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!
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
“the rarities glittered like jewels”
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,
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.
Maxim Lando piano Winner of the 2020 Gilmore Young Artist Award, winner in the 2018 Young Concert Artists Auditions, Gold Medal at the 2017 Berliner International Competition, Gold Medal at the 2015 International Television Contest for Young Musicians in Moscow, 2nd prize at the Kissinger Klavier Olymp in Germany, winner of the 2014 Juilliard Pre-College Concerto Competition ~ “He has an ever so clear approach to the keyboard, and the molding and shaping of phrases straight from the musical angels.” Berkshire Fine Arts ~ “Lando boasts technical skill” Anthony Tommasini ~ The New York Times ~ “He was simply brilliant” Cleveland Classical
Asi Matathiasviolin Protégé of Pinchas Zukerman, already recognized as one of the most talented musicians of his generation. He made his debut at the age of fourteen with the Israel Philharmonic under the baton of Zubin Mehta, displaying a musical maturity and inspiration far beyond his years. “Matathias created magic with an immense richness of sound and colors.” Kölner Stadt-Anzeiger (German daily in Cologne) ~ “Wondrous playing” Ha’aretz (Israel’s oldest daily)
Milena Pajaro-van de Stadt viola
Winnings include First Prize at the 2013 Banff Competition, Gold Medal and Grand Prize at the 2010 Fischoff Competition, First Prize at the Lionel Tertis Viola Competition, and top prizes at the Tokyo and Sphinx competitions ~ “she
should have a great future” Tully Potter ~ Wigmore Hall ~ “lyricism that stood out...a silky tone and beautiful, supple lines” Strad Magazine
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”
TCHAIKOVSKYAllegro moderato in D Major
~ written for string trio as an exercise while a student of Anton Rubinstein’s composition classes at the St. Petersburg Conservatory
AntonRUBINSTEIN Viola Sonata in F minor Op. 49
~ a showpiece on a big scale at some 30 minutes, giving the violist ample opportunity to charm and thrill with the instrument’s virtuosic potential and singing qualities, from alluring to volcanic; and all this enhanced by a beautiful piano part
Anton Rubinstein (1829–1894) was an exceptionally prolific composer, conductor, teacher, and Russia’s first great pianist, whose virtuosity rivaled that of Liszt. He was also an influential, if controversial, figure in Russian musical circles. In 1859, under the patronage of the Grand Duchess Elena Pavlovna, he founded the Russian Music Society and later became conductor of its orchestral concerts. In 1862 he founded the St. Petersburg Conservatory and served as its first director until 1867, and then again from 1887 to 1891. Meanwhile, in 1866 his brother Nikolay founded the Moscow Conservatory, and remained its director until his death in 1881. From 1871 to 1872 Anton Rubinstein directed the Vienna Philharmonic concerts, and in 1872 he toured the United States. Michael Ray for Edition Silvertrust further notes that his “efforts in developing Russian musical talent were perhaps the greatest of any single individual. Not only did he introduce European educational methods but he also established standards that were as rigorous as any conservatory in Europe.”
RACHMANINOFF Trio élégiaque No. 2 in D minor Op. 9
~ grand and darkly passionate, the monumental piano trio was composed in memory of his beloved teacher Tchaikovsky
Dedicated ‘To the memory of a great artist,’ the Trio is as worthy a memorial to Tchaikovsky as Tchaikovsky’s A minor Piano Trio was to Nikolay Rubinstein in 1881. The connections between these memorial trios run deeper. Structurally, Rachmaninoff’s work is strongly based on Tchaikovsky’s—to the extent of having a set of variations as the second movement, and the thematic likeness of both variation themes implies that Rachmaninoff based his on Tchaikovsky’s. Completed in December 1893, just a month after Tchaikovsky’s death, it was first performed the following month in Moscow, with Rachmaninoff playing the piano part.
Roman Rabinovich piano Winner of the Rubinstein, Animato and Arjil competitions, the Mezzo and Salon de Virtuosi awards, and the Vendome Prize ~ “admirable interpretations...performed with a rich, full-blooded sound, singing lines and witty dexterity.” The New York Times
Joshua Brown violin His numerous winnings include the 10th Leopold Mozart Competition (at age 19), IX Tchaikovsky Competition for Young Musicians, Grand Prize at the 2016 ENKOR Competition, First Prize at the Barnett & Rembrandt chamber music competitions as a member of the Kairos String Quartet, Gold Medal at the 2018 Fischoff Chamber Music competition ~ “Brown was spellbinding throughout his entire time on stage.” Cleveland Classical
Hyunah Yu soprano Prizewinner at the 1999 Naumburg competition and recipient of the Borletti-Buitoni Trust Award ~ “absolutely captivating...with exceptional style and effortless lyrical grace. The audience, to judge by the general swooning, was helplessly in love by the end.” The Washington Post
Yen-Chen Wu bassoon In 2015 she became the first bassoonist since 1983 to win the Koussevitzky Young Artist Award for woodwinds and brass instruments; second prize winner in the Asian Double Reed Association International Solo Competition
The Société Nationale de Musique was established by Camille Saint-Saëns and his circle in 1871 to encourage and promote contemporary French music. It was motivated by patriotism. Early members included César Franck, Gabriel Fauré, and Paul Taffanel; Ernest Chausson became a full-fledged member in 1886 and served as its secretary till his death. French music, at the time, was largely dominated by opera; Société members thus aspired to rehabilitate the neglected genres of the symphony, chamber music, and song. They succeeded spectacularly—the number of major works produced in France during this period was phenomenal.
PaulTAFFANEL Wind Quintet in G minor • 1876
~ described by clarinetist Charles Neidich as a luscious work composed “to show the world that the woodwind quintet was capable of the nobility and range of expression people usually associate with an orchestra”
The Quintet won a gold medal and 300 francs in a competition for wind quintets sponsored by the Société des Compositeurs, and was well received at its premiere at the Salle Pleyel on 3 May 1878. It was dedicated to Henri Reber—Taffanel's composition teacher—who himself was a student of Anton Reicha.
GabrielFAURÉLa bonne chanson Op. 61 • 1898
~ a song cycle of 9 beautiful, complex melodies based on poems by Paul Verlaine—for soprano, string quartet, and piano
Among his most masterful compositions, much of the cycle (originally for voice and piano) was written in the summers of 1892 and 1893, when Fauré was staying in Bougival as a guest of the banker Sigismond Bardac and his wife, the soprano Emma Bardac. Fauré fell in love with Emma, the inspiration for the spontaneity of the cycle, its joyful virility, and optimism. Emma, who later married Debussy, sang the newly-composed material for Fauré each day. A private premiere was held at the home of Countess de Saussine on 25 April 1894 with the lyric tenor Maurice Bagès, and its first public performance a year later was sung by Jeanne Remacle with Fauré at the piano. La bonne chanson was received poorly, and Saint-Saëns thought Fauré (his pupil) had gone nuts by writing music with such exhaustingly quick key changes.
ErnestCHAUSSONChanson perpétuelle Op. 37 • 1898
~ set to the poem by Charles Cros of a betrayed woman who contemplates suicide by drowning, this haunting, restless song for soprano, piano, and string quartet is a miniature masterpiece— his last work before he was killed at age 44 by a freak bicycle accident
CésarFRANCK Trio concertant in F-sharp minor Op. 1 No. 1 • 1840
~ striking, virtuosic Romantic piano trio in cyclic form, written at age 18
Franck’s Op. 1 comprised a set of 3 trios composed over 3 years while a student at the Paris Conservatoire, and published in the spring of 1843. The trios were well received by his contemporaries. Mendelssohn praised them; Liszt offered constructive criticism and encouragement, and introduced them on the concert stages of Germany. Among other prominent admirers were Daniel Auber, Chopin, Gaetano Donizetti, Fromental Halévy, Giacomo Meyerbeer, and Ambroise Thomas. The first Trio was recorded by the great pianist Sviatoslav Richter, Oleg Kagan, and Natalia Gutman in 1983.
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, ConcertoNetmore...
“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 Timesmore...
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...
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, ConcertoNetmore...
“...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 Timesmore...
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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
Oliver Neubauer violin, Mihai Marica cello, Zoe Martin-Doike viola
Sooyun Kim flute, Zoe Martin-Doike viola
Oliver Neubauer violin, Janice Carissa piano
Mihai Marica cello, Zoe Martin-Doike viola
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 firstname.lastname@example.org.
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.”
♦ ♦ ♦
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 Landoclarinet Winner of the CMC Canada, Yale and Stonybrook competitions ~ “consistently
distinguished...vibrant, precise, virtuosic playing” The New York Times
♦ ♦ ♦
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 ▪  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.”
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
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:
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.”
155 West 68th Street, Suite 319, New York, NY 10023
For information or to order
MeiYingManager Michael VolpertArtistic Director
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.