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.


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 2017 - 2018 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
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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:
155 West 68th Street, Suite 319
New York, NY 10023

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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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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...

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 8, 2pm & 7:30pm 
English Wizardry
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)
William Wolfram, piano
Itamar Zorman, violin
Caleb Hudson, trumpet
Rebecca Anderson, violin
Milena Pajaro-van de Stadt, viola
Ani Aznavoorian, cello
Xavier Foley, Double Bass
Barry Crawford, flute
Vadim Lando, clarinet

William Wolfram piano
Winner of the Kapell, Naumburg, and Tchaikovsky competitions ~ “Wolfram’s technique is flabbergasting; fiendishly difficult octave passages were as child’s play, and his strength is tempered by an easy poetry.” The New York Times

Itamar Zorman violin
Recipient of the 2013 Avery Fisher Career Grant ~ winner of the 2011 Tchaikovsky and 2010 Freiburg competitions ~ “a virtuoso of emotions” Göttinger Tageblatt ~ “I cannot believe my ears... such musical originality, a tone full of colors and beauty and an emotional expression full of inner intensity” Hanoch Ron ~ Yedioth Aharonot (Israel's largest newspaper)

Caleb Hudson trumpet
Winner of multiple first prizes at the National Trumpet Competition ~ Member of the Canadian Brass Quintet, the world’s most famous brass ensemble

Benjamin BLAKE  “Solo” No. 2 in C Major Op. 9
   ~ from the set of 3 “Solos” by the prominent English violist and composer ~ dedicated to “his Valuable Friend,” Thomas Assheton Smith, M.P., a landowner and cricketer

Very little is known about Blake (1751–1827). He learned to play the violin from Antonín Kammel, and he later studied also with Wilhelm Cramer, director of the Italian Opera orchestra at the King’s Theatre. “Blake himself played the violin in this orchestra from about 1775, and also at the Concert of Ancient Music. He came into public prominence however as a viola player. He was principal and soloist at the Professional Concert from 1785 to 1793, appearing regularly in string quartets with Cramer. He also played the viola at the Prince of Wales’s musical evenings, and his unusual interest in this instrument led to his publishing 18 duos for violin and viola in the 1780s. After the 1793 season Blake resigned from public performance. He was already studying the piano under [Muzio] Clementi to equip himself as a teacher, and though he continued to play the viola for the Prince of Wales he lived almost entirely by teaching until 1820 when he retired”(Wikipedia).

Among the subscribers to the “Solos” were several musicians, including Muzio Clementi, his piano teacher; Clementi and Co., the piano company, 24 copies; Thomas Atwood, composer and organist of St. Paul’s Cathedral; Birchall and Co., the music publisher, 6 copies; George E. Griffin, organist of St Helen’s at Bishopsgate; Dr. Charles Hague, professor of music at Cambridge, 2 copies; William Horsley, organist of the Asylum and Belgrave Chapel; William Hawes, Master of the Boys at St. Paul’s Cathedral; Christian Kramer, conductor of His Majesty’s Private Band (George IV); William Shield, Master of his Majesty’s Band of Musicians; and a Mr. Dragonetti.

Henry PURCELL  Chacony in G minor
   ~ by England’s finest composer before Elgar ~ arranged in 1948 (revised 1963) for string quartet by Benjamin Britten, who admired the beauty and clarity of the Baroque composer’s music

In his short life of 36 years, Purcell (1659–1695) composed in virtually every genre and left a uniquely English form of Baroque music as his legacy. On his 18th birthday he became composer of the court violin band known as the Twenty-Four Violins; the Chacony was probably written soon after. “It is a magnificent example of the baroque mastery of...ostinato variations, which grow in power and magic with each repetition of the same eight-measure phrase” (Phillip Huscher). Britten has enriched the textures of the music and added expressive dynamics and articulation in his arrangement of the Chacony.

Frideric HANDEL  Suite in D Major HWV 341
   ~ also known as “Mr. Handel’s Celebrated Water Piece,” the winning set for trumpet and strings is of uncertain authenticity

The smart arrangement of dances including bits of Handel in 5 movements exploits the tonal capabilities of the valveless or natural trumpet. The Ouverture with festive fanfares comes straight from the Second Suite of Water Music (circa 1717), followed by the lively Gigue, also from the same work. Next come the gently lilting Air (a minuet) and springy Bourrée by an anonymous composer in the style of Handel. The final movement returns to Handel—a stately March rearranged from his less-known opera Partenope (1730). The Suite was published by a rival house rather than Handel’s own publisher, possibly by the arranger intent on capitalizing on Handel’s famous name.

Gerald FINZI  5 Bagatelles Op. 23
   ~ charming musical trifles, short and unpretentious, arranged by Christian Alexander for clarinet and string quartet in 2000, from the original for clarinet and piano

An agnostic and pacifist of Jewish descent, Finzi composed unmistakably British music. The popular Bagatelles were written over many years using “20-year-old bits and pieces,” and completed during World War II in free moments snatched from his work at the Ministry of War Transport. They comprise a sunny “Prelude,” nostalgic “Romance,” tender “Carol,” beguiling “Forlana,” and a mischievous “Fughetta.”

Malcolm ARNOLD  Grand Fantasia for flute, trumpet, and piano “Op. 973
   ~ an introduction to the virtuoso trumpeter’s early Arnoldian world—humorous and witty at age 19, if a bit daffy, and including a sultry habanera and slinky blues

We learn from the publisher’s notes that “For the summer of 1940 Malcolm Arnold and his friend, the flute player Richard Adeney, persuaded a pretty blonde pianist to join them for a holiday in Cornwall. They pored over advertisements of accommodation, Malcolm pointing to a not very literate one and insisting they stay there. Thus, in August 1940, they found themselves on a farm at St Buryan, near Mousehole. The holiday was much against the wishes of all their parents, for there were fears at the time that the Germans might land in the West Country. It was for himself, Richard and Betty that Malcolm originally wrote this exuberant trio, which he named ironically Grand Fantasia, Op 973, a piece of escapism at the time of the Battle of Britain. All 3 instruments are handled with panache as Malcolm takes the listener on a European tour, with stops in Italy, Hungary and Austria. And the fantasia is not purely geographical for in this gloriously catholic work he manages to salute the idioms of opera, musical comedy and jazz. It is a helter-skelter affair, full of the joys of a youthful artist who knows he’s at ease in his medium. It is no surprise to find the manuscript telling us that it was not composed by Malcolm at all, but by ‘A. Youngman’. In February 1941 Malcolm and Richard organised some Saturday afternoon concerts in the Carnegie Hall—a room in Northampton’s public library. These featured a number of new works by Malcolm including the first public performance of Grand Fantasia.”

The English composer was the youngest of five children from a prosperous Northampton family of shoemakers. After listening to Louis Armstrong in Bournemouth, he was inspired to take up the trumpet at the age of 12 and five years later won a scholarship to the Royal College of Music, where he studied composition with Gordon Jacob and trumpet with Ernest Hall. In 1941 he joined the London Philharmonic Orchestra as second trumpet and became its principal trumpet in 1943.

Ralph VAUGHAN WILLIAMS  Quintet in C minor
   ~ both Brahms and English folk music influence this expansive late Romantic quintet—its passionate first movement is followed by an expressive Andante that resembles his song “Silent Noon” (composed the same year), and concludes with a rhapsodic theme and variations Finale, contrasting in tempo, mood, and tonality ~ for piano, violin, viola, cello, and double bass

Jupiter Players on this program:

Rebecca Anderson violin
Won first prize at the 2013 American String Teachers competition, the 2008 YoungARTS Gold Award of the National Foundation for Advancement in the Arts, and the bronze medal and Bach Award at the 2008 Stulberg competitions

Milena Pajaro-van de Stadt viola
Winnings include First Prize at the 2013 Banff Competition, Gold Medal and Grand Prize at the 2010 Fischoff Competition, First Prize at the Lionel Tertis Viola Competition, and top prizes at the Tokyo and Sphinx competitions ~ “she should have a great future” Tully Potter ~ Wigmore Hall ~ lyricism that stood out...a silky tone and beautiful, supple lines
Strad Magazine

Ani Aznavoorian cello
Winner of the Julius Stulberg and Paolo competitions ~ “shows great sensitivity and great virtuosity at all moments” Los Angeles Times ~ “stunning in her assured technical mastery” Kansas City Star

Xavier Foley double bass
Won First Prize at the 2016 Young Concert Artists Auditions and 2014 Sphinx Competition, the 2009 (Junior Division) and 2011 (Senior Division) Bassists Society competition, and 2014 Astral Artists National Auditions

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

Monday, December 18, 2pm & 7:30pm 
Gifted Organists
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)
Maxim Lando, piano
Josef Spacek, violin
Paul Neubauer, cello
Zlatomir Fung, cello
Julietta Curenton, flute
Rita Mitsel, oboe
Vadim Lando, clarinet
Gina Cuffari, bassoon
Karl Kramer, horn

Maxim Lando piano
Gold Medal : 2017 Berliner International Competition; Gold Prize : 2015 International Television Contest for Young Musicians in Moscow; 2nd Prize : Kissinger Klavier Olymp in Germany; Winner : 2014 Juilliard Pre-College Concerto Competition ~ He has an ever so clear approach to the keyboard, and the molding and shaping of phrases straight from the musical angels” The Berkshsire Fine Arts ~ I’m scared,” Lang Lang said of Maxim’s Fairy Tales by Medtner, I couldn’t play that way when I was 13.”

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

Paul Neubauer viola
First violist to win an Avery Fisher Career Grant, first prize winner of the Whitaker, D’Angelo and Lionel Tertis competitions ~ “Neubauer’s seamless control of the bow, his intonation, his rich and varied tonal palette, mark him as a member of the elite.” The New York Times

Note: Maxim Lando replaces Alexander Kobrin for this concert

Dieterich BUXTEHUDE  Prelude and Fugue in D minor BuxWV 140
   ~ the Danish-German Baroque composer’s magnificent work—among the finest and most striking examples of the genre for organ, with a beautiful and contrasting set of chorale preludes, interpreted by Sergei Prokofiev for solo piano

Born in Helsingborg, Skåne (a part of Denmark in 1637, now a part of Sweden), Buxtehude is one of the most important composers of the mid-Baroque period in Germany, his influence affecting even Bach. His music was introduced to Prokofiev by Sergei Taneyev. According to Robert Cummings, “Prokofiev was an inveterate transcriber of his [own] orchestral works, reducing them to keyboard versions for his concert tours.... This transcription of Buxtehude’s organ prelude and fugue is a rarity...for he seldom arranged the works of other composers.... This...arrangement is unusual in other respects, too: it is devoid of virtuosic writing altogether and is exceedingly somber and faithful to the original—faithful, that is, to the portions that Prokofiev chose to transcribe, for he eliminated about the half of the original piece and omitted the flashier portions of the fugue. The main theme is delicate and stately in its Baroque sobriety, and the music barely hints at any hastening of its Andante molto marking. The whole is quite attractive in its calm grandeur and serene understatedness. This is a fine piece, but is it Buxtehude or is it Prokofiev?”

MOZART  Duo in Bb Major for violin and viola K. 424
   ~ from the period of his 10 great quartets, the duo was written for his friend, Michael Haydn, who could not fulfill a commission because of illness

The organ held a special attraction for Mozart, one that remained with him for life. In October 1777 he professed the organ to be his favorite instrument to Johann Andreas Stein, the Orgelmacher in Augsburg: “When I told Herr Stein I would love to try out his organ because organ playing was my real Passion, he seemed surprised.... The organ is in my eyes and ears the king of all instruments.” Wolfgang’s first documented playing on the instrument took place in the Franciscan church of Ybbs in Lower Austria in 1762. The following year, during the grand family tour, his father Leopold described how the 7-year-old’s playing in Wasserburg amazed the listeners: “He tried it right away, shoved the stool away and played standing at the organ, at the same time working the pedal, and doing it all as if he had been practising it for several months.” In subsequent years he acquired considerable knowledge of various organs in Europe. In Heidelberg, he played the organ in the Church of the Holy Ghost. In 1764 he played for the royal family on the Royal Chapel organ in Versailles, and in London he played the King’s organ so splendidly that they thought his organ performances were finer than his playing on the harpsichord. In 1765 he played the large new organ of the Bernardines order in Ghent, and in Antwerp the great organ in the cathedral church. He played another great organ at St. Bavo’s church in Haarlem, Holland at age 10, and at Verona’s San Tomaso church at age 13. In 1777 he played the old organ at the monastery of St. Ulrich. The next year he played on two different Silbermann organs in Strasbourg, and in 1789 on J.S. Bach’s organ in the Thomaskirche in Leipzig. From 1779 to 1781 he held the position of Hoforganist in Salzburg. Mozart’s works for the organ include 3 fugues, an overture, the Eine kleine Gigue, and 3 pieces for the mechanical organ.

Joseph JONGEN  Rhapsody Op. 70
   ~ the Belgian composer’s fertile imagination is unrestrained in this remarkable, colorful, impressionistic, vivacious sextet in one movement, showcasing the piano and wind quintet

Remembered primarily for his organ music today, Jongen was considered the greatest living Belgian composer at one time. At age seven, the precocious Joseph was admitted to the Liège Conservatoire, and by age 13 he was composing. He was influenced by Debussy and Ravel in 1921, as can be heard in the Rhapsody.

Camille SAINT-SAËNS  Piano Quartet in Bb Major Op. 41
   ~ written in the year of his ill-fated marriage, the French composer himself premiered his superb cyclic tour de force with its majestic opening and profusion of soaring melodies on 6 March 1875 at the Salle Pleyel with Pablo de Sarasate, Alfred Turban, and Léon Jacquard

Among his numerous works for the organ, the Fantaisie in Eb Major (his first organ piece, which became his most popular) and the “Organ” Symphony are surely standouts. At the age of 23, the Parisian became the organist for L’église de la Madeleine (the Church of the Madeleine) in 1858 and soon developed his legendary gifts for improvisation. For some 20 years he had at his disposal the console of Aristide Cavaillé-Coll’s brand-new organ—four manuals, 48 stops, and an unprecedented symphonic wall of sound. The instrument, which took up the entire west wall of the enormous edifice, attracted a constant stream of musical stars, including his friends Liszt (he called Saint-Saëns “the greatest organist in the world”), Sarasate, and Anton Rubinstein (a frequent piano duet partner), all of whom made a point of stopping off at the Madeleine during their visits to Paris to hear him play.

Jupiter Players on this program:

Zlatomir Fung cello
Won first prize at the 2017 Young Concert Artists Auditions, 2016 Enescu, and 2015 Johansen competitions, and gold medals in the 2014 Stulberg and Irving Klein competitions

Julietta Curenton flute
Winner of the Musical Fund Society of Philadelphia’s 2012 Career Advancement Award, as well as prizes from the National Flute Association, New York Flute Club and Astral Artists’ National Auditions ~ “her tone glows more than it sparkles, and it draws in one’s ear with sounds and ideas that simply cannot be resisted,” The Philadelphia Inquirer

Rita Mitsel oboe
Principal oboe of Symphony in C and Glens Falls Symphony

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

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, January 22, 2pm & 7:30pm 
Poles Apart
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Roman Rabinovich, piano
Asi Matathias, violin
Lisa Shihoten, violin
Milena Pajaro-van de Stadt, viola
Christine Lamprea, cello
Barry Crawford, flute
Rita Mitsel, oboe
Vadim Lando, clarinet
Gina Cuffari, bassoon
Paul Murphy, trumpet

Roman Rabinovich piano
Winner of the Rubinstein, Animato and Arjil competitions, the Mezzo and Salon de Virtuosi awards, and the Vendome Prize ~ “He is an artist of the highest caliber; a pianist with complete technical command, a prodigious memory, and a highly individual personality at the piano.” Palm Beach Arts ~ “Remarkable performance from a pianist whose mature, self-assured playing belies his chronological age.” San Francisco Classical Voice

Asi Matathias violin
Protégé of Pinchas Zukerman, already recognized as one of the most talented musicians of his generation. He made his debut at the age of fourteen with the Israel Philharmonic under the baton of Zubin Mehta, displaying a musical maturity and inspiration far beyond his years.

Karol KURPINSKI  Fantasy for string quartet
   ~ essentially a collection of folk dances—Polish melodies—by Poland’s most important composer before Chopin

It was this use of folk themes in his compositions—operas, orchestral works, polonaises—that kept Polish culture alive. An organ prodigy, Kurpinski (1785–1857) worked as a church organist at age 12, and in 1819 became Kapellmeister of the Polish royal chapel. The following year he founded and edited the first Polish music periodical, Tygodnik muzyczny (“Music Weekly”). From 1824 till 1840 he was principal conductor of the Warsaw Opera. The New Grove Dictionary states that Kurpinski was, with his teacher Józef Elsner, “a central figure in the musical life of Warsaw, and conducted Chopin’s first public concerts there. One of the most talented Polish composers before Chopin, he helped to lay the foundations of a national style and prepared the ground for Polish music of the Romantic period. Gifted with exceptional creative originality, he contributed to the development of Polish opera, introducing new musical devices and achieving an intensified dramatic expression.... Although brought up on the Viennese Classics, Kurpinski followed the spirit of his time, combining the new achievements of European music with the folklore of his own country.”

CHOPIN  3 Polish Songs from a set of 17 for soprano and piano Op. 74
   ~ beautiful, unassuming folk-flavored miniatures:
 Mädchens Wunsch (“The Maiden’s Wish”) • 1829
 Trübe Wellen (“Troubled Waters”) • 1831
 Was ein junges Mädchen Liebt (“What a Young Maiden Loves”) • 1829

CHOPIN  Etude in C# minor Op. 25 No. 7
   ~ arranged for string quartet by Mily Balakirev, the Russian pianist, composer, and conductor who promoted musical nationalism

Alexandre TANSMAN  Septuor
   ~ devilish syncopations and expressive melodic lines enliven his playful Neoclassical septet for flute, oboe, clarinet, bassoon, trumpet, viola, and cello

Tansman (1897–1986) is regarded as one of the greatest Polish musicians. Although he lived much of his life in Paris, he himself declared, “It is obvious that I owe much to France, but anyone who has ever heard my compositions cannot have doubt that I have been, am and forever will be a Polish composer.” His music drew on his Polish Jewish heritage as well as French musical influences. In 1941, with the threat of Hitler looming, he fled to Los Angeles with the help of Charlie Chaplin. There, he composed film scores, including Paris Underground (1945), which was nominated for an Oscar. Tansman was also a virtuoso pianist, performing worldwide for audiences, among them Emperor Hirohito and Mahatma Gandhi.

Ludomir RÓZYCKI  Piano Quintet Op. 35
   ~ magnificent Neoromantic masterwork, offering a rich and sumptuous tonal palette and a vast array of expressive devices

Composition on the expansive Quintet began while Rózycki was on a visit to Paris in the summer of 1913, and was completed in Berlin a few months later. Colin Anderson observed, “It is immediately arresting in its dark heavy-heartedness—it may remind of Fauré—and it’s a beautiful piece, soulful sentiments and powerful emotions entwined, and superbly crafted. The three movements are of equal length, fourteen minutes here, with a central slow one that tolls particularly desolate if profoundly eloquent expressions that become somewhat relieved as the music progresses if only to sink back to melancholy. The Finale...offers a musical spring to the step without ever becoming glib...and...the work ends with a valiant response to previous doldrums.” The noted music critic Wilhelm Altmann felt that it was written by “an early 20th century Beethoven.”

Jupiter Players on this program:

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

Milena Pajaro-van de Stadt viola
Winnings include First Prize at the 2013 Banff Competition, Gold Medal and Grand Prize at the 2010 Fischoff Competition, First Prize at the Lionel Tertis Viola Competition, and top prizes at the Tokyo and Sphinx competitions ~ “she should have a great future” Tully Potter ~ Wigmore Hall ~ lyricism that stood out...a silky tone and beautiful, supple lines
Strad Magazine

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”

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

Rita Mitsel oboe
Principal oboe of Symphony in C and Glens Falls Symphony

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

Paul Murphy trumpet
A cofounder of Decoda, he was a “standout” fellow of ACJW and has performed with Orpheus, the International Contemporary Ensemble, Orchestra of St. Luke’s, the American Symphony, New York Pops, and the Paragon Ragtime Orchestra ~ he is also a teaching artist-faculty member of the New York Philharmonic

Jens Nygaard

Dear Friends and Music Lovers,

   Why not make stargazing a habit at Jupiter—a stellar lineup awaits you.
   Violinist Vadim Gluzman will launch the season with a Big Bang. Our other Stars will shine brightly, too, both familiar and new.
   Marvels galore are in the wings by famous composers—Mozart, Beethoven, Brahms—as well as the neglected and obscure who had huge reputations in their day—Eduard Franck, Johann Nepomuk Hummel, Johann Kalliwoda, Karol Kurpinski, and others. They have not faded in our galaxy and will create quite a spectacle.
   We’ll keep you starstruck all season long ~
    Now, what happens when an asteroid hits Planet Jupiter? It probably explodes, likely without leaving a scar. Jupiter on Earth has no “protective” layer around it, but depends on Your Support to survive. So please help if you can can. Your gifts are greatly appreciated. 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.

Click on the dates for program details:

September 11 ~ In Homage
September 18 ~ Jazzing It Up
October 2 ~ Brainy Bohemians
October 16 ~ Pianist-Composers
October 30 ~ Drawn to Vienna
November 13 ~ Stars in Prague
November 27 ~ Très Belle
December 4 ~ Role Models
December 18 ~ Gifted Organists
January 8 ~ English Wizardry

January 22 ~ Poles Apart
February 5 ~ Nosh on Goulash
February 19 ~ Italian-Swiss Gems
March 5 ~ Schubert’s Circle
March 19 ~ Rooted in Russia
March 26 ~ Germans of Note
April 9 ~ The Great vs. The Five
April 23 ~ Touched by Mozart
April 30 ~ The French Connection
May 14 ~ Super Stars

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

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:
155 West 68th Street, Suite 319, New York, NY 10023
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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