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Join Us For Our 2026-2027 Season! |
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Jupiter Symphony Chamber Players “This was music-making of a very high order” Fred Kirshnit, The New York Sun |
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Summer Concerts: View Our Printable Calendar and Ticket Order Form (pdf) Take a look at our guest artists for this season. |
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Join us for our next concerts...
Monday, September 14 ♦ 2 PM & 7:30 PM Tickets: $25, $17 ~ Reservations advised Maxim Lando piano Lun Li violin Nicolas Perkins viola Gaeun Kim cello Gabriel Polinsky double bass Reinhold GLIÈRE Deux morceaux Op. 9 The 2 Pieces in contrasting styles—an expressive Intermezzo and dazzling Tarantella—were composed after Gliere’s graduation from the Moscow Conservatory, but before his conducting studies began in Berlin 3 years later. Glière and Koussevitsky both lived and worked closely together in Moscow at this time, and it is likely that Koussevitsky advised on the technical possibilities of the double bass. The Pieces push the technical boundaries of the double bass as a solo instrument. Koussevitzky (1874–1951) regularly championed Glière’s music. In January 1908, he made his conducting debut, leading the Berlin Philharmonic in the world premiere of Glière’s Symphony No. 2. He also frequently performed Glière’s chamber and double bass works on his international tours. Glière (1875–1956) is regarded as a great musical icon in his native Ukraine, and is considered the founder of Soviet ballet music. He was immensely versatile, and his prolific output made significant contributions in a wide range of genres. Born of Belgian Jewish descent in Kiev to a musical family who were master instrument makers, he studied at the Moscow Conservatory until 1900. His teachers included Arensky for harmony and Sergey Taneyev and Ippolitov-Ivanov for theory and composition. After teaching for a while in Moscow, he studied conducting in Berlin from 1905 to 1907, first appearing in Russia as a conductor in 1908. Glière then taught at the Kiev Conservatory and was appointed director in 1914. From 1920 to 1941 he taught composition at the Moscow Conservatory. Among his pupils were Khachaturian, Nikolai Myaskovsky, the 11-year-old Prokofiev, and Scriabin’s young son. His favorite instrument was the violin; his early commitment to writing chamber music continued for more than 50 years. Moreover, Glière survived the almost unparalleled political turmoil in both Tsarist Russia and the Soviet Union. Eric Levi, writing for the BBC Music Magazine, explained that “Glière’s consciously old-fashioned and widely accessible musical style enabled him to maintain a relatively stable career in the Soviet Union. Above all, it was these qualities that endeared him to Soviet cultural bureaucrats who regarded Glière as an ideal exponent of Socialist Realism.” Glière remained a staunch conservative throughout his life. Anton ARENSKY String Quartet No. 2 in A minor Op. 35 The Quartet is scored less commonly for violin, viola, and two cellos to create a dark, somber timbre—a muted psalm theme from ancient Russian church music is followed by a set of variations on a song by Tchaikovsky (“The Crown of Roses” from Sixteen Children’s Songs), and ends with a Finale that includes a fugue based on a medieval Russian anthem, Slava Bogu na nebe, Slava (“Glory to the Sun”) A pupil of Rimsky-Korsakov at the St. Petersburg Conservatory, Arensky graduated with a gold medal, then became one of the youngest professors ever to teach at the Moscow Conservatory, where he was influenced by Tchaikovsky and Sergei Taneyev. Among his pupils were Rachmaninoff and Scriabin. He died at age 44 from tuberculosis, most likely exacerbated by his drinking. Sergei RACHMANINOFF Trio élégiaque No. 2 in D minor Op. 9 Dedicated “To the memory of a great artist,” the Trio is as worthy a memorial to Tchaikovsky, as much as Tchaikovsky’s A minor Piano Trio was to Nikolay Rubinstein in 1881. The connections between these memorial trios run deeper. Structurally, Rachmaninoff’s work is strongly based on Tchaikovsky’s—to the extent of having a set of variations as the second movement, and the thematic likeness of both variation themes implies that Rachmaninoff based his on Tchaikovsky’s. Completed in December 1893, just a month after Tchaikovsky’s death, it was first performed the following month in Moscow, with Rachmaninoff playing the piano part. Koussevitzky also had a meaningful relationship with Rachmaninoff. It was, in fact, profound and enduring, artistically and personally—from their early careers in Imperial Russia to their later years as exiles in the United States. For instance, Rachmaninoff played a vital role in launching Koussevitzky’s conducting career—he performed as the soloist for Koussevitzky’s high-profile conducting debut with the Berlin Philharmonic in 1908. And when Koussevitzky became the music director of the Boston Symphony Orchestra (serving from 1924 to 1949), he promoted Rachmaninoff’s works unfailingly. Following the 1917 Russian Revolution, after both men fled Russia and eventually settled in the United States, they remained close friends within the circle of Russian emigré musicians. Rachmaninoff even signed the Koussevitzky “friendship tablecloth” which the family brought with them to America. The signatures were later meticulously embroidered by various hands. |
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Monday, September 28 ♦ 2 PM & 7:30 PM Tickets: $25, $17 ~ Reservations advised Michael Stephen Brown piano Danbi Um violin Julia Schilz violin Paul Laraia viola Nazeeh Shahid viola Sara Scanlon cello Vadim Lando clarinet HAYDN String Duo in F Major Hob.VI:1 The sonatas were written to entertain his employer, Prince Nikolaus Esterházy, or for daily court events. Court musicians generally lived in Eisenstadt as they were not permitted to live at the Esterházy Palace. However, as Kapellmeister, Haydn’s special privileges included a house on the grounds of the country estate, where he was isolated but very productive. Mozart met Haydn in Vienna in December 1783. They admired each other and quickly developed a deep friendship. Mozart affectionately addressed Haydn as “Papa,” and they played impromptu quartets—Haydn on violin and Mozart playing viola. In 1785 Mozart sent his 6 string quartets to Haydn, influenced by and dedicated to Haydn: “I send my six sons to you, most celebrated and very dear friend…. During your last stay in this capital you yourself, my very dear friend, expressed to me your approval of these compositions…. Please then receive them kindly and be to them a father, guide and friend!” Haydn’s last day in Vienna was spent with Mozart. After they dined together Mozart said at their parting, “We are probably saying our last farewell in this life.” Tears welled from the eyes of both. Haydn was deeply moved, and it never occurred to him that Mozart’s life could end within a year. When Mozart died at age 35, Haydn was distraught: “I was for some time quite beside myself over his death. I cannot believe that Providence should so quickly have called an irreplaceable man into the next world.” He reiterated, “Posterity will not see such a talent again in 100 years.” BEETHOVEN Gassenhauer Trio Op. 11 “No, this is not the punk band, but there is a rebelliously rude spirit imbedded in this early chamber work,” so stated the highly respected critic Fred Kirshnit. The genesis of the Trio from a Viennese alley is summarized by Kai Christiansen: “In October of 1797, a 26-year-old Beethoven was steadily gaining a reputation around Vienna as a fierce pianist with a gift for improvisation…. 1797 also witnessed the debut of Joseph Weigl’s comic opera L’Amor Marinaro (The Corsair) featuring a popular tune Pria ch’io l’impegno (Before beginning this awesome task, I need a snack) that would eventually inspire numerous variation sets by composers such as Hummel and Paganini. But Beethoven would be first. Apparently started in 1797 and published the following year, Beethoven’s Trio…offered a rather ‘genteel’ work…featuring a theme and variations finale on the jaunty tune frequently heard by night revelers about town, hence, the Trio’s…nickname, “Gassenhauer” (Street song)…. Apparently while composing the finale, Beethoven was unaware that Weigl was the original composer of the tune and became rather irritated upon discovering the fact. Thereafter, Beethoven intended to separate the variations from the trio as a standalone piece and compose an alternate finale, though he never followed through.” As Beethoven had written his major solo clarinet parts during the period 1796–1802 with Franz Josef Bähr in mind (he was impressed by his talent and tone), he probably thought the Austrian clarinetist would be suited for the Trio as well. Mozart had a big, lasting influence on Beethoven. Although his aspirations to study with him were never realized, Beethoven admired Mozart throughout his life, composing variations on several of his melodies. Max BRUCH String Quintet in Eb Major Michael Kube, the music scholar who edited the Quintet for Henle Verlag, commented that it “reflects virtually the entire tradition of nineteenth‐century chamber music, drawing stylistically on Mendelssohn (rather than Brahms) but transcending the limits of the genre with its sometimes brilliantly designed first violin part.” After Bruch’s death in 1920, the music vanished and was apparently never performed in public. The Quintet resurfaced in a private collection in 1991—it’s not Bruch’s autograph score but a copy by his daughter-in-law Gertrude (the wife of his eldest son Max Felix). Bruch’s own manuscript is still missing. In the 1930s Gertrude copied Bruch’s music manuscripts to help preserve his work, and to manage his estate and performing rights. The Quintet was eventually published in 2008 and premiered by the Henschel Quartet in London’s Wigmore Hall on 23 July 2008. Bruch, born in Cologne in 1838, some 50 years after Mozart’s death, was well aware of Mozart’s importance and was inspired by him. At age 14 he won the coveted Mozart-Stiftung Prize for a string quartet he had submitted. The award was recommended by the acclaimed composer and conductor Ferdinand Hiller, founder of the Cologne Conservatory. Hiller had heard a number of his works while visiting the Bruch home on occasion. It funded Bruch’s education to study with Hiller and Carl Reinecke, both of whom were deeply influenced by Mozart (they performed and taught his music). Bruch also wrote a symphony at age 14, and he later conducted orchestral and choral societies in Mannheim, Koblenz, Sondershausen, Berlin, Bonn, Liverpool, Breslau, and Wraclaw. His importance as a composer and to German musical life was finally acknowledged in 1890, when he was given a professorship and a master class in composition at the Hochschule für Musik (Berlin Academy). He held the post until his retirement in 1910, and died in Friedenau (now part of Berlin) in 1920. Bruch is best remembered for his Scottish Fantasy, Kol Nidrei, and 3 violin concerti. His music fell out of favor because he rebuffed the New German School, defending Romanticism instead, and carrying the banner for Mendelssohn and Schumann. Tovey on Bruch Sir Donald Francis Tovey enthused, “it is not easy to write as beautifully as Max Bruch…it is really easy for Bruch to write beautifully, it is in fact instinctive for him.… Further, it is impossible to find in Max Bruch any lapses from the standard of beauty which he thus instinctively sets himself.” Felix MENDELSSOHN Piano Quartet No. 3 in B minor Op. 3 Written at age 15, the Quartet was dedicated to Goethe, whom he had met in 1821 at age 12. The German philosopher was amazed by Felix’s musical talent, and they became very close friends despite their 60-year age difference. Abraham Mendelssohn, however, was doubtful of his son’s talent. In 1825, he took Felix and the manuscript of the Quartet to Paris to seek the opinion of Luigi Cherubini, one of Europe’s most respected composers. As recounted by George Marek, “Cherubini listened carefully—in spite, wrote Felix, of a very bad performance—smiled, got up, went over to Felix, and nodded his head. Then he said to the others present, ‘This boy is wealthy. He will do well, he has already done well. But he is spending too much money and he uses too much material for his clothes.’ This remark was obviously meant metaphorically. Whatever it meant, everybody was astonished. Cherubini approved: nothing like it had ever happened before.” Abraham was finally convinced that Felix had musical genius in him, not just youthful talent. The Quartet, in effect, launched Mendelssohn’s career. The rest, as they say, is history. Mendelssohn was greatly influenced by Mozart. He studied Mozart’s scores and integrated Mozart’s elegant form and graceful melodies with the expressive depth and emotional colors of Romanticism. Schumann called him the “Mozart of the 19th century.” |
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Jupiter 2026 - 2027 Season Tickets: $25, $17 ~ Reservations advised Please visit our Media Page to hear Audio Recordings from the Jens Nygaard and Jupiter Symphony Archive Concert Venue:
Office Address:
Like our Facebook page to see photos, videos, Jupiter in the News ConcertoNet
Strad Magazine ConcertoNet
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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 We thank the University of Illinois (Champaign) for a copy of the Divertissement music. Mackenzie Melemed piano
Sir Hamilton HARTY Piano Quintet in F Major Op. 12 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 I Allegro 0:00 | ||||||||||||
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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
More video from this performance can be viewed on our media page |
Jupiter on YouTube 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 media
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“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. |
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MeiYing Manager All
performances, except where otherwise noted, are held at: Copyright © 1999-2026 Jupiter Symphony. All rights reserved.
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