Juilliard 415 Photo by Claudio Papapietro

Support the next generation of performing artists

"I see for Juilliard a bold, creative, unstoppable, and joyful spirit that nurtures individuality. And I see for Juilliard an endless continuum of beauty, of artists who launch their voices into the universe." —Damian Woetzel, Juilliard President

You are a vital part of Julliard’s future. Your donation supports financial aid for more than 90% of our students and the development of the next generation of performing artists. Make your tax-deductible gift by December 31 and be a part of the this exciting new chapter at Juilliard.

Give now at giving.juilliard.edu/future or call (212) 599-7000, ext. 278.

Thank you for your support. juilliard.edu

The Juilliard School presents Juilliard415 Monica Huggett, Director and Violin David Belkovski, Fortepiano

Friday, January 18, 2019, 7:30pm Peter Jay Sharp Theater

WOLFGANG AMADEUS Divertimento in D Major, K.136 (1772) MOZART Allegro (1756-91) Andante Presto

Piano Concerto No. 24 in C Minor, K. 491 (1786) Allegro Larghetto Allegretto David Belkovski, Fortepiano

Intermission

Symphony No. 41 in C Major, K.551, “Jupiter” (1788) Allegro vivace Andante cantabile Menuetto: Allegretto—Trio Molto allegro

Performance time: approximately 1 hour and 45 minutes, including an intermission

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

This performance is supported, in part, by the Muriel Gluck Production Fund.

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.

1 Notes on the Program By James M. Keller

Mozart: Divertimento in D Major, K. 136 (1772)

The D-major Divertimento is one of three roughly similar works that, in the Wolfgang Amadeus composer’s manuscript, are headed with the words “di Wolfgango Amadeo Mozart Mozart Salisburgo 1772.” That leaves no doubt that Mozart wrote them in his home town of Salzburg (Italianized as “Salisburgo”), and historical Born: evidence suggests that they must date from the early months of that January 27, 1756, year—at about the time he was 15 going on 16. Each piece is also headed in Salzburg, Austria with the inscription Divertimento I (or II or III), but the most commonly employed modern editions present them under the competing names Born: “Three Divertimentos” and “Three Salzburg Symphonies Without Winds.” December 5, 1791, in Vienna, Austria This piece has also long been claimed as a piece of chamber music. The sparkling figuration of 16th-notes that fills the first-violin part in the first movement (and sometimes the second-violin part as well) may seem envisaged for a virtuoso soloist rather than an entire orchestral section. If this was intended to be a string quartet, was it even for a quartet comprising two violins, viola, and cello? The score doesn’t mention a cello; the lowest line is simply labeled basso, which could refer to the fact that it functions as the bass line or perhaps that it was to be played by a double bass. The combination of two violins, viola, and double bass was a standard ensemble in Mozart’s Austria, documented in pictures as well as in music and sometimes known as a “divertimento quartet.” These chamber-musical assemblages may have bearing on how one chooses to treat the piece even when it is presented in an orchestral guise; a conductor could dispense with cellos entirely and simply use multiple players of the “divertimento quartet” configuration, or consider it a scaled-up standard string quartet (with first and second violin, viola, and cello sections but no double basses), or treat it as a string symphony in all its fullness, with cellos and double basses doubling each other at the octave on that bottom line. For a piece that on the surface seems entirely guileless, this divertimento or symphony or whatever it is raises some pretty basic issues, and a conductor has to take a stand about how to present it.

The character of the piece will certainly vary depending on the performing forces chosen, but its appeal remains no matter what: a brilliant opening Allegro, a gentle Andante with an Italianate musical accent, and a sonata-form finale in which the contrapuntal pretensions of the development section are likely to make listeners smile broadly as they cheer the composer along the path toward his musical maturity.

2

Piano Concerto No. 24 in C Minor, K. 491 (1786)

Mozart signaled the completion of his C-minor Piano Concerto by entering it into his Verzeichnüss aller meiner Werke (Catalogue of All My Works) on March 24, 1786. Its brooding darkness makes it unique among Mozart’s concertos. Only one other is in a minor key—the Piano Concerto in D Minor (K.466), of 1785—and that one, though a favorite of ensuing generations of emotionally susceptible Romantics, actually ends with more than a whiff of major-key merriment. Not so the C-minor, the overriding sentiment of which might be described as despairing. Of course, this is not raw despair that is put on display; we can depend on Mozart to temper it with a certain measure of elegance. In so doing, he renders it all the more poignant.

He probably unveiled it on April 7, 1786, at Vienna’s Burgtheater, in the last in a series of annual benefit concerts (meaning the box-office receipts would benefit the composer) that Mozart had given in Vienna since 1783. There is no question that a piano concerto figured on that program, and the practical logic connecting the completion of such a work to a solo appearance two weeks later is well-nigh impeccable. He was very likely the soloist. The autograph reveals a working style that can be found elsewhere in pieces he wrote to spotlight himself: by and large, the orchestral lines are written out fully, but the piano part sometimes disintegrates into shorthand, as if to merely remind the composer about how his not-yet-notated piece was to proceed. When he eventually got around to “filling out” the piano part, he sometimes found himself trying to cram too many notes into too little space on the physical page. The resulting text has challenged editors ever since with a number of obscurities, including a few conflicting harmonizations. Even tempo indications are a matter of speculation. The composer clearly marked the first movement Allegro on his manuscript, but the notations of Larghetto and Allegretto at the beginning of the second and third movements are in a hand other than Mozart’s.

This is the only Mozart piano concerto to use both oboes and clarinets; in fact, we find here the largest orchestra he ever used in a piano concerto. It is clear that he planned this piece “big” from its conception, as it is the only one of his large-scale mature works in which he set down the score on manuscript paper pre-ruled to 16 staves, elsewhere preferring 12-staff paper. Mozart uses his forces to splendid effect, employing the winds both as soloists and as a choir to yield a fully symphonic texture. The mature Mozart always made telling use of wind instruments for highlighting textures and adding irresistible bits of contrapuntal commentary. Here, especially in the second movement, the entire wind section takes on an almost concertant role.

3 Notes on the Program By James M. Keller (continued)

Symphony No. 41 in C Major, K.551, “Jupiter” (1788)

Mozart produced his final three symphonies in the space of about nine weeks, in the summer of 1788. Twelve movements in nine weeks would mean that, on the average, he expended five days and a few hours on the composition of each movement. That doesn’t figure in the fact that he was writing other pieces at the same time, or that he was also giving piano lessons, tending a sick wife, enduring the death of a six-month-old daughter, entertaining friends, moving to a new apartment, and asking his fellow freemason Michael Puchberg for financial assistance.

In his Symphony No. 41, Mozart seems intent on showing off his sheer brilliance as a composer. Its emotional range is wide indeed, prefiguring the vast expressive canvas that would emerge in the symphonies of Beethoven. In this work’s finale Mozart renders the listener slack-jawed through a breathtaking display of quintuple invertible counterpoint, and that in itself may be viewed as looking both backward, to the contrapuntal virtuosity we associate with Bach and Handel, and forward, to the dramatic power of fugue as demonstrated in many of the greatest compositions of Beethoven.

Mozart’s Symphony No. 41 is universally known among English-speaking music lovers as the “Jupiter” Symphony. As with so many musical nicknames, this one did not originate with the composer. We have no reason to doubt the account provided by the English composer and publisher Vincent Novello, who (along with his wife) visited Mozart’s widow and their son Franz Xaver in 1829 and reported: “Mozart’s son said he considered the Finale to his father’s Sinfonia in C—which Salomon christened the ‘Jupiter’—to be the highest triumph of Instrumental Composition, and I agree with him.” This would have been the German violinist Johann Peter Salomon, remembered especially for having established himself as an impresario in and arranged Franz Joseph Haydn’s two stints in Great Britain in the 1790s. It rings true: the earliest concert programs to use the nickname were Scottish and English, and the first printed edition to slap the name on the title page was a piano transcription of the symphony published in London in 1823.

Although we don’t know just when it was premiered, this symphony was quickly recognized as a work of exceptional qualities. In 1798 a reviewer for Leipzig’s Allgemeine musikalische Zeitung referred to Mozart’s “formidable Symphony in C Major, in which, as is well known, he came on a little too strong.” But soon commentators adopted tones of almost unanimous adulation. By the time Georg Nikolaus von Nissen published his groundbreaking Mozart biography, in 1828, the tenor was firmly set. “His great Symphony in C with the closing fugue is truly the first of all symphonies,” declared Nissen. “In no work of this kind does the divine spark of genius shine more brightly and beautifully.”

4

James M. Keller is the long-time program annotator of the New York Philharmonic and the San Francisco Symphony, and serves as critic-at-large for the Santa Fe New Mexican, the oldest newspaper west of the Mississippi. His book Chamber Music: A Listener’s Guide is published by Oxford University Press.

These notes appeared in an earlier form in the programs of the New York Philharmonic and are used with permission. © New York Philharmonic

5 Meet the Artists

Monica Huggett

Monica Huggett is artist in residence of Juilliard Historical Performance and has been with the program since its inception in 2009. She also is artistic director of the Portland (Ore.) Baroque Orchestra. During the past four decades she has co-founded the Amsterdam Baroque Orchestra with ; founded her own London-based ensemble, Sonnerie; worked with at the ; worked with and ; toured the U.S. in concert with ; and in 2004 co-founded the Montana Baroque Festival. She is also a member, with cellist Tanya Tompkins and fortepianist Eric Zivian, of the Benvenue Fortepiano Trio, which specializes in the historical performance of Classical and Romantic repertoire. She has served as guest director of the Arion Baroque Orchestra, Montreal; Tafelmusik, Toronto; Los Angeles Chamber Orchestra; Philharmonia Baroque, San Francisco; Norwegian Chamber Orchestra; Seville Baroque Orchestra; and Concerto Copenhagen; and has been guest soloist with ensembles Helicon and Galatea; Mercury Baroque, Houston; and the Early Music Festival, Utrecht. Her recordings have won numerous prizes, and her CD Flights of Fantasy was named by Alex Ross in his New Yorker review as the 2010 CD of the Year. She holds an honorary fellowship at the in London.

David Belkovski

David Belkovski, born in Skopje, Macedonia, became interested in classical music while at Interlochen Arts Academy, from which he graduated in 2012, studying with T.J. Lymenstull. Since discovering the world of historical performance practice, Belkovski has performed with Michigan State University Choirs and Orchestra, at the Lexington Bach Festival, and at the • Historical University of Michigan’s 2017 music festival, En Español: Sounds from the Performance Scholarship Hispanosphere, where he played Manuel de Falla’s harpsichord concerto. He has performed in master classes for piano, fortepiano, and harpsichord with Malcolm Bilson, Masaaki Suzuki, Boris Slutsky, Frederic Chiu, Skip Sempé, and Martin Katz. He won the 2015 Eastman School of Music Concerto Competition and the 2016 Ann Arbor Camerata Concerto Competition. He was awarded the Frank Huntington Beebe Fund for Musicians Grant and was chosen as a finalist for the 2018 Berkeley International Fortepiano Competition. He was a Phyllis and Charles Rosenthal Fellow for Juilliard at the Piccola Accademia summer program, he holds a master’s degree in fortepiano and piano performance from the University of Michigan, and a bachelor’s degree in piano performance from the Eastman School of Music, and he is pursuing his master’s degree in harpsichord performance at Juilliard.

6 Juilliard Historical Performance

Juilliard’s full-scholarship Historical Performance program offers comprehensive study and performance of music from the 17th and 18th centuries on period instruments. Established and endowed in 2009 by the generous support of Bruce and Suzie Kovner, the program is open to candidates for Master of Music, Graduate Diploma, and Doctor of Musical Arts degrees. A high-profile concert season of opera, orchestral, and chamber music is augmented by a performance-oriented curriculum that fosters an informed understanding of the many issues unique to period-instrument performance at the level of technical excellence and musical integrity for which Juilliard is renowned. The faculty comprises many of the leading performers and scholars in the field. Frequent collaborations with Juilliard’s Ellen and James S. Marcus Institute for Vocal Arts, the integration of modern-instrument majors outside of the Historical Performance program, and national and international tours have introduced new repertoires and increased awareness of historical performance practice at Juilliard and beyond. Alumni of Juilliard Historical Performance are members of many of the leading period-instrument ensembles, including the Portland Baroque Orchestra, Les Arts Florissants, Mercury, and Tafelmusik, as well as launching such new ensembles as the Sebastians, House of Time, New York Baroque Incorporated, and New Vintage Baroque.

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

7 Juilliard415

Since its founding in 2009, Juilliard415, the school’s principal period-instrument ensemble, has made significant contributions to musical life in New York and beyond, bringing major figures in the field of early music to lead performances of both rare and canonical works of the 17th and 18th centuries. The many distinguished guests who have led Juilliard415 include Harry Bicket, William Christie, Monica Huggett, Ton Koopman, Nicholas McGegan, Rachel Podger, Jordi Savall, and Masaaki Suzuki. Juilliard415 tours extensively in the U.S. and abroad, having performed on five continents with notable appearances at the Boston Early Music Festival, Leipzig Bach fest, and Utrecht Early Music Festival (where Juilliard was the first-ever conservatory in residence), and on a 10-concert tour of New Zealand. With its frequent musical collaborator, the Yale Institute of Sacred Music, the ensemble has played throughout Italy, Japan, Southeast Asia, the U.K., and India. Juilliard415, which takes its name from the pitch commonly associated with the performance of Baroque music, A=415, has performed major oratorios and fully staged productions: Handel’s Agrippina and Radamisto; Bach’s Matthew and John Passions; Cavalli’s La Calisto; and performances in the U.S. and Holland of Bach’s Mass in B Minor conducted by Ton Koopman. The ensemble’s most recent international appearances were in Bolivia, in a tour sponsored by the U.S. Department of State that marked the ensemble’s South America debut. The 2017–18 season was notable for the Juilliard debuts of the rising conductor Jonathan Cohen and the Belgian vocal ensemble Vox Luminis, a side-by-side collaboration with Philharmonia Baroque in San Francisco, as well as return visits by Rachel Podger, William Christie, an all-Bach concert with Maestro Suzuki, and the rare opportunity to see a fully staged production of Rameau’s Hippolyte et Aricie. This season’s international schedule includes performances in Canada, London, Versailles, and throughout Scandinavia. In New York, Juilliard415 welcomed Paul Agnew and Alfredo Bernardini for their Juilliard debuts.

8 Roster

Violin 1 Cello Clarinet Monica Huggett Jin Nakamura Daniel Giacobbe Chloe Kim Morgan Little Keeheon Nam Keats Dieffenbach Madeleine Bouissou Shelby Yamin Sydney ZumMallen Bassoon Ruiqi Ren J. Adam Young Georgeanne Banker Chiara Fasani Stauffer Blanca Martin Muñoz* Cornelia Sommer

Violin 2 Double Bass Horn Rachell Ellen Wong Alexander Bickard Vincent Kiray Manami Mizumoto David Alexander Naomi Dumas Flute Aleksandra Kwiatkowska* Taya König-Tarasevich Trumpet Rebecca Nelson (Piano Concerto) Benedetto Salvia Pietro Battistoni* Bethanne Walker Peter Hoyle (“Jupiter” Symphony) Viola Timpani Yi-Hsuan Ethan Lin Oboe Leo Simon Clara Sawada* Andrew Blanke Sergio Muñoz Leiva Matthew Hudgens

*Guest musicians from the Royal Conservatoire of The Hague

9 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:

Barbara Rogers Agosin Thelma and Seymour Geller, Jerry K. Loeb Donald J. Aibel* on behalf of Jane Geller Richard Lopinto Veronica Maria Alcarese Rabbi Mordecai Genn Ph.D. Eileen Lubars* Douglas S. Anderson Mark V. Getlein* Chuck Manton Mitchell Andrews* John R. Gillespie Cyril‡ and Cecelia Marcus Dee Ashington Professor Robert Jay Glickman Serena B. Marlowe Richard Beales Dr. Ruth J.E. Glickman Dolores Grau Marsden* Yvette and Maurice‡ Bendahan Sheryl Gold Sondra Matesky Donald A. Benedetti* Jennifer L. Granucci Stephanie and Carter McClelland Helen Benham* The Venerable John A. Greco and The Stephanie and Carter Elizabeth Weil Bergmann* Drs. Norman*‡ and McClelland Foundation Marshall S. Berland and Gilda Greenberg Joseph P. McGinty John E. Johnson Arlene‡ and Edmund Grossman Dr. and Mrs. N. Scott McNutt Anne L. Bernstein Miles Groth, Ph.D. Pauline and Donald B.‡ Meyer Benton and Fredda Ecker Bernstein Emma Gruber Stephen A. Meyers and Leslie Goldman Berro* Rosalind Guaraldo Marsha Hymowitz-Meyers Susan Ollila Boyd Ruth Haase Paula P. Michtom Mrs. George E. Boyer Robert S. Haggart Jr.* and Leo*‡ and Anne Perillo Michuda* Peter A. Boysen Stephanie Haggart* Warren R. Mikulka Nina R. Brilli Louise Tesson Hall Stephen Mittman Steven and Colleen Brooks Ralph Hamaker Robert A. Morgan Carol Diane Brown and Stephen and Andrea Handleman Valerie Wilson Morris* Daniel J. Ruffo Rev. Tozan Thomas Hardison* Diane Morrison Beryl E. Brownman Ralph*‡ and Doris Harrel* Mark S. Morrison Lorraine Buch Judith Harris and Tony Woolfson L. Michael and Eliane Bukantz Robert G. Hartmann Dorothy Moskovis Alan‡ and Mary Carmel Robert Havery* Gail Myers Mr. and Mrs. N. Celentano S. Jay Hazan M.D. Myron Howard Nadel* Wendy Fang Chen* Betty Barsha Hedenberg Steven W. Naifeh and Julie A. Choi* and Claudio Cornali Brian J. Heidtke Gregory White Smith‡ Dr. Barbara L. Comins* and Gordon D. Henderson Anthony J. Newman Mr. Michael J. Comins Mayme Wilkins Holt Oscar and Gertrude Nimetz Fund Charlotte Zimmerman Crystal* Julie Holtzman* Stephen Novick Rosemarie Cufalo Gerri Houlihan* Jane Owens Christopher Czaja Sager* Katherine L. Hufnagel Mr.‡ and Mrs. Donald Parton Harrison R.T. Davis Joseph N. and Susan Isolano Celia Paul and Stephen Rosen Robert Lee Dean Paul Johnston and Umberto Ferma Jeanne M.* and Stephen and Connie Delehanty Janice Wheeler Jubin* and Raymond Gerard*‡ Pellerin Ronald J. Dovel and Thomas F. Lahr Herbert Jubin Jane V. Perr M.D. John C. Drake-Jennings Peter H. Judd Jean Pierkowski Ryan* and Leila Edwards Michael Kahn Elissa V. Plotnoff Pinson* Lou Ellenport George* and Julia Katz Fred Plotkin Audrey Ellinger Younghee Kim-Wait Judy and Jim Pohlman Lloyd B. Erikson Robert King* Geraldine Pollack Eric Ewazen* Linda Kobler* and Sidney J.‡ and Barbara S. Pollack Holly L. Falik Dr. Albert Glinsky* John G. Popp Barbara and Jonathan File J. D. Kotzenberg Thomas and Charlene Preisel Stuart M. Fischman Bruce Kovner Arthur Press* Dr.*‡ and Mrs. Richard B. Fisk Edith Kraft* Bernice Price Judi Sorensen Flom Mr. and Mrs. Paul A. Krell Gena F. Raps* Ann Marie Smith Forde Dr. Yvonne Lamy Karen J. Raven Lorraine Fox Francine Landes* Nancy L. Reim John and Candice Frawley Sung Sook Lee* Susan M. Reim* Dr. Mio Fredland Paul Richards Lemma and Susan D. Reinhart Chaim Freiberg* Wilhelmina Marchese Lemma‡ Madeline Rhew* Naomi Freistadt Loretta Varon Lewis‡ and Michael Rigg Constance Gleason Furcolo Norman J. Lewis Douglas Riva* Michael Stephen Gallo* Ning Liang* Lloyd*‡ and Laura Robb William Gati* and Paul Gati*‡ Joseph M. Liebling* Daniel P. Robinson Anita L. Gatti* In honor of Peter Limon Yvonne Robinson*

10

Carlos Romero and Arthur T. Shorin Dietrich and Alice Wagner Joanne Gober Romero Mel Silverman Alberto and Paulina A. Waksman Linda N. Rose* Steven P. Singer M.D. and Stanley Waldoff* Susan W. Rose Alan Salzman M.D. Jessica Weber Roxanne Rosoman* Barbara Thompson Slater Catherine White* Sam* and Deborah Rotman Bruce B. Solnick Miriam S. Wiener Lynne Rutkin Carl Solomon Sr. Robert Wilder‡ and Roger F. Kipp Joan St. James* Evelyn Sun Solomon* Alice Speas Wilkinson* Riccardo Salmona Gary Soren Yvonne Viani Williams Harvey Salzman Barbara H. Stark Margaret S. Williamson Michael and Diane Sanders Lynn Steuer Clark* and Sally Ann* Wilson Nancy Schloss Sally T. Stevens Dr. Theo George Wilson Casiana R. Schmidt James Streem* Elizabeth R. Woodman Shelby Evans Schrader‡ and Henry and Jo Strouss Edward Yanishefsky John Paul Schrader Cheryl V. Talib Lila York Irene Schultz Phyllis K. Teich Seventy-five Anonymous Members, William C. Schwartz Thomas W. Thompson including 24 alumni David Shapiro Tom Todoroff* and Emily Moulton Dr. Robert B. Sharon* Marie Catherine Torrisi Edmund Shay* and Dr. Marta Vago* Raymond Harris‡ Walter* and Elsa Verdehr * = alumnus/alumna Robert D. Sholiton Paul Wagenhofer ‡ = deceased

For information about becoming a member of the Augustus Juilliard Society, please visit us on the web at www.plannedgiving.juilliard.edu. You may also call Lori Padua 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, 2017 and October 22, 2018. 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 Trust of Edward Jabes Harold Alderman Trust Estate of Melvin Kartzmer Estate of Celia Ascher Estate of Shirley Lewenthal Trust of Jack Bakal Estate of Joseph Machlis Estate of Ruth Bamdas Trust of Lillian B. Madway The Claire Lois Bechter Trust Estate of Thomas J. Mahler Trust of Sonia Block Estate of Walter P. Pettipas Betty and Daniel Bloomfield Fund Estate of Richard H. Roberts Estate of Joseph Brinton Estate of Lillian Rogers Estate of Alan Broder Howard and Ethel Ross Trust Estate of Ruth F. Broder Dinah F. Rosoff Revocable Living Trust Estate of George Bryant Estate of Harold C. Schonberg Estate of John Nicholson Bulica Bertha Seals Trust Estate of Annette Burford Estate of Abraham Sheingold Trust of John Dexter Bush Estate of Betty Simms Estate of Margaret Butterly Arline J. Smith Trust Estate of Alfred DelMoral Janice Dana Spear Trust John L. Drew Living Trust Estate of Winifred Sperry Estate of Alice Shaw Farber Estate of Bruce Steeg Fima Fidelman Trust The George M. Stone 2006 Trust Dora L. Foster Trust Esta and Victor Wolfram Trust Estate of Rachel Mintz Golding Trust of Helen Marshall Woodward Gordon A. Hardy Charitable Remainder Trust Irene Worth Fund for Young Artists William J. Henderson Memorial Fund Estate of Mildred Zucker Frances B. Hoyland Trust Darrell Zwerling Living Trust

11 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 Julie Anne Choi Vincent A. Mai Brian Zeger, Artistic Director Kent A. Clark Ellen Marcus Kirstin Ek, Director of Curriculum and Schedules Kenneth S. Davidson Nancy A. Marks Monica Thakkar, Director of Performance Activities Barbara G. Fleischman Stephanie Palmer McClelland Keith R. Gollust Christina McInerney Lila Acheson Wallace Library and Doctoral Fellows Program Mary Graham Lester S. Morse Jr. Jane Gottlieb, Vice President for Library and Information Resources; Joan W. Harris Stephen A. Novick Director of the C.V. Starr Doctoral Fellows Program Matt Jacobson Susan W. Rose Jeni Dahmus Farah, Director, Archives Edward E. Johnson Jr. Jeffrey Seller Alan Klein, Director of Library Technical Services Karen M. Levy Deborah Simon Teresa E. Lindsay Sarah Billinghurst Solomon Pre-College Division Laura Linney William E. "Wes" Stricker, MD Yoheved Kaplinsky, Artistic Director Michael Loeb Yael Taqqu Ekaterina Lawson, Director of Admissions and Academic Affairs Greg Margolies Anna Royzman, Director of Performance Activities

Music Advancement Program Anthony McGill, Artistic Advisor TRUSTEES EMERITI Teresa McKinney, Director of Community Engagement June Noble Larkin, Chair Emerita Evening Division Danielle La Senna, Director Mary Ellin Barrett Elizabeth McCormack Sidney R. Knafel Enrollment Management and Student Development Joseph W. Polisi, President Emeritus Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Barrett Hipes, Associate Dean for Student Development Sabrina Tanbara, Assistant Dean of Student Affairs JUILLIARD COUNCIL Cory Owen, Assistant Dean for International Advisement and Diversity Initiatives Mitchell Nelson, Chair William Buse, Director of Counseling Services Michelle Demus Auerbach Terry Morgenthaler Katherine Gertson, Registrar Barbara Brandt Howard S. Paley Tina Gonzalez, Director of Financial Aid Brian J. Heidtke John G. Popp Camille Pajor, Title IX Coordinator Gordon D. Henderson Grace E. Richardson Todd Porter, Director of Residence Life Peter L. Kend Jeremy T. Smith Howard Rosenberg MD, Medical Director Younghee Kim-Wait Alexander I. Tachmes Beth Techow, Administrative Director of Health and Counseling Services Sophie Laffont Anita Volpe Jean-Hugues Monier Development Alexandra Wheeler, Vice President and Chief Advancement Officer Stephanie Gatton, Acting Director of Special Events Katie Murtha, Director of Major Gifts EXECUTIVE OFFICERS Lori Padua, Director of Planned Giving AND SENIOR ADMINISTRATION Ed Piniazek, Director of Development Operations Edward Sien, Director of Foundation and Corporate Relations Damian Woetzel, President Rebecca Vaccarelli, Director of Alumni Relations

Office of the President Public Affairs Jacqueline Schmidt, Vice President and Chief of Staff Maggie Berndt, Acting Director of Public Affairs Kathryn Kozlark, Special Projects Producer Benedict Campbell, Website Director Thiago Eichner, Design Director Office of the Provost and Dean Jessica Epps, Marketing Director Ara Guzelimian, Provost and Dean Susan Jackson, Editorial Director José García-León, Dean of Academic Affairs and Assessment Office of the Chief Operating Officer and Corporate Secretary Dance Division Lesley Rosenthal, Chief Operating Officer and Corporate Secretary Alicia Graf Mack, Director Christine Todd, Vice President and CFO Taryn Kaschock Russell, Associate Director Cameron Christensen, Associate Vice President, Facilities Management Katie Friis, Administrative Director Kent McKay, Associate Vice President for Production Betsie Becker, Managing Director of K-12 Programs Drama Division Michael Kerstan, Controller Evan Yionoulis, Richard Rodgers Director Irina Shteyn, Director of Financial Planning and Analysis Richard Feldman, Associate Director Nicholas Mazzurco, Director of Student Accounts/Bursar Katherine Hood, Managing Director Nicholas Saunders, Director of Concert Operations Tina Matin, Director of Merchandising Music Division Kevin Boutote, Director of Recording Adam Meyer, Director, Music Division, and Deputy Dean of the College Administration and Law Bärli Nugent, Assistant Dean, Director of Chamber Music Maurice F. Edelson, Vice President for Administration and General Joseph Soucy, Assistant Dean for Orchestral Studies Counsel Mario Igrec, Chief Piano Technician Myung Kang-Huneke, Deputy General Counsel Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Carl Young, Chief Information Officer Steve Doty, Chief Technology Officer Historical Performance Dmitriy Aminov, Director of IT Engineering Robert Mealy, Director Jeremy Pinquist, Director of Client Services, IT Benjamin D. Sosland, Administrative Director; Assistant Dean for Caryn G. Doktor, Director of Human Resources the Kovner Fellowships Adam Gagan, Director of Security Helen Taynton, Director of Apprentice Program Behind every Juilliard artist is all of Juilliard —including you. Photo by Claudio Papapietro

With hundreds of dance, drama, and music performances, Juilliard is a adventurous and dynamic place. When you join one of our membership programs, you become a part of this singular and celebrated community.

Become a member for as little as $250 Join with a gift starting at $1,250 and and receive exclusive benefits, including enjoy VIP privileges, including

• Advance access to tickets through • All Association benefits Member Presales • Concierge ticket service by telephone • 50% discount on ticket purchases and email • Subscription to the Juilliard Journal • Invitations to behind-the-scenes events • Access to master classes, performance previews, and rehearsal observations

(212) 799-5000, ext. 303 [email protected] juilliard.edu Attend a performance Enroll in an adult class Shop at our store Hire our performers Support Juilliard juilliard.edu i