2018-2019 Season Calendar

September October November December January February March AprilMayJune July

20-concert series: Mondays at 2pm and 7:30pm 
All performances, except where noted, are held at
 Good Shepherd Presbyterian Church
152 West 66th Street, New York, NY 10023
Find out more about the Jupiter Players and our Guest Artists.

Tickets  $25, $17, $10  Call 212.799.1259
or e-mail admin@jupitersymphony.com
Printable Calendar &Ticket Order Form (pdf)

September 17  Beauty & Seduction

Michael Brown piano
Mark Kaplan


MOZART  Piano Quintet in Eb Major K. 452 • 1784
  • performed by Mozart himself on April Fool’s Day, and in a letter to his father, he declared enthusiastically, “the best thing I have so far written in my life”

SCHUBERT  Adagio and Rondo Concertante in F Major D. 487 • 1816
  • in love with Therese Grob at the age of 19, Schubert wrote the piano quartet for her brother Heinrich ~ stylistically, the piece is more of a concerto movement for piano and strings, and the Rondo, a sonata movement with Mozart-like themes

Peteris VASKS The Fruit of Silence • 2013
  • the Latvian composer’s sublime, spellbinding meditation ~ for piano quintet Vasks described the quintet as a muted contemplation on a path: “This path has five signposts—prayer, faith, love, service and peace. I want this composition to serve as a reminder that such a path exists.” The music, originally for choir a cappella, was set to a text by Mother Teresa: “The fruit of silence is prayer. The fruit of prayer is faith. The fruit of faith is love. The fruit of love is service. The fruit of service is peace.” It was commissioned by the Schleswig-Holstein Music Festival.

Arnold SCHOENBERG  Verklärte Nacht “Transfigured Night” Op. 4 • 1899
  • dense, voluptuous, gut-wrenching late-Romanticism from the Modernist composer before he abandoned tonality

Based on a mystical poem of Richard Dehmel, the programmatic music for string sextet captures the despair, angst, love, nobility, and radiance of the story of a couple in love walking through the woods on a moonlit night, the woman’s confession that she is bearing the child of another man she never loved, and the man’s acceptance of both the woman and unborn child as his own, transforming all from darkness to light. Schoenberg, however, wanted the music to be appreciated as his expression of nature and human emotion.

In 1949, Schoenberg said, “I can really contend that I owe very, very much to Mozart.... And I am proud of it!” In background notes on Mozart’s influence on Schoenberg at the Schönberg Center in Vienna, Therese Muxeneder wrote, “The special exhibition addresses Arnold Schönberg’s stylistic career in the footsteps of Viennese Classicism as well as his artistically and theoretically diverse reflection on the Viennese fathers. The importance of Mozart, Haydn and Beethoven for his own work and teaching can be impressively demonstrated in numerous documents from the estate. They also provide insights into Schönberg’s compositional style, which is juxtaposed with that of Wolfgang Amadeus Mozart.”

September 24  2001 Remembering Jens Nygaard

Timur Mustakimov piano
Dmitri Berlinsky
Jacqueline Kerrod harp


TCHAIKOVSKY  Herbstlied “Autumn Song” • 1876
  • an autumnal elegy from The Seasons, arranged by Toru Takemitsu in 1993 for clarinet and string quartet from the original for solo piano

Igor STRAVINSKY  Three Pieces for Solo Clarinet • 1919
  • extremely demanding, the miniature masterpiece was written during his Swiss exile and marks a significant transition from his early Russian or primitivist style to Neoclassicism

Clarinetist Charles Russo, who played under Stravinsky and discussed the piece with him, believed the composer intended the work as a stylistic bridge between the Rite of Spring and his later work. It was dedicated to Werner Reinhart, the Swiss patron of the arts who had bankrolled L’histoire du Soldat.

TCHAIKOVSKY  String Quartet in Bb Major Op. post. • 1865
  • a one-movement jewel written while Tchaikovsky was a student at the St. Petersburg Conservatory, the Quartet is based on the theme of a Ukrainian song that Tchaikovsky heard gardeners sing at Kamenka during the summer of that year ~ in 1867 he used the main theme of the Quartet in his Scherzo à la russe, his first published work

Mikhail GLINKA  Serenata sopra alcuni motivi dell’opera “Anna Bolena” • 1832
  • melodious and glittering, in elegant salon style ~ for piano, harp, horn, bassoon, viola, cello, and double bass

Glinka attended the premiere of Anna Bolena in Milan on 26 December 1830, during his 3-year sojourn in Italy. The tragic opera, which tells the story of Henry VIII’s notorious second wife, Anne Boleyn, in an embellished, romanticized way, was Donizetti’s first major hit and marked a turning point in his career. Glinka’s own reaction, according to a diary entry, was one of “rapture.” His skillful working of Donizetti’s tunes, which includes a bold piano part and interplay between the other instruments, gave rise to this rhapsodic, operatic overture.

TCHAIKOVSKY  Adagio molto in Eb Major • 1863 or 1864
  • written as an exercise while a student in Anton Rubinstein’s composition class at the St. Petersburg Conservatory ~ for harp and string quartet

Anton ARENSKY  Piano Trio in D minor Op. 32 • 1894
  • soaring melodies infused with Russian Romanticism ripple through the glorious Trio influenced by Tchaikovsky

A pupil of Rimsky-Korsakov at the St. Petersburg Conservatory, Arensky graduated with a gold medal, then became one of the youngest professors ever to teach at the Moscow Conservatory. The Trio was written as a memorial to his (and Tchaikovsky’s) friend, the cellist Karl Davidoff, who had been director of the St. Petersburg Conservatory when Arensky was a student there. Davidoff, who died in 1889, is considered the founder of the Russian school of cello playing, and Arensky’s dedication is reflected in the cello’s prominence in the Trio. Among Arensky’s pupils were Alexander Scriabin, Reinhold Glière, and Rachmaninoff. He died at age 44 from tuberculosis, most likely exacerbated by his drinking.

October 8  Otherwordly

Drew Petersen piano
Danbi Um

Elizabeth Brown theremin


Ignace PLEYEL  Nocturne No. 1 in C Major B. 215 • 1787
  • Haydnesque and utterly charming, the octet is for oboe, 2 horns, violin, 2 violas, cello, and double bass

Pleyel was not only famous in his day as a piano builder and music publisher, he was equally acclaimed as a composer. Mozart praised the Austrian-born French composer’s merits in a letter to his father: “If you are not yet acquainted with Pleyel’s new quartets, it’s worth the effort. They are very well written and very pleasant. Perhaps one day Pleyel will be able to fill the place of our dear Haydn.” Initially a rival of Haydn’s, Pleyel made his peace with the older composer and for several years they enjoyed a close and fruitful relationship as teacher and pupil.

Bohuslav MARTINU  Fantaisie H. 301 • 1944
  • written for the unorthodox combination of theremin, oboe, string quartet, and piano to create new and compelling timbres, especially from the theremin’s sine tone (tone with a single frequency) that produces magical images of sounds seemingly from ether

The Czech composer of Modern classical music studied briefly at the Prague Conservatory before being dismissed for “incorrigible negligence,” after which he continued to study on his own. He went to Paris in 1923, living there until France capitulated to Nazi Germany in 1940, when he fled, first to the south of France, and then to the United States in 1941, settling in New York with his French wife. He was commissioned by Lucie Bigelow Rosen to write a piece for theremin and began the task during the summer of 1944, completing the Fantaisie on the 1st of October. Rosen performed the premiere as theremin soloist in New York on 3 November 1945 with the Koutzen Quartet, oboist Robert Boom, and Carlos Salzedo at the piano.

The theremin—one of the world’s first electronic instruments—was invented by the Russian scientist Léon Theremin in 1919. It consists of two radio frequency oscillators and two metal loop antennas. Electric signals from the instrument are amplified and sent to a loudspeaker; the instrument, untouched by the performer’s hands, thus generates unusual and unexpected musical sounds and effects.

Gabriel FAURÉ  Piano Quintet No. 1 in D minor Op. 89 • 1905
  • by turns ethereal, passionate, doleful, even whimsical, the beautiful Quintet’s overall effect is one of inward melancholy and elusiveness, with light textures

Attempts at the Quintet date from as early as 1887, and after a long and troublesome development, it was finally completed toward the end of 1905. Dedicated to Eugène Ysaÿe, its premiere was performed in Brussels on 23 March 1906 by the Ysaÿe Quartet with Blanche Selva at the piano. Fauré was Saint-Saëns’s devoted and most famous student. The prominent critic Harold Schonberg described him as having “the essence of everything Gallic—form, grace, wit, logic, individuality, urbanity...those who love the music of Fauré love it as a private, cherished gift from one of the gentlest and most subtle of composers.

October 22  From Nordic Lands

Do-Hyun Kim piano
William Hagen


Erkki MELARTIN  String Trio Op. 133 • 1927
  • a remarkable work wherein Modernist and traditional harmonies are mysteriously combined, with shifts in styles and textures

Overshadowed by Sibelius, Melartin (1875-1937) was a prolific composer, as well as a conductor, philosopher, mystic, naturalist, painter, linguist, and an influential teacher. His style ranged from late Romanticism to restrained Expressionism, in an individual voice. While his most important works are his six symphonies, he is most remembered for his lyric pieces, including salon music, which brought him greatest popularity. In the early decades of the 20th century he introduced Finnish audiences to the music of Mahler, Strauss, and other contemporary composers.

Franz BERWALD  Grand Septet in Bb Major • 1828
  • in the early Romantic style of Hummel, Schubert, Mendelssohn, and Louis Spohr, the innovative, exuberant work is “memorable for its entrancing combination of emotional sequences” [The Strad, December 1995]

Berwald, born in Stockholm in 1796 to a long line of musicians, is considered Sweden’s foremost composer, the founder of Romanticism in Sweden, and its first important symphonist. He was, however, unable to earn a living as a musician, and became a successful orthopedic surgeon in 1835 and in 1850 he took over the management of a glass factory, then launched a saw mill, and was also active as a polemicist from about 1856. He began composing again after his move to Vienna in 1841, the 1840s being his most productive musical years. In 1866, at the age of 70, he was finally acknowledged for his musical achievements with the award of the Swedish Order of the Polar Star, but it was not until the 20th century that his work became more widely recognized.

Jean SIBELIUS  Piano Quintet in G minor • 1889-1890
  • original ideas fill this dark, symphonic, ambitious work, influenced by the Piano Quintet of the Norse composer Christian Sinding, while he probed his own Finnish roots

The Quintet was written during a year of private study in Berlin, following his graduation from the Helsinki Music Institute. The premiere of its first and third movements was performed by none other than the great Italian pianist Ferruccio Busoni (his teacher and lifelong friend) and the Norwegian composer and violinist Johan Halvorsen, both of whom were impressed with the Quintet.

October 29  Tapping Tapas

Adam Neiman piano
Stefan Milenkovich

Manuel Braulio CANALES  String Quartet in D Major Op. 3 No. 1 • 1782
  • buoyant and vivid yet graceful, the quartet (from a set of 6) is of historical importance as an example of how far the Viennese and Italian tradition had penetrated Spain by the late 18th century

The extensive use of sharply contrasting dynamics as an expressive device and the 4-movement structure point to the influence of Haydn (most of the other composers were still using the 3-movement form of the Mannheim school). Boccherini’s music, which he also encountered in Madrid, is said to be of some influence; and there is the influence of Spanish dance music as well, as evident in the Largo assai. Born in Toledo in 1747, Canales studied music with Jaime Casellas, director of the Toledo Cathedral Choir. He sang and danced in certain cathedrals as one of 6 choir boys, and later excelled as a cellist and bassist. In 1770, he moved to Madrid to work for the Duke of Alba. After his protector died in 1776, Canales returned to Toledo, where he worked as an assistant director at the Cathedral. He died in 1786 at the age of 39.

Manuel de FALLA  El amor brujo: Pantomime and Ritual Fire Dance • 1915
  • distinctively Andalusian in character, the two movements are from the ballet El amor brujo (“Love, the Sorcerer”) celebrating flamenco ~ arranged for piano sextet (the original version was for piano, flute, oboe, trumpet, horn, viola, cello, and double bass

Based on a story of love, death, exorcism, and release, the heroine of the ballet is an Andalusian gypsy woman named Candelas. In the most famous movement—Danza ritual del fuego—the village holds a ritual fire dance, wherein Candelas dances an exorcism to rid herself of the ghost and its powers. The music distills native folk music to its most elemental components, and has moments of remarkable beauty and originality. Falla, born in Cádiz, is the most distinguished Spanish composer of the early 20th century, his music representing the spirit of Spain at its purest.

Luigi BOCCHERINI  Musica Notturna delle Strade di Madrid G. 324 • 1782
  • programmatic music vividly evoking the bustling streets of Madrid at night—church bells, drum rolls from a military barracks, a minuet of the blind beggars, a rosary prayer, street singers, and “La Ritirata di Madrid” (the retreat of the “Military Night Watch of Madrid” bringing on the curfew and closing down the streets) ~ for string quartet and double bass

Boccherini was born into a musical family in Lucca, Italy, spent some time in Vienna and Paris, and from 1769 lived and worked in Spain. In 1770 he was appointed to the service of the Infante Don Luis as composer and performer. When Don Luis married an Aragonese aristocrat (in effect, a commoner) in 1776, King Charles III, fearful of his brother, found cause to banish the Infante to Las Arenas palace in Avila. Boccherini went with him and composed more than 100 works, including the Musica Notturna, in rural seclusion. The Quintet was famous in Spain during Boccherini’s life, but it was not published until years after his death as he had told his publisher, “The piece is absolutely useless, even ridiculous, outside Spain, because the audience cannot hope to understand its significance, nor the performers to play it as it should be played.”

Rodion SHCHEDRIN  In the Style of Albeniz • 1973
  • the Russian composer’s tribute to Isaac Albéniz through his rendition of a tango for violin and piano—a fusion of folk traditions with classical music, full of aching dissonances and shifting phrases

As the music critic Jay Nordlinger so knowingly explained in the National Review, “Shchedrin is one of those people with a huge appetite for music, music of every period, and of every type. And his own music reflects an awareness, and absorption, of the past. He is not trying to invent the wheel; he knows he stands on shoulders.”

Shchedrin is recognized as one of Russia’s greatest living composers, and has won numerous awards, including the 1972 USSR State Prize, the 1984 Lenin Prize, and the 1992 State Prize of the Russian Federation. He was also honored with a membership in the Berlin Academy of Arts in 1989. In 1958 he married Maya Plisetskaya of the Bolshoi Ballet and wrote several ballets for her. Among his other compositions are symphonies, operas, concertos, chamber and instrumental music, and choral and vocal music. Shchedrin is a virtuoso pianist and organist as well.

Joaquín TURINA  Piano Quintet in G minor Op. 1 • 1907
  • Franckian in its cyclic manner and influenced by Debussy, but there is Spanish color as well, and a spectacular Rondo for its finale

Born in Seville, Turina lived in Paris from 1905 to 1914. He studied at the Schola Cantorum— piano with Moritz Moszkowski and composition with Vincent d’Indy, whose teacher was Cesar Franck. After the Quintet’s première he went to a cafe with his good friends Falla and Isaac Albéniz, both of whom persuaded him to write in a more consciously Spanish style. The meeting led to a new kind of nationalism in Spanish music— as Turina put it, “We were three Spaniards gathered together in that corner of Paris and it was our duty to fight bravely for the national music of our country.” The Quintet won a prize in the Salon d’Automne, judged by a jury comprising Louis-Albert Bourgault-Ducoudray, Louis Bruneau, Fauré, d’Indy, Lucien Magnard, Octave Maus, Armand Parent, and Gabriel Pierné.

November 12  Making America Great

Maxim Lando piano
Itamar Zorman


Paul CHIHARA  Ellington Fantasy • 1982
  • 3 songs popularized by Duke Ellington in an arrangement for string quartet by the Japanese-American composer often known for his film scores
    “I’m Beginning to See the Light”—a popular love song and jazz standard written by Ellington, Don George, Johnny Hodges, and Harry James, published in 1944. 3 versions were recorded in 1945, all making hit lists: by Ella Fitzgerald and the Ink Spots, by Harry James and his Orchestra with pop singer Kitty Kallen, and by Duke Ellington with Joya Sherrill.
    “Take the ‘A’ Train”—the signature tune of the Duke Ellington Orchestra, written in 1939 by Billy Strayhorn, who played the piano and wrote arrangements for the band. Ellington wrote in his autobiography that “Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine.”
    “Mood Indigo”—written by Ellington and Barney Bigard in 1930 with lyrics by Irving Mills. Ellington’s biographer, Terry Teachout, described it as “an imperishable classic, one of a handful of songs that come to mind whenever Ellington’s name is mentioned anywhere in the world.”

The Seattle native, born in 1938, studied with Nadia Boulanger in Paris and with Gunther Schuller at Tanglewood. He studied film music at his childhood hometown movie matinees, soaking up film noir, westerns, and musicals. With Toru Takemitsu, Chihara was composer-in-residence at the Marlboro Festival in 1971. His 25-year Hollywood career began in 1974 when he composed the music for Roger Corman’s Death Race 2000. Since then he has written scores for more than 90 films and television series, working with such directors as Sidney Lumet and Arthur Penn. Active on Broadway and in the ballet world as well, he also composes prize-winning concert works. Chihara is currently on the faculty at New York University.

Paul SCHOENFIELD  Trio • 1990
  • zany, rowdy virtuosity for the clarinet, violin, and piano

Concocted with elements from the rich and varied traditions of klezmer, Eastern European folk, and gypsy music, the composition results in surprises elicited by their interactions. As the Jewish composer himself has said, this “is not the kind of music for relaxation, but the kind that makes people sweat; not only the performer, but the audience.”

Schoenfield, from Detroit, began playing the piano at age six and wrote his first composition the following year in 1954. Among his teachers was Rudolf Serkin. He was formerly a concert pianist, touring the United States, Europe, and South America as a soloist and with ensembles including Musicians from Marlboro. His compositions, which have been widely recorded, have drawn an expanding group of devoted fans. He has also lived on a kibbutz in Israel, and is a scholar of the Talmud and of mathematics. Currently, he holds the position of Professor of Composition at the University of Michigan.

Jerome MOROSS  Piano Quintet • 1964
  • Classical Hollywood at its best

Steven C. Smith gives the background of Moross and the Quintet: “The legacy of Jerome Moross (1913-1983) may confound those who prefer their composers more neatly pigeonholed in style and musical genre; but the numerous paths Moross followed—ranging from early atonal concert music to film scores to television to Broadway—have left less pedantic admirers a bounty of eclectic gems. For Moross, music was music, whether it was written for a string quartet, a pit theater orchestra, or tailored to a filmmaker’s vision. Moross never condescended to cinema.... But despite some recognition (including a 1959 Oscar nomination for The Big Country), Moross found Hollywood hostile turf for an independent composer, and his visits became increasingly rare. The movies’ loss was concert music’s gain. One happy intersection of these two media is a concert piece derived from a film Moross scored in 1964. The Piano Quintet, based on his music for the little-known short, Forget Me Not, is among its composer’s most charming later works; its evocation of remembered loss (the film chronicles a widower’s memories of his wife) is treated not as tragedy but as simple celebration. Moross introduced his chief, song-like theme immediately, exploring it in a series of gentle variations scored with elegant intimacy, and shaped by a propulsive lyricism that characterizes much of Moross’s most appealing work. Presented here in its concert incarnation...the Piano Quintet—like the Forget Me Not from which it flowered—is a moving testament to the power of memory.”

Paul WIANCKO  America Haiku • 2014
  • richly-textured duo that incorporates Appalachian fiddling, percussive patterns, and Japanese folk-inspired melodies ~ commissioned by Ayane Kozasa for viola and cello

Wiancko has led a multifaceted life as a cellist, composer, and collaborator. Winner of the 2018 S&R Foundation Washington Award for Composition, the Japanese-American’s music has been described as “dazzling” and “compelling” by the Star Tribune, and “surprising, fun, fresh, and innovative” by Sequenza21. Wiancko has composed works for the award-winning Aizuri and Parker Quartets, Metropolitan Opera soprano Susanna Phillips, cellist Judith Serkin, violist Ayane Kozasa, yMusic, cellist Gabriel Cabezas, the Boston Cello Quartet, Bargemusic, and many others, and has been the composer-in-residence at the Caramoor, Twickenham, Newburyport, and Methow Valley Chamber Music Festivals.

Arthur FOOTE  Piano Quintet in A minor Op. 38 • 1897
  • the “Boston Classicist” scores high marks for every movement of this ravishing Romantic Quintet

A native of the witch city of Salem, Foote was the first important American composer educated entirely in America. In 1873 he graduated at age 21 with the first master’s degree in music awarded by an American university—Harvard—where he studied fugue and counterpoint with John Knowles Paine. From Paine, he gained an admiration for and was influenced by the leading European Romantic composers of the day, including Mendelssohn, Schumann, Dvorák, and Brahms. The Quintet integrates this legacy with Foote’s wealth of melodic invention and his idiomatic keyboard writing. Its premiere was performed by Foote at the piano and the Kneisel Quartet, its dedicatee. The reviewer of the Transcript commented, “The form is so clear, the development so natural, so inevitable-seeming, the writing so brilliant and vivacious; then the fertility of the melodic invention and resource the composer shows, the warm glow and charm of his second themes, all these elements combine to make the work a continuous inspiration to the listener.”

November 19  “Eastern” Mosaic

Mikhail Kopelman violin
Elizaveta Kopelman piano
Anna Gourfinkel Kopelman piano


Franz and Karl DOPPLER  “Souvenir de Prague” Op. 24 • n.d.
  • hear the Doppler effect by the Polish brothers in this flashy duo concertante on Bohemian motifs for flute, violin, and piano (originally with 2 flutes)

Born in Lemberg, Poland, Franz and his brother Karl were taught by their father, Joseph, who was a composer and oboist. Franz made his debut in Vienna at the age of 13 and became famous as a virtuoso flutist touring Europe with Karl, giving duo recitals before both became prominent members of Hungarian orchestras. Franz first joined the German Theatre from 1838, then the Hungarian National Theatre from 1841. He composed a German opera and several Hungarian operas that were produced at the Theatre, all with appreciable success. In 1853, together with Karl and others, they founded the Hungarian Philharmonic Orchestra, and the brothers also resumed their concert tours throughout Europe.

George ENESCU  Pastorale, menuet triste et nocturne • 1900
  • a real beauty in the salon style, with singing melodies, grace, and elegance for the unusual combination of violin and piano four-hands by Romania’s greatest and most versatile musician

Dedicated to the Veniel sisters (Marie, Geneviève, and Fernande), the trio was written for the Parisian receptions to which Enescu was often invited. He began composing in 1886 at age 5, and at age 7 he became the youngest student ever admitted to the Vienna Conservatory. At age 10 he met his idol, Brahms, and played his Symphony No. 1 under the composer’s baton. Enescu went to Paris in 1895 to continue his studies that included composition with Massenet and Fauré, whose influence can be heard in the trio.

Antonín DVORÁK  Serenade B.15bis • 1867
  • the Bohemian composer’s dreamy Largo in the key of A, interrupted by a couple of startling surprises ~ for another unusual combination of instruments, this time for flute, violin, viola, and triangle

Sergei PROKOFIEV  Overture on Hebrew Themes • 1919
  • sprung from the spirit of the klezmorim for the Jewish ensemble Zimro and premiered in New York City in January 1920 ~ for clarinet, piano, and string quartet

Prokofiev had a close relationship with the Bolsheviks before the Russian Revolution of 1917, but he went abroad, living in New York and Paris during most of the early years of the Soviet Union, and by the time he returned in 1935 he found cultural life under monitor—the Composers Union was formed to police the likes of Prokofiev and his more outspoken contemporary Shostakovich for alleged “formalist tendencies” considered to be intellectually elitist and anti-Soviet. Further, any freedom they may have had ended with the 1948 Zhdanov Decree, aimed at suppressing artistic self-expression. Prokofiev was now viewed as “anti-democratic” and much of his music was banned. Many concert and theater administrators refused to program his music, fearful of the consequences of supporting an artist denounced by the regime. He suffered censorship until his death in 1953.

BRAHMS  Hungarian Dances • 1859
  • a selection from the set of 21 pieces, the lively dance tunes based mostly on Hungarian themes, which enjoyed a phenomenal success ~ transcribed for violin and piano from the original for piano 4-hands

Arno BABADJANIAN  Piano Trio in F# minor • 1952
  • extraordinary, lush Romanticism that reflects the Armenian composer’s perfectionism

One of the Soviet Union’s foremost pianists, Babadjanian composed music that was in the Russian tradition, but also contained echoes of Armenian folk songs as well as the sounds of his contemporaries—Khachaturian, Rachmaninoff, Shostakovich, and Prokofiev. A dramatic first movement is followed by a gorgeous, poignant Andante, and the Trio concludes with a rhythmic Allegro vivace. Its premiere was performed in 1953 by violinist David Oistrakh, cellist Sergey Knushevitsky, and the composer at the piano.


December 3  Made in Vienna

Roman Rabinovich piano
William Hagen
Hyunah Yu soprano


Karl WEIGL  5 Songs Op. 40 • 1934
  • the song cycle for soprano and string quartet was premiered by the great German soprano Elisabeth Schumann in Vienna, and sung by her in London, where the songs were acclaimed as “powerfully expressive, masterly shaped”

Weigl was born in Vienna in 1881 to a Jewish bank official and keen amateur musician. After private lessons with Alexander Zemlinsky and schooling at the Franz-Joseph Gymnasium, he studied at the Vienna Music Academy where his composition teacher was Robert Fuchs, then at the University of Vienna where his classmate was Anton Webern. From 1904 to 1906, he worked under Mahler as solo performance coach. His only opera, Der Rattenfänger von Hameln, premiered in Vienna in 1932. When the Nazis occupied Austria in 1938, Weigl emigrated to the United States, together with his second wife, Valerie (Vally), and their son. His 11 years of exile were difficult even though he obtained a number of increasingly important teaching positions: at the Hartt School of Music, Brooklyn College, Boston Conservatory, and the Philadelphia Academy of Music. Weigl died in New York in 1949.

SCHUMANN  Kinderszenen “Scenes of Childhood” Op. 15 • 1838
  • exquisite miniatures in many moods—musical sketches of childhood, but written for adults and meant to be played by adults ~ transcribed for wind quintet by the Danish composer Hans Abrahamsen

In March 1838 Schumann wrote to his fiancée Clara Wieck: “I have been waiting for your letter and in the meantime I have been composing a whole book of pieces—wild, wondrous and solemn.... You once said to me that I often seem like a child, and I suddenly got inspired and knocked off around 30 quaint little pieces.... I selected twelve and called them Kinderszenen. You will enjoy them, although you will need to forget you are a virtuoso when you play them.”

Schumann’s five-year courtship with Clara was fraught with challenges (primarily stemming from her father’s objections to the match) that included lawsuits and court battles, his banishment from the Wieck home, and a seven-month separation in 1838 because of Clara’s concert tour. It was during this time apart that Schumann went to Vienna with hopes of establishing himself as a journalist through Die Neue Zeitschrift für Musik, a music magazine he had cofounded with his teacher and future father-in-law Friedrich Wieck in Leipzig—his intent was to continue editing the paper under the auspices of a Vienna publishing firm. His efforts, however, came to naught. Despite this setback, Schumann’s stay in Vienna had its bright moments—he went to the opera and theater; made friends including Mozart’s son Franz Xaver Wolfgang; visited the city’s sights, especially the graves of Beethoven and Schubert; and obtained Schubert’s compositions from his brother Ferdinand, which resulted in the publication and performance of the Symphony in C by the Leipzig Gewandhaus Orchestra a few months later. Not least of all, Schumann composed obsessively. Before leaving Vienna in April 1939, he had completed several compositions, including the Kinderszenen.

SCHUBERT  “Salve Regina” D. 676 • 1819
  • “Hail Holy Queen,” a Marian hymn for soprano and string quartet

As an essential component of the Compline service, the hymn has been set to music by various composers; Schubert wrote no less than 4 versions.

Schubert was Viennese through and through. He was born in Himmelpfortgrund, a district of Vienna, he lived much of his life in the city, and he died there. When he was away from Vienna, he would soon miss it. He would pine for his beloved Vienna and its life, his friends, and the theaters and cafes.

BRAHMS  Piano Trio in Bb Major • 1883
  • transcribed from his exquisite String Sextet No. 1 (composed in 1859-1860) by Theodor Kirchner, with Brahms’s blessing

A letter that Brahms wrote to his publisher Fritz Simrock, dated 18 March 1883, reveals his comments on Kirchner’s arrangements of his 2 String Sextets: “The Trios give me extraordinary pleasure! If it was your idea, then I must congratulate you, but Kirchner has done a remarkable job.” Although essentially forgotten, Kirchner was Brahms’s close friend, from their first meeting in 1865 until Brahms’s death in 1897. He was also Schumann’s protégé, Mendelssohn’s pupil, Wagner’s accompanist, Dvorák’s arranger, dedicatee of Reger’s second Violin Sonata, Clara Schumann’s lover (a brief, discreet, unhappy liaison in the early 1860s), and the would-be lover of the poet and writer Mathilde Wesendonck (she was immortalized by Wagner’s “Wesendonck Songs”). Kirchner was universally admired as a marvelous musician—a celebrated pianist, organist, and composer in his own right—but he could not maintain a job or marriage, and his gambling and extravagance led to destitution in his later years, so much so that his publisher and friends, including Brahms, bailed him out of debt.

Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, beginning in 1863 until his death in 1897. Brahms met Robert and Clara Schumann in 1853, and the three became lifelong close friends.

 December 17  Romanticism : 3 Ways

William Wolfram piano
Robin Scott


Carl Maria von WEBER  Clarinet Quintet Op. 34 • 1815
  • an early Romantic mini-concerto written by the cousin of Mozart’s wife Constanze for his friend, the virtuoso clarinettist Heinrich Baermann ~ it’s one of his most charismatic works for the clarinet, and one of the most technically demanding

Robert FUCHS  Piano Trio No. 3 in F# minor Op. 115 • 1926
  • for the unusual combination of piano, viola, and cello, the highly-regarded teacher’s late-Romantic Trio recalls Brahms, who, while known for withholding praise for other composers, wrote of his friend in 1891: “Fuchs is a splendid musician, everything is so fine and so skillful, so charmingly invented, that one is always pleased.”

Born in the Austrian state of Styria in 1847 to a musical family, Fuchs moved to Vienna in 1865 to study under Anton Bruckner, Felix Otto Dessoff, and Joseph Hellmesberger. Ten years later he joined the faculty at the Vienna Conservatory, teaching there for 37 years—harmony, at first, then theory and counterpoint. Among his pupils were Mahler, Sibelius, Richard Strauss, George Enescu, Erich Wolfgang Korngold, Franz Schmidt, Franz Schreker, Hugo Wolf, and Alexander Zemlinsky. The New Grove Dictionary notes that Brahms “gave him early encouragement as a composer and introduced him to Simrock. Brahms thought highly of his work, being particularly impressed by the Symphony No.1 in C, for which Fuchs was awarded the Beethoven prize in composition by the Gesellschaft der Musikfreunde in 1886.” Other admirers included the conductors Arthur Nikisch, Felix Weingartner, and Hans Richter, all of whom championed his works. When he died in 1927, a few days after his 80th birthday, he was given a grave of honor in the Central Cemetery in Vienna.

Max BRUCH  Piano Quintet in G minor • 1886
  • among his few works for piano, the dramatic, engaging, memorable quintet was composed for and dedicated to Andrew Kurtz, a friend and amateur pianist from his Liverpool days, when he spent 3 seasons as conductor of the Liverpool Philharmonic Society from 1880 to 1883

 January 7  Salute to 3 Knights
William Wolfram piano
Asi Matathias


Sir Donald Francis TOVEY  Variations on a Theme by Gluck • 1913
  • the flute quintet is Romantic in harmony and feeling and surprisingly flowery for the distinguished British music scholar, composer, and pianist best known for his Essays in Musical Analysis ~ Tovey was a student of Sir Hubert Parry and a close friend of the legendary violin virtuoso Joseph Joachim

Jens Nygaard highly respected Tovey and presented 2 “All-Tovey” concerts at CAMI Hall, in 1973 and 1975. They were open to the public but attended mostly by critics. At Good Shepherd Church, he gave 3 performances each of Tovey’s Piano Concerto with Makiko Hirata and Tovey’s Cello Concerto with Joel Krosnick, his student and former cellist of the Juilliard String Quartet. The program of the 1975 concert at CAMI Hall bears Jens’s tribute: “This concert is gratefully and lovingly dedicated to the greatest of all my teachers—Sir Donald Francis Tovey. I wish that I could have known him personally.”

Sir Arthur SOMERVILL  Clarinet Quintet in G Major • 1919
  • a lyric wonder with irresistible melodies

Best known for several song cycles, the “English Schumann” was also Sir Hubert Parry’s student, but he first “studied composition with Charles Villiers Stanford [in 1881] at Cambridge University.... Subsequently, on Stanford’s recommendation, he went to Berlin where he continued his studies with Friedrich Kiel, who had taught Stanford, and Woldemar Bargiel, who became a close friend of Brahms by virtue of being Clara Schumann’s younger half brother. [It was upon returning to London in 1885 that Somervell studied with Parry for two years at the Royal College of Music, then privately for another two years.] Somervell pursued a dual career of composer and teacher, serving as a professor at the Royal College of Music in London [Edition Silvertrust].”

Sir Hubert PARRY  Piano Quartet in Ab Major • 1879
  • considered one of the best and most important piano quartets written by the preeminent 19th century English composer

While most good Englishmen know Parry’s choral song, Jerusalem, few are familiar with his fine Piano Quartet with its vivacious scherzo and heartfelt Andante movement. Musicologist Lewis Foreman, in calling it an “early masterpiece,” accounts for this lapse: “...this is a case in point when it is difficult for us today to appreciate how modern this must have sounded when it was first performed. When it was given at a Monday Popular Concert in December 1883 it had a thin audience, critics clearly seeing an avant garde work frightening them away. The Musical Times excused Parry by writing ‘No fault can attach to him for adhesion to the modern school of writing if, as there is no reason to doubt, his principles are sincere. The composer from whom he has obtained most of his inspiration in the present instance is undoubtedly Brahms, but in some respects he has gone beyond his model.... Mr Parry merges subjects and details together with irritating persistence...[and] is not afraid to obey the dictates of his own inner consciousness....’”

Parry’s importance is noted by the New Grove Dictionary: “Combining these three activities [as composer, scholar, and teacher] with a forceful personality and social position, he exercised a revitalizing influence on English musical life at a time in the 19th century when standards of composition, performance, criticism and education were low.” Born in 1848, Parry obtained a Mus.B. degree while still at Eton, then read law and modern history at Oxford at his father’s behest. From 1870 to 1877 he worked for Lloyd’s register of shipping as an underwriter, at the same time continuing his musical studies. Finding the insurance industry totally unsuitable, he turned to music full time. In the 1890s he became director of the Royal College of Music and was appointed Professor of Music at Oxford. His many students included Gustav Holst, Ralph Vaughan Williams, Frank Bridge, and John Ireland. Parry is the subject of a documentary film presented by Prince Charles and directed by John Bridcut: The Prince and the Composer. It was broadcast on BBC4 in 2011.

 January 21  Women’s Jewels

Fei-Fei piano
Francisco Fullana violin


Anna Amalia VON BRUNSWICK-WOLFENBÜTTEL  Divertimento in Bb Major • circa 1780
  • the Duchess of Saxe-Weimar-Eisenach’s pleasing quartet for piano, clarinet, viola, and cello—in 2 movements comprising a stately Adagio and a brisk Allegro

Born a princess in 1739 into a powerful royal dynasty, Anna Amalia became a duchess upon her marriage to the Duke of Saxe-Weimar-Eisenach when she was 18. Her husband died 2 years later in 1758, leaving her with 2 young children. Widowed, she assumed the role of regent until her son and heir reached his majority. During her regency, which lasted till 1775, she proved herself a talented stateswoman. Politically and financially astute, in spite the challenges of the Seven Years’ War, she developed the economy of the Duchy, strengthening its reputation and resources. She also transformed her court and its environs into the most influential cultural center in Germany through the creation of the Musenhof, or court of muses. It was known throughout Europe for its rich musical and cultural life, and attracted artists, composers, and writers—leaders in the German Enlightenment, including Friedrich Schiller and Goethe, who became her friend. The literati wrote poems and texts for the songs of the new German opera, the Singspiel. The Duchess also became a respected composer, writing operas and symphonies that were performed at the court and beyond. In 1766 she moved the court’s book collection that included 13,000 volumes of music to the Library in Weimar named after her—Herzogin Anna Amalia Bibliothek. When her regency ended, she devoted herself to culture and also toured Italy with Goethe. She died in 1807.

Emilie MAYER  Notturno in D minor • 1883
  • free flowing and expressive, her last work (for violin and piano) was dedicated to the great violinist Joseph Joachim

The German composer, born in Friedland in 1812, wrote almost 100 compositions in a wide range of musical genres unmatched by any other woman composer of the 19th century. Her teacher Carl Lowe opened her world to Haydn, Mozart, and Beethoven, which led to her own compositional style that followed outstanding classical models. Her inheritance at age 28 after her father’s death enabled her to pursue a career in music without financial constraints. In 1850 she organized her first concert exclusively featuring her own work at the Berlin Playhouse, and continued to do so for the next decade to critical acclaim. This helped secure her place as a successful composer.

Mélanie BONIS  Scènes de la forêt Op. 123 • 1928
  • beguiling set of vignettes, creating a bucolic yet sensuous atmosphere ~ for flute, horn, and piano

Bonis, a talented and prolific composer of more than 300 works, came from a lower-middle class Parisian family and was raised a Catholic. Debussy was her classmate at the Paris Conservatoire, and her music was praised by Saint-Saëns, Gabriel Pierné, and Celestin Joubert. Her sad, suppressed, guilt-ridden, and conflicted life (it includes unsupportive parents, an arranged marriage, and an illegitimate child) may be read here: http://www.mel-bonis.com/melboanglais.

Laura Valborg AULIN  String Quartet No. 1 in F Major Op. 17c • 1884
  • tuneful and inventive Romantic quartet by the Swedish pianist and composer

Admired as a pianist and sought after as a teacher, Aulin was born in 1860 and studied at the Stockholm Conservatory from 1877 to 1882. In 1885 she studied for a short time with Niels Gade in Copenhagen, and then for two years with Benjamin Godard and Jules Massenet in Paris on a Jenny Lind stipend. Three of her part songs won a prize in 1895 in Copenhagen. Her brother was Tor Aulin, founder of the Aulin Quartet, which specialized in the Classical repertory and performed the works of Scandinavian composers, including Berwald, Stenhammar, and Grieg, his friend.

Luise Adolpha LE BEAU  Piano Trio in D minor Op.15 • 1882
  • a beautiful, polished trio by the prize-winning German composer admired by Brahms, Liszt, and Berlioz

It has been reported that Le Beau could sing before she could speak. Born in Rastatt in 1850, the prodigy was fortunate to have supportive parents. Her father, especially, gave her the best education possible and even tutored her in subjects not offered to women in schools, and he also taught her the piano. Subsequently she studied composition with Johannn Kalliwoda and piano with Clara Schumann. In 1873 she sought the advice of Hans von Bulow, who urged her to move to a larger city to expand her artistic opportunities. Eventually she moved to Munich and studied composition with Josef Rheinberger and Franz Lachner. Her works won several prizes and were well regarded by Brahms, Liszt, Berlioz, Woldemar Bargiel, Joachim, and the critic Eduard Hanslick, among others. She died in 1927.

Le Beau once wrote, “Just do not limit, then, the training of girls. Rather, teach them the same things that are taught to boys. Grow accustomed to a system that has this same fundamental condition for every education, and then see what [girls] can do after acquiring technical skills and intellectual independence, rather than entrench yourselves against female capabilities by limiting the education of women!”

February 4  Lieber Leipzig
Drew Petersen piano
Miriam Fried


MOZART  “Kegelstatt” Trio K. 498 • 1786
  • no skittles here, as its nickname suggests, but a warm and congenial work of intimate friendship and love for clarinet, viola, and piano ~ written for his pupil, Franziska von Jacquin, Mozart most likely played the viola and Anton Stadler the clarinet

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 was its 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 8 May. This time, Mozart presented a concert of his own compositions at the Leipzig Gewandhaus on 12 May. 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.

Friedrich GERNSHEIM  String Quartet No. 2 in A minor Op. 31 • 1875
  • strongly influenced by Brahms, the passionate quartet is quintessentially Romantic

The Chamber Music Journal affirms the German composer’s high standing among the critics of his day: “No less an authority than Wilhelm Altmann...writes in his Handbuch für Streichquartettspieler that Gernsheim’s quartets are poetic and of a high intellectual content... that Brahms had considerable respect and admiration for Gernsheim’s work. An accolade which was, in Brahms’ case, no mere flattery as Brahms only very rarely praised the works of other composers.” Born in Worms, Gernsheim studied at the Leipzig Conservatory, where his teachers were Ignaz Moscheles and Ferdinand David. He then spent several years in Paris, studying piano with Antoine Marmontel, and where he met Lalo, Saint-Saëns, Rossini, Rubinstein, and Liszt. Professionally, he held academic and conducting positions in Cologne, Rotterdam, and Berlin. Gernsheim’s earlier works show the influence of Schumann, and from 1868, when he met Brahms, a Brahmsian influence is palpable. Although the two were not close friends, they carried on a correspondence for many years.

SCHUMANN  Piano Trio No. 2 in F Major Op. 80 • 1847
  • sunny and expressive, the Trio was a vehicle for his gorgeous melodies and mastery in counterpoint ~ after its premiere, Clara Schumann wrote in her diary, “I love it passionately and want to play it again and again.”

Schumann spent much of his life in Leipzig, a stimulating cultural city that influenced his work. He studied law at the University of Leipzig, and piano with his future father-in-law Friedrich Wieck, whose daughter Clara he met when she was just 9 years old. They married in 1840 when she turned 21. In 1843, the Leipzig Conservatory was established with Mendelssohn as director and Schumann as professor of “piano playing, composition, and playing from the score.” He was, however, unsuited to the work and left Leipzig for Dresden, where he lived with Clara from late 1844 to 1850.

February 18  French Treats
Ilya Itin piano
Xiao-Dong Wang
Abigel Kralik violin
Hyunah Yu soprano

François-Joseph GOSSEC  Flute Quartet No. 1 in D Major Op. 14 • 1770 • (1734-1829)
  • reflecting the music of Rameau and Stamitz of the Mannheim School, the quartet (from a set of 6) is full of lively dialogue shared almost equally among the four instruments

The Parisian expat from Belgium was a prominent composer, conductor, and professor of composition at the Paris Conservatoire, and the founder of the Concert des Amateurs. He was a successful and prolific composer of instrumental music, including symphonies and chamber music. Mozart, upon meeting him in 1778, described him to his father as “A very good friend and at the same time a very dull fellow.” Mozart was, however, greatly impressed with Gossec’s Requiem, for which he is best known. John H. Baron, a music professor, observed that “Gossec’s quartets are melodically and rhythmically simple and evince the rare influence of both French rationalism and opera buffa.”

Ambroise THOMAS  String Quartet in E minor Op. 1 • 1833
  • lucid and melodically fertile, the quartet reveals the influence of Rossini and Paganini (it was written during the year he spent in Rome) and at the same time confirms his admiration for Beethoven

Thomas is remembered today for his opera, Mignon, which had a run of over 1000 performances at the Opéra-Comique between 1866 and 1894, making it one of the most successful operas in history. Born to parents who taught music, Thomas entered the Paris Conservatoire in 1828, while continuing his piano studies with the virtuoso pianist Friedrich Kalkbrenner. In 1832, he won the Prix de Rome, which enabled him to travel to and study in that city for a year. He took with him a love for Mozart and Beethoven, but once in Rome he became an ardent admirer of the Italian cantilena and the melodic tradition. It was during this sojourn that he wrote his chamber music—a piano trio, a string quintet, and a string quartet.

Gabriel FAURÉ  La bonne chanson Op. 61 • 1898
  • a song cycle of 9 beautiful, complex mélodies based on poems by Paul Verlaine ~ for voice, 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 Barda. 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.

Claude DEBUSSY  Piano Trio in G Major • 1879
  • written at age 18, the charming and graceful work is influenced by two composers he admired—Franck and Schumann

Debussy composed the Trio in Fiesole, near Florence, during the summer of 1880 while employed by Nadezhda von Meck (Tchaikovsky’s devoted patron) to teach her children. Madame von Meck’s entourage was joined by recent graduates of the Moscow Conservatory, including a violinist and cellist, who were asked to perform piano trios with Debussy every evening. It was during this time that he composed his only piano trio. The work was not published until 1986 after the manuscript (which was thought lost) was found in 1982. Considerable editorial work was needed to piece it back together from various sources.

March 4  2 Geniuses

Max Levinson piano
Vadim Gluzman violin
Kobi Malkin


Erich Wolfgang KORNGOLD  Piano Trio in D Major Op. 1 • 1910
  • astonishing achievement by the 12-year old, who was called a genius by Mahler when he was nine

Written in the highly expressive language of the Viennese fin de siècle after two years of study with Alexander Zemlinsky, the lyrical tunes in a thoroughly modern harmonic language also show evidence of the traditions of Brahms and Strauss. The premiere in Vienna was performed by the already famous Bruno Walter, Arnold Rosé (concertmaster of the Vienna Philharmonic for more than 50 years), and cellist Friedrich Buxbaum (of the Vienna Philharmonic and Vienna State Opera). Korngold was born in Moravia, educated in Vienna, and achieved success as a composer of opera and concert music throughout Europe. Upon leaving Nazi Germany, he made a name for himself in Hollywood, and was a pioneer in the development of the classical Hollywood film score, providing music for at least 16 movie scores, two of which won Oscars.

SCHUBERT  Octet in F Major D. 803 • 1824
  • of heavenly length at just under an hour, it’s a marvelous, cheerful journey of rich invention, sublime melodies, and complex textures ~ for clarinet, horn, bassoon, string quartet, and double bass

March 18  Germans at Home & Abroad

Janice Carissa piano
Josef Spacek


BEETHOVEN  Piano Quartet in D Major WoO 36 No. 2 • 1785
  • his most ambitious early composition, written at age 14, it’s also one of the earliest works for the instrumental combination of piano, violin, viola and cello

Joseph Martin KRAUS  Flute Quintet in D Major Op. 7 • 1783
  • by the German-born “Swedish Mozart” whom Haydn, Gluck, Salieri, and Albrechtsberger considered a genius

Haydn is quoted as saying, “I own one of his symphonies, which I keep to remind me of one of the greatest geniuses I have ever met.” While Kraus was studying law at the University of Göttingen, he met a Swedish student who persuaded him to petition for a job at the brilliant court of King Gustavus III in Stockholm. It took two years before he was elected a member of the Swedish Academy of Music, and in 1781 he became deputy conductor of the court orchestra. From 1782 to 1787 he was sent on a study tour at the king’s expense through Germany, Austria, Italy, France, and England. Kraus wrote the Flute Quintet during this sojourn, possibly as a gift for a friend, the Viennese amateur, Johann Samuel Liedemann. The Quintet, according to David Wright, “broke with all the erstwhile conventions that governed such pieces. The outer and inner forms of that work were groundbreaking comparing with everything previously composed at the time, with the astoundingly long first movement of 306 bars.” In 1792 Kraus died of tuberculosis at age 36. A torchlight procession accompanied his coffin to Tivoli, where he was buried.

Adolf BUSCH  Duo No. 1 Op. 26 • published 1926
  • amiable duet for the clarinet and violin, intended as hausmusik for friends and family

Busch was one of the finest German violinists of his day, the leader of the Busch Quartet and Busch Chamber Players, teacher of Yehudi Menuhin, and one of the founders (together with Rudolf Serkin, his duo partner and son-in-law) of the Marlboro Music School and Festival in Vermont. Although he was not Jewish, Busch renounced his homeland in 1933 in the face of pleas from the Nazis to return to Germany, and emigrated to the United States from Basel, where he had been living since the rise of Adolf Hitler in 1927.

MENDELSSOHN  Piano Trio No. 1 in D minor Op. 49 • 1839
  • Schumann, after hearing the Trio, declared it the “master trio of our time,” stating that “Mendelssohn is the Mozart of the nineteenth century, the most illuminating of musicians”

March 25  Czech Medley

Evren Ozel piano
Josef Spacek
Frank Morelli bassoon

Joseph FIALA (1748-1816)  Bassoon Quartet No. 3 in F Major • n.d.
  • delightful Classical piece by Mozart’s close friend

After hearing a small wind group playing at Herr Albert’s tavern in Munich, Mozart was quite impressed. On 3 October 1777, he wrote a letter of praise to father: “They did not play at all badly together.... You can tell at once that Fiala has trained them. They played some of his compositions and I must say that they were very pretty and that he has some very good ideas.” Fiala became a close friend of the Mozarts and his name frequently appears in the family’s correspondence. The eminent oboist, virtuoso viola da gambist, cellist, and teacher began his professional career as an oboist in the service of Countess Netolická in Lochovice (his hometown) and Prague. He next served in the court orchestra of Elector Maximilian Joseph in 1777 in Munich, where he met Mozart. After the Elector’s death in 1778 Mozart helped Fiala find another job. In 1785 Fiala went to Vienna, and in 1786 to Saint Petersburg where he worked in the court of Catherine the Great. In 1790 he moved to Prussia where he served as a viola da gamba player in the court of Friedrich Wilhelm II. Finally in 1792 he became Kapellmeister to Prince Fürstenberg at Donaueschingen, where he spent the rest of his life.

Bedrich SMETANA  Z domoviny “From the Homeland” JB 1:118 • 1880
  • the mood of the two intensely personal duos is one of melancholy as well as joy, laced with infectious folk themes ~ “They are genuinely national in character, but with my own melodies,” wrote the Czech composer of the showpieces for violin and piano, while in pain and poverty—he was already deaf for two years and in failing health from neurosyphilis, and subsisting on a meager and often delayed pension

Josef Bohuslav “J B” FOERSTER  Nonet Op. 147 • 1931
  • deeply personal post-Romanticism, with appealing melodies, rich chromatic harmonies, and touches of folk music, it resembles, in form, a Baroque suite of dances in eight short movements, some flowing together without a pause, with each instrument given a virtuosic turn ~ for flute, oboe, clarinet, horn, bassoon, violin, viola, cello, and double bass

The New Grove Dictionary confirms the Czech composer’s importance, noting that “Together with his contemporaries Janácek, Novák, Suk, and Ostrcil, he led the development of Czech music from the nationalist trinity of Smetana, Dvorák and Fibich to the interwar avant garde.” Born in Prague in 1859, Foerster was renowned in his day not only as a composer, but as a writer, critic, teacher, and watercolorist as well. His literary and musical output was enormous. Born into an established musical family, he succeeded Dvorák as organist of St. Vojtech in 1882. Subsequently he held teaching positions at the Hamburg Conservatory, the New Conservatory in Vienna, the Prague Conservatory, and Prague University; and was a music critic for the influential daily, Die Zeit. He personally knew Smetana and Dvorák; and was on friendly terms with the poet Jan Neruda, Tchaikovsky, and many other artistic figures. He later became friends with Mahler. His musical language was at first influenced by the Romanticism of Grieg and Fibich. It then became expressively subjective and meditative, then more like Smetana, Dvorák, and Fibich, and drew on folksong and the traditions of Czech music. A Society in his name was founded in 1919 to promote contemporary music in his time. In 1946 he was declared a National Composer, and when he died in 1951, he was granted a state funeral.

Antonín DVORÁK  Piano Trio No. 2 in G minor Op. 26 • 1876
  • be captured by its magic Slavic spell, at times laden with tragic emotion, his expression of grief for the death of Josefa, his two-day-old daughter

April 8  Batons at Rest

Stephen Beus piano
Elizabeth Fayette


Arturo TOSCANINI  2 Songs • 1885
  • “Desolazione” (Desolation) and “Son gelosa” (I am jealous) ~ for soprano and piano by the Italian conductor with the phenomenal memory

George SZELL  Piano Quintet in E Major Op. 2 • 1911
  • an appealing late Romantic work written by a very mature 14-year-old

The Hungarian-born American conductor of the Cleveland Orchestra imposed stern discipline, drilling his musicians mercilessly, but won their devotion by his own fierce dedication. New York Times critic Peter G. Davis, in a review of a concert of music by Szell and Mitropoulos presented by Jens Nygaard at Carnegie Recital Hall in 1975, commented: “Szell was such an autocratic conductor and forbidding personality that the jolly, unbuttoned romanticism of his Piano Quintet, a cross between late Dvorak and early Richard Strauss, comes as quite a shock. But since Szell was only [14] when he wrote the work (he gave up composing before he was 20), its derivativeness is less surprising than its precociousness.” Jens was the pianist at this concert.

Dmitri MITROPOULOS  “Kassiani” • 1919
  • the young Greek conductor’s special, dramatic, beautiful song dedicated to Katina Paxinou, with whom he had a passionate love affair ~ for soprano and piano

Davis, in the same New York Times review, described “Kassiani” as “the tortured monologue of a sinning woman...[it] betrayed more than a trace of Ravel and Mussorgsky, but these influences have been thoroughly absorbed by a really imaginative creative mind.” Mitropoulos, considered by some to be the equal of Toscanini and Wilhelm Furtwängler, was noted for having a photographic memory (he conducted without a score, even during rehearsals) and for his solitary lifestyle due to his deeply religious, Greek Orthodox beliefs.

Jens NYGAARD  Cadenza for Mozart Piano Concerto No. 24 in C minor K. 491 • 1996
  • composed for William Wolfram, who described it as “really remarkable. It was everything that Jens IS. It’s a remarkable cadenza, extremely original—like nothing else. It was HIM in a cadenza.”

Felix WEINGARTNER  Octet in G Major Op. 73 • 1925
  • virtually a chamber symphony for clarinet, horn, bassoon, 2 violins, viola, cello, and piano in the chromatic idiom of Liszt (his teacher), Wagner, and the German late Romantics—in turns poignant, dramatic, yearning, and adorned with lyricism ~ the much-revered Austrian maestro, noted for his conducting with clarity and economy of movement, had five wives

April 15  Virtuoso Pianist-Composers

Roman Rabinovich piano
Itamar Zorman


Ferruccio BUSONI  Suite in G minor • between 1879 and 1881
  • melancholy as well as zest from the young teen genius who ranks among the world’s great pianists ~ for clarinet and string quartet

Born in 1866, the Italian prodigy met Brahms and Anton Rubinstein at age 9. Upon the urging of Brahms in 1886, Busoni moved to the cultural center of Leipzig, where he met Tchaikovsky, who took a keen interest in him. When he won the first Rubinstein competition, Tchaikovsky described the 24-year old laureate as “remarkably interesting” and with a “brilliant mind,” who “will soon be talked about....”

Moritz MOSZKOWSKI  Suite in G minor Op. 71 • 1903
  • praised by critics as spectacular and brilliant, the showpiece for 2 violins and piano was among the best known works of the “Sunshine Composer” before its disappearance from the concert stage

Of Polish-Jewish descent, the German composer was also a virtuoso pianist with a formidable technique. Ignacy Paderewski said, “After Chopin, Moszkowski best understands how to write for the piano, and his writing embraces the whole gamut of piano technique.” He became the most successful salon composer at the turn of the 20th century. His musical triumphs and his road to affluence began in 1873 when he made his debut as a pianist, and soon his reputation spread. He began teaching as well—from 1875 at the Berlin Conservatory, where his pupils included Frank Damrosch, Joaquín Nin, and Joaquín Turina. By the time he moved to Paris in 1897, he was rich and famous. Among his pupils there were Thomas Beecham, Josef Hofmann, Wanda Landowska, and, informally, Gaby Casadesus. Moszkowski, however, died in ill health and poverty, having lost everything when his investments in bonds and securities were rendered worthless at the outbreak of the Great War.

Anton RUBINSTEIN  Piano Quintet in G minor Op. 99 • 1876
  • a massive work showing considerable depth of thought and masterful development by Russia’s first great pianist and founder of the St. Petersburg Conservatory

At least one important composer loved Rubinstein—Leos Janácek. He was the pianist for a performance of the Quintet on 5 January 1879. Later in the year, on 22 November, he presented a concert of Rubinstein’s works, including the Quintet, this time with Rubinstein at the piano. Janácek also declared, “When I hear Rubinstein’s compositions I feel extraordinary: my spirit truly melts, it takes wing, becomes free and, at the moment when I listen to it, paints free pictures for itself. I like his compositions so much that it seems to me that some day I should become his heir. This verve, this speaking ‘to the soul’ I find nowhere else but in his compositions.”

 April 29  The Kreutzer Connection

Avery Gagliano piano
Stefan Milenkovich


Rodolphe Kreutzer was a French composer and one of the outstanding violin virtuosos of his day. He met Beethoven in 1798, while in Vienna in the service of the French ambassador, Jean-Baptiste Bernadotte (later the King of Sweden and Norway). In 1803 Beethoven composed his 9th violin sonata for the virtuoso George Bridgetower (of Polish-West Indian parentage), but the two quarreled, after which Beethoven dedicated his masterpiece to Kreutzer instead, hence its moniker, the “Kreutzer” Sonata. Kreutzer never played the Sonata, finding it “unintelligible,” whereas Bridgetower performed it to acclaim.

Kreutzer was also a founder of the French school of violin playing, which influenced Mendelssohn, as is evident in his Violin Concerto in D minor and the Concerto for piano, violin, and strings. Giovanni Battista Viotti had established the technical and stylistic foundations of the school, which were continued by Kreutzer, Pierre Baillot, and Pierre Rode at the newly-founded Paris Conservatoire in 1795. Mendelssohn learned these fundamentals through his teacher Eduard Rietz, who had studied with Rode. In addition to his other classes, Mendelssohn had 2 hours of violin lessons during which he studied violin technique from the unsurpassed Kreutzer Etudes, a core work of the French school that is still a requirement for violin students to this day.

Rodolphe KREUTZER  Trio in F Major • circa 1803
  • a delightful trio for the unusual instrumentation of clarinet, viola, and bassoon ~ dedicated to François Joseph Garnier (1786-1825), first oboist of the Paris opera house

Born in Versailles, Kreutzer studied music with his father, a violinist in the royal orchestra, and with Anton Stamitz before making his debut at age 12. Marie Antoinette sponsored his early career and he later enjoyed the patronage of Napoleon and the restored Bourbon monarchy. During the late 1790s he concertized extensively in Europe, playing his Stradivari with a full sound, instinctive sense of phrase, and improvisational skill that won him many admirers. Kreutzer was professor of violin at the Paris Conservatoire from its founding in 1795 until 1826; and along with Baillot and Rode, he created the violin method that is still taught there. He outlived all the political changes in France unmolested, retaining his excellent positions, and in 1824 he was made a Knight of the Legion of Honor. His many compositions include 19 violin concertos and some 40 operas, but his influence rests on his pedagogical works, in particular the 42 études ou caprices for unaccompanied violin (1796). The New Grove Dictionary maintains that they “occupy an almost unique position in the literature of violin studies.”

BEETHOVEN  Piano Trio No. 2 in G Major Op. 1 No. 2 • 1794-1795
  • in high Classical style, with a deeply personal slow movement, dance-like scherzo, and galloping finale

MENDELSSOHN  String Quintet No. 1 in A Major Op. 18 • 1826
  • a remarkable work written at age 17, the Quintet is elegantly classical and one of his most personal expressions ~ in 1832 Mendelssohn replaced the original Minuet with an Intermezzo as a memorial to Eduard Rietz, his violin teacher and boyhood friend

May 13  German Giants
Maxim Lando piano
Danbi Um
Abigel Kralik violin


BEETHOVEN  Mödlinger Tänze WoO 17 • 1819
  • the great, brusque composer at his most gracious in these little dances—waltzes, minuets, and ländler—his finest set of dances for 2 clarinets, 2 horns, 2 violins, and double bass

The authorship of the 11 Mödlinger Dances is uncertain. Anton Schindler, Beethoven’s early biographer (but not an always reliable one), claimed that the composer wrote a set of waltzes in 1819 while staying at an inn near Mödling. A band of musicians playing at the inn had apparently asked him for some waltzes (at the time he was working on the Missa solemnis). That score, however, never turned up in his lifetime. The music theorist Hugo Riemann came across the set of dances in Leipzig in 1905 and determined it to be the one referred to by Schindler. They were first published in Leipzig two years later. Although Beethoven may have indeed written the dances, as he did write a fair number of short and light works around this time, certain stylistic traits seem to cast doubt on his authorship.

Richard STRAUSS  Metamorphosen Op. 142 • 1945
  • powerful, poignant, and stunning utterance from a grief-stricken Strauss at age 80, under the weight of Germany in ruins—it’s his heart-rending reactions against the destruction of centuries-old German culture and heritage that included the bombing of his beloved opera house, the Hoftheater in Munich, and the destruction of several other venues in Dresden, Weimar, Berlin, and Vienna ~ reconstructed by Rudolf Leopold for 2 violins, 2 violas, 2 cellos, and double bass when an initial sketch for string septet was found in 1990

BRAHMS  Piano Quartet No. 1 in G minor Op. 25 • 1861
  • exhilarating, with a wild gypsy Rondo alla Zingarese for its dazzling finale ~ premiered in Hamburg with Clara Schumann at the piano

Summer Season 2018

3 Mondays at 7:30 PM
June 4, June 25, July 16

The summer concerts will be held at:
Christ and Saint Stephen’s Episcopal Church

Air-Conditioned ~ Handicap Accessible
120 West 69th Street (east of Broadway)

Tickets $25, $17, $10  Call (212) 799-1259 or e-mail admin@jupitersymphony.com
Find out more about the Jupiter Players and our Guest Artists

Monday, June 4,  7:30pm  Austro-German Gems I
Christ and Saint Stephen’s Episcopal Church
120 West 69th Street (east of Broadway)

Nigel Armstrong violin
Eunae Koh
Maurycy Banaszek
Zlatomir Fung

Nicholas Finch cello
Jordan Dodson
Barry Crawford
Vadim Lando

Joseph KREUTZER  Grand Trio in A Major Op. 16 • date not known
flute, clarinet, and guitar ~ a delightful Classical trio by the German composer— among the obscurest of the obscure

Very little is known about Kreutzer, who wrote mostly chamber music and instructive pieces for bowed strings and guitar. He was also a conductor, violinist, and guitarist. Kreutzer was born in Aachen in 1790 to a music teacher. Moving to Düsseldorf around 1805, he established himself among the leading musicians of the city. Records indicate that he taught the composer Norbert Burgmüller and was concertmaster at the local theater. He died in Düsseldorf in 1840. Although he was born 20 years after Beethoven, his music harks back to the Classical era, having the easy fluency of Mozart’s music.

SCHUBERT  String Quartet No. 11 in E Major D. 353 • 1816
  • written at age 19, the Quartet was the eleventh and last of his early quartets and represents something of a new departure in his preference for innovative harmonies and key relationships

Franz LACHNER  String Quintet in C minor Op. 121 • 1834
  • by Schubert’s most intimate friend in Vienna, and the most successful composer of the Schubert circle —the only one of his younger musical friends to become a musical celebrity outside Vienna

The Bavarian composer’s work was much admired: Mendelssohn was fascinated by it and Schumann called Lachner the most talented composer in southern Germany; Tchaikovsky also felt that Lachner had to be placed near the pinnacle of fine composers. Wilhelm Altmann, in his Handbook for Chamber Music Players, commented on the Quintet with 2 cellos, stating that “It cannot be denied that there is a certain greatness about it. The main theme to the opening movement...has a pleading, almost tragic quality to it. The music is superbly developed and even at one point has a magnificent fugal section. The whole thing is quite effective.” Among his pupils was Josef Rheinberger, who completed his music education with a course under Lachner at the conservatory in Munich, and who later taught Ferdinand Thieriot.

 Monday, June 25,  7:30pm  Vive la France
Christ and Saint Stephen’s Episcopal Church
120 West 69th Street (east of Broadway)
Abigel Kralik violin
Randall Mitsuo Goosby
Maurycy Banaszek

Zlatomir Fung cello
Paul Wiancko
Karl Kramer

André-Frédéric ELER  Horn Quartet Op. 1 • date not known
  • dedicated to Frédéric Duvernoy, the innovative leading horn player of his dayBorn in Alsace in 1764, Eler moved to Paris early in his career. When the Paris Conservatoire was formed in 1795, he served as its first librarian for two years, and subsequently taught at different times accompaniment, solfège, vocal training, and counterpoint and fugue until his death in 1821. During this period, he wrote numerous pieces which were performed by the students there. The New Grove Dictionary notes, “Eler’s music demonstrates a solid technique characterized by pure and ‘correct’ harmonies...somewhat Classical melodies, and an interest in counterpoint unusually great among his French contemporaries.... Though he was interested in opera, and wrote well-orchestrated stage works with a good sense of drama, he had little success in the genre.... He also wrote much interesting chamber music, at a time when the genre was little cultivated in France, as well as orchestral pieces, vocal canons and a few works for the Revolutionary cause.”

George ONSLOW  String Quintet No. 30 in E minor Op. 74 • 1847
rich in melodies, the Quintet with 2 cellos straddles Classical and Romantic conventions Franglais son of the English Lord Edward Onslow and noble French woman Marie-Rosalie de Bourdeilles, Onslow lived his entire life in France. He won the prestigious directorship of the Académie des Beaux-Arts over Berlioz, who remarked, “Since Beethoven’s death, he wields the scepter of instrumental music.” Indeed, Onslow’s work was admired by Beethoven and Schubert, and Schumann and Mendelssohn regarded his chamber music on a par with that of Mozart, Haydn, and Beethoven. His 36 string quartets and 34 string quintets were, during his own lifetime and up to the end of the 19th century, held in the highest regard, particularly in Germany, Austria, and England, where he was regularly placed in the front rank of composers. Publishers such as Breitkopf & Härtel and Kistner were among many that competed to market his music. Camille SAINT-SAËNS  String Quartet No. 1 in E minor Op. 112 • 1899
  • described as “almost otherworldly” and “poetical,” this masterpiece exudes wisdom, melancholy, and grandeur, and includes a lively scherzo with variations on a Breton folk song

Late in life, at the age of 64, Saint-Saëns wrote his first String Quartet, which he dedicated to the violin virtuoso, Eugène Ysaÿe, who premiered it at the Concerts Colonne on 21 December 1899.

Monday, July 16,  7:30pm  Austro-German Gems II
Christ and Saint Stephen’s Episcopal Church
120 West 69th Street (east of Broadway)

Danbi Um violin
Michael Casimir viola
Julia Bruskin cello
Zachary Mowitz cello


Sigismond NEUKOMM  “Schöne Minka” Quintet Op. 8 • 1809
  • Classical in style, the clarinet quintet’s Finale comprises a set of variations on the Ukrainian folk tune “Schöne Minka,” which The Chamber Music Journal contends is better than Beethoven’s and Hummel’s

Famous during the first half of the 19th century, Neukomm’s importance is as a transitional figure between Classicism and Romanticism. He was a prolific composer, his oeuvre comprising some 1300 works. Born in Salzburg, Neukomm studied with Joseph Haydn for 7 years in Vienna, beginning in March 1797. His arrangements of numerous works by Haydn were for the most part sanctioned by the composer. They included The Creation, Il Ritorno di Tobia, The Seasons, and Arianna a Naxos. Between mid-November 1808 and February 1809 he visited Haydn every day.

Ferdinand THIERIOT  (1838-1919) String Sextet in D Major
  • a splendid work of great charm and Brahmsian warmth and richness

The North German composer, cellist, teacher, and choral conductor was a pupil of Eduard Marxsen, who also taught Brahms in Hamburg, and of Josef Rheinberger in Munich. He performed as a soloist and as a member of several prominent string quartets. Brahms became a friend and recommended him for the position of Artistic Director of the Steiermärkischer Musikverein in Graz (1870-1885). After World War II, Thieriot’s archive (including the manuscripts) was taken to Leningrad, where the String Sextet was rescued when it was found floating in a flooded basement.

BRAHMS  String Quintet No. 1 in F Major “Spring” Op. 88 • 1882
  • “he described this joyous “Viola Quintet” to Clara Schumann as “one of my finest works” and told his publisher, “You have never before had such a beautiful work from me.”


*All programs are subject to change.

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Last updated 7/27/18