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The presents New Juilliard Ensemble Joel Sachs, Founding Director and Conductor Lila Duffy, Soprano Michael Braugher, Rapper

Tuesday, October 1, 2019, 7:30pm Peter Jay Sharp Theater

SHULAMIT RAN Fault Line (2005-6) (Israel/U.S., b. 1949) Lila Duffy, Soprano

MAGNUS LINDBERG Souvenir (2010) (Finland, b. 1958) I. II. III.

Intermission

ALEXANDER GOEHR … between the lines (2013) (/U.K., b. 1932) Western hemisphere premiere

BALÁZS HORVÁTH die ReAlisierung einer komPosition (Hungary, b. 1976) (2013, new version 2018) World premiere of new version Michael Braugher, Rapper

Performance time: approximately 1 hour and 25 minutes, including an intermission

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 Joel Sachs

Fault Line

Shulamit Ran began setting Hebrew poetry to music at age 7. Only two Shulamit Ran years later she was studying composition and with some of Israel’s most noted musicians, and she soon heard her works performed by Born: professional musicians and . With scholarships from the Mannes Tel Aviv, Israel, College of Music and the America-Israel Cultural Foundation, Ran studied in 1949 in with Norman Dello Joio and in with Ralph Shapey. In 1973 she joined the faculty of , where she became the Andrew MacLeish Distinguished Service Professor in the department of music as well as artistic director of Contempo, the university’s contemporary chamber players. She considers her teacher, later colleague, and friend Ralph Shapey an important mentor. Ran has been awarded five honorary doctorates, was elected to the American Academy of Arts and Letters and the American Academy of Arts and Sciences, and has received major ’ honors, including the Pulitzer Prize. Her music has been played by major orchestras including the Chicago Symphony, Cleveland , Orchestra, Israel Philharmonic, , and American Composers Orchestra, with conductors , , Christoph von Dohnanyi, , , , and others. She was -in-residence with the Chicago Symphony Orchestra and Lyric Opera of Chicago and a resident at the American Academy in . Her music, much of which has been recorded, is published by and the Israeli Music Institute. Ran, now the Andrew MacLeish Distinguished Service Professor Emerita at the University of Chicago, is composing Anne Frank, a full-scale opera with a libretto by Charles Kondek, to premiere in November 2020.

Fault Line, commissioned by the Chicago Symphony’s Music Now program, was begun in May 2005 and completed early the following year. The composer writes:

The title Fault Line is a metaphor for the volatility of human existence. Underneath even the most seemingly orderly of lives, fault lines lie, at times totally invisible on the surface, yet capable of erupting with the power to shutter and change all. Fault Line may be heard as a journey of a life, with all of its exuberance, energy, despair, triumphs and losses, wonder, brashness, and the grace of great tenderness.

In three interlocking sections, the work opens resonantly and deliberately, with the distance bounded by the adjacent notes F and G gradually expanding into larger cycles of growing activity. This first large section of the work is bright and rich in sound, highlighting various ensemble combinations as they move in and out of fuller textures. It is the much sparser, more lyrical and transparent middle portion of the work, replete with lines, that transforms Fault Line’s course, with

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darker undercurrents assuming a progressively more prominent role. The third and last large section begins with strident brass and chords, gradually building into the work’s most intense stretch, with tutti and solo lines merging together. Fault Line’s opening line briefly comes back much transformed, in no way a recapitulation but rather alluding to the continuous thread of this journey, leading to the final climax which soon disintegrates into hushed silence.

Much of the optional vocal part, appearing late and only fleetingly, is sung in vocalise style (wordless singing). Not wishing to entirely forgo the voice’s capacity to emit the more varied sound of sung speech led me to integrate a text line from Shakespeare’s Othello (final act) that seemed especially appropriate: “Speak of me as I am. Nothing extenuate …”

Souvenir

Originally a , Magnus Lindberg studied composition at the , where his teachers included (‘56, Magnus Lindberg composition) and . A leading Finnish modernist in a musically conservative country, Heininen encouraged the study of the European Born: avant-garde, which led to the founding of the Ears Open Society, an , Finland, informal group—including Lindberg, Eero Hämeeniemi, , in 1958 , and Esa-Pekka Salonen—that aimed for greater awareness of contemporary . In 1981 Lindberg moved to for studies with and Gérard Grisey, also attending ’s summer classes in Siena. Other associates from those days included , Helmut Lachenmann, and York Höller, all leaders of that generation. Over the next few decades, Lindberg explored many of the important trends, becoming one of today’s most prominent orchestral composers, commissioned by many of the world’s leading orchestras and conductors. From 2009 to 2012, he was composer-in-residence of the New York Philharmonic, writing pieces including , the premiere of which celebrated the opening of the tenure of (Pre-College ’85; MM ’94, orchestral ) as the orchestra’s music director. Lindberg was appointed composer in residence with the Philharmonic Orchestra for the 2014-15 through 2016-17 seasons, again writing a host of new compositions. Lindberg’s music, published by Boosey and Hawkes, has been recorded on the Deutsche Grammophon, Sony, , Da Capo, and Finlandia labels. In 2003, Lindberg was awarded the prestigious .

Adapted from a biography provided by Boosey & Hawkes

3 Notes on the Program by Joel Sachs (continued)

Souvenir was commissioned by the New York Philharmonic and Gilbert and premiered at Symphony Space in Manhattan by members of the orchestra. It commemorates the French composer Gérard Grisey (1946-98). The piece is unusual for Lindberg in that it is divided into separate movements; he normally writes large pieces in inseparable sections. He says:

I didn’t start out planning this work to reflect my thoughts about Gérard Grisey, yet it ended up having that connection. It’s also connected to the fact that another important feature of my life was the summer I spent with Franco Donatoni in Italy, and my appreciation for his chamber symphony, titled Souvenir, from 1967. The connection of two of my teachers within this project made sense; it became a kind of “souvenir” world that led me back to the concept of the sinfonietta, the works for small orchestra. When you think about the sinfonietta, Schoenberg’s Chamber Symphonies stand as a reference point, but I would also say that sinfoniettas became a big thing in the 1960s and ‘70s, when groups like the London Sinfonietta and [Boulez’s] Domaines Musicales provided small-scale symphonic opportunities for composers who didn’t have the opportunity to work with full orchestras.

I felt nostalgic to get back to this world of the sinfonietta, and so I have scored this work for just one instrument per part—strings and winds (with two horns, because I think of the horns as a pair)—and two percussionists. Having spent many years working with big orchestral textures, I was suddenly faced with the challenge of writing for what, in comparison, seems like an almost ‘naked’ ensemble.

Adapted from a program note © Magnus Lindberg and James M. Keller, program annotator of the New York Philharmonic and the ; reproduced by permission of Mr. Keller

… between the lines

Alexander Goehr is the son of the distinguished conductor and Schoenberg Alexander Goehr student Walter Goehr, who shortly emigrated to the U.K. Well known by age 20, the younger Goehr became a leader of the 1960s Manchester Born: avant-garde, which included his friends and Peter , Germany, Maxwell Davies. In 1955-56, having attended Messiaen’s Paris master in 1932 class, he became a BBC producer and broadcaster and the director of the Music Theatre Ensemble. In 1971 he was appointed professor of music at Leeds University; five years later, he became chair of music at the University of Cambridge, where he is now emeritus professor. Goehr has received commissions from the Symphony, BBC, Deutsche Oper am Rhein, Leeds Festival, , Edinburgh Festival Ballet, Netherlands Wind Ensemble, and other ensembles and institutions. A prolific composer, he has produced numerous stage compositions with orchestra or small ensembles, five operas, and vocal music, and

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many orchestral, chamber, and solo pieces. His four symphonies, for piano, , viola, and , and other orchestral compositions have been conducted by Dorati, Boulez, Barenboim, Pritchard, Haitink, Ozawa, Dohnanyi, Rattle, and Knussen, with soloists including violinists Manoug Parikian and Ruggiero Ricci; cellist Jaqueline du Pré; and John Ogdon, Daniel Barenboim, and Peter Serkin. Goehr is an honorary member of the American Academy of Arts and Letters, a former Churchill Fellow, and the 1997 BBC Reith Lecturer. This year he was made an honorary member of the Royal Philharmonic Society in recognition of his lifelong contribution to musical culture. His music is published by Schott and widely recorded, especially on the NMC label. Recent works include the quintet after “The Waking” (2016-17), commissioned by Wigmore Hall and the Santa Fe Chamber Music Festival and premiered by the Nash Ensemble. Goehr’s fifth quartet, Vision of the Soldier Er (2018), was premiered earlier this year.

Having avoided any dogmatic approach to materials, Goehr has chosen to fuse his heritages of the Schoenberg school and his former teacher Messiaen. He also has enjoyed developing a new polyphony emanating from the masters of the mid-18th century. Moving freely among modality, tonality, and nontonality, he gravitates to short phrases filled with nervous energy, which, he says, “impart a cryptic meaning to material that sometimes has a familiar origin.” … between the lines was commissioned by the for its Scharoun Ensemble, “for A [a player] who unknowingly provided the title.” It receives its Western Hemisphere premiere tonight. The composer writes:

The composition … has a single subject, as in fugue, played at the outset. It reappears in one form or another, throughout the composition, contrasted only, again as in fugue, by episodes of related but different materials. Each “movement,” each with its own underlying speed and meter relates to the first as an augmentation or diminution of it; that is to say, the subject appears in each section faster or slower than it is at first.

I do not think that any piece described as a Chamber Symphony can hide its genealogy deriving from Schoenberg’s Op. 9. That composition is famous for its unified one-movement structure in four parts and for the difficulty in balancing solo strings and a full and rich wind section. I hope my composition will not incur the same difficulties.

What else to say? The common expression “reading between the lines” suggests that the reader understands from what he reads something that the writer of poem or prose or even letter has not wanted or has wanted but not been able to spell out. But listening between the lines? Hearing the notes, the and rhythms, even the harmonies and making something of these? Is this not enough? Does my title claim that there is something more to be obtained? I do not like the explicit and obvious in the music of the past, I look for the twist in the rope; or rather I do not look for but sometimes find where unexpectedly it leads. 5 Notes on the Program by Joel Sachs (continued)

die ReAlisierung einer komPosition BALÁZS HORVÁTH

Balázs Horváth studied composition at the Ferenc Liszt Academy of Balázs Horváth Music with Zoltán Jeney, among others. In 2005, already a member of the academy’s faculty, he completed his doctorate, and he now teaches Born: music theory and 20th-century techniques. As composer—mostly of Budapest, Hungary, orchestral and ensemble music—he has won several prizes and has had in 1976 performances in Hungary and abroad. Most of his compositions are written for orchestra or ensemble. Horváth also regularly appears as conductor. He is president of Budapest’s UMZE Association, which runs the new-music Ensemble UMZE. Horváth also founded and has co-curated the Transparent Sound New Music Festival in Budapest with Samu Gryllus since 2014. Their concerts concentrate on the connection of classical contemporary music and the music of the present. Recently Horváth has been particularly interested in the possibilities of combining the popular and the “serious” and integrating theatrical elements into music, composing for orchestra with human beatboxer (Werkmusik), rapper (die ReAlisierung einer komPosition), and DJ scratch sounds with plunderphonic elements (Plunderphonic intermezzi). He is also interested in integrating theatrical elements and text into his music.

die ReAlisierung einer komPosition was composed for rapper and orchestra in 2013 and reworked for chamber orchestra specially for the New Juilliard Ensemble, which gives the world premiere of the new version tonight. Horváth writes:

In 2013, reading György Ligeti’s The Self-Questioning—a “self interview”—it really grabbed me how Ligeti preceived and explained the notion of creation. I enjoyed the plastic formulation of the intuitive and speculative operation of the process of composing. I immediately decided to push this text into music in a way. After a long time planning the piece I realized that the most important section of this text must be placed into a dramatically distanced. The rhythmic sound of the original German text was fed into the music by a machine sound (Google Translator) on the one hand and by a live performer (rapper) on the other. Then I created a connection between the text and the instrumental “background” material that is a rap-like constellation.

6

die ReAlisierung einer komPosition

German Text English Translation

Der kompositorische Prozeß läßt sich deutlich The compositional process can be clearly in Initialzündung—das wäre der Rohzustand— decided into initial inspiration (i.e., the raw und die darauf folgende Ausarbeitung gliedern. state) and subsequent working out ... The Auch sind oft Vorstellung und Ausarbeitung feedback relationship has more to do with the durch eine zeitliche Zäsur insofern getrennt, fact that during the working-out process new als die Ausarbeitung mehrere Jahre nach der musical ideas arise: structural deliberations and ersten Konzeption eines Stückes erfolgen kann. naïve idea mutually affect each other. And the Das Rückkopplungsverhältnis bezieht sich eher working method is itself not just a matter of darauf, daß während der Ausarbeitung stets cold calculation: there are intuitive features in neue Vorstellungen von Musik entstehen, the construction just as there are speculative überlegte Konstruktion und naive Vorstellung features in the initial idea. The distinction can durchdringen sich gegenseitig. Und auch der be better explained in terms of dosage: the Arbeitsvorgang selbst ist nicht nur bewußt primary musical idea is predominantly intuitive, und überlegt, die Konstruktion enthält ebenso the working out predominantly speculative. intuitive Züge wie die Initialvorstellung And, just as the musical idea conceived by the spekulative. Die Unterscheidung läßt sich eher senses is preshaped by historical associations, durch die Dosierung begründen: Die primäre so too structural processes and working Vorstellung einer Musik ist überwiegend intuitiv, methods are subject to similar pre-shapings: die Ausarbeitung überwiegend spekulativ. individual reactions to the working methods Und ebenso wie die sinnliche Vorstellung of other composers as well as to one’s own von Musik durch den historischen Kontext working methods in relation to earlier works, Präformiert wird, weisen Konstruktionen und lead to a constant modification of constructive Arbeitsvorgänge solch eine Präformierung principles. auf: Das Reagiren auf die Arbeitsmethoden der anderen wie auch auf die eigenen German original: György Ligeti’s “Selbstbefragung,” in vorangegangenen Arbeitsmethoden bedingt Gesammelte Schriften II., ed. Monika Lichtenfeld. (Mainz: eine stete Modifizierung der konstruktiven Schott; Basel: Paul Sacher Stiftung, 2007, pp. 95-107); English translation by Geoffrey Skelton, Ligeti in Conversation Prinzipien. (London: Eulenburg Books, 1983, pp. 124-137)

7 Meet the Artists

Joel Sachs

Joel Sachs, founder and director of the New Juilliard Ensemble, performs a vast range of traditional and contemporary music as conductor and pianist. As codirector of the internationally acclaimed new-music ensemble Continuum, he has appeared in hundreds of performances in New York, nationally, and throughout , Asia, and Latin America. He has also conducted orchestras and ensembles in , Brazil, Canada, China, El Salvador, Germany, Iceland, Mexico, , and Ukraine, and has held new music residencies in Berlin, Shanghai, London, , Curitiba (Brazil), Newcastle-Upon-Tyne (U.K.), Helsinki, and the Banff Centre (Canadian Rockies). Last fall, he gave recitals featuring ’ rarely heard Piano Sonata No. 1 at St. John’s Smith Square, London, as part of a yearlong American music festival; at the University of Newcastle- upon-Tyne; and in Juilliard’s Morse Hall. This past May, he conducted the Beijing Contemporary Soloists ensemble at the Central Conservatory’s Beijing Modern festival and lectured on American music at the China Conservatory. One of the most active presenters of new music in New York, Sachs founded the New Juilliard Ensemble in 1993. He produces and directs Juilliard’s annual Focus festival and since 1993 has been artistic director of Juilliard’s concerts at the Museum of . A member of Juilliard’s music history faculty, he wrote the first full biography of the American composer , published by Oxford University Press in 2012. Sachs often appears on radio as a commentator on recent music and has been a regular delegate to international music conferences. A graduate of Harvard, Sachs received his PhD from Columbia. In 2011, he was made an honorary member of Phi Beta Kappa at Harvard for his work in support of new music and received the National Gloria Artis Medal of the Polish Government for his service to Polish music. In 2002, he was given Columbia’s Alice M. Ditson Award for his service to American music.

8

Lila Duffy

Born in Coulommiers, a famous cheese town in the Seine-et-Marne region of France, soprano Lila Duffy began musical studies at 16 with voice and cello lessons. After earning her bachelor’s in at the University of Paris VIII and a vocal art diploma at the Conservatoire de Boulogne- Billancourt, she completed her master’s in voice performance at the Université de Montréal in Rosemarie Landry’s studio. She is studying at • Georges Lurcy Graduate Music Juilliard with Edith Wiens in the Artist Diploma Opera Studies program. Last Scholarship summer, she participated in the Internationale Meistersinger Akademie in • Florence Page Neumarkt, Germany. While opera is her main artistic activity, she regularly Kimball Scholarship gives recitals in Montreal and France, performing German lieder and French • Risë Stevens mélodies. Passionate about contemporary music, Duffy loves to collaborate Scholarship • Hardesty with today’s composers, singing works by José Evangelista and Ana and Beverley Sokolovic,´ among others. Peck Johnson Scholarship

Michael Braugher

Michael Braugher is an actor and musician from South Orange, New Jersey. He graduated with a BA from Oberlin College and is in his last year of MFA training in the Juilliard Drama program as part of Group 49. As an actor, he most recently played Jaques in As You Like It, directed by Ian Belknap. As a rapper, he has been the opening act for such notable artists as Kendrick Lamar and Mos Def. He has also composed music for ABC’s Live! With • Steinberg Fellowship Kelly and Michael as well as for several albums and documentaries.

9 New Juilliard Ensemble

Joel Sachs, Founding Director and Conductor Curtis Stewart, Manager

The New Juilliard Ensemble, led by founding director Joel Sachs and in its 27th season, presents music by a variety of international composers who write in the most diverse styles, premiering some 100 compositions. The ensemble was featured four times at Lincoln Center Festival and appears annually at MoMA’s Summergarden. The ensemble’s collaborations with include the Ancient Paths, Modern Voices festival (2009); Japan/NYC festival (2011); Voices from Latin America festival (2012); and UBUNTU: Music and Arts of South Africa festival (2014). A highlight of the 2013-14 season was a collaboration with the Royal Philharmonic Society’s bicentennial celebration for the U.S. premieres of works by Magnus Lindberg and Judith Weir. It has also participated in collaborations with London’s and the Franz Liszt Music University in Budapest. The ensemble’s 2018-19 season included music by Ukrainian-America composer-pianist-conductor Virko Baley, Betsy Jolas (Paris), Juilliard composition alumnus Sunbin Kevin Kim, Zygmunt Krauze (Poland), (Germany/U.S.), Colin Matthews (U.K.), Akira Nishimura (Japan), Younghi Pagh-Paan (Korea/Germany), Sansar Sangidorj (Mongolia), Salvatore Sciarrino (Italy), Roberto Sierra (Puerto Rico/U.S.), Jukka Tiensuu (Finland), Josefino Chino Toledo (Philippines), Zhu Jian-er (China), and Juilliard DMA graduates Sato Matsui (Japan/U.S.) and Ross Griffey (U.S.). The ensemble’s 2019-20 season continues November 12 in Bruno Walter Studio 309 with music by Julian Anderson (U.K.), Oleg Felzer (Azerbaijan/U.S.), Deirdre Gribbin (Northern Ireland), Narong Prangcharoen (Thailand), Alfredo Rugeles (Venezuela), and Eric Tanguy (France).

10 More FREE New Juilliard Ensemble Performances

TUESDAY, NOVEMBER 12 7:30pm • Bruno Walter Studio 309 Joel Sachs, Conductor JULIAN ANDERSON (U.K.) Van Gogh Blue (2015, New York premiere) OLEG FELZER (Azerbaijan/U.S.) Vestige (1993) DEIRDRE GRIBBIN (Northern Ireland) How to Make the Water Sound (1997, New York premiere) NARONG PRANGCHAROEN (Thailand) Far From Home (2004) ALFREDO RUGELES (Venezuela) Resistencia y resiliencia (2018, U.S. premiere) ERIC TANGUY (France) Afterwards (2012, New York premiere)

FRIDAY, JANUARY 24 7:30pm • Peter Jay Sharp Theater Opening Night of Juilliard’s 2020 Focus Festival Trailblazers: Pioneering Women Composers of the 20th Century Co-curated by Odaline de la Martinez and Joel Sachs Joel Sachs, Conductor JACQUELINE FONTYN (Belgium) Méandres (2009-10, U.S. premiere) ELISABETH LUTYENS (U.K.) 6 Tempi (1957) URSULA MAMLOK (Germany/U.S.) Girasol (Sunflowers, 1990) RUTH CRAWFORD (U.S.) Three Songs, low female voice (1930-32) GALINA USTVOLSKAYA (U.S.S.R.) Octet (1950)

MONDAY, APRIL 13 7:30pm • Alice Tully Hall Joel Sachs, Conductor Featuring five world premieres: EVAN ANDERSON new work (2020) MARC MIGÓ CORTÉS new work (2020) DIANA SYRSE new work (2020) YE XIAOGANG Strophe (2020) YAO CHEN new work (2020)

For tickets or more information, visit juilliard.edu/calendar Juilliard Annual Supporters

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12 Juilliard Annual Supporters (Continued)

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13 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, as well as to those anonymous members who are not listed:

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

Carlos Romero and Steven P. Singer M.D. and Alberto and Paulina A. Waksman Joanne Gober Romero Alan Salzman M.D. Stanley Waldoff* Linda N. Rose* Barbara Thompson Slater Jessica Weber Susan W. Rose Bruce B. Solnick Catherine White* Sam* and Deborah Rotman Carl Solomon Sr. Miriam S. Wiener Lynne Rutkin Evelyn Sun Solomon* Robert Wilder‡ and Roger F. Kipp Joan St. James* Gary Soren Alice Speas Wilkinson* Riccardo Salmona Barbara H. Stark Yvonne Viani Williams Harvey Salzman Lynn Steuer Margaret S. Williamson Michael and Diane Sanders Sally T. Stevens Clark* and Sally Ann* Wilson Nancy Schloss James Streem* Dr. Theo George Wilson Casiana R. Schmidt Henry and Jo Strouss Elizabeth R. Woodman Shelby Evans Schrader‡ and Cheryl V. Talib Edward Yanishefsky John Paul Schrader Phyllis K. Teich Lila York Irene Schultz Thomas W. Thompson 78 anonymous members, William C. Schwartz Tom Todoroff* and Emily Moulton including 27 alumni David Shapiro Anli Lin Tong* Dr. Robert B. Sharon* Marie Catherine Torrisi Edmund Shay* and Dr. Marta Vago* Raymond Harris‡ Walter* and Elsa Verdehr As of August 8, 2019 Robert D. Sholiton Paul Wagenhofer * = alumnus/alumna Arthur T. Shorin Dietrich and Alice Wagner ‡ = deceased

For information about becoming a member of the Augustus Juilliard Society, please visit juilliard.edu/plannedgiving, call (212) 799-5000, ext. 7152, or write to [email protected]. Have you included Juilliard in your planning? Please let us know so that we may thank you and recognize you as a member of the Augustus Juilliard Society.

Estates and Trusts

The Juilliard School is profoundly grateful for the generous gifts received from the following Estates and Trusts between July 1, 2018 and September 5, 2019. 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 Jeff Hunter Charitable Trust Harold Alderman Trust Trust of Edward Jabes Estate of Celia Ascher Herman Joseph Revocable Trust Trust of Jack Bakal Hamilton H. Kellogg and Mildred H. Kellogg Estate of Henrie Jo Barth Charitable Trust The Claire Lois Bechter Trust Estate of Dorothy B. Kurzen Trust of Sonia Block Estate of Eve Lyndlemarch Betty and Daniel Bloomfield Fund Mildred Reading Irrevocable Trust Estate of Joseph P. 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 Edith Sagul Estate of John Nicholson Bulica Estate of Emanuel Sarfaty Estate of Michael Kevin Burke Estate of Harold C. Schonberg Trust of John Dexter Bush Estate of Natalie Selinger Estate of Margaret Butterly Estate of Abraham Sheingold Harvey M. Cohen Revocable Living Trust Arline J. Smith Trust Estate of Lito De Manalang 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 Irene Stetson Trust Dora L. Foster Trust Estate of Robin Tabachnik Marilyn H. Garey Charitable Remainder Trust Tomoko Trust Estate of Anna Gold The Agnes Varis Trust Estate of Rachel Mintz Golding Esta and Victor Wolfram Trust 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 Juilliard Board of Trustees and Administration

BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Artistic Director Bruce Kovner, Chair Kirstin Ek, Director of Curriculum and Schedules J. Christopher Kojima, Vice Chair Monica Thakkar, Director of Performance Activities Katheryn C. Patterson, Vice Chair Julie Anne Choi Nancy A. Marks Library and Doctoral Fellows Program Kent A. Clark Stephanie Palmer McClelland Jane Gottlieb, Vice President for Library and Information Resources; Barbara G. Fleischman Christina McInerney Director of the C.V. Starr Doctoral Fellows Program Mary Graham Lester S. Morse Jr. Jeni Dahmus Farah, Director, Archives Joan W. Harris Stephen A. Novick Alan Klein, Director of Library Technical Services Matt Jacobson Susan W. Rose Edward E. Johnson Jr. Jeffrey Seller Preparatory Division Karen M. Levy Deborah Simon Weston Sprott, Dean Teresa E. Lindsay Sarah Billinghurst Solomon Yoheved Kaplinsky, Artistic Director, Pre-College Laura Linney William E. "Wes" Stricker, MD Anthony McGill, Artistic Director, Music Advancement Program Michael Loeb Yael Taqqu Rebecca Reuter, Administrative Director, Music Advancement Program Vincent A. Mai Damian Woetzel Ekaterina Lawson, Director of Admissions and Academic Affairs, Ellen Marcus Camille Zamora Pre-College Greg Margolies Anna Royzman, Director of Performance Activities, Pre-College

Enrollment Management and Student Development TRUSTEES EMERITI Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management June Noble Larkin, Chair Emerita Barrett Hipes, Dean for Student Development Mary Ellin Barrett Sidney R. Knafel Sabrina Tanbara, Assistant Dean of Student Affairs Kenneth S. Davidson Elizabeth McCormack Cory Owen, Associate Dean of Student Development​​​​​​​ Keith R. Gollust William Buse, Director of Counseling Services Rachel Christensen, Administrative Director, Alan D. Marks Center for Joseph W. Polisi, President Emeritus Career Services and Entrepreneurship Katherine Gertson, Registrar JUILLIARD COUNCIL Tina Gonzalez, Director of Financial Aid Teresa McKinney, Director of Community Engagement Mitchell Nelson, Chair Camille Pajor, Title IX Coordinator Michelle Demus Auerbach Jean-Hughes Monier Todd Porter, Director of Residence Life Barbara Brandt Terry Morgenthaler Howard Rosenberg MD, Medical Director Brian J. Heidtke John G. Popp Dan Stokes, Director of Academic Support and Disability Services Gordon D. Henderson Grace E. Richardson Beth Techow, Administrative Director of Health and Peter L. Kend Jeremy T. Smith Counseling Services Younghee Kim-Wait Alexander I. Tachmes Sophie Laffont Anita Volpe Development Alexandra Wheeler, Vice President and Chief Advancement Officer Katie Murtha, Director of Major Gifts EXECUTIVE OFFICERS Lori Padua, Director of Planned Giving AND SENIOR ADMINISTRATION Rebecca Vaccarelli, Director of Alumni Relations Kim Furano, Director of Foundation and Corporate Relations Damian Woetzel, President Robyn Calmann, Director of Special Events

Office of the President Public Affairs Jacqueline Schmidt, Vice President and Chief of Staff Rosalie Contreras, Vice President of Public Affairs Kathryn Kozlark, Special Projects Producer Maggie Berndt, Communications Director Benedict Campbell, Website 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 Katie Friis, Administrative Director Cameron Christensen, Associate Vice President, Facilities Management Drama Division Kent McKay, Associate Vice President for Production Evan Yionoulis, Richard Rodgers Director Betsie Becker, Managing Director of K-12 Programs Richard Feldman, Associate Director Michael Kerstan, Controller Katherine Hood, Managing Director Irina Shteyn, Director of Financial Planning and Analysis Nicholas Mazzurco, Director of Student Accounts/Bursar Music Division Nicholas Saunders, Director of Concert Operations Adam Meyer, Director, Music Division, and Tina Matin, Director of Merchandising Deputy Dean of the College Kevin Boutote, Director of Recording Bärli Nugent, Assistant Dean, Director of Chamber Music Joseph Soucy, Assistant Dean for Orchestral Studies Administration and Law Mario Igrec, Chief Piano Technician Maurice F. Edelson, Vice President for Administration and Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations General Counsel Myung Kang-Huneke, Deputy General Counsel Historical Performance Carl Young, Chief Information Officer Robert Mealy, Director Steve Doty, Chief Technology Officer Benjamin D. Sosland, Administrative Director; Assistant Dean Dmitriy Aminov, Director of IT Engineering for the Kovner Fellowships Clara Perdiz, Director of Client Services, IT Jeremy Pinquist, Director of Enterprise Applications Jazz Caryn G. Doktor, Director of Human Resources Wynton Marsalis, Director of Juilliard Jazz Adam Gagan, Director of Security Aaron Flagg, Chair and Associate Director Helen Taynton, Director of Apprentice Program

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