MÚSICA de las BROADCAST LIVE ON YOUTUBE JULY 19, 2020 AT 3:00PM EST JUVENTASMUSIC.ORG - Juventas New Music Ensemble
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THE CULTURAL
CENTER OF
CAPE COD
PRESENTS
OLIVER CAPLAN | ARTISTIC DIRECTOR
MÚSICA
de las
AMÉRICAS
GENEROUSLY SUPPORTED BY BROADCAST LIVE ON YOUTUBE
BOSTON CULTURAL COUNCIL
JULY 19, 2020 AT 3:00PM EST
JUVENTASMUSIC.ORG
STAFF
Oliver Caplan, Artistic Director
ABOUT JUVENTAS Patrick Walker, General Manager
Chris Beagan, Director of
Juventas New Music Ensemble is a contemporary chamber group with a special focus on Marketing & Communications
emerging voices. Juventas shares classical music as a vibrant, living art form. We bring audiences Chris Petre-Baumer, Graphic
music from a diverse array of composers that live in today’s world and respond to our time. Designer
Rozime Lindsey, Arts Administration
Since its founding in 2005, Juventas has performed the music of over 200 living composers. Intern
The ensemble has earned a reputation as a curator with a keen eye for new talent. It opens doors Joe Sedarski, Social Media Intern
for composers with top-notch professional performances that present their work in the best possible
light.
BOARD OF
Recognition for the ensemble’s work includes the American Prize in Opera Performance and
support from the National Endowment for the Arts, Massachusetts Cultural Council, and Boston
DIRECTORS
Foundation. Juventas is featured on albums by Innova Recordings, Parma Records and New John Carey, President
Dynamic Records, and has held residencies at Boston Conservatory, Harvard University, Longy Cashman Kerr Prince, Treasurer
School of Music, Middlebury College, and Worcester Polytechnic Institute. Alvin B. Carter III
Leslie Jacobson Kaye
Juventas has a storied history of dynamic collaboration with artists in other media, including Rachel M. Rivkind
dancers, painters, scientists, poets, puppeteers and robotics engineers. A leader in the field, Karen Ruymann
Juventas also facilitates the Boston New Music Festival, a weeklong showcase of Boston’s Marco Sandonato
contemporary music scene. Oliver Caplan, ex officio
ABOUT THE CULTURAL CENTER OF CAPE COD The Cultural Center of Cape Cod is one of the most engaging and accessible cultural organizations in the region.Our mission is to serve the entire Cape community and visitors to the area by offering instruction, entertainment, and exhibition in the visual, literary, and performing arts. Programming at the Center reflects real needs and priorities and is echoed by its motto: All the Arts for All of Us. Perhaps the best example of our response to community is embodied by our new Education Wing, whose Culinary Arts Center, Recording Studio, Pottery Studio, and other assets fill gaps in service, especially for under-served populations. We support both emerging and established artists in all media and genres. Since opening in 2007, the Center has served over 200,000 people and has received several awards, including an Adaptive Reuse award from the MA Historical Commission, a Community Impact Award from the Town of Yarmouth, and a Community Leadership in the Arts Award (selected by other non profits across the region). It is involved in regional and state-wide arts advocacy efforts and is widely recognized as a leader in both the arts and community development. Everything that happens at the Cultural Center is predicated upon a democratic philosophy of inclusion, encouragement, and accessibility. Its performance and exhibition schedules feature a balance of both emerging and established artists. Flexible teachers lead classes for a range of ages and abilities. Prices are reasonable, and scholarships are available for those without the means to pay. Exhibits, receptions, and many other events are free. And programs for under-served populations like youth at risk—in partnership with leaders in the social services, government, and education—provide meaningful antidotes to unhealthy behaviors. Both the breadth and depth of its programming make the Center a strong and vibrant resource for the entire region.
MÚSICA de las AMÉRICAS
JULY 19 AT 3:00 PM EST
Julia Scott Carey, Piano
Moisés Moleiro Joropo (1944)
Aaron Copland El Salon Mexico (1936)
Arr. by Leonard Bernstein
Ernesto Lecuona Danzas Afro-Cubanas (1934)
La Conga de Media Noche
Danza Negra
...Y La Negra Bailaba!
Danza de los Ñañigos
Danza Lucumi
La Comparsa
Ketty Nez (re)interlude 1 (2019)
Juan María Solare Schubertango (2014)
Juan María Solare Torniamo dentro (2018)
Juan María Solare Liberadora (2019)
Jorge Sosa Cuestión de 3 (2013)
From the play, Cuestión de 3
Jorge Sosa Over the Event Horizon (2010)
Catarina Rock Varga Tema y variaciones II (2016)
Leonard Bernstein America (1957)
From West Side Story
but with surprising twists. Joropo is “In some inexplicable way, while milling
PROGRAM NOTES usually danced by couples in which the about in those crowded halls, one really felt
BY KAREN RUYMANN woman dances sweeping steps while the man a live contact with the Mexican people — the
rhythmically stomps his feet. Like a waltz, the atomic sense one sometimes gets in far-off
dancers dance in triple meter and turn as a places, of suddenly knowing the essence of
a people — their humanity, their separate
pair around the dance floor. Fast-paced, this
shyness, their dignity and unique charm.”
Moisés Moleiro national dance can be played on a wide
variety of “portable” instruments” such as
Joropo Copland’s work contains three musical styles
harps, guitars, bandolas, and maracas.
and states each twice as a series, starting
Watch a video of this joyous dance music
Moleiro composed his most popular work - with the upper-class music, passing through
and enjoy the party!
Joropo (1944) for solo piano. In many of a more vigorous working-class music, and
his piano pieces Moleiro fused Venezuelan ending with the foot-stomping dance of the
musical idioms with ideas from traditional Aaron Copland peasantry. Divisions between the sections are
European art music, alluding to the work El Salon Mexico clear, as if one enters a new room with each
of Scarlatti, Bach, Chopin, and the section. The upper-class music suggests formal
Impressionists. Moleiro devoted himself to Aaron Copland originally wrote El Salón European dances of the nineteenth century
the advancement of Venezuelan national México as a single movement symphonic while the rich rhythms of the peasant music
music throughout his life. composition. Copland visited Mexico several suggests indigenous culture.
times in the 1930s and the four melodies
Joropo originated in the rural grassland plains of the piece are based on sheet music he Copland befriended the young Leonard
region of Venezuela (Los Llanos) and Colom- purchased during his visits. The work is a Bernstein shortly after his graduation from
bia and the term “Joropo” refers not only to musical depiction of a dance hall called Harvard and arranged for Bernstein to
the music, but to dress, dance, and poetry as “El Salón México” which opened in 1920, conduct a few of his pieces and featured
well. In the eighteenth century the llaneros welcomed all socio-economic groups and him as the second pianist in performances of
(cowboys) started using the word “joropo” was the dance capital of Mexico City. The some of his four-handed piano compositions.
instead of the word “fandango,” the featured dance bands played a wide variety To promote one of Copland’s most
contemporaneous term for a party with of tunes: waltz, foxtrot, tango, pasodoble, and successful pieces, his publisher suggested
dance. This dance style incorporates elements the Cuban danzón. One of the “regulars,” that they needed a piano arrangement of El
from European, African, and South American a Cuban orchestra wrote a danzón called Salón México. Copland replied, “I know just
performing art forms, including the fandango. Salón México after the establishment. The the man. He’s a poor musician….” They paid
In 1882, Joropo was declared as the hall had murals, now lost, painted by Diego Bernstein 25 dollars and the rising star
“national” dance of Venezuela. Joropo Rivera, Salvador Novo, Dolores Olmedo, and created arrangements for solo piano and
consists of an uninterrupted chain of musical others. It closed in 1960. In his autobiography for two pianos, four-hands. The music of Latin
sections of fixed forms, as in a Baroque suite, Copland remarked: America energized Bernstein and would be
at the core of his groundbreaking West Side important; and they are first of all the Bolero.” Lecuona has often been described
Story. Indians, [sic]—the original inhabitants of as “the George Gershwin of Cuba,” because
those countries, and secondly, Africans, a he composed and performed pieces
In the early 1960’s Bernstein hosted the novel tremendously important influence, at least as bridging classical and popular music. The
Young People’s Concert Series on CBS. After important as it is in our own country. It is the Boston Globe’s Richard Dyer explains “...
mingling of these different heritages which
the opening number of the episode entitled although his music, like Gershwin’s does cut
makes the Latin American spirit in the music.”
“The Latin American Spirit” he said, across the divisions between concert and
popular music … Lecuona was essentially a
“I’m surprised to find you all in your seats. Ernesto Lecuona miniaturist, and there is an element of charm
I’d half expected to turn around and see Danzas Afro-Cubanas and novelty in many of the pieces.”
everyone doing the samba, or something, up
and down the aisles. …Latin American music is Ernesto Lecuona remains Cuba’s best Lecuona wrote Danzas Afro-Cubanas to
almost irresistible, …It has a way of stirring up
known and perhaps the nation’s most prolific honor the Black African culture of his native
the blood…Ever since I can remember there’s
composer. Of his more than 1000 Cuba. Miller Mies notes,
always been an international craze of some
kind for Latin American dance music, from the compositions, his most popular works remain
standards in Latin music. According to “Beginning in the 1920s and 1930s, intel-
old Argentine tango, which swept the world
Angela Miller-Mies, “He used nationalism lectuals began to accept and even embrace
in my childhood, all the way through the
in his music on the same level as other African contributions to Cuban music and arts,
rhumba, the samba, the conga, the mambo, the
composers like Grieg or Bartok and was one giving these arts a new significance as a sign
cha-cha, the pachango, the merengue, right
of national unity. As the 1930s progressed,
up to the present excitement over something of the first Latin American composers to use
called the Bossa Nova. … actually I’m not these changes were seen in all types of art and
modern classical innovations in traditional
music and became known as the afrocubanis-
crazy about that word “Latin” to describe this music styles.” A great deal of Lecuona’s
kind of music, because it tells only part of the mo movement.”
music was first introduced to mass American
story. When we speak of “Latin America” we audiences by Desi Arnaz, a fellow Cuban
are, of course, referring to the historical fact
and Lucille Ball’s spouse. Lecuona’s music Ketty Nez
that these countries were conquered, settled,
influenced the Latin American world in a (re)interlude 1
and exploited by invaders from Latin countries:
like Spain—or, as in the case of Brazil, from way quite similar to George Gershwin in
Portugal. Spanish and Portuguese are still the the United States, raising Cuban music to This afternoon’s concert marks the World
official languages of our friends to the south classical status. Premiere of this piece. “(re)interlude 1” was
of us: and those languages are called “Latin” written in the Summer of 2017 as part of a
languages because they developed from the Indeed, Lecouna was friendly with George series of short piano works written at the
old language of ancient Rome. Gershwin and Maurice Ravel, the latter request of a friend who performs John Cage’s
describing Lecuona’s immortal Malaguena, Sonatas and Interludes for prepared piano.
But the Latin American spirit has other “more melodic and beautiful than my own In these pieces, Nez explored large
ancestors besides the “Latin” ones, at least as percussive sonorities, specific notes of which
are associated with one of several be flawlessly integrated into the musical a version for Trio in February 2020, Julia is
simultaneous polyrhythms (13:7:5:3 e.g.). language of tango. If one doesn’t know the premiering the original piece as written for
Nez set “(re)interlude” I set for unprepared original pieces, you will not even recognize solo piano.
piano. According to Nez, that there is a quotation at all.” In the score,
the composer kindly tags the sources of the
quotations; nevertheless, “There is also a Jorge Sosa
“The beginning ostinato of notes uses different
rhythms, and somehow that came out with hidden allusion that doesn’t stem from Cuestión de 3
a Latin, jazzy tinge. To be honest, I didn’t Schubert; instead it is the chord progression
intentionally set out to use Latin rhythms, but (not the melody) of a very well-known tango Jorge Sosa is a Mexican-born composer
really love the rhythmic energy of their wide of the modern era. Will you recognize it?” currently residing in New York. He has
variety of styles ... I am thrilled to have Julia worked in a wide range of styles and
Carey and the Juventas Ensemble once again The Italian title Torniamo dentro (Let’s Go Back media from electronic music to opera. Julia
premiere my music.” Inside) has a double meaning: the and Jorge met when she played in the 2019
direct one (Let’s go back inside home and world premiere production of his opera I am
Juan María Solare have dinner) and the allegorical (Let’s go a Dreamer Who No Longer Dreams, a
back inside within ourselves and look at collaboration with librettist Cerise Jacobs
Schubertango, Torniamo dentro, our souls again). This gentle, minimalistic, under the auspices of White Snake Projects.
and Liberadora and peaceful piano piece was composed In his music Sosa mixes folk and
in Bremen, Germany , in January 2018 and traditional music from around the globe:
Juan María Solare is an Argentine composer received its premiere in September 2018 (the Afro-Latin rhythms and Jazz harmonies
and pianist. Julia has met Juan María Solare composer at the piano). Solare’s atmospheric might be juxtaposed with noise or sweeping
virtually, when she performed a piece of his piece suggests many states: poetic, lyricism. Science, ecology, multiculturalism,
on her first Stay Home with Juventas concert. mysterious, delicate, hovering, levitating. spirituality, and social justice are recurring
“The singularity of his music stems from the Solare writes, themes in many of his works.
confluence between tango argentino and
contemporary classical, “post-tonal” music “Aesthetically, this is neoclassical music. Fans Sosa’s first work as a composer was to write
(Astor Piazzolla and Karlheinz Stockhausen of Erik Satie or Michael Nyman will feel at incidental music for the theatre. The premise of
are his musical grandfathers, so to say).” home. The piece could go on forever, it does
the play by Carmina Narra Cuestión de 3 is a
not need to stop.”
love triangle between two men and a woman
Solare suggests,
in which the female protagonist gets pregnant
“Tango music has more to do with Franz Solare uses Liberadora (liberating) in his
Schubert than with any other classical and does not know which of her lovers is the
own playing “for warming up.” He subtitles
composer. Harmonies and types of melodies father. This introspective tune describes the
it - “milonga” – which is a genre related to
are extremely similar. Such similarities cease, mother considering the future of her baby.
the tango and as Solare declares, “one of my
at the latest, when we come to rhythm… This
mother tongues.” Although first performed in
miniature shows how Schubert’s melodies can
Jorge Sosa Catarina Rock Varga for a small fee in America.”) The meter
On the Event Horizon Tema y variaciones II alternates between duple and triple
throughout the song, taking its rhythmic
This piece was inspired by Stephen Hawking’s inspiration from Latin dances. However, the
Catarina Rock Varga composed Theme harmonies are pure Americana, consistent
A Brief History of Time and the scientist’s and Variations II in 2016, and since then
revelations about black holes. with Bernstein’s tonal language in other works.
the work has been performed several times Bernstein exuberantly melds elements of
in Mexico City. Varga constructed the work traditional Latin-American music with a
According to Sosa, in strict variation form basing the theme on
“The ‘Event Horizon’ is a ring made of light classical symphonic scoring. However,
Scriabin´s mystic chord and the scale which is behind this joyous facade, the lyrics tell the
and radiation that is thought to exist in the rim derived from it. The Russian composer´s scale story of poverty, injustice, and racism (i.e.
of a black hole. As the event horizon spirals
is almost identical with a part of the harmonic, “Life can be bright in America, If you can fight
into the core of the black hole it is thought that
an observer would be able to see past and or overtone series, and Varga exploits this in America. Life is all right in America, If you’re
future versions of themselves, as they travel similarity. The theme has 18 melodic, rhythmic, all white in America.”).
down through the black hole and are harmonic, or contrapuntal variations, and at
disintegrated into the very fabric of existence. the end, there is a structural variation which is Two years ago, I had the privilege of
I imagine the Event Horizon to be a place of longer. Further contrast among the variations rehearsing this piece at the Hatch Shell in the
incredible beauty, and devastating violence is explored through dynamics and articulation. dressing room trailer of the renowned Rita
- a place where time ceases to exist as light is
Moreno (who played the character Anita in
deconstructed and trapped by the black hole. Leonard Bernstein the film adaptation of “West Side Story”)
Musically, Over The Event Horizon deals with
explorations of time and meter, alternating America from West Side Story and Natalie Cortez (who played Anita on
sections of free rhythm that organically spiral Broadway), as they prepared to sing it with
violently out of control, with sections of metered From Julia – the Boston Pops on their annual July 4th
lyricism. The piece premiered in the Czech Fireworks Spectacular. The Pops’ program
Republic as part of the Mexico New Music “This is the most famous number from that year was specifically inspired by
Festival in 2010. Thank you to Julia Carey Bernstein’s musical “West Side Story” immigration, and this piece’s telling of the
and Juventas New Music Ensemble for finally (lyrics by Stephen Sondheim). In this song, complex realities of coming to America
premiering the work in the U.S.” two characters debate the relative fortified that theme. Getting to work so closely
advantages and challenges of living in the with the two stars who had defined the role of
US Territory of Puerto Rico vs. one of the Anita was enough to induce goosebumps in
States of our country. The lyrics demonstrate spite of the sweltering weather.”
the razor-sharp wit of Sondheim as he
critiques both the old and new worlds of the
characters (i.e. “Everything’s free in America,
has matched the tremendous popular and
critical success of West Side Story.
ERNESTO
COMPOSERS LECUONA
Adapted from Wikipedia.
LEONARD
BERNSTEIN AARON
COPLAND
Ernesto Lecuona y Casado (1896–1963) was
a Cuban composer and pianist of worldwide
fame. He composed over six hundred pieces,
mostly in the Cuban vein, and was a pianist
of exceptional skill. He started studying piano
Leonard Bernstein (1918–90) was an at the age of five, under his sister Ernestina
American composer, conductor, author, music For nearly four decades, American composer Lecuona, a famed composer in her own right.
lecturer, and pianist. He was among the first Aaron Copland (1900–90) achieved a As a child prodigy, he composed his first song
conductors born and educated in the U.S. to distinctive musical characterization of at the age of 11 and later studied at the
receive worldwide acclaim. His fame derived American themes in an expressive modern Peyrellade Conservatoire under Antonio
from his long tenure as the music director style. Copland studied piano and composition Saavedra and the famous Joaquín Nin.
of the New York Philharmonic, from his in America and Europe and became one of Lecuona graduated from the National
conducting of concerts with most of the the century’s foremost composers with highly Conservatory of Havana with a Gold Medal
world’s leading orchestras, and from his music influential music that had a distinctive blend for interpretation when he was sixteen. He
for West Side Story, Peter Pan, Candide, of classical, folk and jazz idioms. Some of became a prolific composer of songs and
Wonderful Town, On the Town, On the Copland’s most prominent pieces included music for stage and film. He scored some
Waterfront, his Mass, and a range of other Fanfare for the Common Man, El Salon of the film music for The Cuban Love Song,
compositions, including three symphonies Mexico, and Appalachian Spring, for which Always in My Heart, and One More
and many shorter chamber and solo works. he won a Pulitzer Prize. Copland was also an Tomorrow as well as the entire musical score
As a composer he wrote in many styles Oscar-winning writer of film scores. of the film Carnival in Costa Rica. His works
encompassing symphonic and orchestral consist of zarzuela, Afro-Cuban and Cuban
music, ballet, film and theatre music, choral Adapted from Biography.com. rhythms, suites and many songs which are still
works, opera, chamber music and pieces for very famous.
the piano. Many of his works are regularly
performed around the world, although none Adapted from Wikipedia.
MOISÉS the University of Iowa. Listen to a
Wonder Never Heard Before!, her portrait
Before computer music studies, Ketty worked
for two years with Louis Andriessen in
MOLEIRO CD as composer/pianist, was released in Amsterdam, and co-founded the international
2010 by Albany Records. Her folk opera, The contemporary music collective Concerten
Fiddler and the Old Woman of Rumelia, was Tot and Met. She spent a year studying with
premiered in a staged version in May 2012, composer Michio Mamiya in Tokyo before
by Juventas New Music Ensemble. Her piano her graduate work, and her music has been
concerto thresholds, performed by Ketty and performed in festivals in Europe, North
the Boston University Wind Ensemble, was America, and Asia. Ketty holds a Ph.D. in
released in July 2013 by Ravello Records. composition from the University of California
Moisés Moleiro (1904–79) was a
BUWE also recorded four scenes for Juliet, at Berkeley, a master’s degree in composition
Venezuelan pianist and composer who
released February 2019 by Summit Records. from the Eastman School of Music, a
studied under Salvador Llamozas. Moleiro
double images, a CD of folk-based chamber bachelor’s degree in piano performance
founded the Orfeón Lamas and taught piano
music, was released by Albany Records from the Curtis Institute of Music, and a
at the Caracas Musical Declamation
in May 2020. Current projects include bachelor’s degree in psychology from Bryn
Academy (today the Escuela de Música
collaborations with Aija Reke and Hyun-Ji Mawr College.
José Ángel Lamas). His works have been
Kwon. In 2021, Ketty will teach as a Fulbright
performed in the United States, Europe, and
across Latin America. One of his most popular
scholar at the Liszt Academy in Budapest,
Hungary, followed by a term at the Aichi
JUAN
compositions is the Joropo, a piano take on
Venezuela’s folkloric music.
University of the Arts in Nagoya, Japan. MARÍA
Ketty completed, in 2002-3, a residence of SOLARE
KETTY several months at the Ecole Nationale de
Musique in Montbeliard, France, prior to the
NEZ premiere of her chamber opera An Opera
in Devolution: Drama in 540 Seconds, at the
2003 Seventh Festival A*Devantgarde in Composer and pianist Juan María Solare
Munich. In 2001, she spent several months was born in Buenos Aires, Argentina in 1966
as visiting composer/scholar at Stanford and has lived in Germany since 1993. He
University’s Center for Computer Research studied with María Teresa Criscuolo, Fermina
in Music and Acoustics (CCRMA), and in Casanova, Juan Carlos Zorzi and
1998 participated in the year-long computer Francisco Kröpfl (Bs As), Johannes Fritsch,
Ketty Nez joined the composition and theory
music course at the Institute de Recherche et Helmut Lachemann and Hans-Ulrich Humpert.
department at the Boston University School of
Coordination Acoustique/Musique (IRCAM). Solare was the last pupil of Mauricio Kagel.
Music in 2005, after teaching for two years atHe obtained scholarships from the DAAD,
the foundation Heinrich-Strobel-Stiftung JORGE based on three iconic dissenting opinions by
Supreme Court Justice Sonia Sotomayor.
(Baden-Baden) and the Künstlerhäuser SOSA I Dissent was premiered in the Albany
Worpswede. Symphony’s “Voices of America Festival” in
2019. His piece Punto y Línea for solo flute
Currently, Solare teaches piano at the was featured in the 2019 London Festival
Musikschule Bremen, tango music at the of American Music, and his work Cells for
Universität Bremen and Composition, and ensemble and electronics was recently
arrangement at the Hochschule für Künste in performed at the Diffrazioni Multimedia
Bremen. Most of his over 300 Festival in Italy, and in the International
compositions are performed throughout Jorge Sosa is a Mexican-born composer and Computer Music Conference in New York
Europe and broadcasted regularly. Eight CDs sound artist currently residing in New York. City. In 2019 Jorge was a guest artist with
by diverse performers include at least one In October 2020 Jorge will be premiering New Music Detroit during their 2019 Strange
piece by Solare. As pianist, the center of his Alice in the Pandemic, a new telematic Beautiful Music Festival. Jorge’s first full-length
repertoire is classical music of our time (Cage, opera commissioned by White Snake opera, La Reina, commissioned by American
Schönberg, Pärt) and Argentine tango music, Projects, written specifically for online remote Lyric Theater, was performed in the 2016
featuring his own works in both categories. collaboration. Jorge’s first fully staged opera, “PROTOTYPE” festival in NY. In 2020 the
Besides compositional and pianistic activities, I Am A Dreamer Who No Longer Dreams, NYU New Music Ensemble will release a
he writes for music magazines (Madrid, was commissioned and premiered in Boston new album dedicated to Jorge’s improvisation
Mexico, Buenos Aires, Köln, London) and for in 2019 by White Snake Projects. Jorge has works with electronics. Jorge is an
the radio (Deutsche Welle, Südwestfunk). been commissioned by Little Orchestra Associate Professor, and Chairperson of the
Society to write The Monarch of Uxmal, Music Department at Molloy College. Jorge’s
a new work for orchestra and narrator music is available on all the major music
with premiere scheduled for 2021. Jorge is download sites and through his website
currently developing a new puppet-opera www.jorgesosa.com.
Monkey, commissioned by White Snake
Projects. Monkey will receive a workshop
performance in 2020, and is scheduled to
premiere in 2021 in Boston. Jorge has
recently been commissioned by American
Lyric Theater to develop the new opera
The Opposable Thumb, with libretto by
Julian Crouch, with a premiere date of 2022.
In 2019 Jorge was commissioned by
Albany Symphony to write his work I Dissent,CATARINA
ROCK
VARGA The Surrealtors
are pleased to support Juventas New Music Ensemble
in presenting contemporary classical music
for Boston area audiences.
Catarina Rock Varga was born in Monterrey, Mexico, in
1940. She began her piano studies at age 4, and throughout
her life played as an amateur pianist. Although she became
an economist and member of the Mexican Foreign Service,
she discovered that she could compose without any formal
instruction. She successfully presented several of her works
for piano solo and for piano and violin in concerts by the San
Angel Chamber Music Ensemble, in Mexico City.
At age 65, upon retirement from the Mexican Foreign Service, Trisha Solio
she applied to the National University of Mexico’s School of Artful and Heartful Real Estate
Music (UNAM, Facultad de Música). In spite of her age,
she was admitted because of her excellent performance in www.TheSurrealtors.com
auditions for piano and composition, notwithstanding some 617.293.8070
fierce resistance. In her studies she received awards for
outstanding academic excellence from the Director of the Trisha.Solio@unlimitedsir.com
School of Music and from the President of UNAM. Her
world-renowned mentors and teachers are pianist María Unlimited Sotheby’s International Realty
Teresa Frenk and composer Leonardo Coral.
She now holds a B.A. in piano, and once the Covid-19
pandemic is over, she will present her thesis and final concert
for another B.A. in composition. She also sings in Mexico
City’s chorus “Coro Promúsica”, and the concerts she has
participated in include one in Carnegie Hall. At present, her
chorus is editing videos.Chorus. She previously served as the pianist for Harvard Early Music Society, which was taken
the Handel and Haydn Society’s Educational on tour to Versailles. She also music directed a
MUSICIAN Vocal Quartet, the Wellesley College
Chamber Singers, and the Boston Children’s
performance of John Eccles’ Semele with the
same organization. Speaking of her performance
Chorus. She is also a founder and core as a harpsichordist in the Boston Opera
ensemble member of Juventas New Music Collaborative’s production of Le nozze di Figaro,
JULIA Ensemble. the Boston Musical Intelligencer said, “The
unwavering harpsichord accompaniment of Julia
SCOTT As a composer, her orchestral works have been Carey richly and expressively textured the
CAREY performed by numerous orchestras, including the
Boston Symphony Orchestra and the Boston Pops,
recitatives.”
piano and her works have been broadcast on national Julia currently works as a musicianship teacher
TV and radio in the United States and in Russia. and department coordinator at the Suzuki School
She was the youngest composer ever published in Newton. She also taught an undergraduate
by the Theodore Presser Company. She was also music theory class at Boston College, served as
chosen to arrange a folk song for Yo-Yo Ma and a keyboard harmony teaching fellow at NEC,
Julia Scott Carey began her music training at the Lynn Chang to play at Deval Patrick’s inaugural and worked as a musical theatre teacher at the
New England Conservatory Preparatory School, ball. Belvoir Terrace Arts Camp and the Boston
where she received the Lanier Prize for Most Children’s Theatre.
Outstanding Graduating Senior. She was one of She has served as a music director or
the first students admitted to the Harvard-New accompanist for over forty opera and musical Julia lives in Winchester with her husband and her
England Conservatory joint degree program, theater productions. Productions for which Julia daughter. In addition to music, she loves cooking,
through which she received a master’s degree was the music director include Cy Coleman’s City running, and spending time on Cape Cod.
in composition. She received a second master’s of Angels with the Longwood Players and
degree in collaborative piano from Boston Alexander Zemlinsky’s Der Zwerg with Jonathan Saxton has generously sponsored Julia
University. OperaHub. Reviewing a performance Julia Scott Carey for the 2019-20 concert season.
conducted of Puccini’s Gianni Schicchi with the
Julia is the Minister of Music at the Central Square Hubbard Hall Opera Company, the Berkshire
Congregational Church in Bridgewater, where Hudson Arts Review said “the
she leads the adult and children’s choirs from the
keyboard. She is one of the accompanists for the players and singers were not just led, but were
Tanglewood Festival Chorus and the Boston energized. Schicchi is a tough score, and Julia
Symphony Children’s Choir. She also serves as stood the test.”
the accompanist for the Metropolitan Chorale
of Brookline, the Dedham Choral Society, the Also passionate about early music, Julia
Boston College University Chorale, and the music directed a staged performance of four of
Boston Saengerfest Men’s Louis-Nicolas Clérambault’s Cantatas with theMAKE A MAKE A BENEFACTORS
DONATION PLANNED GIFT Beethoven had a patron. Bach had a church.
What do today’s young composers have?
Beethoven had a patron. Bach had a church. Bequests and planned gifts are simple, You! Please join us in shaping the music of
What do today’s young composers have? mutually beneficial ways for you to support today and tomorrow.
You! Please join us in shaping the music of Juventas New Music Ensemble beyond your
today and tomorrow. lifetime. You can create your own legacy and Juventas New Music Ensemble is a 501(c)(3)
keep supporting emerging composers for non-profit organization. Your fully
Juventas New Music Ensemble is a 501(c)(3) years to come by leaving a bequest in your tax-deductible contributions are essential for
non-profit organization. Your fully will, life insurance policy, retirement plan, or us to present music by today’s most
tax-deductible contributions are essential for other assets in your estate plan to Juventas promising emerging composers.
us to present music by today’s most promising New Music Ensemble, while at the same time
emerging composers. reaping tax benefits for yourself and your Juventas New Music Ensemble is deeply
descendants. grateful to benefactors whose generous gifts
To make a donation, visit www.juventasmusic. support our artistic programs. Juventas
org/donate-now, or mail a check to If you would like more information about received the following individual gifts (listed
Juventas New Music Ensemble, P.O. Box making a bequest to Juventas New Music on the next page) from July 12, 2019 to July
230015, Boston, MA 02123. Ensemble or if you’ve already included us in 12, 2020. To learn about making a
your estate plans, please contact our Artistic tax-deductible gift, please visit
SHOP WITH Director Oliver Caplan at
oliver.caplan@juventasmusic.org.
juventasmusic.org/donate-now.
AMAZON SMILE Juventas New Music Ensemble is a nonprofit
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on your way to shop and select Juventas laws of the Commonwealth of Massachusetts,
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Music Ensemble. It doesn’t cost you a thing, P.O. Box 230015
and it helps us a lot! Boston, MA 02123
Our tax identification number is 26-2583870.THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU
$4,000 and Above BJ Dunn & Rich MaryBeth Manca Kristina Watts Juliana Hall Joan & Howard
Anonymous Bennett Carol McCarthy Brent Whelan Kiyoshi Hayashi Rothman
John A. Carey Lorna Gibson Antares Meketa Beverly Woodward Mark Heinzelman Mary Beth Saffo
Mary Humphrey May Marquebreuck James Nail & Paul Monsky Karilyn Heisen Antonio Santos
The Ripley-Steinemann S Rosa Ryals & Catharine Susanna Hoglund Matt Scinto
Family Fund Marco Sandonato Belden Up to $49 Anne Howarth & Dennis Shafer
Jonathan Saxton Ben Sweetser Jason Newman Tatev Amiryan Frederick Frank Jr. Gordon Shannon
The Record Co. Jane Parkin Nkese Applewhite Nancy Hudgins Moshe Shulman
$1,000 to $3,999 Drew Wilkins Kullmann Mary Barton Joseph Hutcheson Kyle Simpson
Boston Cultural Dan Perkins Robert Bassett Catherine Hyson Cathy & Jerry Smith
Council $100 to $199 Joanne Raider Martha Bewick Elizabeth Igleheart Liz Smith
Oliver Caplan & Lee Binnig Ian Reiss Lauren Bilello Jeffrey Kane Jorge Sosa
Chris Beagan Margaret Cain Lori K. Sanders Elisa Birdseye Tim Kane Sharon Daniels Sullivan
New Music USA Andrew Caplan Andrew & Margot Timothy Borchers Justin Kim Jan Swafford
Karen & Fred Larry Cohen Schmolka Bruce Brolsma Roger Klorese Julie Tittler
Ruymann & Susan Worst Catherine Smith Elizabeth Bukey Mari Kotskyy Quy Tran
Carson Cooman Joe Sodroski Anne Burt Bruce Kozuma Michael Vanderheyden
$500 to $999 Alexis Dearborn & Alice Noble Delia Clark Abigail Krawson Patrick Walker
Julia Scott Carey & Christine DiBlasi Arlene Stevens Carrie Cleary Matthew Kusulas Elaine Walsh
Richard Mitrano Isadel Eddy Ann Teixeira Charles Coe Chris Lamb Catherine Wee
CACHE in Medford Maggie Edinger Joseph Walters Nell Cohen Anna Leahy Eric Wei
Casey Elia Yukiko Egozy Emma Wine Carrie Conway Ludmilla Leibman Susan Welby
Christie Lee Gibson Lynn Eustis Katie Cornog Dayna Li Andrew White
& Michael Ellen Feingold $50 to $99 Karen Courtney Shayna Liu
Emanuel Andy Foery Jaime Alberts Brooke Davis Matthew Marsit We are also extremely
Margaret Hastings Moriah Freeman Dimitrios Antos Ashi Day Allegra Martin grateful to the dedicated
Leslie Jacobson Kaye & Michael Gandolfi Brian Campbell Sheri Dean John McDonald volunteers who have
Richard Kaye Nancy Goodwin Rachel Ciprotti Nicole DeMaio Brian Messier given their time and
Cashman Kerr Prince Judith Gurland Beth Jacob Jaclyn Dentino Libby Meyer talents to Juventas this
& Bryan Burns Maureen Hollis Howard & Frances Rebecca Entel Roxanna Myhrum concert season:
Rachel Rivkind Mary Howarth Jacobson Marisa Jo Erskine Jonathan Newmark
Wegmans Medford Jim Kane & Sharon Dayton Kinney David Feltner Heather O’Brien Michelle Locke
Theodor Weinberg Williams Joshua Levit David & Ellen Fries Carolyn Oberting Annie MacDonald
William Kane Ben Levy Lisa Geoghegan Robert Page Mona McKindley
$200 to $499 Denys Kotskyy Melodie Linhart Lyudmila German Jason Pavel Rachel Walker
Robert Beagan Linda Krouner Annie MacDonald Peter Gold Sarah Peck Elaine Walsh
Alexandra Bowers Nancy Kurtz Linda Ng Kendra Goodwin Rachel Pinsky Leo Walsh
& James Liu Stella Lee Andrew Pease Al Gray Elizabeth Primamore
Margie Brown Steven Lewis Kathleen Quigley Meghan Guidry Katie Reimer
Bill & Paula Luria Xiomara Lorenzo Katie Ritcheske Steven & Jennifer Fern Remedi-Brown
Caplan Roseanne Luvisi Jessica Rucinski Guthrie Katie Remesch
Elizabeth Dean Tammy Lynch Barbara Turen Megan RothSPONSORS
Rubin and Rudman
is proud to support
Juventas New
Music Ensemble
and we wish our colleague
Kelley Hollis, and the rest of the
ensemble, a wonderful and successful
15th Anniversary Season
53 State Street • Boston, MA 02109 • 617.330.7000
www.rubinrudman.comSIGNALS SONGS OF
OUR CITY
Across time and cultures, Featuring arts songs
horn calls have been used by Boston composers
to convey meaning. As Performances by
August 2, 2020 the context of these signals Julia Scott Carey, piano
8:00 PM EST changes, so do the and Kelley Hollis, soprano
messages they carry.
Broadcast live August 16, 2020
on YouTube With performances 3:00 PM EST
by Anne Howarth, Broadcast live on YouTube
juventasmusic.org French Horn juventasmusic.orgYou can also read
