SATURDAY, MARCH 18, 2023 AT 8:00 PM ET
CAMBRIDGE, MA + BROADCAST LIVE ON YOUTUBE
Maori Lament (2019)** Jorge Sosa
Matthew Marsit, conductor; Kelley Hollis, soprano; DeShaun Gordon King, flute; Celine Ferro, clarinet; Ryan Shannon, violin; Grant Houston violin; Lu Yu, viola; Thomas Barth, cello; Julia Scott Carey, piano; Thomas Schmidt, percussion
Prayer for Ukraine (2014) Valentin Silvestrov arr. Xandi van Dijk
Ryan Shannon, violin; Grant Houston, violin; Lu Yu, viola; Thomas Barth, cello
I Cry (2020) Margaret Brouwer
Ryan Shannon, violin; Julia Scott Carey, piano
Peace (2020) Jessie Montgomery
Ryan Shannon, violin; Julia Scott Carey, piano
Between Our Breaths We Sing (2023)* J. A. J. Sedarski
Matthew Marsit, conductor; DeShaun Gordon King, flute; Celine Ferro, clarinet; Ryan Shannon, violin; Thomas Barth, cello; Julia Scott Carey, piano; Thomas Schmidt, percussion
Invocation of Eternal Voices (2021)** Kyle Rivera
Matthew Marsit, conductor; DeShaun Gordon King, flute; Celine Ferro, clarinet; Ryan Shannon, violin; Thomas Barth, cello; Julia Scott Carey, piano; Thomas Schmidt, percussion
Shell & Wing (2018)*** David Biedenbender
Text by Robert Fanning
Matthew Marsit, conductor; Kelley Hollis, soprano; DeShaun Gordon King, flute; Celine Ferro, clarinet; Ryan Shannon, violin; Thomas Barth, cello; Julia Scott Carey, piano; Thomas Schmidt, percussion
* World Premiere ** Call for Scores Winner *** 2019 Audience Favorite
Jonathon Saxton and Barbara Fox have generously sponsored this evening’s program.
This program is also generously supported by
Tonight’s program calls on each of us to lean in and ask what we can do to make the world a better place.
Our global communities stand at a defining moment. The people of Ukraine are fighting to preserve their freedom and democracy. Here in America, Black people are unjustly murdered by police officers with alarming frequency. Mass shootings turn places of education, prayer and recreation into scenes of horror. And Covid still takes too many lives each day.
Through the somberness of these atrocities, let us be the silver lining. When we band together; when we to stand for peace, love and freedom; when each of us answers that essential question—what can I do?—then together, we will create a better tomorrow. We hope this concert creates space for conversation, healing and reflection
Sincerely,
Oliver Caplan, Artistic Director Juventas New Music Ensemble
Juventas’s 2022-23 season is generously sponsored by John A. Carey.
Juventas New Music Ensemble is a contemporary chamber group with a special focus on emerging voices. Juventas shares classical music as a vibrant, living art form. We bring audiences music from a diverse array of composers that live in today’s world and respond to our time.
Since its founding in 2005, Juventas has performed the music of over 300 living composers. The ensemble has earned a reputation as a curator with a keen eye for new talent. It opens doors for composers with top-notch professional performances that present their work in the best possible light.
Recognition for the ensemble’s work includes the American Prize Ernst Bacon Award for Performance of American Music and support from the National Endowment for the Arts, Massachusetts Cultural Council, and Boston Foundation. Juventas is featured on albums by Innova Recordings, Parma Records and New Dynamic Records, and has held residencies at Boston Conservatory, Harvard University, Longy School of Music, Middlebury College, and Worcester Polytechnic Institute.
Juventas has a storied history of dynamic collaboration with artists in other media, including dancers, painters, scientists, poets, puppeteers and robotics engineers. A leader in the field, Juventas also facilitates the Boston New Music Festival, a weeklong showcase of Boston’s contemporary music scene.
John Carey
President
Meghan Guidry Clerk
Carson Cooman
Leslie Jacobson Kaye
Karen Ruymann
Drew Wilkins
Oliver Caplan ex officio
Oliver Caplan
Artistic Director
Chris Petre-Baumer
Director of Design
Joseph Sedarski
Marketing Coordinator
Saskia den Boon Communications Coordinator
Rozime Lindsey
Arts Administration Intern
Rachel Rivkind has generously sponsored Chris Petre-Baumer’s position for the 2022-23 Season.
John Carey has generously sponsored Saskia den Boon’s and Joseph Sedarski’s positions for the 2022-23 Season.
John Weston
Production Director & Audio Engineer
Daniel Schwartz
Director of Photography & Editor
Nick Papps
Camera Operator
Travis Karpak
Assistant Engineer & Video Playback Engineer
Jacob Steingart
Assistant Engineer
A concert featuring the world premiere of a new chamber opera by March 25 at 2pm EDT, College of Fine Arts Concert Hall 855 Comm. Ave, Boston
“Maori Lament” (2019) was written immediately after the terrorist attack in Christ Church, 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.
Arr. Xandi van Dijk
The war in Ukraine continues to shock the whole world as millions of people are leaving their homes and communities in search of peace. Among them, the renowned Ukrainian composer, Valentin Silvestrov, who celebrated his 85th birthday in September. Originally, Silvestrov did not want to leave Kiev, but as the war progressed he and his family were forced to flee to Berlin, where the composer has been living and composing since 8 March. His Prayer for the Ukraine, composed in 2014, is now seeing performances in concert halls around the world.
Composed in the midst of the lengthy Pandemic, I Cry – Summer 2020 is a reaction firstly to the gnawing burden of isolation, self-imposed loss of mobility, and a restricted way of life that shows no signs of abating. Along with this, my country is in trouble. I cry for the people who are hurting, who are dead, who are killed for no reason, who are diminished because they are different in some way, and for those who are narrow and afraid to broaden their vision of life.
Written just a month after the Great Sadness of the first quarantine orders due to COVID-19, facing the shock felt by the whole globe as well as personal crisis, I find myself struggling to define what actually brings me joy. And I’m at a stage of making peace with sadness as it comes and goes like any other emotion. I’m learning to observe sadness for the first time not as a negative emotion, but as a necessary dynamic to the human experience.
In a composer’s life there may be one or many pieces that require more time to think through than to actually compose. For me, Between Our Breaths We Sing is one of those pieces.
I found myself asking the big questions like “How do I face tragedy? How does my community? The world?” I pondered these questions for more than a year before finally sitting down to write the first notes of this work.
In the process of creating this piece, I found myself extremely humbled. I’ve lived such a short time on this planet and have been so fortunate to find myself taking another breath each morning.
This idea became the foundation of which my piece is built. Each phrase clusters and collects like an organic intake of air. In this repetitive ritual, melodic material gathers together and begins to transform until it reaches a point of grand, maximum density before finally rising towards a climax of pitch and volume. After this moment of triumph, you’ll find all of the instruments “inhaling” and “exhaling” together, towards the final conclusion of the piece. This programmatic work is representative of my belief that when we are bound and united together in our humanity, we can arise from tragedy and look towards a better world for us all.
August 24, 2019. February 23 2020. March 13, 2020. May 25th, 2020. On each of these days, a light was permanently erased from existence. Human beings who loved and were loved perished at the hands of hate and those who hated. Racism, the poison of humanity, brought forth the destruction of these four souls and countless others. Every day, racism bleeds its way into the foundation and reaches of our society to strip away beauty, life, and joy. While the names and voices of those extinguished ring forever in our ears, their cries will always scorn the senselessness of their deaths. They died not to be heros, martyrs, or symbols of injustice. Their deaths have no meaning. Their deaths are the result of monstrous cruelty and unfathomable brutality. As we call to those voices looking for meaning in their eternal demise, we hear nothing in response other than “Why?”.
I initially set out to write a collection of vignettes about my sons, Izaak and Declan, a way to capture the beautiful, tender, even silly moments of childhood, but my plans shifted after yet another incidence of violence against children in Parkland, FL. I felt compelled to respond—to respond to my fear of sending my sons out into this violent world. Shell and Wing emerged as a collaborative response to these parental impulses with poet Robert Fanning. Robert’s words gave voice to the ambiguity, the conflict I feel as a parent—this profound longing to protect my children coupled with the knowledge that I must also let them go.
The first poem is in a parent’s voice and the second poem is in a child’s. Musically, the first movement is a sort of fragmented lullaby interwoven with a distorted memory of Robert Schumann’s Träumerei from Kinderszenen. Schumann’s harmonies are pulled and stretched until they resemble only a distant echo of the original. The second movement begins with solo piano and then a dream-like duet for the soprano and vibraphone. The child’s song grows and builds and eventually becomes the same song heard in the first movement, the parent’s song.
I hold you, breath beneath my skin, a nest of flesh. No world can break you here. Shadows feather the shell. If you fly, you’ll never go far. I dream my body border and sky, my heart an aviary. In my sleep, you wake. I hold you. Breathe a nest beneath my skin, flesh no world can break. Now, the season’s errant and astray; coiled rage hisses to strike. Hate leaks into vine and branch, river and vein. So, song in me, rise. May death take no air I hold. You, my breath beneath. My skin a nest of flesh. No world can break you. Here, shadow. Feather, never go. I’m a shell if you fly. Fly far.
You dream you hold me in your nest of breath. Before they lifted me from mingled blood, I rose, a song within your feathered sleep for centuries. Your veined branches mapped my lidded eyes. A tree you dream you hold. In your nest of breaths before me. They lifted me from you to veil the sky. I flew through your death in learning to fly. No world bears us. Though we slip our nets of wing and flesh, may love keep you, this dream you hold in your nest of breath, before they lift me from mingled blood. I wrote your song within. My feathered sleep.
Juventas won the American Prize Ernst Bacon Award for Performance of American Music for our February 9, 2019 performance of Shell & Wing. We performed Shell & Wing again October 26, 2019, and tonight is our third performance of this powerful work.
Jorge Sosa is a Mexican-born composer, currently residing in New York City. 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. During the 2023 season Jorge will premiere the puppet opera “Monkey” commissioned by White Snake Projects in Boston, and the comic opera “The Beehive” commissioned by the University of Northern Iowa. In 2022 Jorge’s opera “I Am A Dreamer Who No Longer Dreams,” received its second production by Resonance Works in Pittsburgh, with a new expanded orchestration. Jorge was selected as a finalist for The Atlanta Opera 96 Hour Opera Project in 2022, and also premiered the opera scene “Samiir’s Feast,” commissioned by White Snake Projects. In 2021, Jorge was commissioned to write a new sextet “Rocola” for Tian Hui Ng and the Victory Players, with a premiere date of June 2022. Jorge was also commissioned to develop “The Rising Tide” for Boston Children’s Chorus on the subject of climate change. Jorge is currently collaborating with American Lyric Theater in the development of a new opera “Splintered,” co-composed with Justine Chen, with libretto by Lila Palmer. “Splintered” was awarded a 2022 Opera America Repertoire Development Grant. Jorge is an Associate Professor at Molloy University. Jorge’s music is available on all the major music download sites and through the website www.jorgesosa.com.
Valentin Silvestrov was born in Kiev on 30 September 1937. He came to music relatively late, at the age of fifteen. He at first taught himself, and then, between 1955-58, went to an evening music school while during the day studying to become a civil engineer; from 1958 to 1964 he studied composition and counterpoint, respectively, with Boris Lyatoshinsky and Lev Revutsky at Kiev Conservatory. He then taught at a music studio in Kiev for several years. He has been a freelance composer in Kiev from 1970 to 2022, fled from Ukraine in 2022 to Germany and currently lives in Berlin.
Since 2001/02, Silvestrov has again been working with small forms and “pure” melodies, composing numerous cycles (‘families’, ‘colonies’) for various small instrumentations (until 2021 more than 320 cycles for piano solo): waltzes, lullabies, postludes, nocturnes, barcaroles, pastorals, serenades. Silvestrov describes the short pieces as ‘bagatelles’ in the centre of which is the melody, and in which he tries to seize and ‘halt’ the ‘melodic moment’, intonations, calls and motifs which flash past, without imposing the burden of what is termed thematic elaboration.
Since 2005, Silvestrov has again increasingly devoted himself to choral music, particularly to sacred choral music which, however, is not intended for liturgical use.
During the political unrest in the Ukraine Silvestrov fought for his country with ‘musical means’, composing numerous choral works, ‘Majdan Hymns’ and ‘Prayers for the Ukraine’.
During the pandemic-related lockdown, Silvestrov compiled numerous new supercycles from his earlier “Bagatelles families” as well as from earlier vocal and instrumental compositions, including several “cantatas” for soprano, piano, harp and strings as well as a complex of “Songs without Words” - earlier songs in which violin or violoncello now take over the vocal part.
Also due to the pandemic, the world premiere of his five-movement 9th Symphony (2019) could not take place until July 2022 in Yerevan.
After Russia’s aggressive invasion of Ukraine, at the request of his family and with the help of friends, Silvestrov fled with his daughter and granddaughter to Berlin in March 2022, where he currently lives.
Margaret Brouwer has earned critical accolades for her music’s lyricism, musical imagery and emotional power. “Brouwer’s gift for melody, and her ability to weave together contemporary idioms with lines that allow the instruments to sing, make her a composer for whom chamber musicians (and listeners) should be grateful.” (EarRelevant)
Brouwer’s honors include an Award in Music from the American Academy of Arts and Letters, Meet The Composer Commissioning/USA award, Guggenheim Fellowship, Ohio Council for the Arts Individual Fellowship, and grants from the National Endowment for the Arts, Ford Foundation and John S. Knight Foundation. Reviewing Brouwer’s 2014 Naxos CD called “Shattered”, Jordan Borg from NewMusicBox wrote, “From the relentless, primal energy of ‘Shattered Glass’ to the naked beauty of ‘Whom do you call angel now,” Brouwer’s music represents just how uniquely diverse the output and voice of a single composer can be.”
The Music Division of The New York Public Library for the Performing Arts at Lincoln Center has established a Margaret Brouwer Collection that will be available for research by scholars, composers and performers. Performances of Brouwer’s music include those by the symphonies of Detroit, Dallas, Seattle, Liverpool, Rochester, Anchorage, Royal Scottish National Orchestra, Birmingham UK, Halle UK, Cabrillo, Canton, Columbus, American Composers Orchestra, the St. Paul Chamber Orchestra, and at such venues as Carnegie Hall, Merkin Hall, Symphony Space, the Chamber Music Society of Lincoln Center, Tanglewood Festival of Contemporary Music, Orchestra of St. Luke’s, the Kennedy Center, the Corcoran Gallery, Philips Gallery, as well as venues throughout Taiwan and Germany. Dr. Brouwer served as head of the composition department and holder of the Vincent K. and Edith H. Smith Chair in Composition at the Cleveland Institute of Music from 1996 to 2008. Residencies include those at the MacDowell Colony where she has been a Norton Stevens Fellow and at the Rockefeller Foundation’s Bellagio Center. Recordings of Brouwer’s music can be found on the Naxos, New World, CRI, Crystal, Centaur, and Opus One labels.
margaret-brouwer.squarespace.com
Jessie Montgomery is an acclaimed composer, violinist, and educator. She is the recipient of the Leonard Bernstein Award from the ASCAP Foundation, the Sphinx Medal of Excellence, and her works are performed frequently around the world by leading musicians and ensembles. Her music interweaves classical music with elements of vernacular music, improvisation, poetry, and social consciousness, making her an acute interpreter of 21st century American sound and experience. Her profoundly felt works have been described as “turbulent, wildly colorful and exploding with life” (The Washington Post).
Her growing body of work includes solo, chamber, vocal, and orchestral works. Some recent highlights include Shift, Change, Turn (2019) commissioned by the Orpheus Chamber Orchestra and the Saint Paul Chamber Orchestra, Coincident Dances (2018) for the Chicago Sinfonietta, and Banner (2014)—written to mark the 200th anniversary of “The Star-Spangled Banner”—for The Sphinx Organization and the Joyce Foundation, which was presented in its UK premiere at the BBC Proms on 7 August 2021. Summer 2021 brought a varied slate of premiere performances, including Five Freedom Songs, a song cycle conceived with and written for Soprano Julia Bullock, for Sun Valley and Grand Teton Music Festivals, San Francisco and Kansas City Symphonies, Boston and New Haven Symphony Orchestras, and the Virginia Arts Festival (7 August); a site-specific collaboration with Bard SummerScape Festival and Pam Tanowitz Dance, I was waiting for the echo of a better day (8 July); and Passacaglia, a flute quartet for The National Flute Association’s 49th annual convention (13 August).
Since 1999, Jessie has been affiliated with The Sphinx Organization, which supports young African American and Latinx string players and has served as composer in residence for the Sphinx Virtuosi, the Organization’s flagship professional touring ensemble. A founding member of PUBLIQuartet and a former member of the Catalyst Quartet, Jessie holds degrees from the Juilliard School and New York University and is currently a PhD Candidate in Music Composition at Princeton University. She is Professor of violin and composition at The New School. In May 2021, she began her three-year appointment as the Mead Composer-in-Residence with the Chicago Symphony Orchestra.
www.jessiemontgomery.com
“Showing a deeper understanding of harmony,” (Boston Musical Intelligencer) Sedarski’s (b. 2000) music is a dynamic mixture of large, dramatic gestures and intimate moments. He writes music inspired by his Mexican heritage, real life events, and the natural world.
Sedarski started his composition journey at 14 at his family piano that was collecting dust in the corner. At 19 years old, he received his first commission to write for the Boston-based Juventas New Music Ensemble and has composed for the ensemble every year since including three world premieres. Attending school at Boston University, his music has been performed by the MIVOS Quartet, Argento Reading Ensemble, Boston University Symphony Orchestra, Boston University Chamber Orchestra, and Sound Icon chamber ensemble.
His first year at university, he won the 2020 Composition Competition with Performance with Orchestra from the School of Music at Boston University for his work Variants for Orchestra. In 2022, he received an achievement award from Luke Hill’s composition studio for his work Gradus ad Paradisum. In the same year, he was a finalist for the American Prize for his work Behind the Universe which had its world premiere with the Juventas New Music Ensemble. On March 25 2023, Sedarski will have his first solo concert featuring a premiere of his new chamber opera entitled Sentience: An A.I and the Engineer. Find more information on sedarskimusic.com/sentience.
www.sedarskmusic.com
The music of American composer Kyle Rivera (b. 1996) is dynamic, intriguing, and energetic. Through the use of bold gestures and nuanced effect, he creates musical narratives that are vibrant and compelling. Kyle often draws upon his Caribbean heritage and the diverse cultural environment he grew up to craft the soundscapes of his music. He continually seeks out a wide variety of sonorities in order to explore and convey the human experience.
Kyle is a Connecticut-based composer currently studying at the Yale School of Music towards a Masters in Music Composition. He earned a BM in Music Composition and Viola Performance from the University of Houston with a Minor in Kinesiology. His principal teachers for composition were Katie Balch, Dr. Rob Smith, and David Ludwig. He has also studied composition with Jimmy Lopez, Reiko Fueting, Martin Bresnick, Pierre Jalbert, Christopher Theofanidis, Stephen Hartke, and Don Crockett. Kyle has been a fellow at the Aspen Music Festival where he received the Druckman Prize. He also attended the Immanuel and Helen Olshan Texas Music Festival, Fresh Inc Music Festival, and the Atlantic Music Festival.
As a composer, his music has been performed across the United States and internationally in Russia, the UK, and Thailand. Past collaborations include the Houston Symphony, Indianapolis Chamber Orchestra, Musiqa Houston, AURA Contemporary Ensemble, KINETIC Ensemble, Houston Grand Opera Co., Fifth House Ensemble, Tacet(i) Ensemble, Opus Illuminate, 10th Wave Chamber Music Collective, the Chelsea Music Festival, and Bent Frequency. Future projects collaborations with the Albany Symphony, Yale Percussion Group, and a commission from the Aspen Music Festival.
Kyle’s goal as an artist is to reach listeners on the most human level as a means to open their hearts to the possibilities of our world. Much of his music has focused on matters relating to social justice, equality, and a hope for positive change in the world. Alongside that, his music explores the conceptual limits of psychology, spirituality, and consciousness in sound.
www.kyleriveramusic.com
Composer David Biedenbender’s music has been described as “simply beautiful” [twincities.com] and is noted for its “rhythmic intensity” [NewMusicBox] and “stirring harmonies” [Boston Classical Review].
“Modern, venturesome, and inexorable…The excitement, intensity, and freshness that characterizes Biedenbender’s music hung in the [air] long after the last note was played” [Examiner.com]. David has written music for the concert stage as well as for dance and multimedia collaborations, and his work is often influenced by his diverse musical experiences in rock and jazz bands as an electric bassist, in wind, jazz, and New Orleans-style brass bands as a euphonium, bass trombone, and tuba player, and by his study of Indian Carnatic Music. His present creative interests include working with everyone from classically trained musicians to improvisers, acoustic chamber music to large ensembles, and interactive electronic interfaces to live brain data. He has had the privilege of collaborating with and being commissioned by many renowned performers and ensembles, including Alarm Will Sound, PRISM Saxophone Quartet, Albany (NY) Symphony Orchestra, Stenhammar String Quartet, New Jersey Symphony Orchestra, U.S. Navy Band, Philharmonie Baden-Baden (Germany), VocalEssence, and Eastman Wind Ensemble, among many others. He is currently Associate Professor of Composition in the College of Music at Michigan State University. He holds degrees in composition from the University of Michigan and Central Michigan University, and has also studied at the Swedish Collegium for Advanced Study, the Aspen Music Festival, and in Mysore, India where he studied carnatic music.
www.davidbiedenbender.com
An active conductor and clarinetist, Matthew M. Marsit has led ensembles and performed as a solo, chamber, and orchestral musician throughout the United States. Currently on the artistic staff of the Hopkins Center for the Performing Arts at Dartmouth College as Director of Bands, Matthew also serves as the Music Director of the Charles River Wind in Boston. Matthew has previously held conducting positions at Ithaca College, Cornell University, Drexel University, Symphony Nova, the Chestnut Hill Orchestra, the Bucks County Youth Ensembles, the Performing Arts Institute of Wyoming Seminary and the Eastern US Music Camp.
A champion for new music and advancing the repertoire of original works for wind ensemble, Matthew has led premiere performances from Christopher Marshall, Louis Andriessen, Daniel Basford, Christopher Theofanidis, Richard Marriott, Michael Gandolfi, Matthew Herman, Edward Green, and Thomas Miller, among others. Upcoming commissions include new works by David Maslanka, Kevin Krumenauer and Jess Turner.
As a clarinetist, Matthew has performed with many ensembles including the Chamber Orchestra of Philadelphia, the Fairmont Chamber Orchestra, Cornell University’s “Ensemble X” and has made solo appearances with the Keene State University Symphony Band, the Dartmouth College Wind Ensemble, the Handel Society at Dartmouth, the Cornell University Jazz Ensemble, the Performing Arts Institute of Wyoming Seminary, the Drexel University Symphony Orchestra and the Chestnut Hill Orchestra. Matthew has served as clarinet faculty at Plymouth State University and now maintains a small studio of private students in and around Hanover, NH.
An advocate for the use of music as a vehicle for service, Matthew has led ensembles on service missions, collecting instruments for donation to schools, performing charity benefit concerts and offering workshops to benefits struggling arts programs. His current work at Dartmouth allows for outreach projects in the rural schools of New Hampshire and Vermont, working to stimulate interest in school performing arts programs, including the highly successful Dartmouth Youth Wind Ensemble, that partners members of the Dartmouth College Wind Ensemble side-by-side with middle school students from throughout the region. In 2014, Marsit designed led the Dartmouth College Wind Ensemble on its first international service and performance tour to San Jose, Costa Rica, partnering with the Costa Rican National Institute of Music, the University of Costa Rica and several SiNEM Schools in the country to share and exchange with young students in financially deprived regions, a location to which the DCWE returned in March 2017.
A native of Hazleton, Pennsylvania, Matthew moved first to Philadelphia to complete his studies in music at Temple University, graduating Summa Cum Laude, where he studied clarinet with Anthony Gigliotti and Ronald Reuben and conducting with Luis Biava and Arthur Chodoroff. Additionally, Matthew has studied conducting with some of the world’s most prominent instructors including Mark Davis Scatterday of the Eastman School of the Music, Timothy Reynish of the Royal Northern College of Music in Manchester, UK and Gianluigi Gelmetti at the Accademia Musicale Chigiana in Siena, Italy. Matthew also holds a graduate degree in Orchestral Conducting from The Boston Conservatory.
Karen and Fred Ruymann have generously sponsored Kelley Hollis for the 2022-23 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, along with a series of recitals in cities throughout the country, as 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.
Guest Artist
DeShaun Gordon-King is quickly becoming a flutist of note. Known for his soulful tone and mesmerizing phrasing, he has given performances throughout Europe, Asia, and the United States Earning him recognition as a Trevor James Alto Flute artist.
DeShaun grew up surrounded by jazz and gospel music beginning his classical studies while at Duke University. Inspired by these worlds of music and spirituality, DeShaun is passionate about programming that blends them together to create unique and healing concert experiences. He is a vocal advocate for new music, especially works by composers of African and Latinx heritage. His primary teachers include Rebecca Troxler, Keith Underwood, and Kaori Fujii.
Guest Artist
Celine Ferro is the clarinetist of the Kalliope Reed Quintet, along with being an active performer and teacher in the Greater Boston Area. After earning two degrees in clarinet performance from Boston University and the New England Conservatory, she went on to premier works with new music chamber groups like Some Assembly Required, and the woodwind trio that she co-founded, Mythic Winds. She has appeared as a guest with the Brookline Symphony Orchestra, Boston Civic Symphony, and Cambridge Philharmonic. Currently, she has expanding clarinet studios in Boston and New Hampshire, and collaborates in a groove oriented quintet by the name of Shibui, which focuses on acoustically arranged polyrhythmic compositions. When she isn’t practicing, Celine enjoys road trips, making her own kombucha, and shark-watching at the beach.
Paula and Bill Caplan have generously sponsored Ryan Shannon for the 2022-23 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.
Violinist Grant Houston connects with listeners through performances of unbridled energy and emotional magnetism. Known for drawing in audiences with a uniquely compelling musical voice, he has been described as playing “as ethereally as mist... the audience kept so quiet that it seemed we were holding our breath throughout.” (Yale Alumni Magazine). Particularly devoted to chamber music, recent appearances have included the notable festivals of Ravinia’s Steans Music Institute, Yale University’s Norfolk Chamber Music Festival, the Perlman Music Program, Yellow Barn Young Artists Program, The Moritzburg Festival Academy and the Music Academy of the West.
In the 2022-2023 season, Grant appears regularly in concerts as a soloist and chamber musician, with engagements to include Mozart’s fifth concerto with the Plymouth Philharmonic, debuts with the Chamber Music Society of Central Virginia and Wellesley Chamber Players, and recitals with Trio Gaia— in addition to a weeklong residency at the Panama Jazz Festival and studio sessions for the trio’s first release. In recent years, Trio Gaia has garnered numerous accolades, including prizes at the 2022 WDAV Young Chamber Musicians Competition, the 2022 Premio Trio di Trieste in Italy, the 2021 Chamber Music Yellow Springs Competition, the 2020 International Chamber Music Ensemble Competition, and the 2019 Plowman Competition. The ‘22-’23 season
marks the second year of its appointment as Trio-in-Residence in the New England Conservatory’s Professional Piano Trio Program, recently extended into 2024. In addition to his career with Trio Gaia, Grant appears frequently with the conductor-less ensembles Orpheus Chamber Orchestra, A Far Cry, and Palaver Strings, and soon appears as a guest principal with the Saint Paul Chamber Orchestra. Performing regularly as a sought-after freelance chamber musician, recent engagements including a performance on Boston’s First Monday at Jordan Hall series and a studio recording of Florence Price’s G Major String Quartet which has aired on WGBH public radio. Additional upcoming chamber music performances include Juventas New Music Ensemble’s Concert for Peace project and a sold-out Music as Landscape program for the Isabella Stewart Gardner Museum’s Weekend Concert Series.
A keen proponent of contemporary music, Grant has worked with numerous composers to premiere works that span the breadth of the genre. Recent projects have included a recital focusing on solo violin works of composers Ellen Taaffe Zwilich and Salvatore Sciarrino, an appearance on the Boston Symphony Orchestra’s “What I Hear” chamber music series curated by composer Bernard Rands, and multiple performances as part of [nec]Shivaree, the avant-garde ensemble of New England Conservatory.
Grant has performed with artists such as Jeremy Denk, Paul Biss, and Melvin Chen, and taken studies with Itzhak Perlman, Midori, Hilary Hahn, Rachel Barton Pine, Martin Beaver, Inon Barnatan, and Stefan Jackiw among others, in addition to members of the Brentano, Cleveland, Cavani, Juilliard, St. Lawrence, Prazak, Mendelssohn, and Miami string quartets. Currently pursuing Master of Music degrees in both Violin Performance and Chamber Music at the New England Conservatory, Grant has studied violin with Donald Weilerstein and Ayano Ninomiya, and chamber music with Vivian Hornik Weilerstein and Merry Peckham. He performs on a 1757 Michel’angelo Bergonzi violin on loan from a private foundation.
Drew Wilkins has generously sponsored Lu Yu for the 2022-23 concert season.
Born in China, Lu Yu began her musical studies at the age of six on violin. She started to play viola as her principal instrument at age twelve at the Xinghai Conservatory of Music in Guangzhou, China. Her studies then took her to the Royal Academy of Music in London with a full scholarship where she learned under the tutelage of Matthew Souter for the Bachelor of Music degree. Ms. Yu then studied with Marcus Thompson at the New England Conservatory in Boston where she received her Master of Music degree. Among her numerous awards, she was granted “The Young Musician of 2008” in Hong Kong. Her performance career has led to being the founding violist of the Loki String Quartet which is in residence at Worcester Polytechnic Institute. Ms. Yu is also principal violist of the Boston Civic Symphony, performs with the Boston Philharmonic Orchestra, was recently co-principal viola of the Missouri Symphony and frequently performs with many of the ensembles around the Boston area.
Leslie Jacobson Kaye and Richard Kaye have generously sponsored Thomas Barth for the 2022-23 concert season.
Cellist Thomas Barth enjoys a varied career as a chamber and orchestral musician throughout New England. He has performed with groups such as the Handel and Haydn Society, The Boston Festival Orchestra, Boston Baroque, A Far Cry, and Palaver Strings. Thomas is passionate about bringing thoughtful musical programming to the widest possible audiences; as a chamber musician, he has performed in diverse venues such as schools, farms, churches, and community centers throughout North America and Europe. His primary teachers include Richard Aaron and Lluís Claret, and he has performed in masterclasses for leading concert cellists such as Truls Mørk, Anner Bylsma, and Johannes Moser. He holds a Bachelor’s degree in cello performance with highest honors from the University of Michigan and a Master’s from The New England Conservatory where he was a recipient of the Gregor Piatagorsky Memorial Fund scholarship. In addition to his performance schedule, he maintains a private teaching studio and serves on the faculty at the Brookline Public Schools. For the past several years, Thomas has maintained regular yoga and meditation practices and is interested in the connection between mindfulness, music, and movement.
Oliver Caplan and Chris Beagan have generously sponsored Julia Scott Carey for the 2022-23 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.
She has served as a music director or accompanist for over forty opera and musical theater productions. Productions for which Julia was the music director include Cy Coleman’s City of Angels with the Longwood Players and Alexander Zemlinsky’s Der Zwerg with OperaHub. Reviewing a performance Julia conducted of Puccini’s Gianni Schicchi with the Hubbard Hall Opera Company, the Berkshire Hudson Arts Review said “the players and singers were not just led, but were energized. Schicchi is a tough score, and Julia stood the test.”
Also passionate about early music, Julia music directed a staged performance of four of Louis-Nicolas Clérambault’s Cantatas with the Harvard Early Music Society, which was taken on tour to Versailles. She also music directed a performance of John Eccles’ Semele with the same organization. Speaking of her performance as a harpsichordist in the Boston Opera Collaborative’s production of Le nozze di Figaro, The Boston Musical Intelligencer said, “The unwavering harpsichord accompaniment of Julia Carey richly and expressively textured the recitatives.”
Julia currently works as a musicianship teacher and department coordinator at the Suzuki School in Newton. She also taught an undergraduate music theory class at Boston College, served as a keyboard harmony teaching fellow at NEC, and worked as a musical theatre teacher at the Belvoir Terrace Arts Camp and the Boston Children’s Theatre.
Julia lives in Winchester with her husband and her daughter. In addition to music, she loves cooking, running, and spending time on Cape Cod.
Attorney helping people keep more for themselves for three decades.
LEARN MORE: stevenbranson.com
BLOG: sab-esq.com
STEVEN A. BRANSON, ESQ
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.
THANK YOU
to Wegmans for generously sponsoring this evening’s Meet the Artists Reception!
Donate to Juventas and help us touch hearts around the world. Last year, with a budget of just $100,000, we reached 1500+ people in person and 30,000+ people online in 45 US States and 49 countries. This puts Juventas’s COVID-era impact on par with organizations hundreds and thousands of times larger than ours.
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 in Juventas’s 2021-22 concert season! Attract patrons from Greater Boston and beyond, while supporting arts in our 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 Juventas Marketing Coordinator Joe Sedarski, joe.sedarski@juventasmusic.org
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.
Juventas New Music Ensemble is deeply grateful to benefactors whose generous gifts support our artistic programs. Juventas received the following individual gifts from January 1, 2022 to February 28, 2023. Please visit juventasmusic.org/donate-now to learn about making a tax-deductible gift.
$5,000 and Above
Boston Mayor’s Office of Arts and Culture
John A. Carey
Jon Saxton and Barbara Fox
Massachusetts Cultural Council
New Music USA
U.S. Small Business Administration
$1,000–$4,999
Bill and Paula Luria Caplan
Oliver Caplan and Chris Beagan
Carson Cooman
Leslie Jacobson Kaye and Richard Kaye
Medford Arts Council
The Ripley-Steinemann Family Fund
Nora Roberts Foundation
Karen and Fred Ruymann
Andrew Wilkins
$300–$999
Jonathan Aibel and Julie Rohwein
Charles Anderson
Boylston Cultural Council
Casey Elia
Michael Emanuel and Christie Gibson
Janet Giovanniello
Meghan Guidry
Mary Humphrey
MaryBeth Manca
May Marquebreuck
Katherine & Bryce Remesch
Rachel M. Rivkind
Geoffrey Smith
Theodor Weinberg and Eric Hyett
$200–$299
Minda Berbeco
Alexandra Bowers and James Liu
Eric Darling
Lauren Downing and Roseanne Luvisi
Jerry and Joanne Dreher
Yukiko Egozy
Ann Ferentz
Margaret Fuchs
Moriah Freeman
Myra and Roy Gordon
Patricia Henry
Kenneth Krause and Maura McEnaney
Ian Lai
Stella Lee
Joshua Levit
Kathryn Ritcheske
Chuck Sheketoff and Naseem Rakha
Ben Sweetser
Emma Wine
$100–$199
Lawrence Banks
Laura Basford
Lee Binnig
Andrew Caplan and Elise Viebeck
Heidi Carell
Laurence Cohen and Susan Worst
Jaclyn Dentino
Alfreid Doig
Susan Dolan
Anne Drogula
Maggie Edinger
Lynn Eustis
Andy Foery
Michael Gandolfi
Maureen Hollis
Beth Jacob
Laurie Jacobs and Steven Levine
Jim Kane and Sharon Williams
Mari and Denys Kotskyy
Matthew Kusulas
Douglass Lee
Steven Lewis
Ann MacDonald
Honor McClellan
Reeva Meyer
Christine Mortensen
Susan Hall Mygatt
Alice and Joe Noble
Robert Page
Richard Pasquarelli
Andrew Reiss
Jill Rapperport and Ian Reiss
Randy Reiss
John Resig
Lindsey Rogers
Harshita Sahu
Lori K. Sanders
Gordon and Shannon Shannon
Benjamin Smith & Sarah Boehm
Cathy and Jerry Smith
Trisha Solio
Tina Strunk
Sharon Daniels Sullivan
Ann Teixeira
Megan Tompkins
Andy Vores
Murray Woolf
Laura Yoo
$50–$99
Simon Andrews
Oscar Arce
Susan Axe-Bronk
Kenneth Bigley
Anne Bilder
Saskia Den Boon
Margaret Cain
Julia Scott Carey and Richard Mitrano
Lucy Chapman
Szu-Chiao Chen
Rachel Ciprotti
Theodora Colburn
Carrie Conaway
Deanne McCredie Coolidge
Sheri Dean
Mary Chris DeBelina Doyle
BJ Dunn
Isadel Eddy
Andrew Elliott and John Varone
Jay Emperor
Roy Epstein
Shaun Eyring
Anthony Ferello
Steven Finley
Geoffrey Frank
Irene Hermann
Jacob Hilley
Anne Howarth
Wolcott Humphrey
Joseph Hutcheson
Catherine Hyson
Elizabeth Igleheart
Emlyn Johnson
Jerry Johnson
James and Amie Jones
Leonard and Terry Kahn
Rebecca Krouner
Jane Parkin Kullmann
Ludmilla Leibman
Harold Lichtin
Xiomara Lorenzo and Cara Herbitter
Linda Markarian
Libby Meyer
Donna Migdal
Herbert Motley
Divya Narayan
William Neely
Jason Newman
Angela Ng
Linda Ng
Loretta Notareschi
Ayumi Okada
Sarah Peck
Dan Perkins
Karen Poggi
Cashman Kerr Prince and Bryan Burns
Stephen Quan
Kathleen Quigley
Beverly Rivkind
Alexis Ruegger
Richard Samuels
Thomas Schmidt
Daron Sharps
Ken Silber
Kyle Simpson
Deborah Smith
Arlene Stevens
Josh Thomas
Kelsey Thompson
Barbara Turen
J.M. Vrtilek
Elaine Walsh
Dalit Warshaw
Beverly Woodward and Paul Monsky
Samuel Adams
Jaime Alberts
Katherine Alden
Aaron Alon
Tatev Amiryan
Jason Atsales
Kingdon Barrett
Thomas Barth
Gail Barry
Robert Bawn
Sebastian Baverstam
Robert Bawn
Erica Beade
Lisa Beade
Robert Beagan
Lauren Bilello
Deborah Bohn
Gatean Bouchard
Rosemary Bramante
Julianna Braun
Bruce Brolsma
Elizabeth Bukey
Trudy Chan
Grace Chua
Minjin Chung
Jane Ciesielski
Linda Ciesielski
Jennifer Clapp
Charles Coe
Nell Shaw Cohen
Burton Cohen
Jean Collins
Elizabeth Dean
Ashley Dennis
Abigail Dusseldorp
Reggie Edmonds
Sandra Eldred
Rebecca Entel
Corinne Espinoza
Evan Fein
Ellen Feingold
David Feltner
Celine Ferro
Mitch FitzDaniel
Ellen Fries
Anna Galavis
Joshua Glassman
Tina Goel
Kendra Goodwin
Nancy Goodwin
Tamara Grant
Alkis Hadjiosif
Julianna Hall
Andy Hanson-Dvoracek
Amanda Harberg
Hikari Hathaway
Beth Hayes
Rose Hegele
Susanna Hoglund
Kelley Hollis
Scott Humes
Marie Hutchings
Joseph Jackson
Jennifer Jean
Jason Jeong
Todd Johnson
Dan Jost
Masashi Kato
Caroline Keinath
Jennifer Kern-Kaminsky
Caroline Kerr
Rakesh Khetarpal
Brian Kiernan
Gareth King
Phil Kohlmetz
Bruce Kozuma
Abigail Krawson
Sasha Kuftinec
Gulce Kureli
Ursula Kwong-Brown
Rozime Lindsey
George Lockhart
Zev Lowe
Jiayin Lu
Rachel Luria
Lizzy MacDonald
Carol McAdam
Maggie McKee
Taylor McNulty
Samantha Meeker
Juston Mog
Jennifer Montbach
Erin Nelson
Yayoi Narita
Carolyn Oberting
Erik Oschsner
Elliot Olshansky
Karen Parrott
Olga Patramanskaya
Jason Pavel & Marie Walcott
Andrew Pease
Nadya Peresleni
Charisse Pickron
Gretchen Pineo
Christopher Porter
Raymond Raad
Laura Ramsey
Helen Ray
Phoebe Reeves
Jordan Reiss
Christopher Reiss
Jeffrey Reiss
Elie Reiss
Ginny Remedi-Brown
Cole Reyes
Irene Riney
Roberta Ritcheske
Joan Rothman
Jason Rubin
Christina Rusnak
Seulgee Ryals
Aleida Sanabria-Gil
Adam Sapp
Maya Schiek
Margot and Andrew Schmolka
Kristen Schroeder
Joseph Sedarski
Josh Sedarski
Dennis Shafer
Ryan Shannon
Jospehine Stein
Imogene Stulken
Ryan Suleiman
Lisa Vaas
Brent Whelan
Christopher Wicks
Erin Williams
William Williams
We are also extremely thankful to the dedicated volunteers who gave their time and talents to Juventas in the 2021-22 and 2022-23 concert seasons:
Sherene Aram
Meg Hastings
Spencer Klein
Mona McKindley
Sheila Murphy
Evan Perry
Elaine Walsh
Ella Weber
JUNE 11 and 25 at 6:00 PM EST
NEW ENGLAND BOTANIC GARDEN AT TOWER HILL
BOYLSTON, MA
Juventas family favorite returns to New England Botanic Garden at Tower Hill, with an enchanting evening of open-air music and an all-new program featuring 20+ contemporary composers.
Get your tickets at nebg.org/music-in-bloom and automatically enjoy 20% Early Bird Pricing through April! No code required.