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Jupiter Symphony Chamber Players
“This was music-making of a very high order”
Fred Kirshnit, The New York Sun
Jupiter 2016 - 2017 Season
Listen to a live recording of the Jupiter Symphony
Roman Rabinovich piano
Antonín DVORÁK Piano Trio No. 1 in Bb Major Op. 21
Monday, February 20, 2pm & 7:30pm
Ilya Itin piano
Alexi Kenney violin
Frédéric Nicolas DUVERNOY Horn Quartet No. 2 in C Major
Duvernoy was the first major figure of the native French school of horn playing and a musician of considerable intelligence. Greatly admired by Napoleon who, after he became emperor, appointed Duvernoy first horn of the imperial chapel, a post he retained under Louis XVIII and Charles X until the 1830 Revolution. The Horn Quartet was published the year of his death.
Darius MILHAUD Suite Op. 157b
Milhaud is best known for his development of polytonality—the simultaneous use of different keys—while remaining lyrical. Born of a Provençal Jewish family in Aix-en-Provence, he emigrated to the United States in 1940, when forced to leave by the rise of Nazism.
Edouard LALO String Quartet in Eb Major Op. 45
Stephen Hefling is of the opinion that “this work unquestionably marks a significant moment in the history of the genre in France. Lalo’s score, concise and animated with an intense rhythmic life, includes a slow movement whose density and harmonic daring baffled listeners at its first public hearing in 1859 [Nineteenth-Century Chamber Music].”
After several years working as a string player and teacher in Paris, Lalo formed the Armingaud Quartet with friends in 1848, playing viola and later second violin. The Quartet, in vogue for many years, gained a reputation for technical perfection and the musical beauty of its performances. It popularized the works of Haydn, Mozart, Beethoven, Schubert, and Mendelssohn, and also played Lalo’s compositions, including the Eb Major String Quartet, which was rewritten in 1880 and published in its new form in 1886. When Lalo died, the journals did not print any eulogies, but nearly all the musicians of French renown were present at his burial, in tribute to a composer of great talent and character.
Gabriel FAURÉ Piano Quartet No. 2 in G minor Op. 45
Unique and beguiling, the elegant, emotional quartet bares the influence of the technical mastery of his teacher Saint-Saëns, as well as César Franck’s cyclic, mystical chromaticism and Wagner’s bold Romanticism.
Jupiter Players on this program:
Emily Daggett Smith violin
Cong Wu viola
Zlatomir Fung cello
Vadim Lando clarinet
Karl Kramer french horn
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Monday, March 6, 2pm & 7:30pm
Alexander Sitkovetsky violin
Cynthia Phelps viola
Hyunah Yu soprano
Raymond Storms countertenor
John Matthew Myers tenor
David Requiro cello
Arvo PÄRT Stabat Mater
Music critic Robert R. Reilly feels that “It is not a study in musical archaism, but a living testimony of belief. This is music to listen to on your knees.” According to Wikipedia, the tour de force is composed in Pärt’s characteristic tintinnabuli style (which he has employed nearly exclusively since 1976) in which arpeggiations of a major or minor triad are combined with ascending or descending diatonic scales.
BACH Goldberg Variations BWV 988
Long regarded as the most important set of Baroque variations, it was praised in 1774 as “the best variations” by one of Bach’s pupils, Johann Philipp Kirnberger, and in 1802 as “the model according to which all variations should be made” by Johann Nicolaus Forkel, Bach’s first biographer.
The Variations were named after Johann Gottlieb Goldberg, who was 13 at the time of its composition. The little boy was already an exceptional and virtuosic keyboard player by the age of 10. He was a student of Bach’s son, Wilhelm Friedemann, in Dresden, and also studied with J S Bach in Leipzig.
Dmitry Sitkovetsky is a Soviet-Russian-born violinist, composer, and arranger; his nephew Alexander Sitkovetsky will perform the Variations in his Jupiter debut.
Jupiter in the News
Monday, March 13, 2pm & 7:30pm
Drew Petersen piano
Francisco Fullana violin
Anton REICHA 18 variationen und fantaisie on “Se vuol ballare” from Mozart’s Marriage of Figaro Op. 51
Reicha was man of breadth and depth. Born in Prague, he lived in Bonn from 1785 to 1794 and in Hamburg from 1794 to 1799, when he moved to Paris, earning a living by teaching the piano, harmony, and composition, as well as giving flute lessons and writing a variety of pieces for the flute, among other works. He met Haydn in the early 1790s while in Bonn, and also in Hamburg in 1795, and again in 1801 when he moved to Vienna. Their common interest in canons and variations led to a close friendship. He returned to Paris permanently in 1808. Reicha was also a lifelong friend of Beethoven, and played the violin alongside Beethoven (who played the viola) in the court orchestra in Bonn. Both composers respected Reicha’s music. During his time in Vienna he studied with Albrechtsberger and Salieri, while reading mathematics and philosophy; he also began to reflect seriously upon pedagogy. His treatises are known to have influenced Giacomo Meyerbeer, Schumann, and Smetana. (Schumann once noted, “his often curious ideas should not be entirely dismissed.”) In 1818 Reicha was appointed professor of counterpoint and fugue at the Paris Conservatoire, where he taught Franck, Liszt, Berlioz, Gounod, and a number of lesser known composers whose works have been performed by Jupiter.
“Se vuol ballare” (“If you want to dance”)—a cavatina (a simple, melodious song)—is sung by the valet Figaro when he discovers that Count Almaviva (his boss) is scheming to use his right as a feudal lord to sleep with Figaro’s wife Susanna before the consummation of their marriage.
SCHUMANN Kinderszenen “Scenes of Childhood” Op. 15
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 resulting from a concert tour. It was during this time apart that Schumann, despite his difficulties, composed much piano music, including the Kinderszenen.
Benjamin Godard was a French violinist and Romantic composer of Jewish descent. Jens Nygaard championed his music, performing the “Gothic” Symphony, “Oriental” Symphony, Piano Concerto No. 1, Violin Concerto No. 2, Aubade for cello (and orchestra), Suite de 3 Morceaux for flute, Scènes Écossaises, and Fragments Poétiques (with 2 harps), all at Good Shepherd Church from 1996 to 2000.
César FRANCK Piano Trio in F# minor Op. 1 No. 1
Jupiter Players on this program:
Lisa Shihoten violin
Ayane Kozasa viola
David Requiro cello
Barry Crawford flute
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,
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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