Join Us For Our 2021-2022 Season!
Jupiter Symphony Chamber Players
“This was music-making of a very high order”
Fred Kirshnit, The New York Sun
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.
Join us for our next concerts...
Monday, December 6 ♦ 2 PM & 7:30 PM
Albert Cano Smit piano
William Hagen violin
Bridget Kibbey harp
Thomas Mesa cello
Note: Bridget Kibbey replaces Jacqueline Kerrod for this concert
RAVEL Pavane for a Dead Princes
Eugène YSAŸE Caprice d’après l’Etude en forme de valse Op. 52
An audience favorite in its day, Ysaÿe played the Caprice numerous times throughout his career with great success. It is an “example of the flourishing Franco-Belgian violin technique of the late nineteenth century.… It conveys the spirit and style of the belle époque, and brings together two leading musical personalities of the era—the much-venerated composer Saint-Saëns, and his younger colleague, the celebrated violinist, teacher, and composer in his own right [Cynthia Miller].”
Born in Liège, Belgium in 1858, Ysaÿe first studied with his father at a very early age, then became a pupil of Henryk Wieniawski and later, Henri Vieuxtemps. He settled in Paris in 1882, and by his early 20s he was making a name for himself and proceeded to dominate Parisian musical life. He also began touring extensively as a soloist throughout Europe and eventually in the United States. He died in 1931 in Brussels.
Henriette RENIÉ Trio in Bb Major for violin, cello, and harp
Renié made an indelible mark as one of the finest harpists, an exceptional teacher, and a revolutionary pioneer in modern harp composition at the turn of the 20th century. She elevated the status of the harp from an instrument for dilettantes to an important solo concert instrument; she taught several renowned harpists; and she expanded the harp repertoire through original, virtuosic compositions for her own performances and simpler pieces for beginning harpists, and through transcriptions for solo and ensemble harp. Born in Paris in 1875, the prodigy first studied the piano, but was drawn to the harp like a magnet after hearing a concert by Alphonse Hasselmanns, who became her teacher. By 1887, at age 12, she won the Premier Prix, graduated from the Paris Conservatory, and had her own students. She later became Hasselmanns’s assistant and also studied composition with Théodore Dubois. Her career, however, was stymied, being a woman with religious beliefs at a time when women were supposed to stay at home, and when France was trying to separate church and state. When the government prevented her appointment as harp teacher at the Paris Conservatoire, she started her own international competition, the Concours Renié, and created her own Méthode pour la harpe, which is still held in high regard to this day. Among her pupils were Marcel Grandjany and Harpo Marx. She also continued performing until about six months before her death in March 1956.
Sylvio LAZZARI Piano Trio in G minor Op. 13
Musikland-tirol hears his preference for “the grand gesture, full of pathos and almost operatic drama. This passionate expressiveness contrasts particularly in the slower movements featuring spiritualized pictures of moods with tonal colors full of sensual warmth.” Well-received at its premiere, the Trio was often played in France until the First World War.
Sylvio Lazzari (1857–1944) was born of Austrian and Italian parents in Bozen, Southern Tyrol, now part of Italy. After studying law in Austria he visited Paris in 1882, following the advice of Ernest Chausson and Charles Gounod, then studied with Ernest Guiraud and César Franck at the Paris Conservatoire. During this period he wrote 3 pieces that were performed to acclaim: the Trio, a Quatuor—the first string quartet ever composed in the “modern” school (it whetted the appetite of French musicians and concertgoers for chamber music), and an Octuor for winds. In 1894, two years before he became a French citizen, his Sonate pour piano et violon was premiered and made famous by Eugène Ysaÿe, who played it all over the world up until his last performances. Lazzari composed in most genres and is occasionally remembered today as a composer of five operas. He also held several positions in Paris, including president of the Wagner Society and choirmaster at the Opéra de Monte-Carlo. He died of a pulmonary embolism at his home at Suresnes.
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:
Refreshments may not be served.
Jupiter 2021 - 2022 Season
Please visit our Media Page to hear Audio Recordings from the Jens Nygaard and Jupiter Symphony Archive
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Jupiter in the News
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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
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
New York Sun Review
“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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