Juilliard Students of Paul Jacobs Photo by Claudio Papapietro

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The presents Juilliard Organists Students of Paul Jacobs

Thursday, April 4, 2019, at 7:30pm Marble Collegiate Church, Fifth Avenue at 29th Street,

Elena Baquerizo, Daniel Ficarri, Jeremiah Mead, Alan Montgomery, Alexander Pattavina, Raphael Attila Vogl, Phoon Yu, Eddie Zheng

EDWARD ELGAR Allegro Maestoso from in G Major, Op. 28 (1857-1934) Alan Montgomery

AARON COPLAND Prelude from Symphony for Organ and (trans. Ficarri) (1900-90) Preamble for a Solemn Occasion Daniel Ficarri

JOHN WEAVER Fantasia for Organ (b. 1937) Phoon Yu

FRANK BRIDGE Adagio in E Major (1879-1941) Jeremiah Mead

CHARLES VILLIERS Fantasia and Toccata, Op. 57 STANFORD Raphael Attila Vogl (1852-1924)

CALVIN HAMPTON From Five Dances (1938-84) At the Ballet Those Americans Everyone Dance Elena Baquerizo

(Program continues)

The Marble Music Next Door series is co-sponsored by Juilliard, Marble, and the New York City chapter of the American Guild of Organists.

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

FLORENCE BEATRICE Adoration PRICE Eddie Zheng (1887-1953)

JOHN CAGE Souvenir (1912-92) Eddie Zheng

JOHN KNOWLES PAINE Concert Variations on the Austrian Hymn (1839-1906) Alexander Pattavina

Approximate performance time: 1 hour and 15 minutes, without an intermission

Tonight's concert is dedicated to the memory of Juilliard organ student Levente Medveczky.

2 About the Program by David Crean

Organ music in England dates back to at least the late 10th century, when an organ was installed in Winchester by Saint Ælfheah. It was apparently so loud that it could be heard throughout the town, and it required 70 people to pump its 26 bellows. Until the mid-19th century, however, most British organs were very modest affairs, with at most two keyboards and minimal, if any, pedals. American churches, heavily indebted to the British tradition for the first two centuries of their existence, had instruments of similar scope and means. In the space of a few decades, both countries experienced a revolution in , playing, and composition, due mainly to their exposure to German performers and . By the 20th century, England and America both had robust, but quite distinct, organ cultures, with technically advanced instruments and supremely skilled performers. Tonight’s program explores repertoire from these traditions. Despite the geographical and chronological proximity, the stylistic range of these pieces is vast: from the Victorian pageantry of Elgar and Stanford to the quintessentially American voice of Copland and the always radical experiments of Cage.

England’s transformation into a center of organ composition and virtuosity began with Mendelssohn’s performances there in the 1840s, when many musicians heard the great works of Bach for the first time. Native organ builders quickly adapted and, by the end of the 19th century, instruments by Henry “Father” Willis and others had reached an unprecedented level of sophistication, with diverse tonal pallets and innovative mechanical aids. A new class of virtuoso performers like W.T. Best and Edwin Lemare could now produce exceptionally nuanced tonal shadings and make sweeping changes with the push of a button.

3 About the Program (continued)

Edward Elgar Allegro Maestoso from Sonata in G Major, Op. 28

Edward Elgar was one of the first British composers to take advantage of the Edward Elgar organ's new potential. Perhaps the best-known English musician of the 19th century, Elgar almost single-handedly restored the international prestige Born: of British music and, although he wrote relatively little for the organ, his June 2, 1857, sonata of 1895 exerted an enormous influence over his contemporaries and Broadheath, U.K. successors. Elgar’s earliest musical training was in organ and received from his father, whom he ultimately succeeded as at St. George’s Roman Died: , Worcester. His compositional style, however, owes much February 23, 1934, more to Schumann, Wagner, and Liszt, than to his conservative forebears in Worcester, U.K. the English organ tradition, and his unflagging gifts for beguiling melody and smoothly chromatic harmony are on full display in this relatively early work.

The first movement is in the sonata-allegro form typical of the genre and begins with a triumphant theme (appropriately marked "risoluto") that is almost gleeful in its pomposity. The texture subsides by degrees into a tuneful second theme in 9/8 whose formal balance and distinctly vocal quality calls to mind Mendelssohn. The development showcases the softer reed and stops while traversing such distant keys as F Major and C Minor and the recapitulation provides an appropriately grand exclamation point.

Aaron Copland Prelude from Symphony for Organ and Orchestra (trans. Ficarri) Preamble for a Solemn Occasion

Non-organists who compose music for the most complex instrument ever Aaron Copland devised face a daunting challenge. The most successful tend to be those that seek out the assistance of an experienced player. The young Aaron Born: Copland was lucky enough to have the assistance of Nadia Boulanger, one November 14, 1900, of the most admired teachers of the 20th century and a capable organist Brooklyn who had studied with Vierne and Guilmant. Copland spent three years in the early 1920s studying with Boulanger, who ultimately persuaded him Died: to undertake his most ambitious project to date: a symphony for organ and December 2, 1990, orchestra to be premiered by the . Despite having Sleepy Hollow, N.Y. little practical experience with orchestration and only a basic familiarity with the organ, Copland produced one of the 20th century’s finest concertante organ works. Its 1925 premiere, with Boulanger on organ and Walter Damrosch leading the orchestra, might not have seemed particularly auspicious for Copland. Damrosch famously remarked to the scandalized audience (“conservative Sunday afternoon ladies” in Copland’s words) that “if a gifted young man can write a symphony like that at age 23, within 5 years he will be ready to commit murder.”

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Copland later came to regard his symphony, with its obvious debt to Stravinsky (whom Boulanger also greatly admired), as too European. Nevertheless, the stylistic traits that have made many of his works modern classics are also found here in embryonic form. The opening movement, a gentle pastorale, seems to foreshadow pieces like Appalachian Spring and Our Town with its sense of spaciousness and lightness of touch.

Preamble for a Solemn Occasion was written in 1949 to mark the first anniversary of the United Nations’ Universal Declaration of Human Rights. Like his better known Lincoln Portrait, Copland originally conceived the work for orchestra and narrator, with text drawn from the preamble to the United Nations charter. Laurence Olivier was the narrator at the work’s premiere, with leading the New York Philharmonic at the United Nations. The arrangement for organ alone was made in 1953.

John Weaver Fantasia for Organ

John Weaver is one of the most highly respected organists and pedagogues of the 20th century. A student of Alexander McCurdy at the Curtis Institute in John Weaver , Weaver later succeeded him as head of the organ department, a position he held from 1972 to 2003. Dividing his time between Philadelphia Born: and New York, Weaver also served as the organist of the Madison Avenue April 27, 1937, Presbyterian Church for 35 years and taught at Juilliard from 1987 to 2004. Jim Thorpe, Pa. In addition to performing, teaching, and conducting, Weaver has written music for organ, organ and flute (his wife Marianne is an accomplished flutist), and choir. He and his wife currently reside in northern Vermont.

As a versatile performer at home in any area of the repertoire, Weaver’s compositions reflect his familiarity with a broad range of styles and techniques. The opening of his Fantasia (1983) shows the influence of neoclassicists like Hindemith, with its parallel harmonic motion and acerbic dissonances. This quickly gives way to a slower, lyrical passage where the opening motive is heard in the solo flute against a backdrop of lush harmonies in the strings. The solo texture is further expanded with a highly rhapsodic, wide-ranging melody that suggests the work of midcentury French composers like Messiaen and Duruflé. An exuberant, virtuosic finale closes the work.

5 About the Program (continued)

Frank Bridge Adagio in E Major

Like his teacher Charles Villiers Stanford, Frank Bridge is also best Frank Bridge remembered as a teacher—in his case of Benjamin Britten. He is something of an anomaly among turn-of-the-century British organ composers in that Born: he was neither an organist nor involved to any significant degree with February 26, 1879, Anglican church music. Bridge was, rather, a highly sought-after violinist Brighton, U.K. and conductor who toured with the Joachim Quartet and conducted the London Symphony Orchestra. Nevertheless, Bridge made consistent, Died: though infrequent, contributions to organ repertoire throughout his life, January 10, 1941, including this evening’s selection: the second of the 3 Pieces (1905) and Eastbourne, U.K. his most enduringly popular work for the instrument.

Bridge’s early collections of organ music expand upon the musical language he inherited from Elgar and Delius: traditional harmonic substructures overlaid with pervasive, though largely consonant, chromaticism and punctuated by highly expressive dissonances. The E-Major Adagio opens with an imitative exposition in which the main theme is introduced in each voice. The work follows a traditional narrative arc as the gently churning harmonies and ubiquitous theme bring the piece to a thrilling climax, followed by a gradual return to the quiet foundation stops of the opening.

Charles Villiers Stanford Fantasia and Toccata, Op. 57

As one of the founders of the Royal College of Music, Charles Villiers Charles Villiers Stanford played a central role in the revitalization of British music during Stanford the late-19th century. The subsequent success of many of his pupils, including Vaughan Williams, Holst, and Howells, has led to a posthumous Born: reputation largely founded on his pedagogical activities. He was also a September 30, 1852, prolific , producing substantial bodies of work for the stage, Dublin concert hall, and church. It is his works in this last vein which have remained in the repertoire, particularly his choral music for the Anglican liturgy and his Died: numerous works for organ. Although he was an organist, Stanford seems March 29, 1924, to have composed little for his own instrument until the early 20th century, London by which time he was already at the peak of his career. His output includes five substantial , written in quick succession between 1917 and 1918, and numerous shorter works in traditionally German genres. The D-Minor Fantasia and Toccata of 1894 is his earliest significant organ work, although he later revised it during the time he was working on the sonatas.

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Stanford studied in Leipzig as a young man, and his Op. 57 is clearly indebted to midcentury German models like Rheinberger and Merkel. The influence of Brahms, whom he particularly revered, is also easy to discern. The fantasia is organized in two pairs of contrasting sections, the first and third rhapsodic and rhetorical, the second and fourth restrained and contrapuntal. Shortly before the end, the main rhapsodic theme is repeated several times in dialog, now more wistful than declamatory. The fantasia concludes in major, but the toccata returns abruptly to D Minor with a bold opening pedal solo. The toccata proper is a virtuosic perpetuum mobile occasionally punctuated by block chords. Much of the material is derived from the initial right-hand theme, in particular the descending and ascending half-step motive (and its inversion), which becomes increasingly prominent over the course of the piece.

Calvin Hampton Five Dances

Part of the same generation as John Weaver and Gerre Hancock, Calvin Hampton had a career that was tragically curtailed by his death during the Calvin Hampton AIDS crisis. A graduate of Oberlin Conservatory and Syracuse University, Hampton served for 20 years as organist at Calvary Episcopal Church Born: in , where he became one of the most admired church December 31, 1938, musicians in the country. Shortly before his death he was described as Kittanning, Pa. “the greatest living composer of hymn tunes,” many of which can still be found in current hymnals. As a performer, he was known for his Fridays Died: at Midnight concert series, a forward-looking and popular venture which August 5, 1984, ran from 1974 to 1983. Port Charlotte, Fl.

Many of Hampton’s compositions were written during the last decade of his life, including the popular Five Dances of 1982. Compared to the almost exactly contemporaneous Weaver Fantasia heard earlier on tonight’s program, Hampton’s style seems at once more radical and more populist. Each dance features a melodic line accompanied by an ostinato: a rhythmic and melodic motive continuously repeated with little or no variation. Three of the movements will be played tonight. “At the Ballet” utilizes the ancient technique of hocket, where a single florid line is divided between two voices—in this case the hands. The pedal melody, played on a solo 2-foot stop, actually sounds above the manuals. The third dance, “Those Americans,” relies heavily on syncopation. Dissonant and playful, “Everyone Dance” brings the work to an energetic close.

7 About the Program (continued)

Florence Beatrice Price Adoration

The pairing of Florence Beatrice Price and John Cage is an intriguing one. Florence Beatrice Although their musical styles could hardly be more different, both are among Price the great mavericks of the 20th century. While Cage forced a reexamination of the foundational concepts of composition and performance, Price battled Born: long-entrenched misogyny and racism, shattering multiple glass ceilings April 9, 1887, in her long career. Born in Arkansas, Price trained at the venerable New Little Rock, Ark. England Conservatory where she earned degrees in organ and . She eventually settled in Chicago, where she continued to study composition Died: at the now defunct American Conservatory. Her first symphony won the June 3, 1953, $500 first prize in the 1932 Rodman Wanamaker Competition and was Chicago subsequently premiered by the Chicago Symphony under Frederick Stock. It was the first piece by an African-American woman to be performed by a major American symphony orchestra. She achieved further success as a composer of art songs, and is particularly remembered for her collaboration with Marion Anderson. An organist herself, Price composed intermittently for the instrument over the course of her career, producing about two dozen works in total. Adoration dates from the early 1950s and features an expressive melody accompanied by jazz-inflected harmonies.

John Cage Souvenir

More than 25 years after his death, John Cage remains one of the greatest John Cage enigmas of 20th-century music. This unrepentant provocateur’s works force listeners to question their most fundamental assumptions about music, Born: art, and perception. Perhaps his most (in)famous work, 4’33”, is a piece September 5, 1912, for piano where the pianist does nothing but sit on the bench—the music Los Angeles is the ambient sound of the concert venue. Cage produced few works for organ: Some of the Harmony of Maine is based on Cage’s interest in chance Died: elements and requires the player to use a random combination of stops. A August 12, 1992, performance of Organ²/ASLSP (an abbreviation of “As Slow as Possible”) New York City began in 2001 in Halberstadt, Germany. It is intended to last 639 years and conclude in the year 2640. Souvenir is by far the most traditional of Cage’s works for the instrument, although his note that “within phrases … tones may be freely sustained” testifies to his long interest in chance elements. The work is at times surprisingly melodic, with an occasional intrusion of tone clusters and repetitive rhythmic patterns reminiscent of Cage’s early works for prepared piano. It was commissioned by the American Guild of Organists in 1984.

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John Knowles Paine Concert Variations on the Austrian Hymn

The career of American composer John Knowles Paine was an almost unbroken series of firsts. He was one of the first Americans to travel John Knowles to Germany for comprehensive musical training, establishing a pattern Paine emulated by dozens of students over the next few decades. Upon his return, he was appointed the first university organist at Harvard and, later, the first Born: professor of music in the U.S. He was one of the first conductors of the January 9, 1839, Boston Symphony, the first American to compose an oratorio, one of the Portland, Maine first performers to be captured on record, and one of the founders of the American Guild of Organists. His compositions, immensely popular in their Died: day, have been somewhat overshadowed by his historic contributions to April 25, 1906, American musical life, and the dramatic improvement in musical training he Cambridge, Mass. helped to inaugurate. His organ works have fared the best in posterity, and are characterized by technical virtuosity and musical accessibility.

During Paine’s student years in Berlin, the variation set was one of the most popular genres of organ music, and he continued to cultivate it after his return to America. It was an expedient choice, given the general lack of sophistication of American audiences in the 1860s. The organ works of Bach were almost totally unknown, and were generally regarded with suspicion if not outright hostility by those who had encountered them (one memorable review described the E-flat prelude and fugue as “cold as the Aurora Borealis”). Paine wisely chose to meet his audiences where they were and based his variation sets on well-known tunes like “The Star Spangled Banner,” “Old Hundredth” (“Praise God from Whom All Blessings Flow”), and the Austrian Hymn. The set of variations on the Austrian Hymn was his first entry in the genre, written in 1860 but not published until 1876. The melody, originally composed by Haydn and famously used in his “Emperor” string quartet, is presented simply at the outset, and is almost always clearly audible in the subsequent variations. The first pairs it with a simple counter-melody in the bass, and the second does the same in the soprano. The third variation is the obligatory minor-mode setting. One of the attributes that distinguished German-trained organists like Paine from their American predecessors was an incredible fluency in the pedal, which is on full display in variation four. This leads without pause into an extended fugue based on the first few notes of the theme, concluding with a pedal cadenza and final boisterous presentation of the tune.

David Crean teaches organ at Wright State University in 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.

9 About the Artists

Elena Baquerizo

A recent winner of the American Guild of Organists’ M. Louise Miller-Paul E. Knox Scholarship, Elena Baquerizo studies organ with Paul Jacobs at Juilliard, where she is pursuing a bachelor's. She has been a prizewinner in the Albert Schweitzer Organ Festival, ECU Young Artists Competition, and Rodgers North American Classical Organ Competition. Her service playing • John Dexter Bush has taken her to Seminario Nuestra Señora Corredentora (La Reja, Argentina) Scholarship and Iglesia del Corazón Inmaculado y Doloroso de María (Santiago, Chile), • Richard R. Levien Scholarship and Assumption Chapel in St. Marys, Kansas; she is organist at Our Lady • Alan Carmel of Peace Church in Brooklyn. Also passionate about the piano, she has Scholarship been a piano soloist with the Alhambra Orchestra (Coconut Grove, Fl.), and collaborative pianist with tenor Andrew Childs (McCabe Theater, Saint Marys, Kansas). She received her AA in liberal arts from St. Mary’s College (Saint Marys, Kansas), where she was valedictorian.

Daniel Ficarri

Daniel Ficarri (BM ’18, organ) is a graduate organ student of Paul Jacobs at Juilliard. included his performance of John Cage’s Souvenir as one of the Best Moments and WQXR broadcast his live all-Bach performance as part of its Bach Organ Marathon. He has given solo performances at the Cathedral of St. John the Divine, St. Thomas • Philip and Barbara Episcopal Church, and St. Paul’s Chapel of Trinity Church Wall Street. His Kaplan Scholarship compositions have been featured in Choir & Organ magazine and Music • Irene Diamond Graduate From the Tower radio show. Ficarri is organ scholar at Church of St. Paul Fellowship the Apostle in New York City, where he founded the organ concert series • Schuld-Jacobs Sacred Sounds at St. Paul’s. Previously he was organ scholar at Hitchcock Scholarship Presbyterian Church in Scarsdale, N.Y.

Jeremiah Mead

From Madison, Conn., Jeremiah Mead is an organist studying at Juilliard with Paul Jacobs. Mead became interested in the organ at age 12 while he was a chorister at Trinity Episcopal Church, New Haven, under the direction of Walden Moore. Mead has performed in many Connecticut venues, including Trinity Episcopal Church on the Green, New Haven; Cathedral of • Vernon deTar Saint Joseph, Hartford; Christ Episcopal Church, Guilford; and Emmanuel Scholarship in Episcopal Church, Killingworth. When Mead is not at the organ he is either Organ • Joseph E. and skiing during the winter or bicycling during the summer. Former teachers Grace W. Valentine are organists Ezequiel Menendez and Andrew Kotylo and pianists Victoria Scholarship Reeve and RoseMarie Tamburri.

10

Alan Montgomery

A native of Vacaville, Calif., Alan Montgomery is an organist pursuing a master's at Juilliard, where he studies with Paul Jacobs. He has spent much of his life in the U.K., attending high school in Lincoln and holding a bachelor's from the Royal College of Music, where he studied with David Graham, Sophie-Véronique Cauchefer-Choplin, and Andrew Dewar. While in London, he was organ scholar of St. Mark’s, Hamilton Terrace, and the • John Dexter Bush Church of the Immaculate Conception, Farm Street. Montgomery serves Scholarship • Joseph E. and as director of music at the Church of St. Thomas More on East 89th Street Grace W. Valentine in . Scholarship • George B. Bryant Scholarship

Alexander Pattavina

Alexander Pattavina is a first-year master’s student in the organ studio of Paul Jacobs at Juilliard. A native of Stoughton, Mass., he received first prize in the 2014 L. Cameron Johnson Competition in Storrs, Conn., and was awarded the 2014 Ruth and Paul Manz Scholarship from the Lutheran Seminary in Chicago. He was organ scholar of Christ Church in Bronxville, N.Y., under conductor Philip Stopford. His composition for choir and organ, All in a • Irene Diamond Stable Cold and Bare, was premiered at Christ Church in December 2016; Graduate Fellowship it was recently published by Hal Leonard. He has performed extensively • George Erick throughout New York City and the greater Boston area, including concerts at Scholarship the Cathedral of St. John the Divine and the Church of St. Paul the Apostle • Lois Pemberton (NYC) and Methuen Memorial Music Hall (Methuen, Mass.). He is director Scholarship of music at the Church of St. Agnes in Manhattan.

Raphael Attila Vogl

German organist Raphael Attila Vogl is a master’s student of Paul Jacobs at Juilliard. He began receiving piano lessons at age 6 and organ lessons at age 11. Rapid progress led him to cathedral organist Ludwig Ruckdeschel, with whom he studied in Passau, home of the largest organ in Europe. From there, Vogl began his studies at the University of Catholic Church Music and Music Education in Regensburg, studying organ and church • Alice Tully music with Stefan Baier and Markus Rupprecht. He has taken part in many Scholarship • Joseph E. and competitions, winning second prize at the Jugend musiziert in 2015. In Grace W. Valentine 2014 was awarded the promotion prize as the youngest prizewinner Scholarship of the Kulturkreis Freyung-Grafenau. He also received prizes at the International Mendelssohn Organ Competition in Switzerland, as well as at the International Tariverdiev Organ Competition at the University of Kansas. In addition to his studies in Regensburg, he spent a year at the Franz-Liszt-Academy in Budapest with Laszlo Fassang.

11 About the Artists (continued)

Phoon Yu

Organist and composer Phoon Yu is active in Singapore and the U.S., pursuing his DMA degree in organ performance at Juilliard under 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 • C.V. Starr Doctoral his BM in music composition at the Yong Siew Toh Conservatory of Music Fellowship under full scholarship, followed by his MM in organ performance at the Peabody Institute of Johns Hopkins University, receiving 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).

Eddie Zheng

Eddie Zheng (Pre-College ’18, organ), a native of New York City, is an undergraduate student at Juilliard, studying with Paul Jacobs. He studied at Juilliard Pre-College with Matthew Lewis. In summer 2017, he attended the McGill Organ Academy with Hans Ola Ericsson and the Oregon Bach Festival Organ Institute with Paul Jacobs. He has won several awards, • Satterthwaite including first place at the 2018 Albert Schweitzer High School Organ Scholarship Competition and West Chester University 17th annual International • Juilliard Organ Scholarship Organ Competition and second place at the Brooklyn AGO Scholarship • Gaston Dethier Competition. He has performed at the National Centre for Performing Arts Scholarship in Beijing, Beijing Concert Hall, Beijing Golden Sailing Concert Hall, and many venues in the U.S. When not playing organ, he loves filmmaking, hip hop music, and playing ice hockey.

About the Juilliard Organ Department

Led by renowned organist Paul Jacobs, Juilliard’s organ department enjoys an outstanding reputation, attracting talented young artists from around the world. Organ students at Juilliard work closely with Jacobs and enjoy many opportunities for solo and ensemble performances. Juilliard organists perform in on its restored Kuhn organ, are featured in recitals at churches throughout New York City, and hold prominent church positions in the New York City area. Weekly performance classes attract a regular stream of interested visitors. In addition to lessons and master classes, organ majors take courses in service playing, organ literature, and improvisation. Juilliard houses several pipe organs in various styles, including instruments by Holtkamp, Schoenstein, Flentrop, and Noack.

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 Julie Anne Choi Ellen Marcus Brian Zeger, Artistic Director Kent A. Clark Greg Margolies 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 Vincent A. Mai Damian Woetzel Anna Royzman, Director of Performance Activities

Evening Division Danielle La Senna, Director TRUSTEES EMERITI Enrollment Management and Student Development June Noble Larkin, Chair Emerita Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Mary Ellin Barrett Elizabeth McCormack Barrett Hipes, Associate Dean for Student Development Sidney R. Knafel Sabrina Tanbara, Assistant Dean of Student Affairs Joseph W. Polisi, President Emeritus Cory Owen, Assistant Dean for International Advisement and Diversity Initiatives William Buse, Director of Counseling Services 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 Terry Morgenthaler Todd Porter, Director of Residence Life Barbara Brandt Howard S. Paley Howard Rosenberg MD, Medical Director Brian J. Heidtke John G. Popp Beth Techow, Administrative Director of Health and Counseling Services Gordon D. Henderson Grace E. Richardson Peter L. Kend Jeremy T. Smith Development Younghee Kim-Wait Alexander I. Tachmes Alexandra Wheeler, Vice President and Chief Advancement Officer Sophie Laffont Anita Volpe Stephanie Gatton, Acting Director of Special Events Jean-Hugues Monier Katie Murtha, Director of Major Gifts Lori Padua, Director of Planned Giving Ed Piniazek, Director of Development Operations Edward Sien, Director of Foundation and Corporate Relations EXECUTIVE OFFICERS Rebecca Vaccarelli, Director of Alumni Relations AND SENIOR ADMINISTRATION Public Affairs Damian Woetzel, President Maggie Berndt, Acting Director of Public Affairs Benedict Campbell, Website Director Office of the President Thiago Eichner, Design Director Jacqueline Schmidt, Vice President and Chief of Staff Jessica Epps, Marketing Director Kathryn Kozlark, Special Projects Producer Susan Jackson, Editorial Director

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

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