Cellist Richard Aaron has given master classes in Madrid, Spain; Manheim, Germany; Seoul, Korea; Matsumoto, Japan; and Paris, France, as well as at many leading schools in the United States, including Rice University, the Eastman School of Music, University of Michigan, and the Oberlin Conservatory. During summers, he has taught at the Aspen Music Festival, Indiana University String Academy, Calgary Music Bridge, Aria, Innsbruck, the Chautauqua Festival, and Idyllwild. Mr. Aaron’s students have won numerous national and international competitions and have performed as soloists with prestigious orchestras, including the Cleveland and Philadelphia Orchestras and Pittsburgh and Seattle Symphonies. Award-winning quartets—including the Biava, Fry Street, and American—include his students. Mr. Aaron is a member of the Elysian Trio, in residence at Baldwin-Wallace College in Berea, Ohio. He served on the faculty at the Cleveland Institute of Music and Encore School for Strings faculties (both since 1992) for 14 years prior to his appointment at the University of Michigan, where he is currently on the faculty. Mr. Aaron brings a new teaching technology to Juilliard: Using a state-of-the-art video conferencing device called the ViPr Media Center, he will be giving long-distance lessons from his studio in Michigan to students here at the School, as well as teaching at Juilliard.

Violinist David Chan, concertmaster of the Metropolitan Opera Orchestra, is active as a soloist, recitalist, and chamber musician. He made his Carnegie Hall debut in the 2002-03 season, performing Brahms’s Double Concerto with cellist Rafael Figueroa and the Met Orchestra under James Levine. He first gained international recognition when, at 17, he won a top prize in the Tchaikovsky International Competition in Moscow. His New York debut was in 1995 at Avery Fisher Hall, performing Paganini’s Concerto No. 2 under conductor Hugh Wolff. Mr. Chan has performed throughout the U.S., Europe, and the Far East, appearing as a soloist with such orchestras as the Moscow State Symphony, Los Angeles Philharmonic, Taiwan National Symphony, Aspen Chamber Symphony, and the San Diego, Indianapolis, Richmond, Springfield, and Northbrook Symphonies. He is a frequent guest at the Seattle Chamber Music Festival and La Jolla’s SummerFest. He holds a B.A. from Harvard University and an M.M. from Juilliard, and has studied with Dorothy DeLay, Hyo Kang, and Michael Tseitlin. Mr. Chan has released several CDs, including a recital album, a disc of two Paganini concertos with the English Chamber Orchestra, and a recording of violin-cello duos with Rafael Figueroa.

Violinist Kyung-Wha Chung studied at Juilliard with Ivan Galamian and later coached with Joseph Szigeti. She has appeared regularly as a soloist with the world’s most prestigious orchestras, working with conductors such as Claudio Abbado, Daniel Barenboim, Sir Simon Rattle, André Previn, Bernard Haitink, Riccardo Muti, and the late Sir Georg Solti. As a recitalist, she has collaborated with Radu Lupu, Krystian Zimerman, Peter Frankl, and Itamar Golan. Chamber music is also a central component of Ms. Chung’s professional life, and she appears regularly as a member of the Chung Trio, with her brother, conductor/pianist Myung-Whun Chung, and her sister, cellist Myung-Wha Chung. The government of South Korea has awarded Ms. Chung its highest honor, the Medal of Civil Merit. She has been an exclusive EMI recording artist since 1988 and has made numerous recordings for Angel/EMI, Deutsche Grammophon, London/Decca, and RCA. She won a Gramophone Award for her recording of Strauss and Respighi Sonatas for DG with Krystian Zimerman, as well as for her EMI Classics recording of Bartok’s Second Violin Concerto and Rhapsodies under Sir Simon Rattle. Recent additions to her discography include Vivaldi’s The Four Seasons and a live recording of the Brahms Concerto with the Vienna Philharmonic and Sir Simon Rattle, both released on EMI.

Oboist Pedro Díaz was born in Madrid, Spain, and grew up in Spain and San Juan, Puerto Rico. He attended the Escuela Libre de Musica, a public school for the performing arts in Hato Rey, Puerto Rico. He also studied with James Gorton of the Pittsburgh Symphony, and John Mack of the Cleveland Orchestra. Mr. Díaz earned his B.M. from Juilliard, where he studied oboe with Elaine Douvas. He studied English horn with Louis Rosenblatt, Harold Smoliar, and Felix Kraus. Mr. Díaz was appointed solo English hornist of the Metropolitan Opera in 2005. Prior to that he was principal oboist of the Filarmonica Jalisco in Guadalajara, Mexico. He also played the English horn in the Orchestra of Galicia, Spain; the Pittsburgh Opera; and the Natal Philharmonic in South Africa. He teaches and performs at the Aspen Music Festival and the FOSJA Festival in Puerto Rico.

David Enlow, who will teach a techniques class in service playing for organists, is organist and choir master of the Church of the Resurrection in New York City, where he directs a professional choir that offers more than 50 settings of the ordinary of the Mass each season, often with orchestra. He also is the founder and director of Cappella New York, a semi-professional choral society with a three-concert season, and organist to the Welsh Church of New York. Previously, Mr. Enlow was sub organist of St. Clement’s Church in Philadelphia, and an assistant at the historic Wanamaker Grand Court Organ, the world’s largest operational pipe organ, located at Macy’s in Philadelphia. The recipient of both bachelor’s and master’s degrees from Juilliard, Mr. Enlow studied with Paul Jacobs and John Weaver at the Curtis Institute of Music and Juilliard, and with John Tuttle. He is an associate of the Royal Canadian College of Organists and has won several national first prizes, including those in the Arthur Poister Competition (2004), the Albert Schweitzer Organ Festival U.S.A. (2003), and the Peter B. Knock Award (2002 and 2003).

Jon Manasse is principal clarinetist for the American Ballet Theater Orchestra, Mostly Mozart Festival Orchestra, and New York Chamber Symphony, and has served as guest principal clarinetist of the New York Pops, Orchestra of St. Luke’s, Orpheus Chamber Orchestra, and New Jersey, St. Louis, and Seattle Symphony Orchestras. He has appeared as a guest clarinetist with the New York Philharmonic in concerts conducted by Valery Gergiev and André Previn, and during the 2003-04 season served as principal clarinetist of the Metropolitan Opera Orchestra. An avid chamber musician, Mr. Manasse has been featured in numerous New York City concerts, as well as at the Aspen Music Festival, Caramoor International Music Festival, Colorado Springs Music Festival, Newport Music Festival, Sarasota Music Festival and France’s Festival International des Arts, as well as the chamber music festivals of Bridgehampton, Cape and Islands, Crested Butte, Georgetown, St. Bart’s, Seattle, and Tucson. He has also been a guest soloist with the Amadeus Trio and Germany’s Trio Parnassus, as well as with the American, Borromeo, Colorado, Lark, Manhattan, Moscow, Orion, Rossetti, Shanghai, and Ying String Quartets. Mr. Manasse has been co-artistic director (with his duo-partner, pianist Jon Nakamatsu) of the Cape Cod Chamber Music Festival since 2006. He holds a master’s degree from Juilliard and studied with David Weber.

James Markey joined the New York Philhar-monic as associate principal trombone in 1997, and was appointed to the bass trombone position last June. He was previously principal trombone of the Pittsburgh Symphony Orchestra, a post he won after his second year at Juilliard, where he studied with Joseph Alessi. Mr. Markey has made solo appearances with the Pittsburgh Symphony Orchestra, Sun Valley (Idaho) Summer Symphony (where he has been principal trombone since 2001), United States Army Band, Hora Decima Brass Ensemble, New York Staff Band of the Salvation Army, and the Hanover Wind Symphony. A featured artist at festivals, workshops, and conferences, Mr. Markey has also appeared as a guest recitalist and clinician at the University of Toronto’s Glenn Gould School, Manhattan School of Music, James Madison University, the University of Calgary and Mount Royal College, Rutgers University, and the Boston Conservatory. He was on Juilliard’s Pre-College faculty from 1998-2007, and currently also serves on the faculty at SUNY-Purchase. Mr. Markey’s first solo CD, Offroad, was released in 2003. He can also be heard as a soloist on the Hora Decima Brass Ensemble’s recording of Janko Nilovic’s Double Concerto for Two Trombones (alongside Joseph Alessi), on Summit Records.

Virginia native Jennifer Montone is principal hornist for the Philadelphia Orchestra. Previously, she was principal hornist at the St. Louis Symphony (where she began her tenure in 2003). She was associate principal hornist of the Dallas Symphony from 2000 to 2003, as well as an adjunct professor at Southern Methodist University. Prior to her tenure in Dallas, Ms. Montone was third hornist of the New Jersey Symphony, and she performed regularly with the Metropolitan Opera, the Orpheus Chamber Orchestra, and the New York Philharmonic, as well as serving as a substitute musician for several Broadway shows. As a chamber musician, Ms. Montone has performed with the Chamber Music Society of Lincoln Center, La Jolla Chamber Music Festival, Sante Fe Chamber Music Festival, Bellingham Music Festival, Spoleto (Italy) Chamber Music Festival, and the Marlboro Music Festival. In May 2006, she was awarded the prestigious Avery Fisher Career Grant. She is a graduate of Juilliard, where she studied with Julie Landsman, principal hornist of the Metropolitan Opera.

A native of Helsinki, pianist Matti Raekallio has established himself as a prominent concert pianist with an enormous repertoire, including more than 60 concertos. He made his American debut at Carnegie’s Weill Recital Hall in 1981, and his engagements have included many of the leading music festivals, such as Berlin’s Klavierforum 1999, where he presented all 10 sonatas of Scriabin in one concert. Mr. Raekallio’s solo recitals often concentrate on a single composer and genre, such as the 32 Beethoven piano sonatas, which he has performed as a series eight times (including a sold-out marathon at the first Irving S. Gilmore Piano Festival that was broadcast on PBS). He has made some 20 recordings, most for the Ondine label (including a three-disc series of complete Prokofiev sonatas). Mr. Raekallio joined the faculty at the Hochschule fuer Musik in Hannover, Germany, in 2005. Prior to that, he became full professor at the Sibelius Academy in Helsinki, where his teaching work had started in 1978. He studied piano in England with Maria Diamond Curcio; in Austria, at the Vienna Academy of Music, with Dieter Weber; and in Russia, at the Leningrad (now St. Peterburg) Conservatory. He holds a doctoral degree from the Sibelius Academy in Helsinki. Mr. Raekallio is a regular juror in major international competitions.

Violinist Sylvia Rosenberg has performed extensively throughout the U.S. and abroad, appearing with major orchestras including the Chicago, National, and London Symphonies; the Royal and Stockholm Philharmonics; the Amster-dam Concertgebouw, the New Philharmonia, Radio Berlin, and all the BBC orchestras. Festival appearances include the Edinburgh, Bath, Santa Fe Chamber, Banff Center, Aspen, Sarasota, Ravinia, Marlboro, and St. Magnus festivals. A graduate of Juilliard, Ms. Rosenberg studied with Ivan Galamian, and also worked with Szymon Goldberg and on a Fulbright in Paris with Nadia Boulanger. She has been a professor of violin at the Eastman School of Music, Peabody Conservatory, Indiana University, and SUNY-Stony Brook, and a faculty member of the Steans Institute for Young Artists at the Ravinia Festival. She is currently on the faculty at Manhattan School of Music, and has been an artist-faculty member at Aspen since 1980. Ms. Rosenberg lived in London for many years, during which time—in addition to an active concert career that included tours of the Far East, Australia, and New Zealand—she taught at the Royal College of Music and the University of Surrey. She has given numerous master classes at universities and conservatories around the world, including an annual series at London’s Royal Academy of Music, where she was awarded an honorary degree in 2003. Ms. Rosenberg frequently serves on the juries of international violin competitions.

Stage director, writer, and educator Stephen Wadsworth has been appointed as the James C. Marcus Faculty Fellow: Director of Opera Studies for the Juilliard Opera Center, effective in January 2008. In this newly created position, he will oversee curriculum for J.O.C., lead a new intensive acting program (together with faculty member Eve Shapiro), direct some productions, and work closely with the program’s young artists. Mr. Wadsworth has been teaching acting to singers since 1980. This season marks the 25th anniversary of his association with the Lindemann Young Artist Development Program at the Metropolitan opera, where he is a regular guest instructor. He was a faculty member at the Manhattan School of Music from 1989-91, and has taught in the young artist programs at Lyric Opera of Chicago, Canadian Opera Company, and Houston Grand Opera, and given master classes at universities and conservatories all over the country. For the last two years, he has done two intensive residencies each season with the Juilliard Opera Center. As a director, Mr. Wadsworth divides his time between opera and spoken theater. He made his Met Opera debut in 2004 with Rodelinda, and returns this fall with a new Iphigénie en Tauride. He has also staged operas at La Scala, the Vienna State Opera, Covent Garden, the Edinburgh Festival, the Netherlands Opera, San Francisco Opera, Santa Fe Opera, Los Angeles Opera, and many other companies, notably including Seattle Opera, for which he has created 10 productions. Mr. Wadsworth wrote the libretto for the opera A Quiet Place with Leonard Bernstein and has made important translations of plays and operas by Monteverdi, Molière, Handel, Marivaux, Goldoni, and Mozart. He began his career as a journalist in the 1970s and was an editor of Opera News, a contributing editor of Saturday Review, and wrote frequently for The New York Times, Travel and Leisure, Opera, and other magazines and journals here and abroad.

Joining the chamber music faculty is Vivian Hornik Weilerstein, the director of the Professional Piano Trio Training Program at the New England Conservatory, where she also serves on the piano and chamber music faculties. She was formerly a faculty member at the Cleveland Institute of Music. Ms. Weilerstein is a member of the highly acclaimed Weilerstein Trio, which is in residence at the New England Conservatory. She also performs with her husband, the violinist Donald Weilerstein, as the Weilerstein Duo. Their many recitals across the country have included appearances at Alice Tully Hall and the 92nd Street Y in New York and the Corcoran Gallery in Washington. Their discography includes the complete works of Ernest Bloch for violin and piano and the sonatas of Janacek, Dohnanyi, and Enescu for Arabesque Records, and the complete Schumann sonatas for Azica Records. In addition to the duo and trio recordings, Ms. Weilerstein has also recorded for the EMI Debut Series. She has performed at the major American music festivals, including Marlboro, Aspen, Chamber Music West, Norfolk, Sarasota, Roundtop, and La Jolla. She returns each summer to the Yellow Barn Music Festival and the Perlman Music Program, and has been a guest artist at Kneisel Hall, the Young Musicians Festival in Israel, the Daniel Days in Holland, and the Verbier Festival in Switzerland.

LIBERAL ARTS

Lisa Andersen holds a B.A. in history and American literature from U.C.L.A., and an M.A. and Ph.D. in history from the University of Chicago, where she has worked as an instructor since 2002. Her teaching awards include the University of Chicago’s Von Holst Prize Lectureship and Bessie Pierce Prize Preceptorship. Ms. Andersen’s area of research specialization is 19th- and early 20th-century U.S. history, with an emphasis on connections between ethics, politics, and democracy in the American imagination. Her current project, Politics Distilled: Prohibitionists, Moral Reform, and the American Party System, 1869-1933, investigates the political culture that sustained the longest-living minority party in American history: the Prohibition Party. She has presented selections from this research at annual meetings of the American Historical Association, the Social Science History Association, and the Midwest Political Science Association. Born in Guildford, U.K., she was raised in the San Francisco Bay area. At Juilliard, she will teach interdisciplinary core courses such as Ethics and Human Nature, and the Individual and Society, as well as elective in her areas of specialization, areas of specialization, including U.S. history, politics, and culture.

A New Jersey native, Anthony Lioi comes to Juilliard from M.I.T., where he was assistant professor of writing. He earned a bachelor’s degree in English and American literature, magna cum laude, from Brown University, and a master’s degree and a doctorate in literatures in English from Rutgers University, where he was assistant director of the writing program. Mr. Lioi is a specialist in contemporary American literature, environmental literary criticism, and writing studies; his research interests include gender studies, popular culture, and digital media. He is a founding editor of Planetary: Teaching Writing, Rhetoric, and Literature for the Environment, an international blog. He is the author of scholarly articles on tutoring technique in writing centers; on Loren Eiseley, Alice Walker, Susan Griffin, Rachel Carson, Gloria Anzaldua, and Robert Sullivan; on the place of the swamp in literary criticism; and on the kabbalistic background of Tony Kushner’s Angels in America. Mr. Lioi is at work on a monograph on the response in American nonfiction to the global environmental crisis, and on Wiseguy, a poetry chapbook. Along with Liberal Arts Department chair Mitchell Aboulafia, Mr. Lioi will co-direct the development of Juilliard’s writing and communication center.

Matthew Perry completed his doctoral dissertation this summer at the University of Chicago, where he has been an instructor since 2005. He recently received a prize lectureship to teach Sexuality in the Classical World for the gender studies department there, and has also taught Latin for the classics department and History of European Civilization for the history department. He holds an M.A. in history from the University of Wisconsin, Madison; a B.A. in history and a B.S. in astrophysics, both from U.C.L.A. His area of research specialization is ancient Rome, with a particular interest in how individuals acquired and maintained status within the community, and how Romans viewed these issues through the lens of gender and sexuality. His current project investigates the manumission of female slaves in ancient Rome, and the process by which they became transformed from the lowest individuals in Roman society to respectable citizens. Mr. Perry has presented selections from this research project at the annual meeting of the American Philological Association and multiple scholarly workshops. At Juilliard, he will teach the core course Heritage of the Ancient World.

JAZZ STUDIES

Saxophonist Ron Blake, a native of the Virgin Islands, began studying guitar when he was 8 and turned to the saxophone at 10. He graduated from the Interlochen Arts Academy in Michigan and attended Northwestern University. Mr. Blake taught at the University of South Florida before moving to New York, where he spent five years as trumpeter in Roy Hargrove’s quintet, and seven years playing flugelhorn in Art Farmer’s group. He then formed his own quartet, which included pianist Shedrick Mitchell, bassist Reuben Rogers, and drummer Greg Hutchinson. Mr. Blake’s first album as a leader, Up Front & Personal, was released on the Tahmun label in 2000. His new release on Mack Avenue, Shayari, is scheduled for an early 2008 release and features Mr. Blake in trio settings in collaboration with pianist/producer Michael Cain and special guests Regina Carter, Jack DeJohnette, Gilmar Gomes, and Christian McBride. He has performed at major jazz festivals and clubs internationally and has shared the stage with such jazz greats as Stanley Turrentine, Bobby Hutcherson, Roy Haynes, and Ray Brown. Mr. Blake has made more than 40 recordings with his contemporaries, as well as legendary artists Benny Golson, Jimmy Smith, Dianne Reeves, Shirley Horn, Abbey Lincoln, Betty Carter, Arthur Taylor, and Art Farmer.

A winner of Jazzconnect.com’s jazz competition, pianist, bandleader, and teacher George Colligan has toured, recorded, and/or performed as a sideman with Cassandra Wilson, Buster Williams, Don Byron, Benny Golson, Eddie Henderson, Nicholas Payton, Sheila Jordan, Christian McBride, Carl Allen, and the Mingus Big Band, among others. He has performed on more than 100 CDs, including 17 recordings of his own compositions. His latest CD on the Ultimatum label is titled Blood Pressure. As a composer, Mr. Colligan has been the recipient of grants from Chamber Music America and the Doris Duke Foundation. In addition to piano, he plays organ and trumpet, having attended the Peabody Institute and majored in classical trumpet and music education. Mr. Colligan has performed at festivals all over the world, including the North Sea Jazz Festival, Edinburgh Jazz and Blues Festival, Vancouver International Jazz Festival, Cancun Jazz Festival, and the Festival of New Trumpet Music, held annually in New York City.

Bassist David J. Grossman enjoys a varied career as a jazz and classical musician, as represented by his two concurrent classical and jazz debut recordings titled The Bass of Both Worlds. In the realm of jazz, he was a member of the Marcus Roberts Trio, whose 1996 Columbia recording Time and Circumstance was listed among the “best top 10 jazz CDs of the year” in both Time magazine and The New York Times. Mr. Grossman has performed with Wynton Marsalis, Lew Tabackin, Toshiko Akiyoshi, and Richard Stoltzman, and has recorded with David Morgan and Loston Harris. As a classical bassist, he joined the New York Philharmonic as its youngest member upon graduating from Juilliard in May 2000. Mr. Grossman performs in both the New York Philharmonic’s 92nd Street Y and Merkin Hall chamber music series, and has performed with the Chamber Music Society of Lincoln Center. He is on the double bass faculty at the Manhattan School of Music. Mr. Grossman wrote Mood Swings for New York Philharmonic principal trombonist Joseph Alessi, and contributed Fantasy on “Shall We Gather at the River?” for Thomas Stacy’s recording, Plaintive Melody. Two earlier compositions, Swing Quartet and String Quintet No. 1, were written for the Chamber Music Society of Lincoln Center.

Jazz trumpeter Eddie Henderson had his first informal lesson at age 9 with Louis Armstrong. Born in New York, he moved as a child with his family to California, where he studied as a teenager at the San Francisco Conservatory of Music and performed with the conservatory’s orchestra. After serving in the Air Force he attended the University of California at Berkley for his undergraduate degree, then went on to medical school at Howard University and became a doctor. He practiced medicine in San Francisco from 1975-85, but he also continued to pursue music as a career. Mr. Henderson was strongly influenced by Miles Davis. He has worked with John Handy, Tyrone Washington, and Joe Henderson, in addition to his own group. Mr. Henderson played with the Herbie Hancock Sextet (1970-73). After the Hancock group disbanded, he went on to work with Art Blakey and Mike Nock, recorded with Charles Earland, and in the 1970s, led a rock-oriented group. In the 1990s, he toured with Billy Harper, while also working as a psychiatrist. His most recent recordings include Precious Moments (2006) on the label Kind of Blue; Anthology Vol. 2 (2005) on Soul Brother Records; and Manhattan in Blue (2005), released on a Japanese label.

Guitarist Rodney Jones continues to push the boundaries of modern jazz guitar playing while at the same time working with many of today’s pop legends. He started playing guitar at age 6 and began taking lessons two years later when his family moved from Nashville to New York City. Church groups and local rhythm-and-blues performers were his first musical influences, followed by the Beatles, James Brown, Jimi Hendrix, Sly Stone, and the Ohio Players. Mr. Jones joined his first band at 14 and enrolled in the City College of New York at 17, where he studied with pianist John Lewis, founder of the Modern Jazz Quartet. In addition to his solo career, he has built a solid reputation as an A-list session player. He spent three years touring and recording with Dizzy Gillespie, recorded five albums during five years on the road with Maceo Parker, backed up numerous funk legends as guitarist for the TV program Showtime at the Apollo, and served as musical director for Ruth Brown. He has worked with Lena Horne, Chico Hamilton, Jaki Byard, Arthur Blythe, Dr. Lonnie Smith, Idris Muhammad, James Brown, and other top performers. He has been a professor at the Manhattan School of Music since 1988, and has also taught at the New School, Mannes College of Music, Queens College, C.C.N.Y., and Jazzmobile.

DRAMA DIVISION

Jeff Caldwell joins the Drama Division as musical vocal coach. His first experience at Juilliard was in 1984, when he sang in the chorus of Lady Macbeth of Mtsensk with the Juilliard American Opera Center while on a college internship from the Oberlin Conservatory (where he earned a degree in piano performance). Mr. Caldwell earned a master’s in opera direction at Indiana University, then moved to Seattle to begin doctoral work in opera production. There, his interests expanded to include musical theater, and he divided his time between performing, music directing, and conducting, as well as teaching and vocal coaching. He sang in several productions with Seattle Opera and taught for the University of Washington Professional Actor Training Program, Cornish College of the Arts, and the Seattle Children’s Theater Young Actor Institute. Since arriving in New York, Mr. Caldwell has played keyboards in the pit of The Producers, rehearsal piano and keyboards for the Snoopy concert at Symphony Space starring Sutton Foster, and played for classes and productions at N.Y.U.’s Tisch School and CAP21 programs. He has also sung in the chorus of several productions at New York City Opera, where he will sing in Cendrillon this fall.