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 2020-2021 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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Nov 23 2020 Alexander GOEDICKE  Piano Trio No. 1
William Wolfram piano, Jennifer Frautschi violin, Christine Lamprea cello

Nov 23 2020 Anton ARENSKY  String Quartet No. 2
Jennifer Frautschi violin, Yi Qun Xu cello
Christine Lamprea cello, Natalie Loughran viola

Nov 23 2020 Ella ADAYEVSKAYA  Sonata Greca
Vadim Lando clarinet, William Wolfram piano


The Russians are here, and what a program Michael Volpert (Jupiter’s artistic director) has put together—there’s beauty, virtuosity, passion, and more. Enjoy! The viewing is offered for $25—we hope to cover the costs of the production. It will be available until March 8. 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.

♦ ♦ ♦

Russian Romantics
November 23, 2020 Jupiter Concert

William Wolfram piano
Winner of the William 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 ~ “Wolfram is a dazzling performer.” Kalamazoo Gazette

Jennifer Frautschi violin
Two-time Grammy nominee and recipient of an Avery Fisher Career Grant ~ “stole the show with a commanding, incisive and absolutely riveting performance” The Washington Post

Natalie Loughran viola
A member of the Kila Quartet—a part of the Honors Program at Juilliard—and has performed extensively with the Verbier Festival Orchestra in Switzerland

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”

Yi Qun Xu cello
First Prize winner of the 2017 Eastern Connecticut Competition and 7th Antonio Janigro International Cello Competition in Croatia “great poise and masterful technique ...an amazing rich tone” The Day

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

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Ella ADAYEVSKAYA  Sonata Greca in C minor ▪ 1881
clarinet & piano
Proëmion—Partie métabolique
in one glorious movement

Adayevskaya (1846–1926) was born Elisabeth von Schultz in St. Petersburg, the daughter of Georg Julius von Schultz, a prominent Estophile of Baltic German heritage. Between 1862 and 1866 she attended the St. Petersburg Conservatory, where her teachers included Adolf von Henselt and Anton Rubinstein. She then toured as a concert pianist in Russia and Europe, and started composing about 1870, beginning with choruses for the Imperial Chapel Choir. Her operas include Neprigozhaya (The Homely Girl), Doch’ boyarina (The Boyar’s Daughter), and Zarya svobodi (The Dawn of Freedom), which she dedicated to Alexander II, but the censor rejected it because of a scene about a peasant uprising. Her interest in Slavonic folk songs, the music of ancient Greece, and the Greek Church inspired her to write Sonata Greca. In 1891 she moved to Venice, and in 1911, she again moved, this time to Germany with her friend Baroness von Loë. They became part of the artistic circle around the poet Carmen Sylva (the literary name of Elisabeth, Queen of Romania). Adayevskaya’s interest and research in folk music also deepened and she published widely, which earned her a place among the pioneers of modern ethnomusicology. She died in Bonn. Adayevskaya is her pseudonym, said to be based on the notes A, D, and A, played by the kettledrum in Mikhail Glinka’s opera Ruslan and Ludmila.

Alexander GEDIKE aka GOEDICKE  Piano Trio No. 1 in G minor Op. 14 ▪ 1902
Allegro moderato • Largo • Scherzo • Rondo
Romanticism in the German classical tradition, with noble and heartfelt melodies

Born into a family of musicians in Moscow, Gedike was first taught by his father Fyodor, an organist and pianist at the Bolshoi Theater. He then studied piano with Anatoly Galli, Pavel Pabst, and Vasily Safonov at the Moscow Conservatory, graduating in 1898. Although he had no formal training in composition, he benefited from the advice of Sergei Taneyev. In 1900 he won the Rubinstein Competition for Composition in Vienna. Tours as a concert pianist followed in Russia and abroad. In 1909 he was appointed professor of piano at the Moscow Conservatory, and from 1919 he taught classes in chamber music and organ. The New Grove Dictionary notes that “His music is notable for its use of polyphony; he was in fact regarded as the guardian of strict classical traditions in Russian music.” He also influenced an entire generation of organists in the Soviet Union. Gedike was Nikolai Medtner’s first cousin (his father Fyodor was the brother of Medtner’s mother).

Adrien François SERVAIS  Fantaisie sur deux Airs Russes Op. 13 ▪ 1839
virtuoso cello & piano
in the spirit of the Russian melodies—Alexander Alyabyev’s The Nightingale and Alexander Varlamov’s The Red Sarafan—in the form of double variations

Composed during his first visit to Russia at the beginning of 1839, it was dedicated to the composer Count Mikhail Vielgorsky. Mikhail and his brother, cellist Matwey, were friends of Servais. Upon hearing the Fantasia, Prince Vladimir Odoevsky, a Russian philosopher and music critic, wrote that it was “unanimously admired by both connoisseurs and music lovers.” Alyabyev and Varlamov were two of the founders of Russian art song.

Servais (1807–1866) switched from the violin to the cello after hearing a performance by Nicolas-Joseph Platel. He promptly enrolled at the Brussels Conservatory as Platel’s pupil, won a first prize a year later, and from 1829 became Platel’s teaching assistant. His first major success, in Paris in 1834, was followed by concerts of the Philharmonic Society in London in 1835, a return to his native Belgium for further study, and several tours through Europe and Russia, when he often performed his own compositions. In 1848 he succeeded Platel at the Conservatory, and was also named first cellist of the Royal Chapel. Servais, described by Berlioz as “Paganinian,” was probably the finest cello virtuoso of his day. He was praised for his intense pure sound, flawless intonation, and acrobatic technique. His enormous Stradivari, later inherited by his son, is still known as the “Servais” cello.

Anton ARENSKY  String Quartet No. 2 in A minor Op. 35 ▪ 1894
violin, viola, 2 cellos
Moderato • Variations on a theme of Tchaikovsky • Finale
shortly after the death of Tchaikovsky, his disciple Arensky wrote this wondrous elegy as a memorial, 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.

♦ ♦ ♦

Harry Munz audio engineer
Marc Basch videographer

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

Dear Friends and Music Lovers,

   During this coronavirus pandemic, our concerts this fall may be as rare as the music of the forgotten composers we often perform. While this horrid beast prevails we hope to lessen the risk of indoor gatherings. Also, please check the status of every concert on our website or by phone. If there is a cancellation, the program will be video recorded and made available for viewing on our website.

   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, please do not come. We can, however, offer:

Limited seating spaced 6 feet apart
Hand sanitizer from dispensers
Required wearing of masks by audience & staff
Doors to open 20 minutes before concert starts
Request 6 feet distancing when entering & exiting
And suggest minimal, quiet talking

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

Jens Nygaard
Caricature of Jens Nygaard on iPad
by Elizabeth "Lizzi" Volpert, age 12

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 2020-2021 program details:

September 14 ~ Judge Brahms
September 21 ~ Trophies

October 5 ~ English Worthies
October 19 ~ American Ingenuity
October 26 ~ Jens’s 89th Birthday
November 9 ~ Enchanteur
November 23 ~ Russian Romantics
December 7 ~ Teamwork
December 21 ~ German Mavens
January 11 ~ Italian Beauties

January 25 ~ Hungarian Flair
February 8 ~ Classical Treats
February 22 ~ Ties to Brahms
March 8 ~ Polish Polish
March 22 ~ Known in Vienna
April 5 ~ Berliners
April 12 ~ Forgotten Women
April 26 ~ Très Magnifique
May 3 ~ Mozart’s Sway
May 17 ~ Roots

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...

Avery Gagliano, piano
Stefan Milenkovich, violin
Njioma Grevious, violin
Cong Wu, viola
Connor Kim, cello
Vadim Lando, clarinet
Karl Kramer, horn

Monday, March 8 2 PM & 7:30 PM
Polish Polish
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Limited Seating

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

Stefan Milenkovich violin
Winner of the Indianapolis, Paganini, Tibor Varga, Queen Elisabeth, Yehudi Menuhin, and Young Concert Artists competitions ~ “a stunning virtuoso.” Strings ~ “Milenkovich’s recital at the Kennedy Center was so disarmingly magical that it is not easy to describe its glories. This is not so much a matter of a dazzling virtuosity (though he has it all) as of searching musicianship.” The Washington Post

Njioma Grevious violin
Won a Keston-Max Fellowship to study and perform with the London Symphony Orchestra in April 2020, a Silver Medal with the Abeo Quartet at the 2019 Fischoff competition, and First Prizes for Performance and Interpretation at the 2018 Prix Ravel chamber music competition in France ~ described by the Boston Musical Intelligencer as a “thoroughly confident and mature violinist”

Cong Wu viola
Assistant Principal Violist of the New York Philharmonc, won 3rd Prize in the 14th Primrose Viola Competition and a Special Prize in the 12th Lionel Tertis Competition

Connor Kim cello
Prizewinner at the Menuhin-Dowling and American Fine Arts Festival competitions ~ founding member of the Kila Quartet (formerly Lauder)

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

Karol SZYMANOWSKI  Paganini Caprice No. 24 Op. 40
  ~ a reimagination of the Italian virtuoso’s Caprice No. 24—oozing with prewar Viennese harmonic lacquer, it was written for violin and piano in Elisavetgrad in the Ukraine

In the view of Francis Pott, a music scholar, “Szymanowski had rented an apartment in Vienna before the War, but had found Viennese cultural life enclosed and stifling.... The...Caprice here proves to be none other than ‘that’ tune yet again, subjected to grandly ironic display.”

Szymanowski (1882–1937) was the most celebrated composer of the early 20th century. He began to compose and play the piano at an early age. In 1901 he went to Warsaw for 3 years to study harmony, counterpoint, and composition privately. But finding the musical life in Warsaw limiting, he went to Berlin, where he organized the Young Polish Composers’ Publishing Co. (1905–1912) to issue new works by Poles. World War I then triggered his return to Poland. From 1914 to 1917, isolated from the European musical community, he composed profusely and studied Islamic culture and ancient Greek drama and philosophy. With the establishment of an independent Polish state in 1918, Szymanowski dug into the Polish folk idiom and tried to create a Polish national style, a task ignored since Chopin. And he became more conservative, abandoning atonalism. He also traveled widely, promoting his works in London, Paris, and the United States. In 1927 he settled back in Warsaw to assume the directorship of the Warsaw Conservatory for 5 years, aiming to improve music education in Poland. During the 1930s Szymanowski retreated from using folk music directly in his compositions although he continued to use folk music material; his forms and orchestration of this period recall those of his earlier works.

Stanisław MONIUSZKO  String Quartet No. 1 in D minor
  ~ attractive work reminiscent of Schubert and Mendelssohn, with an original Scherzo and Finale led by a Hajduk or traditional Polish dance

Born into a family of Polish landowners in Ubiel, in today’s Belarus, Moniuszko (1819–1872) began piano lessons at age 9 when the family moved to Warsaw, and continued his studies at the Gymnasium in Minsk in 1830. He was then sent to the Sing-Akademie in Berlin in the fall of 1837 for further formal studies, including composition and choral conducting. In 1840 he returned to Poland and, after his marriage, obtained a post as organist at St John’s in Vilnius, taught piano, conducted the theater orchestra, and presented many concerts, introducing audiences to works of Mozart, Haydn, and Mendelssohn. Moniuszko was the soul of 19th century musical life in Vilnius and as his career flourished, he became known as the foremost 19th century composer of Polish song and was revered as the “Father of Polish National Opera.” Halka and The Haunted Manor are considered his best operas.

Franciszek LESSEL  Grand Trio for Clarinet, Horn, & Piano Op. 4
  ~ influenced by Haydn, his teacher, the splendid piece is also notable for its unusual instrumentation

Born in Warsaw, Lessel (1780–1838) was first taught by his father, Wincenty Ferdynand Lessel, a composer, pianist, and pedagogue of Czech descent. In December 1799 he left for Vienna to study composition under Joseph Haydn until Haydn’s death in 1809. Before leaving Vienna to return to Poland, Lessel performed as a pianist and in a string ensemble in Lwów with, among others, Karol Lipiński. Back in Poland, he gave piano recitals of his own works in Kraków and at the Warsaw National Theatre. He also played the glass harmonica, which was hugely popular at the time, taught music and, for some time, was director of the Warsaw Amateur Music Society. However, his musical activities ended in 1822 after a personal tragedy, although he continued to compose. In 1823 he was an agent of Duchess Maria of Württemberg’s estate in Pilica, and in the 1830s he managed the Poplawski estate in Pȩcice. In 1836 he was Inspector of the Marymont Institute of Farming, and the following year he was appointed Inspector of the regional Gymnasium in Piotrków Trybunalski, a tenure he held until his death. The New Grove Dictionary maintains that “His music displays mastery of the technical means of the Classics and the principles of polyphony, combined with a feeling for the new Romantic trends in music.”

Władysław ŻELEŃSKI Piano Quartet in C Major Op. 61
  ~ virtually an enormous etude brimming with drama, yearning lyricism, and passionate momentum; and with an Intermezzo spun from the mazurka

Żeleński (1837–1921) is regarded as the most influential post-Romantic Polish composer. His early lessons were on the violin, but from 1854 he studied the piano and composition at Kraków’s Nowodworski School. By the age of 20, he had composed 2 string quartets, trios, and an overture, which he conducted at its premiere on 29 July 1857. In 1859 he entered the renowned Jagiellonian University of Prague, where he continued his studies in philosophy and music (piano, organ, and counterpoint), graduating with a doctorate in philosophy in 1862. His piano teacher there was Alexander Dreyschock, famous for his facile execution of double thirds, double sixths, octaves, and other fingerbusters (he played the left-hand arpeggios of Chopin’s “Revolutionary Etude” in octaves). Żeleński then studied at the Paris Conservatoire from 1866 until 1871, when he returned to Poland. In 1872 he taught harmony and composition for 5 years at the Warsaw Music Institute, and in 1878 assumed the directorship of the city’s Musical Society. In 1881 he settled in Kraków and became director of the Kraków Music School, which he helped develop into a full-fledged conservatory, all the while teaching. Among his pupils was Zygmunt Stojowski, who headed the music department at New York’s Institute of Musical Art (later merged with Juilliard). Żeleński also is one of the important composers of songs that were popular in Polish salons. The New Grove Dictionary further asserts that he was “the foremost representative of dramatic music after Moniuszko.” Żeleński was buried in the family tomb at Rakowice Cemetery in Kraków.

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 can, however, offer:

Required wearing of masks
Limited seating spaced 6 feet apart
Hand sanitizers
Doors to open 20 minutes before the concert
A short pause in place of an intermission
No refreshments
Request 6 feet distancing when entering and exiting
Suggest minimal, quiet talking

Windows and/or doors will be open

Please use the restrooms before or after the concert.
Thank you for accommodating the new format at this time.

In addition to the above guidelines, New York State Covid-19 Travel Advisory requires visitors from certain states to quarantine for 14 days. If you are traveling to NYC from any of these states, visitors are required to complete the online Travel Health Form.

Jupiter 2020 - 2021 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:
155 West 68th Street, Suite 319
New York, NY 10023

(212) 799-1259

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concert information and the latest news

Jupiter in the News

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...

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

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 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:
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 20 minutes prior to each concert.

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