October 21, 2002 Contact: Matt Schicker, Paula Mlyn, Li-Ling Wang, Janet Kessin

Program includes Mozart’s Overture and Ballet Music from Idomeneo, Beethoven’s Piano Concerto No. 3 in C Minor, Op. 37, and Brahms’ Symphony No. 1 in C Minor, Op. 68.

Student piano soloist to be announced November 1, 2002.

Guest conductor Sir Roger Norrington leads the Juilliard Orchestra in concert at Carnegie Hall on Friday, December 6 at 8 PM. Sir Roger returns to Juilliard at the School’s invitation, after his orchestral reading with the Juilliard Orchestra in February of 2002. Juilliard students who took part in the February reading benefited from Sir Roger’s extensive knowledge of period performance practice and style, which was immediately applied to that afternoon’s reading of Haydn’s Symphony No. 100 ("Drumroll"). The Carnegie Hall program consists of Mozart’s Overture and Ballet Music from his opera Idomeneo, Beethoven’s Piano Concerto No. 3 in C Minor, Op. 37, and Brahms’ Symphony No. 1 in C Minor, Op. 68. A student piano soloist for the Beethoven concerto will be announced November 1, 2002. Tickets are $25 (Parquet, 1^st & 2nd Tiers), and $10 (Dress Circle & Balcony). They are available starting November 1, 2002 at Carnegie Hall Box Office, or by calling CarnegieCharge at (212) 247-7800. Half-price student and senior tickets are available. For more information, please call the Juilliard Box Office at (212) 769-7406.

Sir Roger Norrington, a native of Oxford, England, founded the Schtz Choir in 1962 and thus began a 30-year exploration of historical performance practice. With the Choir and the London Baroque Players (later the London Classical Players), he gave many innovative concerts and made numerous recordings for Argo/Decca, mainly of 17th-century repertoire. The London Classical Players leapt to worldwide renown with Norrington’s dramatic performances of the Beethoven symphonies on period instruments. The recordings (for EMI) won prizes in the UK, Germany, Belgium and the United States, and are still among the most sought after readings of modern times. Many other ground-breaking recordings followed, not only of Haydn, Mozart, and Beethoven, but of a stream of 19th century masters: Berlioz, Weber, Schubert, Mendelssohn, Rossini, and Schumann, which carried the research forward into the Romantic Movement. More recently, remarkable recordings of Brahms’ four symphonies, of Wagner, Bruckner, and Smetana have moved the boundaries even further.

Norrington’s work on scores, on sound, on orchestra size, seating and playing style, has had a growing effect on the way 18th- and 19th-century music is now perceived and he is in great demand as a guest by symphony orchestras worldwide. He works regularly with orchestras in Berlin, Vienna, Leipzig, Salzburg, Amsterdam, Paris, New York, San Francisco, Los Angeles, and London. He is chief conductor of the Stuttgart Radio Symphony Orchestra and of the Camerata Salzburg. He is closely associated with the Philharmonia and the Orchestra of the Age of Enlightenment, which has taken over the work of the London Classical Players.