You ask: We deliver! Audience favorites return to the Juventas stage
MARCH 22, 2025 | 8 PM
MULTICULTURAL ARTS CENTER
CAMBRIDGE, MA + LIVE ON YOUTUBE
LEGACY
CELEBRATING 20 YEARS OF JUVENTAS
STUDIO TO STAGE
SEP 13, 14 & 15
“This season will be the ensemble’s most ambitious yet.” —Jason M. Rubin, The Arts Fuse ECHOES OF THE WILD MAY 17 & 18 UP NEXT
JUVENTAS AT 20 NICHOLAS SOUTHWICK: CENTER STAGE NOV 16 JAN 25 & 26
MUSIC IN BLOOM JUNE 8 & 15 ENCORE! MAR 22 SOUNDS OF NEW ENGLAND JAN 31–FEB 2 MAY 4 & 30 UP NEXT
ENCORE!
MARCH 22, 2025 | 8 PM
MULTICULTURAL ARTS CENTER + LIVE ON YOUTUBE
Amazônia (2019)
Catarina Domenici
Kristo Kondakçi, conductor; Kelley Hollis, soprano; Nicholas Southwick, flute; Celine Ferro, clarinet; Ryan Shannon, violin; Matthew Smith, cello; Julia Scott Carey, piano
My Elephant Cloud (2011)
Nicholas Southwick, flute; Celine Ferro, clarinet; Ryan Shannon, violin; Matthew Smith, cello; Julia Scott Carey, piano
Persevering (2020)
I. Gradually Overwhelming
II. Loneful Endeavors
III. Worth the Wait
Kristo Kondakçi, conductor; Nicholas Southwick, flute; Celine Ferro, clarinet; Ryan Shannon, violin; Matthew Smith, cello; Julia Scott Carey, piano; Thomas Schmidt, percussion
Canciónes de Desamor (2015)
I. Por un instante
II. Que queden sin rocío las flores bellas
III. Prefiero mil veces
Oliver Caplan
Joe Jaxson
Steven Sérpa
Kristo Kondakçi, conductor; Kelley Hollis, soprano; Nicholas Southwick, flute; Celine Ferro, clarinet; Anne Howarth, horn; Ryan Shannon, violin; David Rubin, violin; Sam Kelder, viola; Matthew Smith, cello; Julia Scott Carey, piano; Thomas Schmidt, percussion
Maori Lament (2019)
Kristo Kondakçi, conductor; Kelley Hollis, soprano; Nicholas Southwick, flute; Celine Ferro, clarinet; Anne Howarth, horn; Ryan Shannon, violin; David Rubin, violin; Sam Kelder, viola; Matthew Smith, cello; Julia Scott Carey, piano; Thomas Schmidt, percussion
Olmsted Gardens (2022)
I. Springdale
II. Shadyside
III. Virgilee
IV. Deepdene
Jorge Sosa
Michael-Thomas Foumai
Kristo Kondakçi, conductor; Nicholas Southwick, flute; Celine Ferro, clarinet; Anne Howarth, horn; Ryan Shannon, violin; Sam Kelder, viola; Matthew Smith, cello; Julia Scott Carey, piano; Thomas Schmidt, percussion
This program is supported in part by a General Operating Support Grant from the Massachusetts Cultural Council Operating Support Grant; and a grant from the Cambridge Arts Council, a local agency that is supported by the Massachusetts Cultural Council, a state agency.
FROM THE ARTISTIC DIRECTOR
Tonight’s program continues our celebration of Juventas’s 20-year history, featuring favorite moments handpicked by you, our audience, through our popular “Play It Again!” cards.
Great music deserves repeat performances—just like the classical masterpieces we cherish. Revisiting a piece allows us to share the composer’s voice with more people in our community. And for those of us experiencing these works again, it’s like reconnecting with an old friend—familiar yet full of new discoveries. A truly great piece of music reveals itself in layers; each time we listen, we uncover something fresh.
None of us can predict which works from today will be performed 100 years from now. But tonight, you’ve told us what you love right now, and we couldn’t be more excited to bring these incredible pieces back to life for you!
With deepest gratitude,
Oliver Caplan, Artistic Director Juventas New Music Ensemble
Credit: James Jones Photography
JUVENTAS NEW MUSIC ENSEMBLE
Juventas New Music Ensemble is a dynamic contemporary chamber group with a special focus on emerging voices.
We reimagine classical music as a vibrant living art form, uplifting rising voices and bringing audiences music from a diverse array of composers that live in today’s world and respond to our time.
Juventas has earned a reputation as a curator, with a keen eye for new talent. Since our founding in 2005, we have performed the music of over 300 living composers. Our musicians champion these artists with exceptional professional performances that open doors.
From climate change to mental health, our programs speak to the most critical topics of the 21st century. Our concerts center on the human experience, featuring deeply personal music that fosters conversation and reflection.
Our work has been recognized with multiple American Prize wins and support from the National Endowment for the Arts, Massachusetts Cultural Council, New Music USA and Boston Foundation. Juventas has been featured on over a dozen recording projects, including albums from Albany Records, Navona, New Dynamic and RMN Classical.
Juventas New Music Ensemble’s 202425 Mainstage Season is generously sponsored by John A. Carey.
BOARD OF DIRECTORS
John Carey
President
Andrew Wilkins
Treasurer
Meghan Guidry
Clerk
Minjin Chung
Lynn Eustis
Meg Fuchs
Carson Cooman
Leslie Jacobson Kaye
Karen Ruymann
Oliver Caplan
ex officio
STAFF
Oliver Caplan
Artistic Director
Joseph Sedarski
General Manager
Kyla Blocker
General Manager
Saskia den Boon
Grants Coordinator
Graphic Designer
Molly Breen-Aronson
Development Coordinator
Bella Rose Kelly
Arts Administration Intern
FUTURA PRODUCTIONS LIVESTREAM PRODUCERS
John Weston
Production Director & Audio Engineer
Nathaniel Smith
Video Editor
Nick Papps
Director of Photography & Camera Operator
Cisco Santiago
Camera Operator
Chris Wilson
Assistant Engineer
IN THE COMPOSER’S OWN WORDS
CATARINA DOMENICI | Amazônia (2019)
Amazônia was composed in 2019 as a response to the infamous “Dia do Fogo” (Fire’s Day), which consisted of a coordinated and deliberate act by farmers in the states of Amazonia and Para to burn down the forest in order to grow pasture for cattle. The criminal acts went unpunished by the federal government, whose agenda, at that time, was characterized by overlooking crimes against nature, native Brazilians, and women. “Amazônia” weaves together all three categories. The song is divided in two parts: a Prelude entitled “Terra pejada,” and an Aria, “Terra arrasada.”
The Prelude portrays the Amazon forest as a woman, the very force of nature. The image of Mother Nature also refers to the origin of the name Amazon, which was given by Francisco de Orellana after being defeated in battle by the Icamiabas, a tribe of women warriors organized as a matriarchal society. The word “pejada” means fecund, and it is the only word in Portuguese that applies to both humans and creatures alike. I chose this word to highlight the interwoven aspect of life itself expressed in the interdependence between all living creatures.
The aria, “Terra arrasada” (Scorched Earth), refers to the ongoing destruction of the Amazon forest caused by activities such as illegal mining and logging, and industrial farming. Those activities have been extremely harmful both to the forest and to the indigenous population. By polluting water resources with mercury and destroying the forest, the way of life of the indigenous people from the Amazon has been under continuous and systematic attack by economic interests, large and small, domestic and foreign, intent on forcing them out of their land. At the climax of the song, the phrase “Iandé r-etama ka’a oby” is heard in Tupy, the language of the indigenous people of Amazon. The phrase translates to “Our home is the green forest.”
Juventas commissioned this chamber arrangement of Amazônia for our 2024 program “The Age of the Rise,” a call for action on Climate Change.
OLIVER CAPLAN | My Elephant Cloud (2011)
The melodies for this piece were sketched amidst the heat of August in New England. Summer affords many vantage points from which to pursue the wondrous sport of cloud watching: the tranquil waters of Walden Pond, alpine meadows of the White Mountains, and soft sands of Crane Beach. Here is some music from those lazy days.
Juventas recorded My Elephant Cloud for Oliver’s 2012 debut album “Illuminations.” We performed it in concert in 2012 and 2018.
JOE JAXSON│| Persevering (2020)
During the summer of 2020, I was dealing with emotional strife and depression. Instead of letting those emotions get the better of me, I wanted to put all of that and the energy into my work and thus Persevering was what came out of it. Originally scored for Pierrot ensemble, Persevering is a three-movement work with a purpose to bring forth the attributes of perseverance, showcasing three relatable scenarios. The movements are titled:
I. “Gradually Overwhelming” is the feeling of anxiety and depression collaborating together to combat my emotional well-being.
II. “Loneful Endeavors” starts out with the vibraphone being ‘The Loneful Endeavor.’ What to look for in this movement is the pairing, for each pair represents a couple, a relationship and how each pair blends into the texture as the next pair comes in.
III. “Worth the Wait” is the homestretch, the feeling that you have successfully persevered.
Juventas presented the world premiere of Persevering in our September 2021 program “Memory & Hope.” Joe Jaxson was a winner of our 2021 Call for Scores, one of the ways Juventas opens our doors to connect with young composers. The performance was our first indoor concert since the onset of COVID, and our first hybrid program, with both an in-person audience and simultaneous livestream on YouTube.
STEVEN SÉRPA | Canciónes de Desamor (2016)
This set of songs came about when tenor Daniel Castillo, a friend and colleague at the University of Texas at Austin’s Butler School of Music, brought me three poems to consider setting for an upcoming recital. These poems were written by his mother decades ago while she lived in her native Mexico. They are heartbroken snapshots from Cecilia Castillo’s young adulthood, before Danny’s father was even in her life. His mother would not share any of the details of why she wrote these evocative poems, but she graciously allowed us to pursue this project.
Just before winter break in 2015, Danny approached me with these poems. I was immediately taken by them. They spoke very directly to a recent heartbreak of my own. My move to Austin, TX in August of 2014 hastened the end of a three-year relationship. Cecilia’s lines, like the opening of the second song “Let the beautiful flowers remain without dew, / I’ve been left without your smile anyway” or “Sometimes I remember with great pain / That you are not mine” from the third song, felt like they were coming straight from those moments in my own life. The winter holidays brought up old feelings and regrets and stirred new feelings of loss and loneliness. I found comfort however in working with Cecilia’s own expressions of loss. It might sound cliché, but these poems reminded me the weight of loneliness and loss was not something I carry alone. Many before me have suffered lost loves and all the intense emotion that comes with it.
Canciónes de desamor marked a return to solo vocal music for me, my last work of its kind being the short one-act opera Thyrsis and Amaranth written in 2010 and premiered by Hartford Opera Theater. The intimacy of the medium and the emotional directness of the poetry created therapeutic world that I had not expected, for which I am grateful.
Tenor Daniel Castillo and pianist Hsin-Hsuan Lin premiered the voice and piano version of Canciónes de desamor on May 3rd, 2016, in Jessen Auditorium at the University of Texas at Austin. The orchestrated version of these songs was premiered later that year on November 6th with Daniel Castillo as soloist and the University of Texas Lab Orchestra, conducted by Nicholas Perry Clark.
The texts for Canciónes de desamor are from unpublished manuscripts and are used here with the kind permission of the poet.
Juventas first performed Canciónes de Desamor in our April 2019 program “Pride: Hand in Hand,” a celebration of LGBTQ+ composers, observing the 50th anniversary of the Stonewall Uprising. Steven Sérpa’s piece was a winner of our 2019 Call for Scores. We are commissioning a new piece by Steven to be premiered in 2026. Stay tuned!
JORGE SOSA | Maori Lament (2019)
Maori Lament (2019) was written immediately after the terrorist attack in Christchurch, New Zealand in March of 2019. My wife’s family is from New Zealand. We have visited the country many times, we got married there, and we have family members who live very close to where the shooting took place. The event was deeply disturbing for all of us. In the early hours of that morning I drafted most of Maori Lament as a tribute to my family and friends in New Zealand and as a personal effort to try and make sense of a senseless act of violence. The Maori are the indigenous people from New Zealand. Their music, dance, and culture is one that I admire and have been fortunate to experience up close. The piece uses a soprano singer who vocalizes without text. The only word that is set at the end of the piece means “family” in Maori. Maori Lament was premiered at the New Music Detroit “Strange Beautiful Music Festival” in 2019.
Jorge Sosa is the third Call for Scores Winner on this program. We performed Maori Lament on our 2023 “Concert for Peace,” which engaged with some of the most difficult challenges of our time, envisioning a better tomorrow.
MICHAEL-THOMAS FOUMAI | Olmsted Gardens (2022)
Olmsted Gardens takes inspiration from the Olmsted Linear Park in Druid Hills Georgia. The area known as Druid Hills was developed by Atlantan Joel Hurt of the Kirkwood Land Company. In 1890 Hurt persuaded Frederick Law Olmsted Sr. to prepare a plan for a residential suburb.
The work is in four movements, a kind of park tour of four of the seven park segments.
Beginning with “Springdale,” pastoral music, featuring the flute, paints a scenic gateway to the Linear Park, where visitors encounter a green knoll and a mature stand of oaks.
“Shadyside” is named for the heavily wooded section on the southern side of the western end, the music bristles with woodland creatures, with gestures of shadowy and lively activity.
“Virgilee,” is named after Joel Hurt’s daughter; this park is her memorial. The landscape of this segment continues the pastoral scheme, and the music reflects the memorial tones with a solemn horn in remembrance.
“Deepdene,” the largest segment, forms the eastern end of the Linear Park. It is a wooded tract with a stream winding through its 22 acres. The final movement, a lively dance, celebrates the park in a winding stream of melodies and rhythm.
Juventas co-commissioned Olmsted Gardens with the American Wild Ensemble, Landscape Music and the Michigan Technological University Department of Visual and Performing Arts. We presented the world premiere performance on our 2022 “Lungs of the City” program, which commemorated the bicentennial of the birth of American landscape architect Frederick Law Olmsted.
TEXT AND TRANSLATION
CATARINA
DOMENICI | Amazônia (2019)
Prelude – “Terra Pejada”
Quem é essa mulher
Que dança pela mata?
Nas curvas dos rios, Nas plantas, sementes, Nas aves, nas cobras, Nos bichos no cio
Que voa no vento, Que chora na chuva, Que ri do rebento
Que brota da terra.
Dadora da vida!
Quem é essa mulher?
Dizem que ela é um pulmão.
Por ser ela mesma
A Mãe Natureza, É o ventre, é o seio
De onde viemos.
Respeite a moça, Respeite a dona, Respeite a menina Chamada Amazônia.
Amazônia, Amazônia, Ah!
Aria – “Terra Arrasada”
Arde, queima, estala, Toda a selva, a natureza.
Serra, corta, mata
A vida e o futuro
Prelude – “Fecund Earth”
Who is this woman
Dancing in the forest?
In the winding rivers, In the plants and seeds, In the birds and snakes, In the creature’s heat
Who flies in the wind, And cries in the rain, Who laughs at the bud Sprouting from the earth.
Giver of life!
Who is this woman? Some say she is the lung.
Because she is herself, Mother Nature, She is the bosom, the womb, Where we came from.
Respect the lassie, Respect the lady, Respect the girl Named Amazon.
Amazon, Amazon, Ah!
Aria – “Scorched Earth”
Burns, shrivels, crackles
All the jungle, and Mother Nature Cut, saw and kill Life and the future
Terra arrasada, Esteeril, Em chamas.
Do verde, fazem o cinza
Da fumaça que cega e sufoca
A morte é um vulto cinzento
Que traz em sua mão uma serra
Na alma, um vazio profundo, Seu rosto estampa um cifrão
Quem vende a vida, morreu
O ódio entranhou o coração.
Arde, queima, estala, Foge bicho, foge gente, Serra, corta e vende
A vida e o future
Terra arrasada, Estéril, Em chamas.
Madeireiro cortou o arvoredo, Fazendeiro queimou o sustento, O verde é a cor da esperança, Da mata, da vida sem fim.
Iandé r-etama ka’a oby
Arde, queima, chora
Toda a selva, a natureza, Serra, corta e vende
A vida e o futuro
Terra arrasada, Estéril, Em chamas!
Scorched earth, Barren, Ablaze.
Green is turned to gray
Of the smoke that blinds and chokes
Death is an ashen shadow
Carrying a saw in its hands, Instead of a soul, a deep void
Instead of a face, a dollar sign
Who sells life is already dead
The hatred has seized his heart.
Burns, shrivels, crackles, Flee animals, flee people
Cut, saw and sell
Life and the future
Scorched earth, Barren, Ablaze
Tree poachers sawed the forest
Industrial farming burned the sustenance
Green is the color of hope, Of the forest, of endless life.
Our home is the green forest
Swelters, withers, cries,
All the jungle, and Mother Nature, Cut, saw and sell
Life and the future
Scorched earth, Barren, Ablaze!
SÉRPA | Canciónes de Desamor (2016)
I. Por un instante
Por un instante buscas mi boca, Con un anhelo que me sorprende, En un momento de angustia loca, En movimiento que no reprendes.
I. For a moment
For a moment you search for my mouth, With a longing that surprises me, In a moment of mad anguish, In a movement you do not rebuke.
STEVEN
Y yo me quedo igual que siempre
Y el beso queda medio guardado,
Hasta que, luego de que te has ido, Por mi pañuelo es retirado.
Triste destino de aquel tu beso
Que de mis labios desaparece, Y aunque es bien cierto
Que no te quiero siento, Que el alma se me entristece.
II. Que queden sin rocío las flores bellas
Que queden sin rocío las flores bellas, Al cabo quedé ya sin tu sonrisa, No acudan a la noche las estrellas,
Sobre el mar no se mueva suave brisa.
Queda en el corazón una querella, Ya no se obliga el alma, no es sumisa,
Apagas de las luces la más bella,
Llevándote sonidos de tu risa.
Te apartas de mi vida y dejas mella,
En cuerpo que sin ti se escandaliza,
En los ojos fervientes de tu huella.
Te llevas de mi amor la flama aquella,
De tus besos me queda la ceniza, Y a mis labios el llanto es quien los sella.
III. Prefiero mil veces
Prefiero mil veces
Mirarte de lejos
Saber que tus ojos no me miran más.
Prefiero no hablarte
Y seguir sufriendo
Saber que estás libre de mi pensamiento,
Que mis sentimientos no te tocan ya.
Pues el desencanto
Empañó el deseo
De muy tiernamente poderte besar.
Los días se pasan,
Las horas sin sueño,
A veces recuerdo con mucho dolor
Que tú no eres mío,
Que no eres mi dueño,
Pero que en nosotros existió el amor...
And I remain as always
And the kiss is half kept, Until, after you’re gone, My handkerchief removes it.
Sad fate of your kiss
That from my lips disappears, And although it is quite true That I do not love you, I feel my soul becomes saddened.
II. Let the beautiful flowers remain without dew
Let the beautiful flowers remain without dew, I’ve been left without your smile anyway, Do not let the stars come to the night, Do not let the soft breeze move on the sea.
A fight remains in the heart, The soul is no longer obligated, no longer submitted, Turn off the most beautiful of lights, Taking the sound of your laughter with you. You turn away from my life and leave a dent, In a body that without you is scandalized, In the fervent eyes of your footprint. You take the flame of my love, Your kisses become ash, And my lips are sealed by weeping.
III. I prefer a thousand times
I prefer a thousand times
To see you from afar
Knowing your eyes look at me no longer. I prefer not to talk to you And continue to suffer
Knowing you are free from thinking of me, My feelings affect you no more. For disenchantment
Has tarnished the desire Of kissing you tenderly.
The days pass, Sleepless hours,
Sometimes I remember with great pain That you’re not mine, That I do not belong to you, But there was love between us...
CATARINA DOMENICI│| b. 1965
Pianist, composer and researcher, Catarina Domenici is a Full Professor at the Federal University at Rio Grande do Sul, Brazil, where she teaches both at the post-graduate and graduate levels. She received a Master’s and a Doctoral degree from the Eastman School of Music, where she served as an assistant to Rebecca Penneys, and was awarded the Performer’s Certificate and the Lizzie Teege Mason award. She has received scholarships from the Chautauqua Institution and the Brazilian Government Agency for the Development of Science (CNPq), and was as post-doctoral fellow at the University at Buffalo. Her research on composer-performer interactions in contemporary music has been published and presented in international symposiums in Asia, Europe, and South America. She is a frequent guest speaker at national symposiums and international institutions, and has served as a faculty in several music festivals in Brazil and abroad.
As a pianist she has performed in England, Italy, Spain, Portugal, Uruguay, Guatemala, Costa Rica, Brazil and the US, and has received several prizes as a soloist and chamber musician for her performances and recordings. As a composer, she received commissions from King’s College London, São Paulo Municipal Theater Foundation, Santo Andre Symphony Orchestra, Juventas New Music Ensemble, Rebecca Penneys Piano Festival, Alma Trio (Italy), pianists Ronaldo Rolim and Carla Corsino, and singers Susie Georgiadis and Gabriella Di Laccio. Her orchestral works have been performed by São Paulo Municipal Theater Symphony Orchestra, Porto Alegre Symphony Orchestra, OSUSP (USP Symphony Orchestra), Espírito Santo Symphony Orchestra, Federal University of Paraiba Symphony Orchestra, and Santa Maria Symphony Orchestra. Her chamber and piano solo works have been presented in Germany, Italy, England, Brazil, and the US.
catarinadomenici.com
OLIVER CAPLAN | b. 1982
Award-winning American composer Oliver Caplan offers a voice of hope in an uncertain world. Inspired by the resiliency of the human spirit and beauty of the natural world, his music celebrates stories of social justice, conservation and community.
From Kearney, Nebraska to Carnegie Hall, Oliver’s music has been performed by over 75 ensembles in the United States and around the globe. He has been commissioned by the American Wild Ensemble, Atlanta Chamber Players, Bella Piano Trio, Bronx Arts Ensemble, Brookline Symphony Orchestra, Columbia University Wind Ensemble and New Hampshire Master Chorale, among others. Winner of a Special Citation for the American Prize in Orchestral Composition and the Oratorio Society of New York’s 150th Anniversary Competition, additional recognitions include two Veridian Symphony Competition Wins, the Fifth House Ensemble Competition Grand Prize and fellowships at Ragdale, Millay Arts and VCCA. His vocal works include settings of poetry by Maya Angelou, Richard Blanco, Hannah Fries and Meghan Guidry. Oliver’s music is featured on seven albums and has been streamed over a half million times.
A leader in the field of contemporary classical music, Oliver is the Artistic Director of the American Prize-winning Juventas New Music Ensemble, the only professional ensemble of its kind devoted specifically to the music of emerging composers. He also serves on the Ragdale Foundation’s Curatorial Board and is a voting member of the Recording Academy.
Oliver holds degrees from Dartmouth College and the Boston Conservatory. He resides in Medford, Massachusetts with his husband Chris and corgi Simon.
olivercaplan.com
JOE JAXSON | b. 2000
Joe Jaxson is a composer whose music challenges the familiar and connects with his audience while pursuing versatility in writing in numerous styles and genres ranging from Contemporary Classical to Cinematic Screen Scoring.
In 2018, his wind ensemble piece, Fanfare and Celebration was selected for recognition at the VMEA (Virginia Music Educators Association) Composition Festival during its annual conference. Joe’s piece, Fanfare and Overture for Orchestra was recently selected by the
Concerto Chamber Orchestra 2020 Call for Scores as one of its winners for their upcoming season. During the summer of 2020 Joe has participated in NYU’s Film Scoring Workshop where he worked with successful Film and TV composers Mark Snow and Michael A. Levine. Joe was also selected as one of the ten composers for the modern chamber group “Five by Five’s” 2020 Call for Scores and Ideas. Joe’s piece, Persevering has been performed by the Juventas Mew Music Ensemble in Boston and by the JMNew Music Ensemble in Harrisonburg, Virginia. Persevering was also named an honorable mention in the newEar 2020-2021 Composition Contest, chosen as a Finalist in the 2021 Press Start Inaugural Composer Competition as well as Finalist in the 2021 Inaugural Jessie S. Yee Memorial Commission Competition.
Joe has composed original music for the Donald Heiter Community Center’s 2021 Radio Dramas: Natalie and the Chocolate Factory, streamed through their “Sweeten Your Spirit” podcast during their annual Chocolate Festival, and Tarrstown Tales: Kris’s Time-Traveling Lewisburg Adventure for their annual Celebration of the Arts, and Michael’s Star for the Heiter Center’s “Rock and Read” Reading Marathon & Fundraiser Event.
Joe currently holds degrees in Composition from James Madison University (B.M. ‘22) and the University of Texas at Austin (M.M. ‘24). He will continue at the UT Butler School of Music for his Doctorate studies starting Fall 2024.
joejaxsonmusic.com
STEVEN SÉRPA | b. 1976
Steven Sérpa is an award-winning composer of opera, choral, symphonic, and chamber music. His orchestral and chamber works have been performed by the Austin Symphony Orchestra, Tucson Symphony Orchestra, Chamber Orchestra of the Triangle, among others, and he was recently chosen by the American Composers Orchestra to be part of their EarShot emerging composer fellowship.
His one-act opera Thyrsis & Amaranth has had over a dozen productions around the US and Canada, and critics have praised it as a “truly beautiful… magnificent little story jammed full of thought and feeling and meaning” with “gorgeous music and wrenching lyrics.” Recent commissions include works for the Grand Tetons Music Festival, Hartford Independent Chamber Orchestra, and the Sterling Trio as well as a series of recent vocal works, including Canciónes de desamor with Mexican poet Cecilia M. Castillo, The Creatures: A Bestiary Retold on the poetry of Jeffery Beam, and a marriage-rights cantata on the writings of Mildred Loving, And Loving for All. Steven has composed a dramatic oratorio james (book of ruth) tackles the subject of HIV Stigma and was premiered by Inversion Ensemble in Austin, TX, and a one-act opera these wings are meant to fly responding to
the Pulse nightclub shooting was premiered by Thompson Street Opera in Chicago with other productions in Toronto, Montréal, Hartford, and Austin; both works in collaboration with playwright Zac Kline. Steven studied with composers Tom Cipullo, Dan Welcher, and Yevgeniy Sharlat, earning his doctorate in composition from the University of Texas at Austin. He makes his home just east of Austin with his partner, their rescue dogs, and a dozen hives of honeybees.
serpamusic.com
JORGE SOSA | b. 1976
Jorge Sosa is a Mexican-born composer, currently residing in New York City.
The Boston Globe described the score of his opera Monkey A Kung Fu Puppet Parable as “agile and entertaining, as befits such a journey” and praised the “seductive slow number sung by… Mara” and “a crackling vocal duel between Guan Yin and Mara.” Opera News described his telematic opera Alice in the Pandemic as “wildly imaginative, musically powerful and technically courageous” and commended “Sosa’s broad stylistic palette (which) incorporated lyrical impassioned melodies, kooky carnival music, and efficient recitative.” The Music Blog “I Care if You Listen” described Sosa’s opera I Am A Dreamer Who No Longer Dreams as “well-balanced to the story’s narrative, and his vocal writing aroused strong emotional peaks and valleys, magnified by the characters’ impassioned performances.” Both works were commissioned and premiered by White Snake Projects.
Jorge was selected as resident artist for the Opera ATX Residency for Latinx Creatives, and will be in residence with Austin Opera in 2025. During the 2023 season Jorge premiered the puppet opera Monkey with libretto by Cerise Jacobs, commissioned by White Snake Projects in Boston and the comic opera The Beehive, with libretto by Melisa Tien, commissioned by the University of Northern Iowa. In 2023 Jorge’s opera I Am A Dreamer Who No Longer Dreams, received its third production by Tri Cities Opera and Syracuse Opera. In 2022 and 2023 Jorge was a finalist for The Atlanta Opera 96 Hour Opera Project. Jorge was a guest artist at the 2023 Music Mexico Symposium Mexican Music hosted by the University of Houston, where his works for band Son Pa’ La Banda and Descarga were premiered alongside his Pequeño Concierto for Horn, Guitar, and String Quartet, commissioned by Johanna Lundy and the Borderlands Ensemble. In 2022 Jorge premiered the opera scene Samiir’s Feast, commissioned by White Snake Projects, as part of their “Let’s Celebrate” production.
Jorge is currently developing the project Generación Perdida in collaboration with mezz-soprano Victoria Vargas, and Lara Bolton as music director. Generación Perdida is a monodrama about the more than 100,000 people who have been forcibly
disappeared in México as a result of the futile war on drugs.
Jorge is a Professor of Music at Molloy University and currently serves on the board of American Lyric Theater.
jorgesosa.com
MICHAEL-THOMAS FOUMAI | b. 1987
Dr. Michael-Thomas Foumai, born in 1987 in Honolulu, Hawai’i, is an acclaimed composer and the inaugural Composer in Residence for the Hawai’i Symphony Orchestra (HSO). His music has been hailed as “vibrant and cinematic” by the New York Times and praised for its rich emotional depth by the Milwaukee Journal Sentinel. Dr. Foumai’s diverse symphonic repertoire, ranging from commercial arrangements to avant-garde compositions, is deeply rooted in the culture of Hawai’i.
His orchestral works have been conducted and performed by esteemed artists such as Yannick Nézet-Séguin, Lidiya Yankovskaya, Sarah Hicks, and Osmo Vänskä, with the Philadelphia Orchestra, Los Angeles Philharmonic, National Symphony Orchestra, Seattle Symphony, Minnesota Orchestra, and with the American Composers Orchestra at Carnegie Hall.
Dr. Foumai’s achievements include a Fromm Foundation Grant from Harvard University, the MTNA Distinguished Composer of the Year Award, the Jacob Druckman Prize from the Aspen Music Festival, and three BMI composer awards. Currently, he shares his expertise as a faculty member at the University of Hawaiʻi West Oʻahu, holding multiple degrees in music composition from the University of Hawai’i at Mānoa (BM) and the University of Michigan (MM, DMA).
michaelfoumai.com
MUSICIANS
KRISTO KONDAKÇI | conductor (guest artist)
Celebrated for his visionary leadership and innovative programming, Albanian-American conductor Kristo Kondakçi is redefining the role of the modern conductor as a driving force for artistic excellence and meaningful change in communities worldwide.
As the David and Janet McCue Music Director of the Kendall Square Orchestra (K²O) — a 94-member ensemble drawn from over 60 leading technology and life science organizations — Kondakçi champions initiatives that combine musical innovation with philanthropic action. At Boston’s historic Symphony Hall, K²O’s Symphony for Science series has raised hundreds of thousands of dollars for healthcare causes through collaborations with figures such as Boston Pops conductor Keith Lockhart and Nobel Laureate Esther Duflo. In partnership with Pfizer and Next Step, Kondakçi also led the creation of Come and Walk a Mile, an anthem for rare disease awareness that has reached audiences worldwide.
Residing in Boston with his wife, Chloe, he continues to design bold new projects and broaden his community-centered efforts. His upcoming season features major orchestral debuts and groundbreaking partnerships that underscore his belief that music, at its core, can unite us, heal us, and drive meaningful change.
KELLEY HOLLIS | soprano
Karen and Fred Ruymann have generously sponsored Kelley Hollis for the 2024-25 concert season.
Kelley Hollis is a classically trained soprano known for her interpretations of new and lesser known works. Last year Kelley was featured on the album Arnold Rosner’s Requiem (Toccata Records), recorded with the London Philharmonic Orchestra at Abbey Road Studios. In 2018 she performed a concert at the Prague Castle in the Czech Republic, and was a featured artist with the Americké jaro festival.
In addition to singing with Juventas, Kelley performs with and serves on the board of Opera on Tap Boston. In 2019 she sang the role of Rosalinda in MassOpera’s critically acclaimed production of Die Fledermaus, and premiered the role of Juana in the Omar Najmi’s En el
ardiente oscuridad. Her other opera roles include Mimi in Puccini’s La femme boheme, Beth in Adamo’s Little Women (Metrowest Opera), Eliza in Muhly’s Dark Sisters (Third Eye Theater Ensemble); Florencia Grimaldi in Catan’s Florencia en el Amazonas, Donna Anna in Mozart’s Don Giovanni, Micaela in Le Tragedie de Carmen, Harper in Eötvös’ Angels in America (BU Opera Institute) and Nina in Pasatieri’s The Seagull (Opera del West).
Ms. Hollis has performed twice at Boston Symphony Hall: In 2016 she appeared as the First Orphan in The Boston Symphony Orchestra’s concert production of Strauss’ Der Rosenkavalier alongside Renee Fleming and Susan Graham, and in 2015 she was the soprano soloist for Mahler’s 2nd Symphony, performing with the BU Symphony Orchestra. Her most recent concert repertoire includes Vaughan Williams’ Dona Nobis Pacem, Handel’s Messiah, and Faure’s Requiem.
In 2014, Ms. Hollis was a finalist for Lyric Opera Chicago’s Ryan Opera Center and in 2011 Kelley received an encouragement award at the district level from the Metropolitan Opera National Council. Kelley Hollis received both her Master’s and Bachelor’s degrees from Northwestern University and is a graduate of the Boston University Opera Institute. Kelley is also a graduate of A.W. Dreyfoos School of the Arts.
NICHOLAS SOUTHWICK | flute
Oliver Caplan and Chris Beagan have generously sponsored Nicholas Southwick for the 2024-25 concert season.
Praised by the Royal Gazette for his “beautiful phrasing” and “bright and lively playing” and by the Boston Musical Intelligencer for his “admirable ensemble cohesion,” Boston-based flutist Nicholas Southwick enjoys a diverse musical career.
Nicholas is a frequent guest artist of the Bay Chamber Concerts, where he recently performed J.S. Bach’s Orchestral Suite No. 2 with Palaver Strings. He has also performed Bach’s concerti with the Bermuda Chamber Orchestra and was a soloist for the Bach the European series at the Royal Academy of Music. As a recitalist, he has performed at Harvard University, King’s Chapel, Salem Classical, the University of Cambridge, and the Bloomsbury Festival, London.
In addition to his role as core flutist of the Juventas New Music Ensemble, Nicholas serves as Affiliated Faculty at Emerson College and holds an Artist Fellowship with Music for Food for his work with violist Long Okada in Duo Gwynne. He also founded the Acadie Duo with cellist Jaime Feldman, with whom he curates an annual chamber music series in rural Maine. Nicholas has a particular interest in interdisciplinary dialogues between music and theology and is currently Fellow in Liturgy and Music at Harvard University’s Episcopal Chaplaincy. As an orchestral player, Nicholas has made appearances with the Bangor Symphony Orchestra, New Hampshire Festival Orchestra, Boston Opera Collaborative, Harvard-Radcliffe and Manchester Choral Societies, and
Trentino Music Festival Orchestra (Italy).
Nicholas completed his postgraduate training at the Royal Academy of Music, London under the tutelage of Karen Jones, Laura Jellicoe, and Katherine Baker. He previously studied at the Longy School of Music of Bard College and Gordon College. His past teachers include Marco Granados, Robert Willoughby, and Susan Heath. Outside of his busy performance schedule, he loves to share the joy of music with his private flute students in Boston and the North Shore.
CELINE FERRO | clarinet
Meghan Guidry has generously sponsored Celine Ferro for the 2024-25 concert season.
A virtuosic chamber musician, Celine Ferro is the clarinetist of the Kalliope Reed Quintet, with whom she has performed across New England and in Mexico; a force in the Boston-based bass clarinet ensemble, Improbable Beasts, with whom she has performed across the U.S. and in Ireland; and the core clarinetist of Juventas New Music Ensemble, with whom she has performed across Greater Boston and New England. Seeking diverse collaborations that take her work outside of the typical concert hall, she is also a member of the groove ensemble, Shibui, where she can be heard on both clarinet and bass clarinet on their newest album Quint, which is on the Ronin Rhythm Records label.
As an orchestral musician, she has performed with Symphony New Hampshire, Boston Civic Symphony, Apollo Ensemble, Brookline Symphony Orchestra and has freelanced with many others. In addition to performing, Celine Ferro currently serves on faculty at the Winchester Community Music School and Powers Music School. When she’s not practicing, performing, or teaching, Celine is an avid hiker, reader, and coffee drinker.
ANNE HOWARTH | horn
Alex Ripley and Ted Steinemann have generously sponsored Anne Howarth for the 2024-25 concert season.
Horn player Anne Howarth has a passion for small group collaborations and the opportunities they offer performers and audience members alike to forge personal connections with the music and with each other. She is deeply curious about the ways in which shared musical experiences can invite deeper dialogue and contemplation.
Anne is a founding member and Outreach Director of the mixed-instrumentation chamber group Radius Ensemble and is a senior member of the wind quintet Vento Chiaro. A strong
proponent of new music, Anne has commissioned works for chamber ensemble as an individual and with colleagues. As a freelance orchestral player in demand in the greater Boston area, Anne holds Principal Horn chairs with the Lexington Symphony and Plymouth Philharmonic Orchestra and occasionally performs with the Portland Symphony Orchestra, the Hartford Symphony Orchestra, and the Boston Symphony Orchestra, among others. Curious about the intersection between live music and movement, Anne has collaborated with Monkeyhouse and dancer/choreographer Karen Krolak at First Night Boston, the Oberon, and Tufts University.
Anne is a native of the Detroit area, holds undergraduate degrees in both Horn Performance and Environmental Studies from Oberlin Conservatory and Oberlin College respectively, and earned her Master of Music in Performance at New England Conservatory.
Anne teaches horn and coaches chamber music at Boston Conservatory at Berklee, Tufts University and the Boston University Tanglewood Institute (BUTI), maintains a private studio, and is on the on faculties of the New England Conservatory Preparatory School, the Brookline Music School, and the Milton Afterschool Lesson Program.
RYAN SHANNON│| violin
Julia Scott Carey and Richard Mitrano have generously sponsored Ryan Shannon for the 2024-25 concert season.
Ryan Shannon began his musical journey in the mountains of Colorado at five years old when his father, an amateur pianist, gave him his first violin. Sensing his love of music, his parents made it possible for him to attend the Walnut Hill School for the Arts. Ryan continued his studies at the New England Conservatory, where he studied with Lucy Chapman and Nicholas Kitchen, graduating in 2014.
As a student, Ryan had the life-changing opportunity to attend the Center for the Development of Arts Leaders program at From The Top. Through this year-long partnership with the Hope Lodge, a residence for cancer patients, He learned that music can bring together those who are struggling through difficult circumstances. In recent years he has worked to bring this love to as many people as possible. He does this as an educator, as a member of Palaver Strings, and as an explorer of new music with Juventas New Music Ensemble, whose vivacious energy creates a powerful connection between music and the hearts of those who listen.
Credit: James Jones Photography
DAVID RUBIN | violin (guest artist)
Violinist David Rubin is an active performer and teaching artist with wide-ranging and diverse interests on modern and historical instruments alike.
As a freelancer in the Boston area, David is a member of the New Bedford Symphony and frequent guest with ensembles such as Rhode Island Philharmonic, Chamber Orchestra of Boston, BMOP, and Boston Pops Esplanade.
Highlights of recent seasons include orchestral work at the Lucerne, Banff, Spoleto, and Peninsula music festivals; appearances with period instrument ensembles such as Upper Valley Baroque and Providence Baroque; and recitals with pianist Anna Reiser. After many years of teaching with non-profit organizations such as musiConnects and Community MusicWorks, David maintains a busy private studio at Cambridge Music Consortium.
SAM KELDER | viola (guest artist)
Violist Samuel Kelder is an unswerving proponent of contemporary classical playing, chamber music, orchestral projects, and music education. Kelder’s multifaceted career spans the music of the Baroque era to fresh ink of contemporary composer-performer collaborations.
Described as “dynamic and committed” by the Boston Globe, Sam performs regularly as with ensembles A Far Cry, Boston Modern Orchestra Project, Guerilla Opera, Callithumpian Consort, Sound Icon, East Coast Contemporary Ensemble, and various regional symphony orchestras including Rhode Island Philharmonic, Cape Cod Symphony, Cape Cod Chamber Orchestra, Landmarks Orchestra, Portland Symphony Orchestra, and the New Bedford Symphony. Kelder joined the Boston based string trio Sound Energy in 2018, an ensemble dedicated to searching for ways to push the traditional violin-viola-cello combination to represent the bold and daring voices of 20th- & 21st-century composers. Additionally, Sam is co-founder of viola duo Shizuka with Hannah Rose Nicholas.
In addition to local projects, he has also performed as the featured artist at Third Practice Electroacoustic Festival and as soloist at New York City Electroacoustic Music Festival. Sam holds a B.M. from the University of Houston, M.M. from Mannes the New School for Music, and graduated May 2017 from doctoral studies at Boston University as teaching assistant to Michelle LaCourse. Other major teachers and influences include Wayne Brooks, Karen Dreyfus, Kyung Sun Lee, Laurie Smukler, and Bayla Keyes.
Sam has had the great fortune to work with many prominent living composers such as Georg Friedrich Haas, Beat Furrer, Chaya Czernowin, Hans Abrahamsen, Zosha Di Castri, Eric Wubbles, Olga Neuwirth, Heinz Holliger, Matthius Pintscher, Krzysztof Penderecki, Roger Reynolds, Nico Muhly, Philippe Leroux, Michael Finnissy, Lowell Liebermann, Joan Tower, William Bolcom, Derek Bermel, and John Harbison.
Sam can be heard on Not Art Records.
Sam is an artist member of Music for Food, a musician-led initiative to fight hunger in our home communities
MATTHEW SMITH | cello (guest artist)
Leslie Jacobson-Kaye and Richard Kaye have generously sponsored our cello seat for the 2024-25 concert season.
Matthew Smith is a passionate cellist celebrated for his engaging performances that resonate with audiences across the U.S. and Asia.
As Co-Artistic Director of Palaver Strings, a musician-led chamber orchestra, Matthew has achieved remarkable milestones. His ensemble has been invited to perform at the John F. Kennedy Center for the Performing Arts in Washington D.C., served as the ensemble-in-residence at the Boston Center for the Arts, and at the Longy School of Music of Bard College. He has also collaborated with his duo partner, Peipei Song, in performances at the National Centre for the Performing Arts in Beijing, China and at the Tianjin Conservatory.
In addition to his performing career, Matthew is an accomplished educator. He currently serves as the Managing Director of Education for Palaver Strings, where he has spearheaded the development and design of the Palaver Music Center in Portland, Maine. Matthew has also led the course “Music and Civic Engagement” at the Longy School of Music in Cambridge, MA for the past two years. His talents as a teaching artist have been recognized through his appointment as a Music Educator and Teaching Artist Fellow by the Massachusetts Cultural Council, as well as his role as a Graduate Assistant at The Boston Conservatory.
Matthew has been fortunate enough to learn from some of the most renowned cellists in the world, including Colin Carr, Gautier Capuçon, Bernard Greenhouse, and Emmanuel Feldman, and studied chamber music with members of the St. Lawrence String Quartet and Brentano String Quartet. He received his Master of Music degree from The Boston Conservatory at Berklee, where he studied with Andrew Mark, and his Bachelor of Music degree from Arizona State University, where he studied with Thomas Landschoot.
JULIA SCOTT CAREY | piano
Paul Monsky and Beverly Woodward have generously sponsored Julia Scott Carey for the 2024-25 concert season.
Julia Scott Carey began her music training at the New England Conservatory Preparatory School, where she received the Lanier Prize for Most Outstanding Graduating Senior. She was one of the first students admitted to the Harvard-New England Conservatory joint degree program, through which she received a master’s degree in composition. She received a second master’s degree in collaborative piano from Boston University.
Julia is the Minister of Music at the Central Square Congregational Church in Bridgewater, where she leads the adult and children’s choirs from the keyboard. She is one of the accompanists for the Tanglewood Festival Chorus and the Boston Symphony Children’s Choir. She also serves as the accompanist for the Metropolitan Chorale of Brookline, the Dedham Choral Society, the Boston College University Chorale, and the Boston Saengerfest Men’s Chorus. She previously served as the pianist for the Handel and Haydn Society’s Educational Vocal Quartet, the Wellesley College Chamber Singers, and the Boston Children’s Chorus. She is also a founder and core ensemble member of Juventas New Music Ensemble.
As a composer, her orchestral works have been performed by numerous orchestras, including the Boston Symphony Orchestra and the Boston Pops, and her works have been broadcast on national TV and radio in the United States and in Russia. She was the youngest composer ever published by the Theodore Presser Company. She was also chosen to arrange a folk song for Yo-Yo Ma and Lynn Chang to play at Deval Patrick’s inaugural ball.
Julia lives in Winchester with her husband and her daughter. In addition to music, she loves cooking, running, and spending time on Cape Cod.
Credit: James Jones Photography
THOMAS SCHMIDT | percussion
One of Boston’s versatile free-lance percussionists, Thomas Schmidt has performed with The Boston Philharmonic, The Portland Symphony (Maine), Rhode Island Philharmonic, New Bedford Symphony, Placido Domingo, Boston Landmarks Orchestra, Indian Hill Symphony, Lexington Symphony, Symphony New Hampshire, and The Brevard Music Centers Faculty Orchestra. A regular down in the pit orchestra, he has played for The 75th Anniversary Tour of George Gershwin’s Porgy and Bess, Opera Maine, The Boston Lyric Opera, various tours with the New England Opera, and the Da Capo Opera Company. Equally at home playing in a jazz big band or drum-set for a musical, Thomas has performed with the Boston Brass All Stars Big Band and has been the drum-set player for countless musicals in the New England area.
He has performed with new music ensembles ALEA III and Dinosaur Annex as well as various choruses, such as Masterworks Chorale, Harvard-Radcliff Chorus, Back Bay Chorale, Boston Celia Society, Coro Allegro, Chorus ProMusica, The Brookline Chorus, and The Newburyport Chorale. Thomas is on the faculty at The Berklee College of Music where he teaches Orchestral Percussion, Marimba, Vibraphone, and Drum Set. Thomas is a student of Salvatore Rabbio, Pat Hollenbeck, Nancy Zeltsman, John Grimes, and Dr. Stuart Marrs. He received his Bachelor’s Degree in Percussion Performance from The University of Maine, and his Masters Degree in Percussion Performance from the Boston Conservatory. Thomas is a Zildjian endorsed artist.
VOLUNTEER WITH JUVENTAS!
Juventas is in search of enthusiastic volunteers to support our concert performances. As a volunteer, you'll be showered with gratitude and rewarded with complimentary tickets!
To become a part of our volunteer community, please reach out to our General Manager, Kyla Blocker, at kyla.blocker@juventasmusic.org. We'll reach out with volunteer opportunities when they arise, and joining our list comes with no obligations.
Credit: James Jones Photography
MAKE A DONATION
Donate to Juventas and help us touch hearts around the world. Last year, with a budget of just $169,000, we reached 2500+ people in person and 1,000+ people online.
Three easy ways to donate
•Venmo: @JuventasMusic
•Credit Card: www.juventasmusic.org/donate-now
•Check: Juventas New Music Ensemble, P.O. Box 230015, Boston, MA 02123.
Juventas New Music Ensemble is a 501(c)(3) non-profit organization. Your fully tax-deductible contributions are essential for us to present new music.
Advertise with Juventas
Advertise in Juventas’s 2024-25 concert season! Attract patrons from New England and beyond, while supporting arts in your community. Advertising supports the work of Juventas and creates good will by identifying your business as a patron of the arts! For more information, please contact General Manager Kyla Blocker, kyla.blocker@juventasmusic.org
Make a Planned Gift
Bequests and planned gifts are simple, mutually beneficial ways for you to support Juventas New Music Ensemble beyond your lifetime. You can create your own legacy and keep supporting emerging composers for years to come by leaving a bequest in your will, life insurance policy, retirement plan, or other assets in your estate plan to Juventas New Music Ensemble, while at the same time reaping tax benefits for yourself and your descendents. If you would like more information about making a bequest to Juventas New Music Ensemble or if you’ve already included us in your estate plans, please contact our Artistic Director Oliver Caplan at olivercaplan@juventasmusic.org.
Juventas New Music Ensemble is a nonprofit corporation, organized and existing under the laws of the Commonwealth of Massachusetts, with a principal business address of:
Juventas New Music Ensemble
P.O. Box 230015 Boston, MA 02123
Our tax identification number is 26-2583870.
SUPPORTERS
Juventas New Music Ensemble is deeply grateful to the incredibly generous community that supports our artistic programs. Juventas received the following individual gifts from February 15, 2024 through February 15, 2025. Please visit www.juventasmusic.org/donate-now to learn about making a tax-deductible gift.
$5,000 and Above
Anonymous
Oliver Caplan and Chris Beagan
John A. Carey
Massachusetts Cultural Council
Karen & Fred Ruymann
Andrew Wilkins
$2,000-$4,999
Anonymous
Chris and Margie Brown
Cambridge Arts Council
Medford Arts Council
The Ripley-Steinemann Family Fund
$1,000–$1,999
Brookline Commission for the Arts
Paula Luria & William Caplan
Carson Cooman
Futura Productions
Meghan Guidry
Leslie Jacobson Kaye and Richard Kaye
Richard Mitrano and Julia Scott
Carey
Paul Monsky & Beverly Woodward
Wegmans Medford
$500–$999
Boylston Cultural Council
April Durant
Christie Gibson and Michael Emmanuel
Meg Fuchs
Max Hobart
Gloria Lee
Stella Lee
PARMA Recordings
Sudbury Cultural Council
$250–$499
Anne Bilder & Johan den Boon
Joanne Dreher
Yukiko Egozy
Casey Elia
Moriah Freeman
W. A. and Lee Krein
Ian Lai
Alexandra Bowers and James Liu
Nagesh Mahanthappa & Valentine Talland
May Marquebreuck
Ann Omalley
Andrew and Laura Waldorf Reiss
Rachel Rivkind
Lori K. Sanders & Jennifer A. Lewis
Jon Saxton and Barbara Fox
Hanjay Wang
$100–$249
Edward J Amabile and Mary M Amabile
Charlie & Lea Anderson
Lawrence Banks
Robert Beagan
Lee Binnig
Carol Bloom
Evelyn Bonander
Dana Bos
Elise Viebeck and Andrew Caplan
Colleen Cavanaugh & Philip Gschwend
David Chia
Larry Cohen and Susan Worst
Deanne Coolidge
Brian Cron
Sarah Cummer
Eric and Margaret Darling
Brian Pingree and Alexis Dearborn
Barry Duncan
Lynn Eustis
Ann Ferentz
Andy Foery
Lorna Gibson
John H. Graves
Neal and Kim Habas
Ann Brennan Harris
Heidi Hellring
Patricia Henry
Jacob Hilley
David and Mary Howarth
Barbara Hughey
Elizabeth Igleheart
Beth D Jacob
Jim Kane and Sharon Williams
Julia Kane
Denys Kotskyy
Kenneth Krause and Maura McEnaney
Hank and Patricia Kucheman
Mimi Lee
Ludmilla Leibman
Julie Leven
Joshua Levit
Hal Lichtin
Amy Mantis
Carol McCarthy and Chris Stribakos
Jonathan and Deborah McPhee
Ralph and Sylvia Memolo
Reeva Meyer
Angela Ng
Ayumi Okada
Robert Page and Dean Vassil
Mary Pederson and Claye Metelmann
Patric Pepper & Mary Ann Larkin
Webster Pilcher and Sheryl Koenigsberg
Dr. Cashman Kerr Prince & Dr.
Bryan Burns
Kathryn Ritcheske
Nate Ruegger
Peter Ruymann
Colin Ryan
Lori K. Sanders & Jennifer A. Lewis
Louise Scribner
Kevin & Carol Smith
Trisha Solio
Chris Stribakos and Carol A McCarthy
Ann B. Teixeira
Barbara Turen
Theodor Weinberg & Eric Hyett
Emma Kent Wine
Michael Zammito
$50–$99
Anonymous
Gail Barry
Eric Barth
Laura Basford
Bob Bassett
Minda Berbeco
Kenneth Bigley
Mary Bragg
Margaret Cain
Zoe Cardon
Colette Carmouche
Kelley Cavanaugh
Minjin Chung
Rachel Ciprotti
Colby Cooman
Linda Cox
Elizabeth Dean
Virginia Doxsey
Andrew Elliott and John Varone
Deb Faling
Ellen Feingold
David Feltner and Robert Edward Smith
William Finkelstein
Stacy Garrop
Scott Goodwin
Lisa Graham
Michael Grossman
Louise & Michael Grossman
Hans Heilman
Maureen Hollis
Mary and David Howarth
Catharine Hyson
Leonard and Terry Kahn
Sho Kato
Michael Kong
Karen Krolak
George Lockhart
Xiomara Lorenzo
Ann MacDonald
Linda Markarian
Erin Merceruio Nelson
Libby Meyer
Kelley Hollis
Cathi and Jeff Myer
Roxanna Myhrum
Linda Ng
Jane Parkin Kullmann
Katie Parodi
Marc Pasciucco
Jeffrey Paster
Jason Pavel and Marie Walcott
Andy Pease
Dan Perkins
Chris Porter
Alexandra Porter
Sara Potter
Kathleen Quigley
Kate Raisz
Chris and Lindsey Reiss
George & Bobbi Ritcheske
Isadel & EB Saunter
Andrew & Margot Schmolka
Rebeca Sedarski
Charles Shadle
Gordon and Shannon Shannon
Harvey Silverglate
Jonathan Simon
Tess Sneesby
Nicholas Southwick
Arlene Stevens
Jodi Swartz
John and Barbara T
Tony Thaweethai
Raymond Tonkel
Charlene Valk
The Valks
Anna Varlese
David von Behren
Elaine Walsh
Graheme Williams
Up to $49
Anonymous (6)
Barbara A Hill
Andrew Adams
Jaime Alberts
Aaron Alon
Russ Anderson
Lael Backus
Young Yun Baek
Thomas Barth
John Beagan
J. L. Bell
Michael Berkowitz
Lauren Bernofsky
Emily Blitz
Bonnie Borch-Rote
Ed Bouchard
Ann Bragg
Julianna Braun
Sharon Bridgforth
Eliza Brown
Baird and Carol Brown
Danica A. Buckley
Anne Burt
Raesin Caine
Maureen Cavanaugh
Huntae Chung
Jeanhee Chung
Linda Ciesielski
Jennifer Clapp
Lindsay Clark
Charles Coe
Burt and Deborah Cohen
Nell Cohen
James Curtis
Lora Davidson
Patrick Dawson
Massimo De Lillo
The Dearr Family
Kathleen DeBois
Saskia den Boon
Ashley Dennis
Claudine Blake
Gerd Dr. Burger
BJ & Rich Dunn
Christina English
Carole Eustis
John and Beth Eustis
Evan Fein
A. Ferello
Roderick Ferguson
Celine Ferro
Giselle Ferro
Jane Ferro
Eve
Ali Frana
Rick Frank
Rebecca Fuchs
David E Fuchs
Gia Fuchs
Mary Gardill
John Garton
Tobin Gedstad
James Gleason
Nancy Goodwin
Kendra Goodwin
Jeffrey Grossman and Karl Hinze
Matthew Gschwend
Steven & Jennifer Guthrie
Sadie Habas
Jordan Hadrill
Amanda Harberg
Jan Hardenbergh
Kiyoshi Hayashi
Bonnie Haymon
Robert Heaney
Matthew Heath
Matthew Henegan
Kelley Hollis
Michaela Hollis
Anne Howarth & Frederick Frank Jr.
Jean Huang
Wolcott Humphrey
Michael Hustedde
Joe Jaxson
Rashi Jeeda
Callie Jennings
Julie Johnson-McGrath
James Jones
Amie Jones
Susan Kander
Jeff Kauppi
Kathryn Kautzman
Rakesh Khetarpal
Mari and Denys Kotskyy
Abby Krawson
Matthew Kusulas and Jack Tamburri
Ursula Kwong-Brown
Dina Labkovsky
Katie Lade
Rainice Lai
Johanna LaPlante
Mina Lavcheva
Ken Lewis
Steve Lewis
Alexander Liebermann
Jesse Lipson
Tammy Lynch
Jen Lyon
Gregory Lyons
Pamela Marshall
Kathryn McKellar
Peri Levin McKenna
Rachael McKenzie
Taylor McNulty
Alexandra Mendez-Diez
Annemarie Mitrano
Robert Montgomery
Mary Montgomery Koppel
Dilshod Narzillaev
William Neely
Nicholas Norton
C. Oberting
Susanne Olson
Valentina Osorio
Jessica Ovici
Lindsay Packer
Timothy Paek
Megan Paglia-Scheff
William Paglia-Scheff
John & Sarah Peck
Velura Perry
Martha Pierce
Gretchen Pineo
Susan Pivetz
Amanda Potter
Emma Powell
Remesch Family
Chris Rhodes
Greg Rhodes
Jason Ries
Susan Rizzo
Jennifer Romig
Hannah Roos
Jonathan Royer
Christina Rusnak
John Ruymann
Mallory Ruymann
D. S.
Harshita Sahu
Antonio Santos
Kerem Sayman
Donna Scalcione
Tom Schmidt
Graeme A.B. Schranz
Kristen Schroeder
Joseph Sedarski
Christopher Sedarski
Josh Sedarski
Jonathan Sedarski
Dennis Shafer
Ryan Shannon
Brendon Shapiro
Daron Sharps
Jamison Shave
Mindi Shave
David Shuve-Wilson
Ken Silber
Mark Sivazlian
Anna Speiser
Barbara Steiner
Bruce and Imogene
Drew Swatosh
Kelsey Thompson
Susannah Thornton
Jessica’s Tybursky
Karyn Visscher
Leo Walsh
Sophie Wang
Jennifer Wang
Beverly Waring
James Weber
Chris Wild
Dr. Natalie Williams
Rebecca Witmer
Christina Wright-Ivanova
Laura Yoo
Alice Young
Lu Yu
Kiara Zani
Tracey Zimmerman
Kim Zocchi
We’re proud that our donor roster includes 100% of Juventas board, staff and ensemble members, plus 34 composer and musician collaborators
We are also extremely thankful to the dedicated volunteers who gave their time and talents to Juventas in the past year:
Chris Beagan
Ann MacDonald
Rachael McKenzie
Evan Perry
Jonathan Sedarski
Gordan Shannon
Shannon Shannon
Elaine Walsh
MAY 4, 2025 | 4 PM FIRST PARISH SUDBURY SUDBURY, MA
Music inspired by the places we call home
MAY 17 & 18 , 2025 | 7 PM NEW ENGLAND BOTANIC GARDEN AT TOWER HILL BOYLSTON, MA
An evening of solo piano music inspired by American landscapes.
TICKETS ON SALE NOW! juventasmusic.org/sounds-of-new-england nebg.org/echoes-of-the-wild
