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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Greetings!     Welcome to Jupiter, where you’ll find heavenly music played by a constellation of stars.     Just as you visit a museum to view art by major and minor masters, you’ll hear music of major and minor composers at Jupiter, in programs designed by our brilliant artistic director Michael Volpert.     The familiar and new discoveries to enjoy are also enhanced by our venue’s great acoustics and convivial ambience.     We thank our generous Patrons and Friends in spades for the privilege of offering these musical feasts made possible by their support. We thank the musicians for learning the repertoire, some of which is very difficult and will leave you gasping with awe and admiration. And we thank all of you for coming to Jupiter to savor its array of delectable concerts. You’ll continue to have: ♦ HEPA-filter air purifiers in operation ♦ Ventilation—as much as possible ♦ Spaced-apart seating for better sight lines ♦ Affordable ticket prices    Ticket reservations are advised to avoid disappointment at the door. Not least, please consider a gift to help Jupiter create the best music making around.    All gifts are tax deductible.    Thank you so much,

Artistic director Michael Volpert and Jens Nygaard circa late 1990s

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.

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Monday, February 3 ♦ 2 PM & 7:30 PM
Love Exposed
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)
Limited Seating

Tickets: $25, $17, $10 ~ Reservations advised
Call (212) 799-1259 or email admin@jupitersymphony.com
Pay by check or cash (exact change)​​​

Michael Stephen Brown piano
Winner of the 2018 Emerging Artist Award from Lincoln Center, a 2015 Avery Fisher Career Grant and the 2010 Concert Artists Guild Competition ~ “working wonders at the keyboard” Chicago Tribune ~ “of compelling artistry and power” Seattle Times

Geneva Lewis violin
Recipient of the 2021 Avery Fisher Career Grant Grand Prize, 2020 Concert Artists Guild Competition, and Bronze Medal at the Fischoff competition as a member of the Callisto Trio

Isabelle Durrenberger violin
Fellow of Ensemble Connect’s 2023–2025 seasons, semifinalist at the 2022 Indianapolis Competition, and 3rd Prize at the 2018 Irving Klein String Competition

Natalie Loughran viola
Won First Prize and Audience Prize at the Primrose Viola Competition, and awarded a Special Prize at the Lionel Tertis Viola Competition

Sara Scanlon cello
Grand Finalist of the National YoungArts Competition ~ her many prize winnings include concerto competitions of the Chappaqua Orchestra, Hamden Symphony, and Adelphi Orchestra

Sooyun Kim flute
Winner of the Georg Solti Foundation Career Grant and a top prize at the ARD flute competition, she has been praised for her “vivid tone colors” by the Oregonian and as a “rare virtuoso of the flute” by Libération

Roni Gal-Ed oboe
First Prize winner of the Lauschmann Oboe Competition in Mannheim ~ “Outstanding” The New York Times ~ “Expressive, wonderful player” German SZ Magazine

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

Karl Kramer horn
Winner of the 1997 and 1999 American Horn competitions ~ “Praise goes to the heroic horn playing of Karl Kramer.” New York Classical Review

Gina Cuffari bassoon
Principal Bassoonist of the Orpheus Chamber Orchestra, praised for her “sound that is by turns sensuous, lyric, and fast moving” Palm Beach Daily News

SCHUBERT  Fantasia in F minor D.940
   ~ among the musical wonders of the world—dedicated to Caroline Esterházy, his soulmate, or was she the object of his unrequited love?

Composed the year he died at age 31, the dedication was announced on 21 February 1828. If Schubert and Caroline were the first to play the divine Fantasia, the first other person to hear it was likely Schubert’s great friend Eduard Bauernfeld, a music connoisseur and dramatist, for whom Schubert and Franz Lachner played it on 9 May at a Schubertiade. It was published posthumously in 1829. The arrangement by Claus Ludwig for string quartet is from the original for piano-4 hands, one of the most ravishing pieces in the piano literature.

Countess Caroline Esterházy was born in 1805 into the wealthy and illustrious Esterházy family—the younger of two daughters of Johann Karl Count Esterházy of Galánta. She was a gifted pianist and sensitive musician. Schubert gave the sisters music lessons at their home in Vienna, as well as during the summers of 1818 and 1824 at the family estate in Zseliz. Thereafter, she and Schubert remained friends till his death in 1828. The memoir of Baron Karl von Schönstein, the Count’s close friend, throws some light on the relationship between Caroline and Schubert. However, because it was written in 1857, almost 30 years after Schubert’s death, the details of Schönstein’s recollections are inconsistent and not to be entirely trusted. Regardless, he disclosed that “a poetic flame sprang up in Schubert’s heart for Caroline. This flame continued to burn until his death.” He also recalled that “Caroline esteemed his talent very highly, but did not return this love; perhaps she did not realize the degree to which it existed. I say ‘the degree,’ because that he loved her must have been clear to her from a remark of Schubert’s—his only expression [of his love] in words. When she once jokingly teased Schubert that he had never dedicated a piece of his to her he responded: ‘Why do that? Everything is dedicated to you anyway.’” Further, Bauernfeld divulged in his diary in February 1828 that “Schubert seems to be seriously in love with Countess E[sterházy]. I like that in him. He is giving her lessons.” (To put the revelation in context, the diary entry was written at the time the Fantasia was dedicated to Caroline.) Love exists on many levels, and to say, as some have put forth, that she was the object of his unrequited love may not quite be the case. It could be more realistic that they were soulmates and shared a platonic love. We may never know for sure.

Ludwig THUILLE  Sextet in Bb Major Op. 6
   ~ unremittingly delightful, the joyful piece for piano and wind quintet is dedicated to his wife Emma Dietl

Written over a period of 2 years, the Sextet is anchored in the classicism of his teacher Josef Rheinberger, while reminiscent of Liszt and Brahms as well. It received the approval of Richard Strauss, his lifelong friend who was instrumental in arranging the premiere performance in 1889 at the Wiesbaden Festival, with Thuille playing the demanding piano part and the winds shining in their harmonies and solo turns. It was well received and appreciated by both the press and public. In the view of musicologist Byron Adams, “Thuille’s enthusiasm for the Mage of Bayreuth was further quickened by his marriage in 1887 to Emma Dietl, who was a passionate Wagnerite. Even so, Thuille retained a certain ambivalence towards Wagner; he once remarked approvingly to a student that ‘The astonishing thing is that you have kept yourself entirely free from the Wagnerian influence!’ As with Schumann, the years following Thuille’s marriage prompted a burst of creative activity. Among the scores that Thuille completed during this joyous period is an attractive Sextet…[which] exemplifies Thuille’s style at its most graceful, fluent, and polished.”

Thuille (1861–1907) was both a pupil of Rheinberger, whom he later succeeded as counterpoint teacher at the Königliche Musikschule in Munich, and a lifelong friend of Strauss. Born of Savoyard ancestry in Bolzano (then in Austria, now in Italy), he was orphaned at the age of 11. His stepuncle took him in and oversaw his secondary education in Kremsmünster. There, he served as a chorister in the Benedictine Abbey and studied the organ, piano, and violin. From 1876 he lived with his half-sister’s family in Innsbruck, his expenses paid by the generous widow of Matthäus Nagiller. He continued his studies with Joseph Pembauer and in 1877 met Richard Strauss, who was three years his junior and whose parents were acquainted with the Nagiller family. They became and remained fast friends (interrupted by a quarrel) until his untimely death at age 45. In 1879 Thuille began his studies, steeped in Viennese Classicism, with Josef Rheinberger at the Royal Academy, graduating with honors in 1882. Although he was musically conservative and sternly disciplined by Rheinberger, “a decisive change suddenly occurred in his style through his association with Alexander Ritter, a forceful figure who converted him and…Strauss into rich orchestral colourists in the late Romantic vein. Ritter diverted Thuille’s attention to opera of Wagnerian proportions and encouraged the young composer to cultivate bold harmonic ideas [New Grove Dictionary].” Before his death, Thuille made one other contribution: his Harmonielehre—a treatise on harmony that survived into the 1930s.

Antonín DVOŘÁK  “Songs My Mother Taught Me” from Gypsy Songs Op. 55
   ~ the most famous of his 7-song cycle—for all the mothers in the world

Originally for voice and piano, Fritz Kreisler arranged it for violin and piano in 1914 and performed it frequently. Dvořák composed the songs at the request of the Viennese tenor, Gustav Walter, with texts from a collection of poems by Adolf Heyduk. The song was recommended by Classic FM (UK) as one of “10 beautiful pieces of classical music for Mother’s Day.”

The nostalgic lyrics pay tribute to a mother’s tears, memories, and influence:

“Songs my mother taught me, in the days long vanished;
Seldom from her eyelids were the teardrops banished.
Now I teach my children, each melodious measure.
Oft the tears are flowing, oft they flow from my memory’s treasure.”

Bedřich SMETANA  Piano Trio in G minor Op. 15
   ~ written in memory of his beloved first daughter Bedřiška, snuffed out at age 4 by scarlet fever

Smetana was devastated by the death of Bedřiška, a musical child with whom he had an especially close relationship. The rhapsodic, heartrending elegiac work with unbridled passion, completed in 2 months, is influenced by Bohemian folk music. It was condemned by critics at the premiere on 3 December 1855, but praised by Liszt (his friend and teacher), and in our time by Harold Schonberg, who said it is “of unusual loveliness.” Many years after its composition, Smetana wrote in a letter to one of his doctors, “The death of my eldest daughter, an exceptionally talented child, motivated me to compose...my Trio in G minor. It was performed the same year in Prague [with Smetana playing the piano part]... The audience was unresponsive and the critics hated it.” A year later, when the Trio was played in Smetana’s Prague apartment, Liszt was in attendance; he was profoundly moved and arranged for subsequent performances in Germany and Austria. Smetana’s wife, Kateřina Kolářová, whom he had married in 1849, was also not well at that time, having been diagnosed with tuberculosis.

Smetana was the first major nationalist composer of Bohemia and the founder of the Czech national school of music. The 11th child and first son to survive infancy, Bedřich was born in 1824 to a keen amateur violinist and master brewer in the service of Counts Waldstein and Czernin. First taught by his father, he was playing the violin in a performance of a Haydn quartet by age 5. The following year, he made his debut as a pianist; at age 8 he was composing folk and dance tunes. Although he had no formal musical training, he completed a general education at a school in Pilsen. At the age of 20, Smetana studied composition with the distinguished teacher Josef Proksch in Prague. From 1844 to 1847 he was appointed as resident piano teacher to the family of Count Leopold Thun. This job lifted him out of dire poverty. He also met Liszt, Berlioz, and Robert and Clara Schumann in Prague. Encouraged by Liszt, he opened a piano school in Prague in 1848. Two months before the school’s opening, he participated in the Prague Revolution, which was aborted on 11 June and resulted in Bohemia’s failure to disentangle itself from the autocratic rule of the Austrian Hapsburgs. The event had strongly aroused Smetana’s patriotism—he helped to defend the barricades and wrote revolutionary marches. By 1856, he became so disenchanted with Prague’s stifling atmosphere and discouraged by the cool reception to his Piano Trio that he moved to Gothenburg. He was very productive in Sweden—he wrote his first symphonic poems and was appointed conductor of the Gothenburg Society for Classical Choral Music. After 5 years, he returned to Prague, where he played a leading part in the establishment of the national opera house. In 1874 Smetana became deaf from syphilis, yet he continued to compose until the last few days of his life when his mental faculties broke down, and he was cared for in a lunatic asylum. Before then, on 4 January 1880, Smetana played in his Piano Trio at a concert commemorating the 50th anniversary of his first public performance. At one moment in the Trio, he horrified the audience when he cried out “Pianissimo!” in a stentorian voice. Smetana’s death in 1884 drew an outpouring of national mourning, with many tributes paid to him. Liszt lamented his passing, declaring that “he was undoubtedly a genius.”

Monday, February 17 ♦ 2 PM & 7:30 PM
Getaway to UK
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)
Limited Seating

Tickets: $25, $17, $10 ~ Reservations advised
Call (212) 799-1259 or email admin@jupitersymphony.com
Pay by check or cash (exact change)​​​

Avery Gagliano piano
Winner of the First Prize and Best Concerto Prize at the 2020 National Chopin Piano Competition, other winnings include the Audience Prize at the 2019 Cliburn Junior Piano Competition, and First Prize at both the Aspen Concerto and MostArts Piano competitions ~ “...a compelling presence at the piano. She immediately draws you in… She has the technique and the musicianship, which is the ultimate combination of a young artist.” National Public Radio ~ From the Top

Hao Zhou viollin
Grand Laureate of the 2019 Montreal competition ~ as a member of the Viano String Quartet, which he cofounded, he has also won First Prize at the 2019 Banff, Grand Prize at the ENKOR, and Third Prize at the Wigmore Hall competitions ~ described as “dynamic” and “striking” by the Los Angeles Times

Isabelle Durrenberger violin
Fellow of Ensemble Connect’s 2023–2025 seasons, semifinalist at the 2022 Indianapolis Competition, and 3rd Prize at the 2018 Irving Klein String Competition

Cara Pogossian viola
2022 winner of the Borromeo String Quartet Guest Artist Award, First Prize winner of NEC’s 2023-2024 Lower Strings Concerto Competition

Christine Lamprea cello
First Prize winner of the Sphinx and Schadt competitions, winner of the 2013 Astral Artists’ Auditions and recipient of an award from the National Foundation for Advancement in the Arts ~ praised by the Boston Musical Intelligencer for her “supreme panache and charmingly effortless phrasing”

Gabriel Polinsky double bass
Associate Principal Bass of the Philadelphia Orchestra at age 23 ~ winner of the 2019 Philadelphia Orchestra Allen Greenfield Competition, and fourth prize at the Irving Klein Competition

Sooyun Kim flute
Winner of the Georg Solti Foundation Career Grant and a top prize at the ARD flute competition, she has been praised for her “vivid tone colors” by the Oregonian and as a “rare virtuoso of the flute” by Libération

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

Karl Kramer horn
Winner of the 1997 and 1999 American Horn competitions ~ “Praise goes to the heroic horn playing of Karl Kramer.” New York Classical Review

Gina Cuffari bassoon
Principal Bassoonist of the Orpheus Chamber Orchestra, praised for her “sound that is by turns sensuous, lyric, and fast moving” Palm Beach Daily News

Susan SPAIN-DUNK  Phantasy Quartet in D minor
   ~ in one movement for string quartet, it was written for the prestigious Cobbett Competition

The Cobbett Competitions, designed to encourage the younger generation of British composers to write chamber music, was sponsored by the industrialist Walter Wilson Cobbett, a chamber music aficionado. He also wished to revive the Elizabethan fantasy form of a single movement that includes a variety of moods and structural elements usually found in 3 or 4 movements. Spain-Dunk’s Phantasy has 4 distinct sub-movements within the larger one, from a bold opening through pastoral and fugal sections, and ending with a chordal version of the theme.

Almost forgotten today, Spain-Dunk enjoyed the spotlight in the 1920s. Born in Folkestone in 1880, she played her first concert at the age of 13 and participated with enthusiasm in the flourishing musical life of the town. In 1900 she performed the Mendelssohn Violin Concerto, and passed her music exams with honors. She then attended the Royal Academy of Music, where she studied violin with Alfred Gibson (she married his nephew Henry). She also was a pupil Stewart Mcpherson in harmony and won the Charles Lucas Medal for composition. After several of her early compositions were published, she achieved her breakthrough in 1924 when Sir Henry Wood included her “Suite for Strings” in one of his Promenade Concerts. From then till 1927 her works were featured annually at the Proms. Spain-Dunk was also the first woman to conduct a regimental band, and she became the second woman to conduct at the Proms (Dame Ethel Smyth was the first). She later taught harmony and composition at the Royal Academy of Music and at Trinity College in the 1930s. She died in 1962.

Sir Charles Villiers STANFORD  Serenade in F Major Op. 95
   ~ an uplifting nonet for strings and winds that radiates a buoyant spirit and fun—by the influential musician who contributed to the renaissance in British music

Written in London the same year he was composing his 6th Symphony as well as basking in the success of his Requiem in Düsseldorf, the Serenade premiered at a Broadwood Concert in London’s Aeolian Hall on 25 January 1906. Enthusiastically received, The Times noted its “spontaneity, charm, and classical purity of structure.” Sir Hubert Parry, Stanford’s severest critic, was also impressed, and when he heard it again in March 1913 at a performance by a student ensemble at the Royal College of Music, he described it as “a nice specimen of his [Stanford’s] work.” Professor Jeremy Dibble further stated that it “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.”

Born to a musical family, Stanford left Dublin at the age of 18 for Cambridge, where he distinguished himself. He also studied in Leipzig (with Reinecke) and in Berlin (with Friedrich Kiel, at the urging of Joachim). An illustrious career then ensued; he composed prolifically, conducted, and taught at the Royal College of Music, which he cofounded. Among his pupils were Vaughan Williams, Gustav Holst, Samuel Coleridge-Taylor, John Ireland, and Frank Bridge, to name a few. The New Grove Dictionary summarizes his achievements and influences: “First, he swept away the empty conventions and complacencies which had debased English church music since Purcell.... Second, he set a new standard in choral music with his oratorios and cantatas.... Third, in his partsongs, and still more in his solo songs with piano he reached near perfection both in melodic invention and in capturing the mood of the poem.... [Fourth, he] exercised the most powerful influence on British music and musicians, that of the paramount teacher of composition....” Stanford was knighted in 1902; he died in 1924 and his ashes were buried in Westminster Abbey.

BEETHOVEN  Scottish, Welsh, and Irish Songs
   ~ arranged by the genius for soprano and piano trio

The tunes are winsome and the accompanying piano trio occasionally sounds unmistakably like vigorous echoes of his muscular style. Between 1806 and 1818 Beethoven collaborated with a Scottish collector of folk music by the name of George Thomson in arranging more than 100 folk songs for an estimated £550.

Frank BRIDGE  Piano Quintet in D Minor
   ~ dense, richly melodic masterwork, cast in a rhapsodic post-Romantic English style—colored by the French music of the era and a solid dose of Brahmsian flair—with a yearning theme in the slow movement

First written when Bridge was in his mid-20s, the Quintet was radically revised just after he turned 30. The refined version premiered on 29 May 1912 with pianist Harold Samuel and the English String Quartet.

Bridge was considered one of the most gifted figures on the British music scene, wearing multiple hats well. He was a composer of poetic insight and consummate technique, an excellent violist, an outstanding conductor and chamber musician, and a remarkable teacher. Born in the seaside resort of Brighton in 1879 to a working class family, Frank was the 10th of a dozen children. His father was a lithographic printer, but was passionate about music; in middle age he switched professions, becoming music director of the Empire Theatre and a violin teacher. From childhood, Frank learned the violin and played in the orchestra, began composing, and substituted for his father as conductor at the Theatre. In 1899 he won a scholarship to the Royal College of Music, where he studied composition with the famously dismissive Charles Villiers Stanford in addition to the violin. When Bridge left RCM in 1903, he took up the viola and played in string quartets, most notably as a member of the English String Quartet, founded officially in 1908. While composing, he earned his income from long hours of playing all over London. He was also called upon to conduct as he was a phenomenal score reader. And he supplemented his income with teaching. Bridge was the private tutor of Benjamin Britten, who later championed his teacher’s music and paid homage to him in Variations on a Theme of Frank Bridge. He died in 1941 in Eastbourne.

Jupiter 2024 - 2025 Season
20 Mondays at 2:00 PM & 7:30 PM
Good Shepherd Church ♦ 152 West 66 Street

View Our Season Calendar

Tickets: $25, $17, $10 ~ Reservations advised
Call (212) 799-1259 or email admin@jupitersymphony.com
Pay by check or cash (exact change)​​

Please visit our Media Page to hear Audio Recordings from the Jens Nygaard and Jupiter Symphony Archive

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

“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:
JUPITER SYMPHONY
155 West 68th Street, Suite 319
New York, NY 10023
admin@jupitersymphony.com
(212) 799-1259

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Jupiter in the News

ConcertoNet
“knocked the socks off this listener...It was wondrous chamber music. And the three artists gave it the deserving excitement, volition and imagination.” 
Harry Rolnick, ConcertoNet   more...

“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...

ConcertoNet
“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 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...

As promised, here are the videos of John Field’s Divertissement No. 1 and Sir Hamilton Harty’s Piano Quintet. Fortuitously, our Jupiter musicians had the good sense to record the rehearsal in an impromptu decision, literally minutes before pressing the record button. Pianist Mackenzie Melemed (replacing Roman Rabinovich at the last minute) learned the music in 2 days! Bravo to him.

Both works are Irish rarities that were scheduled for the March 16 performances which had to be canceled because of the coronavirus epidemic. Even though the entire program could not be recorded because of technical issues, we are pleased to be able to share with you the 2 musical gems. Enjoy.

John FIELD  Divertissement No. 1 H. 13
  ~ simply delicious piano quintet, alternately titled Rondeau Pastoral and better known in its version for solo piano, Twelve O’clock Rondo, on account of the 12 “chimes” at the end ~ by the creator of the Nocturne, which had a major influence on Chopin

We thank the University of Illinois (Champaign) for a copy of the Divertissement music.

Mackenzie Melemed piano
Abigel Kralik violin
Dechopol Kowintaweewat violin
Sarah Sung viola
Christine Lamprea cello

Sir Hamilton HARTY  Piano Quintet in F Major Op. 12
  ~ in a lyrical Romantic idiom, with a distinct, breezy Irish-salted voice

Andrew Clements of the Guardian proclaimed the beautiful Quintet “a real discovery: a big, bold statement full of striking melodic ideas and intriguing harmonic shifts, which adds Brahms and Dvořák into Harty’s stylistic mix, together with Tchaikovsky in some passages.” There’s folk music charm as well, reminiscent of Percy Grainger—notably in the Scherzo (Vivace) with its folksy quirks and nonchalance, and the winding, pentatonic melody in the Lento.

Our gratitude to the Queen’s University Library in Belfast, Northern Ireland, for a copy of the autograph manuscript of the music. Much thanks, too, to Connor Brown for speedily creating a printed score and parts from Harty’s manuscript.

Mackenzie Melemed piano
Abigel Kralik violin
Dechopol Kowintaweewat violin
Sarah Sun viola
Christine Lamprea cello

I Allegro 0:00
II Vivace 10:43
III Lento 14:44
IV Allegro con brio 23:59