Tuesday Evening, September 5, 2017, at 7:30

The Juilliard School

presents

Sibelius Academy Symphony OrchestraandJuilliard OrchestraEsa-Pekka Salonen, ConductorJonathan Roozeman, Cello

STEVEN STUCKY (1949–2016) Radical Light

ESA-PEKKA SALONEN (b. 1958) ManiaJONATHAN ROOZEMAN, Cello

Intermission

JEAN SIBELIUS (1865–1957) Lemminkäinen Suite, Op. 22 (“Four Legends fromthe Kalevala”)

Lemminkäinen and the Maidens of the Island Allegro molto moderatoAllegro moderato

Lemminkäinen in Tuonela Il tempo largamenteMolto lentoLargo assai

The Swan of Tuonela Andante molto sostenuto

Lemminkäinen’s ReturnAllegro con fuoco (poco a poco più energico)Quasi prestoPresto

Performance time: approximately 1 hour and 45 minutes, including one intermission

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

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

The Sibelius Academy Symphony Orchestra tour is supported by the Jane and Aatos ErkkoFoundation, the Sibelius Academy Foundation, and Wärtsilä Corporation and is part of the SuomiFinland 100 centenary year events.

Alice Tully Hall Please make certain that all electronic devicesare turned off during the performance.

Notes on the Programby Antti HäyrynenTranslation by Daryl Taylor

Radical LightSTEVEN STUCKYBorn November 7, 1949, in Hutchinson,KansasDied February 14, 2016, in Ithaca, NewYork

Steven Stucky studied the viola, orchestralconducting, and composing as a child in hishometown of Abilene, Texas, subsequentlyfocusing on composing at Baylor Universityand Cornell University, where his teachersincluded Richard Willis, Robert Palmer, andKarel Husa. His principal mentor as a con-ductor was Daniel Sternberg.

From the beginning of the 1980s Mr.Stucky taught composing at Cornell, whilealso building an extensive network of part-ners throughout the U.S. through his teach-ing and composing work. His engagementsincluded a period as the longest-servingresident composer of the Los AngelesPhilharmonic, between 1988 and 2009, anappointment that gave rise to his SecondConcerto for Orchestra, which won the2005 Pulitzer Prize for Music. Mr. Stucky,who joined the Juilliard faculty in 2014,died of cerebral cancer in 2016.

Radical Light was composed for the LosAngeles Philharmonic in 2007 and pre-miered under Esa-Pekka Salonen in Octoberof the same year. The title comes from“He Held Radical Light” by the Americanpoet Archie Randolph Ammons (1926–2001):“He held radical light / as music in his skull:music / turned, as / over ridges imma-nences of evening light / rise, turned / backover the furrows of his brain, / into thedark, shuddered, / shot out again / in longswaying swirls of sound.”

Steven Stucky also acknowledged JeanSibelius—whose seventh and fourth sym-phonies were on the program at the premiereof Radical Light—as another influence onthe work: “Sibelius has been a strong influ-ence on me for many years, and I espe-cially admire his Seventh Symphony as anarchitectural marvel. Having long wantedto attempt something like that myself, inRadical Light I tried to emulate somethingabout the architecture of that peerlessmasterpiece: a single span embracingmany different tempos and musical char-acters, but nevertheless letting everythingflow seamlessly from one moment to thenext—no section breaks or disruptions, nosharp turns or border crossings.”

In the same remarks Stucky also acknowl-edged the music of Magnus Lindberg, Esa-Pekka Salonen, and Anders Hillborg, inwhich an innovative overall conceptionbrings about a merger of modernist andtraditional impulses. They provide the ideaof a harmonic base map that invisibly linksup the various elements of Radical Light.Though Stucky insisted that the actualmusic had nothing to do with Sibelius, aFinnish listener may not necessarily concur.

The cluster of strings that introduces thetone poem envisions a harmonious initialcondition in which the themes and ges-tures begin to crystallize and the orchestralmachinery limbers up. Though also devel-oping on a base of minor chords, the musicmoves back and forth from tonally free toatonal, taking charge of both conventionaland modernist harmonic space. The gath-ering events bring an instrumental, occa-sionally almost concert-like virtuosity tothe foreground that also extends to a kalei-doscopically radiating sound.

Nothing is enduring or repetitive, scenesemerge and fade into the background, butmany of them follow familiar typological

models, such as the radiant cantilena ofthe strings, the scherzo-like flights of thewoodwinds, and the imposing brasschorales. The architecture serves as aninvigorating and assembling force in thebackground, and something of Sibeliusalso glimmers in the final ascent with risingpillars of brass.

ManiaESA-PEKKA SALONENBorn June 30, 1958, in Helsinki, Finland

Esa-Pekka Salonen began his career incomposing. He subsequently focused onwork as a conductor before re-emerging inthe 1990s as an innovative and streamlinedcomposer to supplement his temperamen-tal and unusual early works from the 1980swith a hedonistic orchestral splendor andexpression that makes a positive effort toengage the audience in conversation.

An early friendship with cellist AnssiKarttunen encouraged Mr. Salonen todevelop his own compositions for cello,which continue to chart the boundaries ofart and provoke creative madness. Onestarting point in this evolution is Yta III(1986), in which a solo cello thrashes itswings like a moth finally caught in theflame and is watched by the composerwith childlike sadism.

Composed for Karttunen and dedicated tohim, the cello concerto Mania (2000) is awork of uncompromising virtuosity, bothmentally and physically. The small orches-tra accommodates multiple tones andinsightful percussion strokes, and the cellopart calls for an artist combining the skillsof acrobat, actor, conjurer, and shaman.

Salonen provides his own account of theorigins of Mania:

In the spring of 2000 I finally decided towrite a concertante piece for Anssi and a

small orchestra, a plan I had been formu-lating for a decade or so. I wanted tocompose music comprising a number ofrelatively simple gestures or musicalarchetypes that are continually evolvingand changing; not so much through tradi-tional transformation techniques, butthrough a kind of metamorphosis. A larvabecomes a chrysalis, which turns into abutterfly: very different forms indeed,but the DNA remains the same.

Mania is about movement that never stops.The tempo fluctuates between extremes,with gestures giving rise to new gestures.The transitions are often seamless andtelescopic, with new things beginningbefore their precursors have ended. It is notentirely coincidental that this is also a formalprinciple in the later works of Sibelius,especially the Seventh Symphony. Therole of the cello varies between a clearsolo/accompaniment setup to that of amere member of a chamber ensemble—and all points be tween these extremes.This means that Mania has little to do witha traditional concerto form.

Lemminkäinen Suite, Op. 22JEAN SIBELIUSBorn December 8, 1865, in Hämeenlinna,FinlandDied September 20, 1957, in Järvenpää,Finland

After his Kullervo Symphony (1892) JeanSibelius sought new approaches to Kalevalamythology, becoming interested in the sym-bolic artistic trends that were reverberatingaround Europe. Together with his fellowSymposium members, Akseli Gallén-Kallela,Robert Kajanus, and Eino Leino, he endeav-ored to create a new, universally orientedart based on the national epic mythology.

The operas of Wagner based on mythologyserved as one significant influence onSibelius, and he visited Bayreuth in 1894 to

witness how Germanic mythology hadgained distinction as a major pan-Europeancultural metaphor. Eschewing the naive na -tional romanticism that attires folk melodiesin the garb of high art, Sibelius instead soughtto compose music that would also beappreciated in the wider world: a Finnishculture that would also be European.

Sibelius’ principal project after Kullervowas an opera on the theme of the epichero Väinämöinen. Though this endeavorwas ultimately not pursued, some of itsmaterial was instead used in the com-poser’s Lemminkäinen Suite (1896) withenhanced use of the orchestra and a moreradical musical idiom in which the Kalevalatheme served as a catalyst for new andmodern expression.

The suite drew a mixed reception of itsoriginal order of Lemminkäinen and theMaidens of the Island, Lemminkäinen inTuonela, The Swan of Tuonela, andLemminkäinen’s Return, and was charac-terized as “hypermodernist and pathologi-cal” by Karl Flodin, a critic held in highregard by the composer. Sibelius subse-quently forbade performances of the firsttwo parts and the work was not releasedin its entirety until 1954, with the order ofthe two middle parts reversed.

The first part, Lemminkäinen and theMaidens of the Island, begins with adescription of a happy mood. A call comesfirst from the horns and then the stringstake up the theme against which thewoodwinds perform a wistful melody. Thebrief summery nostalgia of Northland thengives way to a dancing fanfare. The originalprogram notes for the work associated thisopening with a passage from Rune 29 ofthe Kalevala: “Then he strolled about thehamlets, / To enjoy the island virgins, /Beauty of the long-haired maidens.”

The graceful dance theme of the maidensis joined in Wagnerian style by the pas-sionate chromatic theme of Lemminkäinen,blending into a curving crescendo thatfinally rises to intoxicating heights: “On theisland were ten hamlets, / In each hamletwere ten houses, / In each house at leastten daughters, / Nor was there a singledaughter, / Not a single mother’s child, / Bywhose side he did not lie, / In whose armshe did not nestle.”

The languid coda that follows this fortissimoeruption seems to draw away like thehero’s sailboat, with fluctuating horn syn-copations and stylized brass vignettes mit-igating the longing of the maidens: “Whynow leave us, Lemminkäinen, Why for-sake us, best of lovers?” As an expressionof Tristan-inspired eroticism, Lemminkäinenand the Maidens of the Island remainsunexcelled in Finnish music.

Lemminkäinen in Tuonela depicts thehero’s descent into a hell of tremolostrings. Gloomy woodwind themes attackfrom out of the darkness, but the infernopassage developed into a pathetic style isbroken off at the deathblow and a furiouseruption of strings melts into a melancholybrass theme. In the following sceneLemminkäinen’s mother tries to resurrecther son by alluding to a simple lyricaltheme, but the forces of death rise up inbacklash. Life wins in the end and therevived Lemminkäinen remembers hisoriginal quest: “There is something trou-bles me, / For in truth my heart is yonder, /And my sentiments are there, / Among thelittle maids of Northland, / With thosebeautiful lovely locks.”

On proposing marriage to Pohjola’s daugh-ter, Lemminkäinen is charged with the taskof shooting the Swan of Tuonela. This pop-ular Sibelius tone poem does not relate

Meet the Artists

Esa-Pekka Salonen is currently principalconductor and artistic advisor for London’sPhilharmonia Orchestra and conductor lau-reate for the Los Angeles Philharmonic,where he was music director from 1992until 2009. This is his final of three seasonsas the Marie-Josée Kravis composer in res-idence at the New York Philharmonic andhis second of five as artist in association atthe Finnish National Opera and Ballet, wherehe will conduct his first full Ring cycle incoming seasons. Additionally, Mr. Salonenis artistic director and cofounder of theannual Baltic Sea Festival, now in its 15thyear, which invites celebrated artists to pro-mote unity and ecological awarenessamong the countries around the Baltic Sea.He serves as an advisor to the Sync Project,a global initiative to harness the power ofmusic for human health. The Los AngelesPhilharmonic will perform all of Mr. Salonen’sconcertos in February 2018 with cellist Yo-Yo

Ma, pianist Yefim Bronfman, and violinistLeila Josefowicz—the musicians for whomthe works were written.

Finnish-Dutch cellist Jonathan Roozemanhas worked with orchestras including theMariinsky Theatre Orchestra, St. PetersburgPhilharmonic, Tapiola Sinfonietta, FinnishRadio Symphony, Ostrobothnian ChamberOrchestra, and the Tokyo New City Orchestra;and has collaborated with conductorsincluding Valery Gergiev, Esa-Pekka Salonen,Osmo Vänskä, Dima Slobodeniouk, Jukka-Pekka Saraste, and Nikolay Alekseev. Hehas recently been artist in residence withthe Lahti Symphony and performed withthe Tapiola Sinfonietta and Turku Phil -harmonic. He has also toured to Beijing forthe Super Cello festival performing withthe Brussels Chamber Orchestra. Upcomingfestivals include Russia’s White NightsFestival in St. Petersburg, the SchleswigHolstein Festival, the Tammisaari Festival,and Finland’s Turku and Joroinen music

JonathanRoozeman

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directly to the text, but paints a duskyimage in which the lone swan glides overthe dark stream, borne on the melody ofan English horn. The sight seems morecommonly associated with the imagery ofsymbolism and Art Nouveau.

Lemminkäinen’s victorious homecomingemerges from small seedlings. The themefragments scuttle and grow with thefrenzy of a Karelian trepak and lead to thePresto finale. Tawaststjerna reports thatSibelius determined the final part in 1919with reference to the autobiographical

dimension of the piece: “I would like tosee more pride in we Finns. Not all thisdownhearted helmet all askew attitude.What have we got to be ashamed of? Thisis the idea that permeates Lemminkäinen’sReturn. Lemminkäinen is one to rival thenoblest of earls. He is an aristocrat, with-out question!”

(Kalevala translation excerpts from TheSelected Poems of Kalevala)

Notes courtesy of the Sibelius Academy ofthe University of the Arts Helsinki

festivals. In addition to tonight’s concertwith the Sibelius Academy and the JuilliardOrchestra, he also performed Salonen’sMania last month under the composer atthe Helsinki Festival and at Stockholm’sBaltic Sea Festival.

Mr. Roozeman recently made his debutwith the Finnish Radio Symphony Orchestraand was featured at the 100-year jubilee ofthe Sibelius Academy Symphony Orchestraunder Sakari Oramo. He was artist in resi-dence at the Turku Festival where heworked with the Mariinsky Orchestra. Hewas one of the International Tchaikovsky-Competition Prize winners in 2015 (youngestcandidate) and has been a prize winner ofthe 2013 Finnish National Cello Competition,2013 Paulo and Gaspar Cassado competi-tions, and was a finalist in the 2013 PortoPremio Suggia. Currently studying at theKronberg Academy under Frans Helmerson,he previously studied with Martti Rousi atthe Sibelius Academy. He plays a 1707David Tecchler cello on loan from the FinnishCultural Foundation. His bow is made byDominique Peccatte in Paris, 1835, kindlyon loan by an American patron.

The Sibelius AcademyThe Sibelius Academy of the University ofthe Arts Helsinki is one of the largestmusic academies in Europe and is the onlyuniversity-level music institution in Finland.A cornerstone of Finnish music, the acad-emy was established in 1882 and bears thename of the great Finnish composer JeanSibelius. In addition to classical music edu-cation, the academy has added other gen-res to its palette: jazz and folk music havebeen taught since the early 1980s andmusic technology since the early 1990s.Today the Sibelius Academy is a creativecommunity of approximately 1,400 studentsand more than 1,000 staff. The academytrains artists, teachers, and other musicprofessionals and ranks among the ten

best performing arts schools in the world inthe QS World University Ranking (2016,2017). The academy consists of two facul-ties: the faculty of classical music; and thefaculty of music education, jazz, folk andglobal music, music technology, and artsmanagement. Additionally, the academyhas a youth department (Junior Academy),a department for adult education and train-ing, and two doctoral schools. The acad-emy offers bachelor of music, master ofmusic, licentiate of music, and doctor ofmusic degrees. The academy holds hun-dreds of public concerts every year. Theyform the majority of the concert selectionin the Helsinki Metropolitan Region butalso include international projects.

At the beginning of 2013 the SibeliusAcademy merged with the Finnish Academyof Fine Arts and the Theatre Academy toform the University of the Arts Helsinki(Uniarts Helsinki). The university offers edu-cation in fine arts, music, theater, and dance.

Information regarding The Sibelius Academyof the University of the Arts Helsinki, andsupporting Sibelius Academy programs inthe U.S., can be obtained from Friends ofThe Sibelius Academy, Inc., 152 Stone OaksDrive, Hartsdale, NY 10530 (erika.sauer@friendsofthesibeliusacademy.org).

Sibelius Academy SymphonyOrchestraThe orchestra now known as the SibeliusAcademy Symphony Orchestra was estab-lished in 1916 with the aim of providingorchestral instrument students with theopportunity to polish their skills as a memberof a full-scale orchestra and gain vital experi-ence in ensemble playing and performing.

The orchestra is regularly conducted by theprofessor of conducting and orchestraltraining as well as professional guest con-ductors. Over the years its conductors

have included Jussi Jalas, Jorma Panula,Arvid Jansons, Paavo Berglund, Sir ColinDavis, Eri Klas, Leif Segerstam, Esa-PekkaSalonen, Jukka-Pekka Saraste, Okko Kamu,John Storgårds, Osmo Vänskä, SakariOramo, Mikko Franck, Hannu Lintu, Santtu-Matias Rouvali, and Atso Almila, who wasappointed professor of conducting andorchestral training at the Sibelius Academyin August of 2013.

The orchestra has developed an interna-tional presence through a history of touringto venues in central Europe, Russia, Tokyo,Beijing, and Abu Dhabi.

The Sibelius Academy and The Juilliard Schoolbegan their collaboration in 2005, when theJuilliard Orchestra came to Helsinki as partof the school’s centenary tour. The collabo-ration continued in 2013, when a group ofstudents from both schools formed a jointchamber orchestra that gave performancesin New York and Helsinki.

Juilliard OrchestraJuilliard’s largest and most visible studentperforming ensemble, the Juilliard Orchestra,is known for delivering polished and pas-sionate performances of works spanningthe repertoire. Comprising more than 350students in the bachelor’s and master’sdegree programs, the orchestra appearsthroughout the 2017–18 season in morethan a dozen performances on the stages

of Alice Tully Hall, Carnegie Hall, DavidGeffen Hall, and Juilliard’s Peter Jay SharpTheater. The season opened in Augustwith a collaboration between Juilliard andFinland’s Sibelius Academy members con-ducted by Esa-Pekka Salonen with con-certs of tonight’s program performed at theMusic Centre in Helsinki, Finland, and theBaltic Sea Festival in Stockholm.

The orchestra is a strong partner toJuilliard’s other divisions, appearing inopera and dance productions. Under themusical leadership of Alan Gilbert, thedirector of conducting and orchestral stud-ies, the Juilliard Orchestra welcomes animpressive roster of world-renowned guestconductors this season including ThomasAdès, Joseph Colaneri, Edo de Waart,Chen Lin, David Robertson, SperanzaScappucci, Gerard Schwarz, and EmmanuelVillaume, and faculty members JeffreyMilarsky and Mr. Gilbert. The JuilliardOrchestra has toured across the U.S. andthroughout Europe, South America, andAsia, where it was the first Western con-servatory ensemble allowed to visit andperform following the opening of thePeople’s Republic of China in 1987, return-ing two decades later, in 2008. Otherensembles under the Juilliard Orchestraumbrella include the conductorless JuilliardChamber Orchestra, the Juilliard WindOrchestra, and the new-music groupsAXIOM and New Juilliard Ensemble.

Esa-Pekka Salonen, Conductor

Sibelius Academy Symphony OrchestraandJuilliard Orchestra

ViolinEssi Höglund*,Concertmaster

Brian Hong,Concertmaster

Johannes Hakulinen*,Principal

Max Tan, PrincipalCarter ColemanRandall GoosbyJordan HendySumire HirotsuruOlivia Holladay*I-Jung HuangMarielle Iivonen*Byungchan LeeBeata Kavander*George MeyerAshley J. ParkJohanna Rautakorpi*Elisar Riddelin*Yeri RohTatuarttu Ruponen*Irina Rusu*Hanna Salo*Rannveig Marta SarcVivian Stolt*Sophia StoyanovichAgnes TseMarju Tsokkinen*Ida Tunkkari*Piia Virtanen*Maija Wesslund*Momo Wong

ViolaBethany Hargreaves,Principal

Grace Takeda, PrincipalKaisa Anttila*Stephanie BlockCharles GalanteMiikka Hakomäki*Emily LiuMax Nyman*Rosa Parada*Chloe ThominetMeagan TurnerSameli Vettenranta*

CelloSirja Nironen*, PrincipalEddie Pogossian,Principal

Matthew ChenAugustas Gocentas*Johanna Jaakkola*Connor KimOtto-Aaron Takala*Iiris Tötterström*Mosa TsayMegan Yip

Double BassAlexander Bickard,Principal

Pauli Pappinen*, PrincipalTimothy ChenOskari Hänninen*Vilhelm Karlsson*Nicholas MyersJoel Raiskio*Andrew Sommer

FluteJames Dion BlanchardMartta Jämsä*Olivia Staton

PiccoloJames Dion BlanchardMartta Jämsä*Olivia Staton

OboeEmily BeareRyan RobertsAntti Turtiainen*

English HornEmily BeareRyan Roberts

ClarinetJosé Carlos Dominguez

Almela*Dan GiacobbeHelmi Malmgren*

Bass ClarinetJosé Carlos Dominguez

Almela*Helmi Malmgren*

BassoonLaura Clewer*Harrison MillerÁron Mojzer*

ContrabassoonLaura Clewer*

HornHarry Chiu Chin-pongHannah Miller*Kaitlyn ReslerElina Tiainen*

TrumpetBrandon BergeronLasse Bjerknaes

JacobsenXiang Guo*

TromboneKevin CarlsonSakari Mäkimattila*Danna Nelson*

TubaSanna Sadeharju*

Timpani/PercussionTaylor HamptonLauri Pekkarinen*Jerry Piipponen*Evan Saddler

HarpIván Bragado Poveda*Madeline Olson

PianoJanne Oksanen*

*Sibelius AcademySymphony Orchestramember

Joanna K. Trebelhorn, Directorof Orchestral and EnsembleOperations

Matthew Wolford, OperationsManager

Lisa Dempsey Kane, PrincipalOrchestra Librarian

Michael McCoy, OrchestraLibrarian

Kate Northfield Lanich,Orchestra PersonnelManager

Deirdre DeStefano, OrchestraManagement Apprentice

Juilliard Orchestra AdministrationAlan Gilbert, Director of Conducting and Orchestral Studies, William Schuman Chair in Musical Studies Adam Meyer, Associate Dean and Director, Music DivisionJoe Soucy, Assistant Dean for Orchestral Studies

University of the Arts HelsinkiJari Perkiömäki, Rector of the University of the Arts HelsinkiKaarlo Hildén, Dean of the Sibelius Academy

Sibelius Academy Symphony Orchestra AdministrationAtso Almila, Professor of Conducting and Orchestral TrainingSusanna Brandt, Orchestra CoordinatorDavid Claudio, Stage Manager/Orchestra LibrarianPetri Komulainen, Assistant ConductorTuovi Martinsen, Head of International RelationsAnna Rombach, Orchestra ManagerJani Roppola, Stage Manager/Orchestra LibrarianHans Tinell, Tour Manager/Producer

BOARD OF TRUSTEES

Bruce Kovner, ChairJ. Christopher Kojima, Vice ChairKatheryn C. Patterson, Vice Chair

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Music DivisionAdam Meyer, Associate Dean and DirectorBärli Nugent, Assistant Dean, Director of Chamber MusicJoseph Soucy, Assistant Dean for Orchestral StudiesStephen Carver, Chief Piano TechnicianRobert Taibbi, Director of Recording Joanna K. Trebelhorn, Director of Orchestral and

Ensemble Operations

Historical PerformanceRobert Mealy, DirectorBenjamin D. Sosland, Administrative Director;

Assistant Dean for the Kovner Fellowships

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of QuincyRyan and Leila EdwardsLou EllenportLloyd B. EriksonEric EwazenHolly L. FalikBarbara and Jonathan FileStuart M. FischmanDr.‡ and Mrs. Richard B. FiskLorraine FoxJohn and Candice FrawleyDr. Mio FredlandChaim FreibergNaomi FreistadtConstance Gleason FurcoloMichael Stephen GalloAnita L. Gatti

Thelma and Seymour Geller, on behalf of Jane Geller

Rabbi Mordecai Genn Ph.D.Mark V. GetleinPia GilbertJohn R. GillespieProfessor Robert Jay GlickmanDr. Ruth J.E. Glickman Sheryl GoldTerrine GomezThe Venerable John A. GrecoDrs. Norman and Gilda GreenbergArlene‡ and Edmund GrossmanMiles Groth, Ph.D.Emma GruberRosalind GuaraldoRuth HaaseMr. and Mrs. Robert S. Haggart Jr.Louise Tesson HallRalph HamakerStephen and Andrea HandlemanMeleen O’Brien HarbenRev. Tozan Thomas HardisonRalph‡ and Doris HarrelJudith Harris and Tony WoolfsonRobert G. HartmannRobert HaveryS. Jay Hazan M.D.Betty Barsha HedenbergGordon D. HendersonMayme Wilkins HoltJulie HoltzmanGerri HoulihanKatherine L. HufnagelJoseph N. and Susan IsolanoPaul Johnston and Umberto FermaJanice Wheeler Jubin and

Herbert JubinPeter H. JuddMichael KahnMr.‡ and Mrs. Martin Kaltman George and Julia KatzYounghee Kim-WaitRobert KingJ. D. KotzenbergBruce KovnerEdith KraftMr. and Mrs. Paul A. KrellFrancine LandesSung Sook LeePaul Richards Lemma and

Wilhelmina Marchese Lemma‡Loretta Varon Lewis‡ and

Norman J. LewisNing LiangJoseph M. LieblingJerry K. LoebRichard LopintoEileen Lubars

Francis MadeiraChuck MantonCyril‡ and Cecelia MarcusSerena B. MarloweDolores Grau MarsdenSondra MateskyStephanie and Carter McClelland

and The Stephanie and Carter McClelland Foundation

Joseph P. McGintyJames G. McMurtry III, M.D.Dr. and Mrs. N. Scott McNuttPauline and Donald B.‡ MeyerStephen A. Meyers and

Marsha Hymowitz-MeyersPaula P. MichtomLeo‡ and Anne Perillo MichudaWarren R. MikulkaStephen MittmanRobert A. MorganValerie Wilson MorrisDiane MorrisonMark S. MorrisonL. Michael and Dorothy MoskovisGail MyersMyron Howard NadelSteven W. Naifeh and Gregory

White Smith‡Anthony J. NewmanOscar and Gertrude Nimetz FundStephen NovickMr.‡ and Mrs. Donald PartonCelia Paul and Stephen RosenJeanne M. and

Raymond Gerard‡ PellerinJane V. Perr M.D.Jean PierkowskiElissa V. Plotnoff PinsonFred PlotkinGeraldine PollackSidney J.‡ and Barbara S. PollackJohn G. PoppThomas and Charlene PreiselArthur PressBernice PriceGena F. RapsNancy L. ReimSusan M. ReimSusan D. ReinhartMadeline RhewMichael RiggDouglas RivaLloyd‡ and Laura RobbDaniel P. RobinsonYvonne RobinsonCarlos Romero and

Joanne Gober RomeroLinda N. RoseSusan W. Rose

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.

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 plannedgiving@juilliard.edu.

The Jere E. Admire Charitable TrustHarold Alderman TrustEstate of Joan AndersonEstate of Jean AppletonEstate of Celia AscherEstate of Ruth BamdasEstate of Katherine S. BangEstate of Ronald BanyaySusanna Berger Revocable TrustTrust of Sonia BlockBetty and Daniel Bloomfield FundEstate of Alan BroderEstate of Ruth F. BroderEstate of George BryantEstate of John Nicholson BulicaEstate of Margaret P. ButterlyEstate of Leonard DavisEstate of Alice Shaw FarberFima Fidelman TrustDora L. Foster TrustThomas Fowler TrustGordon A. Hardy Charitable Remainder TrustWilliam J. Henderson Memorial FundFrances B. Hoyland TrustTrust of Edward Jabes

Bernice F. Karlen Revocable Grantor TrustHamilton H. Kellogg and Mildred H. Kellogg

Charitable TrustTrust of Lillian B. MadwayEstate of Samuel MarateckEstate of Shirley N. PanEstate of Cynthia L. RecEstate of George T. RhodesEstate of Richard H. RobertsEstate of Lillian RogersHoward and Ethel Ross TrustEstate of Harold C. SchonbergBertha Seals TrustEstate of Abraham SheingoldEstate of Betty SimmsArline J. Smith TrustJanice Dana Spear TrustEstate of Winifred SperryEstate of Bruce SteegEstate of George M. StoneEstate of Stanley TuckerTrust of Helen Marshall WoodwardIrene Worth Fund for Young ArtistsDarrell Zwerling Living Trust

Dinah F. RosoffRoxanne RosomanSam and Deborah RotmanLynne RutkinEdith A. SagulJoan St. JamesRiccardo SalmonaHarvey SalzmanMichael and Diane SandersNancy SchlossCasiana R. SchmidtShelby Evans Schrader‡ and

John Paul Schrader Irene SchultzWilliam C. SchwartzDavid ShapiroDr. Robert B. SharonEdmund Shay and Raymond Harris Dr. Edward ShipwrightRobert D. Sholiton

Arthur T. ShorinMel SilvermanSteven P. Singer M.D. and

Alan Salzman M.D.Barbara Thompson SlaterBruce B. SolnickCarl Solomon Sr. Barbara H. StarkSally T. StevensJames StreemHenry and Jo StroussCheryl V. TalibPhyllis K. TeichMarie Catherine TorrisiDr. Marta VagoWalter and Elsa VerdehrPaul WagenhoferDietrich and Alice WagnerAlberto and Paulina A. WaksmanStanley Waldoff

Jessica WeberCatherine WhiteMiriam S. WienerRobert Wilder‡ and Roger F. KippAlice Speas WilkinsonYvonne Viani WilliamsMargaret S. WilliamsonDr. Theo George WilsonElizabeth R. WoodmanEdward YanishefskyLila YorkForty-eight Anonymous Members

‡ = In Memoriam

The Augustus Juilliard Society (Continued)

Estates and Trusts