The Age of the Rise Program Book

THE AGE OF THE RISE MARCH 23 at 8:00 PM ET MULTICULTURAL ARTS CENTER CAMBRIDGE, MA + BROADCAST LIVE ON YOUTUBE A call for action on climate change

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VISIONS OF GREEN 2023/24 MAINSTAGE SEASON UP NEXT SONG IN FLIGHT SEP 23 & 24

ENCORE! NOV 11

ANNE HOWARTH: CENTER STAGE JAN 27 & FEB 3

THE AGE OF THE RISE MAR 23

juventasmusic.org

THE FLOWER CATALOG MAY 18 & 19

MUSIC IN BLOOM JUN 9 & 16

THE AGE OF THE RISE SATURDAY, MARCH 23, 2024 AT 8:00 PM ET MULTICULTURAL ARTS CENTER

CAMBRIDGE, MA + BROADCAST LIVE ON YOUTUBE

House on Fire: Three Songs On Responsibility*** (2023)

Mary Montgomery Koppel

I. The Question II. Water Is Company III. My message is that we’ll be watching you Tianhui Ng, conductor; Kelley Hollis, soprano; Nicholas Southwick, flute; Celine Ferro, clarinet; Ryan Shannon, violin; Thomas Barth, cello; Julia Scott Carey, piano; Thomas Schmidt, percussion

tlezannen* (2024)

J. A. J. Sedarski

Tianhui Ng, conductor; Kelley Hollis, soprano; Nicholas Southwick, flute; Celine Ferro, clarinet; Ryan Shannon, violin; Thomas Barth, cello; Julia Scott Carey, piano; Thomas Schmidt, percussion

Amazonia*** (2019)

Catarina Domenici

Prelude- Terra Pejada Aria- Terra Arrasada Tianhui Ng, conductor; Kelley Hollis, soprano; Nicholas Southwick, flute; Celine Ferro, clarinet; Ryan Shannon, violin; Thomas Barth, cello; Julia Scott Carey, piano

Erwachen** (2018)

Alexander Liebermann

Tianhui Ng, conductor; Kelley Hollis, soprano; Nicholas Southwick, flute; Nick Auer, horn; Ryan Shannon, viola; Thomas Barth, cello; Thomas Schmidt, percussion

In the Age of the Rise (2019)

Eliza Brown

I. In all of the possible futures II. The bear and the butterfly III. The last ones out Coda/Reprise Tianhui Ng, conductor; Kelley Hollis, soprano; Nicholas Southwick, flute; Celine Ferro, clarinet; Ryan Shannon, violin; Thomas Barth, cello; Julia Scott Carey, piano; Thomas Schmidt, percussion *World Premiere and Juventas Commission **Call for Scores Winner ***World Premiere of a new chamber arrangement, commissioned by Juventas

This program is generously supported by:

FROM THE ARTISTIC DIRECTOR Tonight’s concert speaks to climate change, one of the most critical challenges of our time, continuing our year-long focus on nature and the environment.

Climate change touches every aspect of human civilization, from food security to the physical infrastructure of our communities. It’s a classic tragedy of the commons, in which our individual indulgences collectively hurt people around the globe, and no one of us can solve the problem alone. Worst of all, the nations that suffer the most are the ones least responsible.

This program offers powerful works from five living composers. From Maine to Brazil, the pieces are as diverse as the artists’ lived experiences. Together, these works form a collective call for action. We don’t seek to bring you down, but rather, to energize. Let each of us ask, what can I do to make the world a better place?

Sincerely,

Oliver Caplan, Artistic Director Juventas New Music Ensemble

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JUVENTAS NEW MUSIC ENSEMBLE Juventas’s 2023-24 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.

BOARD OF DIRECTORS John A. Carey President

Meghan Guidry Clerk

Drew Wilkins Treasurer

Minjin Chung Carson Cooman Lynn Eustis Meg Fuchs Leslie Jacobson Kaye Karen Ruymann Oliver Caplan ex officio

STAFF Oliver Caplan Artistic Director

Joseph Sedarski General Manager

Saskia den Boon

Graphic Designer & Grant Writer

Sadie Habas Development Coordinator

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 Mary Montgomery Koppel | House on Fire: Three Songs on Responsibility (2023) World Premiere of a new chamber arrangement, commissioned by Juventas I. The Question II. Water Is Company III. My message is that we’ll be watching you This collection brings together three texts that contrast considerably, and yet each offers a compelling commentary on our failure to care for our planet, and the consequent ramifications.

The first is “The Question” by Theo Dorgan. This brief poem is both enchanting and powerful, combining a luxuriantly-worded description of a future species crossing the cosmos to view our “blue, beautiful world” with a pointed critique of humanity’s abuse on our planet. In my setting, I aimed to similarly convey an otherworldly, shimmering sonic world with a mournful color, but ultimately closing with the howling, raw cry of “What have you done?” The second poem, “Water is Company” by Ruth Padel, could not be more different in aesthetic, and yet parallels the first in its grief. The context for her poem is severe drought — not the first tangible effect that one considers when we think of our changed climate, but a painful reality that is worsening with every passing year in many parts of the world. Padel’s poetry paints a picture of a gradually-increasing dread experienced by those suffering this by-product of our changing planet. Musically, I aimed to paint the scene with a stark and spare language, a complete contrast to the lushness of “The Question.”

No longer are we gazing at the blue, beautiful world; Padel’s view of our world is desperate and depleted. The text for the final song in this collection is excerpts from Greta Thunberg’s speech to the United Nations in 2019. From the first time I heard the fury of this young woman’s words, I was struck to the core. I aimed in my setting to capture her power and anger through disjointed rhythms and fractured sonorities, but also used more lyrical passages to highlight the vulnerability in her desperation. Thunberg’s message unabashedly addresses blame, assigning it squarely where it belongs — on the preceding generations’ failure to act before it was too late to protect our home for our children and our children’s children. I could think of no better way to conclude this collection than with Thunberg’s astute, prescient, and utterly justified diatribe.

J. A. J. Sedarski│| tlezannen (2024) World Premiere and Juventas Commission This World Premiere performance is generously sponsored by Carson Cooman.

Climate change is no longer a challenge for future generations, but a present, brutal reality for humanity. In my lifetime, the ecology of earth will change so drastically it will threaten our existence on the only planet we call home. Thinking about these realities sends a shudder down my spine and forces me to question to what end do I do? To what end do I create music and art? With the existence of humanity threatened, do these questions matter?

With all these anxieties in mind, I set out to compose a piece that illustrated the severity of our circumstances. tlezannen is a piece that sets a portion of a Nahuatl poem entitled

“Cuicapeuhcayotl” indexed by Daniel G. Brinton in his book Ancient Nahuatl Poetry published in 1890. The Nahuatl language was the dominant language of the Aztec empire before the arrival of Spanish conquistadors. “Tlezannen” is an adverb from the Nahuatl language meaning “to what end”. The portion of the poem I’ve set is a lament in which the poet realizes that the Earth is no longer satisfying to the soul and looks onward toward a paradise where the fullness of the natural world is restored.

The music is a composition of 2 soundscapes. One is energetic, fleeting, and harmonically based on cycles of intervals. These cycles of intervals pass through phrase after phrase and provide the structure for the first half of the work. The second half of the work is harmonically based on the spectrum to derive pitches and intervals. These two distinct sections represent a cold, stark reality that we face as a human species. tlezannen reminds me that the lush, energetic, and cyclical nature of our world is rapidly changing forevermore. The brutal and barren landscape that is quickly approaching stands ready to change every aspect of our lives and leave devastation in its wake.

Catarina Domenici | Amazonia (2019) World Premiere of a new chamber arrangement, commissioned by Juventas Prelude- Terra Pejada Aria- Terra Arrasada The song Amazônia was composed between October and December, 2019, and is divided in two parts: a Prelude entitled “Terra Pejada,” and an Aria entitled “Terra Arrasada.” The Prelude portrays the Amazon forest as a woman, the very force of Mother Nature. The image of the Woman also refers to the origin of the name Amazon, 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.

Alexander Liebermann | Erwachen (2018) Call for Scores Winner Erwachen was commissioned by the Deutsche Oper in Berlin for a concert exploring dreams. At the time, I was deeply impacted by Elizabeth Kolbert’s book, The Sixth Extinction which explores the Anthropocene, our current geological epoch characterized by human-induced climate change and ongoing mass extinction. Inspired by this book and the concert’s theme, I wrote Erwachen.

The piece depicts a not-too-distant future. A young girl walks through the streets of a megalopolis.

As she navigates the concrete jungle, she encounters the stark consequences of her ancestors’ (our) indifference to climate change. The air is thick with pollution, the once-green trees now stand barren, and the familiar cycle of seasons has vanished. The overwhelming reality of environmental devastation triggers a profound awakening within her.

However, Erwachen ultimately transcends into a message of hope. At the end of the piece, the young girl wakes up, in our time, and realizes that it is not too late to change and avoid the possible outcome she witnessed in her dream.

The title, “Erwachen,” meaning ‘awakening,’ is drawn from a chapter in Hermann Hesse’s novel Siddhartha, where Gautama experiences his awakening and becomes the Buddha, the enlightened one. By borrowing this title, I wanted to establish a parallel between the girl’s awakening to the environmental crisis and the potential for individual and collective enlightenment.

Eliza Brown│| In the Age of the Rise: Three Songs Imagining Life in the Future of Climate Change (2019) I. In all of the possible futures II. The bear and the butterfly III. The last ones out Coda/Reprise

JUVENTAS CORE MUSICIANS

Credit: James Jones Photography

In the Age of the Rise is a set of three songs dealing with the strangeness of imagining one’s future amid the global destabilization wrought by climate change. It can be difficult, intellectually and emotionally, to reconcile the large-scale threat climate change poses to earth’s most complex systems with the small-scale events of daily life and one’s individual plans and dreams. These songs are snapshots of my attempts to navigate this conceptual gulf between the epochal and the personal. Each song presents a scenario in which the specific ecological catastrophe of sea level rise has occurred in some measure, and describes that scenario in terms of its personal implications for individual protagonists. ​“In all of the possible futures” hints at the family dynamics of intergenerational trauma that will increasingly arise from climate-related natural disasters and collapses of communities and social systems. “The bear and the butterfly” is a ballad that poses a monarch butterfly and a polar bear as climate refugees fleeing environmental changes that threaten their survival. In “The last ones out”, I imagine closing up the family cabin my great-grandparents built on the coast of Maine, knowing it will not survive an impending storm. ​ I have located these scenarios in the future, as “how to think and feel about the future” is the preoccupation that, for me, engendered the piece. But climate-related displacement, trauma, loss, and grief are already realities of the present and the past. Though these songs are in some sense “about” the future in a world of higher sea levels, they are really about the present: they attempt to process and make graspable the reality and immediacy of destruction already occurring, which portends its own near-inevitable replication on a larger and larger scale.

TEXTS House on Fire: Three Songs on Responsibility (2024) The Question When the great ships come back, and come they will, when they stand in the sky all over the world, candescent suns by day, radiant cathedrals in the night, how shall we answer the question: What have you done with what was given you, what have you done with the blue, beautiful world?

Theo Dorgan Water Is Company You close your eyes so you can’t see the omens.

You try praying for rain. You wait for an augury, sing to the brook while the self flies out and away like a bird from a withered branch and the wind, with a hollow sound like a breaking pot, whips the lake to a dance of bubble-froth soap-suds, blocking the drain.

Ruth Padel My message is that we’ll be watching you This is all wrong.

I shouldn’t be up here.

I should be back in school on the other side of the ocean.

Yet you all come to us young people for hope.

How dare you!

You have stolen my dreams and my childhood with your empty words.

And yet I’m one of the lucky ones.

People are suffering.

People are dying.

Entire ecosystems are collapsing.

We are in the beginning of a mass extinction, and all you can talk about is money and fairy tales of eternal economic growth.

How dare you!

For more than 30 years, the science has been crystal clear.

How dare you continue to look away and come here saying that you’re doing enough, when the politics and solutions needed are still nowhere in sight.

You say you hear us, that you understand the urgency.

But no matter how sad and angry I am, I do not want to believe that.

Because if you really understood the situation and still kept on failing to act, then you would be evil.

And that I refuse to believe.

You are failing us.

But the young people are starting to understand your betrayal.

The eyes of all future generations are upon you.

And if you choose to fail us, I say: We will never forgive you.

Excerpted from Greta Thunberg’s speech to the United Nations, September 2019. tlezannen (2024) Text by unknown, ancient Nahuatl poem I. CUICAPEUHCAYOTL tlezannen in tlalticpac? tlacazo occecni yoliliwwz ximoayan, ma ompa niauh, ma ompa inhuan noncuicati in nepapan tlazototome, ma ompa nicnotlamachti yectliya xochitl ahuiaca xochitl, in teyolquima, in zan tepacca, teahuiaca yhuintia, in zan tepacca, ahuiaca yhuintia.

I. SONG AT THE BEGINNING For what good is this earth? Truly there is another life in the hereafter. There may I go, there the sweet birds sing, there may I learn to know those good flowers, those sweet flowers, those delicious ones, which alone pleasurably, sweetly intoxicate, which alone pleasurably, sweetly intoxicate.

Amazonia (2019) Text by Catarina Domenici Prelude – Terra Pejada

Prelude- Fecund Earth

Quem é essa mulher Que dança pela mata?

Who is this woman Dancing in the forest?

Nas curvas dos rios, Nas plantas, sementes, Nas aves, nas cobras, Nos bichos no cio

In the winding rivers, In the plants and seeds, In the birds and snakes, In the creature’s heat

Que voa no vento, Que chora na chuva, Que ri do rebento Que brota da terra.

Who flies in the wind, And cries in the rain, Who laughs at the bud Sprouting from the earth.

Dadora da vida!

Giver of life!

Quem é essa mulher?

Dizem que ela é um pulmão.

Who is this woman?

Some say she is the lung.

Por ser ela mesma A Mãe Natureza, É o ventre, é o seio Donde viemos.

Because she is herself, Mother Nature, She is the bosom, the womb Where we came from.

Respeite a moça, Respeite a dona Respite a menina Chamada Amazônia.

Respect the lassie, Respect the lady, Respect the girl Named Amazon.

Amazônia, Amazônia, Ah!

Amazon, Amazon, Ah!

Aria- Terra Arrasada

Aria- Scorched Earth

Arde, queima, estala, Toda a selva, a natureza. erra, corta, mata A vida e o futura

Burns, shrivels, crackles All the jungle, and Mother Nature Cut, saw and kill Life and the future

Terra arrasada, Estéril, Em chamas.

Scorched earth, Barren, Ablaze.

Do verde, fazem o cinza

Green is turned to gray

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.

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.

Arde, queima, estala, Foge bicho, foge gente, Serra, corta e vende A vida e o future

Burns, shrivels, crackles, Flee animals, flee people Cut, saw and sell Life and the future

Terra arrasada, Estéril, Em chamas.

Scorched earth, Barren, Ablaze

Madeireiro cortou o arvoredo, Fazendeiro queimou o sustento, O verde é a cor da esperança, Da mata, da vida sem fim.

Tree poachers sawed the forest Industrial farming burned the sustenance Green is the color of hope, Of the forest, of endless life.

Iandé r-etama ka’a oby

Our home is the green forest

Arde, queima, chora Toda a selva, a natureza, Serra, corta e vende A vida e o futuro

Swelters, withers, cries, All the jungle, and Mother Nature, Cut, saw and sell Life and the future

Terra arrasada, Estéril, Em chamas!

Scorched earth, Barren, Ablaze!

Erwachen (2024) Text by Alexander Liebermann

Awakening

Ich lief Die Straße herunter; Ruhig schien alles, farbenfroh, mit schimmernden Lichtern, die den Himmel reichten.

I walked Down the street; Everything appeared calm, vibrant, with gleaming lights that reached the sky.

Ich sah Um mich herum; Einen Wandel, einen Überfluss, der schwarze Blätter lässt sinken in Gewässer.

I saw Around me; A change, waste that lets dark leaves sink into the waters.

Ich spürte In die Zukunft blickend, Den Versuch das Durcheinander, den Schicksalhaften Augenblick, durch das Entkommen auf fremden Himmelskörpern zu umgehen.

I felt Looking towards the future; The try to escape a disorder, a final moment, by reaching out to celestial bodies.

Ich begriff, Wie der Erde entging ihr Schnee, schien gebrochen der Menschheit der Will‘ Das was einst wir taten uns schmerzlich lässt sagen: “Grün waren mal die Bäume“.

I understood, Like earth that had lost its snow, shattered was humankind’s hope.

What once we did now painfully makes us say: “Once, green were the trees.”

In the Age of the Rise (2019) Text by Eliza Brown I. In all of the possible futures In all of the possible futures Those of us who survived Will look back and say, “I miss the days When the seas were just rising When the seas were just starting to rise.”

By the light of homemade candles They look more scarred than wise Making candles sounds quaint and romantic Until they’re your only light.

In all of the possible futures The young ones trying to thrive Will study old maps, and say, “Mom what’s Miami?”

She won’t know how to tell them – Not the what, but the hows and the whys.

By the light of homemade candles Our Atlantises’ names meet their eyes They see heroes and myths to discover Where their elders knew only demise.

II. The bear and the butterfly A polar bear drifts on a fast-shrinking floe Much further south than he’d normally go While a small monarch butterfly hastens in flight

Northward she travels by day and by night The bear runs aground at the James Bay shore And he surveys a land he has not seen before When the weary monarch alights at his feet And the bear and the butterfly happen to meet (vocalise) Said the bear, “I have come from a land made of ice That is melting beneath us and forcing our flight I am hungry and weary but by land or by sea I must find a new home for my brothers and me.”

Said the monarch, “my wings have grown tired and worn seeking food for my sisters in places forlorn for the plants that sustain us can no longer grow In the places we love and the places we know.” (vocalise) Said the bear, “butterfly I am sorry to say that northward you’ll find only watery bay no land where the food that you seek can be grown and no place that a monarch would want to call home.”

Said the butterfly, “bear I am sorry to tell That no ice will you find in the southerly hell It will only get hotter the further you roam And your kind will not find it a welcoming home. (vocalise) So the bear and the butterfly happened to learn They had nowhere to go and no hope of return They are too late for rage but too early for death On the shore of James Bay they wait quietly – In the years yet to come we may join in their fate As we fail to do aught but too little too late Bears will be broken and monarchs will fall And the chaos will make refugees of us all (vocalise) III. The last ones out

O small brown house You stand so bravely at the tideline with your face to the ocean Five generations have sheltered within you And we’re the last ones out Soon you’ll see The waves roll in that will surround you and release you to memory The seawall my grandparents built no defense For the seas have risen and a hurricane’s coming My grandchildren will not rock on the driftwood horse Or run down to the beach to dip toes in the too-cold surf Or fall asleep by your fire, overtired, To wake under blankets that smell of salt and smoke O small brown house Where family stories were made and came easily to memory And the friends we loved most found comfort within you And we’re the last ones out Last night was still But the tide rose up around your stilts as the cove spread below us A silent mouth waiting to swallow you down And we heard a loon – but no miracle’s coming So we’ve cleaned out the fridge and finished the wine Swept the sand out the door and double-checked that we turned out the lights Packed up my grandmother’s art, broke our hearts, And now all that’s left is to drive away and learn What becomes of the last ones out O small brown house O house Coda/Reprise In all of the possible futures Those of us who survive Will look back and say “I miss the days when the seas were just rising.”

And the seas are only beginning to rise...

COMPOSERS MARY MONTGOMERY KOPPEL b. 1982 With music described by the Boston Globe as “hypnotic” and “haunting and hopeful,” Mary Montgomery Koppel is a sought-after composer of choral, vocal, chamber, and orchestral works. Praised for her “luxuriant choral writing” and “myriad coloristic sonorities,” she writes in a compositional language that is both richly complex and contrapuntally refined, while remaining both aurally accessible and challenging.

MMK was a founding member and the first composer-in-residence of the Lorelei Ensemble. Since Lorelei’s founding in 2007, she has contributed eight new works to the repertoire for women’s voices, spanning ten seasons and numerous concerts throughout the United States. Performers praise MMK for her understanding of the voice, utilizing the full capacity of the instrument in “idiomatic lines of surprising yet natural contour.” Recent commissions include HeLa for Alden Voices at Worcester Polytechnic Institute, Dawn for Six Degree Singers, Stabat Mater Speciosa for the Harvard University Choir, and Horizons for Su Lian Tan and John McDonald, released on the album GRAND THEFT and other felonies (ARSIS Audio, 2013). She recently enjoyed her Boston Symphony Hall debut with MIT Symphony Orchestra’s performance of her piece Kaleidoscope, and earned an Honorable Mention in Boston Choral Ensemble’s 2018 Commission Competition.

MMK is also an educator, music director, and soprano. She is an Assistant Professor at Gordon College, teaching composition, instrumentation, arranging, songwriting, and music history. Before moving to the Boston area in 2006, she taught at Bennington College, where she founded and conducted the Bennington College Chamber Singers. Her music direction includes work at MASSMoCA and HERE in New York. She holds a D.M.A. from the Boston University School of Music, a B.A. from Middlebury College, and a Diplôme in Composition from l’Ecole Normale de Musique de Paris. marymontgomerykoppel.com

J. A. J. SEDARSKI b. 2000 “Showing a deeper understanding of harmony” (Boston Musical Intelligencer) Sedarski’s music is a dynamic mixture of large, dramatic gestures and intimate moments.

He writes music inspired by his Mexican heritage, current events, and the natural world.

Sedarski started his composition journey at 14 at his family piano, collecting dust in the corner. His first credit was at 15 when he wrote music for scenes in a production of The Vagina Monologues at the Rochester Civic Center. 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 in the concert hall. His music has been performed by the MIVOS Quartet, Argento Reading Ensemble, Boston University Symphony Orchestra, Boston University Chamber Orchestra, ALLEA III, and Sound Icon chamber ensemble. He’s enjoyed the tutelage of Rodney Lister, Joshua Fineberg, and John Wallace.

In 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. In 2023, he premiered his first monodrama, Sentience, inspired by recent developments in A.I. at the Boston University School of Music. In May 2023, he received his Bachelor of Music in Music Theory and Composition from Boston University.

Sedarski has enjoyed performances of his music around the world and most recently had his international debut at the Musica Hellenica Festival in July 2023. In addition to giving lectures about Contemporary Mexican Composers, he was able to attend the world premiere of his most recent work entitled Sangre on the festival’s program.

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 and a Doctoral degree from the Eastman School of Music, where she served as an assistant to Professor 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, and her works have been performed by USP 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. Domenici is the founder of the Brazilian Association for Music Performance (ABRAPEM) and an ambassador for the Donne Foundation. catarinadomenici.com

ALEXANDER LIEBERMANN b. 1989 Alexander Liebermann is a German-French composer of classical music, whose acclaimed works are characterized by an eclectic blend of diverse topics such as philosophy, biology, astronomy, and other fields. Among his most recent commissions are a climate-change-reflecting monodrama written for the Deutsche Oper Berlin, a birdsong-inspired wind quintet for the Brazilian Winds Ensemble, and a soundtrack for the documentary film ‘Frozen Corpses Golden Treasures.’

As a passionate nature enthusiast, Liebermann spends much of his time studying the sounds of wildlife. He is known for his original and accurate transcriptions of animal vocalizations, which have gone viral on social media and been featured in the world-renowned magazine National Geographic. These transcriptions have also earned him invitations to international congresses in Colombia and Brazil, as well as a feature on CBS Sunday Morning. Liebermann is the author of Birdsong: A Musical Field Guide, a book that offers a unique perspective on the musicality of birds and their relationship to human music-making.

Liebermann holds degrees from the Hanns Eisler Music Conservatory, the Juilliard School, and Manhattan School of Music. For his thesis on Erwin Schulhoff, Liebermann was awarded the Saul Braverman Award in Music Theory. Liebermann currently resides in New York and serves as a faculty member for music theory and ear training at Juilliard’s preparatory division Music Advancement Program. alexanderliebermann.com

ELIZA BROWN b. 1985 Eliza Brown loves sound. They work with sound – an experiential phenomenon that is also a source of meaning in the musical traditions of human culture – to explore and express the psychological nuances of interior and interpersonal life. Eliza’s music, described as “delicate, haunting, and introspective” by Symphony Magazine, is frequently intertextual, incorporating musical quotations, historical styles, field recordings, non-musical artworks, and other cultural artifacts. It is also often interdisciplinary: Eliza has collaborated with practitioners of theater, dance, architecture, poetry, visual art, film, and the sciences, frequently taking on artistic and organizational roles besides “composer.” Building intentional, project-specific collaborative processes is a core part of their practice.

Eliza’s compositions have been commissioned and performed by leading interpreters of new music, including Ensemble Dal Niente, Spektral Quartet, ensemble recherche, International Contemporary Ensemble, Network for New Music, Ensemble SurPlus, and Quince Contemporary Vocal Ensemble. Their works have been heard on stages throughout the USA and abroad, and released on the Navona and New Focus labels, among others. Current projects include Theorem, an interdisciplinary performance work in development with a collective of artists from many fields, and The Listening Year, a work in progress for cello-percussion duo New Morse Code based on a year of weekly field recording at Big Walnut Creek in rural Indiana.

Eliza is currently Associate Professor of Music at DePauw University in Greencastle, IN, where they were recently awarded a 2023 Fisher Fellowship for The Listening Year. When not composing, collaborating, or teaching, they can be found on a hiking trail, attempting to bake without a recipe, or getting slightly better at improv comedy. elizabrown.net

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HOW TO VOLUNTEER 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, Joe Sedarski, at joseph.sedarski@juventasmusic.org. We'll reach out with volunteer opportunities when they arise, and joining our list comes with no obligations.

MUSICIANS MUSICIANS

TIANHUI NG conductor (guest artist) Hailed by the Boston Globe for elevating the experience of new music from “great to unforgettable,” conductor Tianhui Ng is fast becoming one of the most sought-after interpreters of new music in the United States.

Since 2014, Ng has served as the Music Director of the Victory Players, a project with the Massachusetts International Festival of the Arts, leading numerous performances on New England Public Media and WGBH on NPR, with tours to Puerto Rico and Illinois.

Ng also serves as the Music Director of White Snake Projects, where he has led more than 50 premieres, including Jacobs and Sosa’s Alice in the Pandemic, which was chosen by the Library of Congress for their special collection recognizing the production as one of the most significant works of art in the United States during the pandemic.

This season, Ng looks forward to his debut with the Singapore Symphony Orchestra in a nationally televised performance featuring multiple new commissions, the launch of a new festival, New Music New England, with the New England Philharmonic, and an anniversary year with the Pioneer Valley Symphony with crowd favorites like Berlioz’s Symphonie Fantastique.

KELLEY HOLLIS soprano Karen and Fred Ruymann have generously sponsored Kelley Hollis for the 2023-24 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.

MUSICIANS

NICHOLAS SOUTHWICK flute 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 Margie & Chris Brown have generously sponsored Celine Ferro for the 2023-24 concert season.

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.

NICK AUER horn (guest artist) Nick Auer is a dynamic artist and freelance horn player in the Boston area. A native of Sarasota Florida, he graduated from the Boston Conservatory where he received both a Graduate Performance Diploma in 2016 and a Bachelors Degree in 2014. There he studied with Eli Epstein, former second hornist of the Cleveland Orchestra.

Nick is Currently seeking his Masters Degree from the New England Conservatory and is studying with Gus Sebring, associate principal horn of the Boston Symphony Orchestra.

Nick is an experienced orchestral musician and has been heard in some of the worlds most prestigious concert halls, including Boston’s Symphony Hall, Amsterdam’s Royal Concertgebouw, Rotterdam’s De Doelen, and New York’s Carnegie Hall. Not only has Nick traveled the world playing symphonic music, he also plays with several orchestras in Boston including The Boston Modern Orchestra Project, A Far Cry, Phoenix Orchestra Of Boston, The Boston Philharmonic, and East Coast Scoring Orchestra.

While Nick is an avid orchestral musician he also performs with many chamber ensembles and is a founding member of Hathor Winds one of Boston’s up and coming Wind Quintets.

Most recently Nick was named the 2015-2016 horn fellow for Symphony Nova where he can be heard playing numerous chamber concerts in the greater Boston area.

RYAN SHANNON violin & viola Oliver Caplan & Chris Beagan have generously sponsored Ryan Shannon for the 2023-24 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.

THOMAS BARTH cello Leslie Jacobson Kaye & Richard Kaye have generously sponsored Thomas Barth for the 2023-24 concert season.

Praised for his “superb phrasing” and “human-like singing” (Boston Musical Intelligencer), cellist Thomas Barth enjoys a varied career as a chamber and orchestral musician on both modern and period instruments. He performs frequently with groups including the Handel and Haydn Society, Glissando Concert Series, Boston Festival Orchestra, A Far Cry, Boston Baroque, The Isabella Ensemble, ChamberQUEER, Pinwheel, and Skylark Vocal Ensemble. As a member of the Juventas New Music Ensemble, he is committed to performing the works of living composers for audiences around the world in an accessible fashion and is a frequent contributor for PARMA Recordings. In 2022, he served as the cellist for the critically acclaimed Broadway revival of ‘1776’ and has played for numerous shows at the American Repertory Theater.

Thomas holds a Master’s degree from the New England Conservatory, where he was a recipient of the Gregor Piatagorsky Memorial Scholarship, and completed his undergraduate training at the University of Michigan with additional studies at The Royal Conservatoire of The Hague and Leiden University. He is constantly grateful for his musical mentors (who include Richard Aaron and Lluís Claret among many others) and hopes to share his love of the cello through both performance and teaching. For the past ten years, Thomas has maintained regular yoga and meditation practices and is interested in the connection between mindfulness, music, and movement. He lives in Somerville, MA with his beagle-lab mix, Trevor.

JULIA SCOTT CAREY piano Richard Mitrano has generously sponsored Julia Scott Carey for the 2023-24 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. Julia lives in Winchester with her husband and her daughter. In addition to music, she loves cooking, running, and spending time on Cape Cod.

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.

25

SARASA

Birds of a Feather

Rosenmüller, Reincken, Westhoff, Schmelzer, Scheidt, and Bach, with his sparkling harpsichord concerto in E major.

l Saturday, May 11 @7:00pm

Friends Meeting House Cambridge MA l Sunday, May 12 @3:30pm

Follen Community Church Lexington MA

Lexington Council for the Arts

Scan the QR code or visit www.sarasamusic.org for tickets and info.

parmarecordings.com

MAKE A DONATION

Donate to Juventas and help us touch hearts around the world. Last year, with a budget of just $167,000, we reached over 4,000 audience members in person and over 5,000 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 2023-24 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 General Manager Joe Sedarski, joe.sedarski@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.

BENEFACTORS Juventas New Music Ensemble is deeply grateful to benefactors whose generous gifts support our artistic programs. Juventas received the following individual gifts from March 1, 2023 to February 29, 2024. Please visit www.juventasmusic.org/donate-now to learn about making a tax-deductible gift. $4,000 and Above Anonymous John A. Carey Massachusetts Cultural Council New Music USA Karen & Fred Ruymann Andrew Wilkins $1,000–$4,000 Chris and Margie Brown Oliver Caplan and Chris Beagan Bill and Paula Luria Caplan Carson Cooman John Emler Barbara Hughey Leslie Jacobson Kaye and Richard Kaye Richard Mitrano and Julia Scott Carey The Ripley-Steinemann Family Fund Wegmans Medford $300–$999 Anonymous Brian Cron Eric & Margaret Darling Bryce and Kathryn Denney Jerry and Joanne Dreher Meg Fuchs Christie Gibson and Michael Emmanuel Max Hobart Andrew and Laura Waldorf Reiss Rachel Rivkind Amundi Pioneer Ben Sweetser Steven Taylor $200–$299 Elise Viebeck and Andrew Caplan Deanne Coolidge Lynn Eustis Andy Foery Moriah Freeman Myra and Roy Gordon Joshua Levit Alexandra Bowers and James Liu Nagesh Mahanthappa & Valentine Talland MaryBeth Manca May Marquebreuck Chris Porter Kathryn Ritcheske Karen & Fred Ruymann Ann B. Teixeira Theodor Weinberg & Eric Hyett Beverly Woodward & Paul Monsky $100–$199 Ed and Mary Amabile Robert Beagan

Anne Bilder & Johan den Boon Lee Binnig Jon Bisesi Evelyn Bonander Gail Bucher Margaret Cain Colette Carmouche Larry Cohen and Susan Worst Mark Cortale BJ & Rich Dunn Casey Elia Ann Ferentz Patricia Henry Shael and Helen Herman Jacob Hilley Maureen Hollis David and Mary Howarth Steven Jackson Beth D Jacob Jim Kane and Sharon Williams Denys Kotskyy William Krein William Kucheman Matthew P. Kusulas Ludmilla Leibman Laurie Jacobs and Steven Levine Steve Lewis Downing Luvisi Family Reeva Meyer Harry K. Hollis Aziza Musa Yvette Nameth & Jeremy Fransene Angela Ng Joe Sodroski & Alice Noble Bob Page and Dean Vassil Richard Pasquarelli Jason Pavel and Marie Walcott Brian Pingree and Alexis Dearborn Cashman Kerr Prince and Bryan Burns Katie and Bryce Remesch Isadel & EB Saunter Tom Schmidt Daron Sharps Deb Smith Chris Stribakos and Carol A McCarthy Kelsey Thompson Charlene and Stephen Valk Emma Kent Wine Murray and Susan Woolf Susan Worst and Larry Cohen $50–$99 Anonymous (2) Jaime Alberts Gail Barry Thomas Barth Claudine Blake Bonnie Borch-Rote Arlene Bryer Raesin Caine

Heidi Carrell Julia Scott Carey & Richard Mitrano Minjin Chung Theo & Steve Colburn Carrie Conaway & Maxim Weinstein Saskia den Boon Susan Dolan Diane Droste Christine Edwards Shaun Eyring Deb Faling Ellen Feingold Celine Ferro Scott G and Meg K Nancy Kane Goodwin Louise & Michael Grossman Meghan S. Guidry Judith Gurland Steven & Jennifer Guthrie Julianna Hall Jean Huang Wolcott Humphrey Catharine Hyson Stephanie Kacoyanis Laurie Kahn Leonard and Terry Kahn William and Carolyn Kane Laurel Krein Xiomara Lorenzo and Cara Herbitter Matthew Marsit Ted Mielczarek Susan Hall Mygatt William Neely Linda Ng C. Oberting Ayumi Okada Sylvia Oliveira Andy Pease & Lisa Samols John & Sarah Peck Dan Perkins Karen Poggi Mallory Ruymann John Ruymann Lori K. Sanders & Jennifer A. Lewis Andrew & Margot Schmolka Rebeca Sedarski Charles Shadle Gordon and Shannon Shannon Harvey Silvergate Imogene Stulken Valerie Thompson Barbara Turen Elaine Walsh Eric Wei Up to $49 Anonymous (4) Kyle Simpson Sherene Aram Sonya Baker

Devon Bakum Kingdon Barrett Eric Barth Bob Bassett Marshall Bautz Erica Beade Steven Bergman Sophia Bernitz Lauren Bernofsky Vivian Best Kenneth Bigley Julianna Braun Naomi Brave Bruce Brolsma & Imogene Stulken Margaret Brouwer Danica Buckley Linda Ciesielski Jane B. Ciesielski Rachel Ciprotti Charles Coe Nell Cohen Burton Cohen Robert Conley Ellen Crawford SD Joan Davidson Lora Davidson Angus Davison Sheri Dean Sandra DeBow Edward Dunar Barry Duncan Shreya Durvasula Abigail Dusseldorp Joanne Enquist Beth Eustis Adam Fay Evan Fein David Feltner Anthony Ferello Maggie FInnegan David and Ellen Fries Kendra Goodwin Michael Grossman Louise Grossman Joe Gualtieri Amanda Harberg Matthew Harder Matthew Heath Hans Heilman Kelley Hollis Michaela Hollis Mary & David Howarth Anne Howarth & Frederick Frank Jr. Kyra Hulligan Scott Humes James Jones Amie Jones Jeffrey Kane Sho Kato Sam Kaye Ruth Kessler Wee Kiat Brian Kiernan Mari Kotskyy Bruce Kozuma & Livia Racz Ken Krause Sasha Kuftinec Ursula Kwong-Brown Laurie Lasky

Mina Lavcheva Rose Lewis Jacky (Ho-Yin) Li Rozime Lindsey Terry Lockhart William Lumpkin Tammy Lynch Ann MacDonald Linda Markarian Pamela J. Marshall Jim Mathis Carol McCarthy and Chris Stribakos Nancy McHenry Seth McHenry Taylor McNulty Jonathan McPhee James McQuaid Jim McQuaid Libby Meyer Kris Miranda Rima Muth Jessica Oakhem Eugénie Olson David Olson Elliot Oshansky Jane Parkin Kullmann Susan Pivetz Alexandra Porter Giselle Puigbo Megan Radlin Ellen Stephanie Reily Ian Reiss Remesch Family Cole Reyes George Ritcheske Diana Robbins Lindsey Rogers Jessica Rudman Christina Rusnak Peter Ruymann Harshita Sahu Mischa Salkind-Pearl Antonio Santos Andrew Scanlon Brian Schuth Joseph Sedarski Ana Sedarski Jonathan Sedarski Ryan Shannon Madison Sharps Dan Shaud Nancy Shepard Laurel Siegel Jessica Smyser Nicholas Southwick Maura Stephens Susanne Swalley Katherine Ullman Donna Vass Ed Wardell Catherine Wee Carole Williamson Mark Wooding Alison Yakabe Erika Yin Lu Yu Marc Zegans

We’re proud that our donor roster includes 100% of Juventas board, staff and ensemble members, plus 30 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 Lily Belisle John A. Carey Elizabeth Igleheart Mona McKindley Evan Perry Elaine Walsh Andrew Wilkins

WHAT’S OLD IS NEW AGAIN 2023-24 Season

Welcoming Artistic Director Jonathan Cohen

Israel in Egypt

OCT 6 + 8

Luks Leads Beethoven NOV 17 + 18

Handel’s Messiah

NOV 24, 25, 26

Baroque Christmas

DEC 14 + 17

The British Masters FEB 2 + 4

Harry, Haydn + Mozart

Beethoven 9 MAR 15 + 16

Bach + Telemann

MAR 22 + 24

Bach B Minor Mass

Brahms Requiem

APR 19 + 21

Brandenburg Concertos MAY 2 + 3 + 4

APR 5 + 7

FEB 23 + 25

handelandhaydn.org

617.262.1815

THE FLOWER CATALOG an evening of music for solo piano May 18 & 19, 7:00pm ET New England Botanic Garden at Tower Hill

Join Pianist Julia Scott Carey and Composer Stephanie Ann Boyd for a special solo piano performance of the Flower Catalog, a collection of 13 botanically inspired preludes.

Set in the Garden’s iconic Limonaia conservatory, this one-of-a-kind program will include the world premiere of a new prelude, “Apple Blossom,” and a Q&A with the artists.

Get a 20% EARLYBIRD discount automatically applied to your ticket through April 25th! https://nebg.org/the-flower-catalog/

Artwork by Sasha Parfenova