Juilliard Pre-College Orchestra

Xian Zhang, Conductor

Juilliard Pre-College CentennialFor more than 100 years Juilliard’s Pre-College Division has cultivated new generations of classical musicians by providing gifted students with the highest quality of performing arts education. These young musicians are the future of performing arts around the world. Providing scholarship support to all students with need is one of the most critical challenges of the Pre-College Division. With your help, we can make a Pre-College education possible for today’s most promising young artists.

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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 Pre-College OrchestraXian Zhang, Conductor

Saturday, May 25, 2019, 7:30pmPeter Jay Sharp Theater

PENG-PENG GONG A Chinese in New York, Op. 51B (World premiere)(b. 1992)

GUSTAV MAHLER Symphony No. 1 in D Major (“Titan”)(1860-1911) Langsam, schleppend—Immer sehr gemächlich (Slow, dragging—Always very relaxed) Kräftig bewegt, doch nicht zu schnell (With powerful movement, but not too quick) Feierlich und gemessen, ohne zu schleppen— Sehr einfach und schlicht, wie eine Volksweise (Solemn and measured, without dragging— Very simple and modest, like a folk song) Stürmisch bewegt—Energisch (With violent movement—Energetic)

Performance time: approximately 1 hour and 15 minutes, with no intermission

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

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Notes on the Program

Peng-Peng GongA Chinese in New York, Op. 51B

Peng-Peng Gong (Pre-College, ’10; BM ’14, composition/piano) studied for 12 years at Juilliard: first as a pianist, then later turning to composition when the emotional blow from the monstrous 2008 Sichuan earthquake—which killed over 100,000 people—triggered his spiritual ambition to create large-scale symphonic music that defined both his ethnic identity and the world he saw and heard. As of 2018, Gong has composed 10 symphonies, a half-dozen commissioned by the Shanghai Philharmonic Orchestra after he became its resident composer and another co-commissioned by the Philadelphia Orchestra.

Gong has adopted an embracive style merging late-Romantic Mahlerian expression with his own Chinese cultural tradition. Therefore, A Chinese in New York (which calls to mind George Gershwin’s An American in Paris) is a super-compressed version of Gong’s Symphony No. 6 (Op. 51, 2017), an autobiographical work that narrates his emotional growth while in the U.S. After a melancholy introduction representing teenage angst, the middle section enters as a vulgar parade of East-West elements tossed back-and-forth, meeting, merging, clashing, and, eventually, re-embracing. This section describes Gong’s early excitement toward the new world, his blending in with a new culture, his later struggles between Eastern obedience and Western freedom, and finally his solution of uniting them under a universal principle of love. This arrangement is a gift to the Pre-College Division’s centennial celebration and is dedicated to Gong’s longest-lasting mentor and spiritual parent, Yoheved Kaplinsky.

Peng-Peng Gong Born: July 3, 1992, in Shanghai, China

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Gustav MahlerSymphony No. 1 in D Major (“Titan”)

By Matthew Mendez

In December 1909, barely a month into his tenure as principal conductor of the New York Philharmonic, Gustav Mahler led the orchestra in the long-belated American premiere of his First Symphony. It had been two years since he took up a lucrative contract at the Metropolitan Opera, and he still had reason to hope the New World would give his music the receptive hearing it had been so often denied at home in Europe. But Mahler’s symphonic debut was also a bone of contention in New York, as he crossed swords with the Philharmonic’s program annotator, Henry Krehbiel, over the work’s extra-musical inspirations. Mahler forbade Krehbiel from writing about them on the grounds that such explanations were “injurious to musical enjoyment”—a stance at odds with that of his younger self, expounding at considerable length on his symphony’s imagined narrative. Piqued, Krehbiel took to the pages of the Tribune to express his view that Mahler’s score “has no justification without a program.”

Mahler’s First began its difficult life at its 1889 Budapest world premiere as a “symphonic poem in two parts,” and it subsequently accrued—and later shed—a host of often-contradictory programmatic associations. At one point, for example, it bore the heading “Titan,” ostensibly in homage to the like-named Bildungsroman by the early Romantic author Jean Paul (Johann Paul Friedrich Richter, 1763-1825). Ensuing performances jettisoned the subtitle and elaborate movement descriptions—these had provoked widespread confusion and even derision—but still Mahler could not win: As the acid-tongued critic Eduard Hanslick put it in 1900, “Mahler’s symphony would hardly have pleased us more with a program than without.” Nor has the problem receded today, for although Mahler’s final wishes were that the score be treated as “pure” music, the contemporary listener cannot just wish away the knowledge that it was once subtitled “Titan,” and that it was, on some level, the young composer’s spiritual autobiography. In the words of the music writer Donald Mitchell, “the teasing question for Mahler was to try to decide whether his audiences needed to know the program that he knew (and had needed) himself [to compose the piece]”—that being an issue he “never satisfactorily resolved.”

Mitchell offers a further hypothesis for Mahler’s decision, from 1896 onward, to drop the literary-poetic baggage. By that juncture, not only had the symphony more or less reached its final, four-movement form, with the original division into two overarching parts being abandoned, alongside an extra, serenade-like movement entitled “Blumine.” The year 1896 also saw Mahler unveil the orchestration of his Lieder eines fahrenden Gesellen (“Songs of a Wayfarer”), the voice-and-piano version of which predated the symphony, and which was, rather unconventionally, the source for much of

Gustav Mahler Born: July 7, 1860, in Kaliště Pelhřimov District, Bohemia (today’s Czech Republic) Died: May 18, 1911, in Vienna

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Notes on the Program (Continued)

the larger work’s thematic material. The cycle tells of a young man spurned in love, a scenario not without relevance to the initial “Titan” program, and as Mitchell argues it, Mahler could now forego his programmatic conception since “the Gesellen cycle in itself provided the best of all program notes for—the most penetrating of glosses on—the symphony.”

The most prominent borrowing from the Wayfarer cycle occurs early, with the first movement’s jaunty principal theme being lifted directly from the mirthful second song, “Ging heut’ Morgen übers Feld” (“As I walked this morning through the field”). Before that, though, the symphony opens with a long introductory section marked “like a sound of nature”; it begins with the strings speaking an A, in harmonics, across a full seven octaves. Soon, various fragments—cuckoo calls, distant fanfares, and later, an ominous bass motif—start to cut through this curtain of haze, in a process one of Mahler’s early programs likened to the “awakening of nature from a long winter’s sleep.” (In an 1893 iteration of the score, the entire movement was inscribed “Spring and No End.”)

What follows certainly flirts with textbook sonata-allegro conventions, though it scarcely conforms to them inasmuch as the movement lacks any palpable sense of conflict. This accords with its origins in song (an inherently non-symphonic medium), and in particular, the sentiment, thrice repeated in “Ging heut’ Morgen,” of “Isn’t this a splendid world?” The putative development section revisits the slow introduction, while it also offers the earliest appearance of a tentative, brooding cello idea that will play a key role in the finale. This eventually builds to an almost excessively exultant outburst in D Major, signaling the recapitulation. Mahler scholars refer to this moment as a “breakthrough,” one of the effects of which is to ignore the brooding idea’s gloomier ramifications. Musicologist Seth Monahan said, “This is not music that has transcended struggle; it is a music too credulous to foresee that conflict is inevitable.” Mahler, or his imagined protagonist, sweeps the tensions under the rug, where they remain, to be dealt with another day.

If the opening movement sees Mahler’s youthful hero at one with nature, the ensuing scherzo has him at one with man. A rustic, “artless” Ländler, it reimagines Mahler’s very early song “Hans und Grethe,” and is offset with a waltz trio of comparably more urban(e) character. Both contrast utterly with the ensuing slow movement, a funeral march, and one of Hanslick’s colleagues summed up the problem with the drastic tone shift this way:

The structure of the symphony reminds one of a play in which the catastrophe takes place during the interlude between the second and third acts … Here, of course, is where the Philharmonic audience abandoned the artist: between the second and third movement of a symphony they usually think of dinner, not the emotional catastrophes of their days of youth and love.

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It was here that Mahler’s deletion of the program began actively to pose hurdles for early audiences. Inspired by a popular Austrian woodcut—a whimsical depiction of a hunter’s burial cortège, with forest animals for mourners—the funeral march’s main theme is a minor version of the children’s round “Bruder Martin” (more familiar outside German-speaking lands as “Frère Jacques”). It is first heard as a gawky double bass solo, accompanied by timpani. Though Mahler insisted that he always found the tune “deeply tragic,” the starkly resourceful instrumentation is instead calibrated to underline its banality—an impression compounded in subsequent episodes, which evoke the strains of café entertainers (garish oboes and trumpets) and the oompah of a ragtag village band (bass drum and Turkish cymbals). Such passages were fodder for the anti-Semitic critics of the day, who decried them as “Yiddish” or “too Eastern,” and this was one of the subtexts underlying the young Webern’s remark that Mahler “is not being understood, nor does anyone wish to understand him.” Certainly by late-Romantic expressive standards, the funeral march is understated—there are no effusions of self-pity here—and this self-deprecating quality is what Mahler had in mind when he offered that the music “is ironic in the sense of Aristotle’s eironeia.” Bringing this into relief is the tender middle section, whose origins were in the last Wayfarer song, specifically the passage corresponding to the words “By the road stands a linden-tree: There at last I found rest in sleep.” The respite from the crude peasant music proves short-lived, the implication being that life must go on, and that there is no solace for those left behind by the departed.

The finale begins without break, with “the sudden outburst of despair from a deeply wounded heart” (Mahler’s words). What the first movement swept under the rug at last comes home to roost, and it is here that the “breakthrough” technique takes center stage. This music strives constantly to rise from the depths (its subtitle was “Dall’ Inferno al Paradiso”) and attain the salvation of a triumphant chorale in D Major. But just as soon as the latter seems to win out, the ground gives out underfoot; the breakthrough was illusory, as Mahler explained to Strauss: “My intention was to show a struggle in which victory is furthest from the protagonist just when he believes it closest.” After a reminiscence of the first movement’s nature music, the finale’s second half is spent clawing back in earnest toward that victory—an interpretation that accords with Mahler’s original bipartite scheme, in which the symphony’s final two movements appeared under the Dantean rubric “Commedia humana” (the Dantean meaning of “commedia” implies a happy ending). Ever the contrarian, though, Mahler claimed elsewhere that the real triumph did not occur until the “sequel,” his Symphony No. 2—the “Resurrection” Symphony.

Matthew Mendez is a graduate of Harvard University and is a Ph.D. student at Yale. He was the recipient of a 2016 ASCAP Foundation Deems Taylor/Virgil Thomson Award for outstanding music journalism.

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About Xian Zhang

Xian Zhang’s contract as music director of the New Jersey Symphony Orchestra (NJSO) has been extended until the 2023-24 season to include the orchestra’s 100th anniversary in 2022. In 2016, Zhang became principal guest conductor of the BBC National Orchestra and Chorus of Wales, the first female conductor to hold a titled role with a BBC orchestra. Her 2018-19 BBC NOW season includes her first international tour with the orchestra to China. She is also conductor emeritus of Orchestra Sinfonica di Milano Giuseppe Verdi, following completion of her tenure as music director from 2009-16. Last season included return visits to the Los Angeles Philharmonic, Orchestre National de Belgique, Orquesta Nacional de España, Accademia Nazionale di Santa Cecilia, San Francisco Symphony, and NAC Orchestra, Ottawa. This season saw debuts with the Netherlands Radio Philharmonic, Hong Kong Philharmonic, Royal Philharmonic, Philharmonia Orchestra, Sydney Symphony, and the orchestra of Royal Stockholm Opera. She regularly conducts the London Symphony and Royal Concertgebouw orchestras; recent highlights include her debut with the Cleveland Orchestra and a gala concert with Renée Fleming and the China NCPA Orchestra. Equally in demand on the opera podium, she conducted a production of Nabucco with Welsh National Opera in 2014 that transferred to Savonlinna, Finland, where she returned in 2016 for Otello. Other notable opera engagements include Den Norske Opera in 2016 conducting La Traviata and English National Opera in 2015 for La bohème. She will make her debut at Santa Fe Opera in 2020.

Zhang conducts regularly in her native China where she has worked with the NCPA Orchestra, China Philharmonic, and Guangzhou Symphony Orchestra. A champion of Chinese composers, she has conducted Chen Yi’s Ge Xu (Antiphony) (Los Angeles Philharmonic and NJSO) and Qigang Chen’s Er Huang (China NCPA Orchestra, 2017) and Iris Dévoilée (BBC National Orchestra of Wales, BBC Proms, and China NCPA Orchestra, 2015). She also conducted the world premiere of Qigang Chen’s Luan Tan with the Hong Kong Philharmonic in 2015. Working with young musicians plays a major part in Zhang’s life. She was artistic director of the NJO, Dutch Orchestra, and Ensemble Academy from 2010 to 2015, and in 2015 she made her debut conducting the European Union Youth Orchestra in Grafenegg, Amsterdam, Berlin, Rheingau, and Bolzano. In 2017 she conducted the Italian Youth Orchestra and returned to the Aspen Music Festival in 2018. Born in Dandong, China, Zhang made her professional debut conducting Le nozze di Figaro at the Central Opera House in Beijing at age 20. She trained at Beijing’s Central Conservatory, earning her bachelor’s and master’s degrees, and served a year on its conducting faculty before moving to the U.S. in 1998. She was appointed the New York Philharmonic’s assistant conductor in 2002, subsequently becoming associate conductor and the first holder of the Arturo Toscanini Chair.

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Juilliard Pre-College Orchestra

ViolinSarah Busse, ConcertmasterDonghyun David Kwak, PrincipalMercedes CheungEric ChenJulia ChinDaniel ChoElli ChoiJoseph HsiaMieu ImaiAram KimEliana KimSarah KimMasha LakisovaEilene LeeEliana LeeJun LinSarah MaClara NeubauerXin QuanChristine RamirezTristan Henry SemmelhackDaniel SeogSophia SuSean TakadaFrank WangJiabao Anna WeiAnnalisa WelinderAlexandra WoronieckaChae Lim YoonSea YoonYanguang Zhang

ViolaAlexandra Hong, PrincipalRowan Bauman SwainJoshua CaiJuliet Duguid

Nyle GargSofia GilchenokDaeun HongCarrie HsuHannah LeeFrida OliverTorron PfefferMadeleine PintoffJikun Qin

CelloCamden Archambeau, PrincipalNoah ChenAnthony ChoiElizabeth EdwardsAviva Frost Nagyeom JangIsaiah KimHeechan Alex KuDaniel MaHechen SunKevin WonJiaxun Caroline YaoCharles Zandieh

Double BassSami Ahn, PrincipalJustin Cao Emilienne ColumbusPatrick CurtisLindsay DonatRoss EngelmyerJinwoo KimNils KrarupJustin Smith *

FluteLaura FutamuraMichael HanSean MarronNadira NovruzovAlexander Tsai

PiccoloLaura FutamuraSean MarronNadira Novruzov

OboeJeremy ChenEmily JangRuth LipskarKara Poling

English HornRuth Lipskar

ClarinetElynn ChangJoshua ChoiEric YangLingfan ZhangRaphael Zimmerman

E-flat ClarinetJoshua ChoiEric Yang

Bass ClarinetEric Yang

BassoonFaraz KhanMegan NeumanSteven PalacioYihan Wu

ContrabassoonFaraz Khan

French HornLee Cyphers *Kiyan DaneshvarBenjamin EdelsonAngelina GarciaJasmine Lavariega *Carlianne SimonelliYajur Sriraman

TrumpetWyeth AlekseiRemi BeltranMichael ChenBenjamin Shaposhnikov

TromboneYaoji Giuseppe FuLouise Kern-Kensler

Bass TromboneZachary Neikens

TubaJames Curto

TimpaniJoshua ParkChristian SantosLucas Vogelman PercussionToby Grace *Joshua ParkChristian SantosEvan SilbersteinLucas Vogelman

HarpLindsey ChuCatherine Hanauer

PianoPeng-Peng Gong *

Orchestra ManagerYibiao Wang *

Orchestra LibrariansMichael McCoy, Principal LibrarianWyeth AlekseiToby Grace

Xian Zhang, ConductorAdam Glaser, Music Director, Pre-College Orchestras

* Pre-College alumItalics indicate an orchestra mentor from the Juilliard College Division.

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One of the foremost music preparatory programs in the world, the Juilliard Pre-College Division educates today’s most promising young artists. Established in 1916 as the Preparatory Center, the Pre-College Division at Juilliard offers a complete curriculum of music instruction for highly gifted children up to age 18. Students attend Juilliard every Saturday for 30 weeks during the school year for an individualized course of instruction carefully designed to meet their particular needs. The selective program includes instruction in a chosen major, academic study of music, and solo and ensemble performances. Recognizing the importance of early development and discipline in the music field, the program provides a caring, collaborative, and challenging atmosphere where artistic gifts and technical skills can flourish.

The Juilliard Pre-College Orchestra is one of the Pre-College Division’s three age-based orchestras. With an average age of just over 17, the orchestra rehearses weekly and presents three concerts each season. As a leading youth orchestra training program, the division strives to prepare its members for the rigorous demands and expectations of conservatory and college orchestral programs by offering workshops and readings led by renowned guest conductors and prominent professional orchestral musicians. The Pre-College orchestras draw upon the significant resource of the College Division’s students by employing them as mentors to work alongside the Pre-College students. The repertoire is guided by a progressive curriculum beginning with the youngest, the String Ensemble, and continuing through the Symphony and Orchestra, ensuring that all students have exposure to works from varied composers, musical styles and genres. Every orchestra concert features a concerto, providing an important opportunity to a student soloist, many of whom go on to illustrious careers. Included among those are Han-Na Chang, Pamela Frank, Gil Shaham, Joseph Lin, Yo-Yo Ma, Jon Manasse, Roberto Minczuk, Conrad Tao, and Joyce Yang. In the 2018–19 season, the Pre-College Orchestra is led by Adam Glaser, Robert Spano, and Xian Zhang. Past conductors have included James Conlon, Alan Gilbert, Miguel Harth-Bedoya, Itzhak Perlman, Leonard Slatkin, and Joshua Weilerstein.

Administration

Yoheved Kaplinsky, Artistic DirectorKatya Lawson, Director of Admissions and Academic AffairsAnna Royzman, Director of Performance ActivitiesMarguerite Jones, Admissions and Academic Affairs CoordinatorDeirdre DeStefano, Performance Activities Coordinator

For a complete listing of all Juilliard Pre-College performances, including student, faculty, and studio recitals, please visit: events.juilliard.edu.

Pre-College Division

Pre-College Orchestra

About the Juilliard Pre-College Division

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Juilliard Annual Supporters (Continued)

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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:

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Thelma and Seymour Geller, on behalf of Jane Geller

Rabbi Mordecai Genn Ph.D.Mark V. Getlein*John R. GillespieProfessor Robert Jay GlickmanDr. Ruth J.E. GlickmanSheryl GoldJennifer L. GranucciThe Venerable John A. GrecoDrs. Norman*‡ and

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Stephanie Haggart*Louise Tesson HallRalph HamakerStephen and Andrea HandlemanRev. Tozan Thomas Hardison*Ralph*‡ and Doris Harrel*Judith Harris and Tony WoolfsonRobert G. HartmannRobert 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*J. D. KotzenbergBruce 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 Limon

Jerry K. LoebRichard LopintoEileen 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 MittmanValerie 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 RosenJeanne 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. Robinson

The Augustus Juilliard Society

12

For information about becoming a member of the Augustus Juilliard Society, please visit www.plannedgiving.juilliard.edu, 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.

Yvonne Robinson*Carlos Romero and

Joanne Gober RomeroLinda 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 SchraderIrene SchultzWilliam C. SchwartzDavid ShapiroDr. Robert B. Sharon*Edmund Shay* and

Raymond Harris‡Robert D. Sholiton

Arthur T. ShorinMel SilvermanSteven 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 Verdehr

Paul WagenhoferDietrich and Alice WagnerAlberto 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 January 25, 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 November 2017 and January 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 Ruth BamdasThe 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 Annette BurfordTrust of John Dexter BushEstate of Margaret ButterlyEstate of Alfred DelMoralJohn L. Drew Living TrustEstate of Alice Shaw FarberFima Fidelman TrustDora L. Foster TrustEstate of Rachel Mintz GoldingGordon A. Hardy Charitable Remainder TrustWilliam J. Henderson Memorial FundFrances B. Hoyland Trust

Trust of Edward JabesHamilton H. Kellogg and Mildred H. Kellogg

Charitable TrustEstate of Eve LyndlemarchTrust of Lillian B. MadwayEstate of Thomas J. MahlerMildred Reading Irrevocable TrustEstate of Richard H. RobertsEstate of Lillian RogersHoward and Ethel Ross TrustDinah F. Rosoff Revocable Living TrustEstate of Harold C. SchonbergEstate of Natalie SelingerEstate of Betty SimmsArline J. Smith TrustJanice Dana Spear TrustEstate of Winifred SperryEstate of Bruce SteegIrene Stetson TrustThe George M. Stone 2006 TrustTomoko TrustEsta and Victor Wolfram TrustTrust of Helen Marshall WoodwardIrene Worth Fund for Young ArtistsDarrell Zwerling Living Trust

The Augustus Juilliard Society (Continued)

13

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, DirectorTaryn Kaschock Russell, Associate Director Katie Friis, Administrative Director

Drama DivisionEvan Yionoulis, Richard Rodgers DirectorRichard Feldman, Associate Director Katherine 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, Archives Alan Klein, Director of Library Technical Services

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

Evening DivisionDanielle La Senna, Director

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

InitiativesWilliam 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 Disability Support ServicesBeth Techow, Administrative Director of Health and Counseling Services

DevelopmentAlexandra Wheeler, Vice President and Chief Advancement OfficerStephanie Gatton, Acting Director of Special EventsKatie Murtha, Director of Major GiftsLori Padua, Director of Planned GivingEd Piniazek, Director of Development OperationsRebecca Vaccarelli, Director of Alumni Relations

Public AffairsMaggie Berndt, Acting Director of Public AffairsBenedict Campbell, Website DirectorThiago Eichner, Design 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. ClarkKenneth S. DavidsonBarbara G. FleischmanKeith R. GollustMary GrahamJoan W. HarrisMatt JacobsonEdward E. Johnson Jr.Karen M. LevyTeresa E. LindsayLaura LinneyMichael LoebVincent A. Mai

Ellen MarcusGreg MargoliesNancy A. MarksStephanie Palmer McClellandChristina McInerneyLester S. Morse Jr.Stephen A. NovickSusan W. RoseJeffrey SellerDeborah SimonSarah Billinghurst SolomonWilliam E. "Wes" Stricker, MDYael TaqquDamian Woetzel

TRUSTEES EMERITI

June Noble Larkin, Chair Emerita

Mary Ellin BarrettSidney R. Knafel

JUILLIARD COUNCIL

Mitchell Nelson, Chair

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

Terry MorgenthalerHoward S. PaleyJohn G. PoppGrace E. RichardsonJeremy T. SmithAlexander I. TachmesAnita Volpe

Juilliard Board of Trustees and Administration

Elizabeth McCormack

Joseph W. Polisi, President Emeritus

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