Monday Evening, April 23, 2018, at 7:30

The Juilliard School

presents

Juilliard OrchestraFeaturing Four World Premieres by Juilliard Composers

Jeffrey Milarsky, ConductorAleksandra Kasman, PianoMatthew Pearce, TenorAlice Ivy-Pemberton, Violin

JACK FRERER (b. 1995) On-Again, Off-Again (2017)

MARCO-ADRIÁN RAMOS (b. 1995) Toys in a Field: Songs from Dien Cai Dau(2018) Starlight Scope Myopia We Never Know “You and I Are Disappearing” Toys in a Field MATTHEW PEARCE, Tenor

Intermission

MARC MIGÓ (b. 1993) Nocturne (2017–18) ALICE IVY-PEMBERTON, Violin ALEKSANDRA KASMAN, Piano

WILL STACKPOLE (b .1990) Feed (2018)

Performance time: approximately 1 hour and 15 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).

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

Notes From theComposersOn-Again, Off-AgainJACK FRERER

“Write what you know” is something Ithink about a lot, and having lived in NewYork for a few years, I probably know thesubway system better than I know certainrelatives. On-Again, Off-Again is about mycommute home to 157th Street. To me,nothing could be a better symbol than thesubway of the energy shifts that you findin New York.

I divided On-Again, Off-Again into threesections. The first is fast, frantic, repeat-edly cutting between musical gestures ofthe subway doors sliding shut, trainshurtling down tracks, their cars violentlyrocking back and forth. Each time thesegestures repeat, they’re intersected by asomewhat silly Leroy Anderson-esquetune which arrives whenever the train bal-ances itself out, having reached cruisingspeed. As this musical train reaches itsstops, this tune decelerates, reaching a fullstop at each platform.

The music ascends to the second section,the 125th Street 1-train stop, which skiesover Harlem. The music passes in whatseems like slow motion, peaceful andclear, before accelerating, growing moreand more intense, and plummeting backunderground for the third section: a final,manic push for the train to reach its desti-nation in which all of these musical themesand gestures combine before the doorsslam shut one final time.

Toys in a Field: Songs from Dien Cai DauMARCO-ADRIÁN RAMOS

We seem to be living in a time of great ten-sion, as though just hovering on the edge

of some tremendous shift; I think anyonereading this could agree that the climate ofthe world feels profoundly unsettled. Thiswas one catalyst for Toys in a Field.Another was the Christopher Nolan filmDunkirk, a work that also feeds on our zeit-geist and left me even more terrified overthe concept and practice of “war.” YusefKomunyakaa’s haunting poetry had beenpart of my subconscious since early in myundergraduate studies; returning to hisbook Dien Cai Dau (the title means “crazyhead” in Vietnamese) during the summerof 2017, I felt the previously divergentstrands of emotional and musical contentbegin to vibrate together in my mind.Recounting his experience of the VietnamWar ex post facto, Komunyakaa mixes asense of detachment wrought by a decadeof time with the excruciating and at timesdisarmingly beautiful circumstances andimages of his then-reality.

Musically, the orchestra acts as an exten-sion of the voice, only briefly resisting itsmagnetism in the second movement.Otherwise, the vocal line is almost con-stantly refracted, doubled, and echoed bythe orchestra. As the poet does in hiswork, I sparingly incorporate elements ofSoutheast Asian musics, but they existmore as distant recollections than any sortof faithful reconstruction.

“Starlight Scope Myopia” is narrated fromthe perspective of a soldier, at night,watching Vietcong through the scope ofhis weapon. The voice forges ahead in aconstantly morphing stream of conscious-ness as the orchestra twitches and shiftsanxiously in and out of focus.

“We Never Know” offers a moment ofhumanity between a soldier and a just-felled enemy combatant. Echoes andlong, stretched-out phrases suggest aplace of memory.

The poem “You and I Are Disappearing”delivers with stunning immediacy the actof passively watching a Vietnamese girlburn alive. The music mechanically movesin forward motion, softening briefly intofantastical shimmering. The music is galva-nized again by the terror of reality, and thework’s only orchestral tutti is heard at theend of this song.

“Toys in a Field” returns to the memoryplace of the second poem. Over stringsand percussion, the singer reminds uswhat is left behind when war is over.

I thank with great fervor Matthew Pearce,Maestro Milarsky, and the Juilliard Orchestrafor their help in realizing this piece.

NocturneMARC MIGÓ

Nocturne is actually the second movementof a double concerto for violin and piano. Iwanted to explore the common elementsthat connect Spanish musical roots withArgentinian ones, as both cultures are closeand dear to me. This is why I decided tocompose this double concerto as if it werea journey from the Mediterranean coastline(Movement 1, Fantasy) to the energetic andvibrant Argentine province of Tucumán,located on the opposite side of the Atlantic(Movement 3, Rondo alla Chacarera).

The movement that will be played at thisconcert serves as a bridge connecting thetwo sides of the ocean. It starts alla saeta(an improvised religious chant from Spain)with an intimate and quiet violin accompa-nied by muted strings and sometimes asolo cello. This climate will gradually remindthe audience of Argentinian dances such asthe zamba—elegant and majestic—and thetango—energetic and passionate. Thenthere will be an unusual re-exposition ofthe initial material resulting in the conver-gence of two apparently irreconcilable

worlds: the quasi-religious, mystical musi-cal background and the mundane dances.In contrast with the first and final move-ments, the second is the quietest. The vio-lin has a much more prominent role thanthe piano and only the string section andharp are used.

FeedWILL STACKPOLE

For the two years before I composed FeedI had been living with a growing sense ofnegativity and unease. This was in part dueto the drastic developments in worldevents that have gone on in recent yearsbut it felt as though there was an evenmore permeating cause. This was a feelingI noticed not only in myself but in manyothers around me regardless of age, gen-der, race, income, political affiliation, or reli-gion, and I began to wonder what could beaffecting so many people this way. Withthe advent of social media ten or so yearsago, we experienced a shift in the way oursociety operates. From Facebook andInstagram to 24-hour news, Reddit, andSnapchat, we are inundated with alertsthat tempt us to browse infinite lists of ...well, nothing really. As we strive tobecome more and more connected—more“social”—we in fact only become more eas-ily distracted and distanced from our experi-ences. This influx of information leaves uswith frustration in place of connection.

Feed reflects on this anxiety. Throughoutthe whole piece, a single musical idea isdeveloped, growing longer and longer, butit is constantly interrupted and imposedupon by chattering and intrusive orchestralepisodes. A few of these episodes evendepict the feeling of an endlessly scrollingscreen, using an auditory illusion called aShepard tone. The orchestra ends up in asort of conversation with itself aboutwhether to pay attention to these musicaldistractions, at times lashing out to put a

stop to them, and at other times easingback into the comfort of the theme thatserves as the backbone of the piece. Inaddition to the more standard orchestralinstrumentation, Feed has a prominentpart for drum set. It creates a frantic

energy in places, helping to distinguish themain musical ideas from the interruptiveepisodes and propelling the music forwardin other places. It’s a sound I’ve been want-ing to pair with the orchestra since it is soversatile and ingrained in our collective ear.

TextsStarlight Scope MyopiaGray-blue shadows liftshadows onto an oxcart.

Making night work for us,the starlight scope bringsmen into killing range.

The river under Vi Bridgetakes the heart away

like the Water Godriding his dragon.Smoke-colored

Vietcongmove under our eyelids,

lords over lonelinesswinding like coral vine throughsandalwood and lotus,

inside our lowered headsyears after this scene

ends. The brain closesdown. What looks likeone step into the trees,

they’re lifting crates of ammoand sacks of rice, swaying

under their shared weight.Caught in the infrared,what are they saying?

Are they talking about womenor calling the Americans

beaucoup dien cai dau?One of them is laughing.You want to place a finger

to his lips and say “shhhh.”You try reading ghost talk

on their lips. They say“up-up we go,” lifting as one.This one, old, bowlegged,

you feel you could reach outand take him in your arms. You

peer down the sights of your M-16,seeing the full moonloaded on an oxcart.

We Never KnowHe danced with tall grass for a moment, like he was swaying with a woman. Our gun barrels glowed white-hot. When I got to him, a blue halo of flies had already claimed him.I pulled the crumbled photographfrom his fingers.There’s no other wayto say this: I fell in love.The morning cleared again,except for a distant mortarand somewhere choppers taking off.I slid the wallet into his pocketand turned him over, so he wouldn't bekissing the ground.

“You and I Are Disappearing”—Björn HåkanssonThe cry I bring down from the hillsbelongs to a girl still burninginside my head. At daybreakshe burns like a piece of paper.She burns like foxfirein a thigh-shaped valley.A skirt of flamesdances around herat dusk.

We stand with our handshanging at our sides,while she burnslike a sack of dry ice.She burns like oil on water.She burns like a cattail torchdipped in gasoline.She glows like the fat tipof a banker’s cigar,silent as quicksilver.A tiger under a rainbowat nightfall.She burns like a shot glass of vodka.She burns like a field of poppiesat the edge of a rain forest.She rises like dragon smoketo my nostrils.She burns like a burning bushdriven by a godawful wind.

Toys in a FieldUsing gun mountsfor monkey bars,Vietnamese childrenplay skin-the-cat,pulling themselves through—suspended in doorwaysof multimillion-dollar helicoptersabandoned in white-elephantgraveyards. With armsspread-eagled they imitatevultures landing in fields.Their play is silent asdistant rain,the volume turned downon the six o’clock news,except for the boywith American eyeswho keeps singing rat-a-tat-tat, hugginga broken machine gun.

Texts taken from Dien Cai Dau © 1988 by Yusef Komunyakaa, all rights reserved.Permission generously granted by Wesleyan University Press.

Meet the Artists

American conductor Jeffrey Milarsky is onthe conducting faculty at Juilliard, musicdirector of the school's AXIOM ensemble,and a senior lecturer in music at ColumbiaUniversity where he is the music directorand conductor of the Columbia UniversityOrchestra. He received his bachelor andmaster of music degrees from Juilliardwhere he was awarded the Peter MenninPrize for outstanding leadership andachievement in the arts. In recent seasonshe has worked with ensembles includingthe New York Phil harmonic, San FranciscoSymphony, Los Angeles Philharmonic, Mil -waukee Symphony, American ComposersOrchestra, Met Chamber Ensemble, BergenPhilharmonic, Chamber Music Society ofLincoln Center, New World Symphony, andthe Tanglewood Festival Orchestra. In theU.S. and abroad he has premiered andrecorded works by many groundbreakingcontemporary composers, in Carnegie Hall,Zankel Hall, Davies Symphony Hall, AliceTully Hall, Walt Disney Concert Hall,Boston’s Symphony Hall, and at IRCAM inParis, among others. Mr. Milarsky has along history of premiering, recording, andperforming American composers andthroughout his career has collaborated withJohn Adams, Milton Babbitt, John Cage,Elliott Carter, John Corigliano, George Crumb,Mario Davidovsky, Jacob Druckman, MichaelGordon, David Lang, Steven Mackey,Christopher Rouse, Ralph Shapey, MortonSubotnick, Charles Wuorinen, and an entiregeneration of young and developing com-posers. He was recently awarded with theDitson Conductor’s Award for his commit-ment to the performance of American music.

Jack Frerer, born in 1995, is an Australian-American composer of music for concert,film, and dance, as well as a producer andfilmmaker. He is pursuing his bachelor’s incomposition at Juilliard as a student ofJohn Corigliano. His work has been per-formed by a variety of ensembles aroundAustralia, Europe, and the U.S., and he haswon awards including a Charles IvesScholarship from the American Academyof Arts and Letters, and competitionsincluding Illinois State University’s RedNote Composition Competition, the AlbaRosa Viëtor Composition Competition inUtrecht, the Young Australian Music Com -position Competition, and Indiana StateUniversity’s Music Now Competition. As afilmmaker, he has created films for institu-tions including Juilliard and Quest Magazine,dancers Marcelo Gomes and Julie Kent,and music videos for bands and ensem-bles. He is a co-creator and producer of TheRoof, a collaborative film and performanceseries he created with dancer LianaKleinman which features New York–basedchoreographers and composers.George Gershwin Scholarship, RichardRodgers Scholarship in Composition

Violinist Alice Ivy-Pemberton is pursuingher bachelor of music degree at Juilliardwhere she is a student of Itzhak Perlmanand Catherine Cho. A native of New YorkCity, she began her music studies at age

PETER KONERKO

Jeffrey Milarsky

Jack FrererJULIE SKARRATT

Alice Ivy-Pemberton

four and studied violin with Nurit Pacht atthe Kaufman Music Center for ten years.She first performed on National PublicRadio’s From the Top program at the ageof ten and has also been featured as asoloist on the PBS series From the Top:Live from Carnegie Hall. She has wonnumerous concerto competitions, includ-ing those of the New York ChamberPlayers’ Orchestra, Ensemble 212, the SoundSymphony, and the Greenwich VillageOrchestra. The Conservatoire Américainde Fontainebleau awarded her the Prix duDirecteur in 2016 and she also took theaudience prize at the Conservatoire’s PrixRavel competition. Ms. Ivy-Pemberton hasperformed as a soloist in many venues inNew York including Bargemusic, ZankelHall, Merkin Concert Hall, and Carnegie Hall.Kovner Fellowship

Russian-American pianist Aleksandra (Sasha)Kasman is a winner of several internationalpiano competitions and has performedacross the U.S., Italy, Russia, Ukraine,France, South Korea, and Japan. She madeher concerto debut at age three with theSymphonic Orchestra of the NationalPhilharmonic of Ukraine and her Europeansolo debut at 14 in Salle Cortot. Recentappearances include solo recitals acrossNorthern Italy, in Kiev’s St. Sophia Cathedral,and performances at Alice Tully Hall andJuilliard. Upcoming engagements includerecitals at the Southeastern Piano Festival,Steinway Piano Gallery in Boca Raton, Florida,and return to Italy and Ukraine for solo andconcerto concerts. A dedicated music educa-tor, Ms. Kasman holds a PianoArts artist inresidence fellowship, and recently com-pleted her third consecutive teaching and

performing tour for PianoArts. She hastaught master classes at Lee Universityand the Wisconsin Conservatory of Music.Ms. Kasman grew up in Birmingham,Alabama, where she graduated from theUniversity of Alabama, Birmingham, whereshe studied with her father, Yakov Kasman.She is pursuing her master’s in piano per-formance at Juilliard, where she studieswith Robert McDonald.Joseph Fidelman Scholarship, Helen andMartin Kaltman Scholarship, The THOBACorporation Scholarship

Marc Migó, born in 1993, is a composerfrom Barcelona pursuing his master’s atJuilliard as a student of Melinda Wagner.He earned his bachelor’s at L’EscolaSuperior de Música de Catalunya (ESMUC)in Barcelona where he studied composi-tion with Salvador Brotons and AlbertGuinovart and piano under Liliana Sainz.Mr. Migó has attended the June in BuffaloFestival and the Charlotte New MusicFestival, and has won awards in a numberof European competitions including theFondazione Giorgio e Aurora Giovannini2014, Orient/Occident (in 2015 and 2016),and Bruno Maderna 2016. He has beencommissioned to write works for leadingCatalan orchestras including the BarcelonaSymphonic Band, Sant Cugat SymphonyOrchestra, and Cerdanyola SymphonicBand. He has also received commissionsfrom the Nebula Ensemble, organist AaronRibas, pianist Victor Braojos, and theIsas/Kwiek duo. His orchestral music hasbeen played by Lemberg Simfonietta(Lviv), Camerata Eduard Toldra (Vilanova),La Banda Municipal de Barcelona, and LaOrquestra Simfonica de Sant Cugat. He is

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the recipient of the Fundacion SGAE schol-arship for international studies.

Tenor Matthew Pearce from Union, Ken -tucky, is a first-year master’s student invoice at Juilliard where he studies withMarlena Malas. During his time at theschool he has sung La Théière in L’enfantet les sortilèges and Spärlich in DieLustigen Weiber von Windsor. Mr. Pearcewas recently a featured soloist with theNational Chorale at Lincoln Center’s DavidGeffen Hall in the New York premiere ofAngela Rice’s Thy Will be Done. He attendedthe Aspen Summer Music Festival andSchool in 2016 and 2017 where he sangGastone in La traviata and Le Petit Vieillardin L’enfant et les sortilèges. Prior to Juilliard,Mr. Pearce attended the University ofKentucky where he studied under EverettMcCorvey and performed regularly as afeatured soloist with the University ofKentucky Symphony Orchestra.George H. Gangwere Scholarship, Simonand Anna Fabian Scholarship

Marco-Adrián Ramos, born in 1995, is aMexican-American composer and arrangerwho has written for voice, instrumentalensembles, and dance. He has attendedthe European-American Musical Alliance,Bowdoin International Music Festival, andthe Next Festival of Emerging Artists.

Composers with whom he has workedinclude Christopher Lacy, Robert Beaser,Derek Bermel, Aaron Jay Kernis, andArturo Márquez. He is the recipient of a2016 ASCAP Morton Gould Young ComposerAward, as well as being a 2017 finalist. In2018, he was awarded an artist grant fromthe National Association of Latino Arts andCultures in conjunction with composer-mentor Gabriela Lena Frank. At Juilliard, Mr.Ramos is a first-year master’s student study-ing with Christopher Rouse and is a teachingfellow in the ear training department.Georgia Shreve Scholarship in Composition,Abraham Ellstein Memorial Scholarship inComposition

Will Stackpole, from New Hampshire,began writing concert music as an under-graduate at Stevens Institute of Technologywhile studying guitar with Carlos Alomarand music theory with Andy Brick. He laterstudied composition with Justin Dello Joiowhile working in New York as a freelancecomposer and orchestrator for theater,film, and television. Mr. Stackpole’s recentwork includes Aft Agley (premiered by theJuilliard Orchestra in 2016), a work fororchestra that explores the process of itsown creation, and …Ask Questions Later(premiered in 2016 by the New JerseySymphony Orchestra), that highlights theconsequences of gun violence. He is thefounder and artistic director for Focal PointNew Music, a performing arts initiativethat each year pairs student composerswith players of a specific instrument that isunderrepresented in contemporary music.Mr. Stackpole holds a bachelor’s in musicand technology from Stevens Institute of

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Alan Gilbert, Director of Conducting and Orchestral Studies, William Schuman Chair in Musical StudiesJeffrey Milarsky, Guest Conductor

Juilliard Orchestra

Violin IHannah Tarley,Concertmaster

Ewald CheungTimothy ChooiPhoebe GardnerSoo Yeon KimChisa KodakaAriel Seung Hyun Lee K.J. McDonaldXiaoxuan ShiLucas StratmannNaoko TajimaMitsuru YonezakiBrenden ZakPinhua ZengYutong ZhangEmma Zhuang

Violin IIMary Grace Johnson,Principal

Shenae AndersonJi Soo ChoiRinat ErlichmanDiana Do Hyung KimNikayla KimAbigél KrálikColin Laursen Xingyu LiHaeun Oh Yeri Roh Sophia StoyanovichMomo WongChristine Wu

ViolaLisa Sung, PrincipalIsabella BignascaStephanie BlockEn-Chi ChengHannah GeisingerBethany HargreavesSung Jin Lee

Ji Eun ParkAo PengClaire SatchwellLauren SiessChloé Thominet

CelloAnne Richardson,Principal

Drew ConeNoah KraussYun-Ya LoThapelo MasitaPhilip SheegogSebastian StögerMarza Merophi WilksAaron WolffYi Qun Xu

Double BassYi-Hsuan Annabel Chiu,Principal

Nina BernatAlexander BickardDominic LawJonathan LuikNicholas MyersSheng-Yao Wu

FluteEmily Duncan, PrincipalLorenzo Morrocchi,Principal

Mei Stone, Principal

PiccoloEmily DuncanLorenzo MorrocchiMei Stone

Alto FluteMei Stone

OboeVictoria Chung,Principal

Russell Hoffman,Principal

Pablo O’Connell,Principal

Mitchell Kuhn

English HornRussell HoffmanMitchell Kuhn

ClarinetNa Yoon Kim, PrincipalAlec Manasse, PrincipalPhillip Solomon,Principal

E-flat ClarinetAlec Manasse

Bass ClarinetPhillip Solomon

BassoonJoshua Elmore,Principal

Joey Lavarias, PrincipalEmmali Ouderkirk,Principal

ContrabassoonJoey LavariasEmmali Ouderkirk

French HornKaci Cummings,Principal

Lee Cyphers, PrincipalAvery Roth-Hawthorne,Principal

Vincent Kiray

TrumpetAnthony Barrington,Principal

Marshall Kearse,Principal

Madison Lusby,Principal

Alex Wilborn

TromboneChristopher Houlihan,Principal

Ethan Shrier, Principal

Bass TromboneMarco Gomez, PrincipalEhren L. Valmé,Principal

TubaColin Benton, PrincipalGiovanni S. Maraboli,Principal

TimpaniHarrison Honor,Principal

Evan Saddler, Principal

PercussionToby Grace, PrincipalEvan Saddler, PrincipalDavid Yoon, PrincipalTaylor HamptonHarrison Honor

HarpLenka Petrovic

KeyboardChristopher Reynolds

Technology and a master’s in compositionfrom Juilliard, where he is pursuing hisD.M.A. as a student of Robert Beaser. He

has also studied with David Dzubay andBob Aldridge.C.V. Starr Doctoral Fellowship

About the JuilliardOrchestra

Juilliard’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 stagesof Alice Tully Hall, Carnegie Hall, DavidGeffen Hall, and Juilliard’s Peter Jay SharpTheater. The season opened in August witha collaboration between Juilliard and Finland’sSibelius Academy members conducted byEsa-Pekka Salonen with concerts in AliceTully Hall, Helsinki, and Stockholm. Theorchestra is a strong partner to Juilliard’sother divisions, appearing in opera and danceproductions. Under the musical leadership ofAlan Gilbert, the director of conducting and

orchestral studies, the Juilliard Orchestrawelcomes an impressive roster of world-renowned guest conductors this seasonincluding Thomas Adès, Joseph Colaneri,Edo de Waart, Chen Lin, David Robertson,Speranza Scappucci, and Gerard Schwarz, aswell as faculty members Jeffrey Milarskyand Mr. Gilbert. The Juilliard Orchestra hastoured across the U.S. and throughoutEurope, South America, and Asia, where itwas the first Western conservatory ensem-ble allowed to visit and perform following theopening of the People’s Republic of Chinain 1987, returning two decades later, in2008. Other ensembles under the JuilliardOrchestra umbrella include the conductor-less Juilliard Chamber Orchestra, the JuilliardWind Orchestra, and the new-music groupsAXIOM and New Juilliard Ensemble.

David Robertson will become Juilliard’sdirector of conducting studies, distin-guished visiting faculty, at the beginning ofthe 2018–19 season.

Joanna K. Trebelhorn, Directorof Orchestral and EnsembleOperations

Matthew Wolford, OperationsManager

Lisa Dempsey Kane, PrincipalOrchestra Librarian

Michael McCoy, OrchestraLibrarian

Deirdre DeStefano, OrchestraManagement Apprentice

AdministrationAdam Meyer, Associate Dean and Director, Music DivisionJoe Soucy, Assistant Dean for Orchestral Studies

JUILLIARD COUNCIL

Mitchell Nelson, Chair

EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION

Office of the PresidentJoseph W. Polisi, PresidentJacqueline Schmidt, Chief of Staff

Office of the Provost and DeanAra Guzelimian, Provost and DeanJosé García-León, Associate Dean for Academic AffairsRobert Ross, Assistant Dean for Preparatory Education Kent McKay, Associate Vice President for Production

Dance DivisionTaryn Kaschock Russell, Acting Artistic DirectorLawrence Rhodes, Artistic Director EmeritusKatie Friis, Administrative Director

Drama DivisionRichard Feldman, Acting Director Katherine Hood, Managing Director

Music DivisionAdam Meyer, Associate Dean and DirectorBärli Nugent, Assistant Dean, Director of Chamber MusicJoseph Soucy, Assistant Dean for Orchestral StudiesStephen Carver, 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

Jazz Wynton Marsalis, Director of Juilliard JazzAaron Flagg, Chair and Associate Director

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

Pre-College DivisionYoheved Kaplinsky, Artistic DirectorEkaterina Lawson, Director of Admissions and Academic AffairsAnna Royzman, Director of Performance Activities

Evening DivisionDanielle La Senna, Director

Lila Acheson Wallace LibraryJane Gottlieb, Vice President for Library and

Information Resources; Director of the C.V. Starr Doctoral Fellows Program

Enrollment Management and Student DevelopmentJoan D. Warren, Vice PresidentKathleen Tesar, Associate Dean for Enrollment ManagementBarrett Hipes, Associate Dean for Student Development Sabrina Tanbara, Assistant Dean of Student AffairsCory Owen, Assistant Dean for International Advisement

and Diversity InitiativesWilliam Buse, Director of Counseling ServicesKatherine Gertson, RegistrarTina Gonzalez, Director of Financial AidTeresa McKinney, Director of Community EngagementCamille Pajor, Title IX CoordinatorTodd Porter, Director of Residence LifeHoward Rosenberg MD, Medical DirectorBeth Techow, Administrative Director of Health

and Counseling ServicesHolly Tedder, Director of Disability Services

and Associate Registrar

FinanceChristine Todd, Vice President and Chief Financial OfficerMichael Kerstan, ControllerIrina Shteyn, Director of Financial Planning and Analysis Nicholas Mazzurco, Director of Student Accounts/Bursar

Administration and LawMaurice F. Edelson, Vice President for Administration

and General CounselJoseph Mastrangelo, Vice President for Facilities ManagementMyung Kang-Huneke, Deputy General Counsel Carl Young, Chief Information Officer Steve Doty, Chief Operations OfficerDmitriy Aminov, Director of IT EngineeringCaryn Doktor, Director of Human Resources Adam Gagan, Director of SecurityScott A. Holden, Director of Office ServicesJeremy Pinquist, Director of Client Services, ITHelen Taynton, Director of Apprentice Program

Development and Public AffairsAlexandra Day, Associate Vice President for Marketing

and CommunicationsKatie Murtha, Acting Director of DevelopmentBenedict Campbell, Website DirectorAmanita Heird, Director of Special EventsSusan Jackson, Editorial DirectorSam Larson, Design DirectorLori Padua, Director of Planned GivingEd Piniazek, Director of Development OperationsNicholas Saunders, Director of Concert OperationsEdward Sien, Director of Foundation and Corporate RelationsAdrienne Stortz, Director of SalesTina Matin, Director of MerchandisingRebecca Vaccarelli, Director of Alumni Relations

Juilliard Global VenturesCourtney Blackwell Burton, Managing Director for Operations Betsie Becker, Managing Director of Global K–12 ProgramsGena Chavez, Managing Director, The Tianjin Juilliard SchoolNicolas Moessner, Managing Director of Finance

and Risk Management

BOARD OF TRUSTEES

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

Julie Anne ChoiKent A. ClarkKenneth S. DavidsonBarbara G. FleischmanKeith R. GollustMary GrahamJoan W. HarrisMatt JacobsonEdward E. Johnson Jr.Karen M. LevyTeresa E. LindsayLaura LinneyMichael Loeb

Greg MargoliesVincent A. MaiEllen MarcusNancy A. MarksStephanie Palmer McClellandChristina McInerneyLester S. Morse Jr.Stephen A. NovickJoseph W. PolisiSusan W. RoseDeborah SimonSarah Billinghurst SolomonWilliam E. “Wes” Stricker, MD

TRUSTEES EMERITI

June Noble Larkin, Chair Emerita

Mary Ellin BarrettSidney R. KnafelElizabeth McCormackJohn J. Roberts

Michelle Demus AuerbachBarbara BrandtBrian J. HeidtkeGordon D. HendersonPeter L. KendYounghee Kim-WaitPaul E. Kwak, MDMin Kyung KwonSophie Laffont

Jean-Hugues MonierTerry MorgenthalerPamela J. NewmanHoward S. Paley John G. PoppGrace E. RichardsonJeremy T. SmithAlexander I. TachmesAnita Volpe

• Tianjin is the third largest city in China, and the school will be adjacent to a high-speed rail station with one-hour service to downtown Beijing. The school is located in a beautiful, riverside park along the Hai River in the New Binhai Area, Tianjin.

• The Tianjin Juilliard School builds on the city’s rich artistic heritage by establishing a new crossroad for Juilliard’s network of artists, teachers, friends, and students.

• The ribbon-like Hai River—the largest water body in Northern China—weaves through Tianjin. It is spanned by 21 bridges and offers easy access to the Haihe Cultural Square and Haihe River Bund Park, among other attractions.

• Designed by the internationally renowned firm, Diller Scofidio + Renfro, The Tianjin Juilliard School building will have state-of-the-art teaching and performance spaces, and a multi-faceted learning environment.

A Tianjin Primer

A great deal has happened in Tianjin since September 28, 2015, when Juilliard president Joseph W. Polisi announced plans for The Tianjin Juilliard School. Last spring, Alexander Brose was selected to serve as the first executive director and C.E.O. and Wei He as the artistic director and dean. From the ceremonial ground breaking over the summer to the start of construction earlier this year, the school is gearing up to welcome its first class in 2019.

Where is The Tianjin Juilliard School?

Alex Brose and Wei He

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Beijing

The Tianjin Juilliard School

Learn and Play at The Tianjin Juilliard School

• The inaugural group of 100 students in the U.S.-accredited master of music program will be immersed in one of three core areas: orchestral studies, chamber music, or collaborative piano.

• The audition-based Tianjin Juilliard School Pre-College program will admit up to 200 students, ages 8 to 18.

• As many as 150 performances every year will be presented in the 700-seat concert hall, 299-seat recital hall, or 250-seat black box theater.

• Juilliard Imagination, an innovative learning environment, will feature interactive exhibitions curated for adults and children alike.

Become Part of the Culture

• Tianjin’s artistic tapestry includes the development of Peking Opera and China’s first conservatory offering study in Western music.

• When in Tianjin, one can take a stroll through Five Great Avenues, a fascinating area with historic buildings featuring a wealth of diverse architectural styles from across Europe.

Artist rendering of The Tianjin Julliard School campus

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ATUESDAYY, APRIL 17 7:30pm • Paul Hall

Juilliard Jazz EnsemblesThe Music of Wynton MarsalisTickets: $20

TUESDAYY, APRIL 17 AND THURSDAYY, APRIL 19 7:30pm • Peter Jay Sharp Theater

SATTURDAYY, A, APRIL 212pm • Peter Jay Sharp Theater

Juilliard OperaRameau’s iipppolyte et AriicieTickets $30

THURSDAYY, APRIL 197:30pm • Cathedral of St. John the Divine

Juilliard OrganistsOrgan students of Paul Jacobs in works by

Tournemirournemire, Saint-Saëns, Chen, Laurin, Dupré, Goode, J.S. Bach, and Liszt

Free, no tickets required

MONDAYY, APRIL 23 Tully Hallully Hall

Jeffrey Milarsky ConductsJuilliard Orchestra ComposersConcertFeaturing works by Juilliard student

composers, winners of the 2017–18 Juilliard Orchestra Composition Competition

Free tickets available a Tully Hall ully Hall Box Office

SATTURDAYY, APRIL 28 Tully Hallully Hall

Joel Sachs Conducts theNew Juilliard EnsembleJonathan Dawe’s ooborium and works by

Salvatore Sciarrino, Kolbeinn Bjarnason, and Alejandro Cardona

Free tickets available a Tully Hall ully Hall Box Office

FRIDAY, MAY 4 Tully Hallully Hall

24th Annual Lisa Arnhold Memorial Recital: Argus QuartetJuilliard’s 2017-18 GraduateResident String QuartetFeaturing Mendelssohns’ String Quartet

No. 1; Augusta Read Thomas’ Chi; Wuorinen’s Josquiniana; and Lutosławski’s String Quartet

Tickets: $20

Attend a Spring Performance at Juilliard

For tickets or moreinformation visitjuilliard.edu/calendar