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The Juilliard School presents Juilliard Organists Students of Paul Jacobs

Thursday, April 19, 2018, 7:30pm The Cathedral of St. John the Divine, played on the Great Organ

CHARLES Victimae Paschali Laudes TOURNEMIRE Levente Medveczky (1870–1939)

CAMILLE Fantasy in E-flat SAINT- SAËNS Yuejian Chen (1835–1921)

CHEN ZHANGYI The Sixth Angel (b. 1984) Phoon Yu

RACHEL LAURIN Prelude and Fugue in F Minor, Op. 45 (b. 1961) Daniel Ficarri

MARCEL DUPRÉ Selections from Antiphons, Op. 18 (1886–1971) I Am Black but Comely, O Ye Daughters of Jerusalem How Fair and How Pleasant Art Thou Jeremiah Mead

DAVID GOODE Concert Fantasy on Themes by Gershwin (b. 1971) Colin MacKnight

(Program continues)

Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium.

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JOHANN Passacaglia in C Minor, BWV 582 SEBASTIAN Alexander Pattavina BACH (1685–1750)

FRANZ LISZT From Transcendental Etudes (1811–86) Feux Follets (arr. Ryan Kennedy)

Sonata in B Minor (arr. Ryan Kennedy) Allegro energico-Più mosso Stretta quasi Presto-Presto-Prestissimo-Andante sostenuto- Allegro moderato-Lento assai Ryan Kennedy

Performed without intermission

Photos: architectural detail from the Cathedral of St. John the Divine, photo by Helena Kubicka de Bragança (cover); the Great Organ, photo by Kara Flannery (this page)

2 About This Program By David Crean

According to tradition, the pipe organ was invented in the Egyptian city of Alexandria in the third century BCE. It quickly made its way to Europe, where it became a popular instrument for the Roman aristocracy. Later, it flourished in Arabia and the Byzantine Empire before being reintroduced to Western Europe in the eighth century. As European empires spread across the world, so too did the organ, becoming a fixture of American churches by the early 1800s. More recently, East Asia has experienced a surge of interest in the organ and its music, with substantial installations in China and Mongolia over the last decade. Tonight’s program showcases the international character of the contemporary organ world: music by the canonical European masters, works by living composers from Canada and Singapore, a sparkling arrangement of quintessential American music made by a Brit, and a new transcription of Liszt’s piano works by a young American.

Victimae Paschali Laudes CHARLES TOURNEMIRE

The art of improvisation, long considered a basic skill for all well trained Tonight’s musicians, has gradually diminished in importance for most Classical program instrumentalists over the last century. For organists, however, it remains showcases the an essential skill set, and its best practitioners are in high demand as international recitalists worldwide. France has had a particularly extensive and robust character of the tradition of brilliant improvisers, of which Charles Tournemire was a contemporary prominent member. A pupil of Franck (whom he revered and succeeded organ world. at Ste. Clotilde) and Widor (whom he grudgingly tolerated), Tournemire was enormously prolific. He produced several operas, eight symphonies, chamber music, and the titanic L’orgue mystique, a collection of 51 organ suites specifically written for each Sunday of the church year. But it was his peerless improvisational abilities that attracted the admiration of younger organists including Maurice Duruflé and Olivier Messiaen. It was Duruflé who painstakingly transcribed five of his teacher’s recorded improvisations, including this evening’s selection, based on the Easter hymn Victimae Paschali Laudes (“Christians to the Paschal Victim”). Both extemporaneous and logical, Tournemire’s work is based on short motives drawn from the chant melody, and often juxtaposes bold gestures and intricate passagework for dramatic effect.

Fantasy in E-flat CAMILLE SAINT-SAËNS

Both Tournemire and his forebear Camille Saint-Saëns are often referred to as being part of the “French School” of organ literature, although this identification implies a certain stylistic and pedagogical consensus that was not actually present. It would be more accurate to speak of three interrelated but distinct traditions: the introspective, quasi-mystical style

3 About This Program (Continued)

of Cesar Franck, with its kaleidoscopic harmonic language and emphasis on improvisation; the more academically oriented approach of Widor and Guilmant, based on complete technical mastery and appreciation of Bachian counterpoint; and the “classical” style of Saint-Saëns, grounded in formal logic and tasteful expressivity. Saint-Saëns was a true child prodigy who could perform all 32 of Beethoven’s piano sonatas by age 10, and was admitted to the Paris Conservatoire at age 13. He studied organ and composition, but found little to admire in contemporaneous French organ music characterized by shallow technical display and pandering special effects. Saint-Saëns’ own organ works, which began to appear in print in the early 1850s, were among the first to chart a new, more serious course soon followed by Franck, Widor, and their numerous artistic progeny.

In contrast to the rhapsodic, freewheeling creations of his classmate (and sometime friend) Franck, Saint-Saëns excelled in the small forms he inherited from the 18th century, in particular the fantasy and prelude and fugue. The bipartite Fantasy in E-flat dates from 1857, and seems indebted to Mendelssohn’s then-recent sonatas in its clear forms, singing melodies, Chen Zhangyi's and subtle chromaticism. It departs from its models, though, in its idiomatic The Sixth Angel use of the organ. Saint-Saëns had few peers as an organist in the 1850s— is based on the Liszt regarded him as the finest organist in the world—and the fantasy account of the demands controlled manual technique and fluency in the pedals. The seven trumpets opening section of the work requires the performer to use all three manuals given in the book (keyboards) in quick succession, in a kind of rapid-fire echo texture. The of Revelation. second section is similarly chordal, with greater activity in the pedals. Both are in a clear binary form and seem to demonstrate Saint-Saëns’s assertion that “the artist that does not feel thoroughly satisfied with elegant lines, harmonious colors, or a fine series of chords, does not understand art.”

The Sixth Angel CHEN ZHANGYI

Chen Zhangyi is a Singaporean composer, conductor, and violinist who studied at the Peabody Conservatory of Johns Hopkins University. His works have been performed by the Tokyo Philharmonic and London Symphony Orchestra, among others, and he is currently on the faculty of the National University of Singapore. The Sixth Angel is the second work of a planned seven by Chen Zhangyi based on the account of the seven trumpets given in the book of Revelation:

The sixth angel sounded his trumpet, and I heard a voice coming from the four horns of the golden altar that is before God. It said to the sixth angel who had the trumpet, “Release the four angels who are bound at the great river Euphrates.” And the four angels who had been kept ready for this very hour and day and month and year were released to kill a third of mankind.

4

According to the composer, “the increasing intensity of the build-up of notes, as well as the flurry of fingerwork passages all seem to depict the assembling of the armies and the hosts being unleashed with utter brutality upon the masses of mankind.” Phoon Yu, who plays the work this evening, commissioned it and gave its premiere in August 2017 at Victoria Concert Hall in Singapore

Prelude and Fugue in F Minor, Op. 45 RACHEL LAURIN

Canadian composer Rachel Laurin is an internationally acclaimed organist, particularly well known for her improvisational abilities. While she continues to perform and teach, Laurin is now widely known as a first-rate composer, especially of organ music. Based in Ottawa, she is the “house composer” of Wayne Leupold Editions and has won several composition competitions. Her works are often featured at conventions and have been recorded numerous times. It would be Laurin’s works are grounded in the tradition of the great French improviser- impossible to composers of the 20th century: highly virtuosic, freely, but not abrasively tell the story dissonant, rhetorical, and extremely idiomatic to the instrument. Her style of the pipe is eclectic, though, and colored by her experience as an elite performer and organ in the 20 intimate familiarity with a wide range of organ repertoire. The Prelude and century without Fugue in F Minor won her the 2008 Holtkamp-American Guild of Organists mentioning Composition competition, and was premiered at the 2008 national Marcel Dupré. convention in Minneapolis, Minn. The prelude begins with a flowing, lyrical melody that quickly transforms into something more sinister and unsettled. The opening mood abruptly returns and the whole drama plays out once more before a tranquil conclusion. The fugue utilizes a lengthy, slightly jagged subject whose repeated-note motive recalls the fugues of Buxtehude. A short section of toccata figuration concludes the work.

Selections from Antiphons, Op. 18 MARCEL DUPRÉ

It would be impossible to tell the story of the pipe organ in the 20 century without mentioning Marcel Dupré. A prodigy on the order of Mozart, Mendelssohn, and Saint-Saëns, he enrolled in the Paris Conservatoire in 1902, where he studied organ under Guilmant (who had known him since infancy) and Vierne, and composition with Widor. In 1920 he twice performed the complete Bach organ works, a feat virtually unheard of at the time. He was one of the first Europeans to concertize in America, where he attracted a devoted following and helped to shape the development of American organ building. In 1926 he was named professor at the Conservatoire and published his important treatise on improvisation. During

5 About This Program (Continued)

his long career there, he taught most of the important French organists of the 20th century as well as several Americans, and exerted a strong influence on organ playing throughout the world.

Despite splitting his time between the Conservatoire, St. Sulpice (where he succeeded Widor as titular organist), and his demanding performance schedule, Dupré also found time to compose prolifically. Stylistically he added little to the idiom of his forebears Widor, Vierne, and Tournemire— his music is characterized by a finely developed sense of counterpoint, a blending of tonal and modal harmonies, pungent but not pervasive dissonance, and rhythmic forcefulness. His most successful works, like the preludes and fugues of Op. 7 or the Symphonie-Passion, have a decidedly improvisatory character and remain popular recital pieces. The Vêpres du commun des fêtes de la Sainte-Vierge is a set of 18 short versets, based on improvisations given by Dupré at Notre Dame cathedral in August of 1919. Claude Johnson, the managing director of Rolls-Royce, happened to be in attendance, and he offered Dupré 1,500 francs to transcribe the works and allow him to publish them in England. Dupré did so, and the David Goode collection has proven to be a durable staple of the repertoire ever since. has a fine sense of Gershwin’s jazz-inflected Concert Fantasy on Themes by Gershwin harmonic DAVID GOODE language and an expert’s ear for David Goode is the organist at Eton College where he was once a student tone color. and has held posts at Christ Church Oxford and the First Congregational Church in Los Angeles. A graduate of King’s College, Cambridge, and winner of several prestigious organ competitions, Goode has been one of the U.K.’s most active recitalists over the past two decades. He has made numerous appearance on the BBC proms concerts, completed tours of North America and Asia, and is currently engaged in recording the complete works of Bach on the organ at Trinity College, Cambridge.

As a composer, Goode has focused primarily on choral music, and has collaborated with poet Francis Warner on several works. The Concert Fantasy on Themes of Gershwin is his most widely known organ work, and is essentially a set of variations on three different themes: “I’ve Got Rhythm,” “Summertime,” and “Nice Work if You Can Get It.” Clearly the work of a seasoned virtuoso, the fantasy takes full advantage of the organ’s vast tonal resources, alternating glittering passagework with dramatic chordal writing and occasional contrapuntal textures. Goode has a fine sense of Gershwin’s jazz-inflected harmonic language and an expert’s ear for tone color, creating a work that easily stands alongside similar pieces from the 19th century, when performers like Liszt and Sarasate dazzled audiences with their own medleys of popular opera excerpts.

6

Passacaglia in C Minor, BWV 582 JOHANN SEBASTIAN BACH

In 1705, Johann Sebastian Bach traveled about 280 miles each way (probably on foot) to meet and hear the organist Dieterich Buxtehude. He nearly lost his job over the unsanctioned journey, but the experience was an important one: Buxtehude was the foremost representative of the North German school of organ composition, and his works were models for the young Bach’s own early experiments in that arena. Buxtehude was especially fond of the chaconne and passacaglia—two closely related dance forms based on variations over repeated bass patterns—and had written several examples for organ. Bach may have had Buxtehude’s C minor chaconne in mind when he wrote his own C minor passacaglia some time shortly after his trip, but his own contribution to the genre excels its models in all respects. Unrivaled in scale, complexity, intensity, and inventiveness, it has come to be regarded as one of Bach’s earliest masterpieces and one of the most significant keyboard compositions of all time.

The passacaglia proper proceeds through 21 variations of an eight-measure Bach's bass pattern. Presented unadorned in the pedal at the beginning of the Passacaglia work, it eventually migrates into the upper voices before returning to the in C Minor is bass range. The variations gradually become more rhythmically active until unrivaled in a provisional climax is reached in variation 12. The texture becomes thinner scale, complexity, for several variations, forming a sort of interlude before the powerful intensity, and conclusion. The conclusion turns out to be a feint, however, as the last inventiveness. variation dovetails with an immense double fugue, whose two subjects are the two halves of the passacaglia theme. Scholars have long been fascinated by the passacaglia and have offered various interpretations and analyses, including the idea that the work is based on several Lutheran chorales, and that the overall form is that of a cross. It has also been transcribed numerous times, perhaps most notably by Leopold Stokowski, who recorded his orchestral version six times.

“Feux Follets” from Transcendental Etudes Sonata in B Minor FRANZ LISZT

In April 1832, a 20-year-old Franz Liszt attended a benefit concert put on by the famed Italian violinist Niccolò Paganini. It proved to be a transformative experience for the young virtuoso, who had dazzled audiences throughout Europe with his technical brilliance and charismatic style. Already one of the finest pianists in Paris, Liszt went into virtual seclusion for several months, rebuilding practically every aspect of his technique and emerging as the virtuoso par excellence of his time. A few years later, he revisited one of his earliest compositional efforts, the Étude en douze exercices (Study in Twelve Exercises), written in 1826 under

7 About This Program (Continued)

the influence of his teacher Carl Czerny and described by Alan Walker as “[making] the keyboard sparkle from one end to the other.” It was already a difficult work, and Liszt significantly revised the set to better reflect his new abilities and sensibilities, publishing that version, one of the ultimate benchmarks of keyboard virtuosity, in 1837. After further revisions in the early 1850s, the set attained its standard form and title, Transcendental Études, with its 1852 publication. The fifth work in the set, “Feux Follets” (“Wills o’ the Wisp”), is regularly ranked as one of the most difficult, and is characterized by highly intricate, unpredictable passagework, often accompanied by wide, awkward intervals.

Liszt’s career took another unexpected turn in 1847. At age 35, he essentially retired from performing and relocated to Weimer, where he devoted his time to composing, teaching, and conducting. The Sonata in B Minor is a product of the Weimar period and, upon its premiere in 1857, proved as divisive as any of Liszt’s works. Brahms reportedly fell asleep during a private performance with Liszt; the music critic Eduard Hanslick gave a scathing review; Clara Schumann refused to learn or perform it, Liszt's Sonata in despite its dedication to her husband Robert. Its reception in the 20th B Minor is prized century was significantly more positive, and it is now prized as one of the as one of the most innovative works in the repertoire. Played without pause, it is often most innovative described as exhibiting “double-function form,” a sort of dual existence works in the as a large-scale sonata form and a standard four-movement sonata cycle. repertoire. Of the two of sections on tonight’s program, the first fulfils the role of “retransition” and consists mainly a three-part fugato. The finale, which doubles as the recapitulation, was revised before publication to conclude softly rather than with the expected fireworks.

David Crean teaches organ at Wright State University and is music director for Discover Classical WDPR in Dayton, Ohio. He is a graduate of the C.V. Starr Doctoral Program at Juilliard and was the recipient of the 2014 Richard F. French Doctoral Prize.

8 Meet the Artists

Yuejian Chen Initially an electronic keyboard player, Yuejian Chen started his musical career at 13 in Shanghai. At age 18 he decided to turn to a relatively unknown instrument in China, the pipe organ. Currently pursuing his master’s at Juilliard as a student of Paul Jacobs, he is the organ scholar at Christ Church United Methodist Church. While a student at Shanghai Conservatory of Music, he studied with Lei Zhu and Dan Wu and performed at the Shanghai Oriental Center of Art, Shanghai Concert Hall, Hangzhou • Juilliard Organ Grand Theater, Ningbo Grand Theater, and Hong Kong Cultural Center. He Scholarship • Irene Diamond has performed across China with the Shanghai Symphony Orchestra and Graduate Fellowship Shanghai Oriental Orchestra. In New York City, Mr. Chen has performed • Lois Pemberton at the Central Synagogue, Marble Collegiate Church, Cathedral of St. John Scholarship in Piano the Divine, Church of St. Paul the Apostle, and St. Ignatius Loyola Church. and Organ Also a composer, he studied with Huang Lv in Shanghai, and his various works include solo instrumental music, songs, and chamber music. His first orchestral work, “Sensation,” premiered in 2016.

Daniel Ficarri A native of Pittsburgh, Penn., Daniel Ficarri is an organist and composer studying at Juilliard with Paul Jacobs. He has performed as a soloist in WQXR’s Bach Organ Marathon, the Oregon Bach Festival, and Lincoln Square’s Winter’s Eve Festival. His recent performance of John Cage’s Souvenir was listed among the week’s eight best classical music moments in The New York Times. Mr. Ficarri has also performed with the Florida Orchestra, Juilliard Orchestra, Chelsea Opera, and in Juilliard’s • Elizabeth Sheppard ChamberFest. His compositions have been heard on WQED-FM, and his Scholarship • George B. Bryant newest work will be featured in Choir & Organ magazine this summer Scholarship and premiered at St. Thomas Church in the fall. Mr. Ficarri is the organ • Joseph E. and scholar at the Church of St. Paul the Apostle where he founded their Grace W. Valentine organ concert series, Sacred Sounds at St. Paul’s. Previously, he worked Scholarship as the organ scholar at Hitchcock Presbyterian Church.

9 Meet the Artists (Continued)

Ryan Kennedy Ryan Kennedy was an aspiring physicist and accomplished pianist when he first heard the organ at age 15, and was inspired to learn to tame this beast. Two years and a lot of practicing later, he applied to Juilliard and was accepted as an organ major. Since then, he has become an increasingly busy concert organist and improviser. Mr. Kennedy has also become known for his programming, often including such masterpieces as Bach’s Clavier Übung III and Six Trio Sonatas, Duruflé’s complete works, Reger’s Chorale Fantasias, and multiple cycles by Messiaen, often delivered as sets. Recently, he has been incorporating improvisation into his concerts, including symphonies, on given themes. His background as a pianist has manifested itself in the form of many transcriptions. His recordings have been broadcast recently on NPR, WQXR, and BBC3, including his take on Milton Babbitt’s rarely played Manifold Music. Ryan is a master’s student at Juilliard, studying with Paul Jacobs.

Colin MacKnight Colin MacKnight is a second year C.V Starr Doctoral Fellow at Juilliard, where he also earned his bachelor’s and master’s, studying with Paul Jacobs. He is assistant organist at New York’s Saint Thomas Fifth Avenue. In addition to his work for the church, Mr. MacKnight is responsible for developing and teaching the music theory curriculum at Saint Thomas Choir School. A frequent competition prize winner, his first prizes and • C.V. Starr Doctoral scholarships include the 2017 West Chester University International Fellowship Organ Competition, 2016 Albert Schweitzer Organ Competition, 2016 Arthur Poister Scholarship Competition, M. Louise Miller Scholarship from the Greater Bridgeport Chapter of the American Guild of Organists (AGO), the 2013 Rodgers North American Classical Organ Competition, and the Ruth and Paul Manz Organ Scholarship. He also won the New York City AGO Competition and advanced to the Northeast Regional Competition and won first place. In addition, he received the Clarence Snyder Third Prize in the 2016 Longwood Gardens International Organ Competition, and is a fellow of the American Guild of Organists. (colinmacknight.com)

Jeremiah Mead From Madison, Conn., Jeremiah Mead is a rising organist, currently studying at Juilliard with Paul Jacobs. He became interested in the organ at age 12 while he was a chorister at Trinity Episcopal Church in New Haven, Conn., under the direction of Walden Moore. Mr. Mead has • Joseph E. and performed in many venues in Connecticut, including Trinity Episcopal Grace W. Valentine Church on the Green in New Haven, the Cathedral of Saint Joseph in Scholarship Hartford, Christ Episcopal Church in Guilford, and Emmanuel Episcopal • Alan Carmel Church in Killingworth. Former teachers include Ezequiel Menendez and Scholarship • George Erick Andrew Kotylo, and pianists Victoria Reeve and RoseMarie Tamburri. Scholarship

10

Levente Medveczky Levente Medveczky is a MM candidate at Juilliard studying with Paul Jacobs. Originally from Budapest, he received his early training in the studio of Zsuzsa Elekes at the Béla Bartók Conservatory. He pursued his bachelor’s at Brigham Young University as a student of Don Cook. With a love for sacred music, Mr. Medveczky has been the organ scholar at the Cathedral of the Madeleine in Salt Lake City. He is the interim director of music at the Church of Incarnation in New York City. • Jerome L. Greene Fellowship

Alexander Pattavina Alexander Pattavina, from Boston, is pursuing a bachelor’s degree in organ performance at Juilliard where he is a student of Paul Jacobs. Recently he has performed at the Cathedral Church of St. John the Divine, Church of St. Ignatius Loyola, and the Church of St. Paul the Apostle in Manhattan, and Old West Church in Boston. This season’s engagements include performances at the University of Florida, University of Scranton, and • Vernon de Tar Methuen Memorial Music Hall. He is currently the assistant organist at Scholarship • Bidù Sayão the Parish of St. Vincent Ferrer and St. Catherine of Siena in Manhattan. Scholarship • George H. Gangwere Scholarship Phoon Yu Organist and composer Phoon Yu is active both in Singapore and in the U.S., and is currently pursuing his Doctor of Musical Arts degree in organ performance at Juilliard as a student of Paul Jacobs. He has given premiere performances of his own music and other composers, including works for various solo instruments and chamber groups across various venues in Singapore, China, and the U.S. He received his BM in music composition at the Yong Siew Toh Conservatory of Music under full • Celia Ascher scholarship, followed by his MM in organ performance at the Peabody Doctoral Fellowship Institute of the Johns Hopkins University, being awarded the Bruce R. Eicher prize at the conclusion of his studies. His previous teachers include Donald Sutherland and Evelyn Lim (organ) and Ho Chee Kong and Oscar Bettison (composition).

11 About the Cathedral of St. John the Divine

The Cathedral of St. John the Divine is the cathedral of the Episcopal Diocese of New York. It is chartered as a house of prayer for all people and a unifying center of intellectual light and leadership. People from many faiths and communities worship together in services held more than 30 times a week; the soup kitchen serves roughly 25,000 meals annually; social service outreach has an increasingly varied roster of programs; the distinguished Cathedral School prepares young students to be future leaders; Adults and Children in Trust, the renowned preschool, afterschool, and summer program, offers diverse educational and nurturing experiences; the outstanding Textile Conservation Lab preserves world treasures; concerts, exhibitions, performances, and civic gatherings allow conversation, celebration, reflection, and remembrance—such is the joyfully busy life of this beloved and venerated cathedral.

About Great Music in a Great Space

The Great Music in a Great Space (GMGS) concert series seeks to utilize the full potential of the soaring Gothic architecture of St. John the Divine to present music, both familiar and not so familiar, in a unique and spiritual setting. In addition to using the more common performance areas of the cathedral such as the Great Choir and the Crossing, GMGS concerts also take place in more intimate locations such as the Chapels of the Seven Tongues, located at the cathedral's east end. GMGS is comprised of three concert series: the Great Choir choral series, the Great Organ recital series, and the holiday concerts celebrating the Christmas season and New Year’s Eve. The repertoire of the choral series encompasses a musical palette from Renaissance polyphony to contemporary compositions, and also features explorations of less familiar traditions such as Spanish Renaissance music and Eastern Orthodox hymnody. The Great Organ recital series features evening organ recitals, from both cathedral organists and internationally acclaimed guest artists.

About the Great Organ

The Great Organ was built by the Ernest M. Skinner Company in 1911, and enlarged and modified by Æolian-Skinner in 1954, under the direction of G. Donald Harrison (1889–1956). After a devastating fire in 2001, the instrument was restored by Quimby Pipe Organs of Warrensburg, Mo., under the supervision of Douglass Hunt, organ curator of the cathedral. It was rededicated, along with the entire cathedral, on November 30, 2008. The Great Organ is widely considered to be one of the masterpieces of American pipe organ building and an acclaimed national treasure. It is a four manual-and- pedal, seven-division, electro-pneumatic action instrument of 118 speaking stops and 8,514 pipes. The Great Organ has several extraordinary features, including magnificent high-pressure solo tubas, a battery of Bombarde reeds, three remarkably effective 32-foot ranks, and a three-rank cello stop in the pedal division. The console, newly built by Quimby during the restoration in the style of the original Skinner console, is located in the gallery above the South Choir stalls.

12 Juilliard Board of Trustees and Administration

BOARD OF TRUSTEES Jazz Wynton Marsalis, Director of Juilliard Jazz Bruce Kovner, Chair Aaron Flagg, Chair and Associate Director J. Christopher Kojima, Vice Chair Katheryn C. Patterson, Vice Chair Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Artistic Director Julie Anne Choi Greg Margolies Kirstin Ek, Director of Curriculum and Schedules Kent A. Clark Vincent A. Mai Monica Thakkar, Director of Performance Activities Kenneth S. Davidson Ellen Marcus Barbara G. Fleischman Nancy A. Marks Pre-College Division Keith R. Gollust Stephanie Palmer McClelland Yoheved Kaplinsky, Artistic Director Mary Graham Christina McInerney Ekaterina Lawson, Director of Admissions and Academic Affairs Joan W. Harris Lester S. Morse Jr. Anna Royzman, Director of Performance Activities Matt Jacobson Stephen A. Novick Edward E. Johnson Jr. Joseph W. Polisi Evening Division Danielle La Senna, Director Karen M. Levy Susan W. Rose Teresa E. Lindsay Deborah Simon Lila Acheson Wallace Library Laura Linney Sarah Billinghurst Solomon Jane Gottlieb, Vice President for Library and Michael Loeb William E.“Wes” Stricker, MD Information Resources; Director of the C.V. Starr Doctoral Fellows Program Enrollment Management and Student Development Joan D. Warren, Vice President TRUSTEES EMERITI Kathleen Tesar, Associate Dean for Enrollment Management June Noble Larkin, Chair Emerita Barrett Hipes, Associate Dean for Student Development Sabrina Tanbara, Assistant Dean of Student Affairs Mary Ellin Barrett Cory Owen, Assistant Dean for International Advisement Sidney R. Knafel and Diversity Initiatives Elizabeth McCormack William Buse, Director of Counseling Services John J. Roberts Katherine Gertson, Registrar Tina Gonzalez, Director of Financial Aid Teresa McKinney, Director of Community Engagement Camille Pajor, Title IX Coordinator JUILLIARD COUNCIL Todd Porter, Director of Residence Life Howard Rosenberg MD, Medical Director Mitchell Nelson, Chair Beth Techow, Administrative Director of Health and Counseling Services Michelle Demus Auerbach Jean-Hugues Monier Barbara Brandt Holly Tedder, Director of Disability Services Terry Morgenthaler and Associate Registrar Brian J. Heidtke Pamela J. Newman Gordon D. Henderson Howard S. Paley Finance Peter L. Kend John G. Popp Christine Todd, Vice President and Chief Financial Officer Younghee Kim-Wait Grace E. Richardson Michael Kerstan, Controller Paul E. Kwak, MD Jeremy T. Smith Irina Shteyn, Director of Financial Planning and Analysis Min Kyung Kwon Alexander I. Tachmes Nicholas Mazzurco, Director of Student Accounts/Bursar Sophie Laffont Anita Volpe Administration and Law Maurice F. Edelson, Vice President for Administration and General Counsel Joseph Mastrangelo, Vice President for Facilities Management EXECUTIVE OFFICERS Myung Kang-Huneke, Deputy General Counsel AND SENIOR ADMINISTRATION 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 Adam Gagan, Director of Security Office of the Provost and Dean Scott A. Holden, Director of Office Services Ara Guzelimian, Provost and Dean Jeremy Pinquist, Director of Client Services, IT José García-León, Associate Dean for Academic Affairs Helen Taynton, Director of Apprentice Program Robert Ross, Assistant Dean for Preparatory Education Kent McKay, Associate Vice President for Production Development and Public Affairs Alexandra Day, Associate Vice President for Marketing Dance Division and Communications Taryn Kaschock Russell, Acting Artistic Director Katie Murtha, Acting Director of Development Lawrence Rhodes, Artistic Director Emeritus Benedict Campbell, Website Director Katie Friis, Administrative Director Amanita Heird, Director of Special Events Susan Jackson, Editorial Director Drama Division Richard Feldman, Acting Director Sam Larson, Design Director Katherine Hood, Managing Director Lori Padua, Director of Planned Giving Ed Piniazek, Director of Development Operations Music Division Nicholas Saunders, Director of Concert Operations Adam Meyer, Associate Dean and Director Edward Sien, Director of Foundation and Corporate Relations Bärli Nugent, Assistant Dean, Director of Chamber Music Adrienne Stortz, Director of Sales Joseph Soucy, Assistant Dean for Orchestral Studies Tina Matin, Director of Merchandising Stephen Carver, Chief Piano Technician Rebecca Vaccarelli, Director of Alumni Relations Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Juilliard Global Ventures Courtney Blackwell Burton, Managing Director for Operations Historical Performance Betsie Becker, Managing Director of Global K–12 Programs Robert Mealy, Director Gena Chavez, Managing Director, The Tianjin Juilliard School Benjamin D. Sosland, Administrative Director; Nicolas Moessner, Managing Director of Finance Assistant Dean for the Kovner Fellowships and Risk Management

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