Thursday Evening, October 17, 2019, at 7:30

The Juilliard School presents Juilliard Orchestra Jeffrey Milarsky, Conductor Jaewon Wee, Violin

ANNA THORVALDSDÓTTIR (b. 1977) Metacosmos (2018)

SERGEI PROKOFIEV (1891–1953) Violin Concerto No. 2 in G minor (1935) Allegro moderato Andante assai Allegro, ben marcato JAEWON WEE, Violin

Intermission

BÉLA BARTÓK (1881–1945) Concerto for Orchestra (1944) Introduzione. Andante non troppo—Allegro vivace Presentando le coppie. Allegro scherzando Elegia. Andante non troppo Intermezzo interrotto. Allegretto Finale. Presto

Performance time: approximately 1 hour and 45 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. soundscapes is on full display in Notes on the Program Metacosmos. Unfolding as a single move- by Thomas May ment that lasts about 14 minutes, the piece manifests this composer’s aesthetic of deep Metacosmos listening as well as a contemporary slant on ANNA THORVALDSDÓTTIR Romantic concept of “organic” unity as the Born: July 11, 1977, in Reykjavik, Iceland basis for musical creativity. Thorvaldsdóttir describes her composition as “an ecosys- The Icelandic composer Anna Thorvaldsdóttir tem of materials that are carried from one emerged on the scene less than a decade performer—or performers—to the next ago (her debut album, Rhízo¯¯ma, appeared throughout the process of the work.” in 2011), but already she has become an internationally sought-after composer. She Beginning on a pedal E tone deep in was featured in a Composer Portrait con- the basses and (a half- cert at Columbia University’s Miller Theater step up from the Wagnerian genesis of in 2013 and in 2015 received the Kravis Das Rheingold), Metacosmos sustains a Emerging Composer Prize from the New sense of awe-filled vastness through its York Philharmonic—the second in that interplay of fore- and background, allowing award’s history. “Her uncompromising ap- lyrical tendrils to emerge. Immense energy proach to building soundscapes creates a courses through the piece, building but never visceral, pictorial aesthetic that is deeply expending itself in an all-encompassing connected to her Icelandic heritage,” re- climax. A gently mournful melody, folk-like marked Alan Gilbert, then the New York in its simplicity, takes shape against these Philharmonic’s music director, regarding roiling, deep currents. the choice of Thorvaldsdóttir. Thorvaldsdóttir offers this memorable in- The Kravis Prize culminated in the com- struction for the players with regard to mission by the New York Philharmonic of the sustained pitches that are a signature Metacosmos, the world premiere of which of her musical language: “Think of [one of Esa-Pekka Salonen led on April 4, 2018. these] as a fragile flower that you need to The Juilliard Orchestra had the honor of carry in your hands and walk the distance performing its U.K. premiere in July at the on a thin rope without dropping it or fall- BBC Proms (together with the players’ ing. It is a way of measuring time and no- peers from the Royal Academy of Music ticing the tiny changes that happen as you and under the baton of Edward Gardner). walk further along the same thin rope … ” The process is perhaps somewhat akin to Thorvaldsdóttir, who now makes her home Schoenberg’s idea of Klangfarbenmelodie, in London, was raised in a small town on the of textures themselves forming the southwestern coast of Iceland. After initial melodic interest. studies in her native country, she enrolled in the composition program at the Univer- The composer links her title, which sug- sity of California in San Diego, receiving her gests a “cosmos beyond,” not only to the Ph.D. there in 2011. She is composer-in- universe but to individual human experi- residence with the Iceland Symphony Or- ence as well. She explains her inspiration chestra. In May, the Gothenburg Symphony as involving “the speculative metaphor of Orchestra premiered her longest orchestral falling into a black hole—the unknown— score to date, AIO¯¯N, which she wrote to be with endless constellations and layers of performed either as an independent concert opposing forces connecting and communi- work or with choreography. cating with each other, expanding and con- tracting, projecting a struggle for power as Thorvaldsdóttir’s gift for channeling the re- the different sources pull on you and you sources of the orchestra into mesmerizing realize that you are being drawn into a force sense of homesickness may have blinded that is beyond your control.” Prokofiev to the perils he would have to navigate as a public cultural figure there. At the same time, Thorvaldsdóttir cautions He was further disarmed by the deceptively against hearing this metaphor in, say, the friendly treatment Communist authorities spirit of a Romantic tone poem. Her inspi- accorded him. The composer and his family ration, she writes, “is not something I am were given special privileges, including a trying to describe through the piece. To roomy Moscow apartment and permission me, the qualities of the music are first and foremost musical. When I am inspired by a to keep a blue Ford he had shipped over particular element or quality, it is because I from the U.S. Sporting his signature yellow perceive it as musically interesting, and the shoes and orange tie, Prokofiev struck a qualities I tend to be inspired by are often dapper figure in bold contrast to his com- structural, like proportion and flow, as well rades’ somber, drab attire. as relationships of balance between details within a larger structure, and how to move While living in the West, Prokofiev had culti- in perspective between the two—the de- vated the image of an arrogant enfant terri- tails and the unity of the whole.” ble, flirting with the fashionable avant-garde as he tried to earn his living as a concert Violin Concerto No. 2 in G minor, Op. 63 pianist. Yet, little by little, he was reentering SERGEI PROKOFIEV the Soviet orbit in the period leading up to Born: April 23, 1891, in Sontsivka, Ukraine the Second Violin Concerto. His last com- Died: March 5, 1953, in Moscow mission for Western European audiences, the concerto was tailored for the French Each of Sergei Prokofiev’s two violin con- violinist Robert Soëtens, who had taken certos has a link with decisive moments part in the premiere of Prokofiev’s Sonata in his relationship to his native Russia. The for Two Violins. The composer’s cosmopol- Bolshevik Revolution of 1917 scuttled plans itan lifestyle of constant travel left its mark for the premiere of his precocious First on the creation of the Second Concerto. Concerto—it was eventually first heard in Prokofiev wrote it while shuttling between in 1923—after which the composer Paris and resort towns in the Soviet Union, headed into voluntary exile. The Second and he even orchestrated the work in far- Violin Concerto dates from 1935, around away Baku. The Spanish tinge of the finale the time Prokofiev was weighing his de- (which calls for castanets) suggests a post- cision to return to Russia. Less than two card from Madrid, the city of its premiere. months after this work was premiered (in December of that year) came the notori- Yet even before he resettled in Moscow, ous denunciation by Soviet authorities of Prokofiev had been grappling with the is- Dmitri Shostakovich, Prokofiev’s younger sue of how to communicate with a larger colleague, for the allegedly “decadent” public—as opposed to addressing only a modernism of his runaway successful op- privileged elite. By 1934, he had formulat- era Lady Macbeth of Mtsensk. ed a brief manifesto of his vision for a mu- sic centered on melody, with “simplicity” Prokofiev himself would face similar as its hallmark, but in which the simplicity charges a dozen years later, in 1948, when “should not be old-fashioned; it must be a he was one of several composers accused new simplicity.” This soon found expres- of writing music that was too “individualis- sion in his ballet music for Romeo and tic.” What made him risk the return to what Juliet and the present concerto, which he was now Stalin’s Soviet Union? A lingering composed side by side. The Second Violin Concerto thus tends to the percussion section an especially promi- be regarded as more “conservative” in de- nent role, including the aforementioned cas- meanor than the First. Even so, the solo vi- tanets, though he dispenses with timpani. olin starts off the work rather unconvention- The coda stages a fiery final display for the ally, without an orchestral introduction. The soloist, urged on by the orchestra. soloist intones a folklike theme that emerges from its lowest note: a lone, melancholy Concerto for Orchestra voice in the desert. The musicologist David BÉLA BARTÓK E. Schneider notes that, aside from exam- Born: March 25, 1881, in Sânnicolau Mare, ples by Gershwin and some English com- Romania posers, this is the first concerto “to begin Died: September 26, 1945, in New York City with a lyrical first theme after the First World War.… By the end of the 1930s lyricism While Prokofiev was able to return to his would come to occupy a primary position homeland—despite the negative conse- in a number of important concertos. Once quence he failed to foresee—Béla Bartók again … Prokofiev was in the vanguard.” headed into what would be permanent exile from his native Hungary early in the Second When the orchestra does enter, initially it is World War. After setting sail for the U.S. in with a bare minimum of color from muted 1940 with his second wife, the pianist Ditta strings. The palette gradually brightens, as Pásztory, Bartók found himself alienated in does the overall atmosphere, to prepare the his setting in New York City. A small stipend way for a second melody that represents from Columbia University to continue with the essence of the desired “new simplic- his folk music research wasn’t enough to ity.” Prokofiev develops both ideas with stave off financial insecurity, and an indiffer- impressive rhythmic and harmonic variety, ent public showed little interest in his compo- giving imaginative context to the violinist’s sition. Bartók was also showing signs of the flights of virtuosity. Still another surprise leukemia that would kill him soon after the comes with the sudden snuffing out of the war ended. All the while, the composer was final measures. The Andante assai yields an- well aware that the world he loved back in other perspective on Prokofiev’s deceptive Europe was being destroyed. simplicity. Even the well-worn compositional technique of melody set against a patterned Somehow, in the midst of this very dark accompaniment sounds fresh here thanks period—when it seemed his creativity had to the delectable fairy-tale orchestration of come to an end—Bartók rallied and produced “lefthand” triplets, over which the violin one of the great success stories of 20th- spins out its ecstatic song. The effect mixes century music, the Concerto for Orchestra. an ironic suggestion of the mechanical age It began as an unexpected commission in with the sweetness of a Baroque aria. summer 1943 that was engineered by , music director of the Bos- Prokofiev works something of his erst- ton Symphony and new music champion. while “bad boy” image into the vivid finale. Two of the composer’s friends and fellow Dispelling the enraptured dream cast by Hungarians—the conductor (and former stu- the slow movement, he lets loose with a dent) Fritz Reiner and the violinist Joseph dance in heavily accented triple time, spiked Szigeti—had made Koussevitzky aware with piquant harmonies, displaced beats, of Bartók’s dire situation. Completing the and brash colors. A shadow of menace Concerto for Orchestra in the summer emerges, too, from the bass drum’s per- and early fall of 1943 (while sojourning in a sistence. (In this movement, Prokofiev allots cabin at Saranac Lake in the Adirondacks), Bartók was creatively reenergized to the framed by the two longest (and fastest) point that he produced several more important movements. A slow introduction in Bartók’s works before his death in September 1945. signature “night music” mode prepares the way for the sonata form Allegro, in which The Concerto for Orchestra was premiered the composer’s fascination with counter- on December 1, 1944, in Boston and has re- point comes to the fore. The scherzolike mained a concert hall staple ever since. The second movement (“Game of Pairs”) pres- principle of a concerto not for a soloist, as in ents pairs of instruments in sequence, each the example by Prokofiev, but for a collective sequence separated by a different interval. of virtuosos in one sense looks back to the Baroque concept of the concerto grosso, Bartókian night music returns in the “Elegia” with its juxtaposition of smaller groupings of at the heart of the concerto, which recalls instruments with the ensemble. At the same material from the slow introduction. The time, the Concerto for Orchestra brilliantly fourth movement (“Interrupted Intermezzo”) showcases the power and versatility of the plays with clichés of “innocent” folk music. modern orchestra. Along with its unusual for- The rude “interruption” is usually thought mal design, the concerto also foregrounds in- to represent an attack on Shostakovich by strumental timbre as a main topic of musical caricaturing a passage from his seventh content rather than merely its “dress.” symphony (“Leningrad”)—a fit of profes- sional jealousy, as it were, over the Russian’s In formal terms, the concerto is sometimes ubiquitous presence, since the Seventh had construed as a symphony in five move- become an international news story at the ments. The composer himself, however, time. Other interpretations, however, have regarded the symphony at this point in challenged that longstanding view of Bartók’s history as passé. He described the overall intent. The presto finale, with its madly whir- trajectory as follows: “The general mood ring strings in perpetual motion and brass fan- of the work represents, apart from the jest- fares, presses the concerto on to a thrilling ing second movement, a gradual transition conclusion in which Bartók potently mingles from the sternness of the first movement folk elements and counterpoint, the simple and the lugubrious death-song of the third, and the complex. to the life-assertion of the last one.” Bartók designed the five-movement concerto ac- Thomas May is the English-language editor cording to his favored pattern of the palin- for the Lucerne Festival and writes about the drome, or arch (ABCBA). The slow third arts for a wide variety of publications. His movement (“Elegia”) thus takes its position books include Decoding Wagner and The as the tragic center of the work, surrounded John Adams Reader. by two lighter interludes, which in turn are Meet the Artists performed and recorded with the New York Philharmonic, Philadelphia Orchestra, and Pittsburgh Symphony and has recorded ex- tensively for Angel, Bridge, Teldec, Telarc, New World, CRI, MusicMasters, EMI, Koch, and London records.

PETER KONERKO Jeffrey Milarsky American conductor Jeffrey Milarsky (B.M. ’88, M.M. ’90, percussion) is music director of Juilliard’s AXIOM ensemble and senior lec- turer in music at Columbia University, where

PODIUM PHOTOGRAPHY Jaewon Wee he is music director and conductor of the Columbia University Orchestra. While study- Jaewon Wee is in Juilliard’s master of mu- ing at Juilliard, he was awarded the Peter sic program, studying with Ronald Copes. Mennin Prize for outstanding leadership and Born in Seoul, she started playing violin at achievement in the arts. In recent seasons, age seven and soon began to win top Ko- he has worked with ensembles including the rean and international violin competitions. New York Philharmonic, San Francisco Sym- She was awarded the grand prix at the phony, Los Angeles Philharmonic, Milwau- Journal of Music Europe Debut Concours kee Symphony, American Composers Or- and the KBS·KEPCO Music Competition. chestra, MET Chamber Ensemble, Bergen Wee was awarded first prizes in national Philharmonic, Chamber Music Society of and international music competitions Lincoln Center, New World Symphony, including the Joongang, Strad, Korean and Tanglewood Festival Orchestra. In the Chamber Orchestra, and concerto compe- U.S. and abroad, he has premiered and tition at the Great Mountains Music Festi- recorded works by many groundbreaking val, along with receiving the Ishikawa Inter- contemporary composers in Carnegie Hall, national Music Award. She also received Zankel Hall, Davies Symphony Hall, Alice top prizes at the Tchaikovsky Competition Tully Hall, Walt Disney Concert Hall, and for Young Musicians, Kloster Schöntal (ba- Boston’s Symphony Hall, and at IRCAM in roque special prize), Menuhin Competi- Paris, among others. Milarsky has a long tion, and Fritz Kreisler Competition (special history of premiering, recording, and per- prize). At age 11, she made her debut at forming American composers and through- the Kumho Prodigy concert series in Korea out his career has collaborated with John and has since appeared as a soloist with Adams, Milton Babbitt, John Cage, Elliott many leading Korean and international Carter, John Corigliano, George Crumb, Mario orchestras. She has given recitals in the Davidovsky, Jacob Druckman, Michael Samsung Concert Hall series, KNUA Violin Gordon, David Lang, Steven Mackey, series, and Art-m Rising Star series, among Christopher Rouse, Ralph Shapey, Morton others. Among the music academies and Subotnick, Charles Wuorinen, and an entire festivals which she has attended and generation of young and developing com- participated in are the Great Mountains posers. In 2013 he was awarded the Ditson (PyeongChang) International Music Festi- Conductor’s Award for his commitment val and Ishikawa Music Academy. She was to the performance of American music. awarded a fellowship from the Aspen Mu- Milarsky has been the principal timpanist sic School this past summer. She received for the Santa Fe Opera since 2005. He has her bachelor’s degree from Korea National University of Arts, where she studied with graduated with the president’s and highest Nam Yun Kim and Koichiro Harada, and performance awards. Juilliard Scholarship

Juilliard Orchestra Juilliard’s largest and most visible student Marin Alsop, Karina Canellakis, Elim Chan, performing ensemble, the Juilliard Or- Anne Manson, Nicholas McGegan, Carlos chestra, is known for delivering polished Miguel Prieto, Jörg Widmann, Mark and passionate performances of works Wigglesworth, and Keri-Lynn Wilson as spanning the repertoire. Comprising more well as faculty member David Robertson. than 350 students in the bachelor’s and The Juilliard Orchestra has toured across master’s degree programs, the orchestra the U.S. and throughout Europe, South appears throughout the season in concerts America, and Asia, where it was the first on the stages of Alice Tully Hall, Carnegie Western conservatory ensemble allowed Hall, David Geffen Hall, and Juilliard’s Pe- to visit and perform following the opening ter Jay Sharp Theater. The orchestra is a of the People’s Republic of China in 1987, strong partner to Juilliard’s other divisions, returning two decades later, in 2008. Other appearing in opera and dance productions, ensembles under the Juilliard Orchestra as well as presenting an annual concert of umbrella include the conductorless Juilliard world premieres by Juilliard student com- Chamber Orchestra, Juilliard Wind Orches- posers. The Juilliard Orchestra welcomes tra, and new-music groups AXIOM and an impressive roster of world-renowned New Juilliard Ensemble guest conductors this season including Juilliard Orchestra Jeffrey Milarsky, Conductor

Violin Viola Piccolo Isabella Geis, Lynn Sue-A-Quan, Audrey Emata Anthony Barrington, Concertmaster Principal Principal Naoko Nakajima, Isabella Bignasca Alto Flute Marshall Kearse, Principal Second Keoni Bolding Yibiao Wang Principal McCall Andersen Hannah Burnett William Leathers, Phoenix Avalon Lindan Burns Principal Yuki Beppu Miranda Lucas Lucian Avalon, Principal David Bernat Julia McLean Mia Fasanello, Principal Rabia Brooke Devin Moore Pablo O’Connell, Yaoji Giuseppe Fu, Arianna Brusubardis Ji Eun Park Principal Principal Jeongah Choi Joseph Donald Peterson Addison Maye-Saxon, Lauren Conroy Marco Sabatini English Horn Principal Qianru Elaine He Cameren Williams Lucian Avalon Aleksandar Ivanov Mia Fasanello Bass Trombone HoJung Kim Cello Ehren L. Valmé Joshua Kim Iona Batchelder, Principal Heewon Koo Clara Abel Keeheon Nam, Principal Euphonium Eunsae Lee Raphael Boden Bum Namkoong, Ehren L. Valmé Haesol Lee Daniel Hass Principal Ariel Seunghyun Lee Mizuki Hayakawa Hector Noriega Othon, Bihan Li Julia Lee Principal Deandre Desir Xingyu Li Shangwen Liao Raphael Balk Zimmerman Haokun Liang Erica Ogihara Timpani Coco Mi Isabella Palacpac Yibing Wang Kenneth Ryu Naito Rachel Siu Bum Namkoong Clara Neubauer Sebastian Stöger Hector Noriega Othon Percussion Oliver Neubauer Charles Zandieh Toby Grace, Principal Amy Oh Euijin Jung, Principal Amy Sze Double Bass Troy Baban, Principal Mizuki Morimoto, Jackie Tso Vincent Luciano, Rebecca G. Krown, Principal Haoge Wang Principal Principal Yibing Wang Hee-Soo Yoon Sami Ahn Thalia Navas, Principal Andrew Gantzer Joshua Elmore Harp Bowen Ha Emmali Ouderkirk Adam Phan, Principal Attila Kiss Lee Yun Chai Markus Lang Contrabassoon Jonathan Luik Emmali Ouderkirk Dimitrios Mattas Flute Lee Cyphers, Principal Yiding Chen, Principal Jaimee Reynolds, Audrey Emata, Principal Principal Yibiao Wang, Principal Ryan Williamson, Lauren Scanio Principal Alana Yee

Administration Adam Meyer, Director, Music Division, and Deputy Dean of the College Joe Soucy, Assistant Dean for Orchestral Studies Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Matthew Wolford, Operations Manager Daniel Pate, Percussion Coordinator Lisa Dempsey Kane, Principal Orchestra Librarian Michael McCoy, Orchestra Librarian Adarsh Kumar, Orchestra Personnel Manager Michael Dwinell, Orchestral Studies Coordinator Nolan Welch, Orchestra Management Apprentice BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Artistic Director Bruce Kovner, Chair Kirstin Ek, Director of Curriculum and Schedules J. Christopher Kojima, Vice Chair Monica Thakkar, Director of Performance Activities Katheryn C. Patterson, Vice Chair Julie Anne Choi Nancy A. Marks Lila Acheson Wallace Library and Doctoral Fellows Program Kent A. Clark Stephanie Palmer McClelland Jane Gottlieb, Vice President for Library and Information Resources; Barbara G. Fleischman Christina McInerney Director of the C.V. Starr Doctoral Fellows Program Mary Graham Lester S. Morse Jr. Jeni Dahmus Farah, Director, Archives Joan W. Harris Stephen A. Novick Alan Klein, Director of Library Technical Services Matt Jacobson Susan W. Rose Edward E. Johnson Jr. Jeffrey Seller Preparatory Division Karen M. Levy Deborah Simon Weston Sprott, Dean Teresa E. Lindsay Sarah Billinghurst Solomon Yoheved Kaplinsky, Artistic Director, Pre-College Laura Linney William E. "Wes" Stricker, MD Anthony McGill, Artistic Director, Music Advancement Program Michael Loeb Yael Taqqu Rebecca Reuter, Administrative Director, Music Advancement Vincent A. Mai Damian Woetzel Program Ellen Marcus Camille Zamora Ekaterina Lawson, Director of Admissions and Academic Affairs, Greg Margolies Pre-College Anna Royzman, Director of Performance Activities, Pre-College

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

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