A Living Tribute to Jens Nygaard: Jupiter Symphony Chamber Players... It's Out of This World

A chamber music series to acknowledge and perpetuate the legacy of conductor Jens Nygaard, continuing a marvelous journey through the universe of music that includes works from the standard repertoire and the rarely-performed, and featuring outstanding musicians.

JOIN US FOR OUR 2018-2019 SEASON!

Jupiter Symphony Chamber Players

“This was music-making of a very high order”
“at the Jupiter concerts, there is always so much about which to be enthusiastic.”
“the rarities glittered like jewels”

Fred Kirshnit, The New York Sun
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Jupiter 2018 - 2019 Season
20 Mondays at 2:00 PM & 7:30 PM

View Our NEW Season Calendar

To purchase Tickets ~ $25, $17, $10 
please call
(212) 799-1259 or buy at the door
or e-mail admin@jupitersymphony.com
or
order tickets with our printable ticket order form (pdf)

Concert Venue:
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway), New York

Good Shepherd Presbyterian Church

one of the most refined and intelligent church spaces in New York~ The New York Times

Built in 1893 by Josiah Cleveland Cady, architect of the old Metropolitan Opera House and the American Museum of Natural History

Office Address:
JUPITER SYMPHONY
155 West 68th Street, Suite 319
New York, NY 10023

admin@jupitersymphony.com
(212) 799-1259

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Listen to a live recording of the Jupiter Symphony
Chamber Players from September 23, 2013

Recorded by Joseph Patrych

Roman Rabinovich piano
Xiao-Dong Wang violin
Mihai Marica cello

Antonín DVORÁK  Piano Trio No. 1 in Bb Major Op. 21
i. Allegro molto
ii. Adagio molto e mesto
iii. Allegretto scherzando
iv. Finale


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Warmest Holiday Wishes ​
& A Very Happy New Year

Dear Friend and Music Lover ~

As our musical journey cruises ahead, please consider making Jupiter a part of your life.

Our precious cache of gifted musicians continues to give joy with a trove of musical treasures, big and small, in wondrous variety—at modest ticket prices, no less.

For this stellar effort, we need your support. At least 80 artists will benefit from your gift, and you will gain from their brilliant music making when you come to hear them often.

Our deepest gratitude, always,

All contributions are tax deductible


Jupiter in the News

The New York Times
the performers were top notch
The homey church where these concerts take place, nestled on West 66th Street in the shadow of Lincoln Center, is an intimate and acoustically vibrant place for chamber music.”
Anthony Tommasini, The New York Times   more...

Strad Magazine
A finely forthright, fluent and expressive account of Haydn's Divertimento in E-flat major opened this programme of miscellaneous chamber music in a series known for adventurous programming.
Dennis Rooney, Strad Magazine   more...

ConcertoNet
Mr. Nygaard’s cadenza flowed down Mozart lanes and paths, each with beautiful backgrounds. And at the very end, Mr. Nygaard brought forth that martial major theme, like an unexpected gift.” 
Harry Rolnick, ConcertoNet   more...

The New York Times
“...the group’s efforts proved illuminating ...Brown played a lovely, subtly virtuosic cadenza for Mozart’s Piano Concerto No. 24 by Jens Nygaard, the ensemble’s founder, who died in 2001, but whose fascination with rarities continues to drive its programming
Allan Kozinn, The New York Times   more...



Monday, January 21, 2pm & 7:30pm 
Women’s Jewels
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Fei Fei, piano
Francisco Fullana, violin
Eunae Koh, violin
Mihai Marica, cello
Julietta Curenton, flute
Vadim Lando, clarinet
Karl Kramer, horn

Fei Fei piano
Winner of the Concert Artists Guild and a top finalist at the 14th Van Cliburn competitions. Praised by the Plain Dealer for her “bountiful gifts and passionate immersion into the music she touches,” she continues to build a reputation for her poetic interpretations, charming audiences with her “passion, piquancy and tenderness” and “winning stage presence” (Dallas Morning News)

Francisco Fullana violin
Recipient of a 2018 Avery Fisher Career Grant and winner of several competitions, including the Brahms, Sarasate, Julio Cardona and TIM “Torneo Internazionale di Musica” prizes ~ “a very special violinist” The Boston Globe

Anna Amalia VON BRUNSWICK-WOLFENBÜTTEL  Divertimento in Bb Major
   ~ a charming quartet by the sister of Frederick the Great, reflecting the “sensitive style,” already containing elements of early classicism—in 2 movements comprising a stately Adagio and a brisk Allegro for piano, clarinet, viola, and cello ~ the use of the clarinet, a young instrument beginning to attract notice at the time, is remarkable

Born a princess in 1739 into a powerful royal dynasty, Anna Amalia became a duchess upon her marriage to the Duke of Saxe-Weimar-Eisenbach when she was 18. Her husband died in 1758, before her 20th birthday, leaving her with 2 young children. Widowed, she assumed the role of regent until her son and heir reached his majority. During her enlightened reign, which lasted till 1775, she proved herself a talented stateswoman. Politically and financially astute, despite 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 herself became a respected composer—she set some of Goethe’s texts (including Erwin and Elmire) to music, and wrote operas and symphonies that were performed at the court and beyond. Her compositions show her as an “elegant amateur free of ambition” who reflected the taste and spirit of her epoch. 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
   ~ 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
   ~ 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
   ~ 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
   ~ 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!”

Jupiter Players on this program:

Eunae Koh violin
Won second prize and the chamber music prize at the 2015 Michael Hill Competition

Mihai Marica cello
Winner of the Irving Klein, Viña del Mar, Salon de Virtuosi and Dotzauer competitions ~ “We just witnessed a future superstar. Mihai is a brilliant cellist and interpreter of music. His playing is spellbinding.” Mitchell Sardou Klein

Julietta Curenton flute
Winner of many awards and the Astral Artists Auditions ~ “her tone... draws in one’s ear with sounds and ideas that simply cannot be resisted,” The Philadelphia Inquirer

Vadim Lando clarinet
Winner of the CMC Canada, Yale and Stonybrook competitions ~ “consistently distinguished...vibrant, precise, virtuosic playing” The New York Times

Karl Kramer horn
Winner of the 1997 and 1999 American Horn competitions ~ “a prominent, perilously chromatic horn line, which Karl Kramer played beautifully.” The New York Times

Monday, February 4, 2pm & 7:30pm 
Lieber Leipzig
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Drew Petersen, piano
Miriam Fried, violin
Lisa Shihoten, violin

Ayane Kozasa, viola
Christine Lamprea, cello
Vadim Lando, clarinet

Drew Petersen piano
Recipient of the 2018 Avery Fisher Career Grant and 2017 American Pianists Awards, 2015 Leeds (4th prize), Kosciuszko-Chopin competitions, Jan Gorbaty Award, and Artist-in-Residence at the University of Indianapolis ~ “Thrilling piano playing wedded to astute quite astonishing musicianship.” East Hampton Star

Miriam Fried violin
Winner of the Paganini and Queen Elisabeth competitions ~ one of the world's preeminent violinists ~ heralded for her “fiery intensity and emotional depth” Musical America ~ plays a 1718 ex-Spohr Stradivarius

MOZART  “Kegelstatt” Trio K. 498
   ~ 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
   ~ 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
   ~ 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.

Jupiter Players on this program:

Lisa Shihoten violin
Honored by the National Foundation for Advancement in the Arts, and winner of the Menuhin and Paganini violin competitions

Ayane Kozasa viola
Winner of the 2011 Primrose, 2012 Astral & Irving Klein competitions ~ hailed for her “magnetic, wide-ranging tone” and “rock solid technique” Philadelphia Inquirer

Christine Lamprea cello
First Prize winner of the Sphinx and Schadt competitions, winner of the 2013 Astral Artists’ Auditions and recipient of an award from the National Foundation for Advancement in the Arts ~ praised by the Boston Musical Intelligencer for her “supreme panache and charmingly effortless phrasing”

Vadim Lando clarinet
Winner of the CMC Canada, Yale and Stonybrook competitions ~ “consistently distinguished...vibrant, precise, virtuosic playing” The New York Times

Monday, February 18, 2pm & 7:30pm 
French Treats
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Ilya Itin, piano
Xiao-Dong Wang, violin
Hyunah Yu, soprano
Abigel Kralik, violin
Coleman Itzkoff, cello
Barry Crawford, flute

Ilya Itin piano
Winner of the Leeds, Gina Bachauer, Robert Casadesus, William Kappel, Rachmaninoff, Rubinstein, and Bunkamura competitions ~“He plays marvelously with all his body and his soul: a very great pianist and musician.” Le Figaro ~ “Undoubtedly, Itin is a major pianist, with an ease about him that makes you want to listen to him for hours.” The Philadelphia Inquirer ~ “Ilya Itin — a brilliantly insightful pianist” The New York Times

Xiao-Dong Wang violin
Twice winner of the Yehudi Menuhin Violin Competition, and First Prize and special Szymanovski Prize winner of the Wieniawski-Lipinski International Competition

Hyunah Yu soprano
Prizewinner at the 1999 Naumburg competition and recipient of the Borletti-Buitoni Trust Award ~ “absolutely captivating...with exceptional style and effortless lyrical grace. The audience, to judge by the general swooning, was helplessly in love by the end.” The Washington Post

François-Joseph GOSSEC  Flute Quartet No. 1 in D Major Op. 14
   ~ 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
   ~ 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
   ~ 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
   ~ 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.

Jupiter Players on this program:

Abigel Kralik violin
Won the first and grand prize at the 2010 Koncz János competition and first prize at the 2012 Talents for Europe competition in Dolny Kubin, Slovakia

Coleman Itzkoff cello
A Gold Medalist in the 2017 Berliner competition and a multiple prizewinner at the 2016 Irving Klein and 2016 Boulder Chamber Music competitions ~ praised for his “flawless technique and keen musicality” by Alex Ross of the New Yorker

Barry Crawford flute
“Crawford’s playing was superb. I admired his tone, his phrasing and breath control, and the joy-giving communicative quality of his playing.” Southampton Press



Jens Nygaard

Dear Friends and Music Lovers,

   These days there’s much ado about mining bitcoins. Well, let’s consider mining Jupiter instead.
   Why? Jupiter is a valuable asset that offers growth in enjoyment, with interesting and varied programs, and it’s the best in class. It also offers many performance opportunities to numerous remarkable musicians, while continuing to keep ticket prices low. No speculation needed, no volatility expected. The yield includes rock solid support of super talents and guaranteed high returns in bliss from top quality music making. There’s nothing to lose in mining Jupiter. No risk.
   So sign up now for a full series of 20 concerts, or miss out on half the fun and sign up for 10 concerts. We’ll even more than welcome you on a per concert basis!
   How is this investment possible at such bargain rates? Here’s where you come in—your gift is the seed capital for a thriving Jupiter! Please give as much as you can. You’ll have our gratitude in spades.
All gifts are tax deductible.
Thank you so much,
Meiying

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.

View Our NEW Season Calendar

Click on the dates for 2018-2019 program details:

September 17 ~ Beauty & Seduction
September 24 ~ 2001
Remembering Jens Nygaard
October 8 ~ Otherworldly
October 22 ~ From Nordic Lands
October 29 ~ Tapping Tapas
November 12 ~ Making America Great
November 19 ~ “Eastern” Mosaic
December 3 ~ Made in Vienna
December 17 ~ Romanticism : 3 Ways
January 7 ~ Salute to 3 Knights

January 21 ~ Women’s Jewels
February 4 ~ Lieber Leipzig
February 18 ~ French Treats
March 4 ~ 2 Geniuses
March 18 ~ Germans at Home & Abroad
March 25 ~ Czech Medley
April 8 ~ Batons at Rest
April 15 ~ Virtuoso Pianist-Composers
April 29 ~ The Kreutzer Connection
May 13 ~ German Giants

more details here...

Order Tickets with Our Printable Ticket Order Form (pdf)

Take a look at our guest artists for this season.
Find out more about the Jupiter Symphony Chamber Players.

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
Prelude

Stephen Beus piano
Stefan Milenkovich violin
David Requiro cello

 

More video from this performance can be viewed on our video page

Jupiter on YouTube
featured in a short documentary on artist Michael McNamara

NEW YORK CANVAS : The Art of Michael McNamara is a video portrait of the artist who has painted iconic images of New York City for more than a decade, capturing the changing urban landscape of his adopted city. Our Jupiter Symphony Chamber Players provide the music from Brahms’s Piano Quartet in G Minor, underscoring the inspiration the artist has drawn from Jens Nygaard and the musicians. Michael was also our Jupiter volunteer from 2002 to 2010.

Here is a video of the Jupiter Symphony Chamber Players performance of the Rondo alla Zingarese movement:

 

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 page

Emmy Award-winning “LIFE ON JUPITER - The Story of Jens Nygaard, Musician” available on DVD with bonus music. More Info...

If you wish to purchase your own copy to remember Jens by or for more information visit www.lifeonjupiter.com

The New York Sun Review
by Adam Baer
--The Jupiters Play On--

“Some great musicians get a statue when they pass away. Some get their name imprinted on the roof of a well-known concert hall. But the late conductor Jens Nygaard has a living tribute: an entire ensemble of musicians and a concert series to go along with it...

It is one of the city’s cultural jewels...

In the end, if Mr. Nygaard was known for anything, it was unmitigated verve. That’s what the audience regularly returned for, and that’s what they got Monday afternoon. To have a grassroots community of musicians continue to celebrate Mr. Nygaard with indomitable performances like these week after week, even without the power of world-famous guest soloists, is proper tribute. And with more large orchestras and ensembles needing more corporate sponsorship year after year, I, for one, hope the Jupiter’s individual subscriber-base remains strong.

New York’s musical life needs the spirit of Jens Nygaard, and Mei Ying should be proud she’s keeping it alive.”

Read the complete article on our reviews page.

Please send any correspondence to

office address:
JUPITER SYMPHONY
155 West 68th Street, Suite 319, New York, NY 10023
admin@jupitersymphony.com
For information or to order tickets, please call:
(212) 799-1259

MeiYing Manager
Michael Volpert Artistic Director

All performances, except where otherwise noted, are held at:
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway) New York, NY 10023
The Box Office at the Good Shepherd Presbyterian Church
will be open 35 minutes prior to each concert.

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