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Join Us For Our 2025-2026 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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View Our Printable Calendar and Ticket Order Form (pdf) Take a look at our guest artists for this season. |
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Join us for our next concerts...
Jupiter ~ Summer 2026 Monday, June 15 ♦ 2 PM & 7:30 PM Fei Fei piano Danbi Um violin Josephine Kim violin Ayano Nakamura viola Gaeun Kim cello Vadim Lando clarinet MOZART “Kegelstatt” Trio K. 498 During his journey to Berlin in 1789, Mozart made a detour to Leipzig twice. He arrived on 20 April and stayed for 3 days. On the 22nd, he visited the Thomaskirche (where Bach had been the most famous cantor from 1723 till his death in 1750) and played the organ for an hour, assisted by Cantor Doles and the organist Karl Görner, both manipulating the stops. In his honor, the choir of the Thomasschule performed “Singet dem Herrn ein neues Lied” by Bach. Delighted with the motet, Mozart copied the choir parts after perusing the autographs. He then went to Potsdam and returned to Leipzig on the 8th of May. This time, Mozart presented a concert of his own compositions at the Leipzig Gewandhaus 4 days later on the 12th. The concert, however, had not been widely publicized and was a financial fiasco as it was poorly attended. In a letter to his wife Constanza he reported, “From the point of view of applause and glory this concert was absolutely magnificent, but the profits were wretchedly meager.” He also gave various excuses for lingering in Leipzig, but finally left for Berlin on 17 May. Johann Wenzel KALLIWODA String Quartet No. 1 in E minor Op. 61 Dedicated to his friend Joseph Graff of Prague, the Quartet is the first of three commissioned by the publisher Carl Gotthelf Böhme of Peters in Leipzig. Böhme stipulated that the scores should be “nonconcertant for the first violin, with the music nicely divided up among the instruments, not heavy for any of them, and in the beautiful style of Mozart.” The music writer Michael Cookson singled out the Scherzo as “remarkably inventive and stunning…played almost entirely pizzicato. …Kalliwoda must surely be one of the first composers to present a pizzicato movement in a string quartet.” Kalliwoda’s quartets are contemporaneous with those by Cherubini, Louis Spohr, and Mendelssohn. Kalliwoda (1801–1866) was an esteemed Bohemian composer, conductor, and violin soloist during his lifetime. He stood at the cutting edge of his day. At the age of 10, the boy entered the newly founded Prague Conservatory, where he was a member of the first class and graduated five years later in 1816 with distinction, after which he joined the orchestra of the Stavovské Theatre in Prague, under Weber. He was described as a “superb soloist on the violin” and possessed “excellent abilities in composition.” In December 1821 the orchestra gave a farewell concert of his compositions before he departed for a tour of Germany, Switzerland, and Holland. While in Munich, he met Prince Karl Egon II, who offered him the post of conductor in Donaueschingen. For almost 40 years Kalliwoda directed and elevated the standard of the town’s musical life. He was conductor of the court orchestra and opera house, where he presented the operas of Mozart and Cherubini; he coordinated the musical activities at the cathedral; he was considered a “house composer” by the publisher C. F. Peters (its commission of 3 string quartets “were to be in the beautiful style of Mozart”); and he taught the Prince’s children. Leading virtuosos, including Liszt and Robert and Clara Schumann, appeared at his symphony concerts. Schumann, among others, held a high opinion of his work. In the Neue Zeitschrift für Musik, co-founded by Schumann, he praised Kalliwoda for the tenderness and sweep of his compositions, even though he was critical of some of his work. Highly respected, he was offered posts in the most famous musical institutions of Leipzig, Cologne, Mannheim, Dessau, and Prague, and was made an honorary member of music societies in Prague, Germany, Austria, Holland, Switzerland, and Sweden. His style is said to represent a link between Beethoven and Schumann. Antonín DVOŘÁK Piano Trio No. 1 in Bb Major Op. 21 ▪ 1875 Written at age 34, the Trio was well-received at its premiere, which helped solidify Dvořák’s growing reputation before he achieved international fame in the late 1870s. The lyrical masterpiece—a youthful, spontaneous spirit in Classical form with distinct Czech folk elements like the polka in the third movement—displays melodic invention and varied rhythms.
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Jupiter 2025 - 2026 Season Tickets: $25, $17 ~ Reservation advised Please visit our Media Page to hear Audio Recordings from the Jens Nygaard and Jupiter Symphony Archive Concert Venue:
Office Address:
Like our Facebook page to see photos, videos, Jupiter in the News ConcertoNet
Strad Magazine ConcertoNet
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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 © 1999-2026 Jupiter Symphony. All rights reserved. |
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