Blair Bollinger, the bass trombonist of the Philadelphia Orchestra since 1986 and a faculty member at the Curtis Institute and Temple University, will join the faculty for one year while Denson Paul Pollard takes a yearlong position with a Finnish orchestra. Bollinger’s recordings include a solo disc, Fancy Free (d’Note Records); two discs with his trombone quartet, Four of a Kind; and a Gabrieli disc with the Canadian Brass. In 2007 he performed the world premiere of a bass trombone concerto by Jay Krush with the U.S. Army Orchestra; a recording is forthcoming. The founding music director of the Bar Harbor Brass Week in Maine, Bollinger also guest conducts the Orchestra Society of Philadelphia, the Delaware County Symphony, and the Atlantic Brass Band, and many of his arrangements for string and brass ensembles have been published. He is active in backstage administration and committee work at the Philadelphia Orchestra and Curtis, including negotiating orchestra union contracts. He has also been a member of the Curtis board of trustees.

Hung-Kuan Chen, who has joined the piano faculty, was raised in Germany and his early studies fostered strong roots in Germanic Classicism tempered with the sensibility of Chinese philosophy. His early studies were with Hans Leygraf at the Hannover Hochschule and with Béla Böszörményi-Nagy. He holds an Artist Diploma from the New England Conservatory, where he studied with Russell Sherman. The winner of the Ferruccio Busoni International Piano Competition and Young Concert Artists International Auditions and the recipient of an Avery Fisher Grant, Chen has collaborated with conductors such as Christoph Eschenbach and Hans Graf, and his colleagues including the Tokyo and Shanghai string quartets, Yo-Yo Ma (Pre-College ’71; Professional Studies ’72, cello), Cho-Liang Lin (Pre-College ’77; Diploma ’81, violin; faculty), violinist Roman Totenberg, clarinetist David Shifrin, and pianist Tema Blackstone. An adjudicator in international competitions, including the Van Cliburn, Busoni, Honens, and International China Competition, Chen is a former faculty member of Boston University, the New England Conservatory, and the Shanghai Conservatory, and has been a visiting professor at Yale since 2010.

Aaron Flagg (B.M. ’92, M.M. ’93, trumpet), dean of the Hartt School at the University of Hartford, is the new acting chair and associate director of Juilliard Jazz. He’s also a former executive director of the Music Conservatory of Westchester (2005-09) and former director of Educational Outreach at Juilliard (2000-05). Flagg has worked with the Illinois Jacquet Big Band and the Charlie Persip Big Band; toured with Tania León’s Son Sonora Ensemble; recorded with Roberta Flack; and performed with Wynton Marsalis (’81, trumpet), the New York Philharmonic, and the Chamber Music Society of Lincoln Center. He has played numerous recitals, performed as a soloist with orchestras, and toured with chamber music groups. He has given master classes and recitals at Jackson State University and Fayetteville State University, and has lectured at the Curtis Institute, Oberlin College, and Carnegie Hall. Flagg, who has taught for the Lincoln Center Institute, Carnegie Hall Education, New York Philharmonic Education, and the Guggenheim Museum, received his doctorate from the University of Michigan.

Jean Freebury, who has joined the dance faculty, danced for the Merce Cunningham Company (1992-2003) and has taught Cunningham’s technique and repertory since 1996. A fellow of the Merce Cunningham Trust, she set his Windows this summer. Freebury has also staged Cunningham’s work for the American Dance Festival, the University of Michigan, the 92nd Street Y, and the University of Texas. She is on the faculty of SUNY Purchase and has taught master classes and workshops at, among others, the Merce Cunningham Dance Studio, Mark Morris Dance Center, Rotterdam Dans Academy, and London Contemporary Dance School. Among the independent choreographers she has performed with are Kenneth King, Kota Yamazaki, Douglas Dunn, and Pam Tanowitz. From 2002 to 2007, Freebury was a member of Magnetic Laboratorium, a collaborative performance art group led by visual artist Marisela La Grave. Freebury studied at the Alberta (Canada) Ballet School, London Contemporary Dance School, and North Carolina School of the Arts. A licensed massage therapist, she is s co-owner of Inwood Healing Arts.

Louis Hanzlik (M.M. ’00, trumpet) has joined American Brass Quintet and the trumpet faculty. A member of the Orpheus Chamber Orchestra and the Orchestra of St. Luke’s, he was a member of the Atlantic Brass Quintet from 2002 to 2014. Originally from Iowa, Hanzlik got his bachelor’s at the University of Iowa and his doctorate at Teachers College, Columbia University; his dissertation, Fostering Democracy and Citizenship Through Chamber Music Coaching, examined chamber music’s unique social and musical attributes and suggests that democratically mindful chamber music classrooms foster artist-citizenry in addition to advanced musicianship. Hanzlik, who lives in Storrs, Conn., with his wife and two children, is an associate professor of trumpet and the associate head of the music department of music at the University of Connecticut. He can be heard on more than a dozen recordings on the Naxos, Deutsche Grammophon, Sony, Summit, Decca, Chandos, Arabesque, Bridge, New World, and Vanguard Classics labels; he has also recorded for commercial and public radio and television.

William Hobbs has joined the Vocal Arts faculty as a general language coach. Born in Austin, Tex., he received his bachelor’s degree in piano performance from the University of Colorado at Boulder and a master’s in piano performance, research, and literature from Eastman. He works at many of the world’s major opera houses as a conductor and coach, among them Opéra National de Paris, the Salzburg Festival, San Francisco Opera, Chicago Lyric Opera, Seattle Opera, Washington Opera, and the Opéra de Monte-Carlo. He has assisted conductors Claudio Abbado, Sir Charles Mackerras, Jiří Blohlávek, Sir Andrew Davis, James Conlon, Robert Spano, Richard Bonynge, and many others. Hobbs joined the piano and voice faculty at Westminster Choir College in Princeton, N.J., in the fall of 2010, and was appointed assistant professor the next year. He is the founder and artistic director of Opera Slavica, which is devoted to presenting full productions of masterworks by Russian, Czech, and Polish composers and providing singers with no background in these languages with the training to sing, read, and translate them. 

Stephen Hough (M.M. ’83, piano) is joining the piano faculty. The first classical performer to be awarded a MacArthur Fellowship, in 2001, Hough, who is also a composer, was made a Commander of the Order of the British Empire earlier this year. He has performed extensively in recital and with most of the world’s major orchestras, and his catalogue of more than 60 CDs has garnered four Grammy nominations, eight Gramophone Awards, and France’s Diapason d’Or de l’Année. His compositions have been commissioned by Westminster Abbey, Wigmore Hall, and members of the Berlin Philharmonic, among others. He also writes extensively. Hough has been a visiting professor at the Royal Academy of Music in London and holds the international chair of piano studies at his undergraduate alma mater, the Royal Northern College in Manchester, England. At Juilliard, he studied with Adele Marcus (’29, piano) and Martin Canin (B.S. and M.S. ’56, piano). Hough won the Naumburg International Piano Competition the year he graduated from Juilliard and made his New York debut the following year.

Eric Huebner (B.M. ’99, M.M. ’01, piano), who studied with Jerome Lowenthal (M.S. ’56, piano) at Juilliard, has joined the orchestral keyboard faculty. Huebner made his debut with the Los Angeles Philharmonic at age 17; in 2012, he was appointed pianist of the New York Philharmonic. He performs regularly as a soloist and chamber musician and his performances have been broadcast on television and radio stations in the U.S. and abroad. From 2001 through 2012, he was a member of Antares, a quartet comprised of clarinet, violin, cello and piano. He has recorded for Col Legno, Centaur, Bridge, Albany, Tzadik, Innova, New Focus Recordings and Mode Records; he has a two-disc set on Mode performing, with pianists Yuji Takahashi and Marilyn Nonkin, the complete piano music of Roger Reynolds. Huebner is an assistant professor of music at the University at Buffalo, where he also serves as pianist of the Slee Sinfonietta and directs the June in Buffalo Performance Institute

Bénédicte Jourdois (Graduate Diploma ’08, collaborative piano) has joined the Vocal Arts faculty as a French diction graduate review teacher and coach. A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Jourdois also teaches at the Curtis Institute and the Manhattan School of Music, and is a guest coach at Washington National Opera’s Domingo-Cafritz Young Artist Program. An active festival musician, she has worked at faculty member Marlena Malas’s voice program at the Chautauqua Institution since 2007, at the Castleton Festival since 2011, and the Spoleto Festival USA from 2011 to 2013. Jourdois has performed in numerous venues in Europe and in the United States, including Alice Tully Hall, Carnegie Hall, and the Kennedy Center, and has worked in major North American opera houses such as the Pittsburgh Opera, Philadelphia Opera and the Houston Grand Opera. Born in Paris, she holds degrees from the Conservatoire National de Region de Saint-Maur, the Conservatoire National Superieur de Musique de Lyon, and Mannes College. 

Taryn Kaschock Russell, who has joined the ballet faculty, directed Hubbard Street 2 from 2008 to 2013 and was previously the rehearsal director for Hubbard Street Dance Chicago. Prior to that, she danced with both Hubbard Street Dance Chicago and the Joffrey Ballet for 12 years, performing works by George Balanchine, John Cranko, Agnes de Mille, former faculty member Martha Graham; alums Lar Lubovitch and Ohad Naharin; Jiří Kylián; Nacho Duato; and William Forsythe. She has guest taught the Aspen Santa Fe Ballet, the Lar Lubovitch Dance Company, the Trey McIntyre Project, and Ballet Met; she has choreographed for the Columbus Dance Theater and for the Ailey/Fordham B.F.A. and SUNY Purchase dance programs. Since moving to New York in 2013, Kaschock Russell has staged work on the Complexions Contemporary Ballet, become a regular company teacher for Alvin Ailey American Dance Theater, and has guest taught and coached for Ballet Hispanico and the Joffrey Concert Group. 

Russian pianist Natalia Katyukova (Graduate Diploma ’10, piano) has joined the Vocal Arts faculty as a coach. An assistant conductor at the Metropolitan Opera and coach at the Met’s Lindemann Young Artist Development Program, Katyukova has performed with singers such as Bryn Terfel, Irina Arkhipova, Ekaterina Semenchuk, Ildar Abdrazakov, and Paul Appleby; at festivals and summer programs including Ravinia and Tanglewood; and has appeared in recital throughout the U.S.A., Russia, Germany, Italy, Finland, and Japan. She previously served on the faculties of Texas Wesleyan University, the University of Fine Arts (Russia), and the Conservatory Claudio Monteverdi (Italy). She is a winner of the MTNA National Piano Competition (U.S.A.), the International Piano Competition (Spain), and the Ettore Pozzoli International Piano Competition (Italy). Katyukova’s performances have been broadcast on WFMT Chicago, All-Russian Radio, Radio Bavaria, and SWR (German SouthWest Radio). A graduate of the Moscow State Conservatory, Juilliard, and the Lindemann Young Artist Development Program, her teachers have included Margo Garrett, Jonathan Feldman, Brian Zeger, Ken Noda, and Lev Naumov.

Steven G. Laitz has been named the associate chair of Music Theory and Analysis. The author of two leading textbooks, The Complete Musician: An Integrated Approach to Tonal Theory, Analysis and Listening and Graduate Review of Tonal Theory: A Recasting of Common-Practice Harmony, Form, and Counterpoint (both Oxford University Press), Laitz has been the editor-in-chief of the Journal of Music Theory Pedagogy since 2009, having previously served as a member of the publication’s editorial review board and as its reviews editor. Laitz is the chair of music theory at the Eastman School of Music, where he has taught since 1989 (he also teaches chamber music). In 2013, he was appointed director of the Gail Boyd de Stwolinski Center for Music Theory Pedagogy at the University of Oklahoma. An expert in the relationship between analysis and performance, Laitz has taught piano and music analysis at the Chautauqua Institution for many summers. He got his bachelor’s and master’s degrees from the University of California at Riverside and his doctorate from Eastman.

Li Lin, who has joined the violin faculty, is a former faculty member at the San Francisco Conservatory of Music Preparatory Division and has taught at the Perlman Music Program. Born in Guangzhou, China, he began playing the violin at the age of 6, and he studied at the San Francisco Conservatory of Music and the Eastman School of Music. His principal teachers include Lin Yao Ji, Ian Swensen, and Peter Salaff. Lin discovered his passion for teaching in his early 20s while leading a Suzuki School in Guangzhou. He has been a guest clinician and master class artist at music schools and festivals in North America, Europe, and China. He will also teach in the Pre-College Division.

Wynton Marsalis (’81, trumpet), the managing and artistic director of Jazz at Lincoln Center, returns to the faculty as the director of jazz studies. The first jazz artist to be awarded the Pulitzer Prize in music, for Blood on the Fields (1997), Marsalis has made more than 40 jazz and classical recordings and won nine Grammy awards. He began his relationship with Juilliard in 1979, studying with William Vecchiano (’35, trumpet); he returned in 1992 to teach, and he was the original artistic advisor of the Jazz Studies program, which began in 2001. Marsalis received an honorary degree from Juilliard in 2006 and was the commencement speaker that year. A longtime member of Art Blakey and the Jazz Messengers, Marsalis has performed with virtually every marquee name in jazz. As a composer, he has been commissioned by many major symphony orchestras and dance companies. In 2013, he served as artistic director of the Broadway musical After Midnight and collaborated with Stephen Sondheim on A Bed and a Chair; he has also done extensive work for TV. 

Glenn Morton has joined the Vocal Arts faculty as a French vocal literature teacher. He is a vocal coach and diction and vocal literature instructor at Mannes College and the Manhattan School of Music. As a diction coach in Italian and French opera, as well as program director and assistant conductor, Morton has held positions with the Santa Fe Opera, Glimmerglass Opera, Opera Company of Boston, Sarasota Opera, Tulsa Opera, Opera Lyra Ottawa, and New Orleans Opera. He received a B.M. in piano performance from the Hartt School and an M.M. in collaborative piano from the Manhattan School; he was a faculty member at New York University’s Steinhardt School of Education. Morton is the president and artistic director of Classic Lyric Arts, a non-profit organization offering advanced summer training programs in classical vocal studies in France and Italy. 

Adam Nielsen (M.M. ’07, piano) is a soloist, chamber musician, and vocal accompanist who has joined the Vocal Arts faculty, having served as an associate coach and assistant conductor here for three years. Among his recent engagements are performances with soprano Claire de Sevigne at the Aspen Festival and with baritone John Brancy (B.M. ’11, Graduate Diploma ’13, voice) at the Musée de Beaux Arts in Montreal. Nielsen made his debut with the Utah Symphony under Joseph Silverstein at age 16. He has given recitals at Alice Tully Hall, Steinway Hall, the 92nd Street Y, Symphony Space, and the Russian Embassy in Washington. He performs frequently with mezzo-soprano Tamara Mumford and has collaborated with numerous chamber musicians. He is also a senior coach and conductor for Aspen Opera Theater.

Charlotte Okie has joined the Drama faculty and will teach Alexander technique. She trained at the American Center for the Alexander Technique (ACAT)under Judy Liebowitz and alongside veteran Juilliard Alexander Technique teachers Carolyn Serota and the late Jaye Dougherty. Okie, who has maintained a private practice for 27 years, taught in the ACAT teacher training program from 1988 to 1992. She taught in the Hong Kong Academy of Performing Arts from 1993 to 1996 and was a guest lecturer in various Hong Kong institutions. She has been an adjunct at Juilliard since 2008 and at N.Y.U. Tisch School of the Arts since 2012. She lives in Westchester County with her husband, John Tjia, and their two children.

Cynthia Phelps is joining the viola faculty to work closely with the students on the range of orchestral repertory and edition preparation. The principal violist of the New York Philharmonic since 1992, she has had solo engagements with the Minnesota Orchestra, San Diego Symphony, Hong Kong Philharmonic, and Orquesta Sinfónica de Bilbao. She also performs with the Chamber Music Society of Lincoln Center, Boston Chamber Music Society, and Bargemusic in addition to touring internationally with ensembles and as a soloist. Phelps has recorded for Telarc and Cala Records and has performed on NPR, Radio France, and RAI in Italy. Originally from Los Angeles, she studied at U.S.C. Thornton School of Music and has taught at the Manhattan School of Music. She and her husband, cellist Ronald Thomas, live in New Jersey. 

Daniel Phillips (B.M. ’76, violin), who is joining the violin faculty, is a chamber musician, solo artist, and teacher. A member of the Orion String Quartet and the Bach Aria Group, he has toured and recorded in a string quartet with Gidon Kremer, Kim Kashkashian, and Yo-Yo Ma (Pre-College ’71; Professional Studies ’72, cello). Phillips studied with his father, Eugene Phillips, a former member of the Pittsburgh Symphony and a composer; with Juilliard faculty members Ivan Galamian and Sally Thomas (Diploma ’53, B.M. ’57, violin); as well as with Sandor Vegh and George Neikrug. A member of the faculties of the Aaron Copland School of Music of Queens College, Mannes College, and the Bard Conservatory, Phillips has also served on the summer faculties of the Banff Centre, the Heifetz Institute, and the Colorado College Music Festival.

Matthias Pintscher, who is joining the composition faculty, became the music director of Ensemble Intercontemporain last year and is also the BBC Scottish Symphony Orchestra’s artist-in-association. Pintscher made his Juilliard Orchestra conducting debut in 2011 and most recently led the ensemble in April in a performance that included the premiere of his own bereshit. He has had recent conducting debuts with the Atlanta, Colorado, New World, and Quebec symphonies and the Accademia Nazionale di Santa Cecilia in Rome. Pintscher, who has toured extensively, works regularly with leading contemporary music ensembles and since 2011 has directed the music segment of Impuls Romantik Festival in Frankfurt. Since 2006, he has been the artistic director of the Heidelberg Atelier of the Heidelberg Spring Festival, now known as the Heidelberg Young Composers Academy. In June, he conducted the New York Philharmonic in the New York premiere of his 2005 cello concerto (with B.C.J.E. alum Alisa Weilerstein as the soloist). 

Eric Reed (M.M. ’08, French horn; ’10 Academy) has joined the American Brass Quintet and the French horn faculty. As a freelance musician, he has performed with, among others, the New York Philharmonic, Orpheus Chamber Orchestra, Orchestra of St. Luke’s, New York City Opera, and International Contemporary Ensemble. He has been a member of the Oregon, New World, and Harrisburg (Pa.) symphonies as well as of Ensemble ACJW, Burning River Brass, Spectrum Brass, and the Canadian Brass. He was a 2002 Tanglewood fellow and a member of the Academy, the Juilliard-Carnegie Hall outreach and community engagement program. On the faculty of Rutgers University since 2012, Reed has also been on the faculty of the Music Academy of the West and Round Top Festival Institute. An Indiana native, he has a bachelor’s from Rice University and lives in New York City with his wife, Sarah Zun (B.M. ’04, violin).

Laurie Smukler (B.M. ‘77, violin), who has joined the violin faculty, began her studies at the Cleveland Institute of Music and started playing as a soloist with the Cleveland Orchestra at 14. At Juilliard, she studied with Ivan Galamian; other Juilliard faculty members teachers who have had a powerful influence on her development are Donald Weilerstein and Robert Mann. The founding first violinist of the Mendelssohn String Quartet, Smukler has been co-director of the Collection in Concert series at the Pierpont Morgan Library, and played on many chamber music series and been a guest artist at many festivals. She has been on the faculties of Purchase College Conservatory of Music, Kneisel Hall Chamber Music Festival and School, the Manhattan School of Music, Mannes College, and the Bard College Conservatory. She gives master classes and has played premieres of works by Shulamit Ran, Ned Rorem (B.S. ’46, M.S. ’48, composition), Tobias Picker (Pre-College ’69; M.S. ’78, composition), Bruce Adolphe (Pre-College ’71; B.M. ’75, M.S. ’76, composition), John Harbison, and others. She has recorded for Music Masters.

Liza Stepanova (M.M. ’07, D.M.A. ’12, piano) joins the Music Theory and Analysis faculty. Born in Belarus, she is a founding member of the Lysander Piano Trio as well as of SongFusion, an art-song ensemble and recital series. The winner of Concert Artists Guild, Coleman, Arriaga, and Fischoff competitions, she has performed with the Berlin Symphoniker and Southwest German Philharmonic, and at the Castleton, Davos, Music@Menlo, La Jolla SummerFest, and Salzburg Schlosskonzerte festivals. A new-music enthusiast, she has premiered works by Libby Larsen, Tom Cipullo, William Cooper, and Michael Brown. Stepanova also curates interdisciplinary performance projects; she recently presented Liszt and Debussy tributes with multimedia that included readings from the composers’ letters. She is a visiting artist in piano and lecturer in music at Smith College and a faculty member at SongFest, an art-song festival at the Colburn School in L.A. She earned a bachelor’s degree in performance and pedagogy from the Academy of Music Hanns Eisler, Berlin.

Steven Stucky, who won the 2005 Pulitzer Prize for his Second Concerto for Orchestra, has joined the composition faculty. Among his recent premieres are the opera The Classical Style (written with alum Jeremy Denk), which premiered in June at the Ojai Festival; Symphony (2012) by the Los Angeles Philharmonic; The Stars and the Roses (2012) by the Berkeley Symphony; Say Thou Dost Love Me (2012) by the New York Virtuoso Singers; Take Him, Earth (2012) at the American Choral Directors Association conference; Silent Spring (2011) by the Pittsburgh Symphony; Chamber Concerto (2010) by the Saint Paul Chamber Orchestra; Rhapsodies (2008) by the New York Philharmonic at London’s BBC Proms; and the opera August 4, 1964 (2007-08), which was commissioned by the Dallas Symphony. For more than 20 years, Stucky served as resident composer and new-music advisor at the Los Angeles Philharmonic; from 2005 to 2009, he was host of the New York Philharmonic’s Hear and Now series. His Cradle Songs and Whispers both won Grammys. Stucky has taught at the Eastman School of Music, U.C. Berkeley, Temple, and Cornell.

Daniel Swenberg, who has joined the Historical Performance plucked-instrument faculty, specializes in historical plucked strings: Renaissance and Baroque lutes, theorbos, Baroque and 19th-century guitars, and Baroque mandolin—and yes, it takes a lot of time to tune. He has performed with many leading ensembles and artists, including ARTEK, REBEL, the Metropolitan Opera, the Carmel Bach Festival, Mr. Jones and the Engines of Destruction, Ensemble Viscera, Opera Atelier/Tafelmusik, Catacoustic Ensemble, the Four Nations Ensemble, Apollo’s Fire, the Handel and Haydn Society, the Green Mountain Project, TENET, Skid Rococo, the Newberry Consort, Lizzy and the Theorboys, Music of the Baroque, the Aspen Music Festival, and the Orchestra of St. Luke’s. In recital Swenberg has performed with Renée Fleming (’85, voice) and Kathleen Battle at Carnegie Hall. He studied previously with Patrick O’Brien (faculty 2012-14) at Mannes College, where he received a master’s degree in historical performance (lute).

Peter Sykes joins the Historical Performance faculty to teach harpsichord. He has appeared in recital at the Library of Congress and the Boston Early Music Festival and is frequently heard on the radio program Pipedreams. His solo performances include an all-Bach inaugural recital on a new organ built by Fritz Noack for the Langholtskirkja in Reykjavik, Iceland; de Falla’s Harpsichord Concerto with the Chameleon Arts Ensemble; and the Schumann Piano Quintet on original instruments with the Van Swieten Quartet. His recordings include his bestselling organ transcription of Holst’s orchestral suite The Planets, Bach’s complete Leipzig Chorales, Harpsichord Music of Couperin and Rameau, and MAXimum Reger: Favorite Organ Works. Sykes appears on the Grammy-nominated Boston Baroque recordings of Handel’s Messiah, Bach’s B-Minor Mass, and Monteverdi’s Vespers. He holds degrees from the New England Conservatory, where he studied with Gabriel Chodos, Blanche Winogron, Mireille Lagacé, Robert Schuneman, and Yuko Hayashi, and Concordia University in Montreal, where he studied with Bernard Lagacé. He is associate professor of music and chair of the historical performance department at Boston University. 

Loretta Terrigno, a Ph.D. candidate in music theory and musicology at the CUNY Graduate Center, has joined the Music, Theory, and Analysis faculty. As a pianist, she has appeared as a soloist and chamber musician at international festivals including the Classics Abroad Piano Program at the Ecole Normale de Musique in Paris and the International Academy of Music in Castelnuovo di Garfagnana, Italy. She has participated as a graduate student scholar and collaborative pianist at the Vancouver International Song Institute and has given scholarly papers at the Mannes Graduate Student Conference and the National University of Ireland at Maynooth, as well as at the Music Theory Society of the Mid-Atlantic and the New England Conference of Music Theorists. Her article on Schenker’s interpretive fingerings in Beethoven piano sonatas appeared in the journal Music Research Forum. Her dissertation, Brahms and Musical Meaning: Harmony, Narrative, and Agency in his Solo Lieder, explores the interactions between 19th-century tonal techniques and text-music relations in Brahms’s songs. Terrigno received her bachelor’s and master’s degrees in piano performance and music theory from Mannes College.

Pianist and composer Elio Villafranca has joined the jazz faculty. Born in Cuba, Villafranca was classically trained in percussion and composition at the Instituto Superior de Arte in Havana. Since his arrival in the U.S. in 1995, he has been involved in the jazz and Latin scenes. He received a 2010 Grammy nomination in the best Latin jazz album of the year category for his performance, composition, and coproduction on Chembo Corniel’s album Things I Wanted to Do. Villafranca’s 2007 recording The Source in Between remained in the top 10 of the JazzWeek World Top 50 Chart for 11 weeks. In 2008, he received the first N.F.A./Heineken Green Ribbon Master Artist Music Grant for his Concerto for Mariachi, for Afro-Cuban percussion and orchestra. Villafranca has performed internationally as leader of his quartet, and as a sideman with Juilliard Jazz director Wynton Marsalis, Jon Faddis, Sonny Fortune, Eddie Henderson, Miguel Zenón, Cándido Camero, and Johnny Pacheco. He has appeared at many festivals, including the Blue Note Jazz Festival in Belgium, Umbria Jazz Festival in Italy, and North Sea Jazz Festival in The Hague.

Charles Weaver, who has joined the Historical Performance plucked-instrument faculty, performs as a recitalist and an accompanist on the lute, theorbo, Baroque guitar, and as a vocalist. He has appeared as a chamber musician with, among others, Early Music New York, Hesperus, Piffaro, Parthenia, the Chamber Music Society of Lincoln Center, the Folger Consort, TENET, ARTEK, Musica Pacifica, and Blue Heron. Weaver, who became interested in the lute while studying guitar at the Peabody Conservatory, has studied with, among others, Patrick O’Brien. Weaver is on the faculty of the New York Continuo Collective and has taught at the Lute Society of America Summer Workshop in Vancouver and the Western Wind Workshop in Ensemble Singing at Smith College. He is also assistant director of the St. Mary’s Student Schola program in Norwalk, Conn., where he teaches Gregorian chant and Renaissance music theory to children.

Pre-College Division

Amy Barston (M.M. ’98, cello), clarinetist Larry Guy, pianist Hae-Jeon Lee, and cellist Sieun Lin have all joined the Pre-College faculty.