Juilliard415

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(212) 799-5000, ext. 303 patrondesk@juilliard.edu juilliard.edu

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The Juilliard Schoolpresents

An Evening of Baroque Chamber MusicProgrammed and prepared by Richard Egarr with members of Juilliard415

Thursday, November 9, 2017, 7:30pmPaul Hall

FRANÇOIS Troisème concert in A Major, from Concerts royauxCOUPERIN Prélude(1668–1733) Allemande

Courante Sarabande grave Gavotte Muzette Chaconne legere

MARC-ANTOINE Sonate à huit (H.548)CHARPENTIER Grave(1643–1704) Récit de la viole seule

Sarabande Récit de la basse de viole Bourrée Gavotte Gigue Passecaille Chaconne

Program continues on next page

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.

Cover: Baroque violist Stephen Gost and harpsichordist Caitlyn Koester, photo by Rosalie O'Connor

Juilliard's full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner.

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MARIN Suite No. 5 in E Minor, from Pièces en trioMARAIS Prelude (1686–1725) Rondeau

Sarabande en rondeau Menuet [i] Caprice Passacaille

JEAN-FÉRY Les caractères de la danse REBEL Prélude—Courante—Menuet—Bourée—Chaconne—(1666–1747) Sarabande—Gigue—Rigaudon—Passepied—Gavotte—

Sonate—Gavotte—Sonate—Loure—Musette— Reprise—Sonate

Performed without intermission

Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul.

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Notes on the Program by James M. Keller

Le Grand Siècle, the great century that marked the high tide of the Bourbon monarchs of France, reached its apex during the reign of Louis XIV. He acceded to the throne in 1643, at the age of 4; assumed personal control in 1661, following a period of regency; and remained king until his death, in 1715—a reign of 72 years. French society was tightly organized during those years, the more so when it came to aspects of government or culture that fell within the direct orbit of the king himself. The names of Racine and Molière in theater, La Fontaine and Mesdames de Lafayette and de Sévigné in literature, Mansart in architecture, Le Nôtre in landscape design, and Poussin in painting speak to the level of artistic achievement during this period of French Classicism, as it is often called.

It was certainly a golden age for French music. Louis XIV took keen personal interest in court music and dance, even performing sometimes in ballet productions. As did the other arts, French music operated under a minutely regulated bureaucracy. About 120 staff musicians were kept busy with music-making that the king himself would hear, and the operations of these musiciens du roi were organized into clearly defined domains, most broadly through the divisions of the Musique de la Chambre (indoor chamber and orchestral music), Musique de l’Écurie (outdoor performance, including military music), and Musique de la Chapelle Royale (sacred music), plus a separate, lofty niche for the Académie Royale de la Musique (opera and ballet). In this concert, Juilliard415 presents music from the first of those spheres through intimate chamber works by François Couperin, Marc-Antoine Charpentier, and Marin Marais, and it concludes with a piece by Jean-Féry Rebel that was presented as a ballet under the auspices of the Académie Royale de la Musique (four months before Louis XIV’s death) but can also stand as an unstaged piece of concert music.

French music of the 17th and early-18th centuries reveled in formality of style. We hear a consistent vocabulary throughout these pieces, which tend toward concentrated, carefully balanced phrases only occasionally enhanced by contre-parties—contrapuntal lines that, in the grand scheme of things, are rarely very complicated. Melodies unroll within a limited compass of pitch and are enlivened by a wealth of exacting ornamentation. Rhythms usually trace the contours of dances that would have been familiar to anyone who held their own in courtly circles. The focus on carefully defined stylistic norms proved problematic for French music in the long run, but during the Grand Siècle the best composers found plenty of room in which to exercise their originality. Many of them also grappled with international musical advances, particularly with the Italian sonatas of Corelli, which they might acknowledge by emulation, through parody, or by subsuming some of their characteristics into an overriding French idiom.

François Couperin (born in Paris on November 10, 1668—as this perfor- mance begins, his 349th birthday is already underway in France; died there September 11, 1733) was the most illustrious member of a musical

Louis XIV took keen personal interest in court music and dance, even performing sometimes in ballet productions.

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Notes on the Program (Continued)

dynasty that flourished from the 17th century through the 19th. Most were church musicians, and for 173 years one Couperin after another served as organist at the Church of St. Gervais in Paris. Some of them served also as musiciens du roi, including François, who earned the sobriquet “Le grand.” He married into relative wealth, and in 1690 he obtained a royal patent to print and sell music. This enabled him to publish his two organ masses, the first items in a good-sized catalogue that would eventually include numerous motets (and some secular songs and ensembles), a large body of harpsichord music, and many pieces of chamber music. Couperin jumped on the Corellian bandwagon in several of his chamber pieces—usually by subsuming Italianate processes into the recognizable French style—but in his Concerts royaux he displays more national purity.

These are works from the very end of Louis XIV’s reign. Although the first four of the Concerts royaux were published in 1722, Couperin wrote them in 1714 or 1715, at a time when melancholy increasingly infused the court of the aged, infirm monarch. In his preface, he states that he “composed them for the small chamber concerts to which Louis XIV bade me come to play almost every Sunday of the year.” The score is written on two staves, like harpsichord music (though including a figured bass), but the composer advises that “they are suitable not only for the harpsichord, but also the violin, flute, oboe, viol, and bassoon. He names four musicians—a violinist, oboist, bassoonist, and viola da gambist—who joined him (as harpsichordist) playing them at court. It is left to performers to “orchestrate” them as they wish, using various combinations of these instruments to navigate in this, the third of the Concerts royaux. It consists of a Prélude (to set the mood and key) followed by a standard succession of dances—the Sarabande is here particularly affecting and harmonically pungent—concluding in a “light chaconne” of the chaconne en rondeau type, where the opening passage returns repeatedly to separate contrasting episodes.

Like Couperin, Marc-Antoine Charpentier (born in 1643 in or near Paris, where he died on February 24, 1704) emerged from the musical bosom of the church. His career focused on sacred music and intersected hardly at all with the royal court. He engaged directly with avant-garde Italian music, spending three years in Rome studying with Giacomo Carissimi and later writing numerous pieces reflecting his master’s oratorio style. After returning to France, he served as resident composer and high tenor (haut contre) for Mademoiselle de Guise and then held positions at the Jesuit Church of Saint-Louis and then the Sainte-Chapelle, both in Paris. He hoped to gain a royal appointment during a re-organization of Louis XIV’s music staff in 1683, but he withdrew from the auditions due to ill health. The Sonate à huit, a scarce example of his secular instrumental music, was probably produced around 1685 for Mademoiselle de Guise’s circle. (Although undated, the manuscript parts bear physical similarity to other Charpentier works of that time.) It employs a rich grouping of two transverse flutes, two violins, bass viol, five-stringed basse de violon, harpsichord, and theorbo, and it is specific

The Couperin dynasty flourished from the 17th century through the 19th. Most were church musicians, and for 173 years one Couperin after another served as organist at the Church of St. Gervais in Paris.

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about which instrument plays which line, in contrast to Couperin’s later “unorchestrated” score. Here we find both familiar French dances and movements that reflect Italianate virtuosity, the two récits (one featuring viola da gamba, the other spotlighting basse de violon) being conspicuously in the Italianate mode.

The most famous of the French viola da gamba virtuosos was Marin Marais (baptized May 31, 1656, in Paris; died there August 15, 1728). A famous tale has him studying with Jean de Sainte-Colombe, a leading viol player who grew so jealous of his pupil’s facility that he dismissed him—after which Marais continued to eavesdrop on Sainte-Colombe, who would practice in a tree house. He wrote four operas in the style of Lully (his Alcyone, a tragédie en musique, met with particular success in 1706) but he is most remembered for his instrumental compositions, especially those crafted for the viola da gamba. His Pièces en trio (1692) are among the earliest examples of French trio sonatas, with the composer allowing that their upper lines might be played on flutes, violin, or dessus de viole (treble viol), with the performers given leeway to assign the parts. In the opening Prélude we get a taste of the operatic “French overture” layout, with a relatively flowing, fast-paced center being surrounded by more deliberate opening and closing sections.

The reputation of Jean-Féry Rebel (baptized April 18, 1666, in Paris; died there January 2, 1747) has recently experienced an uptick. A violinist in the 24 Violons du Roi (a string orchestra) and in the orchestra of the Académie Royale de Musique (where he was also a conductor), he was almost exclusively involved in secular music. He produced a number of solo and trio sonatas and, most famously, a succession of “choreographed symphonies,” including Les caractères de la danse. It was premiered in May 1715, at the very end of the Grand Siècle. It was unveiled as a stage work, a ballet in which the entire panoply of French court dances (plus two nods to the Corelli-style sonata) are telescoped into a through-composed eight-minute span, one dance-type ceding quickly to the next with the fluidity of time-lapse photography. This Fantaisie (as Rebel called it) was introduced on the stage of the Académie Royale de Musique in a performance featuring the renowned dancer Françoise Prévost. It showed considerable staying-power, and in revivals it became a vehicle for such other stars of early French ballet as Marie-Anne Camargo (in 1726) and Marie Sallé (in Paris in 1729, and in London in 1734).

James M. Keller is the long-time program annotator of the New York Philharmonic (The Leni and Peter May Chair) and the San Francisco Symphony. His book Chamber Music: A Listener’s Guide, published in 2011 by Oxford University Press, is also available as an e-book and an Oxford paperback.

The most famous of the French viola da gamba virtuosos was Marin Marais.

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Meet Richard Egarr

Richard Egarr has been music director of the Academy of Ancient Music since 2006 and was associate artist of the Scottish Chamber Orchestra from 2011 to 2017. He was recently appointed principal guest conductor of the Residentie Orkest in The Hague beginning in 2019. He has conducted the London Symphony Orchestra, Royal Concertgebouw, and Philadelphia Orchestra, has been a frequent guest artist with leading baroque ensembles including Boston’s Handel and Haydn Society, and regularly gives solo harpsichord recitals at Carnegie Hall and London’s Wigmore Hall, among others.

Mr. Egarr’s 2017–18 season includes a staged version of Purcell’s King Arthur at the Barbican Centre with the Academy of Ancient Music, the St. Matthew Passion with the Rotterdam Philharmonic, Schumann’s Requiem with the Scottish Chamber Orchestra, Mozart’s C Minor Mass with the Orquesta Sinfonica da Galici, and Beethoven’s “Eroica” symphony with the Luxembourg Philharmonic and Antwerp Symphony. He makes several trips to the U.S. this season, returning to the Dallas Symphony for Brandenburg concertos, guesting with Philharmonia Baroque and Les Violons du Roy, and touring the East Coast with cellist Steven Isserlis playing J.S. Bach.

Early in his tenure with the Academy of Ancient Music Mr. Egarr established the Choir of the Academy of Ancient Music, and operas/oratorios lie at the heart of his repertoire. He made his Glyndebourne debut in 2007 conducting a staged version of the St. Matthew Passion. He has directed Handel oratorios at the Britten Pears Academy and staged productions at the Netherlands Opera Academy (La clemenza di Tito, Le nozze di Figaro, and Rossini’s Il Signor Bruschino) and is a lasting inspiration to young musicians. He has a long-standing teaching position at the Amsterdam Conservatoire and is a visiting professor at Juilliard.

Mr. Egarr trained as a choirboy at York Minster, at Chetham’s School of Music in Manchester, and as organ scholar at Clare College Cambridge. His studies with Gustav and Marie Leonhardt further inspired his work in the field of historical performance.

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Juilliard Historical Performance

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, as well as launching such new ensembles as the Sebastians, House of Time, New York Baroque Incorporated, and New Vintage Baroque.

Administration

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

Faculty

Violin/Viola Elizabeth Blumenstock Robert Mealy Cynthia RobertsCello Phoebe CarraiViola da Gamba Sarah CunninghamDouble Bass Douglas BalliettFlute Sandra MillerOboe Gonzalo Ruiz

Bassoon Dominic TeresiHorn R.J. KelleyTrumpet John ThiessenPlucked Instruments Daniel Swenberg Charles WeaverHarpsichord Richard Egarr Béatrice Martin Peter SykesRecorder Nina Stern

Continuo Skills Steven Laitz Avi SteinBaroque Vocal Literature Avi SteinCore Studies Robert Mealy David SchulenbergArtists in Residence William Christie Richard Egarr Monica Huggett Rachel Podger Jordi Savall

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Juilliard415

Since its founding in 2009, 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 of the 17th and 18th centuries. The many distinguished guests who have led Juilliard415 include Harry Bicket, William Christie, the late Christopher Hogwood, Monica Huggett, Ton Koopman, Nicholas McGegan, Lars Ulrik Mortensen, Jordi Savall, and Masaaki Suzuki. Juilliard415 tours extensively in the U.S. and abroad, 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). With its frequent musical collaborator the Yale Institute of Sacred Music, the ensemble has played throughout Italy, Japan, Southeast Asia, the U.K. and, most recently, India. Juilliard415 has performed major oratorios and fully staged Baroque operas every year since its founding. Recent performances include Handel’s Agrippina and Radamisto, Bach’s Matthew and John Passions, Cavalli’s La Calisto, Charpentier’s Actéon with William Christie, and performances in the U.S. and Holland of Bach’s Mass in B Minor conducted by Ton Koopman (a collaboration with the Royal Conservatoire of The Hague). The ensemble’s most recent international engagement was a 10-concert tour throughout New Zealand with Bach specialist Masaaki Suzuki. The 2017–18 season is notable for the Juilliard debuts of the rising conductor Jonathan Cohen and the Belgian vocal ensemble Vox Luminis, a side-by-side collaboration with Philharmonia Baroque in San Francisco, as well as return visits by Rachel Podger in a program of Telemann, William Christie leading Monteverdi’s Il ballo delle ingrate, a concert of music from Handel’s London under the direction of Robert Mealy, an all-Bach concert for the 500th anniversary of the Reformation with Maestro Suzuki, and the rare opportunity to see a fully staged production of Rameau’s Hippolyte et Aricie, with Stephen Stubbs conducting.

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Roster

COUPERIN Troisième concert in A Major, from Concerts royaux

Violin Sarah Jane KennerFlute Jonathan Slade

Viola da Gamba Adam YoungHarpsichord Eunji Lee

CHARPENTIER Sonate à huit (H. 548)

ViolinAlana YoussefianNaomi DumasFlute Jonathan SladeBethanne Walker

Viola da GambaAdam Young Five-String CelloMorgan Little HarpsichordEunji Lee

TheorboArash Noori

MARAIS Suite No. 5 in E Minor, from Pièces en trio

OboeWelvin PotterAndrew BlankeFluteJonathan SladeBethanne Walker

ViolinAnnie GardChiara Fasani StaufferBassoonJoseph JonesCelloMorgan Little

HarpsichordKatarzyna KluczykowskaTheorboArash Noori

REBEL Les caractères de la danse

ViolinAlana Youssefian Ethan LinSarah Jane KennerAnnie GardNaomi DumasChiara Fasani StaufferFluteBethanne WalkerJonathan Slade

OboeAndrew Blanke Welvin PotterBassoonJoseph JonesViola da GambaAdam YoungFive-Sring CelloMorgan Little

VioloneHugo AbrahamHarpsichordKatarzyna KluczykowskaTheorboArash Noori

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The Augustus Juilliard Society

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:

Donald J. AibelVeronica Maria AlcareseDouglas S. AndersonMitchell AndrewsDee AshingtonJack BakalHenrie Jo BarthRichard BealesYvette and Maurice‡ BendahanDonald A. BenedettiHelen BenhamElizabeth Weil BergmannMarshall S. Berland and

John E. JohnsonAnne L. BernsteinBenton and Fredda Ecker BernsteinLeslie Goldman BerroSusan Ollila BoydMrs. George E. BoyerPeter A. BoysenNina R. BrilliSteven and Colleen BrooksCarol Diane Brown and

Daniel J. RuffoBeryl E. BrownmanLorraine BuchEliane BukantzFelix N. CalabreseAlan‡ and Mary CarmelMr. and Mrs. N. CelentanoWendy Fang ChenJulie A. Choi and Claudio CornaliMr.‡ and Mrs. David ColvinDr. Barbara L. Comins and

Mr. Michael J. CominsCharlotte Zimmerman CrystalRosemarie CufaloChristopher Czaja SagerHarrison R.T. DavisStephen and Connie DelehantyRonald J. Dovel and Thomas F. LahrJohn C. Drake-Jennings,

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

Anita L. GattiThelma and Seymour Geller,

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

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

Wilhelmina Marchese Lemma‡Loretta Varon Lewis‡ and

Norman J. LewisNing LiangJoseph M. LieblingJerry K. Loeb

Richard LopintoEileen LubarsFrancis MadeiraChuck MantonCyril‡ and Cecelia MarcusSerena B. MarloweDolores Grau MarsdenSondra MateskyStephanie and Carter McClelland

and The Stephanie and Carter McClelland Foundation

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

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

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

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

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The Augustus Juilliard Society (Continued)

Estates and Trusts

For information about becoming a member of the Augustus Juilliard Society, please visit us at plannedgiving.juilliard.edu. You may also call us directly at (212) 799-5000, ext. 7152, or write to plannedgiving@juilliard.edu.

Carlos Romero and Joanne Gober Romero

Linda N. RoseSusan W. RoseDinah F. RosoffRoxanne RosomanSam and Deborah RotmanLynne RutkinEdith A. SagulJoan St. JamesRiccardo SalmonaHarvey SalzmanMichael and Diane SandersNancy SchlossCasiana R. SchmidtShelby Evans Schrader‡ and

John Paul Schrader Irene SchultzWilliam C. SchwartzDavid Shapiro

Dr. Robert B. SharonEdmund Shay and Raymond Harris Dr. Edward ShipwrightRobert D. SholitonArthur T. ShorinMel SilvermanSteven P. Singer M.D. and

Alan Salzman M.D.Barbara Thompson SlaterBruce B. SolnickCarl Solomon Sr. Barbara H. StarkSally T. StevensJames StreemHenry and Jo StroussCheryl V. TalibPhyllis K. TeichMarie Catherine TorrisiDr. Marta VagoWalter and Elsa Verdehr

Paul WagenhoferDietrich and Alice WagnerAlberto and Paulina A. WaksmanStanley WaldoffJessica WeberCatherine WhiteMiriam S. WienerRobert Wilder‡ and Roger F. KippAlice Speas WilkinsonYvonne Viani WilliamsMargaret S. WilliamsonDr. Theo George WilsonElizabeth R. WoodmanEdward YanishefskyLila YorkForty-eight Anonymous Members

‡ = In Memoriam

The Juilliard School is profoundly grateful for the generous gifts received from the following Estates and Trusts between July 1, 2016 and June 30, 2017. We remember the individuals who made these gifts for their vision in supporting future generations of young performing artists at Juilliard.

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

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

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

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Juilliard Board of Trustees and Administration

BOARD OF TRUSTEES

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

EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION

TRUSTEES EMERITI

June Noble Larkin, Chair Emerita

Mary Ellin BarrettSidney R. KnafelElizabeth McCormackJohn J. Roberts

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 TechnicianRobert Taibbi, Director of Recording Joanna K. Trebelhorn, Director of Orchestral

and Ensemble Operations

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

Assistant Dean for the Kovner Fellowships

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 Management 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 AidBarrett Hipes, Director, Alan D. Marks Center for

Career Services and EntrepreneurshipTeresa McKinney, Director of Community EngagementTodd 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 OfficerIrina 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 Holden, Director of Office ServicesJeremy Pinquist, Director of Client Services, ITHelen Taynton, Director of Apprentice Program

Development and Public AffairsElizabeth Hurley, Vice President Alexandra Day, Associate Vice President for Marketing

and CommunicationsBenedict Campbell, Website DirectorAmanita Heird, Director of Special EventsSusan Jackson, Editorial DirectorSam Larson, Design DirectorKatie Murtha, Director of Major GiftsLori 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 Martin, Director of MerchandisingRebecca Vaccarelli, Director of Alumni Relations

Juilliard Global VenturesChristopher Mossey, Senior Managing DirectorCourtney Blackwell Burton, Managing Director for Operations Betsie Becker, Managing Director of Global K–12 ProgramsGena Chavez, Managing Director, Tianjin Juilliard SchoolNicolas Moessner, Managing Director of Finance

and Risk Management

Pierre T. BastidJulie Anne ChoiKent A. ClarkKenneth S. DavidsonBarbara G. FleischmanKeith R. GollustMary GrahamJoan W. HarrisMatt JacobsonEdward E. Johnson Jr.Karen M. LevyTeresa E. LindsayLaura Linney

Michael LoebVincent A. MaiEllen MarcusMichael E. MarksNancy A. MarksStephanie Palmer McClellandChristina McInerneyLester S. Morse Jr.Stephen A. NovickJoseph W. PolisiSusan W. RoseDeborah SimonSarah Billinghurst SolomonWilliam E. “Wes” Stricker, MD

JUILLIARD COUNCIL

Mitchell Nelson, Chair

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

Sophie LaffontJean-Hugues MonierTerry MorgenthalerPamela J. NewmanHoward S. Paley John G. PoppGrace E. RichardsonKristen RodriguezJeremy T. Smith

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Juilliard Scholarship Fund

To make a gift to the Juilliard Scholarship Fund, please call (212) 799-5000, ext. 278, or visit giving.juilliard.edu/scholarship.

The Juilliard School is home to more than 800 dancers, actors, and musicians, over 90 percent of whom are eligible for financial aid. With your help, we can offer the scholarship support that makes a world of difference—to them and to the global future of dance, drama, and music.

Behind every Juilliard artist is all of Juilliard—including you.

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