05-05 Orchestra Now_Jazz @ Lincoln Center (ROSE) 4/26/17 4:02 PM Page 1

Friday Evening, May 5, 2017, at 7:30

Oleg Caetani , Conductor Performance #57: Season 2, Concert 28

ARNOLD SCHOENBERG (1874–1951) Chamber Symphony No. 1, Op. 9 (1906)

FRANZ SCHUBERT (1797–1828) Symphony No. 3 (1815) Adagio maestoso—Allegro con brio Allegretto Menuetto: Vivace—Trio Presto vivace

Intermission

DMITRI SHOSTAKOVICH (1906–75) Symphony No. 15, Op. 141 (1971) Allegretto Adagio—Largo—Adagio—Largo Allegretto Adagio—Allegretto—Adagio—Allegretto

This evening’s concert will run approximately two hours and ten minutes including one 20-minute intermission.

Jazz at Lincoln Center’s Please make certain your cellular phone, Rose Theater pager, or watch alarm is switched off. Frederick P. Rose Hall jazz.org 05-05 Orchestra Now_Jazz @ Lincoln Center (ROSE) 4/26/17 4:02 PM Page 2

Jazz at Lincoln Center – Notes from T ON Musicians Chamber Symphony No. 1, Op. 9 on the conductor’s podium, it was not well-received, a result which contributed Notes by Eleanor Lee, Cello to Schoenberg’s then-flagging confidence as a composer. However, during an infa - Perhaps one of the most astonishing facts mous concert six years later on March 31 about Austrian Jew Arnold Schoenberg is known as the “Skandalkonzert,” his sym - that, in both composition and amateur phony and other heterodox music by painting, he was primarily a self-taught Schoenberg’s students and man. This lack of formal training is not evi - , and by his sole composition dent in Schoenberg’s impressive techniques mentor, , incited in either field, but, rather, it allowed him an polarized riots so fierce that during this unparalleled freedom to break with tradi - piece “one could hear the shrill sound of tion. Furthermore, his constant search for door keys among the violent clapping, and and struggle with his own identity created in the second gallery the first fist fight of a unique interplay of often opposing con - the evening began.” cepts in both his music and his visual art. Unique in its instrumentation, the Chamber Schoenberg is credited with creating the Symphony No. 1 calls for 15 solo instru - atonal (not centered around one of the tra - ments comprised of a string quintet and ditional seven-tone scales and its har - wind ensemble, typically led by a conduc - monies) school of composition called the tor, with all strings seated in the first row, “12-tone technique,” in which all 12 tones winds in the second, and all bass instru - of the Western chromatic scale are uti - ments grouped together. Schoenberg also lized. Schoenberg’s body of work can be arranged the piece for both piano four divided into three periods: the works of his hands and for large orchestra, the latter of early years like Verklärte Nacht , Op. 4 (1899), which he premiered with the Los Angeles a sweeping, Wagnerian-esque, late-Romantic Philharmonic on December 27, 1935. string sextet based on erotic poetry; middle- period works like Pierrot lunaire , Op. 21 Harmonically, while not atonal, the Chamber (1912), a Sprechstimme (“sung-spoken”), Symphony No. 1 is developed around atonal, yet still not 12-tone melodrama in whole-tone and quartal harmony, or har - which he sought to liberate music from its monies based on perfect, diminished, and text; and finally, the works from the end of augmented fourths, as opposed to tradi - his life, like the Variations for Orchestra , tional thirds. These unusual sonorities, Op. 31 (1928), in which he simplified and combined with the unique instrumenta - honed a “method of composing with 12 tion, highlight Schoenberg’s exploration of tones which are related only with one color and timbre, while also demanding a another” without any semblance of hierarchy. high level of virtuosic playing.

The Chamber Symphony No. 1 was In addition to sitting for and buying some of Schoenberg’s first attempt at a chamber Schoenberg’s portraiture, was symphony and his first extreme experi - a champion of Schoenberg’s music. The influ - mentation with deviating from traditional ence of Mahler’s late-Romantic, German- tonality. When it premiered on February 8, Austrian compositional style can be heard in 1907, in Vienna with Schoenberg himself Schoenberg’s early works such as this piece. 05-05 Orchestra Now_Jazz @ Lincoln Center (ROSE) 4/26/17 4:02 PM Page 3

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Symphony No. 3 first violin section playing the light and FRANZ SCHUBERT graceful eighth-note melody. Usually the Notes by Fangxi Liu, Violin second movement of the symphony is a lyrical slow movement in that period, but Franz Schubert was an Austrian composer not in this symphony. The first theme is in from the Romantic period who died before binary form repeating the first section, the his 32nd birthday. In those short 32 years, middle part comprises a 16-bar melody in Schubert wrote more than 600 vocal works, the clarinet, and a short link back to the 18 operas, seven complete symphonies, first theme. Accented upbeats resound 19 string quartets, 22 piano sonatas, and through the minuet; it’s a charming waltz. four violin sonatas. Schubert’s earliest The Trio retains the D-major key of the orchestra composition style was very minuet, with the theme scored for solo unique and unified. The essence of his oboe and bassoon. orchestral style focused on horns, trum - pets, and brass to begin the symphony, The finale movement is presto (quick, and then the rest of the orchestra joining. lively) in D major, and is also in sonata form. This movement uses the tarantella The year 1815 has been called Schubert’s rhythm, making use of the ascending scale “annus mirabilis” (miraculous year). His figures that have been part of the sym - compositions that year included a string phony from its opening. quartet, nine works for solo piano, a com - plete symphony and a half, nine church Symphony No. 15, Op. 141 works involving orchestra, and 140 songs. It would already be remarkable enough if Notes by Alana Shannon, Cello he was only a full-time composer, but Schubert was also employed throughout Dmitri Shostakovich suffered from chronic the year as a teacher in his father's primary health problems in his later years, causing school. While composing his Symphony him to become quite preoccupied with his No. 3 over the course of 26 days (May own mortality, which appeared to affect 24–June 19), he also wrote some liturgical his music in his later works, including his music and songs. 15th symphony. This was his last large- scale symphonic work, as most of his The Third Symphony is remarkably concise, music written in the years following were and is shorter than Schubert’s first and chamber pieces. These pieces are arguably second symphonies. The piece consists of darker and more introspective, including four movements. The first movement is in the 14th symphony, which is written as a sonata form, the symphony beginning with song cycle based on poems about death. a brief introduction played by flute, oboe, and violins. The introduction is set in two The first movement begins with a feeling parts; the first is slow and dramatic, and of light-hearted innocence and playful - the second part is more lyrical. Then the ness. Shostakovich himself offered an piece goes to the second theme that is explanation that this opening movement marked as Allegro con brio . The coda returns depicts a toy shop after closing time to the ascending scales of the introduction. when all of the toys come to life, but the dark harmonies and driving rhythms con - The second movement is a short alle - tradict that statement enough to stir gretto, full of grace and humor, and is also doubt in the minds of musicologists. One in an A-B-A sonata form. It opens with the argument for the connection to childhood, 05-05 Orchestra Now_Jazz @ Lincoln Center (ROSE) 4/26/17 4:02 PM Page 4

Jazz at Lincoln Center

however, is the primary motive through - the composer coming to terms with his out the movement, notated Eb-Ab-C-B-A. own death: mournful at first, morphing into Under German notation this would spell a slow funeral march led by a trombone the name SASCHA, Shostakovich’s nine- solo, and then a climax that offers a degree year-old grandson at the time. What has of hope and optimism in a triumphant and intrigued and confused audiences for emotional outburst. This winds down into decades though is Shostakovich’s use of the third movement, reminiscent of the quotes, particularly in the first movement. first movement’s toy shop playfulness, but He quotes Rossini’s William Tell , which on with even darker, macabre undertones. one hand seems to come out of nowhere, but considering the rhythmic drive estab - The last movement begins with a brass lished in the material leading up to it, per - chorale similar to the second movement, haps it was a musical joke that Shostakovich this time quoting Wagner’s “Fate” leitmotif simply couldn’t resist. A more meaningful from his famous Ring Cycle . As the strings explanation, considering Shostakovich’s take over, another Wagner quote can be own life story, would be that he felt a per - heard, this time the opening “Longing” sonal connection to the story of William motif of Tristan und Isolde . The idea that Tell and his fight against tyranny, but that Shostakovich wrote this as a farewell sym - theory remains unconfirmed. phony with relatable tributes to other great pieces may set our romantic minds at ease, The second movement opens with a brass but in reality Shostakovich was in relatively chorale, during which the cello section good spirits upon writing his final sym - says a silent prayer for the poor cellist that phony, and had a clear idea of what he must play one of the most difficult solos in wanted. Shostakovich’s intention with his the repertoire. This movement is arguably quotations will have to remain a mystery.

Meet the Artists Italy’s first complete cycle of Shostakovich’s symphonies—a project that won several awards and is a worldwide reference in the composer’s discography. Oleg Caetani , Mr. Caetani has conducted Turandot and Conductor Verdi’s Otello at La Scala; Mussorgsky’s Oleg Caetani has conducted various or - Khovanshchina , Vaughan Williams’ Sir John chestras including Staatskapelle Dresden; in Love , Madama Butterfly , La bohème , and Staatskapelle Weimar; the Munich, Monte- Tosca at the ; Carlo, and Hong Kong philharmonic Ravel’s L’enfant et les sortilèges at the orchestras; the Vienna, Sydney, Montreal, Théâtre des Champs-Élysées in Paris; Bamberger, Tokyo Metropolitan, RAI Na - Cavalleria Rusticana and Pagliacci at the tional, and Bavarian Radio symphony Houston Opera; The Magic Flute and orchestras; the Mozarteum Salzburg, Norma at San Francisco Opera; The Girl of Berlin’s Konzerthaus, Mariinsky Theatre, the Golden West at Seattle Opera; Madama Spanish National, and Maggio Musicale Butterfly in Berlin and Oslo; Tosca at the Fiorentino orchestras; and LaVerdi Or - London Royal Opera House; Lady Macbeth chestra Milan, with which he recorded of Mzensk in Oslo and Helsinki; Tosca and 05-05 Orchestra Now_Jazz @ Lincoln Center (ROSE) 4/26/17 4:02 PM Page 5

Jazz at Lincoln Center

Turandot at the Mariinsky Theatre; and The music of the past and present. Under the Prisoner by Dallapiccola at the White Nights leadership of conductor, educator, and - Festival in Saint Petersburg. music historian Leon Botstein, TON mines the wealth of underperformed repertoire, Forthcoming engagements include concerts reimagines traditional concert formats, and with Staatskapelle Weimar, Maggio Musicale strives to make the experience of the per - Fiorentino Orchestra, LaVerdi Orchestra, formers a part of the listeners’ experi - - Syd ney Symphony, Tokyo Metropolitan ence. At a T ON concert musicians and Orchestra, and the London Philharmonic. audience inspire one another, each fol - lowing their curiosity with a shared sense After his talent was discovered and nur - of adventure. tured by , Mr. Caetani - studied at Rome’s Conservatory and at the The musicians of TON hail from across the Moscow and Saint Petersburg Conserv - U.S. and 11 other countries: Australia, atories where he got his conducting Canada, China, France, Hungary, Japan, degree with Ilya Mussin. He was a winner Korea, Malaysia, Spain, Taiwan, and Vene - of the RAI competition in Turin and of the zuela. In addition to a concert series at Karajan Competition in Berlin. their home base—the Richard B. Fisher Center for the Performing Arts at Bard Mr. Caetani has been music director of the College—they perform multiple concerts Staatskapelle Weimar, first conductor of each season at Carnegie Hall and Lincoln the Frankfurt Opera, music director of the Center, and offer complimentary concerts Philharmonic Orchestra, at venues across the boroughs of New chief designate at the English National York City in the Around Town series. At Opera in 2005, and music director and The Metropolitan Museum of Art they join artistic director of the Melbourne Symphony Leon Botstein in the series Sight & Sound Orchestra (2002–09). His recordings of as he explores the places where musical Tansman Symphonies and Gounod Sym - and visual expression meet, pairing orches - phonies have all won the Diapason D’Or tral works with masterpieces from the Award in France. museum’s collection. - The Orchestra Now In addition to Mr. Botstein and TON’s - Founded in 2015, The Orchestra Now (T ON) Associate Conductor and Academic Director is an innovative pre-professional orchestra James Bagwell, guest conductors in the and master’s degree program at Bard first two seasons include Fabio Luisi, College that is preparing a new generation Gerard Schwarz, and JoAnn Falletta. of musicians to break down barriers between modern audiences and great orchestral More info online at theorchestranow.org. 05-05 Orchestra Now_Jazz @ Lincoln Center (ROSE) 4/26/17 4:02 PM Page 6

Jazz at Lincoln Center E N I D

T T A M

The Orchestra Now Leon Botstein , Music Director

Violin I Cello Clarinet Trombone Lili Sarayrah, Eleanor Lee, Principal Elias Rodriguez, Gabe Cruz, Principal Concertmaster Zhilin Wang Principal (1st half) Matt Walley Adina Mu-Ying Tsai Lauren Peacock Sangwon Lee, Principal Federico Ramos, Bass Fangxi Liu Alana Shannon (2nd half) Trombone Erin David Andrew Borkowski Micah Candiotti- Andrés Rivas Jinn Shin Pacheco Tuba Akiko Kamigawara Hui Zhang Dan Honaker Holly Nelson Bassoon Hao Xing Bass Adam Romey, Principal Timpani Leonardo Pineda Michael Franz, Principal (Schoenberg) Jonathan Wisner Jiayu Sun Paul Nemeth Dávid A. Nagy, Principal Coline Berland William McPeters (Schubert, Percussion Haemi Lee Julian Lampert Shostakovich) Tyson J. Voigt Milad Daniari Violin II Zhenyuan Yao Horn Michael Rau, Principal Shannon Hagan, Guest Musicians Lara Baker-Finch Flute Principal Youyang Qu Thomas J. Wible, (Schoenberg) Flute Clara Engen Principal Philip Brindise, Principal Matthew Ross Grace Choi (Schoenberg, (Schubert) Diego Gabete Shostakovich) Tim Skelly, Principal Horn Drew Youmans Sasha Haft, Principal (Shostakovich) Cameron West Amos C. Fayette (Schubert) Daniel Salera, Assistant Kurt Munstedt Trumpet Jiyoung Moon Oboe Szabolcs Koczur, Percussion Zachary Boeding, Principal (Schubert) Charles Kiger Viola Principal (Schoenberg) Zachary Silberschlag, Chihiro Shibayama Scot Moore, Principal Aleh Remezau, Principal David Degge Emmanuel Koh Principal (Schubert) (Shostakovich) Caleb Wong Kelly Mozeik, Principal Chris Moran* Celeste David Riker (Shostakovich) David Sytkowski Chi Lee Bonnie Heung Omar Shelly * Not performing in Marie-Elyse Badeau this concert 05-05 Orchestra Now_Jazz @ Lincoln Center (ROSE) 4/26/17 4:02 PM Page 7

Jazz at Lincoln Center – Meet the TON Musicians E E E L E

Micah Candiotti- L Dávid A. Nagy , O T O I T J I

Pacheco , Clarinet J Bassoon Micah will talk briefly about Schoenberg’s Dávid will talk briefly about Schubert’s Chamber Symphony No. 1 on stage before Symphony No. 3 on stage before the per - the performance formance

Hometown: Santa Rosa, CA Hometown: Debrecen, Hungary Alma mater: University of Michigan Alma maters: Bard College, The Juilliard Appearances: Marrowstone Music Festival, School Bellingham, WA, 2014; Hot Springs Music Awards/Competitions: Kodály Award; Festival, Arkansas, 2014; Texas Music winner, 2005 and 2007 Hungarian National Festival, Houston, 2015 Bassoon Competition; winner, 2012 Bard Musical origins: I began playing, at age Conservatory Concerto Competition ten, because my cousin gave me a begin - Appearances: Bard Music Festival; ner clarinet that she wasn’t using. BlackCreek Summer Music Festival, Ca - Favorite piece to play: Poulenc’s Sextet nada; Castleton Festival Orchestra; Kodály for Piano and Woodwind Quintet (particu - World Youth Orchestra, Hungary; Con - larly the second movement) temporaneous and Excepted, core mem - Favorite obscure piece: Philip Glass’ ber; The Resonant Grounds Initiative, Koyaanisqatsi member and director Favorite composer fact: Mozart wrote Musical origins: I began playing bassoon the overture to Don Giovanni less than 24 at the age of 14 because I hated playing hours before the opera’s premiere. the trombone. Which composer would have had the best Favorite obscure piece: Liszt’s trio arrange - social media: As cliché as it may sound, ment of his own Vallée d’Obermann Mozart would absolutely have the most hilar - Favorite non-classical band: Télépopmusik ious and scandalous Facebook page. Best song to play on repeat: Anything Favorite non-musical hobby: Playing sung by Jessye Norman ping pong and writing calligraphy Last book read: Speak, Memory by Vladimir Favorite painting: A Sunday Afternoon on Nabokov (for the fifth time…) the Island of La Grande Jatte by Georges Favorite painting: American Gothic by Seurat Grant Wood Time travel destination: New York in the Time travel destination: 1920s Paris 1920s Instagram/Twitter: @davidbassoon 05-05 Orchestra Now_Jazz @ Lincoln Center (ROSE) 4/26/17 4:02 PM Page 8

Jazz at Lincoln Center

Favorite obscure piece: Mysteries of the Macabre by Ligeti (but only the Barbara Hannigan recordings) Favorite fact about your instrument: It

E used to be called the Sackbut. E L Gabe Cruz , O Favorite non-classical musician: Chance T I

J Trombone the Rapper Gabe will talk briefly about Shostakovich’s Musical guilty pleasure: Taylor Swift Symphony No. 15 on stage before the per - What recording would you take to a formance deserted island: The Chicago Symphony Orchestra’s recording of Shostakovich’s Hometown: Oakland, CA Seventh Symphony conducted by Leonard Alma mater: San Francisco Conservatory Bernstein of Music Last book read: Kitchen Confidential by Musical origins: I was 12, entering middle Anthony Bourdain school, when my mom signed me up for Favorite sculpture: The headless Nike of band. I thought I was way too cool for it at Samothrace at the Louvre. I can’t wait to first, but then I couldn’t get enough. I see it in real life. started on baritone/euphonium and real - Piece of advice for a young classical ized I wanted to play jazz and orchestral musician: Listen. To recordings, concerts, music so I taught myself the trombone for and most importantly…your teachers. the first year.

The Orchestra Now Artistic Staff Administrative Staff Leon Botstein, Music Director Lynne Meloccaro, Executive Director James Bagwell, Associate Conductor and Oliver Inteeworn, Managing Director Academic Director Brian J. Heck, Director of Marketing Zachary Schwartzman, Resident Conductor Nicole M. de Jesús, Director of Development Erica Kiesewetter, Director of Audition Preparation Sebastian Danila, Music Preparation and Researcher and Principal String Coach Marielle Metivier, Orchestra Manager Bridget Kibbey, Director of Chamber Music and Alice Terrett, Marketing Associate Arts Advocacy Benjamin Oatmen, Librarian Hsiao-Fang Lin, Assistant Orchestra Manager Kristin Roca, Administrative Assistant Bard College Board of Trustees Marcelle Clements ’69, Life George A. Kellner Charles P. Stevenson Jr., Chair Trustee Fredric S. Maxik ’86 Emeritus Craig Cogut James H. Ottaway Jr., Life Trustee James C. Chambers ’81, Chair The Rt. Rev. Andrew M. L. Martin Peretz, Life Trustee Emily H. Fisher, Vice Chair Dietsche, Honorary Trustee Stewart Resnick, Life Trustee George F. Hamel Jr., Vice Chair Asher B. Edelman ’61, Life Trustee David E. Schwab II ’52 Elizabeth Ely ’65, Secretary, Life Paul S. Efron Roger N. Scotland ’93, Trustee Robert S. Epstein ’63 Alumni/ae Trustee Stanley A. Reichel ’65, Treasurer, Barbara S. Grossman ’73, Jonathan Slone ’84 Life Trustee Alumni/ae Trustee James A. von Klemperer Fiona Angelini Andrew S. Gundlach Brandon Weber ’97, Alumni/ae Roland J. Augustine Sally Hambrecht Trustee Leon Botstein+ Marieluise Hessel Susan Weber Stuart Breslow+ Maja Hoffmann Patricia Ross Weis ’52 Mark E. Brossman Matina S. Horner+ Thomas M. Burger+ Charles S. Johnson III ’70 + ex officio Mark N. Kaplan, Life Trustee 05-05 Orchestra Now_Jazz @ Lincoln Center (ROSE) 4/26/17 4:02 PM Page 9

Jazz at Lincoln Center E N I D

T T A M YOU MAKE IT POSSIBLE!

Donor support helps guarantee the future and continued artistry of this innovative program, - while providing vital funding for T ON performances and community engagement programs. - - Tax-deductible contributions to The T ON Fund help to inspire and support TON graduate stu - dents and their education, providing stipends and health benefits.

Your gifts will support free concerts and music education programs in libraries, schools, and community centers in the Hudson Valley and New York City; and make performances at Bard College, Carnegie Hall, The Metropolitan Museum of Art, and Jazz at Lincoln Center’s Rose Theater a reality. - Donations from music lovers like you will also keep T ON’s Around Town concerts, in venues across the boroughs of New York City, free to the general public, so families and communities can share the love of great concert music.

Please make an important investment in a new generation of musicians who are redefining what it means to be an orchestra. Make your gift to The Orchestra Now today!

To learn more about designating your gift or to get more involved, please contact Nicole M. de Jesús, Director of Development, at 646.237.5022 or [email protected].

To make a quick and easy online donation using your credit card: text TON to 41444 or visit THEORCHESTRANOW.ORG/SUPPORT 05-05 Orchestra Now_Jazz @ Lincoln Center (ROSE) 4/26/17 4:02 PM Page 10

Jazz at Lincoln Center – THE T ON FUND DONORS The Orchestra Now gratefully acknowledges the generous support of each and every donor who makes our work a reality. Thank you for making this important investment in a new gen - eration of musicians.

The Andrew W. Mellon Gary M. Giardina Marcia Neeley Foundation Debby and Fred Glynn Maury Newburger Anonymous (6) Hans R. Gunderud Mr. and Mrs. Robert Renbeck Tamarah and Carley Balazs Stan Harrison Ellen Reynolds Joseph J. Baxer and Erica Kiesewetter Susan and D. Richard Rowland Barbara Anne Bacewicz Marilyn and William L. Kirchner Roberta Sandeman Pamela Berlinghof The Kurt Weill Foundation for Barbara A. and Joseph Schoenberg Maria J. Chiu Music Stephen Shafer Lisa Cohen Joy Lee and Richard Packert Frances Sharpless Elaine Dale Arthur S. Leonard Jo Shute and Allan Wieman Nicole M. de Jesús Peter J. and Susan B. LeVangia Jen Shykula and Tom Ochs Thomas De Stefano Elinor Wallach Levin Peter Sipperley Vincent M. Dicks Amala and Eric Levine Felicitas S. Thorne Michael Dorf Ernest Lieber Howard Wallick The Elgar Society Bonnie Loopesko and Ann and Douglas William, in Denise and Scott Engen Daniel Shapiro honor of the weddings of Barbara Ewert Andrea Louie Chelsea & Eric Gottlieb and Arnold and Milly Feinsilber Warren R. Mikulka Stephanie & Fred Peters Elaine Frank Karen E. Moeller and Shelley and Vic Wisner, in honor The Gallego and Maliner Charles H. Talleur of Jonathan Wisner Families, in memory of Roy Moses Wendy Wolfenson Chester (Chet) J. Borkowski III Joanne and Richard Mrstik Marlene Zaslavsky GE Foundation John D. Murphy Leila Zogby

- We also gratefully acknowledge the following donors who generously supported T ON’s first anniversary celebration at City Winery on October 13, 2016. Thank you for joining the festivities! - SET THE T ON: A CELEBRATION OF THE ORCHESTRA NOW

Rebecca Ackerman Bridget Kibbey Brigitte R. Roepke, Hospitality Paul L. Audet Sylvia and Nelson Kier Committee for United Nations Tamarah Balazs Lise Laurent Delegations Susan Beckerman Todd D. Marcus Charles Roth Miriam R. Berger Lisa Marshall Jen Shykula and Tom Ochs Dr. László Z. Bitó and Christine Munson Felicitas S. Thorne Olivia Cariño James and Andrea Nelkin Brian P. Walker José M. de Jesús, Jr. Maury Newburger Clint White Khoa Doan Hoang-Oanh Nguyen Philip and Martha White Michael Dorf Douglas Okerson and Ingrid Yen Elizabeth Duby William Williams Carrie E. Yotter Lauren Effron Mr. and Mrs. James H. Ottaway Jr. Ian Zimmerman Scott Huang Arthur S. Reynolds Laura Kaminsky Lists current as of April 26, 2017 Caroline Kelch