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Join Us For Our 2024-2025 Season! |
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Jupiter Symphony Chamber Players “This was music-making of a very high order” Fred Kirshnit, The New York Sun |
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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. Take a look at our guest artists for this season. |
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Join us for our next concerts...
Jupiter ~ Summer 2025 Tickets: $25, $17, $10 ~ Reservations advised Monday, May 19 ♦ 2 PM & 7:30 PM Hina Khuong-Huu violin Jordan Dodson guitar Josephine Kim violin Dov Scheindlin viola Torron Pfeffer viola Sara Scanlon cello Vadim Lando clarinet Joseph HAYDN “Guitar” Quartet in D Major The beautiful quartet is the first to use a key signature with more than three flats or sharps. The adaptation was done by an unknown 18th century musician. Later, it was edited by Hans Dagobert Brugger as “Quartet in D Major for Obbligato Lute, Violin, Viola and Violoncello” and published in 1924. At the time of its composition, Haydn was director of music to Count Morzin (1757–1761) or in the employ of Prince Esterházy in the small baroque town of Eisenstadt (from 1 May 1761). Luigi Rodolfo BOCCHERINI “Fandango” Quintet in D Major G. 448 The Quintet was cobbled together from 2 previous quintets for François de Borgia, Marquis of Benavente, who was a great admirer of Boccherini as well as an accomplished guitarist. The Catalan nobleman held musical gatherings at least twice a week in Madrid, and in order for Boccherini to meet the demand for new music, he resorted to skillful arrangements of his own works. The “Fandango” Quintet is from G. 270 (1771) for the Pastorale and Allegro maestoso, and G. 341 (1788) for the Grave assai and Fandango. Boccherini himself suggested that castanets be used in the Fandango. Born in Lucca in 1743, the prolific Italian composer and virtuoso cellist greatly admired Haydn and was strongly influenced by his style, so much so that he was warmly regarded in his day as “the wife of Haydn.” French violinist Alexandre Boucher described his disposition as “gentle, patient and polite.” Boccherini came from a family of considerable artistic gifts. His father Leopoldo was a cello or double bass player, his brother Giovan Gastone was a poet and dancer who wrote librettos for Salieri and Haydn, and his sister Maria Ester had a distinguished career in Vienna as a ballet dancer. He spent some time in Vienna and Paris, and from 1769 lived and worked in Spain for the rest of his life. In the 1770s he flourished under the patronage of Don Luis, the Spanish Infante. As an accomplished cellist, Boccherini could play much of the violin repertoire on the cello at pitch, a skill he learned when he substituted for a sick or absent violinist in the court orchestra during his time in Vienna. He died in 1805 in Madrid. Gioachino ROSSINI Variazzioni di clarinetto Rossini wrote the delightful affair for Clarinet in C and piano the year before his departure from the Liceo in Bologna; the arrangement for clarinet and string quartet is by Werner De Bleser. His early works show an abundance of freshness, fluent melody, and charming harmonic invention. Rossini was born on 29 February 1792 in Pesaro, the son of a trumpeter and virtuoso horn player and an opera singer. When the family moved to Lugo in 1802, he began studying figured bass and composition with Don Giuseppe Malerbi and was inspired by the priest’s collection of music by Haydn and Mozart. In 1804 the family moved to Bologna, where Rossini continued his studies with Angelo Tesei at the Accademia dei Concordi, which specialized in classical music, and that of Haydn in particular. He could already play the viola tolerably, and the horn decidedly well. He worked hard not only at singing but at the cembalo as well. By age 14 he was employed in the more modest neighborhood theaters as chorus master and accompanist of recitatives. And he was in demand as a singer in various churches, where his beautiful voice and musical taste won him considerable popularity. In 1806 he entered the Liceo Musicale, adding counterpoint and piano to his studies. During the 1809–10 Carnival Season of the Teatro Comunale, Ferrara and the Teatro Comunale, Bologna, he was engaged as “maestro al cembalo.” Rossini later told Wagner that he had learned far more from the study of the works of Haydn and Mozart than from all his counterpoint lessons. He was nicknamed “The Italian Mozart” for his love of and influence by Mozart. MOZART String Quintet in G minor K. 516 The manuscript of the heartfelt Quintet bears the date 16 May 1787. It was written during the final illness of his father, Leopold Mozart, who died 12 days later in Salzburg. Hermann Abert, author of the classic biography of Mozart, deems the G minor Quintet as “the most profound of all Mozart’s works in this key and…is…the most anguished resignation, which it embraces with a resolution of literally harrowing impact. It is…the creation of a lonely individual who confronts the dark powers of fate, but who fails to master them in the Beethovenian sense of that term. Like the torments that they inspire he accepts them as something irrevocable….” Haydn and Mozart first met in December 1783 at a benefit concert featuring works by both composers. Despite an age difference of 24 years, the two men became close friends. During the 1780s, they played together in impromptu quartets in Vienna, with Haydn on violin and Mozart playing viola. Haydn recognized and frequently praised Mozart’s exceptional talent. Mozart, in turn, greatly admired Haydn’s work, and would affectionately address Haydn as “Papa.” In 1785 Mozart dedicated his “Haydn” Quartets to Haydn and sent his “six sons” to “my dearest friend—a manifestation of his deep regard for his mentor. When Haydn heard them, he declared to Mozart’s father, “I tell you before God, and as an honest man, your son is the greatest composer known to me by person and repute; he has taste and what is more the greatest skill in composition.” Their mutual admiration extended to influence. Haydn’s music, particularly his symphonies and string quartets, influenced Mozart’s compositional style. And Mozart introduced innovations that Haydn used in his later works. After Mozart’s death, Haydn stated, “Posterity will not see such a talent again in 100 years.” |
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Monday, June 2 ♦ 2 PM & 7:30 PM Tickets: $25, $17, $10 ~ Reservations advised Drew Petersen piano Lun Li violin Clara Neubauer violin Maurycy Banaszek viola Kevonna Shuford viola Christine Lamprea cello BEETHOVEN Symphony No.7 in A Major Op. 92 It was common practice in the first half of the 19th century to have transcriptions made of popular pieces, even whole symphonies and operas. This was driven in part by great public demand, which publishers welcomed, as it provided a lucrative source of income for both publishers and composers. The demand exploded into a huge new market for chamber music, which came into existence as home music making became one of the most popular pastimes for the emerging bourgeois classes of Western Europe. Beethoven himself contracted Steiner to make several different arrangements of the 7th Symphony, for which Beethoven received a tidy sum. The 7th Symphony was an instant hit upon its premiere, and so was the arrangement of the string quintet, which became one of Steiner’s bestsellers. It was frequently performed in concert until the First World War. Publishers such as Steiner and Breitkopf & Härtel kept a large stable of highly trained musicians, many of whom were composers themselves, available to produce various arrangements. Steiner was a gifted and clever businessman. His career began as a writer and secretary and he worked his way up to publisher. In 1803 he purchased the print shop owned by Alois Senefelder, the inventor of lithography. In 1815 a young Tobias Haslinger joined Steiner’s firm (he took over as sole owner from 1826 till his death in 1842). The publishing house printed, apart from lithography, mainly sheet music. Around that time Steiner met Beethoven. His company issued first editions of the composer’s works from 1815 till the 1820s. It was located in the Paternostergasse in Vienna, and became a popular meeting place for Beethoven and his friends. A relaxed atmosphere prevailed. Haslinger “became a close friend of Beethoven and always seems to have brought out the humorous side of the composer. With Steiner they set up an imaginary army in which Beethoven was ‘Generalissimo,’ Steiner ‘Lieutenant-General’ and Haslinger ‘Adjutant,’ while ducats were ‘armed men’ [Barry Cooper, The Beethoven Compendium].” However, over the years, the relationship between the composer and his publisher deteriorated. Beethoven had borrowed money from Steiner several times between 1816 and 1818—a total of 2,420 Viennese florins. When Steiner asked for his money back, with 500 florins in interest, Beethoven reacted angrily; but he finally paid back the loan in April 1824. BEETHOVEN Symphony No. 3 in D Major “Eroica” Op. 55 The esteemed critic Harold Schonberg tells us that “Musical Vienna was divided on the merits of the Eroica. Some called it Beethoven’s masterpiece. Others said that the work merely illustrated a striving for originality that did not come off.” Ries (1784–1838) was Beethoven’s pupil, secretary, copyist, and friend. Born in Bonn, he was taught the piano and violin from the age of 5 by his father Franz, who had taught the young Beethoven violin and aided the Beethovens generously. In his teens Ferdinand worked as a copyist earning a mere 3 pence a sheet, but managed to scrimp and save 7 ducats (gold coins)—enough to get him to Vienna to study with Beethoven in 1801. Upon his arrival, with a letter of recommendation from his father, Beethoven welcomed the penniless Ries, gave him financial assistance, got him tutoring jobs in aristocratic households, and allowed him to be the first to take the title of “Pupil of Beethoven” (Carl Czerny was his other pupil during this time). He taught Ries the piano for 3 years, but sent him to Georg Albrechtsberger for composition. In return, Ries became an indispensable secretary and copyist, assisting with the practicalities of composition, dealing with publishers, finding lodgings, and looking after him as his hearing declined. It was Ries who found the lodgings in Pasqualatihaus, where Beethoven resided longer than anywhere else. Although overshadowed by his master, Ries had talent and ambitions as a composer. In 1804 he made his public debut with the second premiere of Beethoven’s Third Piano Concerto in Vienna, playing his own cadenza, which Beethoven allowed him to write; the reviews of his performance were glowing. The next year Ries was ordered to return to Bonn to be conscripted into the French revolutionary army, which had occupied Bonn and the Rhineland. However, since he had lost an eye in childhood through smallpox, he was excused. From 1809, for 4 years, Ries toured across Europe—Kassel, Hamburg, Copenhagen, Stockholm, and Russia—before ending up in London, where he married and stayed for 11 years (1814–1824). After he was appointed director of the London Philharmonic Society in 1815, he promoted Beethoven’s music tirelessly, and was instrumental in securing the commission for a new symphony that became the Ninth. By the time Ries left London for Godesberg, he had accumulated considerable wealth from teaching and composing, but lost much of it when the London bank in which he had invested failed. Ries remained active, taking leadership positions and composing in Frankfurt am Main and Aachen. He died after a short illness at age 53, leaving nearly 180 works, including symphonies, operas, oratorios, chamber music, and solo piano pieces. His collaboration with Franz Wegeler on their recollections of Beethoven resulted in one of the most important early biographical sources still in use. |
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Monday, June 16 ♦ 2 PM & 7:30 P Tickets: $25, $17, $10 ~ Reservations advised Albert Cano Smit piano Danbi Um violin Cherry Yeung violin Cong Wu viola Gaeun Kim cello Sooyun Kim flute Vadim Lando clarinet Note: Danbi Um replaces Njioma Grevious for this concert The 5 composers, whose music is featured on the program, studied and/or taught at the Paris Conservatory, founded in 1795. Devienne was professor from 1795 to 1803. Dancla began his music studies there in 1828; Saint-Saëns and Ravel matriculated at ages 13 and 14, respectively; and Henri Rabaud, in 1893, and became its director in 1920. François DEVIENNE Flute Quartet in A minor Op. 66 No. 1 Born in Joinville in 1759, the brilliant flautist and virtuoso bassoonist, known as the “French Mozart,” was also a prolific composer. A workaholic, he composed 8 hours a day, performed regularly, taught, and compiled an influential treatise for playing the flute. Well known in his day, Devienne’s compositions raised the level of writing for wind instruments in France in the late 18th century. His works for flute, the fashionable instrument of the day, were revived by Jean-Pierre Rampal in the 1960s. Of his operas, Les visitandines (1792), among the most successful of the Revolutionary period, had a 5-year run of over 200 performances in Paris. In demand as a musician, Devienne was a bassoonist in the Paris Opéra orchestra, a member of the famous Loge Olympique during the 1780s after he became a freemason in 1781, and appeared numerous times both in solo concertos and symphonies concertante at the Concert Spirituel. After he joined the military band of the Paris National Guard in 1792, he taught at its Free School of Music, which became the National Institute of Music in 1793, and then the Paris Conservatoire in 1795. His famous Nouvelle méthode for the one-key flute, which includes interesting articles on the technique and style of the time, was published in 1794 and widely used. Devienne died in 1803 at Charenton, a Parisian asylum for the mentally ill, his faculties impaired. Charles DANCLA String Quartet No. 8 in G Major Op. 87 The quartet is a fine work with passages of rich string sonorities, a joyful and bright minuet, a sublime slow movement, and a bravura finale of perpetual motion. It was dedicated to his friend and compatriot François Soubies, a French politician of the extreme left wing group of the Montagne. Dancla (1817–1907) came from a talented French family of musicians; his 2 brothers played the violin and cello, and his sister, the piano. He attended the Paris Conservatoire from 1828 to 1840 and won a premier prix in 1833; his school mates included Charles Gounod and Cèsar Franck. Performances by Pierre Baillot (one of his teachers) of quartets by Boccherini, Haydn, Mozart, and Beethoven sparked his interest in chamber music, prompting him to form his own group, together with his siblings. Their concerts at the home of the postman Hesselbein were a regular feature of the Paris season. In 1842, he failed to secure the sought-after post of principal professor of violin at the Conservatoire. Six years later, still dispirited, he left Paris to work in postal jobs, first in Cholet, then in Paris. In 1855, however, he was finally offered a position at the Conservatoire and five years later, became professor of violin, a post he held until he unwillingly retired in 1892. As a violinist Dancla was praised for his trill, lightness of bowing, and his brilliance. The New Grove Dictionary gives a summary of other achievements: “He was highly respected at the Conservatoire as a person, musician and teacher.... He was a prolific composer and won prizes for four of his 14 string quartets and three of his works for male chorus; but it is only through his didactic works that his music survives.... He may be regarded as the last exponent of the classical French school of violin playing.” Maurice RAVEL Piece en Forme de Habanera In March 1907 Ravel received a commission from Amédée-Louis Hettich, a singer and teacher at the Paris Conservatoire intending to compile a repertoire of vocal exercises by contemporary composers. Thus, the Vocalise-Étude en forme de habanera for mezzo-soprano and piano was composed. Together with contributions from Vincent d’Indy, Paul Dukas, Reynaldo Hahn, and others, the Répertoire moderne de vocalises-études was published by Alphonse Leduc in 1909. Ravel’s song was premiered by Magdeleine Greslé and Marcel Chadeigne in a concert of the Société Nationale de Musique on 22 February 1919 at the Salle de la Société des Concerts. The piece became better known in his instrumental arrangement as Pièce en forme de habanera—a song without words. Bru Zane Mediabase notes, “In character and rhythm it recalls the Habanera written in 1895 that appeared as one of the two movements of his Sites auriculaires for two pianos and was later included as the penultimate movement of the orchestral Rapsodie espagnole (1907). Playing ‘almost slowly and with indolence,’ the left hand presents the ostinato that is typical of this dance, which French musicians believed to be Spanish although it in fact originated in Cuba. Melodic elements combining binary and ternary rhythms, and vocal melismas, measured or cadential (the latter marked ‘rubato’), are superimposed in the piece. Ravel’s Spanish inspiration was quite free, with some of the ornamental formulas calling to mind rather an imaginary East. As for the modal harmonies, they bear Ravel’s signature, with hardly any borrowings from the oral traditions of the Iberian Peninsula. They subtly articulate the minor colourings that dominate at the beginning of the piece, and the predominance of major sonorities in the final episode.” Ravel studied at Conservatoire de Paris from age 14, from 1889 to 1905, when he failed in his fifth attempt to win the Prix de Rome. “Ravel failed the preliminaries, summarily ending his already checkered career at the Conservatoire. Aspersions were cast in every direction as the pundits spun their tales and explanations; Gabriel Fauré’s accession as director after the unexpected resignation of Théodore Dubois was widely understood as a turn to the outside for someone to rescue a fading enterprise. But in fact Dubois had decided to resign well before the prize competition, and Ravel’s two principal detractors at the Academy, Charles Lenepveu and Émile Paladilhe, held scant claim to the compositional stature traditionally enjoyed by directors of the Conservatoire. Ravel himself was reasonably well established already; certainly he did not ‘need’ the prize…and he generally tried to hold himself above the fray [Holomon].” Allegedly, one of Ravel’s problems was his use of trombones, pianissimo. Henri Benjamin RABAUD Solo de Concours Op. 10 Rabaud’s solo piece was used five additional times. A solo de concours serves as a showcase for the performer’s technical skills, musicianship, and artistic expression. It was often used as a final performance for graduation or entrance into a specific program. Rabaud (1873–1949) held important posts as a conductor, composer, and academic. He was conductor of the Paris Opéra, the Opéra-Comique, and the Boston Symphony Orchestra; he composed several well-received operas and orchestral works; and in 1922 he succeeded Gabriel Fauré as director of the Paris Conservatoire, retiring in 1941. The Parisian was born into a distinguished musical family, studied at the Conservatoire in 1893 (composition with Jules Massenet), and won the Prix de Rome in 1894 for his cantata Daphné. As a composer, he was conservative and viewed modernism as an enemy. His music shows a tendency toward Wagnerian richness and a love of the exotic. During the German occupation, Rabaud sought to protect the Jewish members of the faculty, but fearful that the Nazis would close the Conservatoire, he cooperated with the authorities in regard to the Jewish teachers and students at the conservatory. Camille SAINT-SAËNS Piano Quintet in A minor Op. 14 Gramophone remarked that “its power, fertile ideas and scrupulous design (fugue, again, in the finale) are both arresting and appealing.” His first chamber work—the cyclic Quintet—written at age 20, was dedicated to his great-aunt, Charlotte Masson, who raised him after his father died of tuberculosis and taught him piano when he was 2 and a half years old. It was performed (apparently for the first time) at the Salons Érard on 10 April 1860 by Quatuor Armingaud with the composer at the piano. Adolphe Botte, in the Revue et Gazette musicale of 15 April 1860, noted Saint-Saëns’ “serious bent.” It was not published until 1865. Saint-Saëns began his studies at the Paris Conservatoire in 1848 at age 13. He recalled that he enjoyed being the wittiest in the class, the funniest, and would often play music that would amuse his classmates in its ridicule. In 1849 he won a second prix and in 1851, at 16, he won a brilliant premier prix for organists and began composition studies, taught by Fromental Halèvy. However, he failed twice in the Prix de Rome competition, but won first prize in a competition organized by the Société Sainte-Cécile. The following is merely a glimpse of the revered Paris institution. In the words of Kern Holomon, “Since its establishment…the Paris Conservatoire has functioned as the gateway to the upper echelons of classical music in France…. A premier prix from the Conservatoire launched careers in the best theaters and concert societies; the foremost instrumentalists rose to occupy, simultaneously, principal chairs at the Opéra and Société des Concerts du Conservatoire (the Paris Conservatory Orchestra) and a professorship at the school. Matriculation at the Conservatoire was so highly valued that families of gifted children would move to Paris and sometimes, like César Franck’s family, change citizenship, since admission required French nationality. In the early years even the best foreign students were routinely turned away, including Franz Liszt in 1823; though by the 1880s, a quota of 15% foreign students was deemed acceptable…. Apart from its direct pedagogical mission, the Conservatoire was home to three pillars of the nation’s musical culture: the Société des Concerts du Conservatoire (1828), the Bibliothèque du Conservatoire (1795), and the Musée Instrumental (1861…). A fourth pillar was the Prix de Rome…. After a year of organization and remodeling of facilities, the institution began to offer classes in 1796–97 to a student cohort of some 350 with a faculty of about 75.” The original concert hall, inaugurated in 1811, seated some 1055. While low on creature comforts, it possessed enviable acoustics and was known as “the Stradivarius of concert halls.” Ensuing renovations, which included the restoration of the breathtaking décor, eventually reduced the seating capacity to 500 and compromised the legendary acoustics. “Nearly all the major French composers of the nineteenth century passed through the Conservatoire, with its faculty of a half-dozen active composers who provided entrée to the best opportunities in the capital…. The Prix de Rome in composition (sojourns in Rome and sometimes Germany, major public performances, and a handsome multiyear stipend) drew ambitious young composers to the Conservatoire from the beginning.” The Société des Concerts (a philharmonic society) held weekly concerts. “The orchestra was soon made up almost entirely of famous-name professors and premiers prix, almost without exception French and graduates of the Conservatoire…. For more than half the nineteenth-century, every concert was technically sold out, with the only hope of admission for others being to take, at the last minute, seats left empty by the subscribers. Subscriptions were passed from fathers to sons (but not wives or daughters…)…. The orchestra boom lasted until the 1920s, when such competing allures as the motorcar, tennis, cycling, and the very concept of the weekend began to compete for leisure time each Sunday afternoon.” |
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Jupiter 2024 - 2025 Season Tickets: $25, $17, $10 ~ Reservations advised Please visit our Media Page to hear Audio Recordings from the Jens Nygaard and Jupiter Symphony Archive Concert Venue:
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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 | ||
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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
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“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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MeiYing Manager All
performances, except where otherwise noted, are held at: Copyright © 1999-2025 Jupiter Symphony. All rights reserved.
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