Saturday Evening, February 17, 2018, at 7:30

The Juilliard School

presents

Handel in RomeJuilliard415 and Vox LuminisElizabeth Blumenstock, ConcertmasterLionel Meunier, Artistic Director, Vox LuminisSarah Jane Kenner, ViolinAnneliese Klenetsky, Soprano

GEORGE FRIDERIC HANDEL (1685–1759) Nisi Dominus, HWV 238 Nisi Dominus Vanum est vobis Cum dederit dilectis Sicut sagittae Beatus vir Gloria Patri

HANDEL Violin Concerto in B-flat major, HWV 288 Andante Adagio Allegro SARAH JANE KENNER, Violin

Intermission

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

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 on the Programby James M. Keller

GEORGE FRIDERIC HANDELBorn February 23, 1685, in Halle, Saxony(Germany)Died April 14, 1759, in London, England

Not much is known with certainty aboutHandel’s formative years. His father, arespected barber-surgeon, was 63 yearsold when George was born. (He was bap-tized under the name Georg FriederichHändel, but he later adopted an anglicizedversion of his name, George Frideric Handel,which is generally used today in English-speaking lands.) The father decided thatthe son should study law and therefore didnot encourage Handel’s early inclinations

toward music. Our composer nonethelesssmuggled a small clavichord into the fam-ily’s attic and developed privately into anaccomplished keyboard player. Once his tal-ent became publicly known, the duke ofSaxe-Weissenfels urged Handel Sr. to allowthe gifted son to study music properly.Handel refined his abilities under the tute-lage of a church organist in his native city,acquiring skill not only as a keyboard playerbut also as a violinist and in such disciplinesas harmony, counterpoint, and composition.

When Handel entered Halle University in1702, he apparently did so as a law stu-dent. Within a month he was back in theorgan loft, this time at the local CalvinistCathedral, though he was a baptizedLutheran. A year later, in 1703, he left forthe musical capital of Hamburg, where he

HANDEL Laudate pueri Dominum, HWV 237 Laudate pueri Sit nomen Domini A solis ortu Excelsus super omnes Quis sicut Dominus Suscitans a terra inopem Qui habitare facit Gloria Patri ANNELIESE KLENETSKY, Soprano

HANDEL Dixit Dominus, HWV 232 Dixit Dominus Virgam virtutis Tecum principium Juravit Dominus Tu es sacerdos in aeternum Dominus a dextris tuis Judicabit in nationibus De torrente in via bibet Gloria Patri

Performance time: approximately 1 hour, 40 minutes, including one intermission

Vox Luminis is grateful for the support from Wallonie-Bruxelles International for their U.S. tourand is represented exclusively in North America by Alliance Artist Management, 5030 Broadway,Suite 812, New York, NY 10034

befriended Georg Phillip Telemann (thenstill a student) and gained a position in themunicipal opera house, initially as a secondviolinist, later as a harpsichordist. He vis-ited the aging Dieterich Buxtehude innearby Lübeck but somehow managed tomiss meeting Johann Sebastian Bach, hisexact contemporary, not only in those earlyyears but, indeed, at any point in his life.

By 1706, at the age of 21, he was off toItaly, a magnet for any composer at theturn of the 18th century. It was his base ofoperations from late 1706 through early1710, during which span he spent time inFlorence, Rome, Venice, and Naples. Hearrived in Rome at the beginning of 1707,and that is where we encounter him in thisconcert. It was an exciting place to be, acity of some 125,000 residents encom-passing, on one hand, desperate povertyand rampant crime and, on the other, fan-tastic wealth that extended to a plethora ofaristocratic palaces and the unbelievablesplendor of the Vatican. Handel (or“Endel,” as Italian sources sometimesidentified him, doing their best phoneti-cally) was welcomed into the cultural cir-cles of four highly placed personages inparticular: Cardinal Pietro Ottoboni (whosemaestro di concerto was ArcangeloCorelli), Cardinal Benedetto Pamphilj (orPamphilii, or Panfili), Cardinal Carlo Colonna,and the Marchese (Marquis) FrancescoMaria Ruspoli. He became acquaintedwith such musical eminences as Corelli,Alessandro Scarlatti, and Domenico Scarlatti(visiting from Madrid), and was thoroughlyexposed to the latest trends in churchcomposition as well as the new concertogrosso techniques of Corelli, Torelli, andVivaldi. Handel left Italy in February 1710,worked for a while in Hanover, and inAugust 1710 traveled for the first time toEngland, where he would soon settle forthe remainder of his illustrious career.

Nearly all of Handel’s Latin church musicdates from 1707, when he was living inRome surrounded by ecclesiastical person-ages. His motet Nisi Dominus (HWV 238)and Laudate pueri Dominum (HWV 237)were almost certainly written for the Feastof Our Lady of Mount Carmel (Madonnadel Carmine) at the Church of Santa Mariadi Monte Santo in Rome, which was cele-brated through a Vespers service on July 15,1707, a Mass on July 16, and anotherVespers later on July 16. Cardinal Colonnaand Marchese Ruspoli were major patronsof the Carmelite order, and the former wasespecially active underwriting specialmusic for the order’s festivities. The motetDixit Dominus (HWV 232) probably relatesto the same ceremonies, but its associa-tion is less certain. Handel composed it inApril 1707, perhaps for a separate occa-sion; but, even in that case, it seems likelythat it may have also been performed, ifnot premiered, at the Carmelite celebra-tion. Each of the Vespers services requiredthe singing of five psalms; lavish settings(such as the 1707 feast) would includepolyphonic psalm settings, while moremodest venues might realize them at leastmostly through chant. Handel’s extantpsalm settings line up remarkably wellwith the musical exigencies of the 1707Carmelite services, where they likelywould have been intermingled with set-tings by other composers.

Handel had an extraordinary ability toabsorb disparate regional styles and refractthem through the distinctive prism of hispersonal voice. An Italianate sound cer-tainly informs all the pieces on this pro-gram, yet they also sound very much likeHandel, memorable in rhythmic and melodicoutlines, imaginative in deployment ofvoices and instruments, filled with specificcharacter and musical surprise. The threemotets require different forces. Nisi

Dominus, a setting of Psalm 127 (or 126 inthe Vulgate numbering) is scored for threevocal soloists (contralto, tenor, and bass),chorus, strings (including solo violin in onearia), with basso continuo. Handel signedoff on the piece on July 8, 1707. Thework’s final doxology was thought destroyedin a fire in the 19th century, but it is nowwidely believed that the doxology settingintended for this work is one Handel com-posed that expands the texture to a doublechorus and double string orchestra.

Laudate pueri (Psalm 113; Vulgate 112) isfor strings plus two oboes (which operateas an independent instrumental familyrather than just doubling the violins), a four-part chorus, and a florid solo soprano part,in addition to basso continuo. This workwas completed on July 13—really down tothe deadline. Dixit Dominus (Psalm 110;Vulgate 109) is the most imposing of thesemotets, and although it was composedthree months prior to the Carmelite cele-brations (it is said to be Handel’s earliestsurviving manuscript that can be defini-tively dated), it would have been a perfectchoice to launch the Second Vespers (thespot where the Dixit Dominus text falls),which characteristically began with a par-ticularly elaborate musical selection. HereHandel requires five soloists (two sopra-nos, contralto, tenor, and bass), five-partchorus, strings, and basso continuo, whichare woven into a sequence of constantlyvarying textures.

Handel’s autograph of the Violin Concertoin B-flat major comes down to us in a

manuscript titled Sonata a 5, scored forsolo violin, two oboes (easily doubled with“orchestral” violins), viola, and basso con-tinuo. This work has obscure origins. Itwas quite possibly written in Italy, perhapsin Florence or Venice in 1706 or 1707, per-haps in Rome. Though the piece is rarelyheard in this form, its first movement maysound familiar. Handel, an inveterate recy-cler of his compositions, also employed itin his Oboe Concerto “No. 2” in B-flatmajor (perhaps a spurious work), in hisChandos Anthem No. 5 (1717–18), in thefirst of his 7 Sonatas for 2 Violins (orGerman Flutes), Op. 5 (published in 1739),and, in developed form, in the oratorioBelshazzar (1745). Such self-borrowingwas common in Handel’s vocal music, too.The Dixit Dominus, for example, furnishedmusic he later used in his oratorio Deborah(1733), and the Qui habitare fecit move-ment in Laudate pueri invites us to thinkahead to the famous aria “Oh, had I Jubal’slyre” in his oratorio Joshua (1748).Repurposing of that sort was commonamong many late-Baroque composers, butin Handel’s case, it is remarkable how eas-ily music penned during his journeymanyears in Italy could be fit into the pieces hecomposed many years later—a reflectionof the exceptional mastery he had alreadyachieved as an emerging composer in hisearly 20s.

James M. Keller is program annotator of theNew York Philharmonic (The Leni and PeterMay Chair) and the San Francisco Symphony,and is the author of the book Chamber Music:A Listener’s Guide (Oxford University Press).

Texts and TranslationsNisi DominusText: Psalm 127 (126)

Soloists and ChorusNisi Dominus aedificaverit domum, invanumlaboraverunt qui aedificant eam.Nisi Dominus custodierit civitatem, frustravigilat quicustodit eam.

Tenor AriaVanum est vobis ante lucem surgere,

surgite postquam sederitis,qui manducatis panem doloris.

Countertenor AriaCum dederit dilectis suis somnum:ecce haereditas Domini, Filii, merces fructus ventris.

Bass AriaSicut sagittae in manu potentis:ita Filii excussorum.

Tenor AriaBeatus vir qui implevit desiderium suumex ipsis,non confundetur cum loquetur inimicissuis in porta.

ChorusGloria Patri, et Filio, et Spiritui Sando,Sicut erat in principia, et nunc, et semper,et in saecula saeculorum. Amen.

Laudate pueri DominumText: Psalm 113 (112)

Laudate pueri DominumLaudate nomen Domini.

Except the Lord build the house:

their labor is but lost that build itExcept the Lord keep the city:

the watchman waketh but in vain.

It is but lost labor that ye haste to rise upearly,

and so late take rest,and eat the bread of carefulness.

For so he giveth his beloved sleep. Lo, children and the fruit of the womb:are an heritage and gift that cometh ofthe Lord.

Like as the arrows in the hand of the giant:even so are the young children.

Happy is the man that hath his quiver fullof them:

they shall not be ashamed when theyspeak with their enemies in the gate.

Glory be to the Father, and to the Son, and to the Holy Ghost:As it was in the beginning is now, and forever:world without end. Amen.

Praise, o ye servants of the Lord,Praise the name of the Lord.

Sit nomen Domini benedictum ex hocnunc et usque in saeculum.

A solis ortu usque ad occasum

laudabile nomen Domini.

Excelsus super omnes gentes Dominuset super coelos gloria ejus.

Quis sicut Dominus Deus noster,qui in altis habitat,et humilia respicit in coelo et in terra?

Suscitans a terra inopem,et de stercore erigens pauperem;Ut collecet eum cum principibus,cum principibus populi sui.

Qui habitare facit sterilem in domo,matrem filiorum laetantem.

Gloria Patri, et Filio, et Spiritui Sando,Sicut erat in principia, et nunc, et semper,et in saecula saeculorum. Amen.

Dixit DominusText: Psalm 110 (109)

ChorusDixit Dominus Domino meo:sede a dextris meis,donec ponam inimicos tuosscabellum pedum tuorum.

Alto AriaVirgam virtutis tuae emittetDominus ex sion:dominare in medioinimicorum tuorum.

Blessed be the name of the LordFrom this time forth and for evermore.

From the rising of the sun unto the goingdown

Of the same the Lord’s name is to bepraised.

The Lord is high above all nations,And his glory above the heavens.

Who is like unto the Lord our God,Who dwells on high?Who humbles himself to behold the works in heaven, and on the earth?

He raises up the poor out of the dust,and lifts the needy out of the dunghill;that he may set him with princes,even with the princes of his people.

He makes the barren woman to keep house,and to be a joyful mother of children.

Glory be to the Father, and to the Son, and to the Holy Ghost:As it was in the beginning is now, and forever:world without end. Amen.

The Lord said unto my Lord:Sit thou on my right hand, until I make thine enemies thy footstool.

The Lord shall send the rod of thy power out of Sion:be thou ruler, even in the midst among thine enemies.

Soprano AriaTecun, principiumin die virtutis tuaein splendoribus sanctorum:ex utero ante luciferumgenui te.

ChorusJuravit Dominus,et non poenitebit eum.

ChorusTu es sacerdos in aeternum,secundum ordinem Melchisedech.

Chorus and SoloistsDominus a dextris tuis confregitin die irae suae reges.

ChorusJudicabit in nationibus,iimplebit ruinas;conquassabit capitain terra multorum.

Soprano Duet and ChorusDe torrente in via bibet:propterea exaltabit caput.

ChorusGloria Patri, et Filio, et Spiritui Sando,Sicut erat in principia, et nunc, et semper,et in saecula saeculorum. Amen.

In the day of thy power shall the people offer thee free will offeringswith an holy worship.The dew of thy birth is of the wombof the morning.

The Lord swore, and will not repent:

Thou art a priest for ever after the order of Melchisedech.

The Lord upon thy right hand,shall wound even kings in the day of hiswrath.

He shall judge the nations,fill the places with destruction,and shatter the skulls in many lands.

He shall drink of the brook in the way,therefore shall he lift up his head.

Glory be to the Father, and to the Son, and to the Holy Ghost:As it was in the beginning is now, and forever:world without end. Amen.

Meet the Artists

Elizabeth Blumenstock is a long time con-certmaster, soloist, and leader of the SanFrancisco Bay Area’s Philharmonia Baroqueand American Bach Soloists, concertmas-ter of the International Handel Festival inGöttingen, Germany, and artistic director ofthe Corona del Mar Baroque MusicFestival. Her devotion to playing chambermusic has led to her work with accom-plished smaller ensembles including MusicaPacifica, Galax Quartet, Ensemble Mirable,Live Oak Baroque, and Voices of Music.Ms. Blumenstock joined the faculty ofJuilliard’s Historical Performance programlast year and also teaches at the SanFrancisco Conservatory of Music, AmericanBach Soloists’ summer Festival and Aca -demy, International Baroque Institute atLongy, and the Valley of the Moon MusicFestival. She plays a 1660 Andrea Guarneriviolin built in Cremona, Italy, on generousloan to her from the Philharmonia BaroquePeriod Instrument Trust.

Lionel Meunier is musician and singer, andfounder of Vox Luminis, early music vocalensemble (2004). He is conductor andartistic director for Vox Luminis and

ensures its international reputation. Beingpassionate about music from a very youngage, he started his musical education in thecity of Clamecy (France) with the trumpet,recorder, and solfège. Mr. Meunier thencontinued his studies at Institut Supérieurde Musique et de Pédagogie (the SuperiorInstitute of Music and Pedagogy) in Namurwhere he earned his degree in recorderwith great distinction. He took classes fromTatiana Babut du Marès and Hugo Reyneand master classes with Jean Tubéry. Hethen focused his attention on vocal studieswith Rita Dams and Peter Kooij at the RoyalConservatory of the Hague. At the sametime he started a career as a concert musi-cian and was soon in great demand as asoloist and joined leading ensemblesincluding the Collegium Vocale Ghent(Herreweghe), World Youth Choir, ArsysBourgogne (Cao), Amsterdam BaroqueChoir (Koopmann), the Chamber Choir ofNamur, the Favoriti de la Fenice (Tubéry),the Soloists of the Chamber Choir ofNamur, Cappella Pratensis (Bull), and thesoloists of the Dutch Bach Vereniging (VanVeldhoven). Over the past two years Mr.Meunier has been increasingly in demandfrom many ensembles throughout Europeas coach, conductor, and artistic leader.His passionate yet thoughtful approach tothe early music and a cappella repertoire,combined with the understanding of andrespect for the singers, has allowed himto achieve progressively higher stan-dards. Moreover, he is jury member formany international festivals and competi-tions. In 2013 he was given the title ofNamur Person of the Year for Culture.Along with Vox Luminis, he regularlyoffers master classes, coaching sessions,and conferences on the repertoire fromthe end of the Renaissance period andthe Baroque period.

Lionel Meunier

ElizabethBlumenstock

A native of New Rochelle, New York, violin-ist Sarah Jane Kenner began her baroqueviolin studies with Leah Nelson and is agraduate diploma candidate at Juilliardstudying with Cynthia Roberts and ElizabethBlumenstock. As a member of Juilliard415,she has been concertmaster and principalsecond violin, performed as a concertinosoloist, and toured the U.S., Holland, India,and New Zealand. She has also been con-certmaster of the Manhattan School ofMusic Chamber Sinfonia and the TexasMusic Festival Orchestra, and held princi-pal positions in the Temple UniversitySymphony Orchestra. Ms. Kenner has woncompetitions on baroque violin at theManhattan School of Music and at Juilliard.In addition to regular performances withJuilliard415 at Alice Tully Hall, Ms. Kennerhas also appeared at Carnegie Hall andDavid Geffen Hall in New York and atPhiladelphia’s Kimmel Center. She holds a

B.M. from Temple University’s Boyer Collegeof Music where she studied with Hirono Oka,and earned an M.M. from the ManhattanSchool of Music as a student of Lucie Robert.

Soprano Anneliese Klenetsky of Edison,New Jersey, is a first-year master’s stu-dent at Juilliard where she studies withSanford Sylvan. Her most recent operarepertoire includes the Governess inBritten’s The Turn of the Screw at theChautauqua Institute, Amaranta in Haydn’sLa fedeltà premiata, and Un Pâtre inRavel’s L’enfant et les sortilèges atJuilliard. A lover of new music, she mostrecently premiered Theo Chandler’s Songsfor Brooches with the Juilliard Orchestra atAlice Tully Hall as well as Jake Landau’sLes danseuses de Pigalle at New York LiveArts. Ms. Klenetsky received her B.M. atJuilliard in 2017. Allen and Judy BrickFreedman Scholarship, Juilliard Scholarship

Sarah JaneKenner

AnnelieseKlenetsky

JONATHAN SLA

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Juilliard415

Violin IElizabeth BlumenstockSarah Jane KennerRachell Ellen WongEthan LinAnnie Gard

Violin IIAlana YoussefianChiara Fasani StaufferRuiqi RenJi Soo Choi

Viola IKeats DieffenbachNaomi Dumas

Viola IIDanika Paskvan

CelloMorgan LittleAna KimMatt Zucker

BassHugo Abraham

OboeAndrew BlankeLuke Conklin

BassoonJoseph Jones

HarpsichordFrancis Yun

OrganCaitlyn Koester

Vox LuminisVox Luminis is a Belgian early musicensemble created in 2004 by its artisticdirector, Lionel Meunier. Today the ensem-ble performs more than 60 concerts a year,appearing on stages across Europe andaround the world. The size and composi-tion of the group depends on the repertoirebeing performed, but the core of soloists,mostly from the Royal Conservatory of theHague, is frequently joined by a continuoand additional (orchestral) instrument per-formers. Its repertoire is essentially Italian,English, and German and spans from the16th to the 18th centuries. The ensemble’s12 recordings have appeared on the AlphaClassics, Ricercar, Ramée, and Musiqueen Wallonie labels and have enjoyed inter-national critical acclaim, receiving numer-ous prizes and awards. Most recently theensemble has released Handel’s DixitDiminus and Bach’s Magnificat. Theensemble has performed at festivalsworldwide, appearing in leading hallsincluding London’s Wigmore Hall, Paris’Oratoire du Louvre, Madrid’s AuditoriaNacional de Música, Brussels’ Centre forFine Arts and the Flagey Radio House,Gent’s Bijloke, Brugge’s Concertgebouw,and Lisbon’s Belem Cultural Centre. TheMuziekgebouw in Amsterdam and the

Tivoli Vredenburg in Utrecht have also wel-comed Vox Luminis over recent seasons.Vox Luminis has held residencies at theAbbey of Sainte-Marie-des-Dames, theCentre for Fine Arts in Brussels, theFestival of Early Music in Utrecht, and theMusique et Mémoire Festival. In 2017England’s Aldeburgh Festival hosted theensemble for the first time and the ensem-ble participated in many major internationalevents, in particular, a concert at thePhilharmonies in Berlin and in Köln, a con-cert in Arnstadt’s Bachkirche, the ThüringerBachwochen, and the Bachfest Leipzig.Last year Vox Luminis made its debut inthe grand Salle Henry Leboeuf in Brusselsto inaugurate the beginning of a five-yearresidence. For the next few years VoxLuminis will be house artists at theConcertgebouw in Brugge. In addition tooften working with its own orchestra, VoxLuminis frequently collaborates with otherinternationally renowned ensembles andorchestras. Collaborations in 2017 includedprojects with the Franco-Canadian En -semble Masques and with the FreiburgerBarockorchester. Vox Luminis receivessupport from Federation Wallonia-Brussels,the city of Namur, and Namur ConfluentCulture and is recognized by the Art andLife Tours. (voxluminis.com)

Vox LuminisLionel Meunier, Artistic Director

SopranosVictoria CassanoZsuzsi TóthStefanie TrueCaroline Weynants

AltosAlexander ChanceJan Kullmann

TenorsRobert F. BucklandPhilippe Froeliger

BassesLionel MeunierSebastian Y. Myrus

Juilliard415Juilliard’s full-scholarship Historical Per -formance program offers comprehensivestudy and performance of music from the17th and 18th centuries on period instru-ments. Established and endowed in 2009by the generous support of Bruce andSuzie Kovner, the program is open to can-didates for master of music, graduatediploma, and doctor of musical artsdegrees. A high-profile concert season ofopera, orchestral, and chamber music isaugmented by a performance-oriented cur-riculum that fosters an informed under-standing of the many issues unique toperiod-instrument performance at the levelof technical excellence and musical integrityfor which Juilliard is renowned. The facultycomprises many of the leading performersand scholars in the field. Frequent collabo-rations with Juilliard’s Ellen and James S.

Marcus Institute for Vocal Arts, the integra-tion of modern instrument majors outsideof the Historical Performance program,and national and international tours haveintroduced new repertoires and increasedawareness of historical performancepractice at Juilliard and beyond. Alumniof Juilliard Historical Performance aremembers of many of the leading period-instrument ensembles, including thePortland Baroque Orchestra, Les ArtsFlorissants, Mercury, and Tafelmusik,they have also launched such newensembles as the Sebastians, House ofTime, New York Baroque In corporated,and New Vintage Baroque. This summermembers of the ensemble return to theBerkeley Early Music Festival, and jointhe Bach Collegium Japan for a side-by-side performance of Mendelssohn’s Elijahat the Leipzig Gewandhaus in Germany.

Violin/ViolaElizabeth BlumenstockRobert MealyCynthia Roberts

CelloPhoebe Carrai

Viola da GambaSarah Cunningham

Double BassDouglas Balliett

FluteSandra Miller

OboeGonzalo Ruiz

BassoonDominic Teresi

HornR.J. Kelley

TrumpetJohn Thiessen

Plucked InstrumentsDaniel SwenbergCharles Weaver

HarpsichordRichard EgarrBéatrice MartinPeter Sykes

RecorderNina Stern

Continuo SkillsSteven LaitzAvi Stein

Baroque VocalLiteratureAvi Stein

Core StudiesThomas Forrest KellyRobert Mealy

Artists in ResidenceWilliam ChristieRichard EgarrMonica HuggettRachel PodgerJordi Savall

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

Faculty

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 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 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 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 VenturesChristopher Mossey, Senior Managing DirectorCourtney 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

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 MarcusNancy 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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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:

The Augustus Juilliard Society

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 GalloAnita L. Gatti

Thelma and Seymour Geller, on behalf of Jane Geller

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

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

Wilhelmina Marchese Lemma‡Loretta Varon Lewis‡ and

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

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

and The Stephanie and Carter McClelland Foundation

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

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

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

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

Joanne Gober RomeroLinda N. RoseSusan W. Rose

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

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

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

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

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

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

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

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

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

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

‡ = In Memoriam

The Augustus Juilliard Society (Continued)

Estates and Trusts