Juilliard student cOmpOsers Monday, February 25, 2013 at 8 PM The Peter Jay Sharp Theater PrinTed on recycled PaPer The presents the

Juilliard Orchestra featuring fOur wOrld premieres by Juilliard cOmpOsers

Jeffrey milarsky, Conductor

Monday, February 25, 2013 at 8 PM The Peter Jay Sharp Theater

paul frucht Relic* yuri bOguinia Margarita at the Ball Maxwell FoSTer , piano

inTerMiSSion stefan cwik The Illusionist

The Nectar, Suite no. 1 (from the Two-act Ballet) peng-peng gOng City Scenes Dance of the Boy The Blue-Eyed Awakening Pas de Deux Dance of the Killers

*winner, 2013 arthur Friedman composition Prize

this performance is supported in part by the muriel gluck production fund.

Please make certain that the electronic signal on your watch, pager, or cell phone is turned off during the concert.

The taking of photographs and the use of recording equipment are not permitted in this theater. aBouT The PrograM Relic That being said, this is not a re-working paul frucht of anyone’s music in particular nor is this piece paying homage to any particular com - at the same time as i was beginning to con - poser. instead, this piece pays homage to ceive this piece, i was studying harmony and sonority, a relic and cornerstone of harmony, fairly rigorously. i began to filtered through my own contemporary find myself fascinated with the triad as one voice. of the most, if not the most, important har - monic formation in western music since the —Paul Frucht 16th century. as i learned how the triad came to be —out of contrapuntal rules relat - aBouT Paul FruchT ing to consonances and dissonances —i Paul Frucht is a composer and percussionist found it astonishing how far the triad had dedicated to creating and performing music come and how it has survived through all of with a vibrant, unique sound that engages a the periods of harmonic innovation through - wide spectrum of audiences. originally out the past 400-plus years. even after from danbury, connecticut, Mr. Frucht is a impressionism, expressionism, and second-year master of music degree compo - are either over with or in full swing much of sition student of robert Beaser at Juilliard. the material copland uses in his 1944 ballet, in May 2011, he graduated magna cum laude Appalachian Spring, is derived from the major from new york university’s Steinhardt triad. School with a bachelor of music degree in This piece is my contribution to what can composition, studying with Justin dello Joio be done with the “simple” triad. while the and an instrumental concentration in classi - triad may sound pedestrian, or even pleas - cal percussion, studying with Jonathan haas antly primitive to our contemporary ears, i and Simon Boyar. strived with this piece not only to integrate in February 2012, Mr. Frucht’s orchestral contemporary orchestral ideas and practice, work Penumbra was selected as a winning but to also make the triad itself sound as composition in the San diego though it has a place in the 21st century. earshot readings competition. his piece was over the last year, i’ve discovered the impor - read and performed by the San diego tance of musical roots and bloodline among Symphony in copley Symphony hall last musical cultures and in some cases, com - april, led by guest conductor James posers. while i always make a concerted Feddeck. his works have been also been effort to sound somewhat predictably like performed at Merkin concert hall, the “me” in my music, i have also begun to find aspen Music Festival, Fredrick loewe that there is great satisfaction in paying hom - Theatre, la Schola cantorum in France, and age to others filtered through my own voice. in Juilliard’s Paul hall. his music has been a particular and very specific example of commissioned and performed by the altius this that is influential to me is Stravinsky’s winds, node contemporary Music, PulSe Pulcinella , in which he re-works music writ - new Music, and the nyu Symphony ten by Pergolesi. i find this to be extremely orchestra. recently, Mr. Frucht collaborated meaningful because it magnifies that idea of with Juilliard’s dance division as part of “pushing forward” in music, something that “composers and choreographers,” for i think is important. whenever we look back which he wrote a piece for specific choreo - in music, it becomes clearer how far we’ve graphic use by a Juilliard dance student. come, but it also sheds light on exactly how in 2012, he was awarded the arlene J. composers can use elements of the past to Smith Scholarship by The Juilliard School, push forward. both of which he gratefully acknowledges for their continued support.

-2- aBouT The PrograM Margarita at the Ball schools. Prior to enrolling at Juilliard, Mr. yuri bOguinia Boguinia lived in colorado and studied composition with colorado university of and again Margarita flew out of the room Boulder professor daniel Kellogg and violin with the pool. on the stage behind the with first violinist of the Moscow String tulips, where the waltz King and his orches - Quartet, eugenia alikhanova. he attended tra had been playing, a monkey jazz band high school at the interlochen arts academy now ranted in rage. a huge gorilla with in Michigan, where he studied composition shaggy sideburns and a trumpet in his hand with John Boyle. Mr. Boguinia won the 2008 was conducting as he danced ponderously and 2009 aScaP Morton gould young to the beat. in one row sat orangutans, blow - composer awards in the younger division ing shinny trumpets. Perched on their shoul - and the 2011 aScaP Morton gould young ders were merry chimpanzees with accor - composer award in the senior division. he dions. Two baboons with leonine manes also placed first in the 2008 and 2009 Pikes were playing grand pianos, and these Peak young composer competitions. pianos were drowned out by the thunder - Mr. Boguinia has been commissioned by ing, squealing, and banging violins and the Mannheim School of Music, the drums in the paws of gibbons, mandrills, longmont Symphony orchestra, and the and marmosets. on the mirror-like floor Boulder youth Symphony orchestra, among countless pairs seemed to merge into one in others. he has participated in master classes a remarkable display of agility and graceful - by composers John harbison, Steven Stucky, ness, all whirling in one direction, and mov - Julia wolfe, nico Muhly, and Marilyn ing forward like a wall that threatened to Shrude. in the summers of 2009 and 2010 he sweep away everything in its path. live attended the Tanglewood young artist satin butterflies swooped up and down composition Program where he worked above the dancing hordes; flowers fluttered with composer Martin amlin. Two summers down from the ceilings. whenever the elec - ago Mr. Boguinia traveled to washington, tricity went off, myriad glowworms lit up in d.c. with the Moscow for the the tops of the columns, and will-o’-the- rewarding experience of working alongside wisps floated in the air. Sofia gubaidulina in the performance of her String Quartet no. 4 and String Trio at the —Yuri Boguinia Smithsonian Freer art gallery. aBouT yuri Boguinia yuri Boguinia was born in Stavropol, russia The Illusionist in 1991 and immigrated to the u.S. with stefan cwik aspirations to develop his skills as a com - poser, pianist, and violinist. he is currently The Illusionist is a tone poem for orchestra in his third year the bachelor of music that is meant to illustrate the theatrical degree program in composition at Juilliard, prowess and awe of a master illusionist. in where he studies with christopher rouse as order to represent this musically, the piece a grateful recipient of the Jerome l. greene needed to be designed in a way where Fellowship. Mr. Boguinia spent the last two there was an “entity” behind the progres - years working with Samuel adler, and he is sion of the music. it was also necessary that a teaching fellow for music theory level i, ii, this “entity” create a collage of musical and iii. he received a concert Fellowship in ideas that combine to make a theatrical 2011 and an arts enrichment Fellowship experience. The form and use of instru - this year administered by Juilliard’s ments in the piece are designed around educational outreach Program. The fellow - this idea. ships give him the opportunity to teach There is an introduction to the piece music in east harlem and Bronx middle that builds in power in order to announce -3- aBouT The PrograM the entrance of the illusionist. upon the ini- this explosion the piano appears, pulling tial piano entrance it becomes apparent everything together once more. one by that the piano represents this “entity.” one, and slowly, the orchestra enters and although the piano plays an important takes hold of the music as the illusionist re- role i have avoided making it a soloist establishes sonic and emotional stability to part. instead the piano acts only in transi- the listener. The piece ends with soft tional points of the piece. in this way it ambiguous harmonies that settle the heart represents the illusionist progressing his rate of the listener, but still maintain a deep act forward. The piano always acts to emotional power. even though the change and progress the music but the illusionist has finished his act, we are orchestra then takes over. This way the reminded that reality has returned only audience witnesses the transformation of because he has commanded it to. the music from one catalyst to the entire orchestra, just as the illusionist will take an —Stefan Cwik idea that seems impossible and shows us that it can be reality. aBouT STeFan cwiK The final aspect of the piece that illus- Stefan cwik began his studies in composi- trates the theatrical nature of the illusionist tion with composer/guitarist dušan is the broad spectrum of emotion the music Bogdanović at the San Francisco goes through. we are first confronted with conservatory of Music (SFcM). he then awe and spectacle as the illusionist deep- spent a short time of study with david ens our understanding of reality. The garner, also at SFcM, ultimately finishing music following the first entrance of the his undergraduate studies in composition piano signifies this initial blurring of what at SFcM studying with david conte. is real. after this first section the tempo Mr. cwik is dedicated to the collabora- picks up and we experience an otherworld- tive process of composition. he worked ly dance. This shows us the clever and with bassoonist Paula Brusky for the pre- playful side of the illusionist as solo instru- miere of his piece Eight Miniatures for ments pass lines back and forth and the chamber ensemble (Hommage a string instruments pluck along with the Stravinsky), one of the winning pieces of harp. interjections of thematic material the 2010 Bassoon chamber Music from the first section are juxtaposed with composition competition. his Eight this dance music. after this the piano once Miniatures was premiered at the 2011 again takes us to a new area of sound. we international double reed Society now see a softer and more subdued side of conference and is now published by the illusionist. The thematic material from Trevco Publishing. the first section is transformed into pleas- in 2009, Mr. cwik collaborated with ant and opaque harmonies which build Symphony Parnassus and Stephen and recede like human emotion. The piano Paulson, Music director of Symphony closes this section beautifully. The master Parnassus and principal bassoonist for the illusionist then changes the experience and San Francisco Symphony. Mr. cwik’s now the orchestra begins to build unstable orchestral work Concert Dances for harmonies on top of the thematic material. Orchestra was premiered by Symphony as the tempo picks up we are aware now Parnassus led by Stephen Paulson at of the grand power the illusionist holds as herbst Theatre in San Francisco. in their his world consumes the reality of the lis- 2010 – 11 season, Symphony Parnassus pre- tener. The music eventually breaks away miered his concerto For Piano and from all constraints and piles into an explo- orchestra with pianist Scott Foglesong as sive world of sound, releasing all the the soloist. Mr. cwik was chosen as a win- power the illusionist holds in a blast of tex- ner of the 2011 Juilliard orchestral ture. Slowly, emerging out of the rubble of composition competition, and his recent -4- aBouT The PrograM orchestral work Terpsichore was premiered Awakening and the Pas de Deux , both from the by the Juilliard orchestra conducted by ballet’s first act. The final portion of the suite Jeffrey Milarsky at Juilliard’s Peter Jay consists of the Dance of the Killers , which Sharp Theater last February. Terpsichore would also form the ballet’s first dramatic was given honorable Mention in the 2012 peak in act i. Minnesota orchestra composer’s institute. The title of the third dance, The Blue-Eyed with this evening’s piece, The Illusionist, Awakening , refers to the story’s main heroine, Mr. cwik became a two-time consecutive a beautiful blue-eyed honeybee who was res - winner of the competition. cued from the lab. The title for the final Mr. cwik attended the european dance, the Dance of the Killers , refers to the american Musical alliance summer pro - killer bees who massacred the honeycomb. gram in , France, during which time he studied with French composer Michel —Peng-Peng Gong Merlet and american composer and Juilliard faculty member Philip lasser. he aBouT Peng-Peng gong is currently working toward his master of Born in 1992, chinese pianist and composer music degree studying with John Peng-Peng gong showed talent in music corigliano at Juilliard. he is a recipient of from a very early age, playing tunes and car - the george gershwin Memorial toon music by ear at the age of two. he Foundation Scholarship and the Juilliard began formal piano studies with ye hui- alumni Scholarship. Fang at age five and won the Piano Prodigy Mr. cwik is a member of aScaP. Prize in his home province at age six. giving representative examples of his music can his first public solo recital at age eight, he be found on his website, was accepted to Shanghai Music www.stefancwik.com, or can be requested conservatory Primary, where he immediate - by contacting him via email, ly won the china national youth Piano [email protected]. competition. he auditioned for Juilliard’s Pre-college division at age nine and was accepted on the spot by yoheved Kaplinsky, The Nectar, suite no. 1 the chair of the Piano department. (from the two-act ballet) Mr. gong was engaged to conclude peng-peng gOng Juilliard’s centennial gala performing rachmaninoff’s Second concerto with John composed in 2012, this is the first orchestral williams, alongside notable Juilliard alumni suite extracted from the two-act ballet, The renée Fleming and itzhak Perlman. Signed Nectar. to icM artists (now opus 3) at age 14 in The story of the ballet is based on the 2007, he became the youngest pianist on the tragic fairy tale by chinese novelist he Shu- roster to be signed. Since then he has accept - kun, about the sentimental voyage of a ed numerous solo and concerto engage - schoolboy who befriends a honeycomb after ments with major venues and rescuing a honeybee from an insect’s lab, and throughout north america, South america, how his miniature friends were later killed europe, and asia. he recorded and released in order to protect him from their rival liszt’s Piano concerto no. 1 with leonard species. Slatkin and the nashville Symphony, before Five pieces from the ballet score were releasing a solo album with holland’s selected for the first suite, lasting approxi - channel classics records. mately 15 minutes in standard concert per - Mr. gong’s passion for composing final - formance. The suite opens with the City ly encouraged him to take what had previ - Scenes and the Dance of the Boy, which also ously been a hobby as an equally important forms the opening scene for the ballet itself. profession alongside his performing career. The middle section consists of The Blue-Eyed in 2009 he, at 16, became the youngest com - -5- aBouT The PrograM poser to be signed by lauren Keiser Music has been awarded the china State Prize for Publishing after winning six consecutive orchestral Music and will receive its second years of aScaP annual awards for young performance by the Shanghai Philharmonic composers. To date, he has published three in an entire program of Mr. gong’s orches - complete , three piano concer - tral works with the composer as soloist. he tos, orchestral overtures, chamber music, currently is a guest soloist touring the u.S. and solo piano repertoire, all of which have with the china national Symphony. he is a been distributed to hal leonard third-year bachelor of music degree student cooperation and purchased by the Juilliard of Samuel adler at Juilliard and a grateful library among other major conservatories recipient of the Jerome l. greene and orchestras. his Piano concerto no. 3 Fellowship.

MeeT The arTiSTS

Jeffrey milarsky, CoNduCToR duct the los angeles Philharmonic in 2014. american conductor Jeffrey Milarsky is high - a dedicated pedagogue, Mr. Milarsky is a ly acclaimed worldwide for his impeccable senior lecturer in music at columbia musicianship, exhilarating presence, and university, where he is the music director and innovative programming. his wide ranging conductor of the repertoire, which spans from Bach to xenakis, orchestra. in addition, he is a faculty member has brought him to lead such accomplished at the Manhattan School of Music as artistic groups as the San Francisco Symphony, director and conductor of the Percussion american composers orchestra, MeT ensemble as well as the artistic director of the chamber ensemble, los angeles contemporary Music Performance Program. Philharmonic, Milwaukee Symphony, Bergen in addition to conducting the Juilliard Philharmonic, opera, orchestra, he is the music director of axioM, chamber Music Society of lincoln center, The Juilliard School’s critically acclaimed con - new world Symphony, Tanglewood Festival temporary music ensemble, and serves on the orchestra, and the conducting faculty at Juilliard. chamber music series. a much-in-demand timpanist and percus - in the and abroad he has sionist, Mr. Milarsky has performed and premiered and recorded works by many recorded with the new york Philharmonic, groundbreaking contemporary composers, in The Philadelphia orchestra, The Pittsburgh venues such as carnegie hall, zankel hall, Symphony, among other ensembles. Mr. davies Symphony hall, alice Tully hall, walt Milarsky has been the Principal Timpanist for disney concert hall, Symphony hall in the Santa Fe opera since 2005. he has record - Boston, and at ircaM in Paris. in 2012 Mr. ed extensively for angel, Bridge, Teldec, Milarsky made his third appearance with the Telarc, new world, cri, MusicMasters, eMi, los angeles Philharmonic conducting at the Koch, and london records. green umbrella concerts. he also made his Mr. Milarsky received his bachelor and debut conducting the San Francisco master of music degrees from The Juilliard Symphony as part of their american School. upon graduation, he was awarded Mavericks program in San Francisco, the Peter Mennin Prize for outstanding lead - Michigan, and at zankel hall in new york. ership and achievement in the arts. he will be returning to the west coast to con - -6- The Juilliard orcheSTra

Violin douBle TroMBone Stefani collins, concertmaster alex Jenkins, principal alexis Smith, principal Francesca rose dePasquale, douglas aliano Sean Tripp, principal principal second hayden Joyce Peter Steiner Tianyang gao gabrielle Marx david westen hyorim han will McPeters BaSS TroMBone Jennifer hsieh yu-chen yang andre emmanuel Prouty Sirena huang Samuel Katz FluTe TuBa Kyuree Kim youngji ahn, principal eric hom anne Ku nicholas P. Johnson, principal yiying li Jake chabot TiMPani Pei-wen liao daniel James June hahn lucia nowik andreas lamo charlie rosmarin hyunjin oh Jihye Min Brian Shank alice Seung-Jung oh Jeremy Smith isabel ong oBoe Tosca opdam Max d. Blair, principal PercuSSion Su hyun Park harrison linsey, principal June hahn, principal chelsea Starbuck Smith emily Beare charlie rosmarin, principal Kei Sugiyama hugo lee Brian Shank, principal yue Sun lauren williams Sae hashimoto luke witchger Jeremy Smith Momo wong charles yang narek arutyunyan, principal harP celia zhang Saerom Kim, principal caroline Bembia Shen liu Viola Shaquille Southwell KeyBoard Jessica T. chang, principal naomi causby william Bender BaSSoon Stephanie Block remy Taghavi, principal Tegen davidge naho zhu, principal orcheSTra adMiniSTraTion Tiffany laraia Joshua Sechan Virginia allen, Assistant Dean for liyuan liu Jacob wellman Orchestral Studies Marcus rose Joanna K. Trebelhorn , Director, Jenni Seo French horn Orchestral and Ensemble Operations charlotte Steiner Philip Brindise, principal george Stelluto, roy Femenella, principal Resident Conductor cello James Patterson, principal rosemary Metcalf, yin xiong, principal Seann Trull, principal Orchestra Manager hyung Suk Bae Paul Beck, Seth Biagini TruMPeT Principal Orchestra Librarian Keiran campbell Tristan clarke, principal lawrence halverson, Sean hawthorne Sam Jones, principal Orchestra Librarian isabel lau daniel Taubenheim, principal Megan aley, christine lee Orchestra Management Intern Jane lee

-7- 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 naomi Freistadt Paul richards lemma and Veronica Maria alcarese Michael Stephen gallo wilhelmina Marchese lemma  douglas S. anderson June rose garrott loretta Varon lewis  and Mitchell andrews anita l. gatti norman J. lewis henrie Jo Barth Thelma and Seymour geller, ning liang richard Beales on behalf of Jane geller Joseph M. liebling yvette and Maurice Bendahan rabbi Mordecai genn, Ph.d. Kristin M. lindley donald a. Benedetti Mark V. getlein Mildred c. lipton helen Benham Pia gilbert Jerry K. loeb  Mr. and Mrs. Jason Berger John r. gillespie richard lopinto elizabeth weil Bergmann Professor robert Jay glickman glen Max louis Benton and Fredda ecker Bernstein dr. ruth J.e. glickman Francis Madeira leslie goldman Berro Terrine gomez chuck Manton Susan ollila Boyd erich l. graf cecilia and cyril  Marcus Mrs. george e. Boyer drs. norman and gilda greenberg Serena B. Marlowe  Peter a. Boysen arlene and edmund grossman dolores grau Marsden nina r. Brilli emma gruber Sondra Matesky Joseph P. Brinton iii rosalind guaraldo Stephanie and carter Mcclelland  ruth and alan Broder ruth haase and The Stephanie and carter Steven and colleen Brooks Mr. and Mrs. robert S. haggart, Jr. Mcclelland Foundation carol diane Brown and louise Tesson hall Joseph P. Mcginty daniel J. ruffo ralph hamaker dr. and Mrs. n. Scott Mcnutt Beryl e. Brownman Meleen o’Brien harben anabel c. Meister lorraine Buch rev. Tozan Thomas hardison Pauline and donald B.  Meyer  eliane Bukantz lillian and gordon a. hardy leo and anne Perillo Michuda  Felix n. calabrese ralph and doris harrel warren r. Mikulka  alan and Mary carmel Judith harris and Tony woolfson Mrs. cecile Mitchell Mr. and Mrs. n. celentano robert g. hartmann Stephen Mittman wendy Fang chen robert and Frances hazen robert a. Morgan Julie a. choi and claudio cornali Betty Barsha hedenberg Valerie wilson Morris harvey M. cohen gordon d. henderson diane Morrison Mr.  and Mrs. david colvin robert and germaine  hines l. Michael and dorothy Moskovis Vicki cowen Mayme wilkins holt Myron howard nadel charlotte zimmerman crystal Burt holtzman Steven w. naifeh and gregory rosemarie cufalo gerri houlihan white Smith christopher czaja Sager Katherine l. hufnagel anthony J. newman harrison r.T. davis Joseph n. and Susan isolano oscar and gertrude nimetz Fund robert S. davis Marjorie Jackson russell K. oberlin Stephen J. delehanty Paul Johnston and umberto Ferma Margaret Pardee eugenie limberg dengel Mrs. charles Jones Mr.  and Mrs. donald Parton John c. drake-Jennings, duke of Janice wheeler Jubin and celia Paul and Stephen rosen Quincy herbert Jubin Jeanne M. and raymond gerard  ryan and leila edwards Peter h. Judd Pellerin Fredell lack eichhorn Michael Kahn B. Blaine Pennington  lou ellenport Mr. and Mrs. Martin Kaltman Jane V. Perr, M.d. lloyd B. erikson george and Julia Katz Myrtle  and arthur Phillips eric ewazen Sheila Keats Jean Pierkowski holly l. Falik robert King elissa V. Pinson Stuart M. Fischman dorothy hill Klotzman Fred Plotkin  dr. and Mrs. richard B. Fisk J. d. Kotzenberg geraldine Pollack lorraine Fox Bruce Kovner Sidney J. and Barbara S. Pollack christine Franklin edith Kraft John g. Popp dr. Mio Fredland Mr. and Mrs. Paul a. Krell Thomas and charlene Preisel chaim Freiberg

-8- arthur Press Shelby evans Schrader  and Stanley waldoff Bernice Price John Paul Schrader Jessica weber gena F. raps irene Schultz dale weingand dr. helen rehr william c. Schwartz catherine white nancy l. reim natalie Selinger Miriam S. wiener Susan M. reim david Shapiro robert wilder and roger F. Kipp Susan d. reinhart abraham Sheingold alice Speas wilkinson Michael rigg dr. edward Shipwright yvonne Viani williams douglas riva robert d. Sholiton elizabeth r. woodman daniel P. robinson arthur T. Shorin lila york yvonne robinson edward Siers darrell zwerling carlos romero and Joanne gober Mel Silverman Twenty-eight anonymous donors romero Betty Simms Susan w. rose Steven P. Singer, M.d.  = deceased dinah F. rosoff Barbara Thompson Slater roxanne rosoman Stanley r. Stangren Sam and deborah rotman Barbara h. Stark Mr.  and Mrs. irving ruckens Sally T. Stevens Mrs. ernest n. rutherford James Streem lynne rutkin Joseph a. d. Surace edith a. Sagul gerda Taranow Joan St. James Marie catherine Torrisi isabella n. Salman dr. Marta Vago harvey Salzman lois l. van Pelt-Marki Michael and diane Sanders walter F. Verdehr nancy Schloss Paul wagenhofer casiana r. Schmidt alberto and Paulina a. waksman

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-9- bOard Of trustees Bruce Kovner, Chairman Katheryn c. Patterson, Vice Chairman

Pierre T. Bastid Keith r. gollust June noble larkin wynton Marsalis andrew T. Bednar Mary graham Karen M. levy Stephanie Palmer Julie anne choi Mary rodgers guettel Teresa e. lindsay Mcclelland Kent a. clark Joan w. harris laura linney lester S. Morse, Jr. Pamela daley Bradley h. Jack Vincent a. Mai Joseph w. Polisi Kenneth S. davidson edward e. Johnson, Jr. James S. Marcus Susan w. rose Sanford B. ehrenkranz Sidney r. Knafel Michael e. Marks arthur T. Shorin Barbara g. Fleischman J. christopher Kojima nancy a. Marks Joan S. Steinberg chairmen emeriti Mary rodgers guettel June noble larkin trustees emeriti Mary ellin Barrett John J. roberts anna e. crouse richard d. Spizzirri Juilliard cOuncil harold P. hope iii and Karen M. levy, Co-Chairmen Barbara Brandt Brian J. heidtke Jean-hugues J. Monier grace e. richardson elizabeth Fath gordon d. henderson leslie M. nelson Kristen rodriguez Judi S. Flom Peter l. Kend Pamela J. newman Jeremy T. Smith Jennifer c. groves younghee Kim-wait John g. Popp alexa i. wolman eXecutiVe Officers Joseph w. Polisi, President ara guzelimian, Provost and Dean Karen wagner, Vice President and Dean of Academic Affairs laurie a. carter, Vice President and General Counsel, Executive Director of Jazz Studies Jon rosenhein, Vice President and Chief Operating Officer Jane gottlieb, Vice President for Library and Information Resources Joan d. warren, Vice President for Enrollment Management Joseph Mastrangelo, Vice President for Facilities Management christine Todd, Vice President for Finance and Controller christopher Mossey, Vice President for Global Initiatives Vanessa J. wise, Interim Vice President for Development and Public Affairs lawrence rhodes, Artistic Director of the Dance Division James houghton, Richard Rodgers Director of the Drama Division Brian zeger, Artistic Director of the Ellen and James S. Marcus Institute for Vocal Arts carl allen, Artistic Director of Jazz Studies Monica huggett, Artist-in-Residence and Artistic Advisor of Historical Performance robert Mealy, Director of Historical Performance yoheved Kaplinsky, Artistic Director of the Pre-College Division

Janet Kessin, Associate Vice President for Communications alison Scott-williams, Associate Vice President for Diversity and Campus Life Tricia ross , Associate Vice President for Special Projects lee cioppa, Associate Dean for Admissions adam Meyer, Associate Dean for Administration Bärli nugent, Assistant Dean, Director of Chamber Music Virginia allen, Assistant Dean for Orchestral Studies richard Feldman, Associate Director of the Drama Division risa Steinberg, Associate Director of the Dance Division

Stephen clapp, Dean Emeritus administratOrs Sarah adriance, Dance Division lori Bierly Padua, Planned Giving Jamée ard, National Advancement and Alumni Relations amanita Pleasant-heird, Special Events courtney Blackwell, Career Services howard rosenberg, Health Services william Buse, Counseling Services ira rosenblum, Publications Stephen carver, Chief Piano Technician robert ross, Pre-College Division caryn g. doktor, Human Resources nicholas Saunders, Concert Operations Katherine gertson, Registrar Jacqueline Schmidt, Marcus Institute for Vocal Arts donald giordano, Creative Services nona Shengelaia, International Advisement Tunde giwa, Information Technology edward Sien, Foundation and Corporate Relations Tina gonzalez, Financial Aid Benjamin d. Sosland, Historical Performance Scott adair holden, Office Services Martha Sterner, Executive Assistant to the President Katherine hood, Drama Division Tina Swiek , Merchandising danielle la Senna, Evening Division robert Taibbi, Recording ekaterina lawson, Pre-College Division Sabrina Tanbara, Student Affairs david Marcus, Investments helen Taynton, Intern Program and Master Calendar Kent McKay, Production Beth Techow , Health and Counseling Services Teresa McKinney, Educational Outreach Joanna K. Trebelhorn, Orchestral and Ensemble Operations abigail Mohlin , Annual Giving