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.

Tickets  $25, $17, $10  Call 212.799.1259
or e-mail admin@jupitersymphony.com
Printable Calendar &Ticket Order Form (pdf)

	Dror Biran piano Misha Vitenson violin Stefani Collins violin	Maurycy Banaszek viola David Requiro cello Vadim Lando clarinet

BEETHOVEN  String Quartet in F Major Op. 14 No. 1 • 1802
  • of his own arrangement from Piano Sonata No. 9 in E Major, Beethoven wrote rather smugly to the publisher Breitkopf and Härtel on July 13, 1802, “I have arranged only one of my sonatas for string quartet...and I am quite convinced that nobody else could do the same thing with ease.”

Heinrich von HERZOGENBERG  Piano Quartet No. 2 in B^b Major Op. 95 • 1897
  • brimming with joy through its radiant melodies ~ HH studied composition with Felix Otto Dessoff, in whose house his lifelong friendship with Brahms was formed ~ the esteemed and influential musicologist Wilhelm Altmann described the Austrian as “a composer of great refinement. He in his way was an original thinker and a musician of genuine emotional and poetic qualities. His chamber compositions in particular stand out...for they are not only masterly from the technical point of view, but interesting intellectually.”

BRAHMS  Clarinet Quintet in B minor Op. 115 • 1891
  • the brooding beauty is his crowning achievement in chamber music—Brahms at his best

	Michael Brown piano Vadim Lando clarinet Karl Kramer horn Gina Cuffari bassoon	Misha Vitenson violin Lisa Shihoten violin Mark Holloway viola Mihai Marica cello

Gustav MAHLER  Piano Quartet in A minor • 1876
  • quintessential melancholia ~ composed at the age of 15 or 16 by the Austrian-Bohemian while a student at the Vienna Conservatory

Arturo TOSCANINI  2 songs • 1885
  • 2 songs by the Italian conductor with the phenomenal memory—“Son gelosa” (I am jealous) and “Nevrosi” (Neurosis)

George SZELL  Piano Quintet in E Major Op. 2 • 1911
  • in the spirit of Mozart ~ the Hungarian-born American conductor of the Cleveland Orchestra imposed stern discipline, drilling his musicians mercilessly, but won their devotion by his own fierce dedication

Jens NYGAARD  Cadenza for Mozart Piano Concerto No. 24 in C minor K. 491 • 1996
  • composed for William Wolfram, who described it as “really remarkable. It was everything that Jens IS. It’s a remarkable cadenza, extremely original—like nothing else. It was HIM in a cadenza.”

Felix WEINGARTNER  Octet in G Major Op. 73 • 1925
  • virtually a chamber symphony for clarinet, horn, bassoon, 2 violins, viola, cello and piano in the chromatic idiom of Liszt (his teacher), Wagner and the German late Romantics—in turns poignant, dramatic, yearning and adorned with lyricism ~ the much-revered Austrian maestro, noted for his conducting with clarity and economy of movement, had five wives

	William Wolfram piano Vadim Lando clarinet Winnie Lai oboe David Requiro cello	Dmitri Berlinsky violin Lisa Shihoten violin Paul Neubauer viola Maurycy Banaszek viola

Johann Christian BACH  Quintet in E^b Major Op. 11 No. 4 • 1774
  • outstanding among JC’s chamber works ~ according to Mrs. Papendiek (Assistant Keeper of the Wardrobe and Reader to Queen Charlotte) the quintet for flute, oboe, violin, viola and cello was composed for a soirée with the Queen’s Band ~ The New Grove Dictionary states that it is in “Bach’s most warm and graceful style, of exceptional melodic charm and formal elegance, and is scored with much sensitivity, ingeniously exploiting (with thematic material specially apt to the purpose) the various available combinations of instrumental color, often in dialog patterns.”

MOZART  Piano Sonata in F Major K. 497 • 1786
  • bright and refined, this gem is the fourth of five piano duets written most likely for the Jacquin family (the first three for himself and his sister Nannerl to play) ~ his Viennese publisher and friend Franz Anton Hoffmeister made the superb transcription for string quintet, which offers a fresh view of the structure and melodies; Hoffmeister’s own compositions are good enough to have often been attributed to Haydn

MOZART  Sonatensatz in B^b Major K. 400 • 1781
  • popularized by Arthur Rubinstein in his heyday, the fragment for solo piano is hardly ever performed today ~ William Wolfram describes the Allegro movement as bubbly, upbeat, slightly quirky, with lots of personality

Antonín DVORÁK  Piano Quartet No. 2 in E^b Major Op. 87 • 1889
  • big, bold and beautiful, it was composed at the request of his publisher Simrock and ranks among the great chamber works of the nineteenth century

	Mikhail Kopelman violin Lisa Shihoten violin Xiao-Dong Wang viola Maurycy Banaszek viola	Elizaveta Kopelman piano Suren Bagratuni cello Bronwyn Banerdt cello Barry Crawford flute

Bedrich SMETANA  Z domoviny (From My Homeland) No. 2 in G minor “Andantino” • 1880
  • “They are genuinely national in character, but with my own melodies” ~ Smetana was totally deaf by the time he wrote the two duets for violin and piano, shortly after Má vlast (My Country) was completed

Adalbert GYROWETZ  Divertissement in A Major Op. 50 • circa 1810
  • a perky Haydnesque trio for piano, flute and cello by the widely-traveled, celebrated Bohemian whose friends included Mozart, who performed one of his symphonies at the Mehlgrube in Vienna; Goethe in Rome; Haydn (in London), to whom Gyrowetz was devoted; Beethoven, at whose funeral he was a pallbearer; and Schubert, also a pallbearer for Beethoven

Josef SUK  Piano Quartet in A minor Op. 1 • 1891
  • one of the most gifted Czech composers wrote this sensuous Romantic quartet with soaring melodies to fulfill his exam requirements ~ when Dvorák first heard the poignant slow movement, he walked up to Suk, kissed him, and said, “chlapik!” (fine fellow); Suk soon became Dvorák’s favorite pupil and in 1898 married his daughter Otilie, with whom he had a very happy family life

BRAHMS  String Sextet in B^b Major Op. 18 • 1860
  • fresh and colorful, genial and spontaneous, the sextet is one of his earliest chamber works, written during his first official appointment to the princely Court at Detmold

	William Wolfram piano Anton Belov baritone Vadim Lando clarinet	Anton Barakhovsky violin David Requiro cello

Our featured violinist Anton Barakhovsky is still stuck in Germany due to circumstances beyond control. We thank Stefani Collins for jumping in and learning this challenging music on short notice.

Igor STRAVINSKY  L’Histoire du soldat • 1919
  • a poor soldier sells his soul (represented by his violin) to the Devil for youth, wealth and power in this variant of the Faust legend ~ suite for violin, clarinet and piano

Camille SAINT-SAËNS  Danse macabre Op. 40 • 1874
  • his symphonic poem, which he transcribed for violin and piano ~ based on the tale of Death at midnight on Halloween calling forth the dead from their graves for their skeletal dance of death while he plays the fiddle, stopping only at dawn upon the rooster’s crowing, when they must return to their graves for another year

Modest MUSSORGSKY  Songs and Dances of Death • 1875-1877
  • gripping and dramatic, this cycle of 4 songs for bass and piano is a 19th century narrative of intense experiences not uncommon in Russia at the time: Death confronts the mother of a dying child, appears before a sickly young girl as a gallant suitor, waylays an old drunken peasant, and summons soldiers in an ill-fated march ~ the poems are by Count Arseny Golenishchev-Kutuzov, a distant relative

Nicolai RIMSKY-KORSAKOV  Piano Trio in C minor • 1897
  • glowing in Romanticism ~ Rimsky-Korsakov shared an apartment with Mussorgsky after the death of the latter’s mother; both were members of the Mighty Five, which sought to advance Russian music

	Adam Neiman piano Stefan Milenkovich violin Lisa Shihoten violin Maurycy Banaszek viola	David Requiro cello Kurt Muroki double bass Vadim Lando clarinet Gina Cuffari bassoon

MENDELSSOHN  Konzertstück No. 1 in F minor Op. 113 and No. 2 in D minor Op. 114 • 1832-1833
  • Concert Pieces for clarinet, bassoon and piano, sparkling with effervescent counterpoint and lyrical tunes, were composed for the clarinet virtuosi Heinrich and his son Carl Baermann in exchange for a culinary treat of sweet dumplings and cheese strudel ~ apart from their musical prowess, the Baermanns were renowned for their cooking, and even the royal house of Saxony craved their dumpling specialty made from flour, yeast, sugar, butter and eggs and cooked in a wine sauce

SCHUMANN  String Quartet No. 2 in F Major Op. 41 • 1842
  • dedicated to his friend Mendelssohn, the quartet is infused with inventiveness, youthful vigor and intense emotion

CHOPIN  Piano Concerto No. 1 in E minor Op. 11 • 1830
  • his brilliant and graceful work dedicated to the eminent pianist Friedrich Kalkbrenner, completed at the age of 20, shortly before he left Poland to tour Europe, finally settling in Paris, never to return to his homeland ~ in a transcription for piano, string quartet and double bass by Richard Hofmann, published in 1877

	Anne Akiko Meyers violin Lisa Shihoten violin Dov Scheindlin viola Mark Holloway viola	Inga Kapouler piano Suren Bagratuni cello Barry Crawford flute Vadim Lando clarinet

Joseph FRÖHLICH  Serenade in D Major • date not known
  • renowned in his day as a theorist, critic and teacher, Fröhlich founded the Akademische Bande in Würzburg, which in 1804 became the Akademisches Institut, the basis of the first state music school in Germany ~ his charming Classical quartet is for flute, clarinet, viola and cello

Clara SCHUMANN  3 Romances Op. 22 • 1853
  • dedicated to the violin virtuoso Joseph Joachim, who performed them for George V of Hanover (he declared them a “marvelous, heavenly pleasure”) ~ to be played by the flute and piano

Theodor KIRCHNER  Piano Quartet in C minor Op. 84 • 1888
  • impeccably created in the shadow of Robert Schumann and Brahms, who were his friends, as was Clara Schumann, with whom he had a brief, discreet, unhappy liaison in the early 1860s

BRAHMS  String Quintet No. 1 in F Major “Spring” Op. 88 • 1882
  • he described this joyous “Viola Quintet” to Clara Schumann as “one of my finest works” and told his publisher that “You have never before had such a beautiful work from me.”

	Roman Rabinovich piano Xiao-Dong Wang violin Cynthia Phelps viola Inbal Segev cello John Feeney double bass	Barry Crawford flute Winnie Lai oboe Vadim Lando clarinet Karl Kramer horn Gina Cuffari bassoon

Antoine REICHA  Wind Quintet in E minor Op. 88 No. 1 • 1811-1817
  • features an extended fugue in the last movement ~ by the Czech-born French pioneer of the woodwind quintet and teacher of Liszt, Berlioz and Franck

Louise FARRENC  Quintet No. 1 in A minor Op. 30 • 1840
  • her striking virtuosic beauty for piano, violin, viola, cello and double bass ~ the prodigy studied with Johann Nepomuk Hummel and Ignace Moscheles, and with Reicha at the Paris Conservatoire, where she was later appointed its sole woman professor for 30 years (and paid less than her male colleagues for a third of her tenure)

Camille SAINT-SAËNS  Piano Quartet in B^b Major Op. 41 • 1875
  • Saint-Saëns himself premiered his cyclic tour de force with its majestic opening on March 6, 1875 at the Salle Pleyel with Pablo de Sarasate, Alfred Turban and Léon Jacquard

	Adam Neiman piano David Requiro cello Barry Crawford flute	Stefan Jackiw violin Lisa Shihoten violin Max Mandel viola

MOZART  Symphony No. 41 in C Major “Jupiter” K. 551 • 1788
  • among his great gifts to the world ~ admirably arranged for piano, flute, violin and cello by his pupil and friend Johann Nepomuk Hummel

Erno (Ernst von) DOHNÁNYI  Serenade in C Major Op. 10 • 1902
  • a wonderful, idiosyncratic string trio full of lyricism and optimism, with varying rhythms, harmonics and moods, including a smattering of Hungarian gloom

Carl FRÜHLING  Piano Quintet in F^# minor Op. 30 • 1894
  • poverty greatly hindered the flowering of this Viennese Jew’s creativity, which is revealed in this gorgeous Brahmsian jewel written at age 26, long before he died in obscurity in 1937

	Ilya Itin piano Winnie Lai oboe Vadim Lando clarinet Karl Kramer horn Gina Cuffari bassoon	Stefan Jackiw violin Stefani Collins violin David Requiro cello Kurt Muroki double bass

Alexander ARUTIUNIAN  Suite • 1992
  • imbued with the folk music of Armenia, the trio for clarinet, violin and piano is reflective with aching melodies, and also gypsy, playful, laconic and rambunctious ~ born in Erevan in the former Soviet Union, Arutiunian ranks among the foremost Armenian composers after Khachaturian

Mikhail GLINKA  Septet in E^b Major • [1823]
  • sprightly and playful, the early Romantic septet is scored for oboe, horn, bassoon, 2 violins, cello and double bass

Lera AUERBACH  Postscriptum • 2008
  • hold your breath for a few minutes whilst a vibrant Romantic melody morphs into witty post-Expressionism with roller-coaster glissandi and clashing intervals for piano trio ~ Auerbach is considered one of the brightest young composers in the world today

RACHMANINOFF  Élégiaque Trio No. 2 in D minor Op. 9 • 1893
  • grand and darkly passionate, the significant work was composed in memory of his beloved teacher Tchaikovsky

	Alon Goldstein piano Katie Hyun violin Max Mandel viola David Requiro cello	Barry Crawford flute Winnie Lai oboe Vadim Lando clarinet Karl Kramer horn

Michael HAYDN  Divertimento in G Major P. 94 • 1785
  • exemplary in its Classical grace and charm ~ for the unusual combination of flute, horn, violin, viola and cello

Franz Alexander PÖSSINGER Trio in F Major Op. 16 • date not known
  • by Beethoven’s acquaintance and violinist in the orchestra of the Imperial Court in Vienna, to whom he entrusted the task of transcribing the orchestral lines of his 4th Piano Concerto for string quintet, with Beethoven reworking the piano part himself ~ for oboe, viola and cello

BEETHOVEN  “Gassenhauer” Trio Op. 11 • 1797
  • “No, this is not the punk band, but there is a rebelliously rude spirit imbedded in this early chamber work,” the critic Fred Kirshnit stated ~ Joseph Weigl’s hit tune provided the inspiration for the variations movement of the raucous “Street Song” trio for clarinet, cello and piano

SCHUBERT  Piano Trio in B^b Major Op. 99 • 1827
  • this celebrated, ebullient large-scale work elicited praise from Schumann: “One glance at Schubert’s B^b Trio—and the troubles of human existence disappear and all the world is fresh and bright again.”

	Seymour Lipkin piano Shmuel Ashkenasi violin Milena Pajaro-van de Stadt viola Vadim Lando clarinet	David Requiro cello Lisa Shihoten violin Maurycy Banaszek viola

Bernhard Henrik CRUSELL  Clarinet Quartet No. 2 in C minor Op. 4 • circa 1817
  • son of a poor bookbinder, Crusell is Finland’s leading Classical composer, its first great master of chamber music and clarinet virtuoso ~ the delightful quartet spins endless lovely melodies

BEETHOVEN  String Quintet in C minor Op. 104 • 1817
  • his arrangement of the 1795 Piano Trio Op. 1 No. 3 shocked his contemporary listeners with a transformation that exploded with color, dynamic contrasts and fiery rhetoric alternating with intense emotions ~ featured in Vikram Seth’s best-selling novel, An Equal Music

MOZART  Piano Quartet No. 2 in E^b Major K. 493 • 1786
  • a flawless masterpiece with heavenly melodies

	Gilles Vonsattel piano Stefan Jackiw violin Frank Morelli bassoon

Nicolo PAGANINI  Duetto Concertante No. 1 in F Major MS 130 • circa 1800
  • this finger buster for violin and bassoon is one of three duets written at the age of 17 for an unnamed Swiss bassoonist who complained that he had “too little difficult music to play”

Gioachino ROSSINI  Sonata a quattro No. 3 in F Major • 1804
  • the opera composer once viewed his 6 quartets for strings (written in three days at age 12) as “dreadful.” Hardly so; his 1808 transcriptions for flute, clarinet, horn and bassoon especially enhance the timbres of their sunny disposition and precocious, enchanting melodies

Luigi BOCCHERINI  Nocturne in E^b Major Op. 38 G. 467 • 1787
v most likely composed while he was in Spain living on a royal pension ~ for flute, horn, bassoon, violin, viola and double bass

Luigi CHERUBINI  Morceau • date not known
  • regarded by Beethoven as the greatest of his contemporaries, the little piece is for bassoon and double bass

Giuseppe MARTUCCI  Piano Quintet in C Major Op. 45 • 1877
  • his first masterpiece—graceful and melodically striking—expresses romance, passion and drama ~ championed by Toscanini, Martucci revived Italy’s interest in non-operatic music

	Roman Rabinovich piano Xiao-Dong Wang violin

Joaquín TURINA  Piano Trio No. 1 in D Major Op. 35 • 1926
  • sensuous and expansive, the trio by the Spaniard from Seville premiered in London on July 5, 1927 with Turina at the piano

Heitor VILLA-LOBOS  Fantaisie concertainte • 1953
  • sonorous chordal chromaticism and tricky rhythms define the Brazilian composer’s colorful and spicy trio, while demanding technique from the players of the piano, clarinet and bassoon

Astor PIAZZOLLA  L’histoire du tango • before 1985
  • beginning with the erotic milonga “Bordel 1900,” the tango cycle for flute and guitar by the Argentine then depicts the genteel, languorous “Café 1930,” a jazzy “Nightclub 1960,” and the somewhat abstract “Concert d’aujourd’hui”

Alberto GINASTERA  Impresiones de la Puna • 1934
  • portrayal of the rocky wasteland of Puna—in the heart of the Incas up in the Andes mountains—and its Amerindian music ~ for flute and string quartet

Enrique GRANADOS  Piano Quintet in G minor Op. 49 • 1894
  • the Catalan composer’s highly expressive, impetuous, virtuosic quintet, with hints of Moorish, gypsy and folkloric elements

	Alessio Bax piano Lucille Chung piano Mark Kaplan violin Eric Kim cello

MENDELSSOHN  Hebrides Overture aka Fingal’s Cave • 1830
  • evocative of the sea, this beautiful piece reflects the impression made on Mendelssohn by his tour of the Scottish Western Highlands in 1829 ~ arranged for piano 4-hands by Mendelssohn himself

Walter GIESEKING  Quintet in B^b Major • 1919 or 1922
  • rarely performed, the quintet for piano and winds has singing parts for the oboe, clarinet, horn and bassoon, and looks to Wagner and less so to Debussy ~ by the German virtuoso pianist with the photographic memory (it took him only a day to memorize a concerto!)

BEETHOVEN  Piano Trio No. 7 in B^b Major “Archduke” Op. 97 • 1811
  • “Arguably the finest trio for violin, cello, and piano ever written, it begins marvelously and expansively with an unforgettable, glorious melody that immediately establishes its nobility. This broad stroke sets the tone for the entire piece, a monumental work of larger-than-life architecture in which thoughts develop organically and unhurriedly,” Fred Kirshnit explained ~ dedicated to his student, the Archduke Rudolph of Austria, hence its moniker

	Adam Neiman piano Dmitri Berlinsky violin

Maurice EMMANUEL  Sonate Op. 11 • 1907
  • a delicate, jaunty trio for piano, flute and clarinet, in his independent voice

Guillaume LEKEU  Thème et variations • [1888]
  • by Franck’s most promising pupil from Belgium, who died of typhoid fever the day after his 24th birthday ~ for string trio

Camille SAINT-SAËNS  Caprice on Danish and Russian Airs • 1887
  • the fantasy, in honor of Russian czar Alexander III and his wife, Danish princess Maria Feodorovna, was performed on a tour to St. Petersburg ~ for piano, flute, oboe and clarinet

Karl (Charles) BOCHSA  Oboe Quartet No. 2 in D minor • circa 1810
  • little is known of the Bohemian-born French composer who played the oboe in theaters in Lyon and Bordeaux, and also the flute and clarinet, before settling in Paris as a publisher and music seller

Gabriel FAURÉ  Piano Quartet No. 2 in G minor Op. 45 • 1886
  • unique and beguiling, the elegant, emotional trio reveals the influence of the technical mastery of his teacher Saint-Saëns, as well as Cesar Franck’s cyclic, mystical chromaticism and Wagner’s bold Romanticism

	Stephen Beus piano Stefan Milenkovich violin

Max BRUCH  Piano Quintet in G minor • 1886
  • among his few works for piano, the dramatic, engaging, memorable quintet was composed for and dedicated to Andrew Kurtz, a friend and amateur pianist from his Liverpool days

	Misha Keylin violin Maxim Lando piano

Ernst NAUMANN  String Trio in D Major Op. 12 • 1883
  • from a German family of musicians, Ernst was educated in Leipzig and received his doctorate from Leipzig University in 1858 ~ Wilhelm Altmann described the trio in his Handbook for Chamber Music Players as follows: “The spirit of the Vienna Classics and especially early Beethoven hovers over Ernst Naumann’s excellent and well-sounding trio.... The first movement, Allegro, is full of grace and charm.... The second...with its energetic and fine rhythms serves as a scherzo. The gentle trio section provides fine contrast. The Lento espressivo which follows, with its warm melody, is a song without words. The high-spirited finale...full of forward drive, holds one’s attention from start to finish. Each instrument receives its due and the part writing is so fine, one does not mind the fact that there is not a fourth voice.”

BACH  Trio sonata in C minor BWV 1079 • 1747
  • Can “Old Bach” live up to his reputation? Indeed! He exceeded all expectations in a test of his artistic ability with this extraordinary centerpiece of the Musical Offering, composed in Leipzig for Frederick the Great, who had asked him for a six-part fugue to be extemporized on the “Royal Theme” (as it has become known), which the young king had played on one of his 15 fortepianos.

Julius RÖNTGEN  Trio in E^b Major Op. 21 • 1921
  • an elegant piece for clarinet, viola and piano comprising an Allegro deciso that uses a theme from a Swedish children’s song, framed by two subdued movements ~ by the native of Leipzig whose cousin Wilhelm discovered x-rays

MENDELSSOHN  String Quartet in E minor Op. 44 No. 2 • 1837
  • written in his favorite key while on a honeymoon journey, during his tenure as director of the Leipzig Gewandhaus

	Roman Rabinovich piano Anton Barakhovsky violin

Fritz KREISLER  String Quartet in A minor • 1919
  • “It is my avowal of Vienna” (his birthplace), he told his biographer Louis P. Lochner ~ first performed by the Letz Quartet at a private dinner in New York honoring Alma and Efrem Zimbalist, it later premiered in 1921 in London, where the critic of the Daily Telegraph captured the essence of the music: “There are four orthodox movements. Of these the first is a curious, tragic fantasia.... Then there is a burst of purest happiness in the fascinating scherzo, the lightheartedness of which is most attractive. On this again there follows a piquant romance, and on this an amazing dance of pure Viennese color.... The final note is that of tragedy and pathos intermingled with the outbursts of frivolity and fun.”

Gordon JACOB  Sextet in B^b Major Op. 6 • 1956
  • highly accomplished writing for the piano and winds in particular, this neo-classical work was composed for the 10th anniversary of the Dennis Brain Wind Ensemble ~ Dr Geoff Ogram characterizes the English composer’s music as conservative, direct, traditional, tonal, diatonic (but taking into account 20th century harmonic trends), melodious, terse, acerbic, witty and piquant.

BRAHMS  Piano Trio No. 1 in B Major Op. 8 • 1854
  • ravishingly beautiful, it’s the first music of Brahms to be performed in the United States—a world premiere in New York on November 17, 1855

	Adam Neiman piano Vadim Gluzman violin

SCHUBERT  Adagio and Rondo Concertante in F Major D. 487 • 1816
  • only 19 and in love with Therese Grob, Schubert wrote the piano quartet for her brother Heinrich ~ stylistically, however, the piece is more of a concerto movement for piano and strings, and the Rondo, a sonata movement with Mozart-like themes

Ferdinand THIERIOT  Octet in B^b Major Op. 62 • [1870]
  • exceptional work by a friend of Brahms and Herzogenberg—lush and richly melodic, with a moving adagio molto mesto of great beauty ~ musicologist Wilhelm Altmann commented, “Thieriot’s chamber music is without exception noble and pure. He writes with perfect command of form and expression.”

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