Juilliard415 and celebratedand community. you become of apart this singular join one of our membership programs, is awonderful place. When you Juilliard performances, music and With hundreds of dance, drama, —including you. Juilliard of all is artist Juilliard Behind (212) 799-5000, ext. 303 ext. (212) 799-5000, [email protected] •  purchases ticket on discount • 50% •  and receive exclusive benefits, including $250 as little as for amember Become members-only gatherings members-only to special Invitations Presales Member through to tickets access Advance every every

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Photo byof cellistClaudio Khari Papapietro Joyner by Claudio Papapietro

The Juilliard School presents An Evening of Baroque Chamber Music Programmed and prepared by Richard Egarr with members of Juilliard415

Thursday, November 9, 2017, 7:30pm Paul Hall

FRANÇOIS Troisème concert in A Major, from Concerts royaux COUPERIN Prélude (1668–1733) Allemande Courante Sarabande grave Gavotte Muzette Chaconne legere

MARC-ANTOINE Sonate à huit (H.548) CHARPENTIER Grave (1643–1704) Récit de la viole seule Sarabande Récit de la basse de viole Bourrée Gavotte Gigue Passecaille Chaconne

Program continues on next page

Juilliard's full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner.

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. 1 Cover: Baroque violist Stephen Gost and harpsichordist Caitlyn Koester, photo by Rosalie O'Connor

MARIN Suite No. 5 in E Minor, from Pièces en trio MARAIS Prelude (1686–1725) Rondeau Sarabande en rondeau Menuet [i] Caprice Passacaille

JEAN-FÉRY Les caractères de la danse REBEL Prélude—Courante—Menuet—Bourée—Chaconne— (1666–1747) Sarabande—Gigue—Rigaudon—Passepied—Gavotte— Sonate—Gavotte—Sonate—Loure—Musette— Reprise—Sonate

Performed without intermission

Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul.

2 Notes on the Program by James M. Keller

Le Grand Siècle, the great century that marked the high tide of the Bourbon monarchs of France, reached its apex during the reign of Louis XIV. He acceded to the throne in 1643, at the age of 4; assumed personal control in 1661, following a period of regency; and remained king until his death, in 1715—a reign of 72 years. French society was tightly organized during those years, the more so when it came to aspects of government or culture that fell within the direct orbit of the king himself. The names of Racine and Molière in theater, La Fontaine and Mesdames de Lafayette and de Sévigné in literature, Mansart in architecture, Le Nôtre in landscape design, and Poussin in painting speak to the level of artistic achievement during this period of French Classicism, as it is often called. Louis XIV took keen It was certainly a golden age for French music. Louis XIV took keen personal personal interest in court music and dance, even performing sometimes in ballet interest productions. As did the other arts, French music operated under a minutely in court regulated bureaucracy. About 120 staff musicians were kept busy with music and music-making that the king himself would hear, and the operations of these dance, even musiciens du roi were organized into clearly defined domains, most broadly performing through the divisions of the Musique de la Chambre (indoor chamber and sometimes orchestral music), Musique de l’Écurie (outdoor performance, including in ballet military music), and Musique de la Chapelle Royale (sacred music), plus productions. a separate, lofty niche for the Académie Royale de la Musique (opera and ballet). In this concert, Juilliard415 presents music from the first of those spheres through intimate chamber works by François Couperin, Marc-Antoine Charpentier, and Marin Marais, and it concludes with a piece by Jean-Féry Rebel that was presented as a ballet under the auspices of the Académie Royale de la Musique (four months before Louis XIV’s death) but can also stand as an unstaged piece of concert music.

French music of the 17th and early-18th centuries reveled in formality of style. We hear a consistent vocabulary throughout these pieces, which tend toward concentrated, carefully balanced phrases only occasionally enhanced by contre-parties—contrapuntal lines that, in the grand scheme of things, are rarely very complicated. Melodies unroll within a limited compass of pitch and are enlivened by a wealth of exacting ornamentation. Rhythms usually trace the contours of dances that would have been familiar to anyone who held their own in courtly circles. The focus on carefully defined stylistic norms proved problematic for French music in the long run, but during the Grand Siècle the best composers found plenty of room in which to exercise their originality. Many of them also grappled with international musical advances, particularly with the Italian sonatas of Corelli, which they might acknowledge by emulation, through parody, or by subsuming some of their characteristics into an overriding French idiom.

François Couperin (born in Paris on November 10, 1668—as this perfor- mance begins, his 349th birthday is already underway in France; died there September 11, 1733) was the most illustrious member of a musical

3 Notes on the Program (Continued)

dynasty that flourished from the 17th century through the 19th. Most were church musicians, and for 173 years one Couperin after another served as organist at the Church of St. Gervais in Paris. Some of them served also as musiciens du roi, including François, who earned the sobriquet “Le grand.” He married into relative wealth, and in 1690 he obtained a royal patent to print and sell music. This enabled him to publish his two organ masses, the first items in a good-sized catalogue that would eventually include numerous motets (and some secular songs and ensembles), a large body of harpsichord music, and many pieces of chamber music. Couperin jumped on the Corellian bandwagon in several of his chamber pieces—usually by The Couperin subsuming Italianate processes into the recognizable French style—but in dynasty his Concerts royaux he displays more national purity. flourished from the These are works from the very end of Louis XIV’s reign. Although the first 17th century four of the Concerts royaux were published in 1722, Couperin wrote them through the in 1714 or 1715, at a time when melancholy increasingly infused the court 19th. Most of the aged, infirm monarch. In his preface, he states that he “composed were church them for the small chamber concerts to which Louis XIV bade me come to musicians, play almost every Sunday of the year.” The score is written on two staves, and for 173 like harpsichord music (though including a figured bass), but the composer years one advises that “they are suitable not only for the harpsichord, but also the Couperin violin, flute, oboe, viol, and bassoon. He names four musicians—a violinist, after another oboist, bassoonist, and viola da gambist—who joined him (as harpsichordist) served as playing them at court. It is left to performers to “orchestrate” them as they organist at the wish, using various combinations of these instruments to navigate in this, Church of the third of the Concerts royaux. It consists of a Prélude (to set the mood St. Gervais and key) followed by a standard succession of dances—the Sarabande is in Paris. here particularly affecting and harmonically pungent—concluding in a “light chaconne” of the chaconne en rondeau type, where the opening passage returns repeatedly to separate contrasting episodes.

Like Couperin, Marc-Antoine Charpentier (born in 1643 in or near Paris, where he died on February 24, 1704) emerged from the musical bosom of the church. His career focused on sacred music and intersected hardly at all with the royal court. He engaged directly with avant-garde Italian music, spending three years in Rome studying with Giacomo Carissimi and later writing numerous pieces reflecting his master’s oratorio style. After returning to France, he served as resident composer and high tenor (haut contre) for Mademoiselle de Guise and then held positions at the Jesuit Church of Saint-Louis and then the Sainte-Chapelle, both in Paris. He hoped to gain a royal appointment during a re-organization of Louis XIV’s music staff in 1683, but he withdrew from the auditions due to ill health. The Sonate à huit, a scarce example of his secular instrumental music, was probably produced around 1685 for Mademoiselle de Guise’s circle. (Although undated, the manuscript parts bear physical similarity to other Charpentier works of that time.) It employs a rich grouping of two transverse flutes, two violins, bass viol, five-stringed basse de violon, harpsichord, and theorbo, and it is specific

4

about which instrument plays which line, in contrast to Couperin’s later “unorchestrated” score. Here we find both familiar French dances and movements that reflect Italianate virtuosity, the two récits (one featuring viola da gamba, the other spotlighting basse de violon) being conspicuously in the Italianate mode.

The most famous of the French viola da gamba virtuosos was Marin Marais (baptized May 31, 1656, in Paris; died there August 15, 1728). A famous tale has him studying with Jean de Sainte-Colombe, a leading viol player who grew so jealous of his pupil’s facility that he dismissed him—after which Marais continued to eavesdrop on Sainte-Colombe, who would practice The most in a tree house. He wrote four operas in the style of Lully (his Alcyone, a famous of the tragédie en musique, met with particular success in 1706) but he is most French viola remembered for his instrumental compositions, especially those crafted da gamba for the viola da gamba. His Pièces en trio (1692) are among the earliest virtuosos was examples of French trio sonatas, with the composer allowing that their upper Marin Marais. lines might be played on flutes, violin, or dessus de viole (treble viol), with the performers given leeway to assign the parts. In the opening Prélude we get a taste of the operatic “French overture” layout, with a relatively flowing, fast-paced center being surrounded by more deliberate opening and closing sections.

The reputation of Jean-Féry Rebel (baptized April 18, 1666, in Paris; died there January 2, 1747) has recently experienced an uptick. A violinist in the 24 Violons du Roi (a string orchestra) and in the orchestra of the Académie Royale de Musique (where he was also a conductor), he was almost exclusively involved in secular music. He produced a number of solo and trio sonatas and, most famously, a succession of “choreographed symphonies,” including Les caractères de la danse. It was premiered in May 1715, at the very end of the Grand Siècle. It was unveiled as a stage work, a ballet in which the entire panoply of French court dances (plus two nods to the Corelli-style sonata) are telescoped into a through-composed eight-minute span, one dance-type ceding quickly to the next with the fluidity of time-lapse photography. This Fantaisie (as Rebel called it) was introduced on the stage of the Académie Royale de Musique in a performance featuring the renowned dancer Françoise Prévost. It showed considerable staying-power, and in revivals it became a vehicle for such other stars of early French ballet as Marie-Anne Camargo (in 1726) and Marie Sallé (in Paris in 1729, and in London in 1734).

James M. Keller is the long-time program annotator of the New York Philharmonic (The Leni and Peter May Chair) and the San Francisco Symphony. His book Chamber Music: A Listener’s Guide, published in 2011 by Oxford University Press, is also available as an e-book and an Oxford paperback.

5 Meet Richard Egarr

Richard Egarr has been music director of the Academy of Ancient Music since 2006 and was associate artist of the Scottish Chamber Orchestra from 2011 to 2017. He was recently appointed principal guest conductor of the Residentie Orkest in The Hague beginning in 2019. He has conducted the London Symphony Orchestra, Royal Concertgebouw, and Philadelphia Orchestra, has been a frequent guest artist with leading baroque ensembles including Boston’s Handel and Haydn Society, and regularly gives solo harpsichord recitals at Carnegie Hall and London’s Wigmore Hall, among others.

Mr. Egarr’s 2017–18 season includes a staged version of Purcell’s King Arthur at the Barbican Centre with the Academy of Ancient Music, the St. Matthew Passion with the Rotterdam Philharmonic, Schumann’s Requiem with the Scottish Chamber Orchestra, Mozart’s C Minor Mass with the Orquesta Sinfonica da Galici, and Beethoven’s “Eroica” symphony with the Luxembourg Philharmonic and Antwerp Symphony. He makes several trips to the U.S. this season, returning to the Dallas Symphony for Brandenburg concertos, guesting with Philharmonia Baroque and Les Violons du Roy, and touring the East Coast with cellist Steven Isserlis playing J.S. Bach.

Early in his tenure with the Academy of Ancient Music Mr. Egarr established the Choir of the Academy of Ancient Music, and operas/ oratorios lie at the heart of his repertoire. He made his Glyndebourne debut in 2007 conducting a staged version of the St. Matthew Passion. He has directed Handel oratorios at the Britten Pears Academy and staged productions at the Netherlands Opera Academy (La clemenza di Tito, Le nozze di Figaro, and Rossini’s Il Signor Bruschino) and is a lasting inspiration to young musicians. He has a long-standing teaching position at the Amsterdam Conservatoire and is a visiting professor at Juilliard.

Mr. Egarr trained as a choirboy at York Minster, at Chetham’s School of Music in Manchester, and as organ scholar at Clare College Cambridge. His studies with Gustav and Marie Leonhardt further inspired his work in the field of historical performance.

6 Juilliard Historical Performance

Juilliard’s full-scholarship Historical Performance program offers comprehensive study and performance of music from the 17th and 18th centuries on period instruments. Established and endowed in 2009 by the generous support of Bruce and Suzie Kovner, the program is open to candidates for Master of Music, Graduate Diploma, and Doctor of Musical Arts degrees. A high-profile concert season of opera, orchestral, and chamber music is augmented by a performance-oriented curriculum that fosters an informed understanding of the many issues unique to period-instrument performance at the level of technical excellence and musical integrity for which Juilliard is renowned. The faculty comprises many of the leading performers and scholars in the field. Frequent collaborations with Juilliard’s Ellen and James S. Marcus Institute for Vocal Arts, the integration of modern-instrument majors outside of the Historical Performance program, and national and international tours have introduced new repertoires and increased awareness of historical performance practice at Juilliard and beyond. Alumni of Juilliard Historical Performance are members of many of the leading period-instrument ensembles, including the Portland Baroque Orchestra, Les Arts Florissants, Mercury, and Tafelmusik, as well as launching such new ensembles as the Sebastians, House of Time, New York Baroque Incorporated, and New Vintage Baroque.

Administration

Robert Mealy, Director Benjamin D. Sosland, Administrative Director Rosemary Metcalf, Assistant Administrative Director Annelise Wiering, Coordinator for Scheduling and Educational Support

Faculty

Violin/Viola Bassoon Continuo Skills Elizabeth Blumenstock Dominic Teresi Steven Laitz Robert Mealy Horn Avi Stein Cynthia Roberts R.J. Kelley Baroque Vocal Cello Trumpet Literature Phoebe Carrai John Thiessen Avi Stein Viola da Gamba Plucked Instruments Core Studies Sarah Cunningham Daniel Swenberg Robert Mealy Double Bass Charles Weaver David Schulenberg Douglas Balliett Harpsichord Artists in Residence Flute Richard Egarr William Christie Sandra Miller Béatrice Martin Richard Egarr Monica Huggett Oboe Peter Sykes Rachel Podger Gonzalo Ruiz Recorder Jordi Savall Nina Stern

7 Juilliard415

Since its founding in 2009, Juilliard415, the school’s principal period- instrument ensemble, has made significant contributions to musical life in New York and beyond, bringing major figures in the field of early music to lead performances of both rare and canonical works of the 17th and 18th centuries. The many distinguished guests who have led Juilliard415 include Harry Bicket, William Christie, the late Christopher Hogwood, Monica Huggett, Ton Koopman, Nicholas McGegan, Lars Ulrik Mortensen, Jordi Savall, and Masaaki Suzuki. Juilliard415 tours extensively in the U.S. and abroad, with notable appearances at the Boston Early Music Festival, Leipzig Bachfest, and Utrecht Early Music Festival (where Juilliard was the first-ever conservatory in residence). With its frequent musical collaborator the Yale Institute of Sacred Music, the ensemble has played throughout Italy, Japan, Southeast Asia, the U.K. and, most recently, India. Juilliard415 has performed major oratorios and fully staged Baroque operas every year since its founding. Recent performances include Handel’s Agrippina and Radamisto, Bach’s Matthew and John Passions, Cavalli’s La Calisto, Charpentier’s Actéon with William Christie, and performances in the U.S. and Holland of Bach’s Mass in B Minor conducted by Ton Koopman (a collaboration with the Royal Conservatoire of The Hague). The ensemble’s most recent international engagement was a 10-concert tour throughout New Zealand with Bach specialist Masaaki Suzuki. The 2017–18 season is notable for the Juilliard debuts of the rising conductor Jonathan Cohen and the Belgian vocal ensemble Vox Luminis, a side-by-side collaboration with Philharmonia Baroque in San Francisco, as well as return visits by Rachel Podger in a program of Telemann, William Christie leading Monteverdi’s Il ballo delle ingrate, a concert of music from Handel’s London under the direction of Robert Mealy, an all-Bach concert for the 500th anniversary of the Reformation with Maestro Suzuki, and the rare opportunity to see a fully staged production of Rameau’s Hippolyte et Aricie, with Stephen Stubbs conducting.

8 Roster

COUPERIN Troisième concert in A Major, from Concerts royaux

Violin Viola da Gamba Sarah Jane Kenner Adam Young Flute Harpsichord Jonathan Slade Eunji Lee

CHARPENTIER Sonate à huit (H. 548)

Violin Viola da Gamba Theorbo Alana Youssefian Adam Young Arash Noori Naomi Dumas Five-String Cello Flute Morgan Little Jonathan Slade Harpsichord Bethanne Walker Eunji Lee

MARAIS Suite No. 5 in E Minor, from Pièces en trio

Oboe Violin Harpsichord Welvin Potter Annie Gard Katarzyna Kluczykowska Andrew Blanke Chiara Fasani Stauffer Theorbo Flute Bassoon Arash Noori Jonathan Slade Joseph Jones Bethanne Walker Cello Morgan Little

REBEL Les caractères de la danse

Violin Oboe Violone Alana Youssefian Andrew Blanke Hugo Abraham Ethan Lin Welvin Potter Harpsichord Sarah Jane Kenner Bassoon Katarzyna Kluczykowska Annie Gard Joseph Jones Theorbo Naomi Dumas Viola da Gamba Arash Noori Chiara Fasani Stauffer Adam Young Flute Five-Sring Cello Bethanne Walker Morgan Little Jonathan Slade

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

10 The Augustus Juilliard Society (Continued)

Carlos Romero and Dr. Robert B. Sharon Paul Wagenhofer Joanne Gober Romero Edmund Shay and Raymond Harris Dietrich and Alice Wagner Linda N. Rose Dr. Edward Shipwright Alberto and Paulina A. Waksman Susan W. Rose Robert D. Sholiton Stanley Waldoff 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 ‡ = In Memoriam William C. Schwartz Dr. Marta Vago David Shapiro Walter and Elsa Verdehr

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

11 Juilliard Board of Trustees and Administration

BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Bruce Kovner, Chair Artistic Director Kirstin Ek, J. Christopher Kojima, Vice Chair Director of Curriculum and Schedules Monica Thakkar, Katheryn C. Patterson, Vice Chair 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 Michael E. Marks Anna Royzman, Director of Performance Activities Barbara G. Fleischman Nancy A. Marks Evening Division Keith R. Gollust Stephanie Palmer McClelland Danielle La Senna, Director Mary Graham Christina McInerney Joan W. Harris Lester S. Morse Jr. Lila Acheson Wallace Library Matt Jacobson Stephen A. Novick Jane Gottlieb, Vice President for Library and Edward E. Johnson Jr. Joseph W. Polisi Information Resources; Director of the C.V. Starr Karen M. Levy Susan W. Rose Doctoral Fellows Program Teresa E. Lindsay Deborah Simon Laura Linney Sarah Billinghurst Solomon Enrollment Management and Student Development 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 and Diversity Initiatives June Noble Larkin, Chair Emerita William Buse, Director of Counseling Services Mary Ellin Barrett Katherine Gertson, Registrar Sidney R. Knafel Tina Gonzalez, Director of Financial Aid Elizabeth McCormack Barrett Hipes, Director, Alan D. Marks Center for John J. Roberts Career Services and Entrepreneurship Teresa McKinney, Director of Community Engagement Todd Porter, Director of Residence Life JUILLIARD COUNCIL Howard Rosenberg MD, Medical Director Mitchell Nelson, Chair Beth Techow, Administrative Director of Health and Counseling Services Michelle Demus Auerbach Sophie Laffont Holly Tedder, Director of Disability Services Barbara Brandt Jean-Hugues Monier and Associate Registrar Brian J. Heidtke Terry Morgenthaler 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 Administration and Law Jeremy T. Smith Maurice F. Edelson, Vice President for Administration and General Counsel Joseph Mastrangelo, Vice President for Facilities Management EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION Myung Kang-Huneke, Deputy General Counsel Carl Young, Office of the President Chief Information Officer Steve Doty, Chief Operations Officer Joseph W. Polisi, President Dmitriy Aminov, Director of IT Engineering Jacqueline Schmidt, Chief of Staff 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 Amanita Heird, Director of Special Events Drama Division Susan Jackson, Editorial Director Richard Feldman, Acting Director Sam Larson, Design Director Katherine Hood, Managing 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

12 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—including you.

To make a gift to the Juilliard Scholarship Fund, please call (212) 799-5000, ext. 278, or visit giving.juilliard.edu/scholarship.

13 Photo by Sarah Pierpont Photo by Sarah Attend a performance Enroll in a class Shop at our store Hire our performers Support Juilliard juilliard.edu