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 2016-2017 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
view more reviews

Join Our Mailing List!

visit our Facebook pagevisit our YouTube page
Like our Facebook page to see photos, videos,
concert information and the latest news


Jupiter 2016 - 2017 Season
20 Mondays at 2:00 PM & 7:30 PM

View Our 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


Warmest Wishes for the Holidays!


 

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


The next time you shop on Amazon, sign up at Smile.Amazon.com and donate 0.5% of your purchase to Jupiter, without additional cost to you or to Jupiter. Many thanks

Monday, May 1, 2pm & 7:30pm 
Ties to Brahms
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Stephen Beus, piano
Mayuko Kamio, violin
David Requiro, cello
Vadim Lando, clarinet

Stephen Beus piano
Winner of the Gina Bachauer and Chopin competitions and the Vendome Prize ~ “...Mesmerizing ...explosive ...intelligent... he belongs on the world stage.” Salt Lake Tribune ~  “...strikingly original... the sound he produces has extraordinary richness and depth not quite like anyone else’s.” Fanfare

Mayuko Kamio violin
Gold medalist of the 2007 Tchaikovsky Competition ~ Gold Medalist of the 2004 David Oistrakh competition in the Ukraine ~ Winner of the first Monte Carlo Violin Masters Competition, 2004 ~ First Prize, Young Concert Artists Auditions, 2000 ~ Youngest artist ever to win the Menuhin Violin Competition, 1998 ~ “she was distinguished by her warmly luxurious, buttery tone and long, seamless phrases” The New York Times

Carl Georg Peter GRÄDENER  String Trio in G minor Op. 48
   ~ influenced by Schumann and Brahms, Grädener’s chamber music is of interest for its ingenuity and freshness of harmonies and excellence of form

The accomplished composer, conductor, teacher, and cellist became one of Brahms’s important friends after meeting him in the fall of 1854 through Theodor Avé-Lallemant. Their close friendship is recounted by Darwin Floyd Scott: “In 1851, Grädener had founded his own Concert and Singing Academy, presenting subscription concerts with such soloists as Joachim and von Bülow. These concerts provided the setting for several premieres of Brahms’s music [including Ave Maria, Op. 12]. Brahms’s own Frauenchor was made up largely of girls and women who sang in Grädener’s Singakademie.... They shared a great admiration for J. S. Bach and the goal of performing Bach’s music in what they understood to be an authentic manner. Grädener was Hamburg’s earliest subscriber to the Bach Gessellschaft’s complete edition published by Breitkopf and Härtel—and for a long time the only other subscriber in town was Brahms. Both men had something else in common: they chafed at Hamburg’s musical mediocrity, and dealt with it in a less than tactful manner. Grädener, in fact, moved to Vienna in disgust for three years, but returned. He was known as a writer full of wit and fighting spirit, and indeed, he wrote a fierce and fiery defense of Brahms’s First Piano Concerto when the Leipzig press treated the work with disdain. For his part, Brahms performed Schumann’s Zigeunerleben in Grädener’s arrangement for chorus and orchestra, and had plans to perform Grädener’s Piano Concerto in A minor, op. 20. There was a lighter side to their friendship as well. They once attended a party at Avé’s house as a mechanical doll and its handler; Brahms played the piano until he wound down and fell off the piano stool, incapacitated until Grädener wound him up again—whereupon Brahms took up his seat and continued playing exactly where he had left off.” In 1872 Grädener praised Brahms as “this greatest composer of recent times” and ranked him alongside Bach and Beethoven.

Clara SCHUMANN  Piano Trio in G minor Op. 17
   ~ in the musical language of Schubert and Mendelssohn, the lovely Trio imparts deep feeling

In 1846 Schumann wrote in her diary, “There is nothing like the satisfaction of composing something oneself and hearing it afterwards.” Yet, when she compared her Trio to her husband Robert’s D minor Trio, she dismissed her work as “effeminate and sentimental.” Not so. She had a fan in Mendelssohn, who admired it, especially the fugato in the last movement.

Born in 1819, Clara was touring Europe as a piano prodigy by the age of 11. Her debut solo recital at the Leipzig Gewandhaus included bravura works by Kalkbrenner, Herz, and Czerny, and two of her own compositions, which were praised by the critics. When Louis Spohr heard her perform some of her works in 1831, he wrote: “Her compositions, like the young artist herself, are among the most remarkable newcomers in the world of art.” Her admirers also included Mendelssohn, Chopin, Liszt, and Robert Schumann. She went on to become a formidable pianist and held that reputation for six decades. During her marriage to Schumann (1840-1856), Clara bore him 8 children while continuing to perform, compose, teach the piano, run the household, and provide financial and moral support to Robert and his career.

Walter RABL  Quartet Op. 1
   ~ the luscious late Romantic Schumannesque Quartet exhibits “both technical proficiency...and a wonderful ear for the distinctive characteristics of each instrument and also how they might blend. Nothing hurts the ear but charm [Michael Wilkinson]” ~ it won a competition judged by Brahms, who was so taken that he recommended it to his publisher and it became Rabl’s Opus One

In 1896 Brahms was the honorary president of the Vienna Tonkünstlerverein, which was founded in 1885 to support the music and musicians of Vienna. He exerted a strong influence on the society in his endeavor to promote and teach promising young composers; he also served as the de facto head of the competition juries. Eduard Hanslick, Brahms’s longtime friend and music critic of the Neue Freie Presse wrote, “He was a zealous promoter of competitions, especially chamber music competitions, to bring young talents to fore. When it came to the examination of the anonymous manuscripts that had been submitted, he showed astonishing acuity in guessing, from the overall impression and technical details, who the author was, or at least his school or teacher. Last year Brahms was very interested in an anonymous quartet whose author he was quite unable to identify. Impatiently he waited for the opening of the sealed notice. On it was written the heretofore entirely unknown name: Walter Rabl.” Dedicated to Brahms, the Quartet appears to be the first piece ever written for the combination of clarinet and piano trio. After 1903, Rabl stopped composing and became a conductor and highly regarded vocal coach.

Jupiter Players on this program:

David Requiro cello
Winner of the Naumburg, Irving Klein and Washington “The recital amounted to an exciting catalog of Requiro’s musical gifts. Chief among these is the beauty of his string tone, a light-footed but resonant sound that seems to leap from the instrument...” San Francisco Chronicle

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

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, May 15, 2pm & 7:30pm 
Divine Madness
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Alexander Kobrin, piano
Josef Spacek, violin
David Requiro, cello
Vadim Lando, clarinet

Alexander Kobrin piano
Gold Medalist of the 2005 Van Cliburn Competition and prizewinner at the Neigauz, Busoni, Hamamatsu, Glasgow, Caltanissetta, and Warsaw Chopin competitions ~ “hypnotic” Gramophone ~ Kobrin has also been praised for his “interpretative musicianship...considerable insight,” “elegance, grace and spirit.”

Josef Spacek violin
Concertmaster of the Czech Philharmonic ~ winner of the Michael Hill Violin Competition ~ “His high-charisma playing was fueled by priceless musical comprehension.” Philadelphia Inquirer ~ “Never mind the superb technical accomplishment of his playing, it’s the musical and interpretative achievement that is so impressive here.” International Record Review

Gaetano DONIZETTI  Larghetto in C Major
   ~ bel canto lyricism pervades this delightful trio for flute, bassoon, and piano

Living rather at loose ends in Bergamo at the age of 21, Donizetti attended musical parties, engaged in flirtation, and wrote some sacred and instrumental works, including this Trio, which reveals early inklings of his creativity as an opera composer: a ta-da entrance, coloratura flourishes, and humor. The wind instruments also get to show off, while the piano bubbles along.

The Italian composer had suffered for decades from fevers, headaches, nausea, and lightning indispositions—ailments that were never properly diagnosed. By 1845, at age 47, he was struck by paralysis and declined rapidly into dementia; he died in 1848 of syphilitic insanity in a sanatorium.

Frantisek KOCZWARA  The Battle of Prague
   ~ an immensely popular programmatic sonata by the Bohemian composer and vagabond of sorts, who died under the most unusual circumstances—inspired by an episode in the Seven Years War, the musical depiction of the military skirmishes and attacks is replete with cannons, artillery, trumpet calls, galloping horses, reveille, cries of the wounded, and even the anthem God Save the Queen and a Turkish march ~ for piano with violin, cello, and drum to heighten the effect

The Battle of Prague, according to the New Grove Dictionary, “had a phenomenal success and was widely reprinted in London, the U.S. and on the Continent. Nearly 40 issues can be found. First published with accompaniments, it also became a standard parlor piece for solo piano. In Boston it was ‘indispensable to climax every concert.’ Appearing shortly before widespread political upheaval in Europe, it provided the model for a host of imitations.” Jane Austen is known to have had a copy of the piano version. In addition to composing, Koczwara played the viola and the double bass. The influential 19th century Belgian critic, François-Joseph Fétis, recorded that he also played the piano, violin, cello, oboe, flute, bassoon, and cittern.

Koczwara became infamous for the manner of his death. “He was reputed to have had unusual vices, and was accidentally hanged while conducting an experiment in a house of ill repute. [New Grove Dictionary].” Erotic asphyxiation is the modern term for the means of his demise. He must have been off his rocker!

Hugo WOLF  Intermezzo in Eb Major
   ~ ahead of its time, this complex, experimental string quartet takes the listener on an incredible journey to unimagined places, returning at the end to the familiar and well loved ~ the New Grove Dictionary describes it as a “rondo with episodes and varied restatements all so cunningly derived from the main theme as to suggest different aspects of same characters linked by the same dialogue or colloquy with a hint of dance...”

Expelled from the Vienna Conservatory for his outspoken criticism of his masters, Wolf then taught himself composition, which was of importance to his development as an experimental composer, especially in his instrumental music. Under the spell of Wagner, whom he idolized, Wolf became a representative of the New German School in lieder, adhering to the expressive, chromatic, and other dramatic innovations of Wagner. He also became a strong opponent of Brahms and the old guard. His mercurial temperament made it impossible for him to hold a steady position, but he managed to work for most of the rest of his life as a critic and music teacher in Vienna. As a composer, he reached new heights in lieder and is regarded as the greatest master, after Schubert, of the art form. (Jens Nygaard performed a number of his lesser-known songs in the mid-1970s.) Like Schubert, Wolf died at age 43, possibly of tertiary syphilis. And, like Schumann, he died in an insane asylum after a drowning attempt; he also composed in manic bursts between periods of depression.

SCHUMANN  Piano Quintet in Eb Major Op. 44
   ~ the first in line of the great Romantic quintets, the jewel is a masterpiece of the genre ~ Clara Schumann wrote in her diary that it was “Magnificent—a work filled with energy and freshness” ~ musicologist Homer Ulrich deemed it “noble, exuberant, and vital”

Schumann had a weak constitution and most likely was bipolar. To quote Jens Nygaard, “I wish I could have shared my Wellbutrin with Schumann.” The German composer’s life ended miserably at age 43 in a private asylum, with a descent to insanity brought on by syphilis.

Jupiter Players on this program:

Lisa Shihoten violin
Winner of the Marcia Polayes, Menuhin and Nakamichi competitions

Christine Lamprea cello
First Prizewinner of the 2013 Sphinx and Schadt competitions and winner of the 2013 Astral Artists Auditions noted for her “supreme panache” Boston Musical Intelligencer

Barry Crawford flute
“He is a superb flutist with a silvery tone, exquisite phrasing, and a fluid deftness in his fingering.” Southampton Press

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

Gina Cuffari bassoon
Praised for her “sound that is by turns sensuous, lyric, and fast moving” Palm Beach Daily News


Jens Nygaard

Dear Friends and Music Lovers,

A stunning expanse of virtually uninterrupted melodies—delivered with polish, style, and great musicianship awaits you.

We believe Jupiter’s concerts are enlightening and worthwhile. In our world today, most things are within reach online, or with a press of the button. But nothing beats a live performance. At Jupiter, we aim to give you a musical high so high, you’ll be thrilled with every concert. We hope you’ll return time and again.

You can delve into many Beautiful Minds, relish the Gewandhaus, some Sweet ’n’ Sassy and Aeolian Gold, even Hair Raisers and Divine Madness, and everything else between.

Jupiter’s journey continues to be offered at a nominal price that covers only 25% of our costs. Thus, once again, we need your support, which is always greatly appreciated. Please give as much as you can. 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.

Here are the dates:

September 12 ~ Beautiful Minds
September 26 ~ The Gewandhaus
October 10 ~ Sweet ’n’ Sassy
October 17 ~ Town and Country
October 31 ~ Hair Raisers
November 14 ~ Aeolian Gold
November 21 ~ Mighty Russians
December 5 ~ German Masters
December 19 ~ Geniuses
January 9 ~ Opera Without Words

January 23 ~ Eastern Europe’s Stars
February 6 ~ Fanny’s Berlin Salon
February 20 ~ C’est Si Bon
March 6 ~ One-Two Punch
March 13 ~ Reicha’s Reach
March 27 ~ All Over Italy
April 3 ~ Serpent Sighting
April 17 ~ German Rarities
May 1 ~ Ties to Brahms
May 15 ~ Divine Madness

Order Tickets with Our Printable Ticket Order Form (pdf)
more details here...

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.

Copyright © 1999-2017 Jupiter Symphony. All rights reserved.