Friday Evening, March 8, 2019, at 7:30

The Juilliard School presents Juilliard Pre-College Symphony Adam Glaser , Music Director David Robertson , Conductor Robert McDuffie , Violin Julia Bruskin , Orli Shaham , Piano

GIOACHINO ROSSINI (1792 –1868) Overture to William Tell

LUDWIG VAN BEETHOVEN (1770 –1827) Concerto in C major for Violin, Cello, and Piano, Op. 56 (“Triple”) Allegro Largo Rondo alla Polacca ROBERT MCDUFFIE, Violin JULIA BRUSKIN, Cello ORLI SHAHAM, Piano

Intermission

MODEST MUSSORGSKY (1839 –81) Night on Bald Mountain (arr. Rimsky-Korsakov)

PYOTR ILYICH TCHAIKOVSKY (1840 –93) Romeo and Juliet Overture-Fantasy

Performance time: approximately 1 hour and 30 minutes, including an intermission

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

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Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program grief the Swiss have for their fatherland. The second section is tempestuous, depict - (Program notes for this evening’s concert ing the scene where William Tell kills were written by students from the Juilliard Gessler . Rossini’s dramatic work demon - Pre-College honors seminar taught by Ira strates here how Tell would be unfazed by Taxin and Daniel Ott.) the greatest forces of nature and how his oppressors would be helpless in the face Rossini: Overture to William Tell of it. The next section follows with a pas - by Alexander Leonardi toral call to the cattle in the beauty of the Swiss countryside, suggested by a delicate William Tell is based on a folk tale dating to and bright duet between the flute and the 13th century when the Swiss were English horn. Finally, the overture concludes under Austrian control. Furious with how with its famous call-to-arms heralded by the his country is under siege, the expert bow - trumpets, which announce the revolt led by man William Tell leads a rebellion to create William Tell and depict the struggle the a free Switzerland. His enemy is Gessler, a Swiss must endure for independence. bailiff and formidable foe who forces Tell to shoot an apple off his son’s head for not Alexander Leonardi is a third-year organ major bowing to Gessler’s hat, lest he hang for at Juilliard Pre-College studying with Matthew disrespect. Tell succeeds but is then Lewis. In addition to music, he is deeply inter - ordered to prison. A storm breaks out while ested in languages of all types, ranging from Tell is being ferried across a lake and Japanese and Chinese to programming lan - Gessler is convinced to release him, as he guages such as Java and Python. is the only one who can control the boat in the storm. Shortly thereafter, Tell flees , and Beethoven : Concerto in C major for with Gessler in pursuit, Tell shoots and kills Violin, Cello, and Piano, Op. 56 him. This story is an integral part of (“Triple”) Switzerland ’s folk history, shown through by Felicia He extensive references to the beauty of the Swiss Alps and negative views of the For Beethoven, the year 1803 brought Austrian oppressors. enormous productivity and creativity. Mas - ter pieces from this period include the In 1829, after finishing Le siè ge de Corinthe, “Eroica” Symphony, both the Waldstein Rossini started writing his 39th opera, and Appassionata Piano Sonatas, his opera William Tell . At the time, the composer Fidelio , and finally the “Triple” Concerto for declared it would be his last opera, and Piano, Violin, and Cello in C major, Op. 56. lthough he lived for almost another 40 Among his near dozen other completed years, he never composed another. The works for soloist and orchestra, this con - opera is based on the folktale but was certo remains the only one composed for adapted more closely from a play by multiple solo instruments. Although built in Schiller. The libretto is entirely in French the tradition of the Baroque concerto and it was premiered at the Paris Opèra. grosso and Classical sinfonia concertante , a concerto essentially for a piano trio was, The opera’s overture has remained an audi - in Beethoven’s own words to his publisher, ence favorite for generations. It is struc - “indeed something new.” tured in four distinct sections that parallel the opera’s four acts. The first section is The work is dedicated to Prince Lobkowitz, very somber, using to express the a well-known patron of Beethoven. However, the composer’s first biographer, Anton to the texture in the lower voices. The Schindler, speculated that Beethoven tempo indication is Largo , an unusual wrote the piece for his young piano stu - marking for Beethoven, and serves to sug - dent, the archduke of Austria. In fact, the gest the same dignified character found in first performance—which did not take the first movement. Near the end of the place until 1808 in Vienna—featured the second movement, the three-way exchanges archduke alongside two of the most yield once again to the cello, who plays a famous musicians of the time, violinist Carl string of repeated notes allowing for a nat - Seidler and cellist Anton Kraft. Some say ural accelerando into the final movement, a the premiere made the archduke a star, grand polonaise marked Rondo alla Pollacca . and some say that his technical abilities The new tempo transforms the dignified could not keep up with Beethoven’s writing rhythms of the previous movements into a for the piano. However, all can agree that more swaggering character. Between the Beethoven was successful in writing a dancing rondo refrains and whirling sixteenth - concerto that was brilliantly conceived to notes, there is hardly an idle moment for any feature the three soloists both individually soloist. Towards the end of the movement, and as a group. Beethoven surprisingly changes the stan - dard 3/4 time of the polonaise to a 2/4 The first movement is jubilant and grand, meter, giving the music even more urgency and its span of nearly 18 minutes makes it before falling back into a jovial dance to fin - one of the composer’s longest concerto ish with a stirring coda. Playing as one, the movements. It starts out tentatively, with soloists battle with the orchestra to reach a only the lower voices introducing a slow, huge C-major cadence, an appropriate con - climbing first statement that grows into a clusion for a triumphant work. semi-heroic theme in dotted rhythm. After the expansive orchestral tutti , the solo Felicia He is a junior at the Brearley School cello strikingly enters with a reiteration of and studies piano with Yoheved Kaplinsky the first theme and soon merges with the at Juilliard Pre-College. She is a 2019 Young violin to beckon in the piano. This paves Arts winner and also enjoys playing cham - the way for the rest of the movement, in ber music, skiing, and baking. which the orchestra and soloists are in near-constant dialogue, with the trio often Mussorgsk y: Night on Bald Mountain playing alone or with very minimal orches - by Chinmay Deshpande tral accompaniment. The emphasis on chamber music is especially apparent dur - Modest Mussorgsky was among the first ing the development, when the soloists Russian composers to develop a distinctly engage in an incessant exchange of furi - native style, and was a member of a group ous arpeggios, as well as at the end of the of iconoclastic composers known as the movement, when the trio is in a complete “Mighty Five.” During the Romantic period unison of ascending and descending C-major in which they lived and worked, an empha - scales that culminate in an exuberant finish. sis on narrative clarity over formal struc - ture was manifested in the creation of a The second movement, although short, radically new orchestral form, the sym - features the chamber-music quality in an phonic tone-poem. These single-move ment even more obvious way. Beginning from orchestral works depicted some extra- its beautiful introductory theme with the musical content, such as a poem, novel, or focus on the cello, our attention is directed play. The nascent Russian musical scene was somewhat late to the adoption of this basing his work upon the “ Dream Inter - new form, but in 1867 Mussorgsky, ever mezzo, ” but re-working many elements the pioneer, was the first Russian composer that Balakirev had criticized. The resulting to write a tone-poem, and the resulting creation proved itself wildly popular. In work— Night on Bald Mountain —is perhaps modern times it has entered into the com - his most famous. mon consciousness mostly due to its inclu - sion, re-arranged by Leopold Stokowski, in The piece has as its program a morbid and Disney’s 1940 masterpiece, Fantasia , in fantastical scenario: a witches’ sabbath on which the cartoon it accompanies is closely St. John’s Eve (also known as Midsummer’s based on Mussorgsky’ s original program. Eve), located on the Lysa Hora, a mountain near Kiev. This story was identified by the Chinmay Deshpande, a junior at the composer himself as a Russian legend, Collegiate School in , is a making its use in keeping with Mussorgsky’s composition student of Eric Ewazen at nationalistic tendencies. The work begins Juilliard Pre-College. He also studies piano with a dramatic repeated passage in the with Marina Obukovsky, and his other strings, onto which Mussorgsky interpo - interests include cross-country running lates a diabolical scale in the woodwinds. and ancient languages. The opening section, according to the composer’s program, depicts the “assem - Tchaikovsky: Romeo and Juliet bly of the witches; their chatter and gos - Overture-Fantasy sip.” This introduction is followed by “Satan’ s by Lucas Amory cort ège,” then by a “black mass,” and finally the “sabbath.” For centuries the influence of playwright William Shakespeare has been seen in the The work had a long and somewhat convo - output of composers in the form of operas, luted genesis: Mussorgsky first conceived ballets, and overtures. Giuseppe Verdi’ s ope - of writing music depicting St. John’s Eve in ras Macbeth and Otello , Felix Mendelssohn ’s 1858. At this stage he thought of it as an overture to A Midsummer Night’s Dream , opera, but after that year, he never again and Sergei Prokofiev ’s ballet Romeo and mentioned such an opera. He then thought Juliet are but a few examples of master - to include the tone-poem’s music in works that were inspired by Shakespeare. another opera, The Witch (1860), which Within this genre, Tchaikovsky wrote three was never completed. In 1866 he wrote to symphonic tone-poems: overture to Hamlet , his mentor Mily Balakirev that he had “con - overture to The Tempest, and the Romeo ceived” of the final form of the piece; he and Juliet Overture-Fantasy. The last of wrote it in a 12-day burst of creativity in these has become one of the most well- June of the following year. Balakirev, how - known pieces by Tchaikovsky, and perhaps ever, was savage in his criticism of his pro - one of the most beloved tone-poems of all. tégé’s efforts, and owing mostly to this reaction, Night on Bald Mountain was not Tchaikovsky took more than a decade to premiered in its original form until the 1920s. produce a version of Romeo and Juliet that he was satisfied with. Longer still was the After Mussorgsky’s premature death due time it took for audiences to appreciate to alcoholism, Rimsky-Korsakov created a and accept it. The work is dedicated to his new version of Night on Bald Mountain , fellow Russian composer Mily Balakirev, who initially suggested the project to imitate the clashing of swords as the Tchaikovsky in 1869. The premiere in early music reaches a soaring climax. The fight - 1870 was uneventful, and subsequent per - ing then gives way to the famous Love formances over the next ten years were Theme, approached by a surprise modula - not warmly received by the European pub - tion. Muted strings and harp welcome the lic. But prominent composers and musi - listener into the most gentle and Romantic cians, such as Camille Saint-Sa ëns and the soundscape, a relief from the terror and Russian “Mighty Five” composers , enthu - fury of the previous section. The next sec - siastically accepted the piece. The second tion is unusual in that it omits the Love theme, also known as the Love Theme, Theme entirely, instead developing Friar especially captured the hearts of musi - Laurence’s music from the introduction in cians, and it has been used in many forms an increasingly urgent manner, as well as of popular entertainment to date. The ver - the Fight Theme, leading straight to a reca - sion that we know and perform today was pitulation of the earlier music. The Love the result of two revisions completed in Theme now reappears, more passionate 1880 and premiered six years later. than ever, but it is overpowered by the other two themes as all declarations of Tchaikovsky’s Romeo and Juliet is in love are lost in the midst of the fighting. A sonata form with an extended introduc - subdued coda follows, representing the tion. Unlike the titular play, the piece scene at Juliet’s deathbed. The Love begins with the introduction of the charac - Theme returns one last time, slightly disso - ter of Friar Laurence. A somber chorale in nant in the strings, before the piece ends the clarinets and bassoons gives way to a with more chords from the entire orches - more mysterious, odd progression in the tra over a timpani roll. Yet these are notes strings highlighted by arpeggiated chords not of strife but of bittersweet truce, at in the harp, which adds to its mystical once mourning the deaths of two young charm. Some repetition of this theme lovers and healing the breach between the ensues now with pizzicato strings , and a two families. wave of agitation then leads to the main material, which depicts the fighting of the Lucas Amory is in his fifth year at Juilliard Pre- two rival families, the Montagues and the College studying piano with Julian Martin. He Capulets. Diabolical runs in the strings and is a junior at Stuyvesant High School, and he short blasts from the brass and cymbals enjoys reading, chess, and ping-pong. Meet the Artists a dynamic and multifaceted career. While appearing as soloist with the world’s fore - most orchestras on five continents, he has also shared the stage with Rolling Stones pianist Chuck Leavell, the late Gregg Allman in “Midnight Rider,” and with actress and E E

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C David Robertson Jail.” dedicated his Second David Robertson is a sought-after figure in Violin Concerto, “The American Four the worlds of opera, orchestral music, and Seasons,” to McDuffie. Mike Mills of the new music. A champion of contemporary iconic band R.E.M. has composed a composers and an advocate for his art Concerto for Violin, Rock Band, and String form, Robertson is the chief conductor and Orchestra for him. McDuffie has been per - artistic director of the Sydney Symphony forming both of these works throughout Orchestra and recently completed a 13- the U.S. and abroad and has recorded both year tenure as music director of the St. on the Orange Mountain Music Label. His Louis Symphony Orchestra. He has served discography also includes acclaimed re - as artistic leader to many musical institu - cord ings on Telarc and EMI. McDuffie is tions, including the Orchestre National de founder of the Chamber Music Lyon, and—as a protégé of Pierre Boulez— Festival in Italy, where he was given the Ensemble Intercontemporain. With fre - prestigious Premio Simpatia by the mayor quent projects at the world’s leading opera of Rome; in June he will be awarded the houses, including the Metropolitan Opera, Premio delle Muse at the Palazzo Vecchio La Scala, Théâtre du Châtelet, and San in Florence. He is also founder of the Francisco Opera, he is also a frequent Robert McDuffie Center for Strings, a con - guest with the leading orchestras of the servatory for undergraduate students at world: New York, , Boston, , in his native city of , , , Amsterdam, Macon, . He plays a 1735 Guarneri Berlin, Beijing, and the BBC Symphony Or - del Gesù violin, the “Ladenburg,” which is chestra, where he served as principal guest owned by a limited partnership formed by conductor. Devoted to supporting young McDuffie. He is especially pleased to per - musicians, Robertson became Juilliard’s form with the Juilliard Pre-College Symphon y director of conducting studies, distinguished this evening, for he served as its concert - visiting faculty, in September 2018. He has master when he was 17 years old. received numerous awards and in 2011 was named a Chevalier de l’Ordre des Arts O C

et des Lettres by the government of France. C U Z Z A M

E I R A M

A S I Julia Bruskin L

Since her concerto debut with the Boston Robert McDuffie Symphony Orchestra at age 17, cellist Julia Bruskin has established herself as one of Grammy-nominated violinist Robert McDuffie the premier cellists of her generation. She (Pre-College ’76; Diploma, ’81, violin) enjoys performed Samuel Barber’s Cello Concerto with conductor Jahja Ling at Avery Fisher Hall and has also been soloist with the Nashville Symphony, Utah Symphony, Virginia Symphony, and Pacific Symphony, among others. A founding member of the critically acclaimed Claremont Trio, she Orli Shaham won first prize in the 2001 Young Concert Artists International Auditions and was A consummate musician recognized for her awarded the first ever Kalichestein-Laredo- grace, subtlety, and vitality, Orli Shaham Robinson International Trio Award. The (Pre-College ’93; Barnard-Columbia-Juilliard Claremont Trio tours extensively, including exchange ’97) has established an impres - recent con certs at the Library of Congress, sive international reputation as one of Smithsonian Museum, and Boston’s Isabella today’s most gifted pianists, is in demand Stewart Gardner Museum. Bridge Records for her prodigious skills, and is admired for re leased the Claremont Trio’s recording of her interpretations of both standard and the Beethoven “Triple” Concerto and modern repertoire. She has performed with Beethoven’s Trio Op. 1, No. 1 to rave major U.S. orchestras including the Los reviews. She plays frequent recitals with Angeles Philharmonic and Boston, Chicago, her husband, pianist Aaron Wunsch; Cleveland, and Philadelphia Symphony together they are joint artistic directors of Orchestras; and internationally with the the Skaneateles Festival. She has also per - BBC Symphony Orchestra, Filarmonica formed at Chamber Music Northwest, La della Scala, Israel Philharmonic Orchestra, Jolla Summerfest, Mostly Mozart, Caramoor, and Orchestre National de France. Concerto Saratoga, Bard, and Norfolk, and toured highlights this season include perfor - with the Musicians from Ravinia. She has mances with the Los Angeles Philharmonic, taught at Juilliard Pre-College and Queens China NCPA Or chestra, Bochumer Sym- College and given master classes at the phoniker, Dallas Symphony Orchestra, San New England Conservatory, Eastman Diego Symphony, Austin Symphony Or- School of Music, Peabody Conservatory, chestra, Milwaukee Symphony Orchestra, and Duke University. Born in Boston, and Hawaii Symphony Orchestra. She serves Bruskin’s teachers included Timothy Eddy, as artistic director for Pacific Symphony’s Joel Krosnick, Andres Diaz, Norman Fischer , chamber music series in Costa Mesa, and Nancy Hair. She took part in the California, a position she has held since Barnard-Columbia-Juilliard exchange pro - 2007. She is a featured performer on each gram and is a member of the Metropolitan of the chamber recitals in the series. In Opera Orchestra. addition, she serves as artistic director for the interactive children's concert series, Baby Got Bach , which she founded in 2010. Last fall she release a recording on Canary Classics of Mozart’s piano concertos K.453 and K.491 with the St. Louis Symphony Orchestra, with David Robertson, her hus - band, conducting. About the Juilliard weekly and presents three concerts each season. As a leading youth orchestra train - Pre-College Division ing program, the division strives to prepare its members for the rigorous demands and Pre-College Division expectations of conservatory and college One of the foremost music preparatory orchestral programs by offering workshops programs in the world, the Juilliard Pre- and readings led by renowned guest con - College Division educates today’s most ductors and prominent professional orches - promising young artists. Established in tra l musicians. The Pre-College orchestras 1916 as the Preparatory Center, the Pre- draw upon the significant resource of the College Division at Juilliard offers a com - College Division’s students by employing plete curriculum of music instruction for them as mentors to work alongside the highly gifted children up to age 18. Students Pre-College students. The repertoire is attend Juilliard every Saturday for 30 guided by a progressive curriculum begin - weeks during the school year for an indi - ning with the youngest string ensemble vidualized course of instruction carefully and continuing through the symphony and designed to meet their particular needs. orchestra, ensuring that all students have The selective program includes instruction exposure to works from varied composers, in a chosen major, academic study of music, musical styles and genres. Every orchestra and solo and ensemble performances. concert features a concerto, providing an Recognizing the importance of early devel - important opportunity to a student soloist, opment and discipline in the music field, many of whom go on to important careers. the program provides a caring, collabora - Included among those are Han-Na Chang, tive, and challenging atmosphere where Pamela Frank, Gil Shaham, Joseph Lin, Yo- artistic gifts and technical skills can flourish. Yo Ma, Jon Manasse, Roberto Minczuk, Conrad Tao, and Joyce Yang. In the 2018 –19 Pre-College Symphony season, the Pre-College Symphony is led by The Juilliard Pre-College Symphony is one Adam Glaser and David Robertson. Past con - of the Pre-College Division’s three age- ductors have included James Conlon, Alan based orchestras. With an average age of Gilbert, Miguel Harth-Bedoya, Itzhak Perlman, just over 15, the symphony rehearses Leonard Slatkin, and Joshua Weilerstein.

Juilliard Pre-College Administration Yoheved Kaplinsky, Artistic Anna Royzman, Director of Deirdre DeStefano, Director Performance Activities Performance Activities Katya Lawson, Director of Marguerite Jones, Admissions Coordinator Admissions and Academic and Academic Affairs Affairs Coordinator

For a complete listing of all Juilliard Pre-College performances, including student, faculty, and studio recitals, please visit: events.juilliard.edu. Pre-College Symphony Adam Glaser , Music Director, Pre-College Orchestras

Violin Alyssa Wu Oboe Bass Trombone Hanchi Shi, Jacqueline Wu Rachel Ahn * Ehren Valmé Concertmaster Alessandra Yang Daniel Choi Ethan Fisher-Chaves, Claire Kho Tuba Principal Cello MacKenzie Kim Alexander Acosta Leah Amory Christy Choi, Spencer Rubin Deandre Desir * Elizabeth Aoki Co-Principal Adrian Geronimo Liang-Liang Chen Na Yoon Koh, English Horn Liyu Chen Co-Principal Claire Kho Timpani Elizabeth Cheng Meimei Ai Spencer Rubin Robert Lenau Simon Cheng Dara Bao Sophie McNeal Dexter Doris Bethany Bobbs Clarinet Ning Tie Simon Hagopian- Clare Bradford Eli Goldberger Rogers Noam Ginsparg Christian Lee Percussion Dylan Hamme Ethan Han Veronica Li Toby Grace Elaine He Lillian Holyoke Alec Manasse * Robert Lenau Hina Khuong-Huu Tobias Irikura Alice McDonald Sophie McNeal Bernadette Kim Yuqi Jiang Yvonne Yufang Wang Nicolas Motta Nayoun Kim Jonah Kernis Ning Tie Caecilia Lee Soomin Kim Bassoon Hsiang-Ling Joanne Lin Irene Lee Tristan Baban Harp Enako Matsumoto Chelsie Lim Audrey Choi Annalise Chan Katelyn Moon Laura Navasardian Eleanor Ha Eunice Park Kei Obata George Wolfe-McGuire Alexander Lake Olivia Oh Dylan Wu Emmali Ouderkirk Orchestra Manager Serin Park Seok Hoon Yoon Kevin Zephyrin Yibiao Wang * Yo Saotome Sean Yu Charissa Soh French Horn Orchestra Librarians Joshua Song Double Bass Alexandra DiGennaro Michael McCoy, Michelle Stern Cara Chong, Principal Luoxian He Principal Librarian Tyler Tan Orion Johnathan Miller David Holloway Wyeth Aleksei To Wang Felix Bransbourg Jasmine Lavariega * Toby Grace Tien-Lin Yang Jonathan Luik * George McLean Tienne Yu Zander McCracken Cristina Vieytez Shunzhe Zhang Michaella Tufariello * Pre-College alum Trumpet Italics indicate an Viola Flute Marshall Kearse * orchestra mentor Joshua Baw, Principal Joyce Eu Joshua Kucharski from the Juilliard Stella Cha Lauren Kim Mark Murphy College Division Alexis Chae Anita Lin Vivian Stewart Lawrence Chai Emma Su Joshua Kail * Albert Zhou Trombone Amelia Krinke Daniel Bierman-Chow Ashley Park Piccolo Carl Geiselhart Daniel Simmons Lauren Kim Jonathan Liang Daniel Son Anita Lin Brinja Vogler Emma Su 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

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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 Christina M. McInerney Jeremy Smith The Jerome L. Greene Foundation Joyce F. Menschel Sydney Weinberg Bruce and Suzie Kovner Anne Akiko Meyers and Cecil M. Yarbrough and Ellen Marcus Jason Subotky Ronald S. Csuha Stephanie and Carter McClelland/ The Moca Foundation Anonymous (4) The Stephanie and Carter Stephen Novick and Evan Galen ‡ McClelland Foundation Phyllis and Charles Rosenthal $10,000–$14,999 Katheryn C. Patterson and Anna E. Schoen-René Fund at American Turkish Society Thomas L. Kempner Jr. The New York Community Trust AON Foundation Susan and Elihu Rose Foundation The Shubert Foundation, Inc. Anne L. Bernstein Anonymous Bruce B. Solnick, Ph.D. Elaine S. Bernstein Steinway & Sons Ron Daniel & Lise Scott $500,000–$999,999 Helen V. Vera and Kent A. Clark Florence and Paul DeRosa Jody and John Arnhold Anonymous Memorial Fund International Foundation for Arts Vivian Donnelley ‡ and Culture $25,000–$49,999 Dr. Lee MacCormick Edwards Michael E. Marks Family Arnhold Foundation, Inc. Charitable Foundation Foundation Christine Baranski Syril H. Frank Heidi Castleman Klein Candice and John Frawley $250,000–$499,999 Crankstart Foundation Allen R. and Judy Brick Freedman Ford Foundation Edward F. Limato Foundation Dr. Elliot Gross and Max H. Gluck Foundation Joan and Peter Faber Dr. Alice Helpern Lincoln Center Corporate Fund Susanne D. Ellis Jennifer and Bud Gruenberg Deborah J. Simon Edythe Gladstein Brian and Darlene Heidtke The Virginia B. Toulmin Foundation The Horace W. Goldsmith Mr. Geoffrey Hoefer Foundation Peter Chung-Tao Ho and $100,000–$249,999 Irving Berlin Charitable Fund Anisa Sosothikul Choi & Burns, LLC Mr. and Mrs. Peter Kend Harold P. Hope III Beth and Christopher Kojima Sophie Laffont Younghee Michelle Kim-Wait Marjorie and Michael Loeb LCU Fund for Women’s Education Sidney R. Knafel and Vincent and Anne Mai Laura Linney and Marc Schauer Londa Weisman Yoshiko and Greg Margolies The Ambrose Monell Foundation Mitzi Koo Jeffrey Seller and Joshua Lehrer Enid and Lester Morse Dominique and Frédéric Laffont Sarah Billinghurst Solomon and Princess Grace Foundation–USA Alan and Laura Mantell Howard Solomon Raymond-Cryder Designated Fund Harold W. McGraw Jr. Family Yael Taqqu and Jeremy Levine of the Lehigh Valley Community Foundation Anonymous Foundation Terry Morgenthaler and Eun Jung Roh and Keun-Chang Patrick Kerins $50,000–$99,999 Sidney E. Frank Foundation Leslie and Mitchell Nelson Herbert A. Allen Barbara J. Slifka Andres Mata Osorio Linda Amster The George L. Shields Foundation Howard S. Paley The Annenberg Foundation Anonymous (4) Ian Parker Akin Gump Michael A. Peterson The Augustine Foundation $15,000–$24,999 John R. Philpit Norman S. Benzaquen Edwin L. Artzt The Presser Foundation Mary L. Bianco Laurel and Clifford Asness Mrs. Susan L. Robinson Dan J. Epstein and the Dan J. Bohram Hartley Rogers and Amy Falls Epstein Family Foundation Barbara and Gary Brandt Yukari Saegusa Barbara G. Fleischman Mr. and Mrs. Jonathan File Alexander I. Tachmes The Fan Fox and Leslie R. Samuels Gordon D. Henderson Marjorie Tallman Educational Foundation Elinor and Andrew Hoover Foundation Keith and Barbara Gollust The Katzenberger Foundation, Inc. Robert and Jane Toll Constance Goulandris Foundation Sylvia and Leonard Marx, Jr. LoRaine Kent Vichey Memorial Ms. Mary L. Graham Mr. and Mrs. Jean-Hugues J. Trust Joan W. Harris/The Irving Harris Monier Anita and Thomas Volpe Foundation Evelyn and John Popp John J. Yarmick Matt Jacobson and Dr. Gary Portadin Lucille and Jack Yellen Foundation Kristopher L. Dukes Pre-College Parents’ Association Robert K. Yin Karen and Paul Levy of The Juilliard School Judy Francis Zankel Mr. and Mrs. Robert D. Lindsay James and Diane Rowen Anonymous (4) Nancy A. Marks Schuld Family Fund Juilliard Annual Supporters

$7,500 – $9,999 Seth D. Radwell Juilliard Alumni Association Arlene ‡ and Edmund Grossman Sabine Renard of Japan Bernard Holtzman Grace Richardson Elma and Howard Kanefield McKinsey & Company, Inc. Mary G. Roebling Musical Robert O. Kenet Sharon Ruwart and Tom Melcher Scholarship Fund, Inc. Barbara and Paul Krieger Gillian Sorensen Ida & William Rosenthal Jay H. Lefkowitch, M.D. Kara Unterberg Foundation Mrs. John M. Lewis Pamela and Richard Rubinstein Dr. Nancy Long and Marc Waldor $5,000–$7,499 Alice Scovell Christopher and Beth Lyon Lorraine A. Abraham Annaliese Soros Robert and Bridget Lyons Walter and Marsha Arnheim Claudia and Michael Spies Wynton Marsalis Michelle and Jonathan Auerbach Alec P. Stais and Elissa Burke Mr. and Mrs. Adam E. Max Janet E. Baumgartner Kristine Jarvi Tyler James and Stephania McClennen Marshall S. Berland and Georgeann Delli Venneri Mr. Rodney McDaniel John E. Johnson Sedgwick A. Ward Stephen A. Meyers and Marsha Anne Louise and Matthew Bostock Marjorie and Irving Weiser Hymowitz-Meyers Mrs. Isabel Brenes Alvin F. Wen and Alexandra Paula Paster Michtom Suzanne Cogan Moellmann Elizabeth J. Misek Joyce and Barry Cohen Nathaniel Wertheimer and Tim B. Nelson and Lisa M. Betsy L. Cohn Taya Schmid Benavides-Nelson Theodore Cohn Andrew P. Willoughby Stanley Newman and Dudley and Michael Del Balso Stanley P. Wilson Dr. Brian Rosenthal J. Christopher and Violet Eagan George K. Yin and Mary J. Walter Celia Paul and Stephen Rosen Mr. and Mrs. Anthony Evnin Anonymous (4) Craig and Stefanie Pintoff Edythe Fishbach David Poll and Rebecca Bien Jocelyn and W. E. Gallinek $2,500–$4,999 Dr. Steve and Rochelle Prystowsky Malachi Hacohen Nadine Asin and Thomas Linda Ray Nancy and Bruce Hall van Straaten Catherine G. Roberts The Harkness Foundation for Emanuel and Yoko Ax Diane Kelly Ryan Dance Casey Bayles and William Jeffrey Gregg Schenker Dr. Daniel E. Haspert Philip A. Biondo Nancy Schloss HighBrook Investors Lucienne and Claude Bloch, M.D. Miriam K. Schneider Lawrence Hu and Lily Xu BMW of North America, LLC Geraldine L. Sedlar and Katherine L. Hufnagel Mr. Robert Brenner Richard Miners Japanese Chamber of Commerce Trudy and Julius Brown Sandra Semel and Industry of New York Elaine J. Budin Brandon Sherr Edward and In-Aie Kang Steven C. Calicchio Foundation Dr. Steven P. Singer and Foundation Captiva Foundation Dr. Alan Salzman Frances Kazan Kathryn G. Charles Judith and F. Randall Smith Dominique Lahaussois and Beverly and Herbert Chase Dr. Karen P. Smith David Low Mr. Kenneth H. Chase Marjorie and Michael Stern Mrs. William M. Lese Ernest and Mary Chung Mr. and Mrs. John Stravinsky Helen Little James and Kanako Clarke The Margot Sundheimer Mr. Jerome N. Lowenthal Isabel Cunningham Foundation Mr. and Mrs. Peter L. Malkin John R. Doss Elise C. Tepper Mr. Edward J. Maloney Robert & Mercedes Eichholz Dr. Daniel M. Thys and Lane Merrifield Foundation Dr. Susan Thys-Jacobs John Michalski Marilyn and Steven Emanuel Barbara and Donald Tober Anne M. Perillo Michuda Michael J. Fabrikant and C. Dallos Anthony and Elaine Viola Michael R. Osver Joy B. Ferro Michael Weinstein Christopher L. Owens Eric J. Friedman Susan M. Whelan B. Gregory Palitz Jeffrey and Helen Friedman Kenneth and Paula Wolfe The Laura Pels International Kenneth I. Greenstein Rebecca Wui and Raymond Ko Foundation for Theater Alec and Christy Guettel Anonymous (3) Joseph S. Piropato and Paul Gunther Paul Michaud In Memory of Eileen Mary Judy and Jim Pohlman Hawryliw ‡ = In Memoriam Edith Polvay-Kallas Judy and Lindley Hoffman As of January 22, 2019

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

Yvonne Robinson* Arthur T. Shorin Paul Wagenhofer Carlos Romero and Mel Silverman Dietrich and Alice Wagner Joanne Gober Romero Steven P. Singer M.D. and Alberto and Paulina A. Waksman Linda N. Rose* Alan Salzman M.D. Stanley Waldoff* Susan W. Rose Barbara Thompson Slater Jessica Weber Sam* and Deborah Rotman Bruce B. Solnick Catherine White* Lynne Rutkin Carl Solomon Sr. Miriam S. Wiener Joan St. James* Evelyn Sun Solomon* Robert Wilder‡ and Roger F. Kipp Riccardo Salmona Gary Soren Alice Speas Wilkinson* Harvey Salzman Barbara H. Stark Yvonne Viani Williams Michael and Diane Sanders Lynn Steuer Margaret S. Williamson Nancy Schloss Sally T. Stevens Clark* and Sally Ann* Wilson Casiana R. Schmidt James Streem* Dr. Theo George Wilson Shelby Evans Schrader‡ and Henry and Jo Strouss Elizabeth R. Woodman John Paul Schrader Cheryl V. Talib Edward Yanishefsky Irene Schultz Phyllis K. Teich Lila York William C. Schwartz Thomas W. Thompson 78 anonymous members, David Shapiro Tom Todoroff* and Emily Moulton including 27 alumni Dr. Robert B. Sharon* Anli Lin Tong* Edmund Shay* and Marie Catherine Torrisi As of January 25, 2019 Raymond Harris‡ Dr. Marta Vago* * = alumnus/alumna Robert D. Sholiton Walter* and Elsa Verdehr ‡ = deceased

For information about becoming a member of the Augustus Juilliard Society, please visit www.plannedgiving.juilliard.edu, call (212) 799-5000, ext. 7152, or write to lpadua@ juilliard.edu. 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 November 2017 and January 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 Trust of Edward Jabes Harold Alderman Trust Hamilton H. Kellogg and Mildred H. Kellogg Estate of Celia Ascher Charitable Trust Trust of Jack Bakal Estate of Eve Lyndlemarch Estate of Ruth Bamdas Trust of Lillian B. Madway The Claire Lois Bechter Trust Estate of Thomas J. Mahler Trust of Sonia Block Mildred Reading Irrevocable Trust Betty and Daniel Bloomfield Fund Estate of Richard H. Roberts 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 Harold C. Schonberg Estate of John Nicholson Bulica Estate of Natalie Selinger Estate of Annette Burford Estate of Betty Simms Trust of John Dexter Bush Arline J. Smith Trust Estate of Margaret Butterly Janice Dana Spear Trust Estate of Alfred DelMoral Estate of Winifred Sperry John L. Drew Living Trust Estate of Bruce Steeg Estate of Alice Shaw Farber Irene Stetson Trust Fima Fidelman Trust The George M. Stone 2006 Trust Dora L. Foster Trust Tomoko 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