Tuesday Evening, September 5, 2017, at 7:30

The presents and Juilliard Orchestra Esa-Pekka Salonen , Conductor Jonathan Roozeman , Cello

STEVEN STUCKY (1949 –2016) Radical Light

ESA-PEKKA SALONEN (b. 1958) Mania JONATHAN ROOZEMAN, Cello

Intermission

JEAN SIBELIUS (1865 –1957) Lemminkäinen Suite , Op. 22 (“Four Legends from the ”) Lemminkäinen and the Maidens of the Island Allegro molto moderato Allegro moderato

Lemminkäinen in Il tempo largamente Molto lento Largo assai

The Swan of Tuonela Andante molto sostenuto

Lemminkäinen’s Return Allegro con fuoco (poco a poco più energico) Quasi presto Presto

Performance time: approximately 1 hour and 45 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). The Sibelius Academy Symphony Orchestra tour is supported by the Jane and Aatos Erkko Foundation, the Sibelius Academy Foundation, and Wärtsilä Corporation and is part of the Suomi 100 centenary year events.

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program also acknowledged —whose seventh and fourth sym - by Antti Häyrynen phonies were on the program at the premiere Translation by Daryl Taylor of Radical Light —as another influence on the work: “Sibelius has been a strong influ - Radical Light ence on me for many years, and I espe - STEVEN STUCKY cially admire his Seventh Symphony as an Born November 7, 1949, in Hutchinson, architectural marvel. Having long wanted Kansas to attempt something like that myself, in Died February 14, 2016, in Ithaca, New Radical Light I tried to emulate something York about the architecture of that peerless masterpiece: a single span embracing Steven Stucky studied the viola, orchestral many different tempos and musical char - , and composing as a child in his acters, but nevertheless letting everything hometown of Abilene, Texas, subsequently flow seamlessly from one moment to the focusing on composing at Baylor University next—no section breaks or disruptions, no and , where his teachers sharp turns or border crossings.” included Richard Willis, Robert Palmer, and Karel Husa. His principal mentor as a con - In the same remarks Stucky also acknowl - ductor was Daniel Sternberg. edged the music of , Esa- Pekka Salonen, and Anders Hillborg, in From the beginning of the 1980s Mr. which an innovative overall conception Stucky taught composing at Cornell, while brings about a merger of modernist and also building an extensive network of part - traditional impulses. They provide the idea ners throughout the U.S. through his teach - of a harmonic base map that invisibly links ing and composing work. His engagements up the various elements of Radical Light . included a period as the longest-serving Though Stucky insisted that the actual resident of the Los Angeles music had nothing to do with Sibelius, a Philharmonic, between 1988 and 2009, an Finnish listener may not necessarily concur. appointment that gave rise to his Second for Orchestra, which won the The cluster of strings that introduces the 2005 . Mr. Stucky, tone poem envisions a harmonious initial who joined the Juilliard faculty in 2014, condition in which the themes and ges - died of cerebral cancer in 2016. tures begin to crystallize and the orchestral machinery limbers up. Though also devel - Radical Light was composed for the Los oping on a base of minor chords, the music Angeles Philharmonic in 2007 and pre - moves back and forth from tonally free to miered under Esa-Pekka Salonen in October atonal, taking charge of both conventional of the same year. The title comes from and modernist harmonic space. The gath - “He Held Radical Light” by the American ering events bring an instrumental, occa - poet Archie Randolph Ammons (1926 –2001): sionally almost concert-like virtuosity to “He held radical light / as music in his skull: the foreground that also extends to a kalei - music / turned, as / over ridges imma - doscopically radiating sound. nences of evening light / rise, turned / back over the furrows of his brain, / into the Nothing is enduring or repetitive, scenes dark, shuddered, / shot out again / in long emerge and fade into the background, but swaying swirls of sound.” many of them follow familiar typological models, such as the radiant cantilena of small orchestra, a plan I had been formu - the strings, the scherzo-like flights of the lating for a decade or so. I wanted to woodwinds, and the imposing brass compose music comprising a number of chorales. The architecture serves as an relatively simple gestures or musical invigorating and assembling force in the archetypes that are continually evolving background, and something of Sibelius and changing; not so much through tradi - also glimmers in the final ascent with rising tional transformation techniques, but pillars of brass. through a kind of metamorphosis. A larva becomes a chrysalis, which turns into a Mania butterfly: very different forms indeed, ESA-PEKKA SALONEN but the DNA remains the same. Born June 30, 1958, in , Finland Mania is about movement that never stops. Esa-Pekka Salonen began his career in The tempo fluctuates between extremes, composing. He subsequently focused on with gestures giving rise to new gestures. work as a conductor before re-emerging in The transitions are often seamless and the 1990s as an innovative and streamlined telescopic, with new things beginning composer to supplement his temperamen - before their precursors have ended. It is not tal and unusual early works from the 1980s entirely coincidental that this is also a formal with a hedonistic orchestral splendor and principle in the later works of Sibelius, expression that makes a positive effort to especially the Seventh Symphony. The engage the audience in conversation. role of the cello varies between a clear solo/accompaniment setup to that of a An early friendship with cellist Anssi mere member of a chamber ensemble— Karttunen encouraged Mr. Salonen to and all points be tween these extremes. develop his own compositions for cello, This means that Mania has little to do with which continue to chart the boundaries of a traditional concerto form. art and provoke creative madness. One starting point in this evolution is Yta III Lemminkäinen Suite , Op. 22 (1986), in which a solo cello thrashes its JEAN SIBELIUS wings like a moth finally caught in the Born December 8, 1865, in Hämeenlinna, flame and is watched by the composer Finland with childlike sadism. Died September 20, 1957, in Järvenpää, Finland Composed for Karttunen and dedicated to him, the cello concerto Mania (2000) is a After his Symphony (1892) Jean work of uncompromising virtuosity, both Sibelius sought new approaches to Kalevala mentally and physically. The small orches - mythology, becoming interested in the sym - tra accommodates multiple tones and bolic artistic trends that were reverberating insightful percussion strokes, and the cello around . Together with his fellow part calls for an artist combining the skills Symposium members, Akseli Gallén-Kallela, of acrobat, actor, conjurer, and shaman. , and Eino Leino, he endeav - ored to create a new, universally oriented Salonen provides his own account of the art based on the national epic mythology. origins of Mania : The of Wagner based on mythology In the spring of 2000 I finally decided to served as one significant influence on write a concertante piece for Anssi and a Sibelius, and he visited Bayreuth in 1894 to witness how Germanic mythology had The graceful dance theme of the maidens gained distinction as a major pan-European is joined in Wagnerian style by the pas - cultural metaphor. Eschewing the naive na - sionate chromatic theme of Lemminkäinen, tional romanticism that attires folk blending into a curving crescendo that in the garb of high art, Sibelius instead sought finally rises to intoxicating heights: “On the to compose music that would also be island were ten hamlets, / In each hamlet appreciated in the wider world: a Finnish were ten houses, / In each house at least culture that would also be European. ten daughters, / Nor was there a single daughter, / Not a single mother’s child, / By Sibelius’ principal project after Kullervo whose side he did not lie, / In whose arms was an on the theme of the epic he did not nestle.” hero Väinämöinen. Though this endeavor was ultimately not pursued, some of its The languid coda that follows this fortissimo material was instead used in the com - eruption seems to draw away like the poser’s Lemminkäinen Suite (1896) with hero’s sailboat, with fluctuating horn syn - enhanced use of the orchestra and a more copations and stylized brass vignettes mit - radical musical idiom in which the Kalevala igating the longing of the maidens: “Why theme served as a catalyst for new and now leave us, Lemminkäinen, Why for - modern expression. sake us, best of lovers?” As an expression of Tristan-inspired eroticism, Lemminkäinen The suite drew a mixed reception of its and the Maidens of the Island remains original order of Lemminkäinen and the unexcelled in Finnish music. Maidens of the Island , Lemminkäinen in Tuonela , , and Lemminkäinen in Tuonela depicts the Lemminkäinen’s Return , and was charac - hero’s descent into a hell of tremolo terized as “hypermodernist and pathologi - strings. Gloomy woodwind themes attack cal” by Karl Flodin, a critic held in high from out of the darkness, but the inferno regard by the composer. Sibelius subse - passage developed into a pathetic style is quently forbade performances of the first broken off at the deathblow and a furious two parts and the work was not released eruption of strings melts into a melancholy in its entirety until 1954, with the order of brass theme. In the following scene the two middle parts reversed. Lemminkäinen’s mother tries to resurrect her son by alluding to a simple lyrical The first part, Lemminkäinen and the theme, but the forces of death rise up in Maidens of the Island , begins with a backlash. Life wins in the end and the description of a happy mood. A call comes revived Lemminkäinen remembers his first from the horns and then the strings original quest: “There is something trou - take up the theme against which the bles me, / For in truth my heart is yonder, / woodwinds perform a wistful . The And my sentiments are there, / Among the brief summery nostalgia of Northland then little maids of Northland, / With those gives way to a dancing fanfare. The original beautiful lovely locks.” program notes for the work associated this opening with a passage from Rune 29 of On proposing marriage to ’s daugh - the Kalevala: “Then he strolled about the ter, Lemminkäinen is charged with the task hamlets, / To enjoy the island virgins, / of shooting the Swan of Tuonela . This pop - Beauty of the long-haired maidens.” ular Sibelius tone poem does not relate directly to the text, but paints a dusky dimension of the piece: “I would like to image in which the lone swan glides over see more pride in we . Not all this the dark stream, borne on the melody of downhearted helmet all askew attitude. an English horn. The sight seems more What have we got to be ashamed of? This commonly associated with the imagery of is the idea that permeates Lemminkäinen’s symbolism and Art Nouveau. Return . Lemminkäinen is one to rival the noblest of earls. He is an aristocrat, with - Lemminkäinen’s victorious homecoming out question!” emerges from small seedlings. The theme fragments scuttle and grow with the (Kalevala translation excerpts from The frenzy of a Karelian trepak and lead to the Selected Poems of Kalevala ) Presto finale. Tawaststjerna reports that Sibelius determined the final part in 1919 Notes courtesy of the Sibelius Academy of with reference to the autobiographical the University of the Arts Helsinki

Meet the Artists Ma, pianist Yefim Bronfman, and violinist Leila Josefowicz—the musicians for whom the works were written. L L A H

Y R O

T Esa-Pekka N U

S Salonen Jonathan Esa-Pekka Salonen is currently principal Roozeman conductor and artistic advisor for London’s and conductor lau - Finnish-Dutch cellist Jonathan Roozeman reate for the , has worked with including the where he was music director from 1992 Mariinsky Theatre Orchestra, St. Petersburg until 2009. This is his final of three seasons Philharmonic, Sinfonietta, Finnish as the Marie-Josée Kravis composer in res - Radio Symphony, Ostrobothnian Chamber idence at the and Orchestra, and the Tokyo New City Orchestra; his second of five as artist in association at and has collaborated with conductors the Finnish National Opera and Ballet, where including Valery Gergiev, Esa-Pekka Salonen, he will conduct his first full Ring cycle in Osmo Vänskä, Dima Slobodeniouk, Jukka- coming seasons. Additionally, Mr. Salonen Pekka Saraste, and Nikolay Alekseev. He is artistic director and cofounder of the has recently been artist in residence with annual Baltic Sea Festival, now in its 15th the Lahti Symphony and performed with year, which invites celebrated artists to pro - the Tapiola Sinfonietta and Phil - mote unity and ecological awareness harmonic. He has also toured to Beijing for among the countries around the Baltic Sea. the Super Cello festival performing with He serves as an advisor to the Sync Project, the Brussels Chamber Orchestra. Upcoming a global initiative to harness the power of festivals include Russia’s White Nights music for human health. The Los Angeles Festival in St. Petersburg, the Schleswig Philharmonic will perform all of Mr. Salonen’s Holstein Festival, the Tammisaari Festival, in February 2018 with cellist Yo-Yo and Finland’s Turku and Joroinen music festivals. In addition to tonight’s concert best performing arts schools in the world in with the Sibelius Academy and the Juilliard the QS World University Ranking (2016, Orchestra, he also performed Salonen’s 2017). The academy consists of two facul - Mania last month under the composer at ties: the faculty of classical music; and the the Helsinki Festival and at Stockholm’s faculty of music education, jazz, folk and Baltic Sea Festival. global music, music technology, and arts management. Additionally, the academy Mr. Roozeman recently made his debut has a youth department (Junior Academy), with the Finnish Radio Symphony Orchestra a department for adult education and train - and was featured at the 100-year jubilee of ing, and two doctoral schools. The acad - the Sibelius Academy Symphony Orchestra emy offers bachelor of music, master of under . He was artist in resi - music, licentiate of music, and doctor of dence at the Turku Festival where he music degrees. The academy holds hun - worked with the Mariinsky Orchestra. He dreds of public concerts every year. They was one of the International Tchaikovsky- form the majority of the concert selection Competition Prize winners in 2015 (youngest in the Helsinki Metropolitan Region but candidate) and has been a prize winner of also include international projects. the 2013 Finnish National Cello Competition, 2013 Paulo and Gaspar Cassado competi - At the beginning of 2013 the Sibelius tions, and was a finalist in the 2013 Porto Academy merged with the Finnish Academy Premio Suggia. Currently studying at the of Fine Arts and the Theatre Academy to Kronberg Academy under Frans Helmerson, form the University of the Arts Helsinki he previously studied with Martti Rousi at (Uniarts Helsinki). The university offers edu - the Sibelius Academy. He plays a 1707 cation in fine arts, music, theater, and dance. David Tecchler cello on loan from the Finnish Cultural Foundation. His bow is made by Information regarding The Sibelius Academy Dominique Peccatte in Paris, 1835, kindly of the University of the Arts Helsinki, and on loan by an American patron. supporting Sibelius Academy programs in the U.S., can be obtained from Friends of The Sibelius Academy The Sibelius Academy, Inc., 152 Stone Oaks The Sibelius Academy of the University of Drive, Hartsdale, NY 10530 (erika.sauer@ the Arts Helsinki is one of the largest friendsofthesibeliusacademy.org). music academies in Europe and is the only university- level music institution in Finland. Sibelius Academy Symphony A cornerstone of Finnish music, the acad - Orchestra emy was established in 1882 and bears the The orchestra now known as the Sibelius name of the great Finnish composer Jean Academy Symphony Orchestra was estab - Sibelius. In addition to classical music edu - lished in 1916 with the aim of providing cation, the academy has added other gen - orchestral instrument students with the res to its palette: jazz and have opportunity to polish their skills as a member been taught since the early 1980s and of a full-scale orchestra and gain vital experi - music technology since the early 1990s. ence in ensemble playing and performing. Today the Sibelius Academy is a creative community of approximately 1,400 students The orchestra is regularly conducted by the and more than 1,000 staff. The academy professor of conducting and orchestral trains artists, teachers, and other music training as well as professional guest con - professionals and ranks among the ten ductors. Over the years its conductors have included , , of Alice Tully Hall, Carnegie Hall, David Arvid Jansons, , Sir Colin Geffen Hall, and Juilliard’s Peter Jay Sharp Davis, , , Esa-Pekka Theater. The season opened in August Salonen, Jukka-Pekka Saraste, , with a collaboration between Juilliard and John Storgårds, Osmo Vänskä, Sakari Finland’s Sibelius Academy members con - Oramo, , , Santtu- ducted by Esa-Pekka Salonen with con - Matias Rouvali, and , who was certs of tonight’s program performed at the appointed professor of conducting and Music Centre in Helsinki, Finland, and the orchestral training at the Sibelius Academy Baltic Sea Festival in Stockholm. in August of 2013. The orchestra is a strong partner to The orchestra has developed an interna - Juilliard’s other divisions, appearing in tional presence through a history of touring opera and dance productions. Under the to venues in central Europe, Russia, Tokyo, musical leadership of Alan Gilbert, the Beijing, and Abu Dhabi. director of conducting and orchestral stud - ies, the Juilliard Orchestra welcomes an The Sibelius Academy and The Juilliard School impressive roster of world-renowned guest began their collaboration in 2005, when the conductors this season including Thomas Juilliard Orchestra came to Helsinki as part Adès, Joseph Colaneri, Edo de Waart, of the school’s centenary tour. The collabo - Chen Lin, David Robertson, Speranza ration continued in 2013, when a group of Scappucci, Gerard Schwarz, and Emmanuel students from both schools formed a joint Villaume, and faculty members Jeffrey chamber orchestra that gave performances Milarsky and Mr. Gilbert. The Juilliard in New York and Helsinki. Orchestra has toured across the U.S. and throughout Europe, South America, and Juilliard Orchestra Asia, where it was the first Western con - Juilliard’s largest and most visible student servatory ensemble allowed to visit and performing ensemble, the Juilliard Orchestra, perform following the opening of the is known for delivering polished and pas - People’s Republic of China in 1987, return - sionate performances of works spanning ing two decades later, in 2008. Other the repertoire. Comprising more than 350 ensembles under the Juilliard Orchestra students in the bachelor’s and master’s umbrella include the conductorless Juilliard degree programs, the orchestra appears Chamber Orchestra, the Juilliard Wind throughout the 2017–18 season in more Orchestra, and the new-music groups than a dozen performances on the stages AXIOM and New Juilliard Ensemble. Sibelius Academy Symphony Orchestra and Juilliard Orchestra Esa-Pekka Salonen , Conductor

Violin Viola Horn Essi Höglund*, Bethany Hargreaves, James Dion Blanchard Harry Chiu Chin-pong Concertmaster Principal Martta Jämsä* Hannah Miller* Brian Hong, Grace Takeda, Principal Olivia Staton Kaitlyn Resler Concertmaster Kaisa Anttila* Elina Tiainen* Johannes Hakulinen*, Stephanie Block Piccolo Principal Charles Galante James Dion Blanchard Max Tan, Principal Miikka Hakomäki* Martta Jämsä* Brandon Bergeron Carter Coleman Emily Liu Olivia Staton Lasse Bjerknaes Randall Goosby Max Nyman* Jacobsen Jordan Hendy Rosa Parada* Xiang Guo* Sumire Hirotsuru Chloe Thominet Emily Beare Olivia Holladay* Meagan Turner Ryan Roberts I-Jung Huang Sameli Vettenranta* Antti Turtiainen* Kevin Carlson Marielle Iivonen* Sakari Mäkimattila* Byungchan Lee Cello English Horn Danna Nelson* Beata Kavander* Sirja Nironen*, Principal Emily Beare George Meyer Eddie Pogossian, Ryan Roberts Ashley J. Park Principal Sanna Sadeharju* Johanna Rautakorpi* Matthew Chen Elisar Riddelin* Augustas Gocentas* José Carlos Dominguez Timpani/Percussion Yeri Roh Johanna Jaakkola* Almela* Taylor Hampton Tatuarttu Ruponen* Connor Kim Dan Giacobbe Lauri Pekkarinen* Irina Rusu* Otto-Aaron Takala* Helmi Malmgren* Jerry Piipponen* Hanna Salo* Iiris Tötterström* Evan Saddler Rannveig Marta Sarc Mosa Tsay Vivian Stolt* Megan Yip José Carlos Dominguez Harp Sophia Stoyanovich Almela* Iván Bragado Poveda* Agnes Tse Helmi Malmgren* Madeline Olson Marju Tsokkinen* Alexander Bickard, Ida Tunkkari* Principal Piia Virtanen* Pauli Pappinen*, Principal Laura Clewer* Janne Oksanen* Maija Wesslund* Timothy Chen Harrison Miller Momo Wong Oskari Hänninen* Áron Mojzer* *Sibelius Academy Vilhelm Karlsson* Symphony Orchestra Nicholas Myers member Joel Raiskio* Laura Clewer* Andrew Sommer University of the Arts Helsinki Jari Perkiömäki, Rector of the University of the Arts Helsinki Kaarlo Hildén, Dean of the Sibelius Academy

Sibelius Academy Symphony Orchestra Administration Atso Almila, Professor of Conducting and Orchestral Training Susanna Brandt, Orchestra Coordinator David Claudio, Stage Manager/Orchestra Librarian Petri Komulainen, Assistant Conductor Tuovi Martinsen, Head of International Relations Anna Rombach, Orchestra Manager Jani Roppola, Stage Manager/Orchestra Librarian Hans Tinell, Tour Manager/Producer

Juilliard Orchestra Administration Alan Gilbert, Director of Conducting and Orchestral Studies, William Schuman Chair in Musical Studies Adam Meyer, Associate Dean and Director, Music Division Joe Soucy, Assistant Dean for Orchestral Studies Joanna K. Trebelhorn, Director Lisa Dempsey Kane, Principal Kate Northfield Lanich, of Orchestral and Ensemble Orchestra Librarian Orchestra Personnel Operations Michael McCoy, Orchestra Manager Matthew Wolford, Operations Librarian Deirdre DeStefano, Orchestra Manager Management Apprentice

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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 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 ‡ = 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