Saturday Evening, February 17, 2018, at 7:30

The Juilliard School presents Handel in Rome

Juilliard415 and Vox Luminis Elizabeth Blumenstock , Concertmaster Lionel Meunier , Artistic Director, Vox Luminis Sarah Jane Kenner , Violin Anneliese Klenetsky , Soprano

GEORGE FRIDERIC HANDEL (1685–1759) Nisi Dominus , HWV 238 Nisi Dominus Vanum est vobis Cum dederit dilectis Sicut sagittae Beatus vir Gloria Patri

HANDEL Violin Concerto in B-flat major, HWV 288 Andante Adagio Allegro SARAH JANE KENNER, Violin

Intermission

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

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. HANDEL Laudate pueri Dominum , HWV 237 Laudate pueri Sit nomen Domini A solis ortu Excelsus super omnes Quis sicut Dominus Suscitans a terra inopem Qui habitare facit Gloria Patri ANNELIESE KLENETSKY, Soprano

HANDEL Dixit Dominus , HWV 232 Dixit Dominus Virgam virtutis Tecum principium Juravit Dominus Tu es sacerdos in aeternum Dominus a dextris tuis Judicabit in nationibus De torrente in via bibet Gloria Patri

Performance time: approximately 1 hour, 40 minutes, including one intermission

Vox Luminis is grateful for the support from Wallonie-Bruxelles International for their U.S. tour and is represented exclusively in North America by Alliance Artist Management, 5030 Broadway, Suite 812, New York, NY 10034

Notes on the Program toward music. Our composer nonetheless smuggled a small clavichord into the fam - by James M. Keller ily’s attic and developed privately into an accomplished keyboard player. Once his tal - GEORGE FRIDERIC HANDEL ent became publicly known, the duke of Born February 23, 1685, in Halle, Saxony Saxe-Weissenfels urged Handel Sr. to allow (Germany) the gifted son to study music properly. Died April 14, 1759, in London, England Handel refined his abilities under the tute - lage of a church organist in his native city, Not much is known with certainty about acquiring skill not only as a keyboard player Handel’s formative years. His father, a but also as a violinist and in such disciplines respected barber-surgeon, was 63 years as harmony, counterpoint, and composition. old when George was born. (He was bap - tized under the name Georg Friederich When Handel entered Halle University in Händel, but he later adopted an anglicized 1702, he apparently did so as a law stu - version of his name, George Frideric Handel, dent. Within a month he was back in the which is generally used today in English- organ loft, this time at the local Calvinist speaking lands.) The father decided that Cathedral, though he was a baptized the son should study law and therefore did Lutheran. A year later, in 1703, he left for not encourage Handel’s early inclinations the musical capital of Hamburg, where he befriended Georg Phillip Telemann (then Nearly all of Handel’s Latin church music still a student) and gained a position in the dates from 1707, when he was living in municipal opera house, initially as a second Rome surrounded by ecclesiastical person - violinist, later as a harpsichordist. He vis - ages. His motet Nisi Dominus (HWV 238) ited the aging Dieterich Buxtehude in and Laudate pueri Dominum (HWV 237) nearby Lübeck but somehow managed to were almost certainly written for the Feast miss meeting Johann Sebastian Bach, his of Our Lady of Mount Carmel (Madonna exact contemporary, not only in those early del Carmine) at the Church of Santa Maria years but, indeed, at any point in his life. di Monte Santo in Rome, which was cele - brated through a Vespers service on July 15, By 1706, at the age of 21, he was off to 1707, a Mass on July 16, and another Italy, a magnet for any composer at the Vespers later on July 16. Cardinal Colonna turn of the 18th century. It was his base of and Marchese Ruspoli were major patrons operations from late 1706 through early of the Carmelite order, and the former was 1710, during which span he spent time in especially active underwriting special Florence, Rome, Venice, and Naples. He music for the order’s festivities. The motet arrived in Rome at the beginning of 1707, Dixit Dominus (HWV 232) probably relates and that is where we encounter him in this to the same ceremonies, but its associa - concert. It was an exciting place to be, a tion is less certain. Handel composed it in city of some 125,000 residents encom - April 1707, perhaps for a separate occa - passing, on one hand, desperate poverty sion; but, even in that case, it seems likely and rampant crime and, on the other, fan - that it may have also been performed, if tastic wealth that extended to a plethora of not premiered, at the Carmelite celebra - aristocratic palaces and the unbelievable tion. Each of the Vespers services required splendor of the Vatican. Handel (or the singing of five psalms; lavish settings “Endel,” as Italian sources sometimes (such as the 1707 feast) would include identified him, doing their best phoneti - polyphonic psalm settings, while more cally) was welcomed into the cultural cir - modest venues might realize them at least cles of four highly placed personages in mostly through chant. Handel’s extant particular: Cardinal Pietro Ottoboni (whose psalm settings line up remarkably well maestro di concerto was Arcangelo with the musical exigencies of the 1707 Corelli), Cardinal Benedetto Pamphilj (or Carmelite services, where they likely Pamphilii, or Panfili), Cardinal Carlo Colonna, would have been intermingled with set - and the Marchese (Marquis) Francesco tings by other composers. Maria Ruspoli. He became acquainted with such musical eminences as Corelli, Handel had an extraordinary ability to Alessandro Scarlatti, and Domenico Scarlatti absorb disparate regional styles and refract (visiting from Madrid), and was thoroughly them through the distinctive prism of his exposed to the latest trends in church personal voice. An Italianate sound cer - composition as well as the new concerto tainly informs all the pieces on this pro - grosso techniques of Corelli, Torelli, and gram, yet they also sound very much like Vivaldi. Handel left Italy in February 1710, Handel, memorable in rhythmic and melodic worked for a while in Hanover, and in outlines, imaginative in deployment of August 1710 traveled for the first time to voices and instruments, filled with specific England, where he would soon settle for character and musical surprise. The three the remainder of his illustrious career. motets require different forces. Nisi Dominus , a setting of Psalm 127 (or 126 in manuscript titled S onata a 5 , scored for the Vulgate numbering) is scored for three solo violin, two oboes (easily doubled with vocal soloists (contralto, tenor, and bass), “orchestral” violins), viola, and basso con - chorus, strings (including solo violin in one tinuo. This work has obscure origins. It aria), with basso continuo. Handel signed was quite possibly written in Italy, perhaps off on the piece on July 8, 1707. The in Florence or Venice in 1706 or 1707, per - work’s final doxology was thought destroyed haps in Rome. Though the piece is rarely in a fire in the 19th century, but it is now heard in this form, its first movement may widely believed that the doxology setting sound familiar. Handel, an inveterate recy - intended for this work is one Handel com - cler of his compositions, also employed it posed that expands the texture to a double in his Oboe Concerto “No. 2” in B-flat chorus and double string orchestra. major (perhaps a spurious work), in his Chandos Anthem No. 5 (1717–18), in the Laudate pueri (Psalm 113; Vulgate 112) is first of his 7 Sonatas for 2 Violins (or for strings plus two oboes (which operate German Flutes), Op. 5 (published in 1739), as an independent instrumental family and, in developed form, in the oratorio rather than just doubling the violins), a four- Belshazzar (1745). Such self-borrowing part chorus, and a florid solo soprano part, was common in Handel’s vocal music, too. in addition to basso continuo. This work The Dixit Dominus , for example, furnished was completed on July 13—really down to music he later used in his oratorio Deborah the deadline. Dixit Dominus (Psalm 110; (1733), and the Qui habitare fecit move - Vulgate 109) is the most imposing of these ment in Laudate pueri invites us to think motets, and although it was composed ahead to the famous aria “Oh, had I Jubal’s three months prior to the Carmelite cele - lyre” in his oratorio Joshua (1748). brations (it is said to be Handel’s earliest Repurposing of that sort was common surviving manuscript that can be defini - among many late-Baroque composers, but tively dated), it would have been a perfect in Handel’s case, it is remarkable how eas - choice to launch the Second Vespers (the ily music penned during his journeyman spot where the Dixit Dominus text falls), years in Italy could be fit into the pieces he which characteristically began with a par - composed many years later—a reflection ticularly elaborate musical selection. Here of the exceptional mastery he had already Handel requires five soloists (two sopra - achieved as an emerging composer in his nos, contralto, tenor, and bass), five-part early 20s. chorus, strings, and basso continuo, which are woven into a sequence of constantly James M. Keller is program annotator of the varying textures. New York Philharmonic (The Leni and Peter May Chair) and the San Francisco Symphony, Handel’s autograph of the Violin Concerto and is the author of the book Chamber Music: in B-flat major comes down to us in a A Listener’s Guide (Oxford University Press). Texts and Translations

Nisi Dominus Text: Psalm 127 (126)

Soloists and Chorus Nisi Dominus aedificaverit domum, in Except the Lord build the house: vanum laboraverunt qui aedificant eam. their labor is but lost that build it Nisi Dominus custodierit civitatem, frustra Except the Lord keep the city: vigilat qui custodit eam. the watchman waketh but in vain.

Tenor Aria Vanum est vobis ante lucem surgere, It is but lost labor that ye haste to rise up early, surgite postquam sederitis, and so late take rest, qui manducatis panem doloris. and eat the bread of carefulness.

Countertenor Aria Cum dederit dilectis suis somnum: For so he giveth his beloved sleep. ecce haereditas Domini, Lo, children and the fruit of the womb: Filii, merces fructus ventris. are an heritage and gift that cometh of the Lord.

Bass Aria Sicut sagittae in manu potentis: Like as the arrows in the hand of the giant: ita Filii excussorum. even so are the young children.

Tenor Aria Beatus vir qui implevit desiderium suum Happy is the man that hath his quiver full ex ipsis, of them: non confundetur cum loquetur inimicis they shall not be ashamed when they suis in porta. speak with their enemies in the gate.

Chorus Gloria Patri, et Filio, Glory be to the Father, and to the Son, et Spiritui Sando, and to the Holy Ghost: Sicut erat in principia, et nunc, et semper, As it was in the beginning is now, and forever: et in saecula saeculorum. Amen. world without end. Amen.

Laudate pueri Dominum Text: Psalm 113 (112)

Laudate pueri Dominum Praise, o ye servants of the Lord, Laudate nomen Domini. Praise the name of the Lord. Sit nomen Domini benedictum ex hoc Blessed be the name of the Lord nunc et usque in saeculum. From this time forth and for evermore.

A solis ortu usque ad occasum From the rising of the sun unto the going down laudabile nomen Domini. Of the same the Lord’s name is to be praised.

Excelsus super omnes gentes Dominus The Lord is high above all nations, et super coelos gloria ejus. And his glory above the heavens.

Quis sicut Dominus Deus noster, Who is like unto the Lord our God, qui in altis habitat, Who dwells on high? et humilia Who humbles himself respicit in coelo to behold the works in heaven, et in terra? and on the earth?

Suscitans a terra inopem, He raises up the poor out of the dust, et de stercore erigens pauperem; and lifts the needy out of the dunghill; Ut collecet eum cum principibus, that he may set him with princes, cum principibus populi sui. even with the princes of his people.

Qui habitare facit sterilem in domo, He makes the barren woman to keep house, matrem filiorum laetantem. and to be a joyful mother of children.

Gloria Patri, et Filio, Glory be to the Father, and to the Son, et Spiritui Sando, and to the Holy Ghost: Sicut erat in principia, et nunc, et semper, As it was in the beginning is now, and forever: et in saecula saeculorum. Amen. world without end. Amen.

Dixit Dominus Text: Psalm 110 (109)

Chorus Dixit Dominus Domino meo: The Lord said unto my Lord: sede a dextris meis, Sit thou on my right hand, donec ponam inimicos tuos until I make thine enemies scabellum pedum tuorum. thy footstool.

Alto Aria Virgam virtutis tuae emittet The Lord shall send the rod of Dominus ex sion: thy power out of Sion: dominare in medio be thou ruler, inimicorum tuorum. even in the midst among thine enemies. Soprano Aria Tecun, principium In the day of thy power in die virtutis tuae shall the people offer thee free will offerings in splendoribus sanctorum: with an holy worship. ex utero ante luciferum The dew of thy birth is of the womb genui te. of the morning.

Chorus Juravit Dominus, The Lord swore, et non poenitebit eum. and will not repent:

Chorus Tu es sacerdos in aeternum, Thou art a priest for ever secundum ordinem Melchisedech. after the order of Melchisedech.

Chorus and Soloists Dominus a dextris tuis confregit The Lord upon thy right hand, in die irae suae reges. shall wound even kings in the day of his wrath. Chorus Judicabit in nationibus,i He shall judge the nations, implebit ruinas; fill the places with destruction, conquassabit capita and shatter the skulls in terra multorum. in many lands.

Soprano Duet and Chorus De torrente in via bibet: He shall drink of the brook in the way, propterea exaltabit caput. therefore shall he lift up his head.

Chorus Gloria Patri, et Filio, Glory be to the Father, and to the Son, et Spiritui Sando, and to the Holy Ghost: Sicut erat in principia, et nunc, et semper, As it was in the beginning is now, and forever: et in saecula saeculorum. Amen. world without end. Amen. Meet the Artists ensures its international reputation. Being passionate about music from a very young age, he started his musical education in the city of Clamecy (France) with the trumpet, recorder, and solfège. Mr. Meunier then continued his studies at Institut Supérieur Elizabeth de Musique et de Pédagogie (the Superior Blumenstock Institute of Music and Pedagogy) in Namur where he earned his degree in recorder Elizabeth Blumenstock is a long time con - with great distinction. He took classes from certmaster, soloist, and leader of the San Tatiana Babut du Marès and Hugo Reyne Francisco Bay Area’s Philharmonia Baroque and master classes with Jean Tubéry. He and American Bach Soloists, concertmas - then focused his attention on vocal studies ter of the International Handel Festival in with Rita Dams and Peter Kooij at the Royal Göttingen, Germany, and artistic director of Conservatory of the Hague. At the same the Corona del Mar Baroque Music time he started a career as a concert musi - Festival. Her devotion to playing chamber cian and was soon in great demand as a music has led to her work with accom - soloist and joined leading ensembles plished smaller ensembles including Musica including the Collegium Vocale Ghent Pacifica, Galax Quartet, Ensemble Mirable, (Herreweghe), World Youth Choir, Arsys Live Oak Baroque, and Voices of Music. Bourgogne (Cao), Amsterdam Baroque Ms. Blumenstock joined the faculty of Choir (Koopmann), the Chamber Choir of Juilliard’s Historical Performance program Namur, the Favoriti de la Fenice (Tubéry), last year and also teaches at the San the Soloists of the Chamber Choir of Francisco Conservatory of Music, American Namur, Cappella Pratensis (Bull), and the Bach Soloists’ summer Festival and Aca- soloists of the Dutch Bach Vereniging (Van demy, International Baroque Institute at Veldhoven). Over the past two years Mr. Longy, and the Valley of the Moon Music Meunier has been increasingly in demand Festival. She plays a 1660 Andrea Guarneri from many ensembles throughout Europe violin built in Cremona, Italy, on generous as coach, conductor, and artistic leader. loan to her from the Philharmonia Baroque His passionate yet thoughtful approach to Period Instrument Trust. the early music and a cappella repertoire, combined with the understanding of and respect for the singers, has allowed him to achieve progressively higher stan - dards. Moreover, he is jury member for many international festivals and competi - tions. In 2013 he was given the title of Lionel Meunier Namur Person of the Year for Culture. Along with Vox Luminis, he regularly Lionel Meunier is musician and singer, and offers master classes, coaching sessions, founder of Vox Luminis, early music vocal and conferences on the repertoire from ensemble (2004). He is conductor and the end of the Renaissance period and artistic director for Vox Luminis and the Baroque period. B.M. from Temple University’s Boyer College of Music where she studied with Hirono Oka,

E and earned an M.M. from the Manhattan D A L

S School of Music as a student of Lucie Robert.

N A H

T Sarah Jane A N O

J Kenner

A native of New Rochelle, New York, violin - ist Sarah Jane Kenner began her baroque violin studies with Leah Nelson and is a Anneliese graduate diploma candidate at Juilliard Klenetsky studying with Cynthia Roberts and Elizabeth Blumenstock. As a member of Juilliard415, Soprano Anneliese Klenetsky of Edison, she has been concertmaster and principal New Jersey, is a first-year master’s stu - second violin, performed as a concertino dent at Juilliard where she studies with soloist, and toured the U.S., Holland, India, Sanford Sylvan. Her most recent opera and New Zealand. She has also been con - repertoire includes the Governess in certmaster of the Manhattan School of Britten’s The Turn of the Screw at the Music Chamber Sinfonia and the Texas Chautauqua Institute, Amaranta in Haydn’s Music Festival Orchestra, and held princi - La fedeltà premiata , and Un Pâtre in pal positions in the Temple University Ravel’s L’enfant et les sortilèges at Symphony Orchestra. Ms. Kenner has wo n Juilliard. A lover of new music, she most competitions on baroque violin at the recently premiered Theo Chandler’s Songs Manhattan School of Music and at Juilliard. for Brooches with the Juilliard Orchestra at In addition to regular performances with Alice Tully Hall as well as Jake Landau’s Juilliard415 at Alice Tully Hall, Ms. Kenner Les danseuses de Pigalle at New York Live has also appeared at Carnegie Hall and Arts. Ms. Klenetsky received her B.M. at David Geffen Hall in New York and at Juilliard in 2017. Allen and Judy Brick Philadelphia’s Kimmel Center. She holds a Freedman Scholarship, Juilliard Scholarship

Juilliard415

Violin I Viola I Oboe Elizabeth Blumenstock Keats Dieffenbach Andrew Blanke Sarah Jane Kenner Naomi Dumas Luke Conklin Rachell Ellen Wong Ethan Lin Viola II Bassoon Annie Gard Danika Paskvan Joseph Jones

Violin II Cello Harpsichord Alana Youssefian Morgan Little Francis Yun Chiara Fasani Stauffer Ana Kim Ruiqi Ren Matt Zucker Organ Ji Soo Choi Caitlyn Koester Bass Hugo Abraham Vox Luminis Lionel Meunier , Artistic Director

Sopranos Altos Tenors Basses Victoria Cassano Alexander Chance Robert F. Buckland Lionel Meunier Zsuzsi Tóth Jan Kullmann Philippe Froeliger Sebastian Y. Myrus Stefanie True Caroline Weynants

Vox Luminis Tivoli Vredenburg in Utrecht have also wel - Vox Luminis is a Belgian early music comed Vox Luminis over recent seasons. ensemble created in 2004 by its artistic Vox Luminis has held residencies at the director, Lionel Meunier. Today the ensem - Abbey of Sainte-Marie-des-Dames, the ble performs more than 60 concerts a year, Centre for Fine Arts in Brussels, the appearing on stages across Europe and Festival of Early Music in Utrecht, and the around the world. The size and composi - Musique et Mémoire Festival. In 2017 tion of the group depends on the repertoire England’s Aldeburgh Festival hosted the being performed, but the core of soloists, ensemble for the first time and the ensem - mostly from the Royal Conservatory of the ble participated in many major international Hague, is frequently joined by a continuo events, in particular, a concert at the and additional (orchestral) instrument per - Philharmonies in Berlin and in Köln, a con - formers. Its repertoire is essentially Italian, cert in Arnstadt’s Bachkirche, the Thüringer English, and German and spans from the Bachwochen, and the Bachfest Leipzig. 16th to the 18th centuries. The ensemble’s Last year Vox Luminis made its debut in 12 recordings have appeared on the Alpha the grand Salle Henry Leboeuf in Brussels Classics, Ricercar, Ramée, and Musique to inaugurate the beginning of a five-year en Wallonie labels and have enjoyed inter - residence. For the next few years Vox national critical acclaim, receiving numer - Luminis will be house artists at the ous prizes and awards. Most recently the Concertgebouw in Brugge. In addition to ensemble has released Handel’s Dixit often working with its own orchestra, Vox Diminus and Bach’s Magnificat . The Luminis frequently collaborates with other ensemble has performed at festivals internationally renowned ensembles and worldwide, appearing in leading halls orchestras. Collaborations in 2017 included including London’s Wigmore Hall, Paris’ projects with the Franco-Canadian En - Oratoire du Louvre, Madrid’s Auditoria semble Masques and with the Freiburger Nacional de Música, Brussels’ Centre for Barockorchester. Vox Luminis receives Fine Arts and the Flagey Radio House, support from Federation Wallonia-Brussels, Gent’s Bijloke, Brugge’s Concertgebouw, the city of Namur, and Namur Confluent and Lisbon’s Belem Cultural Centre. The Culture and is recognized by the Art and Muziekgebouw in Amsterdam and the Life Tours. (voxluminis.com) Juilliard415 Marcus Institute for Vocal Arts, the integra - Juilliard’s full-scholarship Historical Per- tion of modern instrument majors outside formance program offers comprehensive of the Historical Performance program, study and performance of music from the and national and international tours have 17th and 18th centuries on period instru - introduced new repertoires and increased ments. Established and endowed in 2009 awareness of historical performance by the generous support of Bruce and practice at Juilliard and beyond. Alumni Suzie Kovner, the program is open to can - of Juilliard Historical Performance are didates for master of music, graduate members of many of the leading period- diploma, and doctor of musical arts instrument ensembles, including the degrees. A high-profile concert season of Portland Baroque Orchestra, Les Arts opera, orchestral, and chamber music is Florissants, Mercury, and Tafelmusik, augmented by a performance-oriented cur - they have also launched such new riculum that fosters an informed under - ensembles as the Sebastians, House of standing of the many issues unique to Time, New York Baroque In corporated, period-instrument performance at the level and New Vintage Baroque. This summer of technical excellence and musical integrity members of the ensemble return to the for which Juilliard is renowned. The faculty Berkeley Early Music Festival, and join comprises many of the leading performers the Bach Collegium Japan for a side-by- and scholars in the field. Frequent collabo - side performance of Mendelssohn’s Elijah rations with Juilliard’s Ellen and James S. at the Leipzig Gewandhaus in Germany.

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

BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Bruce Kovner, Chair Brian Zeger, Artistic Director J. Christopher Kojima, Vice Chair Kirstin Ek, Director of Curriculum and Schedules Katheryn C. Patterson, Vice Chair Monica Thakkar, Director of Performance Activities Pierre T. Bastid Michael Loeb Pre-College Division Julie Anne Choi Vincent A. Mai Yoheved Kaplinsky, Artistic Director Kent A. Clark Ellen Marcus Ekaterina Lawson, Director of Admissions and Academic Affairs Kenneth S. Davidson Nancy A. Marks Anna Royzman, Director of Performance Activities Barbara G. Fleischman Stephanie Palmer McClelland Evening Division Keith R. Gollust Christina McInerney Danielle La Senna, Director Mary Graham Lester S. Morse Jr. Joan W. Harris Stephen A. Novick Lila Acheson Wallace Library Matt Jacobson Joseph W. Polisi Jane Gottlieb, Vice President for Library and Edward E. Johnson Jr. Susan W. Rose Information Resources; Director of the C.V. Starr Karen M. Levy Deborah Simon Doctoral Fellows Program Teresa E. Lindsay Sarah Billinghurst Solomon Enrollment Management and Student Development Laura Linney William E.“Wes” Stricker, MD Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Barrett Hipes, Associate Dean for Student Development TRUSTEES EMERITI Sabrina Tanbara, Assistant Dean of Student Affairs June Noble Larkin, Chair Emerita Cory Owen, Assistant Dean for International Advisement Mary Ellin Barrett and Diversity Initiatives Sidney R. Knafel William Buse, Director of Counseling Services Elizabeth McCormack Katherine Gertson, Registrar John J. Roberts Tina Gonzalez, Director of Financial Aid Teresa McKinney, Director of Community Engagement Todd Porter, Director of Residence Life JUILLIARD COUNCIL Howard Rosenberg MD, Medical Director Beth Techow, Administrative Director of Health Mitchell Nelson, Chair 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 Finance Gordon D. Henderson Pamela J. Newman Christine Todd, Vice President and Chief Financial Officer Peter L. Kend Howard S. Paley Irina Shteyn, Director of Financial Planning and Analysis Younghee Kim-Wait John G. Popp Nicholas Mazzurco, Director of Student Accounts/Bursar Paul E. Kwak, MD Grace E. Richardson Min Kyung Kwon Kristen Rodriguez Administration and Law Jeremy T. Smith Maurice F. 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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 The Augustus Juilliard Society

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

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

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

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

Estates and Trusts

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

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