Juilliard415

Support the next generation of performing artists

Pho

to b

y C

laud

io P

apap

ietr

o

Give now at giving.juilliard.edu/fromyourseat Or call (212) 799-5000, ext. 278 Thank you for your support!

Thank you for being an important part of this performance as an engaged audience member. You can do even more to support Juilliard’s remarkable young artists by making a tax-deductible gift of scholarship today. Your donation supports financial aid for our dedicated students and encourages their development and growth as performing artists. With more than 90% of students qualifying for financial aid, your donation truly does make a difference.

1

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.

The Juilliard Schoolpresents

Juilliard Historical Performance10th Anniversary Season

Juilliard415Richard Egarr, Harpsichord and Director

Friday, October 11, 2019, 7:30pmPeter Jay Sharp Theater

GEORGE FRIDERIC Concerto Grosso in B-flat Major, Op. 3, No. 2HANDEL Vivace(1685-1759) Largo Allegro Moderato Allegro

HANDEL Concerto Grosso in A Minor, Op. 6, No. 4 Larghetto affetuoso Allegro Largo Allegro

CHARLES AVISON Concerto Grosso in A Major, No. 1(1709-70) Adagio Amoroso Allegro (after sonatas by Domenico Scarlatti)

Intermission

Juilliard's full-scholarship Historical Performance program was established and endowed in 2008 by the generous support of Bruce and Suzie Kovner.

Additional support for this performance was provided, in part, by the Muriel Gluck Production Fund.

2

HANDEL Concerto Grosso in G Major, Op. 6, No. 1 A tempo giusto Allegro Adagio Allegro Allegro

HANDEL Organ Concerto in F Major, Op. 4, No. 5 Larghetto Allegro Alla Siciliana Presto Jacob Dassa, Organ

HANDEL Concerto Grosso in G Major, Op. 3, No. 3 Largo, e staccato—Allegro Andante Allegro Taya König-Tarasevich, Flute

AVISON Concerto Grosso in D Minor, No. 3 Largo andante Allegro spiritoso Vivace Allegro (after sonatas by Domenico Scarlatti)

3

Notes on the Program By Georgeanne Banker

In 1608, English traveler Thomas Coryat attended a concert in Venice that “consisted principally of musicke, which was both vocall and instrumental, so good, so delectable, so rare, so admirable, so super excellent, that it did even ravish and stupifie all those strangers that never heard the like ... For mine own part I can say this, that I was for the time even rapt up with Saint Paul into the third heaven.”

The captivating expressivity of Italian music permeated English culture for well over a century after Coryat’s transcendental experience. In the first half of the 18th century, the English infatuation with Italian musicianship was exemplified by the popularity of George Frideric Handel’s Italian operas and instrumental music, and by the rise of what musicologist Richard Newton calls the Cult of Scarlatti, a result of the alacritous popularization of Domenico Scarlatti’s works in the British Isles.

The curiously innovative pieces on this program capture what Charles Avison calls the “fine Fancy” of the Italian style. A recorder sonata masquerades as an organ concerto, keyboard works are transfigured for dynamic bowed instruments, orchestral works echo those of Arcangelo Corelli, and a publisher’s dubious musical pasticcio is presented as a coherent set of concerti grossi. These are products of a long, musical version of “the telephone game,” whispers from the halls of Italy transformed into brilliant works for the London stage.

Before settling in London in 1712, the German-born Handel enjoyed a period of formative success in Italy. There, he soaked up the elegant, virtuosic latticework of Italian music and found companionship with other composers, including Domenico Scarlatti. While in Venice, Handel attended “a Masquerade, while he was playing on a harpsichord in his visor,” wrote his biographer John Mainwaring in 1760. “Scarlatti happened to be there, and affirmed that it could be no one but the famous Saxon, or the devil.”

Anecdotal accounts point to a warm friendship between the two keyboard virtuosos; according to Mainwaring, Handel considered Scarlatti to be a great talent of the “sweetest temper.” In England, Handel famously triumphed as a composer of Italianate works. The first season of the Royal Academy of Music in London featured his 1720 opera Radamisto as well as Scarlatti’s Narciso, as produced by Irish composer Thomas Roseingrave.

In London, Handel, and music publisher John Walsh, were also faced with a voracious market of amateur and professional musicians whose appetites for instrumental music had been whetted by Corelli’s Concerti Grossi, Op. 6. Walsh’s 1734 publication of Handel’s Concerti Grossi, Op. 3 was most likely produced without the composer’s knowledge. Considering its suspicious origins, this opus is as much a testament to Walsh’s ability to generate quality works for an eager public as it was to Handel’s refusal

George Frideric Handel Born: February 23, 1685, in Halle (Saale), Germany Died: April 14, 1759, in London

4

Notes on the Program By Georgeanne Banker (continued)

hold a grudge; Francesco Geminani brought Walsh to court in London for copyright infringement just a few years prior.

Regardless of Walsh’s shady business practices, this set of six “hautboy” concertos are exciting reimaginings of earlier works by Handel arranged for strings and continuo with colorful appearances by oboes, recorders, flutes, and bassoons. The Concerto Grosso in B-flat Major, Op. 3, No. 2 is scored for a concertino, or solo group of two oboes, violin, and two cellos, which join a ripieno, or tutti group of two violins, viola, cello, and continuo. The third movement, a spritely Allegro, features a fugue nearly identical in structure and key to the sinfonia of Handel’s 1717 Brockes Passion, transformed and presented here by Walsh’s publishing house in a secular, fully instrumental context.

The Concerto Grosso in G Major, Op. 3, No. 3 is like a three-movement mixtape of Handel covers, where a variety of earlier works are performed by an instrumental band of one flute or oboe, two solo violins, strings, and continuo. The playful opening Allegro, derived from the anthem My song shall be alway, HWV 252, and the closing fugue, a colorful orchestral rendition of his keyboard Fugue in G Major, No. 231, HWV 606, is bridged by a brief, rapturous Adagio. In just 60 seconds, this slow movement captures the profound spiritual gravitas of its base material, the Te Deum written for the Duke of Chandos in 1717-18.

“Mr. HANDEL is in Music, what his own DRYDEN was in Poetry; nervous, exalted and harmonious; but voluminous, and, consequently, not always correct,” Avison wrote in 1753. “Their abilities equal to every thing; their execution frequently inferior. … Yet, as both their excellencies are infinitely more numerous than their deficiencies, so both their characters will devolve to latest posterity, not as models of perfection, yet glorious examples of those amazing powers that actuate the human soul.”

Handel’s ability to actuate the human soul is most definitely evident in his stellar set of 12 Concerti Grossi, Op. 6. Though some borrowing and self-referential material is included, these Grand Concerti largely comprise new material that is rife with exciting contrasts, enrapturing musician and listener alike with the sonic chiaroscuro that so embodies this genre.

Intended for use during productions of Handel’s oratorios and odes at London’s Lincoln’s Inn Fields Theater, these concertos are scored for a Corellian concertino group of two violins and cello and a ripieno ensemble of strings and continuo. The Concerto Grosso in G Major, Op. 6, No. 1 was completed on September 29, 1739. Bursting open with a sparkling, garrulous Allegro, the concertino and ripieno groups immediately engage in excited dialogue. The similarly exuberant closing Allegro echoes material from his friend Domenico Scarlatti’s keyboard Sonata in G Major, K. 2.

5

However similar, musicologist Alexander Silbiger writes that “the piece is by no means a paraphrase of the Scarlatti sonata and manages to sound altogether Handelian.” The Concerto Grosso in A Minor, Op. 6, No. 4 was finished just nine days later. The opening Largo affettuoso and the third movement Largo sigh in contrast with the resolute fugue of the second movement and the brusque, closing Allegro.

Handel’s Op. 4 organ concertos were similarly employed for performances at Covent Garden and are largely based on his previous works (think Joni Mitchell’s 2000 reinterpretation of “Both Sides Now”). The Organ Concerto in F Major, Op. 4, No. 5 is a thoughtful reworking of his Recorder Sonata in F Major, Op. 1, No. 11. Presented during a performance of Deborah on March 26, 1735, this work would have provided ample space to showcase Handel’s compositional versatility and improvisational skills.

In 1709, Irish composer Thomas Roseingrave, like many young musicians, found himself in Italy to hone his musical techniques. One evening, he met “a grave young man dressed in black and in a black wig, who had stood in one corner of the room,” recounted music historian Charles Burney. The man in black was asked to sit down at the harpsichord, and “when he began to play, Rosy said, he thought ten hundred d----ls [devils] had been at the instrument; he never had heard such passages of execution and effect before.” The man was revealed to be Domenico Scarlatti, and though the two became close friends and colleagues, Roseingrave did not touch the keyboard for a month after that encounter.

Roseingrave’s ardor for Scarlatti had lasting effects at home: His 1739 edition of XLII suites de pièces pour le clavecin en deux volumes composées par Domenico Scarlatti fed British cravings for Italian music and inspired the likes of Charles Avison. A former student of Francesco Geminani and church organist in his native Newcastle upon Tyne, Avison was as much a gifted writer as he was opinionated pundit.

Avison considered these pieces to be “extremely difficult,” as “few Performers are able to execute them with that Taste and Correctness they require. Therefore, the forming them into Parts, and taking off the Mask which concealed their natural Beauty and Excellency, will not only more effectually express that pleasing Air, and sweet Succession of Harmony, so peculiar to the Compositions of this Author, but render them more easy and familiar to the Instrument for which they were first intended.”

In 1744, Avison published Twelve Concertos in Seven Parts Done from Two Books of Lessons for the Harpsicord Composed by Sig. Domenico Scarlatti, a set of concerti grossi scored for strings whose movements are each drawn from different Scarlatti keyboard sonatas.

Charles Avison Born: February 16, 1709, in Newcastle upon Tyne, U.K. Died: May 9, 1770, in Newcastle upon Tyne

6

Concerto Grosso No. 1 in A Major showcases Avison’s stellar ability to seamlessly orchestrate works that are so characteristically suited for keyboard instruments. Opening with a lush, plaintive transposition of Scarlatti’s keyboard Sonata in G Major, K. 91, the work continues with a whirlwind orchestral toccata drawn from the Sonata in A Major, K. 24. The flowing, final Allegro of the Concerto Grosso No. 3 in D Minor transforms Scarlatti’s Sonata in D Minor, K. 1 into an exciting, orchestral discourse between the concertino and ripieno groups. Brimming with orchestral color and dynamic contrast, the Avison Concerti Grossi metamorphosize Scarlatti’s music so brilliantly that without any context one might not be aware that any other version of these pieces exist.

Second-year baroque bassoonist Georgeanne Banker holds a Historical Performance scholarship.

Notes on the Program By Georgeanne Banker (continued)

7

Richard Egarr was appointed music director of the Academy of Ancient Music in 2006, and shortly thereafter he established the Choir of the AAM. He was associate artist with the Scottish Chamber Orchestra (2011-17) and this season adds responsibilities as principal guest conductor of the Residentie Orkest The Hague and artistic partner of the St Paul Chamber Orchestra. He will become music director designate of the Philharmonia Baroque Orchestra and Chorale in 2020 and will assume the music directorship in 2021. He conducts leading symphony orchestras such as the London Symphony, Royal Concertgebouw, and Philadelphia as well as period ensembles such as Boston’s Handel and Haydn Society. A brilliant harpsichordist, and equally skilled on the organ and fortepiano, Egarr regularly plays solo at major venues such as Wigmore and Carnegie halls and has recorded many discs for Harmonia Mundi, notably of J.S. Bach, Couperin, Purcell, and Mozart, with a disc of music by Byrd and Sweelinck released by Linn in 2018. He trained as a choirboy at York Minster, was organ scholar at Clare College Cambridge, and later studied with Gustav and Marie Leonhardt. Egarr teaches at the Amsterdam Conservatoire and is a visiting artist at Juilliard.

About Richard Egarr

Juilliard415

Celebrating its 10th anniversary season, Juilliard415, the school’s principal period-instrument ensemble, has made significant contributions to musical life in New York and beyond, bringing major figures in the field of early music to lead performances of both rare and canonical works by composers of the 17th and 18th centuries. The many distinguished guests who have led Juilliard415 include Harry Bicket, William Christie, Monica Huggett, Nicholas McGegan, Rachel Podger, Jordi Savall, and Masaaki Suzuki. Juilliard415 tours extensively in the U.S. and abroad, having now performed on five continents, with notable appearances at the Boston Early Music Festival, Leipzig Bachfest, and Utrecht Early Music Festival (where Juilliard was the first-ever conservatory in residence), and on a 10-concert tour of New Zealand, where it returns for a second tour in spring 2020. With its frequent musical collaborator, the Yale Institute of Sacred Music, the ensemble has played throughout Scandinavia, Italy, Japan, Southeast Asia, the U.K., and India. Juilliard415 recently made its South American debut with concerts in Bolivia, a tour sponsored by the U.S. Department of State. In a concert with the Bach Collegium Japan, conducted by Masaaki Suzuki, Juilliard415 played a historic period-instrument performance of Mendelssohn’s Elijah at the Leipzig Gewandhaus in Germany. Previous seasons have been notable for side-by-side collaborations with Philharmonia Baroque in San Francisco as well as concerts directed by such eminent musicians as Ton Koopman, Robert Mealy, Kristian Bezuidenhout, and the late Christopher Hogwood.

Juilliard415, which takes its name from the pitch commonly associated with the performance of baroque music (A=415), has performed major oratorios and baroque operas every year since its founding, including a rare fully staged production of Rameau’s Hippolyte et Aricie during the 2017-18 season. During the 2018-19 season, the ensemble presented Purcell’s Dido and Aeneas at Opera Holland Park in London and the Royal Opera House of Versailles. A frequent collaborator with Juilliard’s Dance division, Juilliard415 premiered new choreography by Juilliard dancers last season in an all-Rameau program led by Robert Mealy and teams up again with Juilliard Dance this season for a new work choreographed by Andrea Miller.

Juilliard415 has had the distinction of premiering new works for period instruments, most recently for its Seven Last Words Project, a Holy Week concert at the Cathedral of St. John the Divine for which the ensemble commissioned seven leading composers, including Nico Muhly, Caroline Shaw, and Tania León. Upcoming highlights include performances with William Christie and Les Arts Florissants at the Philharmonie de Paris; Handel’s Rinaldo conducted by Nicholas McGegan in New York and at the Göttingen Handel Festival in Germany; a program of music inspired by Shakespeare led by Rachel Podger; the Juilliard415 debut of Pablo Heras-Casado in a program of music from the Spanish Baroque; another side-by-side collaboration with Philharmonia Baroque in San Francisco; and a return engagement by Masaaki Suzuki.

9

Juilliard Historical Performance

Administration

Robert Mealy, DirectorBenjamin D. Sosland, Administrative DirectorRosemary Metcalf, Assistant Administrative DirectorAnnelise Wiering, Coordinator for Scheduling and Educational Support

Juilliard’s full-scholarship Historical Performance program offers comprehensive study and performance of music from the 17th and 18th centuries on period instruments. Established and endowed in 2009 by the generous support of Bruce and Suzie Kovner, the program is open to candidates for master of music, graduate diploma, and doctor of musical arts degrees. A high-profile concert season of opera, orchestral, and chamber music is augmented by a performance-oriented curriculum that fosters an informed understanding of the many issues unique to period-instrument performance at the level of technical excellence and musical integrity for which Juilliard is renowned. The faculty comprises many of the leading performers and scholars in the field. Frequent collaborations with Juilliard’s Ellen and James S. Marcus Institute for Vocal Arts, the integration of modern instrument majors outside of the Historical Performance program, and national and international tours have introduced new repertoires and increased awareness of historical performance practice at Juilliard and beyond. Alumni of Juilliard Historical Performance are members of many of the leading period-instrument ensembles, including the Portland Baroque Orchestra, Les Arts Florissants, Mercury, and Tafelmusik, and they have also launched such new ensembles as the Sebastians, House of Time, New York Baroque Incorporated, and New Vintage Baroque.

10

Faculty

ViolinElizabeth BlumenstockRobert MealyCynthia Roberts

CelloPhoebe Carrai

Viola da GambaSarah Cunningham

BassDouglas Balliet

FluteSandra Miller

OboeGonzalo Ruiz

BassoonDominic Teresi

Plucked InstrumentsDaniel SwenbergCharles Weaver

HarpsichordRichard EgarrBéatrice MartinPeter Sykes

Continuo SkillsAvi Stein

Core StudiesThomas Forrest KellyRobert MealyPeter Sykes

Historical Theory/ImprovisationPeter SykesCharles Weaver

Secondary LessonsNina Stern (recorder)John Thiessen (trumpet)Todd Williams (horn)

Artists in ResidenceWilliam ChristieRichard EgarrRachel Podger

11

Juilliard415 Roster

Violin 1(First Half) Chloe Kim (concertino)Majka DemcakRebecca NelsonShelby YaminNatalie Kress

(Second Half) Shelby Yamin (concertino)Kako MiuraManami MizumotoChloe KimAniela Eddy

Violin 2 (First Half)Manami Mizumoto (concertino)Kako MiuraAniela EddyRachel Prendergast

(Second Half)Rebecca Nelson (concertino)Natalie Rose KressMajka DemcakRachel Prendergast

ViolaEdward LiEdson Scheid

Cello Jin Nakamura (concertino, first half)Sydney ZumMallen (concertino, second half)Charlie Reed

BassJohn Stajduhar

FluteTaya König-Tarasevich

OboeMatthew HudgensEmily Ostrom

BassoonCatalina Guevara Viquez

HarpsichordRichard EgarrNicola Canzano

Organ Jacob Dassa

TheorboJoshua Stauffer

Over $1 millionBruce and Suzie KovnerStephanie and Carter McClelland/

The Stephanie and Carter McClelland Foundation

Katheryn C. Patterson and Thomas L. Kempner Jr.

Anonymous

$500,000–$999,999Jody and John ArnholdInternational Foundation

for Arts and CultureEllen MarcusMichael E. Marks

Family Foundation

$250,000–$499,999Susan and Elihu Rose FoundationFord FoundationMax H. Gluck FoundationLincoln Center Corporate FundDeborah J. SimonThe Virginia B. Toulmin Foundation

$100,000–$249,999Julie Choi and Claudio CornaliMary L. GrahamJerome L. Greene FoundationJoan W. Harris/The Irving Harris

FoundationMatt Jacobson and

Kristopher L. DukesBeth and Christopher KojimaMarjorie and Michael LoebVincent and Anne MaiYoshiko and Greg MargoliesChristina McInerneyStephen NovickJeffrey Seller and Joshua LehrerSarah Billinghurst Solomon and

Howard SolomonYael Taqqu and Jeremy LevineAnonymous

$50,000–$99,999Herbert A. AllenThe Augustine FoundationNorman S. BenzaquenDan J. Epstein

and the Dan J. Epstein Family Foundation

The Fan Fox and Leslie R. Samuels Foundation

Edythe GladsteinKeith and Barbara GollustConstance Goulandris FoundationJudith McDonough KaminskiKaren and Paul LevyMr. and Mrs. Robert D. LindsayPrincess Grace Foundation–USA

Nancy A. MarksJoyce F. MenschelPhyllis RosenthalAnna E. Schoen-René Fund at

The New York Community TrustThe Shubert Foundation, Inc.Bruce B. Solnick, Ph.D.Steinway & SonsHelen V. Vera and Kent A. ClarkAnonymous (2)

$25,000–$49,999Akin, Gump, Strauss,

Hauer & Feld; LLPArnhold Foundation, Inc.Irving Berlin Charitable FundMary L. BiancoHeidi Castleman KleinCrankstart FoundationSusanne D. EllisJoan and Peter FaberBarbara G. FleischmanThe Horace W. Goldsmith

FoundationLCU Fund for Women’s EducationEdward F. Limato FoundationLaura Linney and Marc SchauerThe Moca FoundationThe Ambrose Monell FoundationEnid and Lester MorseRaymond-Cryder Designated Fund

of the Lehigh Valley Community Foundation

Eun Jung Roh and Keun-Chang Yoon

Thomas Schumacher and Matthew White

Mark ShumanBarbara J. SlifkaThe George L. Shields FoundationSydney WeinbergAnonymous (5)

$15,000–$24,999Edwin L. ArtztLaurel and Clifford AsnessBarbara and Gary BrandtAllen R. and Judy Brick FreedmanNancy and Bruce HallBrian and Darlene HeidtkeDr. Elliot Gross and

Dr. Alice HelpernGordon D. HendersonThe Katzenberger Foundation, Inc.Dominique Lahaussois and

David LowMr. and Mrs. Jean-Hugues

J. MonierEvelyn and John PoppDr. Gary PortadinMrs. Susan L. Robinson

Schuld Family FundJeremy SmithBradley WhitfordCecil M. Yarbrough and

Ronald S. CsuhaAnonymous (4)

$10,000–$14,999American Turkish SocietyMichelle and Jonathan AuerbachElaine S. BernsteinMs. Diana BersohnFlorence and Paul DeRosa

Memorial FundDr. Lee MacCormick Edwards

Charitable FoundationMr. and Mrs. Jonathan FileSidney E. Frank FoundationCandice and John FrawleyJennifer and Bud GruenbergYounghee Michelle Kim-WaitMitzi KooDominique and Frédéric LaffontYaru LiuAlan and Laura MantellHarold W. McGraw Jr.

Family FoundationTerry Morgenthaler and

Patrick KerinsLeslie and Mitchell NelsonOmomuki FoundationAndres Mata OsorioHoward S. Paley ‡Michael A. PetersonJohn R. PhilpitJoseph S. Piropato and

Paul MichaudPre-College Parents’ Association

of The Juilliard SchoolThe Presser FoundationGrace RichardsonHartley Rogers and Amy FallsYukari SaegusaRoger SantAlexander I. TachmesMarjorie Tallman Educational

FoundationRobert and Jane TollLoRaine Kent Vichey

Memorial TrustAnita and Thomas VolpeSedgwick A. WardJohn J. YarmickLucille and Jack Yellen FoundationJudy Francis ZankelAnonymous (5)

$7,500–$9,999Arlene ‡ and Edmund GrossmanBernard HoltzmanMcKinsey & Company, Inc.

The Juilliard School is deeply grateful to the following individuals, foundations, and corporations for their

annual gifts in support of Juilliard’s multifaceted performances, educational activities, and scholarships.

Juilliard Annual Supporters

Elizabeth J. MisekGillian SorensenBarbara and Donald ToberKara UnterbergAnonymous

$5,000–$7,499Lorraine A. AbrahamWalter and Marsha ArnheimJanet E. BaumgartnerCasey Bayles and William JeffreyMarshall S. Berland and

John E. JohnsonAnne Louise and Matthew BostockLichung ChenSuzanne CoganBetsy L. CohnDana FoundationDudley and Michael Del BalsoBarbaralee Diamonstein-SpielvogelJ. Christopher and Violet EaganEdythe FishbachJocelyn and W. E. GallinekThe Harkness Foundation

for DanceDr. Daniel E. HaspertKatherine L. HufnagelJapanese Chamber of Commerce

and Industry of New YorkFrances KazanMrs. William M. LeseHelen LittleThe Frederick Loewe FoundationNancy Long, Ph.D. and

Marc WaldorMr. Jerome N. LowenthalMr. and Mrs. Peter L. MalkinMr. Edward J. MaloneyLane MerrifieldJohn MichalskiMichael R. OsverThe Laura Pels International

Foundation for TheaterJudy and Jim PohlmanEdith Polvay-KallasSabine RenardMary G. Roebling Musical

Scholarship Fund, Inc.Ida & William Rosenthal

FoundationPamela and Richard Rubinstein

Susan Seo and Dennis FriedmanAnnaliese SorosMichael and Claudia SpiesAlec P. Stais and Elissa BurkeKristine Jarvi TylerGeorgeann Delli VenneriNathaniel Wertheimer and

Taya SchmidAndrew P. WilloughbyStanley P. WilsonAnonymous (4)

$2,500–$4,999Nadine Asin and

Thomas van StraatenEmanuel and Yoko AxPhilip A. BiondoLucienne and Claude Bloch, M.D.BMW of North America, LLCMr. Robert BrennerTrudy and Julius BrownElaine J. BudinSteven C. Calicchio FoundationCaptiva FoundationKathryn G. CharlesBeverly and Herbert ChaseMr. Kenneth H. ChaseNancy CohnTheodore CohnAnne and Stephen CunninghamIsabel CunninghamJohn R. DossRobert & Mercedes Eichholz

FoundationMarilyn and Steven EmanuelMichael J. Fabrikant ‡ and

C. DallosEric J. FriedmanJeffrey and Helen FriedmanKenneth GreensteinLynda and Paul GuntherBarbara HendricksHighBrook InvestorsDavid B. Hunt and

Patricia Heaton-HuntJudy and Lindley HoffmanJuilliard Alumni Association

of JapanElma and Howard ‡ KanefieldRobert O. KenetBarbara and Paul Krieger

Peter LaneJay H. Lefkowitch, M.D.Mrs. John M. LewisChristopher and Beth LyonRobert and Bridget LyonsWynton MarsalisRodney McDanielStephen A. Meyers and Marsha

Hymowitz-MeyersPaula Paster MichtomTim B. Nelson and

Lisa M. Benavides-NelsonStanley Newman and

Dr. Brian RosenthalStuart OwensDr. Steve and Rochelle PrystowskyLinda RayCatherine G. RobertsJanet and Howard RoseDiane Kelly RyanNancy SchlossMiriam K. SchneiderGeraldine L. Sedlar and

Richard MinersSandra SemelThe Maurice Sendak FoundationBrandon SherrDouglas SillsDr. Steven P. Singer and

Dr. Alan SalzmanJudith and F. Randall SmithDr. Karen P. SmithJeffrey R. SolomonMark SnowMarjorie and Michael SternMr. and Mrs. John StravinskyElise C. TepperDr. Daniel M. Thys and

Dr. Susan Thys-JacobsAnthony and Elaine ViolaRui WangMs. Johanna WeberMichael WeinsteinSusan M. WhelanRebecca Wui and Raymond KoAnonymous (4)

‡ = In MemoriamAs of August 19, 2019

Please consider making an investment in the future of dance, drama, and music today and help

The Juilliard School remain at the forefront of performing arts education. For more information

or to make a gift, please contact the Development Office at (212) 799-5000, ext. 278,

or development@juilliard.edu.

Juilliard Annual Supporters (Continued)

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, as well as to those

anonymous members who are not listed:

Barbara Rogers AgosinDonald J. Aibel*Veronica Maria AlcareseDouglas S. AndersonMitchell Andrews*Dee AshingtonRichard BealesYvette and Maurice‡ BendahanDonald A. Benedetti*Helen Benham*Elizabeth Weil Bergmann*Marshall S. Berland and

John E. JohnsonAnne L. BernsteinBenton and Fredda Ecker BernsteinLeslie Goldman Berro*Susan Ollila BoydMrs. George E. BoyerPeter A. BoysenNina R. BrilliGene T. BrionSteven and Colleen BrooksCarol Diane Brown and

Daniel J. RuffoBeryl E. BrownmanEliane BukantzAlan‡ and Mary CarmelNancy and Neil CelentanoWendy Fang Chen*Julie A. Choi* and Claudio CornaliDr. Barbara L. Comins* and

Mr. Michael J. CominsCharlotte Zimmerman Crystal*Rosemarie CufaloChristopher Czaja Sager*Harrison R.T. DavisRobert Lee DeanStephen and Connie DelehantyRonald J. Dovel and Thomas F. LahrJohn C. Drake-JenningsRyan* and Leila EdwardsLou EllenportLloyd B. EriksonEric Ewazen*Holly L. FalikBarbara and Jonathan FileStuart M. FischmanDr.*‡ and Mrs. Richard B. FiskJudi Sorensen FlomAnn Marie Smith FordeLorraine FoxJohn and Candice FrawleyDr. Mio FredlandChaim Freiberg*Naomi FreistadtConstance Gleason FurcoloMichael Stephen Gallo*William Gati* and Paul Gati*‡Anita L. Gatti*Thelma and Seymour Geller,

on behalf of Jane Geller

Rabbi Mordecai Genn Ph.D.Mark V. Getlein*John R. GillespieValerie Girard*Professor Robert Jay GlickmanDr. Ruth J.E. GlickmanSheryl GoldJennifer L. GranucciThe Venerable John A. GrecoDrs. Norman*‡ and Gilda GreenbergArlene‡ and Edmund GrossmanMiles Groth, Ph.D.Emma GruberRosalind GuaraldoLeo Guimond*Ruth HaaseRobert S. Haggart Jr.* and

Stephanie Haggart*Louise Tesson HallRalph HamakerStephen and Andrea HandlemanRev. Tozan Thomas Hardison*Ralph*‡ and Doris Harrel*Judith Harris and Tony WoolfsonRobert G. HartmannIra Haupt II and Joyce K. HauptRobert Havery*S. Jay Hazan M.D.Betty Barsha HedenbergBrian J. HeidtkeGordon D. HendersonMayme Wilkins HoltJulie Holtzman*Gerri Houlihan*Katherine L. HufnagelJoseph N. and Susan IsolanoPaul Johnston and Umberto FermaJanice Wheeler Jubin* and

Herbert JubinPeter H. JuddMichael KahnGeorge* and Julia KatzYounghee Kim-WaitRobert King*Linda Kobler* and

Dr. Albert Glinsky*Bruce KovnerEdith Kraft*Mr. and Mrs. Paul A. KrellDr. Yvonne LamyFrancine Landes*Sung Sook Lee*Paul Richards Lemma and

Wilhelmina Marchese Lemma‡Loretta Varon Lewis‡ and

Norman J. LewisNing Liang*Joseph M. Liebling*In honor of Peter LimonJerry K. LoebRichard Lopinto

Eileen Lubars*Chuck MantonCyril‡ and Cecelia MarcusSerena B. MarloweDolores Grau Marsden*Sondra MateskyStephanie and Carter McClelland

and The Stephanie and Carter McClelland Foundation

Joseph P. McGintyDr. and Mrs. N. Scott McNuttPauline and Donald B.‡ MeyerStephen A. Meyers and Marsha

Hymowitz-MeyersPaula P. MichtomLeo*‡ and Anne Perillo Michuda*Warren R. MikulkaStephen MittmanRobert A. MorganValerie Wilson Morris*Diane MorrisonMark S. MorrisonL. Michael and Dorothy MoskovisGail MyersMyron Howard Nadel*Steven W. Naifeh and

Gregory White Smith‡Anthony J. NewmanOscar and Gertrude Nimetz FundStephen NovickJane OwensMr.‡ and Mrs. Donald PartonCelia Paul and Stephen RosenAndrea Pell Living TrustJeanne M.* and

Raymond Gerard*‡ PellerinJane V. Perr M.D.Ken Perry*Jean PierkowskiElissa V. Plotnoff Pinson*Fred PlotkinJudy and Jim PohlmanGeraldine PollackSidney J.‡ and Barbara S. PollackJohn G. PoppThomas and Charlene PreiselArthur Press*Bernice PriceGena F. Raps*Karen J. RavenNancy L. ReimSusan M. Reim*Susan D. ReinhartMadeline Rhew*Michael RiggLeslie Swan Weirman RileyDouglas Riva*Lloyd*‡ and Laura RobbDaniel P. RobinsonYvonne Robinson*

The Augustus Juilliard Society

For information about becoming a member of the Augustus Juilliard Society, please visit juilliard.edu/plannedgiving, call (212) 799-5000, ext. 7152, or write to lpadua@juilliard.edu. Have you included Juilliard in your planning? Please let us know so that we may thank you and recognize you as a member of the Augustus Juilliard Society.

Carlos Romero and Joanne Gober Romero

Linda N. Rose*Susan W. RoseSam* and Deborah RotmanLynne RutkinJoan St. James*Riccardo SalmonaHarvey SalzmanMichael and Diane SandersNancy SchlossCasiana R. SchmidtShelby Evans Schrader‡ and

John Paul Schrader Irene SchultzWilliam C. SchwartzDavid ShapiroDr. Robert B. Sharon*Edmund Shay* and

Raymond Harris‡Robert D. SholitonArthur T. Shorin

Steven P. Singer M.D. and Alan Salzman M.D.

Barbara Thompson SlaterBruce B. SolnickCarl Solomon Sr. Evelyn Sun Solomon*Gary SorenBarbara H. StarkLynn SteuerSally T. StevensJames Streem*Henry and Jo StroussCheryl V. TalibPhyllis K. TeichThomas W. ThompsonTom Todoroff* and Emily MoultonAnli Lin Tong*Marie Catherine TorrisiDr. Marta Vago*Walter* and Elsa VerdehrPaul WagenhoferDietrich and Alice Wagner

Alberto and Paulina A. WaksmanStanley Waldoff*Jessica WeberCatherine White*Miriam S. WienerRobert Wilder‡ and Roger F. KippAlice Speas Wilkinson*Yvonne Viani WilliamsMargaret S. WilliamsonClark* and Sally Ann* WilsonDr. Theo George WilsonElizabeth R. WoodmanEdward YanishefskyLila York78 anonymous members,

including 27 alumni

As of August 8, 2019* = alumnus/alumna‡ = deceased

Estates and Trusts

The Juilliard School is profoundly grateful for the generous gifts received from the following Estates

and Trusts between July 1, 2018 and September 5, 2019. We remember the individuals who made

these gifts for their vision in supporting future generations of young performing artists at Juilliard.

The Jere E. Admire Charitable TrustHarold Alderman TrustEstate of Celia AscherTrust of Jack BakalEstate of Henrie Jo BarthThe Claire Lois Bechter TrustTrust of Sonia BlockBetty and Daniel Bloomfield FundEstate of Joseph P. BrintonEstate of Alan BroderEstate of Ruth F. BroderEstate of George BryantEstate of John Nicholson BulicaEstate of Michael Kevin BurkeTrust of John Dexter BushEstate of Margaret ButterlyHarvey M. Cohen Revocable Living TrustEstate of Lito De ManalangJohn L. Drew Living TrustEstate of Alice Shaw FarberFima Fidelman TrustDora L. Foster TrustMarilyn H. Garey Charitable Remainder TrustEstate of Anna GoldEstate of Rachel Mintz GoldingGordon A. Hardy Charitable Remainder TrustWilliam J. Henderson Memorial FundFrances B. Hoyland Trust

Jeff Hunter Charitable TrustTrust of Edward JabesHerman Joseph Revocable TrustHamilton H. Kellogg and Mildred H. Kellogg

Charitable TrustEstate of Dorothy B. KurzenEstate of Eve LyndlemarchMildred Reading Irrevocable TrustEstate of Lillian RogersHoward and Ethel Ross TrustDinah F. Rosoff Revocable Living TrustEstate of Edith SagulEstate of Emanuel SarfatyEstate of Harold C. SchonbergEstate of Natalie SelingerEstate of Abraham SheingoldArline J. Smith TrustJanice Dana Spear TrustEstate of Winifred SperryEstate of Bruce SteegIrene Stetson TrustEstate of Robin TabachnikTomoko TrustThe Agnes Varis TrustEsta and Victor Wolfram TrustTrust of Helen Marshall WoodwardIrene Worth Fund for Young ArtistsDarrell Zwerling Living Trust

The Augustus Juilliard Society (Continued)

Juilliard Board of Trustees and Administration

EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION

Damian Woetzel, President

Office of the PresidentJacqueline Schmidt, Vice President and Chief of StaffKathryn Kozlark, Special Projects Producer

Office of the Provost and DeanAra Guzelimian, Provost and DeanJosé García-León, Dean of Academic Affairs and Assessment

Dance DivisionAlicia Graf Mack, DirectorKatie Friis, Administrative Director

Drama DivisionEvan Yionoulis, Richard Rodgers DirectorRichard Feldman, Associate DirectorKatherine Hood, Managing Director

Music DivisionAdam Meyer, Director, Music Division, and

Deputy Dean of the CollegeBärli Nugent, Assistant Dean, Director of Chamber MusicJoseph Soucy, Assistant Dean for Orchestral StudiesMario Igrec, Chief Piano TechnicianJoanna K. Trebelhorn, Director of Orchestral and Ensemble

Operations

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

for the Kovner Fellowships

JazzWynton Marsalis, Director of Juilliard JazzAaron Flagg, Chair and Associate Director

Ellen and James S. Marcus Institute for Vocal ArtsBrian Zeger, Artistic DirectorKirstin Ek, Director of Curriculum and SchedulesMonica Thakkar, Director of Performance Activities

Lila Acheson Wallace Library and Doctoral Fellows ProgramJane Gottlieb, Vice President for Library and Information Resources;

Director of the C.V. Starr Doctoral Fellows ProgramJeni Dahmus Farah, Director, ArchivesAlan Klein, Director of Library Technical Services

Preparatory DivisionWeston Sprott, DeanYoheved Kaplinsky, Artistic Director, Pre-CollegeAnthony McGill, Artistic Director, Music Advancement ProgramRebecca Reuter, Administrative Director, Music Advancement

ProgramEkaterina Lawson, Director of Admissions and Academic Affairs,

Pre-CollegeAnna Royzman, Director of Performance Activities, Pre-College

Enrollment Management and Student DevelopmentJoan D. Warren, Vice PresidentKathleen Tesar, Associate Dean for Enrollment ManagementBarrett Hipes, Dean for Student DevelopmentSabrina Tanbara, Assistant Dean of Student AffairsCory Owen, Associate Dean of Student Development William Buse, Director of Counseling ServicesRachel Christensen, Administrative Director, Alan D. Marks Center

for Career Services and EntrepreneurshipKatherine Gertson, RegistrarTina Gonzalez, Director of Financial AidTeresa McKinney, Director of Community EngagementCamille Pajor, Title IX CoordinatorTodd Porter, Director of Residence LifeHoward Rosenberg MD, Medical DirectorDan Stokes, Director of Academic Support and Disability ServicesBeth Techow, Administrative Director of Health and

Counseling Services

DevelopmentAlexandra Wheeler, Vice President and Chief Advancement OfficerKatie Murtha, Director of Major GiftsLori Padua, Director of Planned GivingRebecca Vaccarelli, Director of Alumni RelationsKim Furano, Director of Foundation and Corporate RelationsRobyn Calmann, Director of Special Events

Public AffairsRosalie Contreras, Vice President of Public AffairsMaggie Berndt, Communications DirectorBenedict Campbell, Website DirectorJessica Epps, Marketing DirectorSusan Jackson, Editorial Director

Office of the Chief Operating Officer and Corporate SecretaryLesley Rosenthal, Chief Operating Officer and Corporate SecretaryChristine Todd, Vice President and CFOCameron Christensen, Associate Vice President, Facilities

ManagementKent McKay, Associate Vice President for ProductionBetsie Becker, Managing Director of K-12 ProgramsMichael Kerstan, ControllerIrina Shteyn, Director of Financial Planning and AnalysisNicholas Mazzurco, Director of Student Accounts/BursarNicholas Saunders, Director of Concert OperationsTina Matin, Director of MerchandisingKevin Boutote, Director of Recording

Administration and LawMaurice F. Edelson, Vice President for Administration and

General CounselMyung Kang-Huneke, Deputy General CounselCarl Young, Chief Information OfficerSteve Doty, Chief Technology OfficerDmitriy Aminov, Director of IT EngineeringClara Perdiz, Director of Client Services, ITJeremy Pinquist, Director of Enterprise ApplicationsCaryn G. Doktor, Director of Human ResourcesAdam Gagan, Director of SecurityHelen Taynton, Director of Apprentice Program

BOARD OF TRUSTEES

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

Julie Anne ChoiKent A. ClarkBarbara G. FleischmanMary GrahamJoan W. HarrisMatt JacobsonEdward E. Johnson Jr.Karen M. LevyTeresa E. LindsayLaura LinneyMichael LoebVincent A. MaiEllen MarcusGreg Margolies

Nancy A. MarksStephanie Palmer McClellandChristina McInerneyLester S. Morse Jr.Stephen A. NovickSusan W. RoseJeffrey SellerDeborah SimonSarah Billinghurst SolomonWilliam E. "Wes" Stricker, MDYael TaqquDamian WoetzelCamille Zamora

JUILLIARD COUNCIL

Mitchell Nelson, Chair

Michelle Demus AuerbachBarbara BrandtBrian J. HeidtkeGordon D. HendersonPeter L. KendYounghee Kim-WaitSophie Laffont

Jean-Hughes MonierTerry MorgenthalerJohn G. PoppGrace E. RichardsonJeremy T. SmithAlexander I. TachmesAnita Volpe

TRUSTEES EMERITI

June Noble Larkin, Chair Emerita

Mary Ellin BarrettKenneth S. DavidsonKeith R. Gollust

Sidney R. KnafelElizabeth McCormack

Joseph W. Polisi, President Emeritus

Pho

to b

y C

laud

io P

apap

ietr

o

Join today!juilliard.edu/membership (212) 769-7409 Or visit the Juilliard box office

Benefits include:

• Ticket discounts• Priority seating• Behind-the-scenes events• Exclusive offers• Special access

Enhance your Juilliard experience and enjoy exclusive benefits for 12 months while supporting our remarkable artists.

Members Get More

Are you a young patron under 40?

Ask us about Juilliard Club,

starting at just $25!

i

Attend a performanceEnroll in an adult classShop at our storeHire our performersSupport Juilliard juilliard.edu