JOIN US FOR OUR 2018-2019 SEASON!
Jupiter Symphony Chamber Players
“This was music-making of a very high order”
Fred Kirshnit, The New York Sun
Jupiter 2018 - 2019 Season
Like our Facebook page to see photos, videos,
Listen to a live recording of the Jupiter Symphony
Roman Rabinovich piano
Antonín DVORÁK Piano Trio No. 1 in Bb Major Op. 21
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
Warmest Holiday Wishes
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
Monday, January 21, 2pm & 7:30pm
Fei Fei piano
Francisco Fullana violin
Anna Amalia VON BRUNSWICK-WOLFENBÜTTEL Divertimento in Bb Major
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
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
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
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
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
Mihai Marica cello
Julietta Curenton flute
Vadim Lando clarinet
Karl Kramer horn
Monday, February 4, 2pm & 7:30pm
Drew Petersen piano
Miriam Fried violin
MOZART “Kegelstatt” Trio K. 498
During his journey to Berlin in 1789, Mozart made a detour to Leipzig twice. He arrived on 20 April and stayed for 3 days. On the 22nd, he visited the Thomaskirche (where Bach 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
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
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
Ayane Kozasa viola
Christine Lamprea cello
Vadim Lando clarinet
Monday, February 18, 2pm & 7:30pm
Ilya Itin piano
Xiao-Dong Wang violin
Hyunah Yu soprano
François-Joseph GOSSEC Flute Quartet No. 1 in D Major Op. 14
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
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
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
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
Coleman Itzkoff cello
Barry Crawford flute
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.
Please send any correspondence to
performances, except where otherwise noted, are held at:
Copyright © 1999-2018 Jupiter Symphony. All rights reserved.