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.

Join Us For Our 2021-2022 Season!

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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Dear Friends and Music Lovers,

   We thank all of you who helped make last season a success—our musicians who played splendidly for appreciative audiences, music lovers who provided the enthusiasm for Jupiter’s music making, and all our supporters from near and afar for their gifts. Our brilliant artistic director Michael Volpert has again created 20 varied and beautiful programs.

   We hope you’re up for the musical journey, but if you come, it’s at your own risk during this pandemic. It continues to be dicey when gathering indoors, but we’ll follow state-city guidelines and we can offer:

Spaced-apart seating
Required wearing of masks by audience and staff
HEPA-filter air purifiers in operation
Hand sanitizers
Doors to open 20 minutes before concert starts
Request distancing when entering and exiting
Suggest minimal, quiet talking

    Since the pandemic is evolving over time, we’ll be vigilant and flexible. For updates regarding concerts and requirements, please visit the website.

   This season there are no subscriptions. Tickets are by reservation only. Please visit our ticket page for details. And, as challenges remain, please consider of gift of $100 or more and become a “Friend,” or please give as much as you can to help keep Jupiter vibrant. Your financial support is truly needed.
   All gifts are tax deductible.
   Thank you so much,
Meiying

Jens Nygaard caricature by Nicky Zann
Caricature of Jens Nygaard in pen and ink
by Nicholas “Nicky” Zann ~ in fond memory

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.

View Our Season Calendar

Click on the dates for 2021-2022 program details:

September 13 ~ Love Triangles
September 27 ~ Imparting Wisdom

October 4 ~ Ties to Beethoven
October 18 ~ Expats in France
October 25 ~ Opus One
November 8 ~ Showstoppers
November 22 ~ A Russian Spectrum
December 6 ~ French Romanticism
December 20 ~ Czech This Out!
January 10 ~ Maestri en Paris

January 24 ~ Terrific Trios
February 7 ~ Two Titans
February 21 ~ Mozart Connexions
March 7 ~ Viva Brasil
March 21 ~ German Romantics
April 4 ~ Both Sides of the Pond
April 11 ~ Bellissimo
April 25 ~ Evoking Brahms
May 2 ~ Reicha’s Reach
May 16 ~ Standouts

more details here...

View Our Printable Calendar (pdf)

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

Join us for our next concerts...

Mark Kaplan, violin
David Kaplan, piano
Ariel Horowitz, violin
Edwin Kaplan, viola
Lauren Siess, viola
Christine Lee, cello
Vadim Lando, clarinet
Karl Kramer, horn
Gina Cuffari, bassoon

Monday, October 25 2 PM & 7:30 PM
Opus One
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Limited Seating

Mark Kaplan violin
Professor of Violin at the University of Indiana ~ “The playing is splendid throughout, technically brilliant, musically expressive, full of variety, character, and idiomatic flair.” Strings ~ “Kaplan made his case throughout with a rich, luminous tone quality that hung resonantly in the air.” Los Angeles Times ~ “he was, to put it succinctly, magnificent” Herald Times

David Kaplan piano
Assistant Professor of Piano at UCLA ~ “striking imagination and creativity...excellent and adventurous” The New York Times

Ariel Horowitz violin
Winnner of the 2020 Concert Artists Guild Ambassador Prize, and winnings at the Grumiaux, Stulberg, and Klein competitions, and the Salon De Virtuosi Career Grant ~ “Sweetly Lyrical” Washington Post

Edwin Kaplan viola
Violist of the Tesla Quartet

Lauren Siess viola
Professor of Viola and Chamber Music at the Mahanaim School

Christine Lee cello
Winner of the Isang Yun competition as well as a laureate of the Queen Elizabeth first cello competition in 2017

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 ~ “a prominent, perilously chromatic horn line, which Karl Kramer played beautifully.” The New York Times

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

If ever there was misleading information, it’s found in the opus numbers of musical compositions. Thus, don’t always believe that an “Opus One” number indicates a composer’s first work.

Franz BERWALD  Quartet in Eb Major for piano, clarinet, horn, and bassoon Op. 1
  ~ quite unique and delightfully eccentric, witty and even a touch campy and humorous—the early makings of “the most individual and commanding musical personality Sweden has yet produced,” as stated in the New Grove Dictionary

Although the Quartet bears the opus number “1,” there is evidence of Berwald’s serious creative activity as early as 1816, when he wrote Theme and Variations for violin and orchestra in imitation of one by Pierre Rode. In 1817 he composed Fri fantasy on a national theme for orchestra (now lost), a concerto for two violins, and a septet for clarinet, horn, bassoon, violin, viola, cello, and double bass (the same instrumentation as Beethoven’s Septet). The 3 pieces were well received at a concert at the Hovkapellet in Börssalen (the grand hall of the Stockholm Stock Exchange) on 10 January 1818, with the double concerto played by the composer and his brother Christian August. Later in 1818 Berwald wrote 2 string quartets—in G minor and in Bb major (now lost)—and in the fall he began publishing a Musikalisk Journal, which he maintained for 2 years. Its 6 issues include his own songs and piano pieces. In addition to a concert tour of Finland and Russia in 1819, Berwald wrote orchestral variations on the song “Göterna fordomdags drucko ur horn” (also lost after its performance on 7 December) and the “Op. 1” Quartet for piano and winds. The Quartet’s premiere took place in Stockholm in 1821 with 3 virtuoso wind players—Bernhard Crusell on clarinet, Johann Hirschfeld on horn and Franz Preumayer on bassoon—but it was attacked by conservative Swedish critics for its original style and “avant garde cacophony.”

Berwald, born in Stockholm in 1796 to a long line of musicians, is considered Sweden’s foremost composer, the founder of Romanticism in Sweden, and its first important symphonist He was, however, unable to earn a living as a musician, and became a successful orthopedic surgeon in 1835. In 1850 he took over the management of a glass factory, then launched a saw mill, and was also active as a polemicist from about 1856. He began composing again after his move to Vienna in 1841, the 1840s being his most productive musical years. In 1866, at the age of 70, he was finally acknowledged for his musical achievements with the award of the Swedish Order of the Polar Star, but it was not until the 20th century that his work became more widely recognized.

Samuel COLERIDGE-TAYLOR  Piano Quintet in G minor Op. 1
  ~ radiating with original melodies, strong rhythms, and variety in tone color, the Quintet reveals the influence of his favorite composer Dvořák ~ written at the age of 18

After its premiere at a concert on 9 October 1893 devoted entirely to the composer’s works, the critic of the Croydon Advertiser called the Quintet “astonishing.” Coleridge-Taylor was in his third year of studies at the time. He had entered the Royal College of Music in 1890 at age 15 as a violin student. His “music class” taught by Walter Parratt, however, went badly and he slid from “fair” to “irregular” to “very irregular” by December 1891. Yet he wrote an anthem, In thee, O Lord, which was immediately published by Novello in 1891. As he continued to be uninspired by Parratt, young Samuel received the comment “bad” at the end of the Easter term in 1892, after which he dropped the class and studied harmony with Charles Wood, who reported, “his work has been in every respect excellent.” Just weeks after his 17th birthday, he also started studying composition with Charles Villiers Stanford and replaced his violin studies with the piano. By March 1893 he won the first in a succession of composition scholarships. Stanford regarded Coleridge-Taylor as brilliant—especially his flair for melody—and reported at the end of the Easter term of 1895: “Invariable” for Regularity and Punctuality,“Indefatigable” for Industry, and “Indisputable” for Progress.

Known as the “Black Mahler,” Coleridge-Taylor (1875–1912)—the son of a Sierra Leonean Creole father and English mother—was named Samuel after the poet. Much admired in his day for his prodigious talent and refined musical taste, his greatest hit was the cantata Hiawatha’s Wedding Feast. Coleridge-Taylor was proud to be “an Englishman” even though he suffered intense racism. On several occasions he visited the United States where he was warmly received; he met Booker T. Washington and President Theodore Roosevelt, who invited him to the White House. He was an ardent supporter of the Pan-African Movement, and was intent on establishing “the dignity of the Black man.” In 1912 he contracted double pneumonia and died at the age of 37. He left two children, Hiawatha and Gwendolyn, both of whom had distinguished careers as conductors and composers.

Antonín DVOŘÁK  String Quintet No. 1 in A minor Op. 1
  ~ undeserving of its obscurity, the captivating and vivacious Quintet is Schubertian with a Bohemian undercurrent

The String Quintet is the first of Dvořák’s extant pieces of chamber music he thought well enough of to assign an opus number. Brimming with musical ideas, it was written at age 20 during the summer of 1861. Its public premiere took place 17 years after his death in 1921, and it waited another 21 years for publication in 1943. Dvořák had likely written a large number of works before 1861, none of which were performed. He was extremely self-critical and destroyed the majority of his scores. When he graduated from the Prague Organ School in July 1859 with a public concert, he performed a Bach prelude and fugue and also two of his own works—Prelude in D major and Fugue in G minor—among his first pieces to survive as autograph manuscripts.

Dvorák (1841–1904), the first of 9 children, was born to a family of butchers and innkeepers in the village of Nelahozeves, some forty miles north of Prague. Although it was assumed that he would take over the family business as the eldest son, Dvorák was destined to develop his exceptional talent. (Even his own father later abandoned the trade and earned somewhat of a living playing the zither.) However, before embarking on his musical studies in earnest, before his 12th birthday, Dvorák spent a year, rather reluctantly, learning butchery. In 1857 he attended the Prague Organ School for two years, then played viola in a band led by Karel Komzák, an ensemble that was to form the nucleus of the Czech Provisional Theatre Orchestra, established in 1862. Such was the setting for the String Quintet.

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

By now you know the danger of gathering indoors with people outside your bubble. If you come, it’s at your own risk. If you are in the least bit fearful of CoVid-19, please do not come. We’ll follow state-city guidelines, however, and we can offer:

Spaced-apart seating
Required wearing of masks by audience and staff
HEPA-filter air purifiers in operation
Hand sanitizers
Doors to open 20 minutes before concert starts
Request distancing when entering and exiting
Suggest minimal, quiet talking

Refreshments may not be served.
Please use the restrooms before/after the concert.

Jupiter 2021 - 2022 Season
20 Mondays at 2:00 PM & 7:30 PM

View Our NEW Season Calendar

To reserve Tickets ~ $25, $17, $10 
please call
(212) 799-1259
or e-mail admin@jupitersymphony.com

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

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:
JUPITER SYMPHONY
155 West 68th Street, Suite 319
New York, NY 10023

admin@jupitersymphony.com
(212) 799-1259

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concert information and the latest news


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 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...

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 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...


The next time you shop on Amazon, sign up at Smile.Amazon.com and donate 0.5% of your purchase to Jupiter, without additional cost to you or to Jupiter. Many thanks

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

FEb 8 2021 HAYDN  Sonata No. 1 in G Major
​​​​​​Oliver Neubauer violin, Mihai Marica cello, Zoe Martin-Doike viola

FEb 8 2021 HOFFMEISTER Duo Concertante No. 1 in G Major
Sooyun Kim flute, Zoe Martin-Doike viola

Feb 8 2021 MOZART Piano Quartet No. 2 in Eb Major
Oliver Neubauer violin, Janice Carissa piano
Mihai Marica cello, Zoe Martin-Doike viola

Feb 8 2021 KREUTZER  Quintet in A Major
Sooyun Kim flute, Vadim Lando clarinet, Janice Carissa piano
Mihai Marica cello, Zoe Martin-Doike viola

Video Viewing ~ Classical Treats
February 8, 2021 Jupiter Concert

Greetings! Three months ago, our musicians brought warmth and joy with their wonderful music making on a cold, winter’s day with Classical Treats. The viewing is offered for $25, and we hope to cover the costs of production. Thanks so much for viewing the video of this concert, and for supporting Jupiter with gifts as well! MeiYing

View the video for $25

You will be automatically directed to the video page once payment is made. If not, click on the “return to merchant” link after checkout. Please go through the checkout process only once and do not use the back button or reload the page while making the purchase. If there are any problems, contact jupiternews@jupitersymphony.com.

Viewers comments of previous videos:

“Oh I thoroughly enjoyed the concert. Good to see Maxim and his dad. Familiar faces to me. I enjoyed the notes about the players. Till the next time...”

“Great playing and really nice camera work. Probably better than being there!

“We so enjoyed the concert. The pianist was outstanding as was the musical selection.

“It was wonderful. Thank you.

♦ ♦ ♦

Musicians

Janice Carissa piano
Young Scholar of the Lang Lang Foundation, recipient of the 2018 Salon de Virtuosi Grant, winner of the 2014 piano competition at the Aspen Festival, and a top prizewinner of the IBLA Foundation’s 2006 piano competition (at age 8)

Oliver Neubauer violin
Recipient of the Gold Award at the 2018 National YoungArts Competition and winner of the 2017 Young Musicians Competition at the Chamber Music Society of Lincoln Center

Zoë Martin-Doike viola
Member of the Metropolitan Opera Orchestra, top prizewinner of the Primrose and Lenox competitions on viola and violin, respectively and founding violinist of the Aizuri Quartet

Mihai Marica cello
Winner of the Irving Klein, Viña del Mar, Salon de Virtuosi and Dotzauer competitions ~ “Mihai is a brilliant cellist and interpreter of music. His playing is spellbinding.” Mitchell Sardou Klein

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

♦ ♦ ♦

Program

HAYDN  Sonata No. 1 in G Major Hob XVI:40 ▪ 1784
  ~ sophisticated and subtly wrought, the Sonata is from a set of 3, arranged for string trio from the original for keyboard and published by Johann André in 1790

The sonatas were written for Princess Marie, the new bride of Prince Nicholas Esterházy, grandson of Haydn’s employer, Prince Nicholas I. Cramer’s Magazin der Musik, in its review in 1785, observed that they were “more difficult to perform than one initially believes. They demand the utmost precision, and much delicacy in performance.” In 2 contrasting movements, the pastoral Allegretto innocente is followed by a gleeful zany romp.

Conradin KREUTZER  Quintet in A Major ▪ between 1810 and 1820
  ~ in the late Classical–early Romantic style, the charming Quintet is written for the unusual combination of piano, flute, clarinet, viola, and cello with the piano as primus inter pares, first among equals—each movement a winner bearing a variety of melodic gifts and revealing a lively feeling for rhythm and color

Born in Messkirch to a respected Swabian burgher, Kreutzer (1780–1849) is considered a minor master of the Biedermeier epoch. He studied law in Freiburg before turning entirely to music after his father died in 1800. In 1804 he went to Vienna, where he met Haydn and probably studied with Albrechtsberger, one of Beethoven’s teachers. His active career included tours in Europe and several posts in Vienna, Stuttgart, Cologne, and other German cities, all the while composing numerous operas. Some of his music is not entirely forgotten—his settings for male chorus to Ludwig Uhland’s poems long remained popular with German and Austrian choirs; Das Nachtlager in Granada used to be revived occasionally in Germany; and his score for Der Verschwender continues to be performed in Austria.

Franz Anton HOFFMEISTER  Duo Concertante No. 1 in G Major ▪ [1790]
flute and viola

1st movement ~ Allegro
  ~ by Mozart’s friend and his principal publisher

MOZART  Piano Quartet No. 2 in Eb Major K. 493 ▪ 1786
  ~ a flawless masterpiece of utmost lightness and charm, with heavenly melodies

Mozart was under contract with the publisher Franz Anton Hoffmeister to write 3 piano quartets, a virtually new genre of his own invention. When the first (K. 478 in G minor) did not sell because of its difficulty for amateurs, Mozart was released from his obligation. Nine months later, which was two months after the completion of Le Nozze di Figaro, the second piano quartet (K. 493 in Eb Major) was published by Artaria. A little easier than the first, Alfred Einstein viewed it as “bright in color, but iridescent, with hints of darker shades.”

♦ ♦ ♦

Harry Munz audio engineer
Marc Basch videographer

For more about the musicians: guest artistsplayers
For further notes on the music: calendar

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
Prelude

Stephen Beus piano
Stefan Milenkovich violin
David Requiro cello

 

More video from this performance can be viewed on our media 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 media 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:
JUPITER SYMPHONY
155 West 68th Street, Suite 319, New York, NY 10023
admin@jupitersymphony.com
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 20 minutes prior to each concert.

Copyright © 1999-2021 Jupiter Symphony. All rights reserved.