SMALL
BEAR
LARGE TELESCOPE
MARCH 20, 2021 AT 8:00 PM EDT juventasmusic.org
GENEROUSLY SUPPORTED BY
STAFF Oliver Caplan
Artistic Director
Jackie Dentino
Director of Audience Development
Joe Sedarski
Marketing Coordinator
Chris Petre-Baumer Graphic Designer
Rozime Lindsey
Arts Administration Intern
Aaron Wong
ABOUT JUVENTAS 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 200 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.
Arts Administration Intern
Saskia Den Boon
Arts Administration Intern
BOARD OF DIRECTORS John Carey President
Cashman Kerr Prince Treasurer
Alvin B. Carter III Carson Cooman Leslie Jacobson Kaye Rachel M. Rivkind Karen Ruymann Oliver Caplan ex officio
FROM THE ARTISTIC DIRECTOR Tonight, we invite you to rekindle your sense of wonder after a year of troubles and sameness. Collectively, the pieces on this program ponder connection and our place in the cosmos. I am especially excited for Kelley, Anne and Julia’s world premiere performance of Emma Wine’s Assurance. It is Juventas’s first commission in my tenure as Artistic Director. Wine’s piece sets a deeply evocative poem by Emma Lazarus. The poem delves into Lazarus’s dream world. Cosmically fitting, Wine’s music began with a melody that came to her in a dream. March marks the one-year anniversary of Juventas’s turn to virtual programming. Thank you for staying part of our community through this challenging time. The connection we share through this music fills our own hearts with awe.
Oliver Caplan Artistic Director
SMALL BEAR LARGE TELESCOPE March 20, 2021 at 8:00 PM EDT Broadcast Live on YouTube
Horn Trio (2004)
Carson Cooman
I. Windsong, II. Interlude: Forest Bells, III. Dream of Grass and Water IV. Interlude: Harbor Bells, V. Starsong, VI. Small Bear, Large Telescope
Anne Howarth, horn; Ryan Shannon, violin; Julia Scott Carey, piano
Assurance (2021) Emma Wine Kelley Hollis, soprano; Anne Howarth, horn; Julia Scott Carey, piano Commissioned by Juventas World premiere generously sponsored by Jon Saxton and Barbara Fox Connect All. We All Connect. (2015) Oliver Caplan Kelley Hollis, soprano; Anne Howarth; horn, Julia Scott Carey, piano Goodnight Moon (2012) Kelley Hollis, soprano; Julia Scott Carey, piano
Eric Whitacre
INTERMISSION Astrum Agri (2016) Stephanie Ann Boyd Olga Patramanska-Bell, violin; Ryan Shannon, violin; Lu Yu, viola; Thomas Barth, cello
Juventas’s 2020-21 Season “Now More Than Ever” is generously sponsored by John A. Carey. This program is supported in part by a grant from the Medford Arts Council, a local commission that is supported by the Mass Cultural Council and the City of Medford.
Behind the Universe (2021) J.A.J. Sedarski Olga Patramanska-Bell, violin; Ryan Shannon, violin; Lu Yu, viola; Thomas Barth, cello; Pete Walsh, double bass Lunastella Fuga (2012) Oliver Caplan Olga Patramanska-Bell, violin; Ryan Shannon, violin; Lu Yu, viola; Thomas Barth, cello; Pete Walsh, double bass Strum (2006; revised 2012) Jessie Montgomery Olga Patramanska-Bell, violin; Ryan Shannon, violin; Lu Yu, viola; Thomas Barth, cello; Pete Walsh, double bass
IN THE COMPOSERS’ OWN WORDS
The third movement, Dream of Grass and Water, is slow and spare, with a ceremonial atmosphere. The fourth movement, Interlude II: Harbor Bells, is similar to the first interlude, though its material hints at the fifth movement.
“Assurance” begins with an introduction to Lazarus’ dream world. Then, she recounts the mysterious glade through which she and her lover wander. In the third section, her lover speaks to her. Lastly, the poem ends as Lazarus wakes up. The dream melody that inspired the piece appears in full in the third section, but the horn plays fragments throughout, weaving the melody into the rest of the piece. The piano line supports the vocal melodies and guides the audience from section to section. I am grateful to Juventas New Music Ensemble for this commission, through which I was able to bring to life a text that is at once inspiring and heartbreaking. Thank you for empowering me to tell this story.
I. Windsong II. Interlude: Forest Bells III. Dream of Grass and Water IV. Interlude: Harbor Bells V. Starsong VI. Small Bear, Large Telescope
The fifth movement, Starsong, is celebratory. The principal theme is first introduced as an incantation by the violin and horn, over a piano ostinato. The movement builds a bit in texture until a brief slow section interrupts (recalling material from the previous movements). Finally, everyone is caught up again in the swell (with violin and horn singing ecstatically) and the movement presses on to its conclusion with a blaze of starlight.
Horn Trio (2004) for horn, violin, and piano was commissioned by Harrison Nelson for Composers Concordance of New York City and is dedicated to Joseph Pehrson and Patrick Hardish, directors of Composers Concordance. The work was premiered by Lynn Bechtold, violin, Barbara Oldham, horn, and Paul Hoffman, piano.
The last movement, Small Bear, Large Telescope, returns us to earth. It is inspired by a drawing of a small bear gazing into a huge telescope—awed by the cosmic vision he sees. A quiet, tolling pattern in the piano is the basis for simple melodic development — recalling material from the previous movements before tolling into eternity.
Are we individual actors, alone together? Or are we bound by our common humanity? Connect All. We All Connect. explores the interconnectedness of people in today’s world. At times fragile and questioning, at times confident and affirming, the piece ultimately sounds a message that we are our best selves when we embrace heartfelt connection.
The whole piece is based on a shared set of musical material, founded upon the interval of a perfect fifth. The work is a celebratory contemplation of the relationship between this world and the cosmos that contains it—not a pretentious “summing up” of this r elationship, but rather an awe-filled contemplation.
Emma Wine Assurance
Master Palindromist Barry Duncan’s text unfolds through a series of five letter-by-letter palindromes (e.g. Sum: It Saved. Am I made vast? I’m us.) interspersed with a longer word-by-word palindrome (e.g. Connect all. We All Connect.). The music interplays with the text by incorporating palindromic elements of melody, harmony and form. These mirror effects serve as a metaphor for human connection, inspired by the image of two people looking in opposite directions to face each other. As the music passes its midpoint, sections reverse, illuminating new angles on familiar tones.
Carson Cooman Horn Trio
The opening movement, Windsong, begins with an irregular rhythmic ringing figure in the violin— supporting a melody in the horn. Both of these (rhythmic gesture and melody) are the principal material of the movement. The ringing tapestry continues to build towards the conclusion. The second movement, Interlude I: Forest Bells, is hushed. A brief chorale in the middle interrupts the sustained ringing.
The inspiration for Assurance started not with the poem itself, but with a melody that came to me in a dream. After scribbling it down, I sent it to Anne Howarth and asked her to record it for me, which sounded even more beautiful than in the dream. Weeks later, I found the poem “Assurance” by Emma Lazarus. It immediately stood out because its author and I share a name, but as I read the poem over, I saw that “Assurance” was also about a dream, and the dream was about a woman. Lazarus died unmarried at age 38, and as I imagined her world, where the only place she found love was in dreams, I knew I could bring her words to life in a unique way.
Oliver Caplan Connect All. We All Connect.
Eric Whitacre Goodnight Moon Over the first six years of his life, I must have read Goodnight Moon to my son a thousand times, maybe more. Somewhere around reading number 500 I began
hearing little musical fragments as I read, and over time those fragments began to blossom into a simple, sweet lullaby. I knew it was a long shot, but I asked my manager, Claire Long, to contact HarperCollins and see if they would allow the text to be set to music. To my surprise and delight they agreed – the first time they had ever allowed Goodnight Moon to be used in such a way. I composed the piece relatively quickly, setting the text for harp, string orchestra, and my son’s mother, soprano Hila Plitmann. I later created a version for soprano and piano, SATB choir and piano and finally, SSA choir and piano.
Stephanie Ann Boyd Astrum Agri “Astrum Agri” is a loose translation of “Star Field” into Latin. Commissioned by astronomer Tony Berendsen, Astrum Agri seeks to translate Tony’s poem “Without Them” into musical form, and was written during many humid afternoons in New York City in the summer of 2016. Several lines in the poem have been put into the score as section headings so that the moods of the work truly correspond with its poetic inspirations. This work is one of three that Tony has commissioned in recent years, and I’m so grateful to get to take on the subject of the cosmos through his poetry again and again in these works. WITHOUT THEM Without them in the sky, The depth and beauty Of the cosmos comes alive With the sole sacrifice of All humanity. Our tools have surpassed Our imaginations, Our dreams of love and hate What once was only a field Draped with stories to share From generation to generation
Has become a wonder of our creation Not as genesis, but as A door swung wide open Filling the room of our earth With light beyond comprehension Drawing us together Close to understanding The cosmos we had hid Hidden behind our being. – Tony Berendsen
J.A.J. Sedarski Behind the Universe What happened in the beginning of the universe? Over the past couple centuries, tremendous strides have been made to answer this question and modern science has offered interesting clarity on the beginning of everything. After the Big Bang, space expands and energy cools revealing the structure of matter and beauty of new developed objects.In Behind the Universe, I wanted to reflect these new discoveries through music and demonstrate the power, expanse, and breathtaking beauty as we know the cosmos to be. The piece begins right before the Big Bang, frantic figures appear in all voices as energy bounces intensely from figure to figure. Suddenly, there is a burst of energy unlike the previous gestures and so symbolizes the singularity of the Big Bang. After this point, the voices slowly calm and individual gestures become recognizable. Harmony is introduced along with repeated figures, dynamic contrast, and expanded ranges. The piece ends with the introduction of a single melody hinting at the music to come.
Oliver Caplan Lunastella Fuga Lunastella Fuga was composed during the dog days of summer, nights spent gaping at the stars and wandering the New Hampshire woodland aglow in the
otherworldly light of a blue moon. Large constellations catch the eye first – Orion, Ursa Major, Aquarius – but their constituent triangles and squares are echoed infinitely, a giant fractal, incessantly permeating the firmament. We are drawn to the art of mimicry, and for composers, the fugue is its playground. Fugue is a compositional technique built on a melodic theme, first introduced in a single voice (in this piece, the cellos) and then spiraled throughout the other voices of the ensemble. The theme thrusts forward, transforming as it weaves amidst the voices – augmented, diminished, transposed to other pitches, and so on. The fugue theme seems to be heard everywhere, an astral echo of music in the air.
Jessie Montgomery Strum Strum is the culminating result of several versions of a string quintet I wrote in 2006. It was originally written for the Providence String Quartet and guests of Community MusicWorks Players, then arranged for string quartet in 2008 with several small revisions. In 2012 the piece underwent its final revisions with a rewrite of both the introduction and the ending for the Catalyst Quartet in a performance celebrating the 15th annual Sphinx Competition. Originally conceived for the formation of a cello quintet, the voicing is often spread wide over the ensemble, giving the music an expansive quality of sound. Within Strum I utilized texture motives, layers of rhythmic or harmonic ostinati that string together to form a bed of sound for melodies to weave in and out. The strumming pizzicato serves as a texture motive and the primary driving rhythmic underpinning of the piece. Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration.
TEXTS Goodnight Moon Text by Margaret Wise Brown In the great green room There was a telephone And a red balloon And a picture of – The cow jumping over the moon And there were three little bears sitting on chairs And two little kittens And a pair of mittens And a little toyhouse And a young mouse And a comb and a brush and a bowl full of mush And a quiet old lady who was whispering “hush” Goodnight room Goodnight moon Goodnight cow jumping over the moon Goodnight light And the red balloon Goodnight bears Goodnight chairs Goodnight kittens And goodnight mittens Goodnight clocks And goodnight socks Goodnight little house And goodnight mouse Goodnight comb And goodnight brush
Goodnight nobody Goodnight mush And goodnight to the old lady whispering “hush” Goodnight stars Goodnight air Goodnight noises everywhere
Connect All. We All Connect Text by Barry Duncan One touch, many connections, make being human a splendid state. I believe they do. Is all a tone. We bond, no? Be we not all as I? Traded I a tip, it aided art. Connect all. We all connect. I, to newer us. Sung, I say. Name? Not one. We be me be we. Not one. Many. A sign. Us? Sure. We, not I. Connect all. We all connect. Sum: It saved. Am I made vast? I’m us. Wonder. Ah. Set one note, solo. Set one note, shared now. Do they believe? I state: Splendid, a human being. Make connections. Many touch one.
Assurance Text by Emma Lazarus Last night I slept, and when I woke her kiss Still floated on my lips. For we had strayed Together in my dream, through some dim glade, Where the shy moonbeams scarce dared light our bliss. The air was dank with dew, between the trees, The hidden glow-worms kindled and were spent. Cheek pressed to cheek, the cool, the hot night-breeze Mingled ouir hair, our breath, and came and went, As sporting with our passion. Low and deep Spake in mine ear her voice: “And didst thou dream, This could be buried? This could be sleep? And love be thrall to death! Nay, whatso seem, Have faith, dear heart; this is the thing that is!” Thereon I woke, and on my lips her kiss.
COMPOSERS CARSON COOMAN
producing articles and reviews frequently for a number of international publications. He serves as an active consultant on music business matters to composers and performing organizations, specializing particularly in the area of composer estates and archives. For more information, visit www.carsoncooman.com.
ERIC WHITACRE
Hall (Los Angeles), the Royal Albert Hall and Buckingham Palace (London). Insatiably curious and a lover of all types of music, Eric has worked with legendary Hollywood composers Hans Zimmer, John Powell and Jeff Beal as well as British pop icons Laura Mvula, Imogen Heap and Annie Lennox. Major classical commissions have been written for the BBC Proms, Minnesota Orchestra, Rundfunkchor Berlin, The Tallis Scholars, Chanticleer, Cincinnati Pops, Royal Philharmonic Orchestra, National Children’s Chorus of America and The King’s Singers.
OLIVER CAPLAN
b. 1982 Carson Cooman is an American composer with a catalog of hundreds of works in many forms—from solo instrumental pieces to operas, and from orchestral works to hymn tunes. His music has been performed on all six inhabited continents in venues that range from the stage of Carnegie Hall to the basket of a hot air balloon. Cooman’s music appears on over forty recordings, including more than twenty-five complete CDs on the Naxos, Albany, Artek, Gothic, Divine Art, Métier, Diversions, Convivium, Altarus, MSR Classics, Raven, and Zimbel labels. Cooman’s primary composition studies were with Bernard Rands, Judith Weir, Alan Fletcher, and James Willey. As an active concert organist, Cooman specializes in the performance of contemporary music. Over 300 new compositions by more than 100 international composers have been written for him, and his organ performances can be heard on a number of CD releases and more than 3,000 recordings available online. Cooman is also a writer on musical subjects,
b. 1970 Grammy Award-winning composer and conductor, Eric Whitacre, is among today’s most popular musicians. His works are programmed worldwide and his ground-breaking Virtual Choirs have united singers from more than 145 countries. Born in Nevada in 1970, Eric is a graduate of the prestigious Juilliard School of Music (New York). He completed his second and final term as Artist in Residence with the Los Angeles Master Chorale in 2020 following five years as Composer in Residence at the University of Cambridge (UK). His compositions have been widely recorded and his debut album as a conductor on Universal, Light and Gold, went straight to the top of the charts, earning him a Grammy. As a guest conductor he has drawn capacity audiences to concerts with many of the world’s leading orchestras and choirs in venues such as Carnegie Hall (New York), Walt Disney Concert
b. 1982 Award-winning American composer Oliver Caplan writes melodies that nourish our souls, offering a voice of hope in an uncertain world. Inspired by the resiliency of the human spirit and beauty of the natural world, his music celebrates stories of social justice, conservation and community. Mr. Caplan’s works have been performed in over 175 performances nationwide. He has been commissioned by the Atlanta Chamber Players, Bella Piano Trio, Bronx Arts Ensemble, Brookline Symphony Orchestra, Columbia University Wind Ensemble and New Hampshire Master Chorale, among others. Winner of a Special Citation for the
American Prize in Orchestral Composition, additional recognitions include two Veridian Symphony Competition Wins, the Fifth House Ensemble Competition Grand Prize, eight ASCAP Awards, and fellowships at Ragdale, VCCA and the Brush Creek Foundation. Recordings of Mr. Caplan’s music include his 2017 release You Are Not Alone, which has been featured on Apple Music’s Classical A-list and streamed over 200,000 times; 2012 debut album Illuminations; and tracks on Trio Siciliano’s Exploring Music (2018, U07 Records) and the Sinfonietta of Riverdale’s New World Serenade (2016, Albany Records). A leader in the field of contemporary classical music, Mr. Caplan is the Artistic Director of Juventas New Music Ensemble. Mr. Caplan holds degrees from Dartmouth College and the Boston Conservatory, is a voting member of the Recording Academy, and resides in Medford, Massachusetts.
She has studied with Dr. Matthew Barnson, Dr. David Ludwig, and Dr. Keith Fitch at Rocky Ridge Music Center; and Dr. Samuel Adler at FUBiS in Berlin, Germany. At Rice University, she studied with Dr. Richard Lavenda, Dr. Karim Al-Zand, Dr. Anthony Brandt, and Dr. Arthur Gottschalk. An avid proponent of new music, Wine lives in Houston, Texas working at Musiqa, a new music collective whose mission is to perform works of living composers. She spends her extra time picking up shifts at a local craft coffee shop and playing competitive Ultimate Frisbee.
STEPHANIE ANN BOYD
PHOTO BY ANGELA YANG
EMMA WINE
the Tucson Symphony Orchestra in 2013. Other notable works include How to Make a Pond for live electronics (2015); Cloud Upon Cloud (2015), premiered by the Rice Undergraduate Chorale; The Two Roads (2016), written for violinist Giancarlo Latta’s 16x16 Encores Project; and most recently, Liftoff (2017) for trumpets, trombones and percussion, commissioned for Rice University’s 2017 Undergraduate Convocation.
in nearly all 50 states and has been commissioned by musicians and organizations in 37 countries. Boyd’s five ballets include works choreographed by New York City Ballet principal dancers Lauren Lovette, Ashley Bouder, NYCB soloist Peter Walker, and XAOC Contemporary Ballet’s Eryn Renee Young. Eero, a ballet commissioned by Access Contemporary Music and Open House New York, was written for the grand opening of the TWA Hotel at JFK Airport. Stephanie’s music has been praised as “[with] ethereal dissonances” (Boston Globe), “[music that] didn’t let itself be eclipsed” (Texas Classical Review), “arrestingly poetic” (BMOP), and “wide ranging, imaginative” (Portland Press Herald). The 2020/2021 season includes commissions from the Wyoming Symphony, Astral Artists with cellist Tommy Mesa, violinist Megan Healy, pianists Lara Downes, Lise de la Salle, Marta Aznavoorian, Lucille Chung, Susie Maddocks, Adrienne Park, Diane Kaztenburg Braun and Music Street, Sarah Bob and the New Gallery Concert Series, Holly Roadfeldt, Marianne Parker, Eunbi Kim, the Kurganov-Finehouse Duo, and others. This season also includes performances by the Lincoln Trio, Juventas New Music, Jennifer Reason, Lisa Pegher, Shouthouse, Ayanna Witter-Johnson, including concerts at the Kaufman Center, the Boston New Music Festival, the Festival of New American Music, Pianoforte in Chicago, live on Chicago’s WFMT radio station, and elsewhere. Find her at stephanieannboyd.com, insta@stephanieannboyd, twitter@stephaniannboyd.
b. 1986 b. 1990 Emma Wine is a graduate of The Shepherd School of Music at Rice University, where she earned her Bachelor’s of Music in Music Composition with Distinction in Research and Creative Works in 2017. Her work Be Happy, Noble Heart was premiered by
Michigan-born American composer Stephanie Ann Boyd (b. 1990) writes melodic music about women’s memoirs and the natural world for symphonic and chamber ensembles. Her work has been performed
J.A.J. SEDARSKI
JESSIE MONTGOMERY
b. 2000
b. 1981
Born and raised in southeast Minnesota, composer and baritone J. A. J. Sedarski has enjoyed many musical experiences throughout his life including the MMEA All-State choir and multiple honors, conference, and festival choirs. As a vocalist, he placed Superior in multiple state and section competitions and second in the Rochester Music Guild Scholarship Competition.
Jessie Montgomery is an acclaimed composer, violinist, and educator. She is the recipient of the Leonard Bernstein Award from the ASCAP Foundation, 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, language, and social justice, placing her squarely as one of the most relevant interpreters 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).
As a young composer, his work has debuted in a production of The Vagina Monologues and by the MIVOS Quartet. In the spring of 2020, he was awarded the 2020 Composition Competition with Performance with Orchestra from the School of Music at Boston University for his work Variants for Orchestra. He is currently an undergraduate student at the school of music at Boston University studying Music Theory and Composition under Joshua Fineberg and is the Marketing Coordinator for the Juventas New Music Ensemble. His current projects include his first opera entitled The Madman taken from the Parable of the Madman by Friedrich Nietzsche and his first album of piano music entitled Wading in the Water, composed in his childhood.
Her growing body of work includes solo, chamber, vocal, and orchestral works. Some recent highlights include Five Slave Songs (2018) commissioned for soprano Julia Bullock by the Metropolitan Museum of Art, Records from a Vanishing City (2016) for the Orpheus Chamber Orchestra, Caught by the Wind (2016) for the Albany Symphony and the American Music Festival, and Banner (2014) – written to mark the 200th anniversary of The Star-Spangled Banner – for The Sphinx Organization and the Joyce Foundation.
Jessie’s teachers and mentors include Sally Thomas, Ann Setzer, Alice Kanack, Joan Tower, Derek Bermel, Mark Suozzo, Ira Newborn, and Laura Kaminsky. She holds degrees from the Juilliard School and New York University and is currently a Graduate Fellow in Music Composition at Princeton University.
MUSICIANS JULIA SCOTT CAREY piano
Jon Saxton and Barbara Fox have generously sponsored Julia Scott Carey for the 2020-21 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-NEC 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 BSO 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.
ANNE HOWARTH French horn
Orchestra, and the Boston Symphony Orchestra, among others. Curious about the intersection between live music and movement, Anne has collaborated with Monkeyhouse and dancer/ choreographer Karen Krolak at First Night Boston, the Oberon, and Tufts University. Anne is a native of the Detroit area, holds undergraduate degrees in both Horn Performance and Environmental Studies from Oberlin Conservatory and Oberlin College respectively, and earned her Master of Music in Performance at New England Conservatory.
Alex Ripley and Ted Steinemann have generously sponsored Anne Howarth for the 2020-21 concert season. Horn player Anne Howarth has a passion for small group collaborations and the opportunities they offer performers and audience members alike to forge personal connections with the music and with each other. She is deeply curious about the ways in which shared musical experiences can invite deeper dialogue and contemplation. Anne is a founding member and Outreach Director of the mixed-instrumentation chamber group Radius Ensemble and is a senior member of the wind quintet Vento Chiaro. A strong proponent of new music, Anne has commissioned works for chamber ensemble as an individual and with colleagues. As a freelance orchestral player in demand in the greater Boston area, Anne holds Principal Horn chairs with the Lexington Symphony and Plymouth Philharmonic Orchestra and occasionally performs with the Portland Symphony Orchestra, the Hartford Symphony
Anne teaches horn and coaches chamber music at Tufts University and the Boston University Tanglewood Institute (BUTI), maintains a private studio, and is on the on faculties of the New England Conservatory Preparatory School, the Brookline Music School, and the Milton Afterschool Lesson Program.
RYAN SHANNON violin
Kevin Mathieu has generously sponsored Ryan Shannon for the 2020-21 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.
OLGA PATRAMANSKA -BELL violin
Oliver Caplan and Chris Beagan have generously sponsored Olga Patramanska-Bell for the 2020-21 concert season. Olga Patramanska-Bell was born and raised in Ukraine, where she received her musical education. After finishing her B.M. at the R.M. Glier Kyiv State Higher Music College and studying a few years at the National Musical Academy of Ukraine, she came to Boston to continue her education at the Longy School of Music in Cambridge, MA. She received her M.M. under the guidance of Mark Lakirovich. Patramanska-Bell is an active performer and participant in numerous concerts, projects and festivals. She is a winner of Concerto competition and Honors competition at the Longy School of Music, and has performed as a soloist with the
Longy Chamber Orchestra, National Pops Symphony Orchestra and Philharmonia Orchestra in Ukraine. Patramanska-Bell is a winner of several competitions in Ukraine and has travelled through Europe performing solo recitals and playing in violin ensembles. Currently, Patramanska-Bell is on the string faculty at the Winchester Community Music School, is a member of Zefira trio, Grand Harmonie, an assistant member of the Boston Philharmonic Orchestra and Symphony New Hampshire, member of the Atlantic Symphony Orchestra. Patramanska-Bell performed with such groups as Boston New Music Initiative, Equilibrium Ensemble, Walden Chamber Music Players, ECCE ensemble, Harvard Baroque Chamber Orchestra. Served as a concertmaster for Boston Opera Collaborative, Harvard’s Lowell House Opera and Commonwealth Lyric Theater. This year’s engagements include performances with Juventas New Music Ensemble and Sound Icon. In addition to giving private lessons Patramanska-Bell is actively playing chamber music with her friends in the Greater Boston area.
LU YU
viola
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.
KELLEY HOLLIS
soprano
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.
THOMAS BARTH
cello
Cellist Thomas Barth received his Master’s degree from The New England Conservatory of Music in 2019, where he was a recipient of the Gregor Piatagorsky Memorial Fund scholarship. In recent months, he has performed throughout New England with groups such as A Far Cry, The Juventas New Music Ensemble,The Boston Festival Orchestra Palaver Strings,the Atlantic Symphony, and the Harvard Baroque Chamber Orchestra. 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 with supplementary studies at the Royal Conservatory of The Netherlands. 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. In addition to his performance schedule, he
maintains a private teaching studio and serves on the faculty at the Brookline Public Schools and MusiConnects. For the past several years, Thomas has maintained regular yoga and meditation practices and is interested in the connection between mindfulness, music, and movement.
PETE WALSH
bass
Pete Walsh is an active freelance double bass player based in Boston, MA. Pete is particularly passionate about small ensemble playing and currently performs with Phoenix as Principal Bass and has performed as a guest artist with the Walden Chamber Players, Fine Arts Quartet, Marsh Chapel Collegium, Emmanuel Music, Juventas New Music Ensemble, Harvard Musical Association, Unitas Ensemble, Cape Cod Chamber Orchestra and many others. As an orchestral musician he has performed with the Boston Symphony Orchestra, Dallas Symphony Orchestra, Boston Lyric Opera, Odyssey Opera, and is a member of the Boston Philharmonic Orchestra and the Cape Cod
Symphony, where he also plays electric bass. He has performed in many top venues around the world including Carnegie Hall, Boston Symphony Hall, Philharmonie Berlin, and the National Centre for Performing Arts in Beijing. Since 2018 Pete has been a summer musician at Yellow Barn, a 5-week intensive international chamber music festival where he has performed alongside musicians from prominent chamber ensembles. Pete has also been a fellow at the Tanglewood Music Center, Schleswig-Holstein Musik Festival, National Orchestral Institute, and Round Top Music Festival. He has performed under conductors such as Andris Nelsons, Manfred Honeck, Stéphane Denève, Fabio Luisi, and Christoph Eschenbach. Contemporary composers he has worked with include Thomas Adès, Osvlado Golijov, John Harbison, Brett Dean, Steven Mackey, and many others. Originally from Dallas, Texas, Pete was initially drawn to the bass by listening to great jazz bass players. He began playing electric bass at age 10 and shortly after joined his middle school orchestra program on double bass. Institutions such as the Greater Dallas Youth Orchestra and Texas Public School’s Regional and State Orchestras fostered a love for classical music. He also spent formative summers at the Interlochen Summer Arts Camp and Boston University Tanglewood Institute. While in Dallas he studied with Clifford Spohr of the Dallas Symphony Orchestra and Jeff Bradetich of the University of North Texas.
He received both his B.M. and M.M. at Boston University studying with Edwin Barker and Benjamin Levy of the Boston Symphony Orchestra. Pete performs on a double bass made in southern Germany around 1870 with a distinctive carved lion head scroll and a French bow by Polish-Canadian bow maker Zdzislaw Prochownik.
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OUR BENEFACTORS
Juventas needs your support now more than ever! We’re busier than ever and offering our entire 2020-21 concert season for FREE, meaning we have completely lost ticket sales as a source of revenue. Your support helps us keep innovating and sharing music in the COVID era.
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.
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, 2020 to December 31, 2020. Please visit www.juventasmusic.org/ donate-now to learn about making a tax-deductible gift.
Juventas New Music Ensemble is a 501(c)(3) non-profit organization. Your fully taxdeductible contributions are essential for us to present new music. To make a donation, visit www.juventasmusic. org/donate-now, or mail a check to Juventas New Music Ensemble, P.O. Box 230015, Boston, MA 02123.
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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 oliver.caplan@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.
$2,000–$4,999 Jonathan Aibel and Julie Rohwein Boston Cultural Council Boston Mayor’s Office of Arts and Culture Passim Iguana Fund $1,000–$1,999 ArtsAlive Medford Foundation Inc. Bill and Paula Luria Caplan Oliver Caplan and Chris Beagan Carson Cooman Leslie Jacobson Kaye and Richard Kaye Kevin Mathieu Karen and Fred Ruymann Medford Arts Council $300–$999 Robert Beagan CACHE in Medford Julia Scott Carey and Richard Mitrano Casey Elia Margaret Hastings Denys Kotskyy Alexandra Bowers and James Liu May Marquebreuck Cashman Kerr Prince and Bryan Burns Mark and Jody Raider Rachel M. Rivkind Theodor Weinberg and Eric Hyett Michelle Wells Drew Wilkins Emma Wine
$200–$299 Margie Coffin Brown Eric Darling Christine DiBlasi Isadel Eddy Ann Ferentz Moriah Freeman Michael Gandolfi Maureen Hollis Kenneth Krause and Maura McEnaney Matthew Kusulas Steven Lewis Nagesh Mahanthappa MaryBeth Manca Ketty Nez Linda Ng Joe Sodroski and Alice Noble The Record Co. S Rosa Ryals Marco Sandonato Ben Sweetser $100–$199 Ed and Mary Amabile Charles Anderson Lauren Bilello Lee Binnig Margaret Cain Michele Caniato Andrew Caplan & Elise Viebeck Rachel Ciprotti Larry Cohen and Susan Worst Oliver Davis Jaclyn Dentino Lauren Downing and Roseanne Luvisi Jerry and Joanne Dreher BJ Dunn Maggie Edinger Yukiko Egozy Lynn Eustis Andy Foery Lorna Gibson Nancy Goodwin Meghan Guidry Judith Gurland Steven and Jennifer Guthrie Evangelia Hatzis Mary and David Howarth
Barbara Hughey Catherine Hyson Jim Kane and Sharon Williams William Kane Mari Kotskyy Nancy Kurtz Stella Lee Roseanne Luvisi Tammy Lynch Annie MacDonald Carol McCarthy Mona McKindley Antares Meketa Jason Newman Robert Page Dan Perkins Christopher Porter Kathryn Ritcheske Lori K. Sanders Andrew Schmolka Liz Smith Catherine Smith Arlene Stevens Tina Strunk Sharon Daniels Sullivan Ann Teixeira Daniel VanHassel Betty & Joseph Walters Wegmans Medford Eric Wei Brent Whelan Beverly Woodward and Paul Monsky Murray and Susan Woolf $50–$99 Jaime Alberts Dimitrios Antos Kenneth Bigley Timothy Borchers Bruce Brolsma Elizabeth Bukey Brian Campbell Carrie Conway Alexis Dearborn Bryce Denney Andrew Elliott Shaun Eyring David and Ellen Fries Susie Hoglund
Nancy Hudgins Joseph Hutcheson Betsy Igleheart Beth Jacob Jeffrey Kane Tim Kane Dayton Kinney Roger Klorese Jane Parkin Kullmann Ian Lai Chris Lamb Ludmilla Leibman Joshua Levit Ben Levy Harold Lichtin Melodie Linhart Xiomara Lorenzo Linda Markarian Justin Mog Herbert Motley Andrew Pease Rachel Pinsky Katie Remesch Joan and Howard Rothman Mallory Ruymann Jonathan Sachs Lorne Schweitzer Gordon Shannon Kyle Simpson Mary Kathryn Smith Roger Southwick Ingrid Stolzel Imogene Stulken Tina Summerlin Barbara Turen Michael Vanderheyden Elaine Walsh Kristina Watts Catherine Wee Up to $49 Susan Altman Tatev Amiryan Chandler Anderson Nkese Applewhite Bozo Banovic Mary Barton Robert Bassett Olga Bell Vivian Best
Martha Bewick Elisa Birdseye Amy Bracewell Anna Bradford Stefan Bucher Anne Burt Alvin and Stefanie Carter Trudy Chan Delia Clark Carrie Cleary Charles Coe Nell Cohen Katie Cornog Karen Courtney Laura Davidson Brooke Davis Ashi Day Stephen Deets Rebecca Entel Marisa Jo Erskine Elizabeth Eschen Ellen Feingold David Feltner Ben Fox Lisa Geoghegan Lyudmila German Kendra Goodwin Al Gray Sai Srujan Gudibandi Andy Hanson-Dvoracek Alex Hargus Kiyoshi Hayashi Mark Heinzelman Karilyn Heisen Kelley Hollis Anne Howarth and Frederick Frank Jr. Wolcott Humphrey Howard and Frances Jacobson Ruth Kessler Justin Kim Helene Kisch Bruce Kozuma Abigail Krawson Aaron Larget-Caplan Anna Leahy Estelle Lee Dayna Li Shayna Liu Allegra Martin
Massachusetts Rivers Alliance John McDonald Libby Meyer Donna Migdal Krystal Morin Shadwa Mussad Susan Hall Mygatt Roxanna Myhrum Jonathan Newmark Cornelia Nichols Heather O’Brien Carolyn Oberting Sarah Peck Katie Reimer Ian Reiss Ginny Remedi-Brown Patricia Roos Mary Beth Saffo Antonio Santos David Schober Matt Scinto Joseph Sedarski Dennis Shafer Chuck Sheketoff Moshe Shulman Jorge Sosa Jan Swafford Julie Tittler Francine Trester Patrick Walker Joni Wardell Dalit Warshaw Susan Welby William Williams Laura Yoo We are also extremely grateful to the dedicated volunteers who gave their time and talents to Juventas in the 2019-20 concert season: Michelle Locke Annie MacDonald Mona McKindley Rachel Walker Elaine Walsh Leo Walsh
THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU
$5,000 and Above John A. Carey Mary Humphrey Massachusetts Cultural Council The Ripley-Steinemann Family Fund Jon Saxton and Barbara Fox
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