Monday Evening, November 24, 2014, at 8:00

The presents AXIOM Jeffrey Milarsky, Conductor

Han Chen, Prepared Piano Aeolus Quartet

JOHN CAGE Third Construction MEMBERS OF THE JUILLIARD PERCUSSION ENSEMBLE

CONLON NANCARROW No. 1 AEOLUS QUARTET

LOU HARRISON Varied Trio for violin, piano, and percussion

Intermission

CAGE Concerto for Prepared Piano HAN CHEN , Prepared Piano

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

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Notes on the Program Cage embraced the world of rhythm and “noise,” where Schoenberg’s diktat would by Matthew Mendez not apply.

Third Construction Written in 1941 for four players, the Third Construction is arguably the most success - Born September 5, 1912, in Los Angeles ful of Cage’s early percussion works—so Died August 12, 1992, in much so that by the end of his career, he was facetiously calling it his “hit.” In it he Composer, writer, lecturer, printmaker, per - availed himself of a veritable United Nations formance artist, mushroom expert, macrobi - of percussion, including Latin American, otics enthusiast, and all-around agent Indo-Chinese, and Pacific Northwest rattles; provocateur, John Cage changed the face a Chinese cymbal; a teponaztli , or Mexican of international arts and letters like few slit drum; Cuban claves; Indonesian bam - Americans before him. Best known for boo “cricket callers”; an African “lion’s 4’33” , his controversial “silent piece,” roar,” or friction drum; and a Polynesian Cage set out to rethink the very basis of conch shell. Also prominent are the music, broadening its definition to include impromptu “found” instruments, old tin everything from noise and accidental cans used as drums and (when filled with sounds to poetic recitation and theatrical thumbtacks) shakers. Nor did Cage avoid actions. Acknowledging his all-pervasive more familiar orchestral percussion like impact on recent musical trends, writer and the ratchet and tom toms, though as with composer Anthony Burgess (best known the bass drum, here rubbed instead of for A Clockwork Orange ) dubbed the late struck to produce a distinctive “groaning” 20th century the “Cage Age.” effect, many of these are played in a non - traditional manner. During the late 1930s Cage began working extensively as an accompanist for modern The Third Construction , which was not dance, a vocation he would continue to designed for choreography, was structured pur sue, on and off, for the rest of his life. according to formal principles that served At the time practical exigencies, including Cage well until the mid-1950s. He would the makeup of his ensemble (primarily devise a predetermined series of time dancers, not professionally trained musi - lengths, like empty “containers” that could cians), prompted him to restrict his accom - be filled with sounds of any kind; these paniments to percussion. It was a particularly small-scale divisions would then corre - suitable choice for the Depression years, spond to the larger ones, Russian nesting when an itinerant troupe could raid a scrap - dolls-style. (It was, Cage felt, the most intu - yard for tumbledown noisemakers like itive way to organize music lacking tonal rusty hubcaps and used flowerpots. Of relationships.) The Third Construction puts course, Cage’s percussive proclivities also a unique spin on the idea, however, by allo - had deep artistic roots, which were cating an independent cycle of time reflected in the assessment of his one-time lengths to each player. These cycles coin - teacher , who had told cide every 24 measures, at convergence him that his limited harmonic sensibility points Cage referred to as “rhythmic would forever thwart his compositional cadences.” The piece is comprised of 24 ambitions, like “a wall through which I such cycles, filled differently with each could not pass.” Electing to “devote my iteration, though always with an eye to life to beating my head against that wall,” thrilling, throbbing effects of momentum. Lincoln Center

Some of the music’s noteworthy attrib - Ligeti declared Nancarrow “the most sig - utes: the fluid, improvisatory rhythms Cage nificant composer of the 20th century.” claimed to have filched from the Hindustandi tradition; the continuous “shaken” sounds With the exception of a subsequent unfin - that transcend the short decay time of per - ished quartet, Nancarrow’s 1945 String cussion; and the introduction of the conch, Quartet No. 1 proved his final work for live the only pitched instrument, at a climactic musicians for the next four decades. The moment—the exact two-thirds point. This score was long thought lost, possibly in the selective deployment is like an echo of hands of the former Léner Quartet, which Edgard Varèse’s seminal percussion-only had immigrated to Mexico in 1941. They Ionisation , which similarly reserved the never performed the piece, however, and piano for its final bars. Nancarrow later punched a player piano ver - sion of the outer movements. It was only in String Quartet No. 1 1981 that the composer discovered a copy of the manuscript in his notoriously cluttered Born October 27, 1912 in Texarkana, Arkansas studio; the Saarbrücker Streichquartett gave Died August 10, 1997, in Mexico City the much-belated world premiere the fol - lowing March. Further performances by the One of America’s great “crackpot” visionar - Arditti Quartet helped convince Nancarrow, ies, Conlon Nancarrow was the epitome of a chronic self-deprecator, that this early the stubborn, self-sufficient musical trail - effort remained worthy of inclusion in his blazer. During the late 1930s he fought in official catalog. the Spanish Civil War, seeing action with the Communist-backed Abraham Lincoln Bat - Though couched in the spirited Americana talion. Back home this rendered Nancarrow garb of the day, the Quartet contains pre- an “undesirable” element, and in 1940 he echoes of a number of techniques Nancarrow was induced to relocate to Mexico City, would favor in his mature player-piano where he spent the rest of his career in self- compositions. The Allegro molto is domi - imposed exile. Isolation nevertheless suited nated by a major-minor motif redolent of Nancarrow, whose early compositional efforts Béla Bartók, to say nothing of the blues, had made considerable demands on instru - the flavor of which pervades all three mentalists. In 1947, frustrated by a succes - movements. (Nancarrow always idolized sion of inadequate performances and con - the likes of Louis Armstrong, Earl Hines, firmed in his course by an encounter with and Bessie Smith.) This brisk, punchy affair Cage’s keyboard preparations, he pur - is dominated by canons, staggered imita - chased a mechanical player piano and tions passed between the instruments, but embarked on the series of studies for that with rhythm or pitch variations. After a con - apparatus that now constitute his principal trasting folksy idea, the music comes to a legacy. Free to disregard the limits of head in a rare passage of rhythmic unison. human abilities, he quickly established a quirky, hyperactive idiom of unprecedented The languorous Andante moderato contin - rhythmic complexity. Even so, Nancarrow ues to plumb the major-minor motif, with languished in obscurity until the late 1970s, the first violin spinning out a flexible, long- when the new music community finally breathed melody in welcome contrast to began to take notice of his efforts. He was the previous hustle and bustle. Over awarded a MacArthur “Genius Grant” in plucked cello tones, the second violin 1982; no less a contemporary than György enters in canonic echo, although Nancarrow Lincoln Center plays a clever perceptual ruse, spacing the also resolutely cosmopolitan. Growing up on successive entries too widely for them to the Pacific Rim, Harrison was deeply attuned really register as imitation. As for the conclud - to the phenomenon of cultural exchange. He ing Prestissimo , it is a feat of rhythmic density was an avid speaker of Esperanto and took an unheard of for 1945. The spotlight is on vari - everything- and -the-kitchen-sink approach to ous complex canons, but Nancarrow varies musical creativity, viewing the dissonant the texture with “jazz bass” slaps (on the counterpoint he learned from Cowell and his cello), and his sense of humor pokes through homemade replicas of Indonesian gamelan in a passage of featherweight harmonics instruments as part of the same continuum. hov ering vertiginously over low pizzicati . The The humility and earnestness that informed coup, however, is surely the daring climactic his cross-cultural approach also made Harrison paragraph where the four instruments play in “an inspiring model of how to live,” John the helter-skelter tempo ratio 10:36:45:30. In Luther Adams opines, “without regret or sum, the Quartet packs a remarkable amount bitterness, as an uncompromising indepen - of incident into a short span, a trait Nancarrow dent composer.” carried over to his mechanical studies. Those seeking a thumbnail sketch of Harrison’s Varied Trio for violin, piano, and art could do worse than the Varied Trio of percussion 1986 and 1987, a Bachian “dance suite” of LOU HARRISON five highly differentiated movements for violin, Born May 14, 1917, in Portland, Oregon percussion, and piano. First performed as a Died February 2, 2003, in Lafayette, Indiana quintet, with Harrison on harp and his partner William Colvig on bells, it was subsequently When Cage’s percussion group premiered arranged for more practical forces by Julie the Third Construction in 1941, it was as Steinberg of the commissioning ensemble. part of a concert also showcasing the work The original keyboard part, designed for a vir - of Lou Harrison, a like-minded member of ginal (a member of the harpsichord family), the ensemble whose musical education (he was fused with the harp part, creating the pre - studied with Schoenberg and Henry Cowell) sent piano part. Similarly, Colvig’s bells were came to run parallel to his own. As if to transferred to the percussion. emphasize the point, the program’s final piece was a joint composition entitled Dou - The first movement title, Gending , alludes ble Music ; indeed, Harrison proved Cage’s to the Javanese gamelan rhythmic struc - “double” in the very best sense, often antic - tures regulating the music’s course. The ipating his colleague’s ideas well before he piano, whose strings are plucked with the recognized their import. Most notably, Harrison fingernail—a Cowell innovation—presents a was the one who first exposed Cage to the traditional gamelan texture of superimposed I Ching , though it was only years later that rhythmic layers in tandem with the vibra - Cage began using the ancient Chinese phone. The pianist’s right hand soon enters augury text cum rough-and-ready random with fast figuration reminiscent of the number generator to compose. gendèr (a metallophone whose role is dec - orative), atop which the violin weaves a For his part, however, Harrison insisted he yearning melody in imitation of the rebab “would rather chance a choice than choose a (spike fiddle), with tam-tam strokes punctu - chance.” Though part of the same tradition as ating every other bar. Cage and Nancarrow—what Harrison, a West Coast native, dubbed “the ‘Do It Yourself’ More straightforward is Bowl Bells , a virtu - school of American music”— his focus was oso display for Indian jala-tarang , tuned Lincoln Center porcelain rice bowls struck with chopsticks. Compositionally the final movement was By contrast, the chromatic Elegy casts a the breakthrough: not only does it feature backward glance at the Schoenbergian extensive silences pointing toward 4’33” , idiom Harrison once explored with Cowell, it was also Cage’s first music written via while the neo-Baroque strains of the Ron - “chance operations.” While drafting the deau, in Honor of Fragonard sound startlingly Concerto, Cage had been gifted a new “foreign” in this context. (The title refers to translation of the I Ching , whose precepts the painter Jean-Honoré Fragonard, whose finally spoke to him, now that his latest hot-blooded canvases expressed the death pieces had begun to renounce total artistic throes of the ancien régime .) Harrison con - control in the spirit of Zen Buddhism. Ges - sidered all music “ethnic music,” even the turing toward letting sounds “be them - classical music of Europe—or “Northwest selves” and prompted by the prepared Asia,” as he styled it. piano, which gives each note its own com - plex sonic identity, he started working with Although it has an Eastern European tang, limited “gamuts” of material. These were the provenance of the concluding Dance is comprised of isolated chords and melodic harder to pin down. The percussionist is snippets, “chosen as one chooses shells armed with a set of six baking pans, whose while walking along a beach” (note the par - timbres Harrison decided to exploit after a allel with Cage’s “found” percussion objects) chance stroll past a cooking supply shop. and fixed rigorously by registration, harmo - Though it evokes the good old days hunting nization, and orchestration. for shoestring percussion with Cage, the feisty Dance is no nostalgia trip, even if, as For the Concerto, Cage ordered his gamuts Harrison lamented, “You used to be able to into checkerboard-like charts, which he go into a hardware store and make music used to make “moves” to determine with almost anything you found there. But which sound would occur when. The point no more; all this beautiful post-industrial was that the succession of events would stuff is soon going to be antiquarian.” be entirely dependent on unforeseeable cross-references in the chart spacing. Concerto for Prepared Piano Because the charts had been arranged CAGE geometrically, Cage’s “moves”—chance composition in embryo—were guaranteed Around the time of the Third Construction to frustrate logic- driven musical continuity. premiere, Cage let Harrison in on his latest Cage’s innovation in the third movement invention, the prepared piano. His discov - was merely to let I Ching coin tosses dic - ery, initially concocted as a space- and tate his “moves,” rather than the patterns cost-saving stand-in for his percussion of “chess moves” and circles used in the ensembles, was that loading the piano first two. strings with everyday objects like screws and weather stripping radically trans - The charts encompassed a wide range of formed the instrument’s timbres. Cage individual sounds, from garden-variety tri - went on to investigate the gamelan-like ads and elaborate fragments to percussive pings and clonks for well over a decade, attacks and tart chords. The end result was and his researches achieved their most a laconic assemblage of untethered sonori - sophisticated expression in the Concerto ties, the spare, mosaic-like orchestration for Prepared Piano of 1950 and 1951, in akin to a gigantic prepared piano. Though three movements offset by only the all of Cage’s strange musical “shells” can - briefest of pauses. not be catalogued here, the Concerto does Lincoln Center introduce some outré percussion effects: material, “as a disciple follows his master.” radio noises, later the subject of Imaginary The sudden bursts of violence are compara - Landscape No. 4 ; pitch fluctuations obtained tively unusual for Cage, and may be an after - by dipping a gong in water, a novelty Cage effect of his Sixteen Dances , which depicted hit on accompanying synchronized swim - emotions like anger and fear, in accordance mers; and the racket from a large wire coil with Hindu aesthetic principles. This leads to amplified with a phonograph pickup arm, the steeped-in-silence finale, which Cage described by Cage as “the most amazing saw as a serene synthesis of the first move - noise I ever found.” The piano prepara - ment’s antagonisms. Unlike the second tions are also ambitious, spanning 53 of movement, where piano and orchestra the 88 keys. Included are bolts, scraps of material derived from different charts, they rubber and felt, and a ruler-like bridge for now share the same chart. As before, the “out-of-tune” inflections. two entities rarely play together, yet the dominant impression is no longer of oppo - Cage envisaged the Concerto as “a drama sition, but uneasy accord. Though Cage between the piano, which remains roman - always eschewed politics, this finale could tic, expressive, and the orchestra, which have served as a potent metaphor for the itself follows the principles of oriental philos - tense early days of the Cold War. ophy.” The dichotomy is most apparent in the first movement, where the impro - Matthew Mendez is a music critic with a fo - visatory, freely composed solo part (the only cus on 20th- and 21st-century repertoire. He such music in the piece) clashes with the is a graduate of Harvard University and has orchestra’s gnomic gamut-generated utter - master’s degrees from the Guildhall School ances. By the second movement the pianist of Music & Drama and the University of has joined the ensemble in performing chart Edinburgh. soundproofedblog.blogspot.com.

Meet the Artists Birtwistle, Druckman, Lindberg, and Schoenberg. Guest conductors of AXIOM have included Alan Gilbert and David AXIOM Robertson. Last season AXIOM collabo - AXIOM, led by Music Director Jeffrey rated with Carnegie Hall on Vienna: City of Milarsky, is dedicated to performing the Dreams , presenting a work by Austrian masterworks of the 20th- and 21st-century composer George Friedrich Haas; gave a repertoire. Since its debut in Avery Fisher program of works by Juilliard alumnus Hall in February 2006, the group has rapidly Jacob Druckman and Morton Subotnick’s established itself as a leading ensemble in Jacob’s Room (world premiere version New York City’s contemporary music 2013) with singer Joan La Barbara; and scene with performances throughout performed a program of Boulez and Lincoln Center, in addition to frequent Stockhausen, as well as the critically- appearances at ’s praised NY PHIL BIENNIAL production of Miller Theatre and (Le) Poisson Rouge in HK Gruber’s Gloria—A Pig Tale, from May Greenwich Village. 29 to June 1 at the Metropolitan Museum of Art. AXIOM is grounded in Juilliard’s curricu - lum. During any four-year period, AXIOM Highlights of the 2012 –13 season included members will have the opportunity to per - a concert featuring Oliver Knussen’s form works by such composers as Adams, Coursing, ’s Cyclops Lincoln Center

2000 , and Schoenberg’s Chamber Sym - A dedicated pedagogue, Mr. Milarsky is a phony No. 1; a concert with Toru Takemitsu’s senior lecturer in music at Columbia Uni - Archipelago S and John Adams’ Grand versity, and is the music director and con - Pianola Music ; and a collaboration with the ductor of the Columbia University Orchestra. Sibelius Academy, conducted by Susanna In addition to conducting the Juilliard Mälkki, featuring music by American and Orchestra, he serves on the conducting Finnish composers, including works by Elliott faculty at The Juilliard School. Carter, Anthony Cheung, Veli-Matti Puumala, Sean Shepherd, and Jukka Tiensuu. Mr. Milarsky received his bachelor and master of music degrees from The Juilliard School. Upon graduation he was awarded the Peter Mennin Prize for outstanding

O leadership and achievement in the arts. K R E N O K

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American conductor Jeffrey Milarsky, the music director of AXIOM, is known for his innovative programming and a command Han Chen of wide-ranging repertoire, spanning Bach to Xenakis. In recent seasons he has worked Hailed by the New York Times as a pianist with accomplished groups such as the San with “a graceful touch…rhythmic preci - Francisco Symphony, American Composers sion…hypnotic charm” (2012), the young Orchestra, MET Chamber Ensemble, Los pianist Han Chen is a distinctive artist Angeles Philharmonic, Milwaukee Sym - whose credentials include important com - phony, Bergen Philharmonic, Chamber petition prizes in standard repertoire as Music Society of Lincoln Center, New well as increasing respect for his perfor - World Symphony, and Tanglewood Festival mances of avant-garde music. Orchestra. He has also appeared in the ’s series. Mr. Chen recorded his debut CD (Naxos), of Liszt operatic transcriptions, as the first- In 2015 Mr. Milarsky will make his New York prize winner of the Sixth China International Philharmonic debut conducting the CON - Piano Competition. International Piano TACT! series, a Japanese-based program magazine (U.K.) praised Mr. Chen’s perfor - including music of Takemitsu, Messiaen, mance in the competition, noting that he Fujikura, and Mochizuki. He will also be “displayed extraordinary strength, talent, returning to the Milwaukee Symphony to and flair.” conduct during the 2014 –15 season. An enthusiastic advocate of modern Mr. Milarsky has a long history of premier - music, Mr. Chen enjoys performing both ing, recording, and performing American 20th-century classics and works by emerg - composers, and was recently presented ing composers. His close collaboration the prestigious Ditson Conductor’s Award. with the Juilliard modern music ensemble Established in 1945, it is the oldest award AXIOM has led to performances of music honoring conductors for their commitment by such composers as and to the performance of American music. Steve Reich. He was selected as one of Lincoln Center

the soloists in John Adams’ Pianola Music The Aeolus won the grand prizes at both the during AXIOM’s 2012 –13 season. 2011 Plowman Chamber Music Competition and the 2011 Chamber Music Yellow Springs Mr. Chen is now pursuing his master’s Competition, and was awarded first prize at degree in music at The Juilliard School, the 2009 Coleman International Chamber studying with Yoheved Kaplinsky. His stud - Ensemble Competition. The Quartet has ies are supported in part by a Susan W. released two critically acclaimed albums of Rose Piano Scholarship, a Van Cliburn classical and contemporary works on the Scholarship, and a c/Kaplan Scholarship. Longhorn/Naxos label. It has performed in such venues as Weill Recital Hall at Carnegie Hall, Merkin Hall, the Library of Congress, St. Martin-in-the-Fields, and the Shanghai Oriental Arts Center.

Widely recognized for its highly innovative L L

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A Music Association in acknowledgment of N Aeolus Quartet the ensemble’s educational efforts in diverse communities. It was also awarded Praised by The Strad magazine for its the 2012 Lad Prize, which culminated in “high-octane” performances, the Aeolus large-scale community engagement work Quartet is among today’s up-and-coming performing in the Stanford area and a master young string quartets. Violinists Nicholas class residency at Stanford University. Tavani and Rachel Shapiro, violist Gregory Luce, and cellist Alan Richardson formed The Quartet has studied with the Miró, Aeolus in 2008 at the Cleveland Institute of Guarneri, and Juilliard Quartets. Other men - Music. They are currently the graduate res - tors have included William Preucil, Peter ident string quartet at The Juilliard School. Salaff, Donald Weilerstein, Itzhak Perlman, Gerhard Schulz, and Mark Steinberg. The Quartet’s 2013 –14 season included multiple performances on the Smithsonian The Quartet is named for the Greek god Institution’s rare instrument collection, an Aeolus, who governed the four winds. This educational tour of the Midwest in conjunc - idea of a single spirit uniting four individual tion with the Fischoff Competition, and res - forces serves as an inspiration to the mem - idencies in North Carolina and at the Austin bers of the Aeolus Quartet as they pursue Chamber Music Center’s Sum mer Festival. their art. Lincoln Center

AXIOM Jeffrey Milarsky, Music Director and Conductor Rosemary Metcalf, Manager

JOHN CAGE Third Construction Members of the Juilliard Percussion Ensemble Ethan Ahmad Joe Desotelle Sae Hashimoto Gregory LaRosa

CONLON NANCARROW String Quartet No. 1 Aeolus Quartet Violin 1 Viola Nicholas Tavani Gregory Luce

Violin 2 Cello Rachel Shapiro Alan Richardson

LOU HARRISON Varied Trio for violin, piano, and percussion Violin Mariam Machaidze

Piano Joseph Yungen

Percussion Joe Desotelle

CAGE Concerto for Prepared Piano Prepared Piano Clarinet 2 Bass Trombone Piano/Celesta Han Chen Andrew O’Donnell Simon Wood Francisco Montero

Flute/Piccolo Bassoon Tuba Violin 1 Andreas Lamo Joseph Cannella Colin Benton Ravenna Lipchik

Oboe French Horn Percussion Violin 2 Lauren Williams Kaitlyn Resler Joe Desotelle Allison Mase Taylor Hampton English Horn Trumpet Hanna Kim Viola Liam Boisset Sam Jones Joshua Vonderheide Meredith Treaster

Clarinet 1 Trombone Harp Cello Shen Liu John E. Elizondo Emily Levin Hyung Suk Bae

Double Bass Harrison Joyce

Orchestra Administration Adam Meyer, Associate Dean and Director, Music Division Robert Ross, Assistant Dean for Orchestral Studies Joanna K. Trebelhorn, Director, Paul Beck, Principal Orchestra Rosemary Metcalf, Orchestral and Ensemble Librarian Orchestra Manager Operations Michael McCoy, Sarah Thrall, Orchestra Matthew R. Wolford, Orchestra Librarian Management Intern Operations Manager BOARD OF TRUSTEES Bruce Kovner, Chairman Katheryn C. Patterson, Vice Chairman Pierre T. Bastid Keith R. Gollust Karen M. Levy Stephanie Palmer McClelland Julie Anne Choi Mary Graham Teresa E. Lindsay Lester S. Morse Jr. Kent A. Clark Joan W. Harris Laura Linney Joseph W. Polisi Pamela Daley Bradley H. Jack Vincent A. Mai Susan W. Rose Kenneth S. Davidson Edward E. Johnson Jr. James S. Marcus Sarah Billinghurst Solomon Sanford B. Ehrenkranz Sidney R. Knafel Michael E. Marks Joan S. Steinberg Barbara G. Fleischman J. Christopher Kojima Nancy A. Marks

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TRUSTEES EMERITI Mary Ellin Barrett Elizabeth McCormack Richard D. Spizzirri June Noble Larkin John J. Roberts

JUILLIARD COUNCIL Harold P. Hope III and Karen M. Levy, Co-Chairmen Barbara Brandt Peter L. Kend Leslie M. Nelson Kristen Rodriguez Jay Franke Younghee Kim-Wait Pamela J. Newman Jeremy T. Smith Brian J. Heidtke Jean-Hugues Monier John G. Popp Adrian V. Weller Gordon D. Henderson Terry Morgenthaler Grace E. Richardson Aspasia Kalargiros Zoumas

EXECUTIVE OFFICERS Joseph W. Polisi, President Ara Guzelimian, Provost and Dean Jon Rosenhein, Vice President and Chief Operating Officer Jane Gottlieb, Vice President for Library and Information Resources Elizabeth Hurley, Vice President for Development and Public Affairs Joan D. Warren, Vice President for Enrollment Management and Student Development Joseph Mastrangelo, Vice President for Facilities Management Christine Todd, Vice President for Finance and Controller Lawrence Rhodes, Artistic Director of the Dance Division James Houghton, Richard Rodgers Director of the Drama Division Brian Zeger, Artistic Director of the Ellen and James S. Marcus Institute for Vocal Arts Robert Mealy, Director of Historical Performance Yoheved Kaplinsky, Artistic Director of the Pre-College Division Wynton Marsalis, Director of Juilliard Jazz Christopher Mossey, Senior Managing Director for Educational and Artistic Affairs, Juilliard Global Ventures Mark Murtagh, Senior Managing Director for Business and Strategy, Juilliard Global Ventures Kent McKay, Associate Vice President for Production Tricia Ross, Associate Vice President for Special Projects Jennifer Awe, Dean of Student Affairs Lee Cioppa, Associate Dean for Admissions José García-León, Associate Dean for Academic Affairs Adam Meyer, Associate Dean and Director, Music Division Bärli Nugent, Assistant Dean, Director of Chamber Music Sabrina Tanbara, Assistant Dean for Student Affairs Benjamin D. Sosland, Assistant Dean for the Kovner Fellowships; Administrative Director of Historical Performance Robert Ross, Assistant Dean for Orchestral Studies Richard Feldman, Associate Director of the Drama Division Risa Steinberg, Associate Director of the Dance Division

ADMINISTRATORS Sarah Adriance, Dance Division Katie Murtha, Major Gifts Courtney Blackwell Burton, Juilliard Global Ventures Cory Owen, International Advisement William Buse, Counseling Services Lori Bierly Padua, Planned Giving Stephen Carver, Chief Piano Technician Todd Porter, Residence Life Alexandra Day, Communications and Marketing Strategy Howard Rosenberg, Health Services Caryn G. Doktor, Human Resources Ira Rosenblum, Publications Katherine Gertson, Registrar Nicholas Saunders, Concert Operations Donald Giordano, Creative Services Jacqueline Schmidt, Marcus Institute for Vocal Arts Tunde Giwa, Information Technology Edward Sien, Foundation and Corporate Relations Tina Gonzalez, Financial Aid Phoebe Slanetz, Development Resources and Strategy Amanita Heird, Special Events Martha Sterner, Executive Assistant to the President Scott Adair Holden, Office Services Tina Swiek, Merchandising Katherine Hood, Drama Division Robert Taibbi, Recording Danielle La Senna, Evening Division Helen Taynton, Intern Program and Master Calendar Ekaterina Lawson, Pre-College Division Beth Techow, Health and Counseling Services Teresa McKinney, Educational Outreach Joanna K. Trebelhorn, Orchestral and Ensemble Operations

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