Thursday Evening, November 16, 2017, at 7:30

The Juilliard School presents Juilliard Pre-College Orchestra Adam Glaser , Conductor Enrique Rodrigues , Violin

DAVID LUDWIG (b. 1974) Fanfare for Sam

SAMUEL BARBER (1910 –81) Concerto for Violin and Orchestra, Op. 14 Allegro Andante Presto in moto perpetuo ENRIQUE RODRIGUES , Violin

Intermission

WOLFGANG AMADEUS MOZART (1756 –91) Overture to Don Giovanni , K. 527

LEONARD BERNSTEIN (1918 –90) Symphonic Dances from Prologue (Allegro moderato) Somewhere (Adagio) Scherzo (Vivace leggiero) Mambo (Presto) Cha-cha (Andantino con grazia) Meeting Scene (Meno mosso) Cool Fugue (Allegretto) Rumble (Molto allegro) Finale (Adagio)

Performance time: approximately 1 hour and 15 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 was sent back without any word—he thought the conductor’s silence meant he (Program notes for this evening’s concert didn’t want to give the premiere. But his dis - were written by students selected from the appointment soon turned to elation when Juilliard Pre-College honors seminar taught he found out that Toscanini not only planned by Ira Taxin and Daniel Ott.) on premiering the Adagio , but that he would be conducting it from memory. That Fanfare for Sam was why the score had been returned—it by Kyrie McIntosh was not needed for the performance!

David Ludwig’s Fanfare for Sam is a cele - The main structure of Fanfare is built upon bration of the shared legacy of the iconic a reoccurring B-flat trumpet call, the first American composer and note of Barber’s . After the Curtis Institute of Music. Both Ludwig the first call one can hear the opening har - and Barber have long histories with the monies of the Adagio embedded in a rough school: Barber entered Curtis at age 14 modern texture. Ludwig adopts melodic where he studied composition, piano, and aspects too: a pastoral section in the mid - voice for eight years, and eventually served dle of the piece uses the essence of as a faculty member; Ludwig currently Barber’s opening melody, but in inversion. teaches composition at the institution and As Ludwig puts it, “the Adagio serves as a his grandfather was the pianist Rudolf musical jumping point, providing material Serkin, who once served as music director. for the surface landscape; in other ways As Ludwig writes in his own program notes the Fanfare lives in great contrast to that for Fanfare : “Barber is a musical hero to me poignantly beautiful work.” Ludwig’s brass- and to so many others that followed in his heavy Fanfare opposes Barber’s luscious footsteps (literally) at the school. To think string sonorities from the beginning. As if that as both student and faculty he walked that weren’t enough, Ludwig inserts a the same halls and took classes and lessons boisterous percussive coda that appears to in the same rooms is humbling, indeed!” be almost a rejection of the Adagio’s tragic and sensitive nature. As a whole, the piece Don’t let the opening of Fanfare for Sam presents a way to transport Barber’s his - fool you. The piece begins with a tradi - toric work and legacy into the contempo - tional A “tune-up,” but takes an unex - rary era and to bridge the history of the pected left-turn when instead of fading Curtis Institute. Toward the end of Fanfare away, it grows in volume and morphs into Ludwig brings back fragments of Barber’s a fiery fanfare. The score draws much of harmonies progressing to a symbolic finish: its musical material arguably from Barber’s “The piece ends on a big C-major chord to most famous and beautiful work, his honor Curtis, where Mr. Barber and I—and Adagio for Strings . The Adagio was once many other appreciative composers— have the second movement of his , had the privilege to call our musical home.” Op. 11, No. 1, but after the movement received a standing ovation mid-performance, Kyrie McIntosh is in his fourth year at Barber decided to orchestrate it. He sent Juilliard Pre-College studying composi - his Adagio to Arturo Toscanini (an Italian tion with Eric Ewazen. He also studies conductor, who rarely programed American piano with Genya Paley at the Kaufman music). Barber was irritated when the score Music Center. The Concerto That Almost Wasn’t was instead worried that the work would by William McGregor not sound as flashy and technically diffi - cult to the audience. He was intrigued to The lovely, intricate melodies and har - hear though that the third movement was monies of Barber’s have to be much more technically advanced. resonated in the hearts and minds of music lovers for decades, yet few know of Finally, in late November the work was com - the unique circumstances surrounding the plete. After looking it over, Briselli claimed composition and premiere. In 1939 a phil - that the third movement did not fit with the anthropist from Philadelphia, Samuel S. beauty of the first two, and said that the work Fels, wanted a composition written for his would not be able to compete with other ward, Iso Briselli, a famous and accom - major concertos of the period. He insisted plished musician. Barber was chosen to that Barber rewrite the third movement, to compose a work for violin and orchestra. give more structure to the overall piece. Briselli and Barber attended the Curtis Barber was dismissive of these ideas and did Institute of Music together, so they had not agree to a rewrite. He was already busy time to get to know one another. Barber with many other commissions and it was asked for a payment of $1,000 for writing no longer a priority for him. Because of the the composition and wanted half of the fee dilemma, Barber wrote a letter to Fels on up front, the other half upon completion. December 14, saying that Briselli was not Briselli gave a deadline to Barber, telling quite interested in the work and that it would him to have the concerto done by January not be performed. Barber then explained that 1940 so it could be performed with the he had already spent the advance and that he Philadelphia Orchestra. Giving himself a could not pay it back, but he also said that he cushion, Barber told Briselli that he would did not have to be paid the remaining $500. have the first two movements submitted by the first of October. The official premiere of the concerto was in February 1941 with violinist Albert Barber began working on the first two Spalding performing with the Philadelphia movements in Switzerland during the Orchestra at Carnegie Hall. It received summer of 1939. However, the impending tremendous praise and was soon per - war in Europe caused him to flee and formed as often as other top 20th-century return to the U.S. He traveled to the concertos. It is remarkable to consider that Pocono Mountains in Pennsylvania to this masterpiece was nearly forgotten. work and he was able to finish the first two movements by mid-October. Although William McGregor is in his ninth year at it was a few weeks after the deadline, Juilliard Pre-College and studies double bass Briselli accepted the movements with with Albert Laszlo. A senior in high school, great happiness, he was pleased with the he lives in Pennsylvania, and coincidentally, beauty he found in them. In mid-November, his school is located in Samuel Barber’s while Barber was working on the finale, hometown of West Chester, Pennsylvania. Briselli showed the first two movements to his teacher and coach, Albert Meiff, Barber’s Violin Concerto who claimed that “the technical embell - by Neerav Kumar ishments are very far from the require - ments of a modern violinist.” Almost dis - Barber ’s Violin Concerto is in three move - missing the beauty of the piece, Meiff ments. Marked by expressive melodies that are masterfully connected, the first dance. The movement vaguely resembles and second movements contrast the more rondo form, but the rondo theme rarely dissonant, virtuosic, third. returns verbatim. Various meter changes that add to the playful, unstable nature of The first movement is in s onata form, with an the music are dispersed throughout. Like exposition, development, and recapitulation. the second movement, each section The exposition opens with a stately first moves seamlessly into the next with the theme using major and minor harmonic excitement of the piece persisting from shifts to add a tinge of sadness. After soar - beginning to end. Compared to the other ing upward with an octave leap to reach two movements, the third seems like it is the climax of the phrase, the solo violin speaking with a different voice, incorporat - releases into a denouement of sevenths. ing more dissonance within each flurry of The clarinet establishes the folk-like sec - notes. The coda is a wild spinning dance, ond theme, highlighting the dotted rhythm with the impending storm finally exploding motif. An energetic transition quiets into at the end. the development section that has two parts: a true development where Barber Neerav Kumar is pursuing his fourth year at modulates and develops rhythmic and Juilliard Pre-College with a major in clarinet melodic motifs, and a section that leads to and a minor in composition under Larry the return of the first theme in the recapit - Guy and Andrew Thomas. He is a senior at ulation. The recapitulation is almost an the Rye Country Day School and founded exact restatement of the exposition, but it Music Measures Inc., a nonprofit organiza - features different instrumentation in the tion to teach music, keyboard, and wind parallel minor. The violin has a short yet instruments at the Boys and Girls Club in emphatic cadenza, which is the climax of Stamford, Connecticut, where he teaches the recapitulation, and the movement ends during the week after school. after a calming coda. Soloistic Considerations in Barber’s Continuing the beautiful, cantabile style, Violin Concerto the second movement is a quintessential by Justin Zeitlinger example of a story told without words. This movement is comprised of a series of Samuel Barber ’s Violin Concerto is a favorite melodies that are cohesively strung together among violinists, and for good reason. It is mimicking a dialogue or a song. The move - very well written, yet contains little of the ment resembles an aria in A-B-A form with flashy technicality that predominates in cadenzas between each section. Like the many violin concertos. Rather, the soloist is first movement, the second movement given lyrical, expansive melodies that twist highlights major-minor harmonic shifts, and turn ever outward, melting into each symbolizing a juxtaposition of hope and other seemingly without end. The challenge despair. But what’s unique about this presented to the violinist therefore is to con - movement is the intertwining of wood - nect the ideas of the opening section into winds and strings in beautiful counterpoint. one long phrase. These ideas are con - trasted with slightly faster and sprightlier The third movement is as intense as the passages before the violin unleashes a flurry second but far more sprightly, sporadic, of rapid scales that launch it into its upper - and furious. While the second movement most register. The highest point of drama for is like a song, the third movement is like the soloist comes in the form of a short and virtuosic cadenza toward the end of the Naoko Tanaka. He has been recognized movement, first jumping over many octaves with numerous awards for his composi - and then coming down in a torrent of fast tions and has been a member of the Pre- passage work. The violin eventually acqui - College Orchestra since 2015. esces, happily playing along to the semplice opening material. The Rushed Composition by Esme Bolucek The solo violin is more brooding and fanci - ful in the second movement, responding to After Le nozze di Figaro ’s enthusiastic the oboe ’s pastoral melody with passion - reception in Prague, Mozart was commis - ate rhapsodic outbursts in the parallel sioned for another opera to be performed minor. When the violin finally concedes to there. He was very happy to oblige, as he the opening melody, it is called upon to uti - was much fonder of his Prague audience lize the maximum of its expressive capabil - than the Vienna crowd. Mozart’s later ities. The solo line works its way up the range works with political undertones, such as of the instrument as the action builds, peak - Figaro , were rather criticized in Vienna, ing in a reprise of the cadenza from the first while praised highly in Prague. Mozart movement. As if exhausted by the drama, expressed his favoring of Prague as he the solo violin plays a soft falling melody and wrote in a letter to one of his closest friends, ends peacefully holding a long E. Gottfried von Jacquin, on January 15 , 1787, “…I was delighted to look upon all these The third movement, which Barber him - people leaping about in sheer delight to the self described as “[ exploiting] the more music of my Figaro , adapted for noisy con - brilliant and virtuosic character of the vio - tredances and waltzes;—for here nothing lin, ” provides a stark contrast to the previ - is discussed but— Figaro , nothing is played, ous two . The tempo marking is Presto in blowed, sung, or listened but— Figaro ; cer - moto perpetuo, meaning “perpetual motion. ” tainly a great honor for me.” Shortly after In fact, the first rest the soloist sees Figaro ’s performance, Mozart returned comes more than 100 measures into the there to premiere his “Prague” Symphony movement. The solo violin plays triplets (No. 38) and Don Giovanni . and alternates between driving scale pat - terns and nimble repeated-note melodies Mozart had been working on Don Giovanni that rise and fall. The coda of the work, for some time prior to its premiere, working which is perhaps the fastest passage in leisurely on significant arias and the big the entire violin literature, transforms the ensemble numbers that hold the piece opening theme into a stunning barrage of together. His final additions and finishing 16th notes that sprint ever upward and touches, however, became somewhat of a culminate in a dazzling arpeggio spanning problem. He kept having to postpone the the violin ’s entire range. This brief move - performance date, as he expressed his worry ment forms an unusual—even a once about the uncertainty of the finishing date of controversial— conclusion, but one that the production in letters to Jacquin: “[15 successfully demonstrates the technical October] … Don Giovanni is now fixed for the prowess of the violin and satisfies the 24th…. [21 October] It was fixed for the need for a virtuosic contrast. 24th, but one of the donne felt ill and it had to be put off again…. [25 October] This is the Justin Zeitlinger is a fifth-year student at 11th day that I have been scribbling this let - Juilliard Pre-College, where he studies ter…the opera will be performed for the first composition with Ira Taxin and violin with time this coming Monday, the 29th….” The overture was written in a hurry. Mozart The melody played by the violins is his dri - was out with friends the night before the ving passion, followed by the frivolity from premiere, when someone reminded him the woodwinds, soon combining to a gal - of the lack of an overture, to which he lant appearance of an orchestral tutti . Mozart responded that it was all there in his head. He brilliantly captures Don Giovanni as both a then went home (perhaps a bit boozy) and suave womanizer and a gallant hero. The reportedly wrote the overture in one sitting, primary voice is tossed back and forth completing it in the early morning hours. between the tutti and the violins: one sym - Unable to finish the score, he only wrote the bolizes the determination and power of the individual parts. Barely copied in time, the Commendatore, the other evokes the capri - music was sight-read at the premiere. ciousness of Don Giovanni. At this point, would anyone still remember the two bru - Esme Bolucek was born in Turkey and tal chords at the opening of the overture? moved to New York at age 13. She is in her With typical Mozartian charm, the overture fourth year at Pre-College studying piano ends on a bright note. This conclusion with Yoheved Kaplinsky. reflects Mozart’s own artistic tastes as well as the sensibility of the listening public at Mozart, Overture to Don Giovann i the time. Eighteenth-century audiences by Huan Zhang preferred tragedies with happy endings.

Every time I sit in an opera house watching At the end of the opera, in Act II, Scene 5, the light in the hall softening, I feel that I Mozart brings back his overture music, and am entering another world. The curtain is we hear the haunting theme again in its still not opened, but it is already quiet entirety. After so much tragedy has elapsed, enough that even a deep breath or a cough the music has a new meaning. As the can make you nervous. Everyone waits. Commendatore utters his menacing words, We wait for the conductor to come to the “Don Giovanni! A cenar teco m ’invitasti!” podium and we wait for the first sound (“Don Giovanni! You invited me to dine with from the orchestra. Like the function of an you!”), the opening notes of the overture overture to its opera, the first chords are so emerge out of the texture, this time re-har - important as they tell us what the mood monized as menacing diminished chords. will be. In Don Giovanni , the blasting, thun - derous D-minor chord, followed by a dra - Mozart masterfully integrates the music matic silence and then a dominant chord, of his overture into the opera. Where the set the tone of the story. It is threatening. opera ends is where the overture begins, Is there any better way to begin the dark and where the overture ends is where the story of a nobleman who seduces the inno - opera begins. The dynamic drops back cent and murders without regret? to piano , and the curtain rises on Don Giovanni’s servant Leporello in the middle Soon after the crashing chords, the music of an amorous adventure with his master drops to piano and begins to creep along. and contemplating the fate which makes Out of this texture, the flute begins to play him a servant to such a restless and dan - a demonic scale, creating an ominous gerous man. atmosphere. After the brooding introduc - tion, the music transitions to the sonata- Huan Zhang is a senior studying piano with allegro form. We begin to hear eighth notes Victoria Mushkatkol in Juilliard Pre-College, and the music becomes increasingly ener - and greatly appreciates how music con - getic, ushering in Don Giovanni’s character. nects people from different backgrounds. In addition to music, she enjoys reading founder of the Jets, a white gang, and and calligraphy. Bernardo, Maria’s older brother, is the leader of the rival Puerto Rican gang, the It Takes Four to Mambo Sharks. Tony and Maria meet at a dance by Chelsea Guo one evening and find themselves falling for each other and initiating the story’s inevitable Ask anyone familiar with West Side Story tragedy. During the development of this and they’ll tell you it is a masterpiece, a land - production, the rivalry was not just happen - mark of American musical theater. Together ing onstage. Robbins used method-acting with the brilliant director/choreographer techniques then new to musical theater, Jerome Robbins, book writer Arthur Laurents, manipulating the actors playing the gang and fledgling lyricist Stephen Sondheim, members into despising each other. In takes the audience into rehearsals, they were not allowed to sit a then-modern version of the timeless love together, and they were reprimanded for story based on Shakespeare’s Romeo and speaking to each other. The rivalry between Juliet . Bernstein and Robbins had worked the gangs echoes the racial strife of the together on the ballet Fancy Free and the era as many Puerto Ricans were emigrat - musical On the Town . Bernstein ’s original ing and arriving in New York. “That kind of intent was to partner with Betty Comden bigotry and prejudice was very much in the and Alan Green, the musical comedy duo air,” said Laurents. “It’s really, ‘How can who had worked with him as lyricists for love survive in a violent world of preju - On the Town ; however, the two had dice?’ That’s what it’s about.” already contracted to work on projects in Hollywood, leaving the team on the hunt Chelsea Guo is a 16-year-old double major for a lyricist. Laurents had previously seen in piano and voice at Juilliard Pre-College an audition for the show Saturday Night where she studies with Hung-Kuan Chen where Sondheim was the composer/lyricist. and Lorraine Nubar. She is a scholar of the So naturally, when the two met at a party, Lang Lang International Music Foundation Laurents convinced the young Sondheim as well as a scholarship recipient of the to audition for Bernstein. At first Sondheim U.S. Chopin Foundation, and deeply appre - was reluctant to only write lyrics and not ciates great music and great food. be able to compose the music, but he ended up taking the position for the oppor - Symphonic Dances from West Side Story tunity to work with the great maestro. by Michael Gaspari West Side Story was the vehicle that gave Sondheim and Robbins, then relatively Leonard Bernstein’s Symphonic Dances is unknown, the reputation they hold today a suite of nine music selections from his as supreme creative artists in the world of groundbreaking musical West Side Story . musical theater. Bernstein was a brilliant composer and conductor with a profound understanding Unlike Shakespeare’s story of forbidden of musical genres and was able to fuse love set in Verona, West Side Story takes classical, jazz , and pop styles into his place in on our very own score. These mixed-genre sounds are what Upper West Side during the 1950s. This make Symphonic Dances so special and fresh interpretation of the classic tale fun to listen to and perform. focuses on the love affair between Tony, an American of Italian descent, and Maria, The suite opens with the signature alto a Puerto Rican immigrant. Tony is a saxophone theme and goes directly into the Prologue . In describing the process of cre - The for Symphonic Dances is ating a suite from the show’s musical scenes, colorful and unique. In addition to the stan - Bernstein’s orchestrator Sid Ramin said, “The dard orchestra, there are unusual auxiliary order of the rest of the material in the suite is instruments such as the aforementioned based on feel rather than on the plot of the saxophone, as well as the E-flat (or piccolo) show.” However, from the Prologue through clarinet, a jazz drum set, and a host of Latin the dance numbers Mambo and Cha-Cha percussion, including gourds, maracas, conga through the end sequences of Cool , Rumble , drums, cowbells, and police whistles. All of and Finale , Symphonic Dances generally fol - these instruments contribute to the setting lows the outline of the story. and mood of the music and are seamlessly integrated by Bernstein, who used his eclec - Jazz plays a significant factor in Symphonic tic background and particular genius to give Dances . A strong feature of jazz is the use the work great cohesion. of “blue notes,” such as the flatted-seventh, particularly in dominant chords, and the Michael Gaspari is a fifth-year student at flatted-fifth, otherwise known as the tri - Juilliard Pre-College, where he studies tone. The famous opening signature theme composition with Ira Taxin and piano with prominently features the tritone, and indeed Ernest Baretta. He is interested in film gives it its special “blue note” effect. music, multimedia works, and mixed-genre Bernstein was bold and imaginative in his styles, and is currently producing an album use of these evocative “blue” intervals. of his own electronic compositions.

Meet the Artists Arts in Michigan and serves as artistic advisor for Long Island’s Usdan Center for the Arts.

Mr. Glaser’s guest conducting highlights include a nine-concert residency with the Symphonia Boca Raton, a last-minute walk-on with the Illinois Symphony Orchestra, and appearances with the Victoria Symphony in Adam Glaser Canada, Wheeling Symphony Orchestra, Adam Glaser is equally at home in the core Massapequa Philharmonic, Livingston Sym - symphonic and operatic repertoire as well phony Orchestra, NAfME All-Eastern Honors as contemporary and pops. His most recent Orchestra, Connecticut All-State Honors appointments include two newly created Orchestra, and the orchestras of the Curtis positions: principal conductor of the NYU Institute of Music and University of Michigan. orchestras and an expanded role as music director of the professional-caliber Juilliard An established composer, Mr. Glaser has Pre-College orchestras, which he has con - enjoyed performances of his works by ducted in more than 50 programs at Lincoln more than 25 orchestras throughout the Center. As the director of orchestras at Long U.S. and Canada, including the Philadelphia Island’s Hofstra University, Mr. Glaser con - Orchestra, National Symphony Orchestra, ducts the Hofstra Symphony Orchestra and Vancouver Symphony Orchestra, and Toronto Hofstra Chamber Orchestra, and teaches Symphony Orchestra. A lifelong jazz pianis t graduate-level seminars in score analysis. In and songwriter, he is a founding member the summer he conducts the Interlochen of Phil Orch Jazz comprised of members of Philharmonic at the Interlochen Center for the the Philadelphia Orchestra. Mr. Glaser has received awards from the President’s Award for excellence in acade - Hermitage Artist Retreat and the American- mic achievements. He studies under Hyo Austrian Foundation, whose Karajan Fellow - Kang and I-Hao Lee at Juilliard Pre-College ship for Young Conductors sponsored his and is a recipient of gold medals at the residence at the Salzburg Festival and the New Jersey ASTA Competition, NJMTA Vienna Philharmonic’s Attergau Orchestra Competition, Shining Stars Soloists, and the Institute. He completed his graduate stud - Golden Key Music Festival; and has per - ies in orchestral conducting at the Curtis formed as a soloist with the Bravura Phil- Institute of Music where he was a student harmonic Orchestra, Lansdown e Sym phony of Otto-Werner Mueller, and at the University Orchestra, and Sinfonietta Nova Orchestra. of Michigan where he studied with Kenneth In 2015 and 2017 Enrique performed at the Kiesler. He earned an MBA from the Ross Starling-DeLay violin symposium and has School of Business at the University of appeared internationally at Moscow’s Central Michigan, a diploma in composition from Music School and at the Liszt School of Juilliard Pre-College, and is a magna cum Music in Weimar, Germany. When he grad - laude graduate of the University of Penn- uated from middle school in 2016, Enrique sylvania’s College of Arts and Sciences. was recognized by the New Jersey De- (adamglaser.com) partmen t of Education for his outstanding performance in both academics and music. He spends his time and talent trying to make this world a better place and performs at assisted living centers and veteran’s homes. In an effort to nurture and inspire a love for Enrique classical music in young school children, Rodrigues Enrique is the regional assistant director for Northern New Jersey in the Back to BACH Fifteen-year-old violinist Enrique Rodrigues project with fellow colleagues from Juilliard. is a student at Fair Lawn High School in New Enrique Rodrigues is the recipient of the Jersey where he is the recipient of the Jason and Susanna Berger Scholarship.

About the Juilliard program includes instruction in a chosen major, academic study of music, and solo Pre-College Division and ensemble performances. Recognizing the importance of early development and Pre-College Division discipline in the music field, the Program One of the foremost music preparatory provides a caring, collaborative, and chal - programs in the world, the Juilliard Pre- lenging atmosphere where artistic gifts College Division educates today’s most and technical skills can flourish. promising young artists. Established in 1916 as the Preparatory Center, the Pre- Pre-College Orchestra College Division at Juilliard offers a com - The Juilliard Pre-College Orchestra is one plete curriculum of music instruction for of the Pre-College Division’s three age- highly gifted children up to age 18. Students based orchestras. With an average age of attend Juilliard every Saturday for 30 weeks just over 17, the orchestra rehearses during the school year for an individualized weekly and presents three concerts each course of instruction carefully designed to season. As a leading youth orchestra train - meet their particular needs. The selective ing program, the division strives to prepare its members for the rigorous demands and works from varied composers, musical styles expectations of conservatory and college and genres. Every orchestra concert fea - orchestral programs by offering workshops tures a concerto, providing an important and readings led by renowned guest con - opportunity to a student soloist, many of ductors and prominent professional orches - whom go on to important careers. Included tral musicians. The Pre-College orchestras among them are Han-Na Chang, Pamela draw upon the significant resource of the Frank, Gil Shaham, Joseph Lin, Yo-Yo Ma, College Division’s students by employing Jon Manasse, Roberto Minczuk, Conrad them as mentors to work alongside the Tao, and Joyce Yang. In the 2017–18 sea - Pre-College students. The repertoire is guided son, the Pre-College Orchestra is led by by a progressive curriculum beginning with Adam Glaser and Robert Spano. Past con - the youngest String Ensemble and continu - ductors have included James Conlon, Alan ing through the Symphony and Orchestra, Gilbert, Miguel Harth-Bedoya, Itzhak Perlman, ensuring that all students have exposure to Leonard Slatkin, and Joshua Weilerstein.

Administration Yoheved Kaplinsky, Artistic Katya Lawson, Director of Sarah Narhi, Performance Director Admissions and Academic Activities Coordinator Robert Ross, Senior Director Affairs Cassandra Mueller, Anna Royzman, Director of Administrative Assistant Performance Activities Pre-College Orchestra Violin Cello Clarinet Tuba Lucy Frucht, Gloria Kim, Principal Elynn Chang Deandre Desir Concertmaster Clara Abel Annie Huang Oliver Neubauer, Marco Biaggio Neerav Kumar Timpani Principal Anthony Choi Camillo Lin Jacob Borden Sarah Busse Ryan Chung Erica Wu Joshua Park Claire Cai Aviva Frost Xingyue Xue Cameron Chase Madison Howard E-flat Clarinet Eric Chen Cheyoon Lee Erica Wu Percussion Qingyu Chen Han Lee Jacob Borden Julia Chin Daniel Ma Bass Clarinet Joshua Park Annett Ho Dawn Song Elynn Chang Evan Saddler Joseph Hsia Charlotte Whatley Christian Santos Janet Hsu Charles Zandieh Alto Saxophone Lucas Vogelman Mieu Imai Lluc Casares Xingyue Xue Alyssa Kim Double Bass Dawn Kim William McGregor, Bassoon Harp David Kwak Principal Thomas English Deanna Cirielli Nathan Meltzer Sami Ahn Faraz Khan Kyung Ji Min Max Chan Megan Neuman Celesta Kenneth Naito Patrick Curtis Michelle Xing Dai Liang Clara Neubauer Lindsay Donat Amy Oh Ross Engelmyer Contrabassoon Piano Daniel Seog Jinwoo Kim Faraz Khan Dai Liang Yun Shan Tai Justin Smith* Sean Takada William Swett French Horn Orchestra Manager Anna Wei Benjamin Edelson Wyeth Aleksei Annalisa Welinder Flute August Haller Mark Xu Yiding Chen Elijah John-Burnley Orchestra Librarians Megan Yao Audrey Emata Clare Phelps Michael McCoy, Hyo Jung Yoon Shuangyu Han Yajur Sriraman Principal Librarian Sea Yoon Alexander Tsai Sheng-Mu Amber Timothy Chen * Justin Zeitlinger Kaylee Wang Wang Jake Darnell Yanguang Zhang Kevin Zhu Piccolo Trumpet Italics indicate an Yiding Chen James Haddad Orchestra Mentor Viola Audrey Emata Miles Keingstein from the Juilliard Juliet Duguid, Principal Shuangyu Han Matthew Sidler College Division Rowan Bauman Swain Alexandra Hong Oboe Trombone * Pre-College alum Jonathan Huang Alexander Bound Yaoji Giuseppe Fu Sean Juhl Jeremy Chen Angela Prictoe Hannah Lee Molly Goldberg Anthony Ruocco David Padilla Ruth Lipskar Jikun Qin Bass Trombone David Ramirez English Horn Zachary Neikens Kiley Rowe Jeremy Chen Elijah Spies Molly Goldberg Pre-College Performance Calendar 2017–18

Pre-College Orchestra Thursday, November 16, 2017, 7:30pm • Alice Tully Hall Adam Glaser, Conductor DAVID LUDWIG Fanfare for Sam BARBER Concerto for Violin and Orchestra, Op. 14 MOZART Overture to Don Giovanni, K. 527 BERNSTEIN Symphonic Dances from West Side Story Free tickets required

Saturday, February 17, 2018, 7:30pm • Peter Jay Sharp Theater Robert Spano, Conductor STRAUSS Don Juan, Op. 20 LISZT No. 1 in E-flat Major, S. 124 BEETHOVEN Symphony No. 7 in A Major, Op. 92

Saturday, May 19, 2018, 7:30pm • Peter Jay Sharp Theater Adam Glaser, Conductor WAGNER Overture to Tannhäuser HAYDN No. 2 in D Major, Hob. VIIb:2 LIADOV The Enchanted Lake, Op. 62 RAVEL Daphnis et Chloé, Suite No. 2

Pre-College String Ensemble Saturday, December 16, 2017, 4:30pm • Peter Jay Sharp Theater Jane H. Kim, Conductor MOZART Divertimento in F Major, K. 138 BORODIN Nocturne from String Quartet No. 2 MENDELSSOHN String Symphony No. 7 in D Minor COPLAND “Hoe-Down” from Rodeo

Saturday, April 28, 2018 at 4:30pm • Peter Jay Sharp Theater Jane H. Kim, Conductor HAYDN Overture to Il mondo della luna, Hob. XXVIII:7 GRIEG “Anitra’s Dance” from Peer Gynt, Op. 23 GLUCK “Dance of the Furies” from Orfeo ed Euridice MENDELSSOHN Capriccio Brillant in B Minor, Op. 22 BEETHOVEN Symphony No. 2 in D Major, Op. 36

Pre-College Choruses Saturday, January 20, 2018, 1:30pm (Youth Chorus) • Paul Hall Saturday, May 5, 2018, 1:30pm (Youth Chorus) • Paul Hall Esther Liu Harris, Conductor

Saturday, May 5, 2018, 6pm (High School Chorus) • Paul Hall Patrick Romano, Conductor

Solo Recitals Weekly in Paul Hall and Morse Hall

Pre-College Symphony Saturday, December 16, 2017, 7:30pm • Peter Jay Sharp Theater Adam Glaser, Conductor KABALEVSKY Overture to Colas Breugnon, Op. 24 MENDELSSOHN Violin Concerto in E Minor, Op. 64 BEETHOVEN Symphony No. 5 in C Minor, Op. 67

Saturday, February 24, 2018, 7:30pm • Peter Jay Sharp Theater Adam Glaser, Conductor SIBELIUS Finlandia MOZART Piano Concerto No. 21 in C Major, K. 467 HUMPERDINCK Prelude to Hansel and Gretel LISZT Les preludes, S. 97

Saturday, May 19, 2018, 4:30pm • Peter Jay Sharp Theater George Stelluto, Conductor VERDI Overture to La forza del destino TBD Concerto determined by competition SCHUMANN Symphony No. 2 in C Major, Op. 61

Pre-College Chamber Music Saturday, December 9, 2017, 7pm • Willson Theater Saturday, December 16, 2017, 6pm • Willson Theater Tuesday, January 9, 2018, 7:30pm • Paul Hall (presented as part of Juilliard’s ChamberFest; free tickets required) Saturday, January 20, 2018, 6pm • Willson Theater Saturday, April 7, 2018, 7pm • Willson Theater Saturday, April 28, 2018, 7pm • Willson Theater Saturday, May 5, 2018, 12 to 7pm • Willson Theater (Chamber Marathon Part I ) Saturday, May 12, 2018, 4 to 7pm • Willson Theater (Chamber Marathon Part II) Wednesday, May 16, 2018, 1pm • Alice Tully Hall Additional chamber music concerts are performed throughout the year in Paul and Morse Halls

Pre-College Opera Scenes Saturday, April 14, 2018, 2pm • Paul Hall

Pre-College Percussion Ensemble Saturday, December 9, 2017, 6:30pm • Room 309 Jonathan Haas, Conductor

Saturday, May 5, 2018, 6:30pm • Room 309 Pablo Rieppi, Conductor

For a complete listing of Juilliard Pre-College performances, please visit events.juilliard.edu ALL CONCERTS ARE FREE No tickets required unless noted • Information subject to change • (212) 799-5000 ext. 241

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 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 Enrollment Management and Student Development Laura Linney Sarah Billinghurst Solomon Joan D. Warren, Vice President William E.“Wes” Stricker, MD 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, Chief Information Officer Office of the President 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 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 t is all of Juilliard—includiing you. n o p r e i P

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To make a gift to the Juilliard Scholarship Fund, please call y b b

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(212) 799799-5000,5000 ext.t 278278, or visiti it giving.jui i juilliard.edu/scholarship.illi d d / h l hi t o h P