julie Anne Choi Vincent A. Mai Yoheved Kaplinsky, Artistic Director Kent A. Clark Ellen Marcus Ekaterina Lawson, Director of Admissions and Academic Affairs Kenneth S. Davidson Nancy A. Marks Anna Royzman, Director of Performance Activities Barbara G. Fleischman Stephanie Palmer McClelland Evening Division Keith R. Gollust Christina McInerney Danielle La Senna, Director Mary Graham Lester S. Morse Jr. Joan W. Harris Stephen A. Novick Lila Acheson Wallace Library Matt Jacobson Joseph W. Polisi Jane Gottlieb, Vice President for Library and Edward E. Johnson Jr. Susan W. Rose Information Resources; Director of the C.V. Starr Karen M. Levy Deborah Simon Doctoral Fellows Program Teresa E. Lindsay Sarah Billinghurst Solomon Enrollment Management and Student Development Laura Linney William E.“Wes” Stricker, MD Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Sabrina Tanbara, Assistant Dean of Student Affairs TRUSTEES EMERITI Cory Owen, Assistant Dean for International Advisement June Noble Larkin, Chair Emerita and Diversity Initiatives Mary Ellin Barrett William Buse, Director of Counseling Services Sidney R. Knafel Katherine Gertson, Registrar Elizabeth McCormack Tina Gonzalez, Director of Financial Aid John J. Roberts Barrett Hipes, Director, Alan D. Marks Center for Career Services and Entrepreneurship Teresa McKinney, Director of Community Engagement JUILLIARD COUNCIL Todd Porter, Director of Residence Life Howard Rosenberg MD, Medical Director Mitchell Nelson, Chair Beth Techow, Administrative Director of Health Michelle Demus Auerbach Sophie Laffont and Counseling Services Barbara Brandt Jean-Hugues Monier Holly Tedder, Director of Disability Services Brian J. Heidtke Terry Morgenthaler and Associate Registrar Gordon D. Henderson Pamela J. Newman Finance Peter L. Kend Howard S. Paley Christine Todd, Vice President and Chief Financial Officer Younghee Kim-Wait John G. Popp Irina Shteyn, Director of Financial Planning and Analysis Paul E. Kwak, MD Grace E. Richardson Nicholas Mazzurco, Director of Student Accounts/Bursar Min Kyung Kwon Kristen Rodriguez Jeremy T. Smith Administration and Law Maurice F. Edelson, Vice President for Administration and General Counsel EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION Joseph Mastrangelo, Vice President for Facilities Management Myung Kang-Huneke, Deputy General Counsel Office of the President Carl Young, Chief Information Officer Joseph W. Polisi, President Steve Doty, Chief Operations Officer Jacqueline Schmidt, Chief of Staff Dmitriy Aminov, Director of IT Engineering Caryn Doktor, Director of Human Resources Office of the Provost and Dean Adam Gagan, Director of Security Ara Guzelimian, Provost and Dean Scott Holden, Director of Office Services José García-León, Associate Dean for Academic Affairs Jeremy Pinquist, Director of Client Services, IT Robert Ross, Assistant Dean for Preparatory Education Helen Taynton, Director of Apprentice Program Kent McKay, Associate Vice President for Production Development and Public Affairs Dance Division Elizabeth Hurley, Vice President Taryn Kaschock Russell, Acting Artistic Director Alexandra Day, Associate Vice President for Marketing Lawrence Rhodes, Artistic Director Emeritus and Communications Katie Friis, Administrative Director Benedict Campbell, Website Director Drama Division Amanita Heird, Director of Special Events Richard Feldman, Acting Director Susan Jackson, Editorial Director Katherine Hood, Managing Director Sam Larson, Design Director Katie Murtha, Director of Major Gifts Music Division Lori Padua, Director of Planned Giving Adam Meyer, Associate Dean and Director Ed Piniazek, Director of Development Operations Bärli Nugent, Assistant Dean, Director of Chamber Music Nicholas Saunders, Director of Concert Operations Joseph Soucy, Assistant Dean for Orchestral Studies Edward Sien, Director of Foundation and Corporate Relations Stephen Carver, Chief Piano Technician Adrienne Stortz, Director of Sales Robert Taibbi, Director of Recording Tina Martin, Director of Merchandising Joanna K. Trebelhorn, Director of Orchestral Rebecca Vaccarelli, Director of Alumni Relations and Ensemble Operations Juilliard Global Ventures Historical Performance Christopher Mossey, Senior Managing Director Robert Mealy, Director Courtney Blackwell Burton, Managing Director for Operations Benjamin D. Sosland, Administrative Director; Betsie Becker, Managing Director of Global K–12 Programs Assistant Dean for the Kovner Fellowships Gena Chavez, Managing Director, Tianjin Juilliard School Nicolas Moessner, Managing Director of Finance Jazz and Risk Management Wynton Marsalis, Director of Juilliard Jazz Aaron Flagg, Chair and Associate Director Juilliard Scholarship Fund

The Juilliard School is home to more than 800 dancers, actors, and musicians, over 90 percent of whom are eligible for financial aid. With your help, we can offer the scholarship support that makes a world of difference—to them and to the global future of dance, drama, and music. Behind every Juilliard artist is all of Juilliard—includiing you.

To make a gift to the Juilliard Scholarship Fund, please call (212) 799799-5000,5000 ext. t 278278, or visit i it giving.ju i i j uilliard.edu/scholarship. illi d d / h l hi Pierpont Sarah by Photo bPhoto The Augustus Juilliard Society

The Augustus Juilliard Society recognizes those who have included The Juilliard School in their long-range financial plans with a bequest, gift annuity or trust arrangement. These future gifts will help ensure that Juilliard may continue to provide the finest education possible for tomorrow’s young artists. The School expresses its deep appreciation to the following members:

Donald J. Aibel Thelma and Seymour Geller, Francis Madeira Veronica Maria Alcarese on behalf of Jane Geller Chuck Manton Douglas S. Anderson Rabbi Mordecai Genn Ph.D. Cyril‡ and Cecelia Marcus Mitchell Andrews Mark V. Getlein Serena B. Marlowe Dee Ashington Pia Gilbert Dolores Grau Marsden Jack Bakal John R. Gillespie Sondra Matesky Henrie Jo Barth Professor Robert Jay Glickman Stephanie and Carter McClelland Richard Beales Dr. Ruth J.E. Glickman and The Stephanie and Carter Yvette and Maurice‡ Bendahan Sheryl Gold McClelland Foundation Donald A. Benedetti Terrine Gomez Joseph P. McGinty Helen Benham The Venerable John A. Greco James G. McMurtry III, M.D. Elizabeth Weil Bergmann Drs. Norman and Gilda Greenberg Dr. and Mrs. N. Scott McNutt Marshall S. Berland and Arlene‡ and Edmund Grossman Pauline and Donald B.‡ Meyer John E. Johnson Miles Groth, Ph.D. Stephen A. Meyers and Anne L. Bernstein Emma Gruber Marsha Hymowitz-Meyers Benton and Fredda Ecker Bernstein Rosalind Guaraldo Paula P. Michtom Leslie Goldman Berro Ruth Haase Leo‡ and Anne Perillo Michuda Susan Ollila Boyd Mr. and Mrs. Robert S. Haggart Jr. Warren R. Mikulka Mrs. George E. Boyer Louise Tesson Hall Stephen Mittman Peter A. Boysen Ralph Hamaker Robert A. Morgan Nina R. Brilli Stephen and Andrea Handleman Valerie Wilson Morris Steven and Colleen Brooks Meleen O’Brien Harben Diane Morrison Carol Diane Brown and Rev. Tozan Thomas Hardison Mark S. Morrison Daniel J. Ruffo Ralph‡ and Doris Harrel L. Michael and Dorothy Moskovis Beryl E. Brownman Judith Harris and Tony Woolfson Gail Myers Lorraine Buch Robert G. Hartmann Myron Howard Nadel Eliane Bukantz Robert Havery Steven W. Naifeh and Gregory Felix N. Calabrese S. Jay Hazan M.D. White Smith‡ Alan‡ and Mary Carmel Betty Barsha Hedenberg Anthony J. Newman Mr. and Mrs. N. Celentano Gordon D. Henderson Oscar and Gertrude Nimetz Fund Wendy Fang Chen Mayme Wilkins Holt Stephen Novick Julie A. Choi and Claudio Cornali Julie Holtzman Mr.‡ and Mrs. Donald Parton Mr.‡ and Mrs. David Colvin Gerri Houlihan Celia Paul and Stephen Rosen Dr. Barbara L. Comins and Katherine L. Hufnagel Jeanne M. and Mr. Michael J. Comins Joseph N. and Susan Isolano Raymond Gerard‡ Pellerin Charlotte Zimmerman Crystal Paul Johnston and Umberto Ferma Jane V. Perr M.D. Rosemarie Cufalo Janice Wheeler Jubin and Jean Pierkowski Christopher Czaja Sager Herbert Jubin Elissa V. Plotnoff Pinson Harrison R.T. Davis Peter H. Judd Fred Plotkin Stephen and Connie Delehanty Michael Kahn Geraldine Pollack Ronald J. Dovel and Thomas F. Lahr Mr.‡ and Mrs. Martin Kaltman Sidney J.‡ and Barbara S. Pollack John C. Drake-Jennings Duke George and Julia Katz John G. Popp of Quincy Younghee Kim-Wait Thomas and Charlene Preisel Ryan and Leila Edwards Robert King Arthur Press Lou Ellenport J. D. Kotzenberg Bernice Price Lloyd B. Erikson Bruce Kovner Gena F. Raps Eric Ewazen Edith Kraft Nancy L. Reim Holly L. Falik Mr. and Mrs. Paul A. Krell Susan M. Reim Barbara and Jonathan File Francine Landes Susan D. Reinhart Stuart M. Fischman Sung Sook Lee Madeline Rhew Dr.‡ and Mrs. Richard B. Fisk Paul Richards Lemma and Michael Rigg Lorraine Fox Wilhelmina Marchese Lemma‡ Douglas Riva John and Candice Frawley Loretta Varon Lewis‡ and Lloyd‡ and Laura Robb Dr. Mio Fredland Norman J. Lewis Daniel P. Robinson Chaim Freiberg Ning Liang Yvonne Robinson Naomi Freistadt Joseph M. Liebling Carlos Romero and Constance Gleason Furcolo Jerry K. Loeb Joanne Gober Romero Michael Stephen Gallo Richard Lopinto Linda N. Rose Anita L. Gatti Eileen Lubars Susan W. Rose The Augustus Juilliard Society (Continued)

Dinah F. Rosoff Arthur T. Shorin Jessica Weber Roxanne Rosoman Mel Silverman Catherine White Sam and Deborah Rotman Steven P. Singer M.D. and Miriam S. Wiener Lynne Rutkin Alan Salzman M.D. Robert Wilder‡ and Roger F. Kipp Edith A. Sagul Barbara Thompson Slater Alice Speas Wilkinson Joan St. James Bruce B. Solnick Yvonne Viani Williams Riccardo Salmona Carl Solomon Sr. Margaret S. Williamson Harvey Salzman Barbara H. Stark Dr. Theo George Wilson Michael and Diane Sanders Sally T. Stevens Elizabeth R. Woodman Nancy Schloss James Streem Edward Yanishefsky Casiana R. Schmidt Henry and Jo Strouss Lila York Shelby Evans Schrader‡ and Cheryl V. Talib Forty-eight Anonymous Members John Paul Schrader Phyllis K. Teich Irene Schultz Marie Catherine Torrisi William C. Schwartz Dr. Marta Vago ‡ = In Memoriam David Shapiro Walter and Elsa Verdehr Dr. Robert B. Sharon Paul Wagenhofer Edmund Shay and Raymond Harris Dietrich and Alice Wagner Dr. Edward Shipwright Alberto and Paulina A. Waksman Robert D. Sholiton Stanley Waldoff

For information about becoming a member of the Augustus Juilliard Society, please visit us at plannedgiving.juilliard.edu. You may also call us directly at (212) 799-5000, ext. 7152, or write to [email protected].

Estates and Trusts

The Juilliard School is profoundly grateful for the generous gifts received from the following Estates and Trusts between July 1, 2016 and June 30, 2017. We remember the individuals who made these gifts for their vision in supporting future generations of young performing artists at Juilliard.

The Jere E. Admire Charitable Trust Bernice F. Karlen Revocable Grantor Trust Harold Alderman Trust Hamilton H. Kellogg and Mildred H. Kellogg Estate of Joan Anderson Charitable Trust Estate of Jean Appleton Trust of Lillian B. Madway Estate of Celia Ascher Estate of Samuel Marateck Estate of Ruth Bamdas Estate of Shirley N. Pan Estate of Katherine S. Bang Estate of Cynthia L. Rec Estate of Ronald Banyay Estate of George T. Rhodes Susanna Berger Revocable Trust Estate of Richard H. Roberts Trust of Sonia Block Estate of Lillian Rogers Betty and Daniel Bloomfield Fund Howard and Ethel Ross Trust Estate of Alan Broder Estate of Harold C. Schonberg Estate of Ruth F. Broder Bertha Seals Trust Estate of George Bryant Estate of Abraham Sheingold Estate of John Nicholson Bulica Estate of Betty Simms Estate of Margaret P. Butterly Arline J. Smith Trust Estate of Leonard Davis Janice Dana Spear Trust Estate of Alice Shaw Farber Estate of Winifred Sperry Fima Fidelman Trust Estate of Bruce Steeg Dora L. Foster Trust Estate of George M. Stone Thomas Fowler Trust Estate of Stanley Tucker Gordon A. Hardy Charitable Remainder Trust Trust of Helen Marshall Woodward William J. Henderson Memorial Fund Irene Worth Fund for Young Artists Frances B. Hoyland Trust Darrell Zwerling Living Trust Trust of Edward Jabes