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 2022-2023 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,

   Welcome to our 21st season of chamber music, and the 3rd of our LIVE concerts during COVID-19.

   Our brilliant artistic director Michael Volpert has again created 20 interesting and varied programs that include worthy rarities for you to discover and enjoy. Our stellar musicians’ superb music making will thrill and uplift, enhanced by our venue’s ideal acoustics.

   Even with safety protocols in place, Jupiter is continually evaluating ways to keep our musicians and audiences safe. At this time we require proof of vaccination, or proof of prior infection, or a negative test. Also, and importantly, we require the proper wearing of masks by all attendees. Policies may be tightened or loosened based on data and expert advice. For up-to-date safety requirements and concert details, please visit the website. And you’ll have:

Spaced-apart seating
HEPA-filter air purifiers in operation
Ventilation—as much as possible

   Ticket reservations are strongly advised to avoid disappointment at the door.

Jupiter brings you the best music making at rock bottom ticket prices. Please give as much as you can to help keep Jupiter thriving. A gift of $100 or more makes you a “Friend.” Your financial support is always needed and appreciated.
   All gifts are tax deductible.
   Thank you so much,
Meiying

Jens Nygaard caricature by M.Fleischer
Caricature of Jens Nygaard in pen
and ink by M. Fleischer

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 2022-2023 program details:

September 12 ~ Radiance from Vienna
September 19 ~ Helping Hands

October 3 ~ Great Russians
October 17 ~ Société Nationale de Musique
October 31 ~ Heaven Breaks Loose
November 14 ~ In “Grand” Style
November 21 ~ Schumann’s Fans
December 5 ~ Ties to Wagner
December 19 ~ Dvorák’s Sparks
January 9 ~ Hungarian Doyens

January 23 ~ Queue for Brits
February 6 ~ Go for Baroque
February 20 ~ Women Pioneers
March 6 ~ Uniquely French
March 20 ~ Freemasons I
April 3 ~ Freemasons II
April 10 ~ Mendelssohn’s Web
April 24 ~ Norse Force
May 1 ~ Soviet Victims
May 15 ~ A Family Affair

more details here...

View Our Printable Calendar and Ticket Order Form (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...

Albert Cano Smit, piano
William Hagen, violin
Jacqueline Audas, violin
Ramón Carrero-Martínez, viola
Christine Lamprea, cello
Gabriel Polinsky, double bass
Vadim Lando, clarinet
Karl Kramer, horn
Gina Cuffari, bassoon

Monday, December 5 2 PM & 7:30 PM
Ties to Wagner
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)​​​

Albert Cano Smit piano
Winner in the 2019 Young Concert Artists Auditions, First Prize at the 2017 Naumburg Piano Competition and finalist and CMIM grant recipient of the 2017 Concours International Musical de Montréal ~ “a superb musician has spoken” Le Devoir

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

Jacqueline Audas violin
Founder and artistic director of Classical C.A.R.M.A. (Concerts Aiming to Raise Money and Awareness)

Ramón Carrero-Martinez viola
Winner of the Grand Prize at the 2022 Fischoff Competition as a member of the Terra String Quartet, and has won other competitions in the U.S., Italy, and Venezuela

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

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
Co-principal Bassoonist of the Orpheus Chamber Orchestra, praised for her “sound that is by turns sensuous, lyric, and fast moving” Palm Beach Daily News

Richard STRAUSS  Till Eulenspiegel’s Merry Pranks Op. 28 • 1895
   ~ chronicles the misadventures and pranks of the German peasant folk hero, Till Eulenspiegel, “in the old-style roguish manner”—this clever deconstruction of the orchestral tone poem by Franz Hasenöhrl for violin, clarinet, horn, bassoon, and double bass is his jovial travesty entitled Till Eulenspiegel—einmal anders “another way”

The horn and clarinet play two themes representing Till: the horn’s lilting theme reaches a peak, falls downward, and ends in three long, loud notes, each progressively lower; the clarinet’s crafty and wheedling theme suggests a trickster at his trickiest. It has been suggested that while Strauss’s serious operas and tone poems clearly derive from Wagner’s compositional idiom, a lighter work with Strauss’s comic touch, as in Till Eulenspiegel, could be thought of as Strauss adding insouciant frivolity to Wagnerian drama.

Strauss is perhaps the one composer whose music is most influenced by Wagner. In 1874, young Richard first heard the operas Lohengrin, Tannhäuser, and Siegfried. At first, his father banned him from studying Wagner’s music, so it was not until the age of 16 that he was able to obtain a score of Tristan und Isolde. After he finished school in 1882, Strauss held an assistant conducting position in Meiningen, where he met the composer Alexander Ritter, the husband of one of Wagner’s nieces. It was Ritter who reinforced that admiration for Wagner’s music, which Strauss had previously nurtured in secret so as not to upset his father. Ritter urged Strauss to abandon classical forms and to begin writing tone poems as Liszt had done. He also introduced Strauss to Wagner’s essays. Wagner’s influence on Strauss was huge, and made a profound impact on his musical development, especially in the areas of instrumentation and the use of a symphonic approach to express drama and emotion of the stage action in the pit.

August KLUGHARDT  String Quintet in G minor Op. 62 • 1894
   ~ the German composer’s exceptional quintet for 2 violins, viola, cello, and double bass, influenced by Liszt, Wagner, Schumann, and Brahms

Some of Klughardt’s chamber music was in the repertoire of the Joachim Quartet, including the Opp. 41 and 61 string quartets, the Op. 62 String Quintet, and his String Sextet, Op. 58. The Joachim Quartet was a Berlin institution from 1869 to 1907, led by Joseph Joachim and his hand-picked colleagues from the Berlin Hochschule für Musik.

Born in 1847, August Klughardt was one of the great composers of the 19th century, alongside Brahms and Bruckner, who made significant contributions to music history. Beginning at age 10 he studied at Cöthen, Dessau, and Dresden; held theater positions in Posen, Neustrelitz, and Lubeck; and in 1869 became court music director at Weimar, where he became friends with Liszt. It was the beginning of his enthusiasm for the Neudeutsche Schule (“New German School”). At the same time, he was loyal to the classical practice, and was influenced by Schumann and Brahms as well—his work was a synthesis of these dissimilar tendencies. In 1873, at the premiere of Liszt’s Christus, he met Wagner, who influenced a great deal of his music. He dedicated his symphonic poem Lenore to Wagner; his Symphony in F minor was written under the impact of hearing the Ring at the first Bayreuth Festival in 1876; and in 1892 and 1893 he conducted Wagner’s Der Ring des Nibelungen. Among his distinctions were an appointment to the Berlin Academy of Arts in 1898 and an honorary doctorate conferred by the University of Erlangen. When asked to direct the “Singakademie” in Berlin, he rejected this offer. Klughardt died suddenly in Roßlau at the age of 54.

Franz LISZT  Liebestraum No. 3 “Dream of Love” • 1850
   ~ the most famous of the nocturnes, its popular, heart-wrenching melody flows with grace and elegance—arranged for violin and piano from the original for solo piano (published in 1925) by Joseph Achron, the Russian-born Jewish composer and violinist

Originally conceived as lieder, Liszt composed and published his nocturnes in Weimar. They are an example of his program music, depicting themes of love and the loss of love. Number 3 is based on a poem by Ferdinand Freiligrath—O Lieb, so lang du lieben kannst (“Love as long as love you can”).

The relationship between Liszt and Wagner is summarized by Georg Predota: “When Franz Liszt met Richard Wagner in Paris for the first time in the spring 1840, they had little admiration for each other. Wagner, two years younger than Liszt, was neither successful nor financially secure. In fact, Wagner was actively looking for financial support from Liszt, asking him to become the publisher of his works. Liszt settled in Weimar in 1848, and he eventually staged several great Wagner festivals attracting national attention. In [one] event, Wagner participated in the failed Dresden Uprising and had to flee with a price on his head. He made his way to Liszt who sheltered him, arranged a loan of money and a forged passport to get Wagner out of Germany. For the next ten years Liszt supported Wagner in Swiss exile with money, gifts, and personal visits. Although Wagner was fulsome in his praise of Liszt, the relationship ran into trouble because of Wagner’s constant demand for money. Even more damaging was the fact that Liszt’s daughter Cosima [the illegitimate daughter with his Parisian socialite mistress, the Comtesse Marie d’Agoult] left her husband Hans von Bülow to live with Wagner. Liszt personally traveled to Lucerne to confront Wagner with the result that they did not speak to each other for five years. And Liszt would never forgive his daughter for marrying Wagner in 1870, and for turning Protestant shortly thereafter.”

Engelbert HUMPERDINCK  Piano Quintet in G Major EHWV 37 • 1875
   ~ a Romantic beauty by the composer of Hansel and Gretel, an opera influenced by Wagner

The Quintet, with a tender, yearning Adagio bearing an inscription to the memory of his sister Ernestine, who died at age 17, was written 5 years before he met Wagner.

Humperdinck (1854–1921) was a close friend of Wagner and Strauss. He studied at the Conservatory in Cologne from the spring of 1872, upon the advice of Ferdinand Hiller, who taught him harmony and composition. Many of his early compositions were destroyed by fire in 1874. In 1876 he won the Mozart Prize of Frankfurt am Main—his passport to the Royal Music School in Munich, where he studied counterpoint and fugue with Josef Rheinberger and had private composition lessons from Franz Lachner. Humperdinck joined the Wagner club “Orden vom Gral” in 1878, and after he won the Mendelssohn Prize of Berlin in 1879, he traveled to Italy, where he met Wagner in Naples on 9 March 1880. A close association followed. In 1881–1882, he was indispensable to Wagner, assisting in the preparations of the first performance of Parsifal at Bayreuth, among other tasks. In 1882 (after winning the Meyerbeer Prize of Berlin), he was asked by Wagner to go to Venice to prepare and conduct the latter’s early symphony and to take up an appointment at the conservatory (neither, however, materialized). After Wagner’s death in 1883, Humperdinck continued his friendship with the family. Cosima, Wagner’s widow, asked him to be the music tutor to their son, Siegfried. Humperdinck also regularly served as assistant conductor at the Bayreuth Festival where he met Strauss, who would conduct the world premiere of Hansel and Gretel in Weimar on 23 December 1893.

more details here...

 

Drew Petersen, piano
Josef Spacek, violin
Natalie Loughran, viola
Timotheos Petrin, cello
Kebra-Seyoun Charles, double bass
Roni Gal-Ed, oboe
Vadim Lando, clarinet
Karl Kramer, horn
Gina Cuffari, bassoon

Monday, December 19 2 PM & 7:30 PM
Dvorák’s Sparks
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)​​​

Drew Petersen piano
Recipient of the 2018 Avery Fisher Career Grant and 2017 American Pianists Awards, 2015 Leeds (4th prize), Kosciuszko-Chopin competitions, Jan Gorbaty Award, and Artist-in-Residence at the University of Indianapolis ~ “Thrilling piano playing wedded to astute quite astonishing musicianship.” East Hampton Star

Josef Spacek violin
Laureate of the Queen Elisabeth Competition, top prizewinner at the Michael Hill and Carl Nielsen competitions and Young Concert Artists Auditions ~ Served as Concertmaster of the Czech Philharmonic till 2020 ~ “His high-charisma playing was fueled by priceless musical comprehension.” Philadelphia Inquirer ~ “Never mind the superb technical accomplishment of his playing, it’s the musical and interpretative achievement that is so impressive here.” International Record Review

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

Timotheos Petrin cello
Winner of the 2015 Astral Artists Audition, top prize winner at the Paulo Cello Competition in Finland
~ “a great and passionate soloist style: expressive, vibrant singing lines, sparkling rhythm... an interesting, original personality” Helsingin Sanomat

Kebra-Seyoun Charles double bass
Winner of the coveted Robert Frederick Smith Prize at the 2022 Sphinx Competition, winner of NAACP’s ACT-SO Concerto Competition and twice winner of the Boston Philharmonic Youth Orchestra’s Concerto Competition

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
Co-principal Bassoonist of the Orpheus Chamber Orchestra, praised for her “sound that is by turns sensuous, lyric, and fast moving” Palm Beach Daily News

Florence PRICE  Fantasie No. 1 in G minor • 1933
   ~ a showpiece for violin and piano combining post-Romantic European idioms with those of African-American folk song

In 1893, a year after arriving in the United States, Dvorák urged American composers to look to their own folk music for inspiration, advising through the New York Herald, “The future music of this country must be founded upon what are called the Negro melodies. This must be the real foundation of any serious and original school of composition to be developed in the United States.” Price was then only 6, but had already given her first public piano recital the year before. Her compositions, influenced by Dvorák, reveal that she followed his advice. The music publisher Barbara Garvey Jackson has said that Price’s “methods are actually quite close to Dvorák’s in the way she approaches the use of ethnic materials (both of the Old and the New Worlds).”

Price (1887–1953) was the first Black woman to have her work performed by major American orchestras. She was born into a middle class family in Little Rock, Arkansas, and was first taught music by her mother when white instructors refused to do so. Since women of color in the South were denied advanced training, after she completed high school in 1903 at age 16, her mother enrolled her at the New England Conservatory, where she studied the organ, piano, pedagogy, and other music disciplines (her composition teacher was the director George Chadwick). Having earned 2 artist diplomas, Price began her career as an instructor at segregated schools in Arkansas, then as head of the music department at Clark University in Atlanta until 1912. Returning to Little Rock, she managed a private piano studio, composed pedagogical music for children, married, and raised 2 daughters. However, in 1927, a brutal lynching and financial difficulties hastened the family’s move to Chicago. This move resulted in a burst of creativity, competition wins, and widespread recognition for her work beginning in the 1930s. The Chicago Symphony Orchestra performed her Symphony in E minor in 1933, and collaborations with Marian Anderson and Leontyne Price followed.

Samuel COLERIDGE-TAYLOR  Nonet in F minor Op. 2 • 1894
   ~ a refined work of gentility and flair with soaring melodies and syncopated rhythms in his individual style, and with hints of the influence of Dvorák, whom the 19-year-old greatly admired

Composed for oboe, clarinet, horn, bassoon, violin, viola, cello, double bass, and piano, the Nonet’s first performance (and apparently the only one until recent times) was on a student concert at the Royal College of Music on 5 July 1894.

The “Black Mahler”—brilliant son of a Sierra Leonean Creole father and English mother—was named Samuel after the poet, and in 1890 at age 15 he entered the Royal College of Music as a violin student, then switched to studying composition with Charles Villiers Stanford. Much admired in his day, 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.

Clara Anna KORN  2 Songs • [1903]
   ~ by the American pianist and composer who studied with Dvorák—for soprano and piano

Korn (1866–1940) was born in Berlin, emigrated with her family to the United States at age 3, and was raised in New Jersey. “Eventually she began a career as a concert pianist and had a measure of success. But she received a letter from Tchaikovsky, who had seen some manuscripts of her compositions when he was in New York, and he urged her to become a composer. At that point she turned her focus to composing. In 1891 she received a scholarship to the National Conservatory in New York, where Dvorak was among her instructors. After her studies she taught theory at the Conservatory…. She [also] founded the National Federation of Music Clubs, the Women’s Philharmonic Society, and the Manuscript Society of New York. She wrote for music journals. Clara was a strong believer that women should have more opportunities in music: ‘How can any woman produce a successful orchestral work under existing conditions? You write a song, and some accommodating singer will sing it for you and give you the chance to correct mistakes; the same with a solo piece or any other solo composition. But where is the orchestra that will ‘try’ a manuscript orchestral selection, especially if it is not at all certain that it is worth trying? (letter to the editor of Musical Courier, August 7, 1907) [Mary McVicker, Women Opera Composers].” Korn composed for voice, piano, the orchestra, and an opera.

Antonín DVORÁK  Piano Quartet No. 1 in D Major Op. 23 • 1875
   ~ indulge in Slavic lyricism and harmony, its beautiful melodies influenced by Czech folk music

At age 34, Dvorák wrote this optimistic Quartet in just 18 days, after hearing the news that he had won the Austrian State Prize for poor, talented musicians. Apart from the much-needed award of 400 gulden, the Prize helped to build his career as the jury members included the music critic Eduard Hanslick, Johann Herbeck (director of the state opera), and Brahms, who was “visibly overcome” by the mastery and skill of the submitted works, which included the Quartet. Its premiere was held in Prague on 16 December 1875.

more details here...

 

Jupiter 2022 - 2023 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

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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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...


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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
  ~ 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.

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