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The Juilliard School presents New Juilliard Ensemble Joel Sachs, Founding Director and Conductor

Tuesday, October 3, 2017, 7:30pm Peter Jay Sharp Theater

JOHN The Devil in the Clock (2012) WOOLRICH After the Clock (2005) (U.K., b. 1954) First performances outside the U.K.

GERALD Feldman’s Sixpenny Editions (2008–09) BARRY Martial Steps (Ireland, b. 1952) Home Thoughts An Afternoon Sleep Free From Care A Bumpkin’s Dance At Dusk The Dog Barks, The Caravan Passes On The Innermost Secret New York Premiere

Intermission

RAMINTA Almond Blossom (2006) ŠERKŠNYTE˙ First Rays of the Sun in the Early Spring (Lithuania, b. 1975) The Feeling of the Last Spring to Have Come Almond Blossom U.S. premiere

AKIRA Chamber Symphony No. 1 (2003) NISHIMURA In two movements (Japan, b. 1953) Western Hemisphere premiere

This performance is supported in part by the Muriel Gluck Production Fund.

Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 1 Cover photo of bass clarinetist Andrew O’Donnell by Nan Melville Notes on the Program by Joel Sachs

JOHN WOOLRICH The Devil in the Clock (2012) After the Clock (2005)

John Woolrich John Woolrich studied English Literature at Manchester University and composition with Edward Cowie at Lancaster University. A practical Born: musician, Woolrich has founded and directed his own new-music Cirencester, group (the Composers Ensemble), and a London festival called Hoxton England, in 1954 New Music Days, and he has been composer in association with the Orchestra of St. John’s Smith Square (London) and the Britten Sinfonia. His collaborations with Birmingham Contemporary Music Group led to his appointment, along with Oliver Knussen, as artist in association. Woolrich was guest artistic director of the Aldeburgh Festival in 2004 and associate artistic director, with Thomas Adès, and later Pierre-Laurent Aimard, from 2005 to 2010. From 2010 to 2013 he was both artistic director of Dartington International Summer School and professor of music at Brunel University. He has taught at Durham University, Royal Holloway–University of London, and the Dartington International Summer School, and was a visiting fellow of Clare Hall, Cambridge. Throughout the 1990s, Woolrich had a string of orchestral commissions which resulted in three pieces that he considers among his most important—concertos for viola, oboe, and cello. (A recording of the viola and oboe concertos on the NMC label was claimed as the BBC’s record of the week.) Other orchestral pieces written during this period include The Ghost in the Machine (1990), premiered in Japan with Andrew Davis and the BBC Symphony Orchestra, and Si va facendo notte, which the Barbican Centre commissioned to celebrate the Mozart European Journey Project. A music-theater commission from Birmingham Contemporary Music Group and Trestle Theatre Company resulted in Bitter Fruit, a masque for mime actors and ensemble. Recent pieces include Capriccio for violin and strings commissioned by the Scottish Ensemble; Between the Hammer and the Anvil for the London Sinfonietta; a Violin Concerto for the Northern Sinfonia featuring Carolin Widmann, and Falling Down, a contrabassoon concerto commissioned by the Feeney Trust for the City of Birmingham Symphony Orchestra (C.B.S.O.) and Margaret Cookhorn. Other recent commissions have come from the Academy of St. Martin in the Fields and the C.B.S.O. (conducted by ). Woolrich’s music is published by Faber Music. After living in France for a decade, he has recently returned to London.

The two pieces heard tonight are independent of one another—the sources of their titles are also unrelated—but seemed to make a nice pair. Woolrich writes:

The Devil in the Clock was one of 10 works commissioned by the BBC to be heard at 10 locations in South Kensington, London. Members of

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the audience for a BBC Proms concert at the Royal Albert Hall were guided along a route leading to the hall, stopping at times to hear new pieces. My site was in Imperial College, next to a huge clock mechanism. It is scored for 13 instruments: four wind, five strings, a couple of brass, marimba, and harp. I chose some of the mellower, darker cousins of instruments (cor anglais, alto flute, and double bassoon for instance) and opted for instruments which can blend together to play the long melody which threads its way through the piece.

After the Clock is (mostly) a fast, virtuosic, black, and raucous cap- riccio. It is written for the edgy, acrid, unblendable, one-of-everything ensemble often used by the London Sinfonietta [and many other groups, including the New Juilliard Ensemble] and lasts about 12 minutes. The title comes from a poem by the surrealist artist Jean (Hans) Arp. “It was in dreams that I learned how to write,” Arp said. His poems are built from precisely described images juxtaposed in a dreamlike structure. In them time looms large: “the small red clock that grinds the minutes into gray powder.”

GERALD BARRY Feldman’s Sixpenny Editions (2008–09)

After attending University College, Dublin, continued his Gerald Barry studies abroad where he enjoyed the “liberating” experience of teachers Peter Schat (in ), and Karlheinz Stockhausen and Mauricio Born: Kagel (in Cologne). In the years since several early radical compositions County Clare, brought him to public notice, he has received many commissions from Ireland, in 1952 British and continental orchestras and opera companies as well as the BBC and Channel 4 television (U.K.). Barry’s opera, The Importance of Being Earnest, jointly commissioned by the Los Angeles Philharmonic and London’s Barbican Centre, premiered in France in 2013 and was recently staged at Lincoln Center in June 2016. His next opera, Alice's Adventures Under Ground, starring Barbara Hannigan as Alice, was first heard in Los Angeles in December 2016 and in London at the Barbican the following spring, both in concert performances. (I was at the London performance and could not stop laughing.) His newest piece, Canada, for voice and orchestra, commissioned by the BBC for the 2017 Proms concerts, premiered on August 21 with the City of Birmingham Symphony Orchestra under Mirga Gražinyte˙-Tyla at London’s Royal Albert Hall. Barry is now beginning an organ concerto to be performed in 2018, a joint commission of the City of Birmingham Symphony Orchestra, the Southbank Centre (for the London Philharmonic), and the RTE (Irish Radio) Symphony Orchestra. Thomas Trotter will be the soloist. His music, published by Schott, has been recorded on the NMC, Largo, Black Box, Marco Polo, BVHaast, and RTE labels.

3 Notes on the Program (Continued)

Feldman’s Sixpenny Editions was co-commissioned by the London Sinfonietta and the St. Paul Chamber Orchestra. Although many in the audience may associate the title with the American avant-gardist Morton Feldman, it is a pure coincidence. The composer happily acknowledges Feldman’s humorous nature, and this will certainly strike the Feldman fans in the audience as an appropriate absurdity. Barry has provided the following autobiographical program note.

Feldman’s was a music shop in London in the early 20th century. They sold collections of popular music for playing at home, and some of these were called Feldman’s Sixpenny Editions. Collections like these were among my first feverish encounters with music as a boy. I fell in love with pieces like “Martial Steps” and “The Dog Barks, The Caravan Passes On.” I entered into them completely, becoming one not only with the music, but with the paper they were printed on, and the advertisements on the back. In their advertisements, publishers placed tantalizing bars by each composer to show you what the music was like. I’d look at these, speculating for ages on how they might continue. I remember Irene Marschand Ritter (one of my favorites), Rowsby Woof (50 Elementary Studies), and Beethoven (Tunes From the Symphonies). I forced my mother to buy them, which she didn’t want to do. For years I had no idea there was anything but good music. As it was music, I assumed it was good, so I was usually happy. I think most of my boyhood was spent in an altered state, every piece I happened on was a new beginning. Before the world came crashing in, those early years of not-knowing were the best.

Perhaps because I’d never been told what to think, and no one knew anyway, my Ritter, Woof, Beethoven love stayed with me. As we lived in an isolated place, I had no contact with anyone and learned conventional harmony by letter. I never met my harmony teacher. The act of having to post my exercises and getting them back covered in red marks gave the everyday progressions a heightened quality. This constant sending, waiting, sending, waiting, inflamed the chords in my head and they became my life. A matter of life and death, and that relationship with music hasn’t changed.

I ’ve always been fond of gray fugues and exercises, as well as all kinds of trash, and still play boring exam pieces with pleasure. I go into a kind of trance playing them, tunneling to the heart of dullness.

Apart from the harmonium and violin, and briefly the concertina, the piano was my main instrument. So “Home Thoughts” is for piano solo, and in “A Bumpkin’s Dance,” the pianist has to play fearless octaves— to be Horowitz, nothing less. The last piece in the collection, “The Innermost Secret,” refers to the lunches Satie had with Debussy. Satie said that Debussy cooked pork chops “with the innermost secret.”

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RAMINTA ŠERKŠNYTE˙ Almond Blossom (2006)

Raminta Šerkšnyte˙ began her musical training as a pianist, studying Raminta with her aunt, Rymanta Šerkšnyte˙, and as a student of music theory and Š e r k š n y t e˙ composition at the Naujalis Gymnasium in Kaunas. She then entered the Lithuanian Academy of Music, where her teacher was Osvaldas Born: Balakauskas, probably the most internationally known Lithuanian Kaunas, Lithuania, composer. Later she attended master classes with , in 1975 , Helmut Lachenmann, Magnus Lindberg, and others in France, Germany, Great Britain, Latvia, the , Norway, and Sweden. She has received fellowships for further study and creative work in Germany, Italy, Sweden, and Brazil, and won numerous prizes in Lithuania, including the Lithuanian National Arts and Culture Prize (the highest artistic distinction in Lithuania) and the Gold Stage Cross (as Lithuania’s best theater composer). She was also a three-time prizewinner in the best composition of the year competition organized by the Lithuanian Composers’ Union. Awards abroad include laureate of the composition competition Coup de Coeur des Jeunes Musiciens (Monaco, 2011), recognition at the International Rostrum of Composers organized by UNESCO in Vienna in 2005 and 2011, and finalist at the Gaudeamus Competition (Amsterdam, 2005). Performers of her music include Kremerata Baltica, and the Bavarian Radio Symphony Orchestra, Mirga Gražinyte˙-Tyla the City of Birmingham Symphony Orchestra and the Juilliard Orchestra, the violinist Irvine Arditti and the Arditti Quartet, Les Percussions de Strasbourg, and the New Juilliard Ensemble. She is also still active as a pianist. Her music is published by the Lithuanian Music Information Center.

Ms. Šerkšnyte˙ writes, “One of the last paintings of Van Gogh, ‘Almond Blossom,’ was the direct inspiration for this piece. Though most of his paintings have a dark, gloomy mood, ‘Almond Blossom’ is distinguished by its incredibly light, impressionist colors and subtle oriental flavor. My piece is also based on hearing music in colors, trying to achieve the consonances of light and dark, warm and cold, balancing between the simplicity and clarity of Oriental music and the Western concert music tradition.” In fact, the references to spring in the titles of the first two movements of Šerkšnyte˙’s work (“First Rays of the Sun in the Early Spring” and “The Feeling of the Last Spring to Have Come”) are references to Van Gogh’s final spring, the artist died on July 29, 1890, following a self-inflicted gunshot wound two days earlier.

Almond Blossom was commissioned by New Music Concerts, Toronto, and had its premiere at the Glenn Gould Studio in a program titled Baltic Currents by the New Music Concerts Ensemble conducted by Robert Aitken. It has also been played in Vilnius, Zagreb, and Ghent by Lithuanian and Belgians groups. Tonight’s performance is its first in the U.S.

5 Notes on the Program (Continued)

AKIRA NISHIMURA Chamber Symphony No. 1 (2003)

Akira Nishimura At the Tokyo National University of Fine Arts and Music, Akira Nishimura studied composition, Asian traditional music, religion, esthetics, cos- Born: mology, and the concept of heterophony, all of which were decisive in Osaka, Japan, forming his musical language. Since his early 20s he has received many in 1953 awards, including the grand prize for composition at the Queen Elizabeth of Belgium International Music Competition, the Luigi Dallapiccola Composition Award (Milan), the Otaka prize, the Suntory Music Award, and selection of his music for three ISCM World Music Days. Nishimura has been composer in residence of the Orchestra-Ensemble Kanazawa and of the Tokyo Symphony Orchestra, composer in residence to the Yamagata Symphony, and music director of Osaka’s Izumi Sinfonietta and the Kusatsu International Summer Music Academy and Festival. Commissions, from leading ensembles including the Arditti and Kronos quartets, have been performed at major music festivals worldwide. Nishimura’s many compositions—for orchestra, soloists, chamber ensembles, and Japanese instruments—are published by Zen-On (in the U.S., European American Music) and have been recorded frequently. He is a professor at the Tokyo College of Music.

Nishimura’s three chamber symphonies were commissioned by the Izumi Sinfonietta (I.S.O.), which wanted one piece per year. He imme- diately began to plan the series so that the three symphonies would not only be very different from each other but also from the norms for large-orchestra symphonies. Although each one has a different number of movements, they all are approximately 25 minutes long. (New Juilliard Ensemble gave the Western Hemisphere premiere of the Chamber Symphony No. 3 in 2006.) The Chamber Symphony No. 1 was first performed at Izumi Hall, Osaka, in 2003 with Norichika Iimori conducting. The I.S.O. eventually recorded all three symphonies for the Camerata label.

For the premiere and the recording, the composer wrote that he felt the first movement had the qualities of a ritual whose construction is based on three individual thematic cells, which are subject to various transformations. He seemed to feel, however, that the ritual quality was a nuance coloring a movement built of the interactions of the basic three ideas. “The second movement is a development of the first movement, with a coda. Here the materials from the first movement generate large motions and longer phrases,” he wrote. He considered the lively middle section a kind of divertimento with the character of a bacchanal. One peculiarity of the language is the exploitation of unisons, which are characteristic of the I.S.O.’s virtuosity. In fact, while composing this piece, he continually thought of the I.S.O.’s virtuosity and felt that the result was, for the performers, particularly challenging, especially the second movement.

6 Meet Joel Sachs

Joel Sachs, founder and director of the New Juilliard Ensemble, performs a vast range of traditional and contemporary music as conductor and pianist. As co-director of the internationally acclaimed new music ensemble Continuum, he has appeared in hundreds of performances in New York, nationally, and throughout Europe, Asia, and Latin America. He has also conducted orchestras and ensembles in Austria, Brazil, Canada, China, El Salvador, Germany, Iceland, Mexico, Mongolia, Switzerland, and Ukraine and has held new-music residencies in Banff (Canada), Berlin, Curitiba (Brazil), Helsinki, Salzburg, and Shanghai, and in the U.K. in Birmingham, Brighton, London, and Newcastle-Upon-Tyne. In June he was in residence as pianist and conductor at the Brighton (U.K.) Fringe Festival, where his recital of American piano music featured Ives’s Sonata No. 1. In November he will play the Brahms concerto again near London.

One of the most active presenters of new music in New York, Sachs produces and directs Juilliard’s annual Focus! festival and has been artistic director of Juilliard’s concerts at MoMA Summergarden since 1993. A member of the Juilliard music history faculty, he wrote a biography of the American composer Henry Cowell. He is currently working on a study of music and the law in Britain, 1737–1843. A graduate of Harvard College, he received his MA and PhD from Columbia University. He received Columbia’s Alice M. Ditson Award for his service to American music, was made an honorary member of Phi Beta Kappa at Harvard for his work in support of new music, and received the Gloria Artis Medal of the Polish Government for his service to Polish music.

7 New Juilliard Ensemble

Joel Sachs, Founding Director and Conductor Matthew R. Wolford, Manager

The New Juilliard Ensemble (N.J.E.), led by founding director Joel Sachs and in its 25th season, presents music by a variety of international composers who write in the most diverse styles. Its members are current students at Juilliard, who are admitted to the ensemble by audition. More than 100 students participate each year, although the compositions normally call for 13–18 players. The ensemble appears regularly at MoMA’s Summergarden and has been a featured ensemble four times at the Lincoln Center Festival. It has premiered some 100 compositions.

Highlights of last season included music by Andrew Ford, Dmitri Yanov-Yanovsky, Tansy Davies, and Scott Wheeler; a program celebrating composer ’s 85th birthday year; and a closing concert with works by Juilliard composers Jonathan Cziner and Theo Chandler and composers Farangis Nurulla-Khoja and . In 2014, the New Juilliard Ensemble collaborated with Carnegie Hall on UBUNTU: Music and Arts of South Africa. A highlight of the 2013–14 season was a collaboration with the Royal Philharmonic Society’s Bicentennial Celebration with the U.S. premieres of works by Magnus Lindberg and Judith Weir. In 2012, N.J.E. collaborated with Carnegie Hall on Voices From Latin America; in 2011, with Carnegie Hall’s Japan/NYC festival; and in 2009, with Carnegie Hall’s Ancient Paths, Modern Voices festival.

The New Juilliard Ensemble performs in Juilliard’s annual Focus! festival, which this season explores music by contemporary Chinese composers. China Today: A Festival of Chinese Composition runs from January 19 through January 26, 2018. Recent festivals include Our Southern Neighbors: The Music of Latin America (2017) and Milton Babbitt’s World: A Centennial Celebration (2016).

The New Juilliard Ensemble’s next concert is on November 7 in the school’s Paul Hall and is comprised of major vocal works by the Argentinean-German avant-gardist (born in Buenos Aires in 1931 and died in Cologne in 2008) and Giya Kancheli (born in Tbilisi, Georgia, in 1935, one of the most distinguished composers of the former Soviet Union).

Orchestra Administration

Adam Meyer, Associate Dean and Director, Music Division Joe Soucy, Assistant Dean for Orchestral Studies

Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Matthew Wolford, Operations Manager Lisa Dempsey Kane, Principal Orchestra Librarian Michael McCoy, Orchestra Librarian Kate Northfield Lanich, Orchestra Personnel Manager Deirdre DeStefano, Orchestra Management Apprentice

8

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juilliard.edu/hirejuilliard 9 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:

Donald J. Aibel Anita L. Gatti Richard Lopinto Veronica Maria Alcarese Thelma and Seymour Geller, Eileen Lubars Douglas S. Anderson on behalf of Jane Geller Francis Madeira Mitchell Andrews Rabbi Mordecai Genn Ph.D. Chuck Manton Dee Ashington Mark V. Getlein Cyril‡ and Cecelia Marcus Jack Bakal Pia Gilbert Serena B. Marlowe Henrie Jo Barth John R. Gillespie Dolores Grau Marsden Richard Beales Professor Robert Jay Glickman Sondra Matesky Yvette and Maurice‡ Bendahan Dr. Ruth J.E. Glickman Stephanie and Carter McClelland Donald A. Benedetti Sheryl Gold and The Stephanie and Carter Helen Benham Terrine Gomez McClelland Foundation Elizabeth Weil Bergmann The Venerable John A. Greco Joseph P. McGinty Marshall S. Berland and Drs. Norman and Gilda Greenberg James G. McMurtry III, M.D. 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 Mr. and Mrs. Robert S. Haggart Jr. Leo‡ and Anne Perillo Michuda Peter A. Boysen Louise Tesson Hall Warren R. Mikulka Nina R. Brilli Ralph Hamaker Stephen Mittman Steven and Colleen Brooks Stephen and Andrea Handleman Robert A. Morgan Carol Diane Brown and Meleen O’Brien Harben Valerie Wilson Morris Daniel J. Ruffo Rev. Tozan Thomas Hardison Diane Morrison Beryl E. Brownman Ralph‡ and Doris Harrel Mark S. Morrison Lorraine Buch Judith Harris and Tony Woolfson L. Michael and Dorothy Moskovis Eliane Bukantz Robert G. Hartmann Gail Myers Felix N. Calabrese Robert Havery Myron Howard Nadel Alan‡ and Mary Carmel S. Jay Hazan M.D. Steven W. Naifeh and Gregory Mr. and Mrs. N. Celentano Betty Barsha Hedenberg White Smith‡ Wendy Fang Chen Gordon D. Henderson Anthony J. Newman Julie A. Choi and Claudio Cornali Mayme Wilkins Holt Oscar and Gertrude Nimetz Fund Mr.‡ and Mrs. David Colvin Julie Holtzman Stephen Novick Dr. Barbara L. Comins and Gerri Houlihan Mr.‡ and Mrs. Donald Parton Mr. Michael J. Comins Katherine L. Hufnagel Celia Paul and Stephen Rosen Charlotte Zimmerman Crystal Joseph N. and Susan Isolano Jeanne M. and Rosemarie Cufalo Paul Johnston and Umberto Ferma Raymond Gerard‡ Pellerin Christopher Czaja Sager Janice Wheeler Jubin and Jane V. Perr M.D. Harrison R.T. Davis Herbert Jubin Jean Pierkowski Stephen and Connie Delehanty Peter H. Judd Elissa V. Plotnoff Pinson Ronald J. Dovel and Thomas F. Lahr Michael Kahn Fred Plotkin John C. Drake-Jennings, Mr.‡ and Mrs. Martin Kaltman Geraldine Pollack Duke of Quincy George and Julia Katz Sidney J.‡ and Barbara S. Pollack Ryan and Leila Edwards Younghee Kim-Wait John G. Popp Lou Ellenport Robert King Thomas and Charlene Preisel Lloyd B. Erikson J. D. Kotzenberg Arthur Press Eric Ewazen Bruce Kovner Bernice Price Holly L. Falik Edith Kraft Gena F. Raps Barbara and Jonathan File Mr. and Mrs. Paul A. Krell Nancy L. Reim Stuart M. Fischman Francine Landes Susan M. Reim Dr.‡ and Mrs. Richard B. Fisk Sung Sook Lee Susan D. Reinhart Lorraine Fox Paul Richards Lemma and Madeline Rhew John and Candice Frawley Wilhelmina Marchese Lemma‡ Michael Rigg Dr. Mio Fredland Loretta Varon Lewis‡ and Douglas Riva Chaim Freiberg Norman J. Lewis Lloyd‡ and Laura Robb Naomi Freistadt Ning Liang Daniel P. Robinson Constance Gleason Furcolo Joseph M. Liebling Yvonne Robinson Michael Stephen Gallo Jerry K. Loeb

10 The Augustus Juilliard Society (Continued)

Carlos Romero and Dr. Robert B. Sharon Paul Wagenhofer Joanne Gober Romero Edmund Shay and Raymond Harris Dietrich and Alice Wagner Linda N. Rose Dr. Edward Shipwright Alberto and Paulina A. Waksman Susan W. Rose Robert D. Sholiton Stanley Waldoff Dinah F. Rosoff Arthur T. Shorin Jessica Weber Roxanne Rosoman Mel Silverman Catherine White Sam and Deborah Rotman Steven P. Singer M.D. and Miriam S. Wiener Lynne Rutkin Alan Salzman M.D. Robert Wilder‡ and Roger F. Kipp Edith A. Sagul Barbara Thompson Slater Alice Speas Wilkinson Joan St. James Bruce B. Solnick Yvonne Viani Williams Riccardo Salmona Carl Solomon Sr. Margaret S. Williamson Harvey Salzman Barbara H. Stark Dr. Theo George Wilson Michael and Diane Sanders Sally T. Stevens Elizabeth R. Woodman Nancy Schloss James Streem Edward Yanishefsky Casiana R. Schmidt Henry and Jo Strouss Lila York Shelby Evans Schrader‡ and Cheryl V. Talib Forty-eight Anonymous Members John Paul Schrader Phyllis K. Teich Irene Schultz Marie Catherine Torrisi ‡ = In Memoriam William C. Schwartz Dr. Marta Vago David Shapiro Walter and Elsa Verdehr

For information about becoming a member of the Augustus Juilliard Society, please visit us at plannedgiving.juilliard.edu. You may also call us directly 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, 2016 and June 30, 2017. 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 Bernice F. Karlen Revocable Grantor Trust Harold Alderman Trust Hamilton H. Kellogg and Mildred H. Kellogg Estate of Joan Anderson Charitable Trust Estate of Jean Appleton Trust of Lillian B. Madway Estate of Celia Ascher Estate of Samuel Marateck Estate of Ruth Bamdas Estate of Shirley N. Pan Estate of Katherine S. Bang Estate of Cynthia L. Rec Estate of Ronald Banyay Estate of George T. Rhodes Susanna Berger Revocable Trust Estate of Richard H. Roberts Trust of Sonia Block Estate of Lillian Rogers Betty and Daniel Bloomfield Fund Howard and Ethel Ross Trust Estate of Alan Broder Estate of Harold C. Schonberg Estate of Ruth F. Broder Bertha Seals Trust Estate of George Bryant Estate of Abraham Sheingold Estate of John Nicholson Bulica Estate of Betty Simms Estate of Margaret P. Butterly Arline J. Smith Trust Estate of Leonard Davis Janice Dana Spear Trust Estate of Alice Shaw Farber Estate of Winifred Sperry Fima Fidelman Trust Estate of Bruce Steeg Dora L. Foster Trust Estate of George M. Stone Thomas Fowler Trust Estate of Stanley Tucker 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 Trust of Edward Jabes

11 Juilliard Board of Trustees and Administration

BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Bruce Kovner, Chair Brian Zeger, Artistic Director J. Christopher Kojima, Vice Chair Kirstin Ek, Director of Curriculum and Schedules Katheryn C. Patterson, Vice Chair Monica Thakkar, Director of Performance Activities Pre-College Division Pierre T. Bastid Michael Loeb Yoheved Kaplinsky, Artistic Director Julie Anne Choi Vincent A. Mai Ekaterina Lawson, Director of Admissions and Academic Affairs Kent A. Clark Ellen Marcus Anna Royzman, Director of Performance Activities Kenneth S. Davidson Michael E. Marks Barbara G. Fleischman Nancy A. Marks Evening Division Keith R. Gollust Stephanie Palmer McClelland Danielle La Senna, Director Mary Graham Christina McInerney Lila Acheson Wallace Library Joan W. Harris Lester S. Morse Jr. Jane Gottlieb, Vice President for Library and Matt Jacobson Stephen A. Novick Information Resources; Director of the C.V. Starr Edward E. Johnson Jr. Joseph W. Polisi Doctoral Fellows Program Karen M. Levy Susan W. Rose Teresa E. Lindsay Sarah Billinghurst Solomon Enrollment Management and Student Development Laura Linney William E.“Wes” Stricker, MD Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Sabrina Tanbara, Assistant Dean of Student Affairs TRUSTEES EMERITI Cory Owen, Assistant Dean for International Advisement and Diversity Initiatives June Noble Larkin, Chair Emerita William Buse, Director of Counseling Services Mary Ellin Barrett Katherine Gertson, Registrar Sidney R. Knafel Tina Gonzalez, Director of Financial Aid Elizabeth McCormack Barrett Hipes, Director, Alan D. Marks Center for John J. Roberts Career Services and Entrepreneurship Teresa McKinney, Director of Community Engagement Todd Porter, Director of Residence Life JUILLIARD COUNCIL Howard Rosenberg MD, Medical Director Beth Techow, Administrative Director of Health and Mitchell Nelson, Chair Counseling Services Holly Tedder, Director of Disability Services and Associate Registrar Barbara Brandt Jean-Hugues Monier Brian J. Heidtke Terry Morgenthaler Finance Gordon D. Henderson Pamela J. Newman Christine Todd, Vice President and Chief Financial Officer Peter L. Kend Howard S. Paley Irina Shteyn, Director of Financial Planning and Analysis Younghee Kim-Wait John G. Popp Erin Tasman, Controller Paul E. Kwak, MD Grace E. Richardson Nicholas Mazzurco, Director of Student Accounts/Bursar Min Kyung Kwon Kristen Rodriguez Administration and Law Sophie Laffont Jeremy T. Smith Maurice F. Edelson, Vice President for Administration and General Counsel Joseph Mastrangelo, Vice President for Facilities Management EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION Myung Kang-Huneke, Deputy General Counsel Carl Young, Chief Information Officer Office of the President Steve Doty, Chief Operations Officer, IT Joseph W. Polisi, President Tunde Giwa, Chief Technology Officer Jacqueline Schmidt, Chief of Staff Dmitriy Aminov, Director of IT Engineering Office of the Provost and Dean Caryn Doktor, Director of Human Resources Ara Guzelimian, Provost and Dean Adam Gagan, Director of Security José García-León, Associate Dean for Academic Affairs Scott Holden, Director of Office Services Robert Ross, Assistant Dean for Preparatory Education Jeremy Pinquist, Director of Client Services, IT Kent McKay, Associate Vice President for Production Helen Taynton, Director of Apprentice Program Dance Division Development and Public Affairs Taryn Kaschock Russell, Acting Artistic Director Elizabeth Hurley, Vice President Lawrence Rhodes, Artistic Director Emeritus Alexandra Day, Associate Vice President for Marketing Katie Friis, Administrative Director and Communications Benedict Campbell, Website Director Drama Division Amanita Heird, Director of Special Events Richard Feldman, Acting Director Susan Jackson, Editorial Director Katherine Hood, Managing Director Sam Larson, Design Director Katie Murtha, Director of Major Gifts Music Division Adam Meyer, Associate Dean and Director Lori Padua, Director of Planned Giving Bärli Nugent, Assistant Dean, Director of Chamber Music Ed Piniazek, Director of Development Operations Joseph Soucy, Assistant Dean for Orchestral Studies Ira Rosenblum, Director of Publications Stephen Carver, Chief Piano Technician Nicholas Saunders, Director of Concert Operations Robert Taibbi, Director of Recording Edward Sien, Director of Foundation and Corporate Relations Joanna K. 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12 Juilliard Scholarship Fund

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To make a gift to the Juilliard Scholarship Fund, please call (212) 799-5000, ext. 278, or visit giving.juilliard.edu/scholarship. 13 Photo by Sarah Pierpont Attend a performance Enroll in a class Shop at our store Hire our performers Support Juilliard juilliard.edu