20-concert series: Mondays at 2pm and 7:30pm 
All performances, except where noted, are held at
 Good Shepherd Presbyterian Church
152 West 66th Street, New York, NY 10023
Find out more about the Jupiter Players and our Guest Artists.

	Lucille Chung piano Xiao-Dong Wang violin

BEETHOVEN  “Gassenhauer” Trio Op. 11 • 1797
  • to be played by the flute (usually it’s the clarinet), cello and piano ~ a hit tune by Joseph Weigl, whose Concertino you can hear on November 10, is the inspiration for the variations movement of this “Street Song” trio

Carl CZERNY  Grande Sérénade Concertante Op. 126 • 1827
  • “a riot of concerto-like fireworks” (in the words of Fanfare) by Beethoven’s pupil ~ for clarinet, horn, cello and piano

BRAHMS  String Quintet in F Minor • 1862
  • Discover an old friend in new clothes in this reconstruction in 1947 by Sebastian Brown: “Before destroying the original manuscript [written for string quintet with 2 cellos], Brahms arranged this work as a Sonata for 2 pianos (Op. 34bis). He later arranged the Sonata as a Quintet for piano, 2 violins, viola and cello (Op. 34). It is on these two arrangements that the present suggested reconstruction is based.”

	Sergey Ostrovsky violin Cynthia Phelps viola Inga Kapouler piano

HAYDN  Divertimento in F Hob. XV:40 • circa 1760
  • one of his earliest piano trios, written some months before he quit working for Count Morzin in Vienna and moved to Eisenstadt to become the Esterházy Kapellmeister

Carl STAMITZ  Quartet in D Op. 8 No. 1 • 1773
  • Papa Mozart called Carl and his brother Anton “2 wretched scribblers, gamblers, swillers and adulterers,” but a contemporary music lexicographer, E. L. Gerber, rebuts Leopold’s characterization, noting that “it is a great undertaking to live in Germany as a free artist, and he who tries and wishes to succeed must not have any less art than Stamitz…in his relationships, as highly esteemed for his honorable and noble character, as for his art.”

MOZART  “Kegelstatt” Trio K. 498 • 1786
  • no skittles here, as its nickname suggests, but a towering creation for clarinet, viola and piano

Joachim RAFF  Die schöne Müllerin (“The Lovely Maid of the Mill”) • 1876
  • a suite in 6 movements for string quartet—No. 7 in D—by the third foremost German composer in his day, after Wagner and Brahms ~ it’s a musical tale of a Young Man who finds by chance The Mill and then The Maiden, and after settling the Disquietude of love, makes his Declaration, and in the end The Wedding takes place.

	Giora Schmidt violin Einav Yarden piano

SCHUBERT  String Trio in B^b D.581 • 1817
  • the young composer at the accomplished age of 20, having already written an astonishing amount of music—more than 300 songs, five symphonies, four masses, seven string quartets, among many others

MOZART  Clarinet Quartet No. 1 in B^b K. 317d • 1779-1781
  • arranged from the Violin Sonata K. 378, possibly by his publisher Johann André

Leander SCHLEGEL  Piano Quartet in C Op. 14 • 1886
  • absolutely luscious Romantic music by the Dutch composer, renowned during his time as a Schumann and chamber music pianist

	Andrius Zlabys piano Celeste Golden violin

HAYDN  Symphony No. 97 in C • 1792
  • the sixth and last of his Symphonies from his first London visit ~ arranged for flute, string quartet and piano ad libitum by Haydn’s concertmaster and impresario, J. P. Salomon, who was a savvy publisher to boot

Johann RUFINATSCHA  Piano Quartet in A^b • 1870
  • exquisite melodies from the Tyrolean composer, whose musical achievements and notoriety in his day for a time unhinged the confidence of Brahms, whose own work is said to be influenced by “schöne Rufi” ~ the music is from the Tiroler Landesmuseum Ferdinandeum in Innsbruck ~ he’s not in Groves

Carl FRÜHLING  Trio in A Minor for clarinet, cello and piano Op. 40 • circa 1925
  • in spite of his impoverished and miserable circumstances in Vienna, Frühling wrote a gorgeous, joyful late-Romantic work ~ also not in Groves

	Adam Nieman piano Stefan Milenkovich violin Cynthia Phelps viola Gina Cuffari soprano

Heitor VILLA-LOBOS  String Quartet No. 1 • 1915
  • one of his earliest pieces, influenced by European opera

Francis POULENC  Sextet • 1939
  • charged with enormous charm and wit ~ for piano and wind quintet

Cécile CHAMINADE  Portrait (Valse chantée) • 1904
  • a lyrical salon piece in the French Romantic style, it premiered April 1904 at the Salle Aeolian in Paris, with soprano Jean Leclerc, flute virtuoso Emilio Puyans, and Chaminade on piano ~ poem by Pierre Reyniel

Ernest CHAUSSON  Piano Quartet in A Op. 30 • 1897
  • brilliant, luminous, sublime

	Misha Keylin violin Bridget Kibbey harp

Johann Christian BACH  Oboe Quartet in B^b
  • glowing with elegant and warm melodic charm ~ by the tenth of Johann Sebastian Bach and Anna Magdalena’s twelve children

Joseph WEIGL  Concertino • circa 1815
  • Haydn’s god-child and pupil of Salieri, and Kapellmeister at the court theater in Vienna composes a piece with singable melodies for harp and four winds

E. T. A. HOFFMANN  Quintet in C Minor • 1805-1807
  • delightful music for harp and string quartet by the Romantic author of the macabre stories on which Jacques Offenbach based his opera The Tales of Hoffmann ~ his fantastic writings exerted an influence on Brahms

BRAHMS  String Quintet No. 2 in G Op. 111 • 1890
  • from the last decade of his life, “this magnificent work is the grand climax of Brahms’s chamber music for strings” H.C. Colles

	Mikhail Kopelman violin Elizaveta Kopelman piano

Alexander BORODIN  Quartet in D • 1852-1856
  • based on Haydn’s Piano Sonata Hob. XVI:51 ~ for flute, oboe, viola and cello

Johann SOBECK  Wind Quintet in F Op. 9 • 1879
  • the principal clarinetist of the Royal Theater in Hanover for 50 years pens a spirited and festive work for virtuoso winds ~ another who’s not in Groves

Ernő (aka Ernst von) DOHNÁNYI  Piano Quartet in F# Minor • 1891-1893
  • dark and brooding introspection pervades this moving youthful piece, which predates his 1895 Piano Quintet No. 1, Op. 1 ~ not yet published, the music is from the editor Thomas Cimarusti

DVOŘÁK  Piano Quintet in A Op. 5 • 1887
  • in contrast, Dvořák’s wonderful musical landscape is sunny and uplifting. But the Quintet was almost lost: although well received at its premiere in 1872, Dvořák was dissatisfied with it and destroyed the manuscript. The pianist Ludevít Procházka, however, had made a copy of the score for himself, which enabled the Idol of Prague to revise it extensively fifteen years later.

	Christine Goerke soprano Ilya Itin piano Xiao-Dong Wang violin

Franz Alexander PÖSSINGER  Trio in D Op. 28
  • for flute, viola and horn ~ Beethoven thought enough of the Viennese composer and violinist to entrust him to arrange his 4th Piano Concerto for string quintet and piano ~ he’s not in Groves

Richard STRAUSS  “Ein Alphorn hör’ ich schallen” • 1876
  • “I Hear an Alphorn Sounding” is an astonishing song for soprano, horn and piano composed for his father when the young Richard was 14 ~ with a fiendishly difficult horn obligato

Robert KAHN  Jungbrunnen “Fountain of Youth” Op. 46 • 1886-1920
  • his remarkable song cycle, the lyrics by the Jewish poet Paul Heyse, Nobel Prize winner for Literature in 1910 ~ a friend of Brahms when he was a youth, Kahn’s work was suppressed by the Nazis in 1938 after Albert Einstein persuaded him to flee to England

SCHUMANN  Piano Quartet in E^b Op. 47 • 1842
  • widely appreciated, except by Liszt, who dismissed it as “too Leipzigerisch,” his way of saying Mendelssohnian ~ premiered in 1844 by Ferdinand David, the German virtuoso violinist, composer and dedicatee of the Mendelssohn Octet; Neils Gade, the Danish violist, composer and friend; Count Wielhorski (on cello), the Russian composer and patron who promoted Schumann’s concerts; and Clara Schumann on piano.

	William Wolfram piano Dmitri Berlinsky violin

César CUI  5 Pièces Op. 56 • 1897
  • light and cheery

Alexander SCRIABIN  Nocturne for piano trio in F# Minor Op. 5 No. 1 • 1890
  • Chopin-like

Sergei PROKOFIEV  Quintet in G Minor Op. 39 • 1924
  • dissonance at its best ~ a commission for the circus ballet Trapeze ~ for clarinet, oboe, violin, viola and double bass

Sergey TANEYEV  Piano Quintet in G Minor Op. 30 • 1911
  • a monumental Romantic tour de force by the teacher of Scriabin, Prokofiev and Rachmaninoff ~ he’s sometimes called the “Russian Brahms”

	Adam Neiman piano Rachel Barton Pine violin

Mikhail GLINKA  Divertimento brillante on themes from Bellini’s La sonnambula • 1832
  • influenced by Italian opera during his three-year sojourn abroad, which he spent mostly in Italy ~ for piano, string quartet and double bass

PUCCINI  Minuet in A • 1892
  • the verismo opera composer writes an itty bitty piece for string quartet

Nino ROTA  Nonetto • 1958-1977
  • while best known for his film scores, including many composed for Fellini and Coppola’s The Godfather, Rota has also turned out a neo-Classical gem for violin, viola, cello, double bass and wind quintet

Vittorio GIANNINI  Piano Quintet • 1932
  • lush, passionate, irrepressibly Romantic ~ by the Italian-born American composer

	Alessio Bax piano Anton Barakhovsky violin Cynthia Phelps viola Alana Vegter horn

MOZART  Duo No. 2 in B^b for violin and viola K. 424 • 1783
  • written for his friend, Michael Haydn, who could not fulfill a commission because of illness

Ralph VAUGHAN-WILLIAMS  Quintet in D • 1898
  • sort of Anglicized Brahms and very beautiful ~ for clarinet, horn, violin, cello and piano

Frank BRIDGE  Piano Quintet in D Minor • 1904
  • the English composer’s dense, splendid masterwork, influenced by Brahms and Fauré

	Pei-Yao Wang piano Misha Keylin violin

BEETHOVEN  Piano Quartet No. 3 in C WoO 36 • 1785
  • his most ambitious early composition, written at age 14, it’s also one of the earliest works for the instrumental combination of piano, violin, viola and cello

Friedrich GERNSHEIM  Divertimento Op. 53 • 1887
  • a friend of and strongly influenced by Brahms ~ premiered at the Philharmonic Club in New York in the winter of 1888-89

BRAHMS  Clarinet Trio in A Minor Op. 114 • 1891
  • his friend Eusebius Mandyczewski, a respected music scholar, upon hearing the Trio, commented, “It is as though the instruments were in love with each other.”

Felix Otto DESSOFF  String Quintet in G Op. 10 • circa 1880
  • a stunning beauty by a close friend of Brahms, who praised his work ~ Dessoff’s daughter Margarete founded the Dessoff Choirs in New York ~ Dad’s not in Groves

	Adam Neiman piano Vadim Gluzman violin

SCHUBERT  Notturno in E^b D. 897 • 1826 or 1827
  • in one lovely movement for piano trio, with lilting rhythms and a melody based on a worker’s song, creating a nocturnal atmosphere ~ published posthumously

Heinrich HOFMANN  Octet Op. 80 • 1883
  • bubbly, exhilarating, rhapsodic, charming ~ for the unique instrumentation of string quartet with flute, clarinet, horn and bassoon

BRAHMS  Piano Quartet No. 2 in A Op. 26 • 1861
  • hugely popular in his lifetime ~ after Brahms had played the premiere of his massive, enigmatic quartet in Vienna on November 29, 1862 he wrote to his parents, “Yesterday brought me great joy, my concert went quite splendidly, much better than I had hoped…. I believe there was real enthusiasm in the hall…. I played as freely as I’d been at home with friends—but of course this audience stimulates you very differently from ours. You should see how attentive they are and hear their applause!”

	Seymour Lipkin piano Stefan Milenkovich violin

HAYDN  Divertimento in G Op. 53, No. 1 • 1784
  • this piece for string trio is the same as Piano Sonata Hob. XVI:40 ~ dedicated to Princess Maria Esterházy, an amateur pianist, it is not known which came first

Muzio CLEMENTI  Sonata No. 3 in C Op. 29 • 1793
  • by the first composer to write for the piano

Henry PURCELL  Fantasia No. 5 in D Minor • 1680
  • an epitome of contrapuntal writing, unveiling his genius

Sir Charles Villiers STANFORD  Serenade in F Op. 95 • circa 1906
  • a wonderful nonet for strings and winds “that reveals a side of Stanford’s style in which formal craftsmanship is combined with an enchanting chemistry unique to the composer— Brahmsian adroitness united with Mendelssohnian felicity” Jeremy Dibble

BACH  Piano Concerto No. 1 in D Minor BWV 1052 • 1735
  • Bach loved it ~ Mendelssohn played it ~ Brahms wrote a cadenza for it

	Roman Rabinovich piano Anne Akiko Meyers violin

Antoine REICHA  Woodwind Quintet in D Op. 91 No. 3 • 1817-1819
  • beautifully written ~ by a friend of Haydn and Beethoven, the Quintet traverses a range of emotions from humor to joy to sadness and tragedy

Guillaume LEKEU  Piano Quartet in B Minor • 1894
  • the profound beauty of this 2-movement (unfinished) piece will knock the wind out of you ~ by one of Franck’s most promising pupils, who died from typhoid fever one day shy of his 24th birthday

Bohuslav MARTINŮ  La Revue de Cuisine • 1927
  • witty, spiky, jazzy music for a kooky ballet about love among the utensils ~ for piano, clarinet, bassoon, trumpet, violin and cello

The recipe for double trouble in “The Kitchen Review” goes more or less like this:
Begin with One Pot, One Lid—their marriage is a fit.
Add Twirling Stick who woos Pot away from Lid.
Toss in Dishcloth, who also ogles at Lid but is challenged to a duel by Broom.
A moment of revelation then occurs ~ Pot realizes Lid is a better match.
But where’s Lid? …Gone! (probably crestfallen)
…until a huge foot kicks Lid back onto the stage
Wham! Lid is back.
Pot and Lid sashay toward each other in bliss. Clueless
Stick is now attracted to Dishcloth … but being clueless, little does he know.

SAINT-SAËNS  Piano Quintet in A Minor Op. 14 • 1855
  • his thrilling and aspiring early work, revealing the influence of Schumann

	Misha Keylin violin Jason Vieaux guitar

SCHUBERT  String Quartet No. 7 in D D. 94 • circa 1814
  • written around the time he started training as a schoolmaster at his father’s school, in the house where he was born

PAGANINI  Terzetto concertante in D MS 114 • 1833
  • for viola, guitar and cello ~ renowned as the first supervirtuoso violinist, and possibly the greatest of them all, Niccolò was also a guitarist and his “chamber music is the genuine expression of the more private side of this composer’s musicality” biographer Danilo Prefumo.

Joseph KREUTZER  Trio in D Op. 9 No. 3 • 1823
  • the cantankerous Düsseldorfian writes in the style of Mozart a lovely example of plein air music for flute, clarinet and guitar, ideal for summer outdoor concerts ~ yet another not in Groves

Friedrich DOTZAUER  String Quintet in D Minor Op. 134 • 1835
  • this lively and spirited early Romantic piece with 2 cellos (one requiring considerable virtuosity) will give much pleasure ~ by a great cellist and founder of the Dresden school of cello performance ~ the critic for Allgemeiner musicalische Zeitung wrote that “The mere mention of the name of this excellent composer is enough to insure those among the public who truly understand art that the work was a resounding success.”

	Frank Morelli bassoon

Friedrich WITT  Nonet in E^b
  • by the same hand that wrote the Jena Symphony, once thought to be by Beethoven ~ for flute, oboe, 2 clarinets, 2 bassoons, 2 horns and double bass

MOZART  “Gran Partita” in B^b K. 361 • 1784
  • heavenly ~ the pinnacle of his wind music

	Roman Rabinovich piano Dmitri Berlinsky violin Alana Vegter horn

HAYDN  Clarinet Quartet No. 1 in B^b • 1810
  • the first of three clarinet quartets arranged from Haydn string quartet movements by the late-Classical Italian composer and virtuoso clarinetist Vincenzo or Giovanni Gambaro (they may be one and the same man) ~ he or they are not in Groves

BRAHMS  Trio in E^b Op. 40 • 1865
  • an incomparable and marvelous horn trio ~ it’s his first creative output after the death of his beloved mother

Peter Arnold HEISE  Piano Quintet • 1869
  • one of the most important Danish composers and pupil of Niels Gade writes the best Danish piano quintet ~ Moreover, “An encounter with Heise’s music is always somehow joyous, captivating, full of life. In a Romanticism in which the dominant notion of “great music,” is the tragic, the sentimental, and the sublime, Heise seems to stand out as the smiling composer, whose lightness is never pat or superficial. It is simply that, not possessing a tragic soul, he never tried to pretend that he did. For this reason, in 1869, he wrote a piano quintet “in a Joyous F major” offered “in reply” to the Brahms F minor quintet of 1865, which Heise had considered to be “affected by black melancholy.” Thus his music without ever being fatuous or facile, rewards the listener with the peaceful and luminous gesture of his love for song and for life.” Claudio Ronco, musicologist and cellist ~ the music is from the Royal Library of Denmark in Copenhagen

	Einav Yarden piano Stefan Milenkovich violin

BEETHOVEN  Serenade in D Op. 25 • 1801
  • at the onset of his deafness, Beethoven penned a cheerful frolic for flute, viola and cello

Elfrida ANDRÉE  Piano Quintet in E Minor • 1864
  • the Swedish composer’s treasure chest of melody and mood ~ Andrée supported the suffragette movement and she also organized hundreds of concerts for the poor

Johan Severin SVENDSEN  String Octet Op. 3 • 1866
  • highly original and vibrant, and a touch nationalistic ~ Grieg sang his praises, saying that the Nordic composer “has everything that I lack. He is in my opinion the greatest artist…in all Scandinavia—and one of the few great spirits in Europe.”

	Alessio Bax piano Karen Gomyo violin Cynthia Phelps viola

MOZART  Piano Quintet in E^b K. 452 • 1784
  • he performed this glorious piece himself on April Fools Day, and in a letter to his father declared it “the best thing I have so far written in my life” ~ it was the inspiration for Beethoven’s Quintet for piano and winds

Erwin SCHULHOFF  Concertino • 1925
  • An offbeat piece that stretches the capabilities of the flute, viola and double bass ~ Schulhoff died in 1942 from TB after spending more than a year at the Wülzburg concentration camp in Bavaria

SCHUBERT  “Trout” Quintet Op. 114 • 1819
  • probably the most famous of all piano quintets