Thursday Evening, November 16, 2017, at 7:30

The Juilliard School

presents

Juilliard Pre-College OrchestraAdam Glaser, ConductorEnrique Rodrigues, Violin

DAVID LUDWIG (b. 1974) Fanfare for Sam

SAMUEL BARBER (1910–81) Concerto for Violin and Orchestra, Op. 14 Allegro Andante Presto in moto perpetuo ENRIQUE RODRIGUES, Violin

Intermission

WOLFGANG AMADEUS MOZART (1756–91) Overture to Don Giovanni, K. 527

LEONARD BERNSTEIN (1918–90) Symphonic Dances from West Side Story Prologue (Allegro moderato) Somewhere (Adagio) Scherzo (Vivace leggiero) Mambo (Presto) Cha-cha (Andantino con grazia) Meeting Scene (Meno mosso) Cool Fugue (Allegretto) Rumble (Molto allegro) Finale (Adagio)

Performance time: approximately 1 hour and 15 minutes, including one intermission.

The taking of photographs and the use of recording equipment are not permitted in this auditorium.

Information regarding gifts to the school may be obtained from the Juilliard School Development Office,60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving).

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

Notes on the Program(Program notes for this evening’s concertwere written by students selected from theJuilliard Pre-College honors seminar taughtby Ira Taxin and Daniel Ott.)

Fanfare for Samby Kyrie McIntosh

David Ludwig’s Fanfare for Sam is a cele-bration of the shared legacy of the iconicAmerican composer Samuel Barber andthe Curtis Institute of Music. Both Ludwigand Barber have long histories with theschool: Barber entered Curtis at age 14where he studied composition, piano, andvoice for eight years, and eventually servedas a faculty member; Ludwig currentlyteaches composition at the institution andhis grandfather was the pianist RudolfSerkin, who once served as music director.As Ludwig writes in his own program notesfor Fanfare: “Barber is a musical hero to meand to so many others that followed in hisfootsteps (literally) at the school. To thinkthat as both student and faculty he walkedthe same halls and took classes and lessonsin the same rooms is humbling, indeed!”

Don’t let the opening of Fanfare for Samfool you. The piece begins with a tradi-tional A “tune-up,” but takes an unex-pected left-turn when instead of fadingaway, it grows in volume and morphs intoa fiery fanfare. The score draws much ofits musical material arguably from Barber’smost famous and beautiful work, hisAdagio for Strings. The Adagio was oncethe second movement of his String Quartet,Op. 11, No. 1, but after the movementreceived a standing ovation mid-performance,Barber decided to orchestrate it. He senthis Adagio to Arturo Toscanini (an Italianconductor, who rarely programed Americanmusic). Barber was irritated when the score

was sent back without any word—hethought the conductor’s silence meant hedidn’t want to give the premiere. But his dis-appointment soon turned to elation whenhe found out that Toscanini not only plannedon premiering the Adagio, but that hewould be conducting it from memory. Thatwas why the score had been returned—itwas not needed for the performance!

The main structure of Fanfare is built upona reoccurring B-flat trumpet call, the firstnote of Barber’s Adagio for Strings. Afterthe first call one can hear the opening har-monies of the Adagio embedded in a roughmodern texture. Ludwig adopts melodicaspects too: a pastoral section in the mid-dle of the piece uses the essence ofBarber’s opening melody, but in inversion.As Ludwig puts it, “the Adagio serves as amusical jumping point, providing materialfor the surface landscape; in other waysthe Fanfare lives in great contrast to thatpoignantly beautiful work.” Ludwig’s brass-heavy Fanfare opposes Barber’s lusciousstring sonorities from the beginning. As ifthat weren’t enough, Ludwig inserts aboisterous percussive coda that appears tobe almost a rejection of the Adagio’s tragicand sensitive nature. As a whole, the piecepresents a way to transport Barber’s his-toric work and legacy into the contempo-rary era and to bridge the history of theCurtis Institute. Toward the end of FanfareLudwig brings back fragments of Barber’sharmonies progressing to a symbolic finish:“The piece ends on a big C-major chord tohonor Curtis, where Mr. Barber and I—andmany other appreciative composers—havehad the privilege to call our musical home.”

Kyrie McIntosh is in his fourth year atJuilliard Pre-College studying composi-tion with Eric Ewazen. He also studiespiano with Genya Paley at the KaufmanMusic Center.

The Concerto That Almost Wasn’tby William McGregor

The lovely, intricate melodies and har-monies of Barber’s Violin Concerto haveresonated in the hearts and minds ofmusic lovers for decades, yet few know ofthe unique circumstances surrounding thecomposition and premiere. In 1939 a phil-anthropist from Philadelphia, Samuel S.Fels, wanted a composition written for hisward, Iso Briselli, a famous and accom-plished musician. Barber was chosen tocompose a work for violin and orchestra.Briselli and Barber attended the CurtisInstitute of Music together, so they hadtime to get to know one another. Barberasked for a payment of $1,000 for writingthe composition and wanted half of the feeup front, the other half upon completion.Briselli gave a deadline to Barber, tellinghim to have the concerto done by January1940 so it could be performed with thePhiladelphia Orchestra. Giving himself acushion, Barber told Briselli that he wouldhave the first two movements submittedby the first of October.

Barber began working on the first twomovements in Switzerland during thesummer of 1939. However, the impendingwar in Europe caused him to flee andreturn to the U.S. He traveled to thePocono Mountains in Pennsylvania towork and he was able to finish the firsttwo movements by mid-October. Althoughit was a few weeks after the deadline,Briselli accepted the movements withgreat happiness, he was pleased with thebeauty he found in them. In mid-November,while Barber was working on the finale,Briselli showed the first two movementsto his teacher and coach, Albert Meiff,who claimed that “the technical embell-ishments are very far from the require-ments of a modern violinist.” Almost dis-missing the beauty of the piece, Meiff

was instead worried that the work wouldnot sound as flashy and technically diffi-cult to the audience. He was intrigued tohear though that the third movement wasto be much more technically advanced.

Finally, in late November the work was com-plete. After looking it over, Briselli claimedthat the third movement did not fit with thebeauty of the first two, and said that the workwould not be able to compete with othermajor concertos of the period. He insistedthat Barber rewrite the third movement, togive more structure to the overall piece.Barber was dismissive of these ideas and didnot agree to a rewrite. He was already busywith many other commissions and it wasno longer a priority for him. Because of thedilemma, Barber wrote a letter to Fels onDecember 14, saying that Briselli was notquite interested in the work and that it wouldnot be performed. Barber then explained thathe had already spent the advance and that hecould not pay it back, but he also said that hedid not have to be paid the remaining $500.

The official premiere of the concerto wasin February 1941 with violinist AlbertSpalding performing with the PhiladelphiaOrchestra at Carnegie Hall. It receivedtremendous praise and was soon per-formed as often as other top 20th-centuryconcertos. It is remarkable to consider thatthis masterpiece was nearly forgotten.

William McGregor is in his ninth year atJuilliard Pre-College and studies double basswith Albert Laszlo. A senior in high school,he lives in Pennsylvania, and coincidentally,his school is located in Samuel Barber’shometown of West Chester, Pennsylvania.

Barber’s Violin Concertoby Neerav Kumar

Barber’s Violin Concerto is in three move-ments. Marked by expressive melodies

that are masterfully connected, the firstand second movements contrast the moredissonant, virtuosic, third.

The first movement is in sonata form, with anexposition, development, and recapitulation.The exposition opens with a stately firsttheme using major and minor harmonicshifts to add a tinge of sadness. After soar-ing upward with an octave leap to reachthe climax of the phrase, the solo violinreleases into a denouement of sevenths.The clarinet establishes the folk-like sec-ond theme, highlighting the dotted rhythmmotif. An energetic transition quiets intothe development section that has twoparts: a true development where Barbermodulates and develops rhythmic andmelodic motifs, and a section that leads tothe return of the first theme in the recapit-ulation. The recapitulation is almost anexact restatement of the exposition, but itfeatures different instrumentation in theparallel minor. The violin has a short yetemphatic cadenza, which is the climax ofthe recapitulation, and the movement endsafter a calming coda.

Continuing the beautiful, cantabile style,the second movement is a quintessentialexample of a story told without words.This movement is comprised of a series ofmelodies that are cohesively strung togethermimicking a dialogue or a song. The move-ment resembles an aria in A-B-A form withcadenzas between each section. Like thefirst movement, the second movementhighlights major-minor harmonic shifts,symbolizing a juxtaposition of hope anddespair. But what’s unique about thismovement is the intertwining of wood-winds and strings in beautiful counterpoint.

The third movement is as intense as thesecond but far more sprightly, sporadic,and furious. While the second movementis like a song, the third movement is like

dance. The movement vaguely resemblesrondo form, but the rondo theme rarelyreturns verbatim. Various meter changesthat add to the playful, unstable nature ofthe music are dispersed throughout. Likethe second movement, each sectionmoves seamlessly into the next with theexcitement of the piece persisting frombeginning to end. Compared to the othertwo movements, the third seems like it isspeaking with a different voice, incorporat-ing more dissonance within each flurry ofnotes. The coda is a wild spinning dance,with the impending storm finally explodingat the end.

Neerav Kumar is pursuing his fourth year atJuilliard Pre-College with a major in clarinetand a minor in composition under LarryGuy and Andrew Thomas. He is a senior atthe Rye Country Day School and foundedMusic Measures Inc., a nonprofit organiza-tion to teach music, keyboard, and windinstruments at the Boys and Girls Club inStamford, Connecticut, where he teachesduring the week after school.

Soloistic Considerations in Barber’sViolin Concertoby Justin Zeitlinger

Samuel Barber’s Violin Concerto is a favoriteamong violinists, and for good reason. It isvery well written, yet contains little of theflashy technicality that predominates inmany violin concertos. Rather, the soloist isgiven lyrical, expansive melodies that twistand turn ever outward, melting into eachother seemingly without end. The challengepresented to the violinist therefore is to con-nect the ideas of the opening section intoone long phrase. These ideas are con-trasted with slightly faster and sprightlierpassages before the violin unleashes a flurryof rapid scales that launch it into its upper-most register. The highest point of drama forthe soloist comes in the form of a short and

virtuosic cadenza toward the end of themovement, first jumping over many octavesand then coming down in a torrent of fastpassagework. The violin eventually acqui-esces, happily playing along to the sempliceopening material.

The solo violin is more brooding and fanci-ful in the second movement, responding tothe oboe’s pastoral melody with passion-ate rhapsodic outbursts in the parallelminor. When the violin finally concedes tothe opening melody, it is called upon to uti-lize the maximum of its expressive capabil-ities. The solo line works its way up the rangeof the instrument as the action builds, peak-ing in a reprise of the cadenza from the firstmovement. As if exhausted by the drama,the solo violin plays a soft falling melody andends peacefully holding a long E.

The third movement, which Barber him-self described as “[exploiting] the morebrilliant and virtuosic character of the vio-lin,” provides a stark contrast to the previ-ous two. The tempo marking is Presto inmoto perpetuo, meaning “perpetual motion.”In fact, the first rest the soloist seescomes more than 100 measures into themovement. The solo violin plays tripletsand alternates between driving scale pat-terns and nimble repeated-note melodiesthat rise and fall. The coda of the work,which is perhaps the fastest passage inthe entire violin literature, transforms theopening theme into a stunning barrage of16th notes that sprint ever upward andculminate in a dazzling arpeggio spanningthe violin’s entire range. This brief move-ment forms an unusual—even a oncecontroversial—conclusion, but one thatsuccessfully demonstrates the technicalprowess of the violin and satisfies theneed for a virtuosic contrast.

Justin Zeitlinger is a fifth-year student atJuilliard Pre-College, where he studiescomposition with Ira Taxin and violin with

Naoko Tanaka. He has been recognizedwith numerous awards for his composi-tions and has been a member of the Pre-College Orchestra since 2015.

The Rushed Compositionby Esme Bolucek

After Le nozze di Figaro’s enthusiasticreception in Prague, Mozart was commis-sioned for another opera to be performedthere. He was very happy to oblige, as hewas much fonder of his Prague audiencethan the Vienna crowd. Mozart’s laterworks with political undertones, such asFigaro, were rather criticized in Vienna,while praised highly in Prague. Mozartexpressed his favoring of Prague as hewrote in a letter to one of his closest friends,Gottfried von Jacquin, on January 15, 1787,“…I was delighted to look upon all thesepeople leaping about in sheer delight to themusic of my Figaro, adapted for noisy con-tredances and waltzes;—for here nothingis discussed but—Figaro, nothing is played,blowed, sung, or listened but—Figaro; cer-tainly a great honor for me.” Shortly afterFigaro’s performance, Mozart returnedthere to premiere his “Prague” Symphony(No. 38) and Don Giovanni.

Mozart had been working on Don Giovannifor some time prior to its premiere, workingleisurely on significant arias and the bigensemble numbers that hold the piecetogether. His final additions and finishingtouches, however, became somewhat of aproblem. He kept having to postpone theperformance date, as he expressed his worryabout the uncertainty of the finishing date ofthe production in letters to Jacquin: “[15October] …Don Giovanni is now fixed for the24th…. [21 October] It was fixed for the24th, but one of the donne felt ill and it hadto be put off again…. [25 October] This is the11th day that I have been scribbling this let-ter…the opera will be performed for the firsttime this coming Monday, the 29th….”

The overture was written in a hurry. Mozartwas out with friends the night before thepremiere, when someone reminded himof the lack of an overture, to which heresponded that it was all there in his head. Hethen went home (perhaps a bit boozy) andreportedly wrote the overture in one sitting,completing it in the early morning hours.Unable to finish the score, he only wrote theindividual parts. Barely copied in time, themusic was sight-read at the premiere.

Esme Bolucek was born in Turkey andmoved to New York at age 13. She is in herfourth year at Pre-College studying pianowith Yoheved Kaplinsky.

Mozart, Overture to Don Giovanniby Huan Zhang

Every time I sit in an opera house watchingthe light in the hall softening, I feel that Iam entering another world. The curtain isstill not opened, but it is already quietenough that even a deep breath or a coughcan make you nervous. Everyone waits.We wait for the conductor to come to thepodium and we wait for the first soundfrom the orchestra. Like the function of anoverture to its opera, the first chords are soimportant as they tell us what the moodwill be. In Don Giovanni, the blasting, thun-derous D-minor chord, followed by a dra-matic silence and then a dominant chord,set the tone of the story. It is threatening.Is there any better way to begin the darkstory of a nobleman who seduces the inno-cent and murders without regret?

Soon after the crashing chords, the musicdrops to piano and begins to creep along.Out of this texture, the flute begins to playa demonic scale, creating an ominousatmosphere. After the brooding introduc-tion, the music transitions to the sonata-allegro form. We begin to hear eighth notesand the music becomes increasingly ener-getic, ushering in Don Giovanni’s character.

The melody played by the violins is his dri-ving passion, followed by the frivolity fromthe woodwinds, soon combining to a gal-lant appearance of an orchestral tutti. Mozartbrilliantly captures Don Giovanni as both asuave womanizer and a gallant hero. Theprimary voice is tossed back and forthbetween the tutti and the violins: one sym-bolizes the determination and power of theCommendatore, the other evokes the capri-ciousness of Don Giovanni. At this point,would anyone still remember the two bru-tal chords at the opening of the overture?With typical Mozartian charm, the overtureends on a bright note. This conclusionreflects Mozart’s own artistic tastes as wellas the sensibility of the listening public atthe time. Eighteenth-century audiencespreferred tragedies with happy endings.

At the end of the opera, in Act II, Scene 5,Mozart brings back his overture music, andwe hear the haunting theme again in itsentirety. After so much tragedy has elapsed,the music has a new meaning. As theCommendatore utters his menacing words,“Don Giovanni! A cenar teco m’invitasti!”(“Don Giovanni! You invited me to dine withyou!”), the opening notes of the overtureemerge out of the texture, this time re-har-monized as menacing diminished chords.

Mozart masterfully integrates the musicof his overture into the opera. Where theopera ends is where the overture begins,and where the overture ends is where theopera begins. The dynamic drops backto piano, and the curtain rises on DonGiovanni’s servant Leporello in the middleof an amorous adventure with his masterand contemplating the fate which makeshim a servant to such a restless and dan-gerous man.

Huan Zhang is a senior studying piano withVictoria Mushkatkol in Juilliard Pre-College,and greatly appreciates how music con-nects people from different backgrounds.

In addition to music, she enjoys readingand calligraphy.

It Takes Four to Mamboby Chelsea Guo

Ask anyone familiar with West Side Storyand they’ll tell you it is a masterpiece, a land-mark of American musical theater. Togetherwith the brilliant director/choreographerJerome Robbins, book writer Arthur Laurents,and fledgling lyricist Stephen Sondheim,Leonard Bernstein takes the audience intoa then-modern version of the timeless lovestory based on Shakespeare’s Romeo andJuliet. Bernstein and Robbins had workedtogether on the ballet Fancy Free and themusical On the Town. Bernstein’s originalintent was to partner with Betty Comdenand Alan Green, the musical comedy duowho had worked with him as lyricists forOn the Town; however, the two hadalready contracted to work on projects inHollywood, leaving the team on the huntfor a lyricist. Laurents had previously seenan audition for the show Saturday Nightwhere Sondheim was the composer/lyricist.So naturally, when the two met at a party,Laurents convinced the young Sondheimto audition for Bernstein. At first Sondheimwas reluctant to only write lyrics and notbe able to compose the music, but heended up taking the position for the oppor-tunity to work with the great maestro.West Side Story was the vehicle that gaveSondheim and Robbins, then relativelyunknown, the reputation they hold todayas supreme creative artists in the world ofmusical theater.

Unlike Shakespeare’s story of forbiddenlove set in Verona, West Side Story takesplace in New York City on our very ownUpper West Side during the 1950s. Thisfresh interpretation of the classic talefocuses on the love affair between Tony,an American of Italian descent, and Maria,a Puerto Rican immigrant. Tony is a

founder of the Jets, a white gang, andBernardo, Maria’s older brother, is theleader of the rival Puerto Rican gang, theSharks. Tony and Maria meet at a danceone evening and find themselves falling foreach other and initiating the story’s inevitabletragedy. During the development of thisproduction, the rivalry was not just happen-ing onstage. Robbins used method-actingtechniques then new to musical theater,manipulating the actors playing the gangmembers into despising each other. Inrehearsals, they were not allowed to sittogether, and they were reprimanded forspeaking to each other. The rivalry betweenthe gangs echoes the racial strife of theera as many Puerto Ricans were emigrat-ing and arriving in New York. “That kind ofbigotry and prejudice was very much in theair,” said Laurents. “It’s really, ‘How canlove survive in a violent world of preju-dice?’ That’s what it’s about.”

Chelsea Guo is a 16-year-old double majorin piano and voice at Juilliard Pre-Collegewhere she studies with Hung-Kuan Chenand Lorraine Nubar. She is a scholar of theLang Lang International Music Foundationas well as a scholarship recipient of theU.S. Chopin Foundation, and deeply appre-ciates great music and great food.

Symphonic Dances from West Side Storyby Michael Gaspari

Leonard Bernstein’s Symphonic Dances isa suite of nine music selections from hisgroundbreaking musical West Side Story.Bernstein was a brilliant composer andconductor with a profound understandingof musical genres and was able to fuseclassical, jazz, and pop styles into hisscore. These mixed-genre sounds are whatmake Symphonic Dances so special andfun to listen to and perform.

The suite opens with the signature altosaxophone theme and goes directly into

the Prologue. In describing the process of cre-ating a suite from the show’s musical scenes,Bernstein’s orchestrator Sid Ramin said, “Theorder of the rest of the material in the suite isbased on feel rather than on the plot of theshow.” However, from the Prologue throughthe dance numbers Mambo and Cha-Chathrough the end sequences of Cool, Rumble,and Finale, Symphonic Dances generally fol-lows the outline of the story.

Jazz plays a significant factor in SymphonicDances. A strong feature of jazz is the useof “blue notes,” such as the flatted-seventh,particularly in dominant chords, and theflatted-fifth, otherwise known as the tri-tone. The famous opening signature themeprominently features the tritone, and indeedgives it its special “blue note” effect.Bernstein was bold and imaginative in hisuse of these evocative “blue” intervals.

The orchestration for Symphonic Dances iscolorful and unique. In addition to the stan-dard orchestra, there are unusual auxiliaryinstruments such as the aforementionedsaxophone, as well as the E-flat (or piccolo)clarinet, a jazz drum set, and a host of Latinpercussion, including gourds, maracas, congadrums, cowbells, and police whistles. All ofthese instruments contribute to the settingand mood of the music and are seamlesslyintegrated by Bernstein, who used his eclec-tic background and particular genius to givethe work great cohesion.

Michael Gaspari is a fifth-year student atJuilliard Pre-College, where he studiescomposition with Ira Taxin and piano withErnest Baretta. He is interested in filmmusic, multimedia works, and mixed-genrestyles, and is currently producing an albumof his own electronic compositions.

Meet the Artists

Adam Glaser is equally at home in the coresymphonic and operatic repertoire as wellas contemporary and pops. His most recentappointments include two newly createdpositions: principal conductor of the NYUorchestras and an expanded role as musicdirector of the professional-caliber JuilliardPre-College orchestras, which he has con-ducted in more than 50 programs at LincolnCenter. As the director of orchestras at LongIsland’s Hofstra University, Mr. Glaser con-ducts the Hofstra Symphony Orchestra andHofstra Chamber Orchestra, and teachesgraduate-level seminars in score analysis. Inthe summer he conducts the InterlochenPhilharmonic at the Interlochen Center for the

Arts in Michigan and serves as artistic advisorfor Long Island’s Usdan Center for the Arts.

Mr. Glaser’s guest conducting highlightsinclude a nine-concert residency with theSymphonia Boca Raton, a last-minute walk-onwith the Illinois Symphony Orchestra, andappearances with the Victoria Symphony inCanada, Wheeling Symphony Orchestra,Massapequa Philharmonic, Livingston Sym -phony Orchestra, NAfME All-Eastern HonorsOrchestra, Connecticut All-State HonorsOrchestra, and the orchestras of the CurtisInstitute of Music and University of Michigan.

An established composer, Mr. Glaser hasenjoyed performances of his works bymore than 25 orchestras throughout theU.S. and Canada, including the PhiladelphiaOrchestra, National Symphony Orchestra,Vancouver Symphony Orchestra, and TorontoSymphony Orchestra. A lifelong jazz pianistand songwriter, he is a founding memberof Phil Orch Jazz comprised of members ofthe Philadelphia Orchestra.

Adam Glaser

Mr. Glaser has received awards from theHermitage Artist Retreat and the American-Austrian Foundation, whose Karajan Fellow -ship for Young Conductors sponsored hisresidence at the Salzburg Festival and theVienna Philharmonic’s Attergau OrchestraInstitute. He completed his graduate stud-ies in orchestral conducting at the CurtisInstitute of Music where he was a studentof Otto-Werner Mueller, and at the Universityof Michigan where he studied with KennethKiesler. He earned an MBA from the RossSchool of Business at the University ofMichigan, a diploma in composition fromJuilliard Pre-College, and is a magna cumlaude graduate of the University of Penn -sylvania’s College of Arts and Sciences.(adamglaser.com)

Fifteen-year-old violinist Enrique Rodriguesis a student at Fair Lawn High School in NewJersey where he is the recipient of the

President’s Award for excellence in acade-mic achievements. He studies under HyoKang and I-Hao Lee at Juilliard Pre-Collegeand is a recipient of gold medals at theNew Jersey ASTA Competition, NJMTACompetition, Shining Stars Soloists, and theGolden Key Music Festival; and has per-formed as a soloist with the Bravura Phil -harmonic Orchestra, Lansdowne Sym phonyOrchestra, and Sinfonietta Nova Orchestra.In 2015 and 2017 Enrique performed at theStarling-DeLay violin symposium and hasappeared internationally at Moscow’s CentralMusic School and at the Liszt School ofMusic in Weimar, Germany. When he grad-uated from middle school in 2016, Enriquewas recognized by the New Jersey De -partment of Education for his outstandingperformance in both academics and music.He spends his time and talent trying to makethis world a better place and performs atassisted living centers and veteran’s homes.In an effort to nurture and inspire a love forclassical music in young school children,Enrique is the regional assistant director forNorthern New Jersey in the Back to BACHproject with fellow colleagues from Juilliard.Enrique Rodrigues is the recipient of theJason and Susanna Berger Scholarship.

EnriqueRodrigues

About the Juilliard Pre-College Division

Pre-College DivisionOne of the foremost music preparatoryprograms in the world, the Juilliard Pre-College Division educates today’s mostpromising young artists. Established in1916 as the Preparatory Center, the Pre-College Division at Juilliard offers a com-plete curriculum of music instruction forhighly gifted children up to age 18. Studentsattend Juilliard every Saturday for 30 weeksduring the school year for an individualizedcourse of instruction carefully designed tomeet their particular needs. The selective

program includes instruction in a chosenmajor, academic study of music, and soloand ensemble performances. Recognizingthe importance of early development anddiscipline in the music field, the Programprovides a caring, collaborative, and chal-lenging atmosphere where artistic giftsand technical skills can flourish.

Pre-College OrchestraThe Juilliard Pre-College Orchestra is oneof the Pre-College Division’s three age-based orchestras. With an average age ofjust over 17, the orchestra rehearsesweekly and presents three concerts eachseason. As a leading youth orchestra train-ing program, the division strives to prepare

its members for the rigorous demands andexpectations of conservatory and collegeorchestral programs by offering workshopsand readings led by renowned guest con-ductors and prominent professional orches-tral musicians. The Pre-College orchestrasdraw upon the significant resource of theCollege Division’s students by employingthem as mentors to work alongside thePre-College students. The repertoire is guidedby a progressive curriculum beginning withthe youngest String Ensemble and continu-ing through the Symphony and Orchestra,ensuring that all students have exposure to

works from varied composers, musical stylesand genres. Every orchestra concert fea-tures a concerto, providing an importantopportunity to a student soloist, many ofwhom go on to important careers. Includedamong them are Han-Na Chang, PamelaFrank, Gil Shaham, Joseph Lin, Yo-Yo Ma,Jon Manasse, Roberto Minczuk, ConradTao, and Joyce Yang. In the 2017–18 sea-son, the Pre-College Orchestra is led byAdam Glaser and Robert Spano. Past con-ductors have included James Conlon, AlanGilbert, Miguel Harth-Bedoya, Itzhak Perlman,Leonard Slatkin, and Joshua Weilerstein.

Yoheved Kaplinsky, ArtisticDirector

Robert Ross, Senior Director

Katya Lawson, Director ofAdmissions and AcademicAffairs

Anna Royzman, Director ofPerformance Activities

Sarah Narhi, PerformanceActivities Coordinator

Cassandra Mueller,Administrative Assistant

Administration

Pre-College OrchestraViolinLucy Frucht,Concertmaster

Oliver Neubauer,Principal

Sarah BusseClaire CaiCameron ChaseEric ChenQingyu ChenJulia ChinAnnett HoJoseph HsiaJanet HsuMieu ImaiAlyssa KimDawn KimDavid KwakNathan MeltzerKyung Ji MinKenneth NaitoClara NeubauerAmy OhDaniel SeogYun Shan TaiSean TakadaAnna WeiAnnalisa WelinderMark XuMegan YaoHyo Jung YoonSea YoonJustin ZeitlingerYanguang ZhangKevin Zhu

ViolaJuliet Duguid, PrincipalRowan Bauman SwainAlexandra HongJonathan HuangSean JuhlHannah LeeDavid PadillaJikun QinDavid RamirezKiley RoweElijah Spies

CelloGloria Kim, PrincipalClara AbelMarco BiaggioAnthony ChoiRyan ChungAviva FrostMadison HowardCheyoon LeeHan LeeDaniel MaDawn SongCharlotte WhatleyCharles Zandieh

Double BassWilliam McGregor,Principal

Sami AhnMax ChanPatrick CurtisLindsay DonatRoss EngelmyerJinwoo KimJustin Smith*William Swett

FluteYiding ChenAudrey EmataShuangyu HanAlexander TsaiKaylee Wang

PiccoloYiding ChenAudrey EmataShuangyu Han

OboeAlexander BoundJeremy ChenMolly GoldbergRuth Lipskar

English HornJeremy ChenMolly Goldberg

ClarinetElynn ChangAnnie HuangNeerav KumarCamillo LinErica Wu

E-flat ClarinetErica Wu

Bass ClarinetElynn Chang

Alto SaxophoneLluc Casares

BassoonThomas EnglishFaraz KhanMegan NeumanMichelle Xing

ContrabassoonFaraz Khan

French HornBenjamin EdelsonAugust HallerElijah John-BurnleyClare PhelpsYajur SriramanSheng-Mu AmberWang

TrumpetJames HaddadMiles KeingsteinMatthew Sidler

TromboneYaoji Giuseppe FuAngela PrictoeAnthony Ruocco

Bass TromboneZachary Neikens

TubaDeandre Desir

TimpaniJacob BordenJoshua ParkXingyue Xue

PercussionJacob BordenJoshua ParkEvan SaddlerChristian SantosLucas VogelmanXingyue Xue

HarpDeanna Cirielli

CelestaDai Liang

PianoDai Liang

Orchestra ManagerWyeth Aleksei

Orchestra LibrariansMichael McCoy,Principal Librarian

Timothy Chen*Jake Darnell

Italics indicate anOrchestra Mentorfrom the JuilliardCollege Division

* Pre-College alum

Pre-College Performance Calendar 2017–18

Pre-College OrchestraThursday, November 16, 2017, 7:30pm • Alice Tully HallAdam Glaser, ConductorDAVID LUDWIG Fanfare for SamBARBER Concerto for Violin and Orchestra, Op. 14MOZART Overture to Don Giovanni, K. 527BERNSTEIN Symphonic Dances from West Side StoryFree tickets required

Saturday, February 17, 2018, 7:30pm • Peter Jay Sharp TheaterRobert Spano, ConductorSTRAUSS Don Juan, Op. 20LISZT Piano Concerto No. 1 in E-flat Major, S. 124BEETHOVEN Symphony No. 7 in A Major, Op. 92

Saturday, May 19, 2018, 7:30pm • Peter Jay Sharp TheaterAdam Glaser, ConductorWAGNER Overture to TannhäuserHAYDN Cello Concerto No. 2 in D Major, Hob. VIIb:2LIADOV The Enchanted Lake, Op. 62RAVEL Daphnis et Chloé, Suite No. 2

Pre-College String EnsembleSaturday, December 16, 2017, 4:30pm • Peter Jay Sharp Theater Jane H. Kim, ConductorMOZART Divertimento in F Major, K. 138BORODIN Nocturne from String Quartet No. 2MENDELSSOHN String Symphony No. 7 in D MinorCOPLAND “Hoe-Down” from Rodeo

Saturday, April 28, 2018 at 4:30pm • Peter Jay Sharp Theater Jane H. Kim, ConductorHAYDN Overture to Il mondo della luna, Hob. XXVIII:7GRIEG “Anitra’s Dance” from Peer Gynt, Op. 23GLUCK “Dance of the Furies” from Orfeo ed EuridiceMENDELSSOHN Capriccio Brillant in B Minor, Op. 22BEETHOVEN Symphony No. 2 in D Major, Op. 36

Pre-College ChorusesSaturday, January 20, 2018, 1:30pm (Youth Chorus) • Paul HallSaturday, May 5, 2018, 1:30pm (Youth Chorus) • Paul HallEsther Liu Harris, Conductor

Saturday, May 5, 2018, 6pm (High School Chorus) • Paul HallPatrick Romano, Conductor

Solo RecitalsWeekly in Paul Hall and Morse Hall

Pre-College SymphonySaturday, December 16, 2017, 7:30pm • Peter Jay Sharp TheaterAdam Glaser, ConductorKABALEVSKY Overture to Colas Breugnon, Op. 24MENDELSSOHN Violin Concerto in E Minor, Op. 64BEETHOVEN Symphony No. 5 in C Minor, Op. 67

Saturday, February 24, 2018, 7:30pm • Peter Jay Sharp TheaterAdam Glaser, ConductorSIBELIUS FinlandiaMOZART Piano Concerto No. 21 in C Major, K. 467HUMPERDINCK Prelude to Hansel and GretelLISZT Les preludes, S. 97

Saturday, May 19, 2018, 4:30pm • Peter Jay Sharp Theater George Stelluto, ConductorVERDI Overture to La forza del destinoTBD Concerto determined by competitionSCHUMANN Symphony No. 2 in C Major, Op. 61

Pre-College Chamber MusicSaturday, December 9, 2017, 7pm • Willson TheaterSaturday, December 16, 2017, 6pm • Willson TheaterTuesday, January 9, 2018, 7:30pm • Paul Hall (presented as part of Juilliard’s ChamberFest; free tickets required)Saturday, January 20, 2018, 6pm • Willson TheaterSaturday, April 7, 2018, 7pm • Willson TheaterSaturday, April 28, 2018, 7pm • Willson TheaterSaturday, May 5, 2018, 12 to 7pm • Willson Theater (Chamber Marathon Part I )Saturday, May 12, 2018, 4 to 7pm • Willson Theater (Chamber Marathon Part II) Wednesday, May 16, 2018, 1pm • Alice Tully HallAdditional chamber music concerts are performed throughout the year in Paul and Morse Halls

Pre-College Opera ScenesSaturday, April 14, 2018, 2pm • Paul Hall

Pre-College Percussion EnsembleSaturday, December 9, 2017, 6:30pm • Room 309Jonathan Haas, Conductor

Saturday, May 5, 2018, 6:30pm • Room 309Pablo Rieppi, Conductor

For a complete listing of Juilliard Pre-College performances, please visit events.juilliard.eduALL CONCERTS ARE FREE No tickets required unless noted • Information subject to change • (212) 799-5000 ext. 241

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

dnu Fphis

o d tnm aeho tt—ecnep ihsralohce shr teffn oa c

e lbigile erm aohf wt one, srecna0 d0n 8ahe t

sralohc SdrailliuJ

ereffif dd olros a wekat maht troppuse , wpler huoh yti. Wdil aaicnanr fiof

ecre0 pr 9ev, osnaicisud mn, asrotcae roo me tmos hl ioohcd Srailliue JhT

idulcin—daiill Ju o ais ll f rr aailli Jureeev y rdd niehB

n, aamar, decnaf de orutul fabole ght

(212) 799 5000 t 278 i it i i jt to the Juilliard Scholarshi o make a gifo T

(212) 799-5000, ext. 278, or visit giving.ju

.uooing y

tsiirt

.cisud mn

illi d d / h l hi p Fund, please call

by

Sar

ah P

ierp

ont

uilliard.edu/scholarship.

Phot

o b