Jeffrey Milarsky, Conductor Nadia Sirota, Viola Matthew Pearce, Tenor

Friday Evening, October 26, 2018, at 7:30

The Juilliard School presents AXIOM Jeffrey Milarsky , Conductor Nadia Sirota , Viola Matthew Pearce , Tenor

NICO MUHLY (b. 1981) No Uncertain Terms (2017)

JOHN CORIGLIANO (b. 1938) Chiaroscuro (1997) Light Shadows Strobe YIJIA WANG, Piano SALOME JORDANIA, Piano (Tuned a Quarter-Tone Lower)

Intermission

MUHLY Keep in Touch (2005); arranged by Chris Thompson NADIA SIROTA , Viola

CORIGLIANO Poem in October (1970) MATTHEW PEARCE , Tenor

Performance time: approximately 1 hour and 20 minutes, including one intermission

The taking of photographs and the use of recording equipment are not permitted in this auditorium.

Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving).

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program essential role played by the latter’s music in Muhly’s creative and personal lives. by Matthew Mendez Opening with a near-literal quotation of the first measures of Reich’s 1976 magnum No Uncertain Terms opus Music for 18 Musicians —a kind of NICO MUHLY objet trouvé that sets the rest of No Born August 26, 1981, in Randolph, Vermont Uncertain Terms in relief, functioning to make its sonic cross-references intelligi - Equal parts generous collaborator and ble—Muhly’s homage is built around a tireless operator, Nico Muhly (M.M. ’04, sequence of 14 chords that recur repeat - composition ) is probably the most visible edly, in a manner reminiscent of a Baroque repre sentative of a generation of younger chaconne. As has often been the case with American composers whose members chaconnes, Muhly’s harmonic cycle remain s first came into public view during the more or less fixed, even as it remains sub - 2000s, united in the conviction that rigid ject to a process of constant reinflection, old dichotomies like “popular”/“classical” functioning like a fixed prism through which and “accessible”/“serious” had become many luminous variants are diffracted. not so much blurry or even arbitrary as— finally—meaningless. Informally mentored This dynamic is tied to Muhly’s description by Philip Glass (Diploma ’60, M.S. 62, com - of No Uncertain Terms as “a sort of archive” position ), from whom he learned the documenting some of the ways Reich’s virtues of fostering one’s own musical output has influenced his own: the “per - micro-community, Muhly began putting sonal archive” is one of Muhly’s favorite this “post-genre” ethos (as some have metaphors, which refers to “all the things, referred to it) into practice early and often, physical and otherwise, that define us.” starting with his time at Juilliard, from That is to say that in depicting various facets which he graduated with a master’s of his musical relationship with Reich, Muhly degree in 2004. Indeed, the intervening also depicts himself (and in this respect, it decade and a half have seen him engaged is no coincidence that a recording of Music in an almost impossibly multifarious array for 18 Musicians was the first album Muhly of musical activity, with few, if any, medi - ever purchased). As such, char acteristic ums, forms, or scenes off limits: on any Muhly preoccupations—allusions to t he late given day, Muhly is just as likely to be Renaissance Anglican choral music he found lending his talents to projects spear - grew up singing in Rhode Island; earnest headed by the likes of Björk, Usher, and outbursts of “romantic over-expression” for Sufjan Stevens as he is to be focusing his the strings; nods to the mystical practice of energies on a stage work for the Metropolitan glossolalia (speaking in tongues)—become Opera. ( Marnie , his second Met commis - charged with all manner of unexpected, sion, is currently receiving its premiere run unheard-of resonances once placed in No at the house.) Uncertain Terms ’ Reichian frame.

Written under the auspices of Carnegie Chiaroscuro Hall, for a concert series curated by Steve JOHN CORIGLIANO Reich (’61, composition ) on the occasion of Born February 16, 1938, in New York, his 80th birthday year, No Uncertain Terms New York pays direct tribute to the elder composer— an affirmation, offered with all of the Among that rare breed of artists who will rhetorical force indicated in the title, of the try anything at least once, John Corigliano, who marked his 80th birthday earlier this unusual or unfamiliar technical and expres - year, is one of the nation’s most decorated sive challenges. Written for two pianos, living composers, being the unprecedented one tuned a quarter-tone lower than is cus - winner of a Pulitzer Prize, Grawemeyer tomary, Chiaroscuro is among the fruits of Award, Academy Award, and multiple this line of thinking. (The quarter- tone is Grammys. Indeed, the sheer extent of half the size of the usual semitone, the these accolades is direct testament to the smallest division of the octave traditionally wide-ranging trajectory of Corigliano’s employed in Western music.) Corigliano career: over the course of its six decades, has related his initial, leery reaction to the he has consistently made a positive virtue proposed commission: “Why should I out of his adaptability, whether it was his write a two-piano piece when I could write intensive involvement with incidental a one-piano piece that sounds like two music during his 20s, his mid-career work pianos? What’s the point? Why do I need scoring films (notably, he wrote the sound - the second piano?” He hit upon an answer tracks to Altered States and The Red Violin ), to these questions once he realized the or his strongly held belief in the need for pianos could be employed in such a way new concertos for instruments lacking an that quarter-tones would be generated as a extensive repertoire (his catalog features result of the tuning discrepancy between solo vehicles for oboe, clarinet, and flute). them (Corigliano: “Each piano would sound That belief stems, in turn, from Corigliano’s perfectly tuned by itself but, for example, acute sense of the composer’s position in the note G on one piano would sound at a society: as long ago as 1982, he firmly pitch between G and F sharp on the other avowed that the composer’s “responsibil - piano”). Yet although the use of two key - ity does not end with the final double bar.” boards tuned in this manner does have a By this he was referring literally to all the precedent in works by Charles Ives and things composers have recently been the unheralded Russian émigré Ivan obliged to do past the sheer act of writing Wyschnegradsky, Corigliano’s decision of music, like self-financing recordings, was not rooted in a desire to employ working to ensure premieres also receive micro-intervals to construct alternate tun - second and third performances, and teach - ing systems or scales per se, but instead ing. He has made a particular specialty of to exploit the untapped “lyrical possibilities the last of these: a longtime faculty mem - of the quarter tone.” He was “looking for ber at both Juilliard and Lehman College the expressive power between two notes,” (Muhly was among his Juilliard pupils), as he later put it—much “like a blues Corigliano is widely admired as an inspiring, singer does.” dedicated pedagogue, and in recognition of his reputation as an upstanding artistic citi - As befits its title, Chiaroscuro is concerned zen, some 15 years ago a scholarship was with exploring the light and shade inherent established in his name at the latter institu - in those “in-between” intervals, and does tion, the aim of which is to provide finan - so differently in each of its three move - cial aid to students who might otherwise ments. The curtain-raising Light contrasts not have the opportunity to study music. theatrical broken chords in one piano with quiet, furtive textures in the other, before Ever since the 1970s Corigliano has taken leading directly into the slow Shadows . a kind of problem-solving approach to new Here low, somber chords and tentative projects, which has meant that in practice, melodic strands are overlaid with feather- he has often gravitated toward commis - light interplay between the two keyboards’ sions that would oblige him to tackle highest registers, after which comes a central passage in which Corigliano retro - possibilities afforded by a non-“classical” fits “the sighing semitones that classical approach to the recording studio—one music has always used to express mourn - where the end result would not be an ing” out of quarter-tones, for an effect he “objective,” documentary rendering of a considered “both subtler and more intense.” score as heard in performance, but Last comes Strobe , a disturbingly whirligig instead, one in which various recording perpetuum mobile , in which the conflicting techniques, in and of themselves, became tunings produce a sonic analog to the integral to the effect of the composition on flashing and streaking of the titular light its album format. source. The disorientation is only com - pounded with the entry and subsequent This thinking proved paramount for Keep elaboration of what Corigliano indicates is in Touch , and as Sirota recalls, the way a quotation from a Bach chorale—a harmo - she was mic’d for the recording even nization of the “Old 100th” hymn tune. Here had a lasting impact on her playing style, the second pianist temporarily joins the which became more direct and vulnerable other player at the normal keyboard, initiat - as a result: ing an uneasy, tentative peace. Nevertheless, the accord is fated not to last: before long, It was so close you could hear every sin - the turbulent toccata makes its return, ini - gle scrape of the string and all of these tiating an escalation of hostilities with the little sounds that I always heard were chorale tune, before exhausting itself in a “bad sounds” that people didn’t want to spasm of utter brute force. hear—the stuff you try to erase when you’re playing professionally, we ampli - Keep in Touch fied by this recording. So at first I was NICO MUHLY really horrified by it and then the more I listened to that recording, the more I Few of Muhly’s creative partnerships have started to love it. There was so much exerted a more enduring effect on his beauty in those inaudible sounds and sense of compositional self as has his things that were very close to silence longstanding association with his fellow were very stunning. Juilliard alumna, violist, curator, and radio personality Nadia Sirota. Now firmly estab - A similar mentality informed the compo si - lished as a cornerstone of New York’s post- tion of the back-track, which was partly genre community thanks to her virtuoso constructed out of various kinds of “micro- instrumental versatility, Sirota was the sounds”—among them, a miscellany of impetus for a number of Muhly’s most cel - unidentifiable crackles and crinkles, espe - ebrated early achievements, perhaps the cially the small, inimitable wobbles and war - most personal of which was Keep in bles of Muhly’s friend, the singer Anohni Touch . Originally devised for Sirota’s viola (originally of Antony and the Johnsons). and pre-recorded back-track only, in its final form the piece bore the stamp of another About a decade after Muhly wrote Keep in key Muhly collaborator, the Icelandic pro - Touch , another colleague, Chris Thompson ducer Valgeir Sigurðsson, with whom he (M.M. ’03, percussion ) of the new music established a working relationship during ensem ble Alarm Will Sound, took up the the period of Keep in Touch ’s composition. challenge of transcribing the prerecorded It was from Sigurðsson, who made his name component for small orchestra, in the helping fashion beatscapes for Björk, that process creating a kind of pocket con - Muhly began to appreciate the creative certo for Sirota. (Alarm Will Sound had previously toured instrumental arrange - Society of Lincoln Center for its very first ments of album tracks by the Beatles and season, in 1970, is perfectly representative Aphex Twin, so the idea of translating of this phase of his development just as it sounds that had only existed as “fictions” was nearing its close. To be sure, com - of the recording studio was not foreign to pared to the music he composed in his Thompson.) For those familiar with the 20s, he now “was using more irregular original score, one of the sources of fasci - rhythms,” as he later noted, not to mention nation provoked by the reimagined ver - “a harmonic language that had stretched a sion is therefore Thompson’s orchestra - bit.” But even the score’s spikiest textures tional resourcefulness: he has found (abetted by the resourceful use of a harpsi - purely acoustic solutions for rendering chord) would have done Copland proud, even Muhly’s most distinctive, individual - and whatever its expressive shadows, istic sonorities. Thus if certain elements Poem in October ’s dominant effect remains readily lent themselves to transcription— one of penetrating, rapt vocal lyricism—the for example, the piece’s repeating organ gift which has never left Corigliano, what - descent, taken up here by woodwinds and ever the other changes in his music. brass—others required outside-the-box thinking, as was true of an eerie synthe - Yet that lyricism is also shot through with a sized texture that makes its entry near the kind of uncertainty, which is thematized climax, but which is simulated here with writ small in the score’s opening bars, whirly tubes (plastic hose-like toys). Yet where a succession of distinct, sharply even in Keep in Touch ’s orchestral garb, etched musical ideas pass by in collage-like what stays constant is the viola protago - manner: a fanfare-like figure for oboe and nist’s expression of the intense human clarinet; a bright little flute ditty; slashing need to “remain in connection,” which figures in the strings, followed by a danc - was, in a way, precisely what Muhly and ing, propulsive, rhythmically asymmetrical Sigurðsson’s approach to recording Sirota’s theme; and once the tenor enters, unset - sound had been designed to elicit in the tled harpsichord figuration. There was a first place. clear expressive rationale for this “patch - work” strategy. Poem in October was Poem in October Corigliano’s second large-scale setting of JOHN CORIGLIANO words by Dylan Thomas, the Welsh poet best known for “Do not go gentle into that While it is true that during the 1970s good night,” and whose work has been a Corigliano made concerted efforts to longstanding source of inspiration for the broaden his musical vocabulary via the composer. (Corigliano subsequently incor - careful assimilation of selected avant-garde porated Poem in October into his hour long style traits, at root, he has always remained A Dylan Thomas Trilogy , a “memory play” true to the direct, no-nonsense commu - whose component parts were written and nicative ethos shared by the American revised over the course of 40 years.) About composers who were his guides in the ini - Thomas’ poems, Corigliano has observed tial stages of his career—figures like Aaron that they “have reappeared in my life pre - Copland, Leonard Bernstein, and Samuel cisely when they have felt most autobio - Barber. If much of Corigliano’s early work graphical, and just when I needed to write partook directly of the homegrown, distinc - exactly the music they have evoked.” This tively Americanist lingua franca cultivated was particularly true of Poem in October , by those men, then his Poem in October , since the eponymous text, which docu - commissioned by the Chamber Music ments its narrator’s emotional responses to turning 30, was written as Thomas him - regarding the future of his “heart’s truth” self reached that age; in like fashion, rings entirely true, too. Corigliano set the text in the aftermath of his own 30th birthday. But the poem is Matthew Mendez is a New Haven–based scarcely celebratory but rather reflective critic and musicologist with a focus on and irresolute, and so the “patchwork” 20th- and 21st-century repertoire. He is a strategy sensitively captures the narrator’s graduate of Harvard University and is cur - quicksilver shifts of affect. In the process rently a Ph.D. student at Yale. Mendez was such an abundance of expressive terrain is the recipient of a 2016 ASCAP Foundation traversed that by the closing pages, the Deems Taylor/Virgil Thomson Award for narrator’s hard-won declaration of hope outstanding music journalism.

Text

Poem in October DYLAN THOMAS

It was my thirtieth year to heaven Woke to my hearing from harbour and neighbour wood And the mussel pooled and the heron Priested shore The morning beckon With water praying and call of seagull and rook And the knock of sailing boats on the webbed wall Myself to set foot That second In the still sleeping town and set forth.

My birthday began with the water- Birds and the birds of the winged trees flying my name Above the farms and the white horses And I rose In a rainy autumn And walked abroad in shower of all my days High tide and the heron dived when I took the road Over the border And the gates Of the town closed as the town awoke.

A springful of larks in a rolling Cloud and the roadside bushes brimming with whistling Blackbirds and the sun of October Summery On the hill’s shoulder, Here were fond climates and sweet singers suddenly Come in the morning where I wandered and listened To the rain wringing Wind blow cold In the wood faraway under me.

Pale rain over the dwindling harbour And over the sea wet church the size of a snail With its horns through mist and the castle Brown as owls But all the gardens Of spring and summer were blooming in the tall tales Beyond the border and under the lark full cloud. There could I marvel My birthday Away but the weather turned around.

It turned away from the blithe country And down the other air and the blue altered sky Streamed again a wonder of summer With apples Pears and red currants And I saw in the turning so clearly a child’s Forgotten mornings when he walked with his mother Through the parables Of sunlight And the legends of the green chapels

And the twice told fields of infancy That his tears burned my cheeks and his heart moved in mine. These were the woods the river and the sea Where a boy In the listening Summertime of the dead whispered the truth of his joy To the trees and the stones and the fish in the tide. And the mystery Sang alive Still in the water and singing birds.

And there could I marvel my birthday Away but the weather turned around. And the true Joy of the long dead child sang burning In the sun. It was my thirtieth Year to heaven stood there then in the summer noon Though the town below lay leaved with October blood. O may my heart’s truth Still be sung On this high hill in a year’s turning. Meet the Artists percussionist, Milarsky has been the prin - ci pal timpanist for the Santa Fe Opera since 2005. In addition he has performed and recorded with the New York Philhar- monic, Philadelphia Orchestra, and Pittsburgh O

K Symphony. He has recorded extensively R E

N for Angel, Bridge, Teldec, Telarc, New O K World, CRI, MusicMasters, EMI, Koch, and R E T

E London records. P Jeffrey Milarsky

American conductor Jeffrey Milarsky is music director of AXIOM and senior lec -

turer in music at Columbia University Z E N where he is music director and conductor I A L

N

of the Columbia University Orchestra. He I V R

received his bachelor and master of music E H

S Nadia Sirota degrees from Juilliard where he was awarded the Peter Mennin Prize for out - Violist Nadia Sirota’s singular sound and standing leadership and achievement in the expressive execution have served as muses arts. In recent seasons he has worked with to dozens of composers, including Nico ensembles including the New York Phil- Muhly, Bryce Dessner, Missy Mazzoli, harmonic, San Francisco Symphony, Los Daníel Bjarnason, Judd Greenstein, Marcos Angeles Philharmonic, Milwaukee Sym - Balter, and David Lang. She won a 2015 phony, American Composers Orchestra, MET Peabody Award for her podcast Meet the Chamber Ensemble, Bergen Philharmonic, Composer , which profiled today’s most Chamber Music Society of Lincoln Center, interesting musical thinkers. This season New World Symphony, and Tanglewood she is the New York Philharmonic’s first- Festival Orchestra. In the U.S. and abroad ever creative partner, a position created for he has premiered and recorded works by her in which she will host nine contempo - many groundbreaking contemporary com - rary music concerts over two new series, posers in Carnegie Hall, Zankel Hall, Davies Nightcap and Sound ON, the latter of Symphony Hall, Alice Tully Hall, Walt Disne y which she will also curate. As a soloist she Concert Hall, Boston’s Symphony Hall, and has appeared with the Detroit Symphony, at IRCAM in Paris, among others. Milarsky Colorado Symphony, National Arts Centre has a long history of premiering, recording, Orchestra, Spanish National Orchestra, and and performing American composers and Orchestre National d’Île-de-France. She has throughout his career has collaborated with released four albums of commissioned John Adams, Milton Babbitt, John Cage, music, most recently Tessellatum , Donnacha Elliott Carter, John Corigliano, George Dennehy’s groundbreaking work for viola Crumb, Mario Davidovsky, Jacob Druckman, and microtonal viola da gamba consort, Michael Gordon, David Lang, Steven fea turing Liam Byrne. Sirota has lent her Mackey, Christopher Rouse, Ralph Shapey, sound to recording and concert projects by Morton Subotnick, Charles Wuorinen, and The National, David Bowie, and Björk, and is an entire generation of young and develop - a member of chamber sextet yMusic, whose ing composers. In 2013 he was awarded virtuosic execution and unique configuration the Ditson Conductor’s Award for his com - have attracted high-profile collaborators Paul mitment to the performance of American Simon, Ben Folds, Anohni, and the Staves, music. A much-in-demand timpanist and and inspired an expanding repertoire of original works by composers Andrew AXIOM Norman, Caroline Shaw, and Chris Thile. AXIOM is dedicated to performing the She has received the ASCAP Deems masterworks of the 20th- and 21st-century Taylor Award for her work in radio and repertoire. Since its debut in 2006 (Nadia Southern Methodist University’s Meadows Sirota was a founder), the group has Prize, awarded to pioneering artists and established itself as a leading ensemble in scholars with an emerging international New York City’s contemporary music scene profile. She sits on the board of directors with performances throughout Lincoln of Chamber Music America, the national Center, in addition to frequent appearances service organization for ensemble music at Columbia University’s Miller Theatre and professionals. She received her undergrad - (Le) Poisson Rouge in Greenwich Village. uate and master’s degrees from Juilliard, AXIOM is led by music director Jeffrey where she studied with Heidi Castleman, Milarsky and is grounded in Juilliard’s cur - Misha Amory, and Hsin-Yun Huang. riculum. Students receive a credit in cham - ber music for performing in the ensemble, and during any four-year period, AXIOM members will have the opportunity to per - G

A form works by John Adams, Harrison L U T

H Birtwistle, Magnus Lindberg, and Arnold U H Schoenberg, among other composers. Y R N

E Guest conductors of AXIOM have included

H Matthew Pearce Alan Gilbert, Susanna Mälkki, and David Tenor Matthew Pearce is a second year Robertson. AXIOM’s current season opened master’s candidate from Union, Kentucky, with a concert that was part of the New studying under Marlena Malas at Juilliard, York Philharmonic’s The Art of Andriessen where he sang in L’enfant et les sortilèges festival, followed by today’s performance (La théière) and Die lustigen Weiber von celebrating both John Corigliano’s 80th Windsor (Spärlich). He also appeared in the birthday and Nico Muhly on the occasion Juilliard Vocal Arts Cabaret and premiered of the Met Opera’s production of his Toys in a Field: Songs From Dien Cai Dau opera Marnie , and concluding in April with with the Juilliard Orchestra. Pearce has a program of music by Iannis Xenakis, performed with the New York Festival of Caroline Shaw, and Steve Reich. The Song and made his David Geffen Hall debut 2017–18 season comprised programs fea - in the New York premiere of Thy Will Be turing the music of composer and former Done with the National Chorale. This past Juilliard faculty members Jacob Druckman summer he appeared as Don José in Carmen and Luciano Berio, and Hans Abrahamsen’s at the Chautauqua Institution. He received complete Schnee . In 2016 –17 AXIOM pro - his bachelor’s in vocal performance from grams honored John Adams on his 70th the University of Kentucky, studying under birthday, Steve Reich on his 80th birthday, Everett McCorvey. and the music of Kaija Saariaho. Risë Stevens Scholarship, Patricia Haspert Scholarship in Vocal Arts, George H. Gangwere Scholarship AXIOM Jeffrey Milarsky , Music Director and Conductor Tim Mauthe , Manager

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The Juilliard School is deeply grateful to the following individuals, foundations, and corporations for their annual gifts and pledges in support of scholarship funding and Juilliard’s multifaceted performance and educational activities.

Over $1 million The Fan Fox and Leslie R. Samuels Cecil M. Yarbrough and Ronald S. The Jerome L. Greene Foundation Foundation Csuha Bruce and Suzie Kovner The Shubert Foundation, Inc. Anonymous (2) Ellen Marcus Jeremy Smith Katheryn C. Patterson and Thomas Bruce B. Solnick $10,000–$14,999 L. Kempner Jr. The Meredith and Rosemary AON Foundation Susan and Elihu Rose Foundation Willson Charitable Foundation Jody and John Arnhold Anonymous Bootsie Barth $500,000–$999,999 Mercedes T. Bass International Foundation for Arts $25,000–$49,999 Anne L. Bernstein and Culture Anna Schoen-René Fund at Sander and Norma K. Buchman Michael E. Marks Family The New York Community Trust Fund Foundation The Annenberg Foundation Joyce and Barry Cohen Arnhold Foundation Crankstart Foundation $250,000–$499,999 Raymond-Cryder Designated Fund The Gladys Krieble Delmas Max H. Gluck Foundation of the Lehigh Valley Community Foundation Lincoln Center Corporate Fund Foundation Florence and Paul DeRosa The Edwin Caplin Foundation Memorial Fund $100,000–$249,999 Susanne D. Ellis Vivian Donnelley Pierre T. Bastid Sidney E. Frank Foundation Dr. Lee MacCormick Edwards Beth and Christopher Kojima The George L. Shields Foundation Charitable Foundation Constance Goulandris Foundation The Horace W. Goldsmith Syril H. Frank Michael Loeb Foundation Allen R. and Judy Brick Freedman Stephanie and Carter McClelland/ Princess Grace Foundation–USA Abraham & Mildred Goldstein The Stephanie and Carter Gordon D. Henderson Charitable Trust McClelland Foundation Dominique and Frédéric Laffont Dr. Elliot Gross and Dr. Alice Deborah J. Simon LCU Fund for Women’s Education Helpern Sarah Billinghurst Solomon and Edward F. Limato Foundation Jennifer and Bud Gruenberg Howard Solomon Joyce F. Menschel Harold P. Hope III Marcelline Thomson Enid and Lester Morse Mr. and Mrs. Scott Kauffmann The Virginia B. Toulmin Foundation Mrs. Susan L. Robinson Mr. and Mrs. Peter Kend Jack Shear Younghee Michelle Kim-Wait $50,000–$99,999 Barbara J. Slifka Dr. Min Kwon and Dr. Leonard Lee The Achelis and Bodman Tomodachi Suntory Music Roberta C. Lobel Foundations Scholarship Fund Marya Martin and Kenneth S. Akin Gump Anonymous Davidson The Augustine Foundation Mr. and Mrs. Jean-Hugues J. Norman S. Benzaquen $15,000–$24,999 Monier Helen V. Vera and Kent A. Clark Edwin L. Artzt Terry Morgenthaler and Patrick Choi & Burns, LLC Laurel and Clifford Asness Kerins Lisa and Sanford B. Ehrenkranz Mary L. Bianco Bohram Leslie and Mitchell Nelson Dan J. Epstein and the Dan J. Barbara and Gary Brandt Howard S. Paley Epstein Family Foundation Joan and Peter Faber John R. Philpit Barbara G. Fleischman Brian and Darlene Heidtke The Presser Foundation Edythe Gladstein Elinor and Andrew Hoover Julia Raiskin Keith and Barbara Gollust The Katzenberger Foundation, Inc. Grace E. Richardson Ms. Mary L. Graham Heidi Castleman Klein Mr. and Mrs. Frank J. Rodriguez Joan W. Harris/The Irving Harris Sidney R. Knafel and Londa Elizabeth S. Sheppard Foundation Weisman Marjorie Tallman Educational Matt Jacobson and Kristopher L. Wynton L. Marsalis Foundation Dukes The Moca Foundation Sandra and John W. Thompson Karen and Paul Levy Karen K. Nelson Robert and Jane Toll Terry and Bob Lindsay Pre-College Parents’ Association Doris Travis Vincent and Anne Mai of The Juilliard School LoRaine Kent Vichey Memorial Nancy A. Marks Evelyn and John Popp Trust Christina M. McInerney Dr. Gary Portadin Lucille and Jack Yellen Foundation The Ambrose Monell Foundation Jack Seidler Judy Francis Zankel Edward John Noble Foundation Gerald L. Schuld Anonymous (3) Stephen Novick and Evan Galen‡ Bradley Whitford The Philanthropy Roundtable Juilliard Annual Supporters (Continued)

$7,500–$9,999 Alec P. Stais and Elissa Burke John and Patricia Klingenstein Mr. and Mrs. Jonathan File Kristine Jarvi Tyler Paul E. Kwak, M.D. Peter J. Frenkel Foundation, Inc. Barbara and Sedgwick Ward Jay H. Lefkowitch, M.D. Candice and John Frawley Marjorie and Irving Weiser Lenni and Perry Lerner Bernard Holtzman Doreen and Martin Weisfuse Mrs. John M. Lewis Frances Kazan Nathaniel Wertheimer and Taya Nancy Long Mitzi Koo Schmid Christopher and Beth Lyon McKinsey & Company, Inc. Andrew P. Willoughby Robert and Bridget Lyons Sharon Ruwart and Tom Melcher Jean and Rick Witmer Mr. and Mrs. Adam E. Max Anonymous John J. Yarmick James and Stephania McClennen George K. Yin and Mary J. Walter Mr. Rodney McDaniel $5,000–$7,499 Dale Zand James G. McMurtry III, M.D. Margot Adams Anonymous (6) Paula P. Michtom Mr. and Mrs. Robert J. Appel Tim B. Nelson and Lisa M. Walter and Marsha Arnheim $2,500–$4,999 Benavides Mr. and Mrs. Seymour Askin, Jr. Mr. and Mrs. Kwangkyun Ahn Stanley Newman and Dr. Brian Janet E. Baumgartner Dr. Audrey S. Amdursky Rosenthal Marshall S. Berland and John E. Michelle and Jonathan Auerbach Michael Nochomovitz Johnson Emanuel and Yoko Ax James Park and Jungmin Kim Anne Louise and Matthew Bostock Casey C. Bayles Celia Paul and Stephen Rosen Nicholas Brawer Philip A. Biondo Craig and Stefanie Pintoff Mrs. Isabel Brenes Lucienne and Claude Bloch, M.D. Judy and Jim Pohlman Bryan Cogman and Mandy Olsen Mr. Robert Brenner Arthur C. Press Ron Daniel & Lise Scott Trudy and Julius Brown Dr. and Mrs. Stephen D. Dudley and Michael Del Balso Elaine J. Budin Prystowsky Ms. Nancy Fisher Steven C. Calicchio Foundation Ms. Wenhua Qi Seth E. Frank Kathryn G. Charles Donna M. Romer Beth and Gary Glynn Beverly and Herbert Chase Pamela and Richard Rubinstein Arlene‡ and Edmund Grossman Mr. Kenneth H. Chase Foundation Alec and Christy Guettel Ernest and Mary Chung Adel Sanchez Nancy and Bruce Hall James and Kanako Clarke Carol A. Scancella The Harkness Foundation for Betsy L. Cohn Nancy Schloss Dance Anne and Stephen Cunningham Richard E. Schneyer Japanese Chamber of Commerce Georgeann Delli Venneri Sandra Semel and Industry of New York Vivien and Michael Delugg Mr. Jiuling Shi Edward and In-Aie Kang Mrs. Vincent de Roulet The Margot Sundheimer Foundation John R. Doss Foundation Keller-Shatanoff Foundation Robert & Mercedes Eichholz Elise C. and Marvin B. Tepper Sharon and Cary A. Koplin Foundation Barbara and Donald Tober Mrs. William M. Lese Marilyn and Steven Emanuel Caroline Urvater Helen Little Mr. and Mrs. Anthony Evnin Anthony and Elaine Viola Mr. Jerome N. Lowenthal Dr. Edythe Fishbach Jonathan and Candace Wainwright Mr. and Mrs. Peter L. Malkin Elyse Fried Suzanne Weil Sylvia and Leonard Marx Jr. Alan S. Futerfas and Bettina Susan M. Whelan Pat and Peter Nadosy Schein Theodore Wilson B. Gregory Palitz Emma Gruber Frank and Lisa Wohl The Laura Pels International Maire E. Gullichsen-Ehrnrooth Rebecca Wui and Raymond Ko Foundation for Theater Dr. Daniel E. Haspert Anonymous (2) Joseph Piropato and Paul Michaud Joyce and Ira Haupt, II Edith Polvay-Kallas Peter Chung-Tao Ho and Anisa ‡ = In Memoriam John Re and Charles Palmer Sosthikul Sabine Renard Judy and Lindley Hoffman As of 10/31/17 Mary G. Roebling Musical Katherine L. Hufnagel Scholarship Fund, Inc. Juilliard Alumni Association of Ida & William Rosenthal Japan Foundation Elma and Howard Kanefield Yukari Saegusa Mel and Elaine Kaplan Gillian Sorensen William F.‡ and Frances M. Kelly Annaliese Soros Jackie and Andrew Klaber

Please consider making an investment in the future of dance, drama, and music today and help The Juilliard School remain at the forefront of performing arts education. For more information or to make a gift, please contact the Development Office at (212) 799-5000, ext. 278, or [email protected]. 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 Anita L. Gatti* Joseph M. Liebling* Donald J. Aibel* Thelma and Seymour Geller, In honor of Peter Limon Veronica Maria Alcarese on behalf of Jane Geller Jerry K. Loeb Douglas S. Anderson Rabbi Mordecai Genn Ph.D. Richard Lopinto Mitchell Andrews* Mark V. Getlein* Eileen Lubars* Dee Ashington John R. Gillespie Chuck Manton Richard Beales Professor Robert Jay Glickman Cyril‡ and Cecelia Marcus Yvette and Maurice‡ Bendahan Dr. Ruth J.E. Glickman Serena B. Marlowe Donald A. Benedetti* Sheryl Gold Dolores Grau Marsden* Helen Benham* Jennifer L. Granucci Sondra Matesky Elizabeth Weil Bergmann* The Venerable John A. Greco Stephanie and Carter McClelland Marshall S. Berland and Drs. Norman*‡ and and The Stephanie and Carter John E. Johnson Gilda Greenberg McClelland Foundation Anne L. Bernstein Arlene‡ and Edmund Grossman Joseph P. McGinty Benton and Fredda Ecker Bernstein Miles Groth, Ph.D. Dr. and Mrs. N. Scott McNutt Leslie Goldman Berro* Emma Gruber Pauline and Donald B.‡ Meyer Susan Ollila Boyd Rosalind Guaraldo Stephen A. Meyers and Mrs. George E. Boyer Ruth Haase Marsha Hymowitz-Meyers Peter A. Boysen Robert S. Haggart Jr.* and Paula P. Michtom Nina R. Brilli Stephanie Haggart* Leo*‡ and Anne Perillo Michuda* Steven and Colleen Brooks Louise Tesson Hall Warren R. Mikulka Carol Diane Brown and Ralph Hamaker Stephen Mittman Daniel J. Ruffo Stephen and Andrea Handleman Robert A. Morgan Beryl E. Brownman Rev. Tozan Thomas Hardison* Valerie Wilson Morris* Lorraine Buch Ralph*‡ and Doris Harrel* Diane Morrison Eliane Bukantz Judith Harris and Tony Woolfson Mark S. Morrison Alan‡ and Mary Carmel Robert G. Hartmann L. Michael and Mr. and Mrs. N. Celentano Robert Havery* Dorothy Moskovis Wendy Fang Chen* S. Jay Hazan M.D. Gail Myers Julie A. Choi* and Claudio Cornali Betty Barsha Hedenberg Myron Howard Nadel* Dr. Barbara L. Comins* and Brian J. Heidtke Steven W. Naifeh and Mr. Michael J. Comins Gordon D. Henderson Gregory White Smith‡ Charlotte Zimmerman Crystal* Mayme Wilkins Holt Anthony J. Newman Rosemarie Cufalo Julie Holtzman* Oscar and Gertrude Nimetz Fund Christopher Czaja Sager* Gerri Houlihan* Stephen Novick Harrison R.T. Davis Katherine L. Hufnagel Jane Owens Robert Lee Dean Joseph N. and Susan Isolano Mr.‡ and Mrs. Donald Parton Stephen and Connie Delehanty Paul Johnston and Umberto Ferma Celia Paul and Stephen Rosen Ronald J. Dovel and Thomas F. Lahr Janice Wheeler Jubin* and Jeanne M.* and John C. Drake-Jennings Herbert Jubin Raymond Gerard*‡ Pellerin Ryan* and Leila Edwards Peter H. Judd Jane V. Perr M.D. Lou Ellenport Michael Kahn Jean Pierkowski Audrey Ellinger George* and Julia Katz Elissa V. Plotnoff Pinson* Lloyd B. Erikson Younghee Kim-Wait Fred Plotkin Eric Ewazen* Robert King* Judy and Jim Pohlman Holly L. Falik Linda Kobler* and Geraldine Pollack Barbara and Jonathan File Dr. Albert Glinsky* Sidney J.‡ and Barbara S. Pollack Stuart M. Fischman J. D. Kotzenberg John G. Popp Dr.*‡ and Mrs. Richard B. Fisk Bruce Kovner Thomas and Charlene Preisel Judi Sorensen Flom Edith Kraft* Arthur Press* Ann Marie Smith Forde Mr. and Mrs. Paul A. Krell Bernice Price Lorraine Fox Dr. Yvonne Lamy Gena F. Raps* John and Candice Frawley Francine Landes* Karen J. Raven Dr. Mio Fredland Sung Sook Lee* Nancy L. Reim Chaim Freiberg* Paul Richards Lemma and Susan M. Reim* Naomi Freistadt Wilhelmina Marchese Lemma‡ Susan D. Reinhart Constance Gleason Furcolo Loretta Varon Lewis‡ and Madeline Rhew* Michael Stephen Gallo* Norman J. Lewis Michael Rigg William Gati* and Paul Gati*‡ Ning Liang* Douglas Riva* The Augustus Juilliard Society (Continued)

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

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 August 27, 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 Estate of Melvin Kartzmer Harold Alderman Trust Estate of Shirley Lewenthal Estate of Celia Ascher 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 Estate of Harold C. Schonberg Estate of George Bryant Bertha Seals Trust Estate of John Nicholson Bulica Estate of Betty Simms Estate of Annette Burford Arline J. Smith Trust Trust of John Dexter Bush Janice Dana Spear Trust Estate of Alfred DelMoral 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 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 Estate of Mildred Zucker Trust of Edward Jabes Darrell Zwerling Living Trust