A Living Tribute to Jens Nygaard: Jupiter Symphony Chamber Players... It's Out of This World

A chamber music series to acknowledge and perpetuate the legacy of conductor Jens Nygaard, continuing a marvelous journey through the universe of music that includes works from the standard repertoire and the rarely-performed, and featuring outstanding musicians.


Jupiter Symphony Chamber Players

“This was music-making of a very high order”
“at the Jupiter concerts, there is always so much about which to be enthusiastic.”
“the rarities glittered like jewels”

Fred Kirshnit, The New York Sun
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Jupiter 2016 - 2017 Season
20 Mondays at 2:00 PM & 7:30 PM

View Our Season Calendar

To purchase Tickets ~ $25, $17, $10 
please call
(212) 799-1259 or buy at the door
or e-mail admin@jupitersymphony.com
order tickets with our printable ticket order form (pdf)

Concert Venue:
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway), New York

Good Shepherd Presbyterian Church

one of the most refined and intelligent church spaces in New York~ The New York Times

Built in 1893 by Josiah Cleveland Cady, architect of the old Metropolitan Opera House and the American Museum of Natural History

Office Address:
155 West 68th Street, Suite 319
New York, NY 10023

Warmest Wishes for the Holidays!


Listen to a live recording of the Jupiter Symphony
Chamber Players from September 23, 2013

Recorded by Joseph Patrych

Roman Rabinovich piano
Xiao-Dong Wang violin
Mihai Marica cello

Antonín DVORÁK  Piano Trio No. 1 in Bb Major Op. 21
i. Allegro molto
ii. Adagio molto e mesto
iii. Allegretto scherzando
iv. Finale

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Monday, April 3, 2pm & 7:30pm 
Serpent Sighting
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Michael Brown, piano
Frank Morelli, bassoon

Barry Crawford, flute
Vadim Lando, clarinet
Stanislav Chernyshev, clarinet
Andrew O’Donnell, clarinet
Karl Kramer, horn
Audrey Flores, horn
Gina Cuffari, bassoon
Paul Futer, trumpet
Ehren Valme, bass trombone
Jonathan Fowler, serpent

Michael Brown piano
Recipient of the 2015 Avery Fisher Career Grant, winner of the Concert Artists Guild, Gina Bachauer, and Juilliard Concerto competitions ~ “a young piano visionary” The New York Times

Frank Morelli bassoon
“Morelli’s playing is a joy to hear” Gramophone ~ “as good as it gets” American Record Guide ~ “Morelli has set a new standard of playing that will undoubtedly influence generations to come” IDRS Journal 

BEETHOVEN  12 Variations on a Russian Dance in A Major WoO 71
   ~ in high Classical style, the delightful variations for piano are based on a thème russe by Giovanni Giornovichi from Paul Wranitzky’s ballet Das Waldmädchen

Written most likely while Beethoven was touring Bratislava and Budapest in November 1796, the solo piano work is dedicated to Countess Anna Margarete von Browne, whose husband was one of Beethoven’s major early patrons; in acknowledgment, the Brownes gave him a riding horse, which he soon forgot about and got rid of when he received its feed bill. Giornovichi (?1740-1804), the violin virtuoso and billiards player, is also known as Ivan Mane Jarnovic (as well as several different names which he is believed to have used)

Reinhold GLIÈRE  Impromptu Op. 35 No. 9
   ~ a lovely interlude for bassoon and piano

Nikolay RIMSKY-KORSAKOV  Quintet in Bb Major
   ~ unlike his String Sextet, which won an honorable mention at the chamber music competition sponsored by the Russian Music Society, the classy Quintet for piano, flute, clarinet, horn and bassoon was passed over by the jury, but it’s an absolute charmer and was subsequently performed by the St. Petersburg Chamber Music Society

Rimsky-Korsakov described it in his autobiography, Chronicle of my Musical Life, published in 1909: “The First Movement, Allegro con brio, in the classical style of Beethoven. The Second Movement, Andante, contained a good fugato for the wind instruments with a very free accompaniment in the piano. In the finale, Allegretto vivace, I wrote in rondo form. Of interest is the middle section where I wrote cadenzas for the flute, the clarinet and the horn to be played in turns. Each was in the character of the instrument and each was interrupted by the bassoon entering by octave leaps”

BEETHOVEN  Grand Serenade
   ~ brilliantly transcribed by Bernhard Crusell (the illustrious Finnish clarinettist and composer) from Beethoven’s Septet, with a wicked Eb clarinet part ~ for flute, Eb clarinet, 2 Bb clarinets, 2 bassoons, 2 horns, trumpet, bass trombone, and serpent ~ here’s your chance to get an up-close look at a musical “reptile,” if you dare

When Beethoven heard of the Septet’s sensational reception in London in 1815, he snarled, “That damn work; I wish it could be burned!” But for the poet Walt Whitman, it evoked thoughts of “Nature laughing on a hillside in the sunshine...spontaneous, easy, careless....”

Jupiter Players on this program:

Barry Crawford flute
“He is a superb flutist with a silvery tone, exquisite phrasing, and a fluid deftness in his fingering.” Southampton Press

Vadim Lando clarinet
Winner of the CMC Canada, Yale and Stonybrook competitions ~ “consistently distinguished...vibrant, precise, virtuosic playing” The New York Times

Stanislav Chernyshev clarinet
Winner of Ukraine's International Competition of Wind Instruments, the Rimsky-Korsakov (Russia), LISMA Foundation and Mary Smart Concerto competitions (US)

Andrew O’Donnell clarinet
clarinetist in Symphony in C

Karl Kramer horn
Winner of the 1997 and 1999 American Horn competitions ~ “played beautifully...a prominent, perilously chromatic line” The New York Times

Audrey Flores horn

Gina Cuffari bassoon
Praised for her “sound that is by turns sensuous, lyric, and fast moving” Palm Beach Daily News

Paul Futer trumpet
Principal Trumpet of Symphony in C

Ehren Valme bass trombone
Award-winning vocalist and multi-instrumentalist ~ “He has the drive, work ethic, and talent to succeed as a professional musician.” Robert Huebner

Jonathan Fowler serpent
Teaches the tuba and euphonium at the West Chester University of Pennsylvania

Jupiter in the News

The New York Times
the performers were top notch
The homey church where these concerts take place, nestled on West 66th Street in the shadow of Lincoln Center, is an intimate and acoustically vibrant place for chamber music.”
Anthony Tommasini, The New York Times   more...

Strad Magazine
A finely forthright, fluent and expressive account of Haydn's Divertimento in E-flat major opened this programme of miscellaneous chamber music in a series known for adventurous programming.
Dennis Rooney, Strad Magazine   more...

Mr. Nygaard’s cadenza flowed down Mozart lanes and paths, each with beautiful backgrounds. And at the very end, Mr. Nygaard brought forth that martial major theme, like an unexpected gift.” 
Harry Rolnick, ConcertoNet   more...

The New York Times
“...the group’s efforts proved illuminating ...Brown played a lovely, subtly virtuosic cadenza for Mozart’s Piano Concerto No. 24 by Jens Nygaard, the ensemble’s founder, who died in 2001, but whose fascination with rarities continues to drive its programming
Allan Kozinn, The New York Times   more...

Monday, April 17, 2pm & 7:30pm 
German Rarities
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

William Wolfram, piano
William Hagen, violin
David Requiro, cello
Xavier Foley, Double Bass
Vadim Lando, clarinet

William Wolfram piano
Winner of the Kapell, Naumburg, and Tchaikovsky competitions ~ “Wolfram’s technique is flabbergasting; fiendishly difficult octave passages were as child’s play, and his strength is tempered by an easy poetry.” The New York Times

William Hagen violin
Won third prize at the 2015 Queen Elisabeth Competition (the highest ranking American since 1980) ~ wond second prize at the 2014 Fritz Kreisler Competition ~ a “brilliant virtuoso…a standout” The Dallas Morning News ~ “an intellectual command of line and score, and just the right amount of power” Violinist.com ~ “plays with an obvious and sincere love for the very act of music making” North Texas Performing Arts News

Justus Johann Friedrich DOTZAUER  Grand Trio in Eb Major Op. 52
   ~ early Romanticism lights up this engaging string trio by the influential maestro of the Dresden School

By the turn of the 18th century, the Dresden Court had become an important center for the study of the cello in Europe, and at its helm was Johann Justus Friedrich Dotzauer, the founder of the Dresden School. Born in Haselrieth, his studies included various instruments, among them the piano, violin, cello, double bass, clarinet, horn, and trumpet. He was a member of the Meiningen court orchestra until 1805, when he left for the Leipzig Gewandhaus Orchestra, where he stayed till 1811. His interest in chamber music led to the founding of the celebrated Leipzig Professors’ Quartet, which won great acclaim for its twelve concerts in Leipzig—among the first public quartet concerts in Europe. The noted German composer and violinist Louis Spohr spoke highly of Dotzauer as a chamber musician, and emphasized the purity of his intonation and perfect technique. Dotzauer later joined the Court Orchestra at Dresden, where he excelled and was appointed solo cellist.

Hans PFITZNER  Sextet in G minor Op. 55
   ~ his penultimate serenade-like work in the spirit of Schumann and Brahms was appreciated by his contemporaries, including Richard Strauss and Gustav Mahler ~ for the unusual combination of clarinet, single strings, and piano

Music writer Scott Morrison views the Sextet by the avowed Romantic as “a little masterpiece, a jolly divertimento.... The first movement is a sonata-allegro with especially winsome themes.... The Quasi-Minuetto is almost a classical-era miniature.... The Rondoletto is an outdoor-piece that could almost have been written by Schubert except for its startlingly effective modulations and its creative changes of instrumental combinations. The fourth movement, Semplice misterioso, is in strophic songform, with varying intermezzi between stanzas. It leads without pause into the finale, Comodo, which alone among all the movements features a number of double bass solos...and it builds to a joyful conclusion.”

Pfitzner, a man with a quick, penetrating mind and quizzical humor, was born in 1869 into a family of musicians in Moscow. When he was two, the family returned to his father’s hometown of Frankfurt. From 1886 to 1890 he studied at the Hoch Conservatory, where his piano teacher was James Kwast. He later married Mimi (Kwast’s daughter and a granddaughter of Ferdinand Hiller) against her parents’ wishes and after she had rejected the advances of Percy Grainger. He worked at some low-paying jobs before his appointment as opera director and head of the conservatory in Strasbourg in 1908. His most important work, the musical legend Palestrina, was completed in 1915. In 1925 he was made a knight of the Pour le Mérite and a senator of the German Academy in Munich, but his activities diminished after his wife died in 1926. “In 1934 Pfitzner, in poor health though still mentally active, was relieved of his ‘life’ post in Munich; he spent the years of Nazi rule, which he detested [albeit for personal reasons], as a conductor and accompanist. Though his sight grew weaker he continued to compose. When his home was destroyed in an air raid, he moved to...Vienna, then to Garmisch-Partenkirchen and finally, in 1946, to an old people’s home in...Munich. All of his possessions had been lost: Reger’s widow gave him a piano. He was buried with honor in the Vienna Zentralfriedhof [The New Grove Dictionary].” His work was championed by Bruno Walter.

BRAHMS  Piano Trio [No. 4] in A Major Op. posth.
   ~ discovered in 1924, scholarly opinion remains divided on the gorgeous Trio’s authenticity

Jupiter Players on this program:

David Requiro cello
Winner of the Naumburg, Irving Klein and Washington “The recital amounted to an exciting catalog of Requiro’s musical gifts. Chief among these is the beauty of his string tone, a light-footed but resonant sound that seems to leap from the instrument...” San Francisco Chronicle

Xavier Foley double bass
Won First Prize at the 2016 Young Concert Artists Auditions and 2014 Sphinx Competition, the 2009 (Junior Division) and 2011 (Senior Division) Bassists Society competition, and 2014 Astral Artists National Auditions

Vadim Lando clarinet
Winner of the CMC Canada, Yale and Stonybrook competitions ~ “consistently distinguished...vibrant, precise, virtuosic playing” The New York Times

Monday, May 1, 2pm & 7:30pm 
Ties to Brahms
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Stephen Beus, piano
Mayuko Kamio, violin
David Requiro, cello
Vadim Lando, clarinet

Stephen Beus piano
Winner of the Gina Bachauer and Chopin competitions and the Vendome Prize ~ “...Mesmerizing ...explosive ...intelligent... he belongs on the world stage.” Salt Lake Tribune ~  “...strikingly original... the sound he produces has extraordinary richness and depth not quite like anyone else’s.” Fanfare

Mayuko Kamio violin
Gold medalist of the 2007 Tchaikovsky Competition ~ Gold Medalist of the 2004 David Oistrakh competition in the Ukraine ~ Winner of the first Monte Carlo Violin Masters Competition, 2004 ~ First Prize, Young Concert Artists Auditions, 2000 ~ Youngest artist ever to win the Menuhin Violin Competition, 1998 ~ “she was distinguished by her warmly luxurious, buttery tone and long, seamless phrases” The New York Times

Carl Georg Peter GRÄDENER  String Trio in G minor Op. 48
   ~ influenced by Schumann and Brahms, Grädener’s chamber music is of interest for its ingenuity and freshness of harmonies and excellence of form

The accomplished composer, conductor, teacher, and cellist became one of Brahms’s important friends after meeting him in the fall of 1854 through Theodor Avé-Lallemant. Their close friendship is recounted by Darwin Floyd Scott: “In 1851, Grädener had founded his own Concert and Singing Academy, presenting subscription concerts with such soloists as Joachim and von Bülow. These concerts provided the setting for several premieres of Brahms’s music [including Ave Maria, Op. 12]. Brahms’s own Frauenchor was made up largely of girls and women who sang in Grädener’s Singakademie.... They shared a great admiration for J. S. Bach and the goal of performing Bach’s music in what they understood to be an authentic manner. Grädener was Hamburg’s earliest subscriber to the Bach Gessellschaft’s complete edition published by Breitkopf and Härtel—and for a long time the only other subscriber in town was Brahms. Both men had something else in common: they chafed at Hamburg’s musical mediocrity, and dealt with it in a less than tactful manner. Grädener, in fact, moved to Vienna in disgust for three years, but returned. He was known as a writer full of wit and fighting spirit, and indeed, he wrote a fierce and fiery defense of Brahms’s First Piano Concerto when the Leipzig press treated the work with disdain. For his part, Brahms performed Schumann’s Zigeunerleben in Grädener’s arrangement for chorus and orchestra, and had plans to perform Grädener’s Piano Concerto in A minor, op. 20. There was a lighter side to their friendship as well. They once attended a party at Avé’s house as a mechanical doll and its handler; Brahms played the piano until he wound down and fell off the piano stool, incapacitated until Grädener wound him up again—whereupon Brahms took up his seat and continued playing exactly where he had left off.” In 1872 Grädener praised Brahms as “this greatest composer of recent times” and ranked him alongside Bach and Beethoven.

Clara SCHUMANN  Piano Trio in G minor Op. 17
   ~ in the musical language of Schubert and Mendelssohn, the lovely Trio imparts deep feeling

In 1846 Schumann wrote in her diary, “There is nothing like the satisfaction of composing something oneself and hearing it afterwards.” Yet, when she compared her Trio to her husband Robert’s D minor Trio, she dismissed her work as “effeminate and sentimental.” Not so. She had a fan in Mendelssohn, who admired it, especially the fugato in the last movement.

Born in 1819, Clara was touring Europe as a piano prodigy by the age of 11. Her debut solo recital at the Leipzig Gewandhaus included bravura works by Kalkbrenner, Herz, and Czerny, and two of her own compositions, which were praised by the critics. When Louis Spohr heard her perform some of her works in 1831, he wrote: “Her compositions, like the young artist herself, are among the most remarkable newcomers in the world of art.” Her admirers also included Mendelssohn, Chopin, Liszt, and Robert Schumann. She went on to become a formidable pianist and held that reputation for six decades. During her marriage to Schumann (1840-1856), Clara bore him 8 children while continuing to perform, compose, teach the piano, run the household, and provide financial and moral support to Robert and his career.

Walter RABL  Quartet Op. 1
   ~ the luscious late Romantic Schumannesque Quartet exhibits “both technical proficiency...and a wonderful ear for the distinctive characteristics of each instrument and also how they might blend. Nothing hurts the ear but charm [Michael Wilkinson]” ~ it won a competition judged by Brahms, who was so taken that he recommended it to his publisher and it became Rabl’s Opus One

In 1896 Brahms was the honorary president of the Vienna Tonkünstlerverein, which was founded in 1885 to support the music and musicians of Vienna. He exerted a strong influence on the society in his endeavor to promote and teach promising young composers; he also served as the de facto head of the competition juries. Eduard Hanslick, Brahms’s longtime friend and music critic of the Neue Freie Presse wrote, “He was a zealous promoter of competitions, especially chamber music competitions, to bring young talents to fore. When it came to the examination of the anonymous manuscripts that had been submitted, he showed astonishing acuity in guessing, from the overall impression and technical details, who the author was, or at least his school or teacher. Last year Brahms was very interested in an anonymous quartet whose author he was quite unable to identify. Impatiently he waited for the opening of the sealed notice. On it was written the heretofore entirely unknown name: Walter Rabl.” Dedicated to Brahms, the Quartet appears to be the first piece ever written for the combination of clarinet and piano trio. After 1903, Rabl stopped composing and became a conductor and highly regarded vocal coach.

Jupiter Players on this program:

David Requiro cello
Winner of the Naumburg, Irving Klein and Washington “The recital amounted to an exciting catalog of Requiro’s musical gifts. Chief among these is the beauty of his string tone, a light-footed but resonant sound that seems to leap from the instrument...” San Francisco Chronicle

Vadim Lando clarinet
Winner of the CMC Canada, Yale and Stonybrook competitions ~ “consistently distinguished...vibrant, precise, virtuosic playing” The New York Times

Jens Nygaard

Dear Friends and Music Lovers,

A stunning expanse of virtually uninterrupted melodies—delivered with polish, style, and great musicianship awaits you.

We believe Jupiter’s concerts are enlightening and worthwhile. In our world today, most things are within reach online, or with a press of the button. But nothing beats a live performance. At Jupiter, we aim to give you a musical high so high, you’ll be thrilled with every concert. We hope you’ll return time and again.

You can delve into many Beautiful Minds, relish the Gewandhaus, some Sweet ’n’ Sassy and Aeolian Gold, even Hair Raisers and Divine Madness, and everything else between.

Jupiter’s journey continues to be offered at a nominal price that covers only 25% of our costs. Thus, once again, we need your support, which is always greatly appreciated. Please give as much as you can. All gifts are tax deductible.

Thank you so much,

Why the name Jupiter: When Jens Nygaard named his orchestra Jupiter, he had the beautiful, gaseous planet in mind—unattainable but worth the effort, like reaching musical perfection. Many, indeed, were privileged and fortunate to hear his music making that was truly Out of This World. Our Players today seek to attain that stellar quality.

Here are the dates:

September 12 ~ Beautiful Minds
September 26 ~ The Gewandhaus
October 10 ~ Sweet ’n’ Sassy
October 17 ~ Town and Country
October 31 ~ Hair Raisers
November 14 ~ Aeolian Gold
November 21 ~ Mighty Russians
December 5 ~ German Masters
December 19 ~ Geniuses
January 9 ~ Opera Without Words

January 23 ~ Eastern Europe’s Stars
February 6 ~ Fanny’s Berlin Salon
February 20 ~ C’est Si Bon
March 6 ~ One-Two Punch
March 13 ~ Reicha’s Reach
March 27 ~ All Over Italy
April 3 ~ Serpent Sighting
April 17 ~ German Rarities
May 1 ~ Ties to Brahms
May 15 ~ Divine Madness

Order Tickets with Our Printable Ticket Order Form (pdf)
more details here...

Take a look at our guest artists for this season.
Find out more about the Jupiter Symphony Chamber Players.

Jupiter featured on Our Net News

American program opener on March 18, with grateful thanks to Michael Shaffer of OurNetNews.com for recording the matinee concert, and making available the Horatio Parker Suite video for our viewing pleasure.

Horatio Parker Suite in A Major, Op. 35, composed in 1893

Stephen Beus piano
Stefan Milenkovich violin
David Requiro cello


More video from this performance can be viewed on our video page

Jupiter on YouTube
featured in a short documentary on artist Michael McNamara

NEW YORK CANVAS : The Art of Michael McNamara is a video portrait of the artist who has painted iconic images of New York City for more than a decade, capturing the changing urban landscape of his adopted city. Our Jupiter Symphony Chamber Players provide the music from Brahms’s Piano Quartet in G Minor, underscoring the inspiration the artist has drawn from Jens Nygaard and the musicians. Michael was also our Jupiter volunteer from 2002 to 2010.

Here is a video of the Jupiter Symphony Chamber Players performance of the Rondo alla Zingarese movement:


The producer-director, Martin Spinelli, also made the EMMY Award-winning “Life On Jupiter: The Story of Jens Nygaard, Musician.

For more information, visit our video page

Emmy Award-winning “LIFE ON JUPITER - The Story of Jens Nygaard, Musician” available on DVD with bonus music. More Info...

If you wish to purchase your own copy to remember Jens by or for more information visit www.lifeonjupiter.com

The New York Sun Review
by Adam Baer
--The Jupiters Play On--

“Some great musicians get a statue when they pass away. Some get their name imprinted on the roof of a well-known concert hall. But the late conductor Jens Nygaard has a living tribute: an entire ensemble of musicians and a concert series to go along with it...

It is one of the city’s cultural jewels...

In the end, if Mr. Nygaard was known for anything, it was unmitigated verve. That’s what the audience regularly returned for, and that’s what they got Monday afternoon. To have a grassroots community of musicians continue to celebrate Mr. Nygaard with indomitable performances like these week after week, even without the power of world-famous guest soloists, is proper tribute. And with more large orchestras and ensembles needing more corporate sponsorship year after year, I, for one, hope the Jupiter’s individual subscriber-base remains strong.

New York’s musical life needs the spirit of Jens Nygaard, and Mei Ying should be proud she’s keeping it alive.”

Read the complete article on our reviews page.

Please send any correspondence to

office address:
155 West 68th Street, Suite 319, New York, NY 10023
For information or to order tickets, please call:
(212) 799-1259

MeiYing Manager
Michael Volpert Artistic Director

All performances, except where otherwise noted, are held at:
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway) New York, NY 10023
The Box Office at the Good Shepherd Presbyterian Church
will be open 35 minutes prior to each concert.

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