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Jupiter Symphony Chamber Players
“This was music-making of a very high order”
Fred Kirshnit, The New York Sun
Jupiter 2019 - 2020 Season
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Roman Rabinovich piano
Antonín DVORÁK Piano Trio No. 1 in Bb Major Op. 21
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Jupiter in the News
Monday, October 21, 2pm & 7:30pm
Do-Hyun Kim piano
Asi Matathias violin
Vincent d’INDY Sextet in Bb Major Op. 92
Although almost forgotten today, d’Indy was a major influence on the generation of French musicians who preceded Impressionism. Born in Paris into a family of rich Catholic aristocrats, the composer-pedagogue could trace his ancestry back to Henry IV. As a child he was passionate about the military, so much so that when the Franco-Prussian War broke out in 1870, he enlisted in the National Guard at age 19. After the war he entered the Paris Conservatoire in 1872, studying with César Franck, who inspired him. In 1873 he met Liszt and Brahms in Germany; in 1875 he was the prompter for the premiere of Bizet’s Carmen; and in 1884 he was the choirmaster for a production of Wagner’s Lohengrin. In 1894 he, together with organist Alexander Guilmant and conductor Charles Bordes, founded the Schola Cantorum, where he taught until his death in 1931. As a counterbalance to his alma mater, the Paris Conservatoire, and its emphasis on opera, d’Indy’s curriculum focused on the study of the Gregorian chant, Renaissance polyphony, and works of the late Baroque and early Classical periods. Among his many students were Isaac Albéniz, Arthur Honegger, Darius Milhaud, and, for a few months in 1920, Cole Porter.
Maurice RAVEL Kaddish
Darius MILHAUD La Creation du Monde Op. 81b
Commissioned by the Ballet suédois, the innovative ballet music in 5 movements is a remarkable example of the utilization of early jazz in Classical music, of the infusion of African roots into French music. In his day, it was a succès de scandale.
Ernest CHAUSSON Piano Quartet in A Major Op. 30
Chausson (1855–1899) earned a law degree upon his father’s insistence before he studied at the Paris Conservatoire, where his teachers were Jules Massenet and Cèsar Franck. He also visited Germany to hear Wagner. The New Grove Dictionary states that “Although he absorbed traditional harmony as taught at the Conservatoire, Chausson was clearly influenced by Wagner and ‘Franckism’.... Indeed, Chausson was to become...one of the most prominent and influential members of the Franck circle...[and a] Wagnerian....” He later developed his own sumptuous late-Romantic style, which influenced Claude Debussy and Gabriel Fauré, among others. His Piano Quartet, written in 5 weeks, was fully appreciated at its premiere on 2 April 1898 at the National Society of Music in Paris. Tragically, he died 18 months later at the age of 44 from injuries sustained in a bicycle accident.
Jupiter Players on this program:
Lisa Shihoten violin
Ayane Kozasa viola
Charles Galante viola
Christine Lamprea cello
Anne Richardson cello
Monday, October 28, 2pm & 7:30pm
Michael Brown piano
Elizabeth Fayette violin
Juan Crisóstomo ARRIAGA String Quartet No. 2 in A Major
Known as the “Spanish Mozart,” the precocious Basque composer was born in Bilbao in 1806 and soon became renowned in the city’s musical circles. By age 10, he was playing 2nd violin in a professional string quartet and had written an Octet for string quartet, bass, trumpet, guitar, and piano. His first opera, Los Esclavos Felices (“The Happy Slaves”), was written at age 13 and received considerable local success. Recognizing his extraordinary talent, his parents sent him to the Paris Conservatoire in 1821 at age 16. He studied violin with Baillot and composition with Fétis, the well-known music historian. Fétis later reported that Arriaga mastered harmony in three months and counterpoint in under two years. By 1824, at age 18, Arriaga was appointed to teach harmony and counterpoint at the Conservatoire. Ten days before his 20th birthday he died from exhaustion and a pulmonary infection.
Louise Pauline Marie HÉRITTE-VIARDOT “Spanish” Piano Quartet No. 2 Op. 11
Louise (1841–1918), born in Paris, was the daughter of the famous French mezzo-soprano of Spanish origin, Pauline Viardot; her aunt (Pauline’s sister) was the even more famous contralto and soprano singer Maria Malibran. Louise’s sister, Marianne, was for a time engaged to Gabriel Fauré. Pauline taught her to sing, but her less than robust health prevented her from having a big career. The family home drew every musician of distinction in its day, and Louise probably rubbed shoulders with the likes of Berlioz, Saint-Saëns, Massenet, Franck, and Lalo, to name a few. She was an outstanding pianist, became a teacher and composer, and taught singing in Saint Petersburg, Frankfurt am Main, Berlin, and Heidelberg. As a composer, she wrote in virtually every genre, including some four string quartets, three piano quartets, two piano trios, and several instrumental sonatas.
Joaquín TURINA Scene Andalouse
Ernesto HALFFTER Trois Homenajes Op. 49
Halffter, one of Spain’s leading 20th-century composers, was born in Madrid in 1905 and studied at the city’s German school. When he was a small boy, he composed pieces for the piano and later studied harmony with Francisco Esbrí and piano with Fernando Ember. His style is refined and clearly neoclassical. At age 13, he started to compose music for the piano. When a critic sent a copy of his string trio “Homenajes” to Manuel de Falla, this gesture began a long relationship that included composition lessons from Falla. His Sinfonietta (1927) is one of his earliest and best works, showing the influence of Domenico Scarlatti. In 1924 he took over the Bética de Cámara Orchestra in Seville, which was founded by Falla; and he was named Director of the Music Conservatory of Seville in 1934. During the 1960s he wrote music for movies, including Todo es posible en Granada “Everything’s Possible in Granada.” He remained active until almost 1989, the year he died.
Enrique GRANADOS Piano Quintet in G minor Op. 49
Jupiter Players on this program:
Rannveig Marta Sarc violin
Milena Pajaro-van de Stadt viola
Natalie Loughran viola
Thomas Mesa cello
Monday, November 11, 2pm & 7:30pm
Music Without Words by Italian Opera Composers
Maxim Lando piano
Abigel Kralik violin
Cynthia Phelps viola
Note: Abigel Kralik replaces Itamar Zorman for this concert
The first operas of both Rossini and Wolf-Ferrari premiered in Venice (La cambiale di matrimono at the Teatro San Moisè and Cenerentola at La Fenice, respectively); Verdi’s Ernani, Attila, Rigoletto, La Traviata, and Simon Boccanegra also premiered in Venice, all at La Fenice.
Gioachino ROSSINI Sonata à quattro No. 1 in F Major
Rossini, however, disparaged his juvenilia: “Six dreadful sonatas composed by me at the country estate of my friend Agostino Triossi, when I was at a most infantile age, not even having taken a lesson in accompaniment, the whole composed and copied out in three days.” Penned for his host’s instrument, the double bass, Triossi played the bass part, with his cousins on first violin and cello, and Rossini on second violin. He recalled that everyone played “like dogs.” His transcriptions for flute, clarinet, bassoon, and horn, done in 1828, enhance especially the timbres of their sunny disposition and precocious, enchanting melodies.
Giuseppe VERDI String Quartet in E minor
Ermanno WOLF-FERRARI Sinfonia da camera in Bb Major Op. 8
Born and raised in Venice, Wolf-Ferrari was throughout his life torn between the serious culture of his German father and the sunny bel canto nature of his mother, a Venetian noblewoman. He studied painting and music in Rome and Munich, then returned to Venice in 1895 without completing his final exam, and soon after met Verdi in Milan. The Sinfonia was written in 1901 at age 25, at the height of his first surge of creativity. The year before, his first published opera, Cenerentola, which premiered at the Teatro La Fenice, was a fiasco. After he revised it back in Munich, it became a hit in Bremen in 1902, and his cantata La vita nuova brought him international fame in 1903. The enthusiasm for his succeeding comic operas continued until World War I and were the most performed in the world. Before the 1930s, Wolf-Ferrari’s music, including his orchestral and chamber works, was frequently programmed and championed by Mahler and Toscanini. His popularity has since plunged drastically.
Jupiter Players on this program:
Lisa Shihoten violin
David Requiro cello
Nina Bernat double bass
Barry Crawford flute
Vadim Lando clarinet
Robert Nunes oboe
Gina Cuffari bassoon
Karl Kramer horn
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.
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 video 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 video
New York Sun Review
“Some great musicians get a statue when they pass away. Some get their name imprinted on the roof of a well-known concert hall. But the late conductor Jens Nygaard has a living tribute: an entire ensemble of musicians and a concert series to go along with it...
It is one of the city’s cultural jewels...
In the end, if Mr. Nygaard was known for anything, it was unmitigated verve. That’s what the audience regularly returned for, and that’s what they got Monday afternoon. To have a grassroots community of musicians continue to celebrate Mr. Nygaard with indomitable performances like these week after week, even without the power of world-famous guest soloists, is proper tribute. And with more large orchestras and ensembles needing more corporate sponsorship year after year, I, for one, hope the Jupiter’s individual subscriber-base remains strong.
New York’s musical life needs the spirit of Jens Nygaard, and Mei Ying should be proud she’s keeping it alive.”
Read the complete article on our reviews page.
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