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Jupiter Symphony Chamber Players
“This was music-making of a very high order”
Fred Kirshnit, The New York Sun
Jupiter 2018 - 2019 Season
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Roman Rabinovich piano
Antonín DVORÁK Piano Trio No. 1 in Bb Major Op. 21
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Monday, April 29, 2pm & 7:30pm
Avery Gagliano piano
Stefan Milenkovich violin
Rodolphe Kreutzer was a French composer and one of the outstanding violin virtuosos of his day. He met Beethoven in 1798, while in Vienna in the service of the French ambassador, Jean-Baptiste Bernadotte (later the King of Sweden and Norway). In 1803 Beethoven composed his 9th violin sonata for the virtuoso George Bridgetower (of Polish-West Indian parentage), but the two quarreled, after which Beethoven dedicated his masterpiece to Kreutzer instead, hence its moniker, the “Kreutzer” Sonata. Kreutzer never played the Sonata, finding it “unintelligible,” whereas Bridgetower performed it to acclaim.
Kreutzer was also a founder of the French school of violin playing, which influenced Mendelssohn, as is evident in his Violin Concerto in D minor and the Concerto for piano, violin, and strings. Giovanni Battista Viotti had established the technical and stylistic foundations of the school, which were continued by Kreutzer, Pierre Baillot, and Pierre Rode at the newly-founded Paris Conservatoire in 1795. Mendelssohn learned these fundamentals through his teacher Eduard Rietz, who had studied with Rode. In addition to his other classes, Mendelssohn had 2 hours of violin lessons during which he studied violin technique from the unsurpassed Kreutzer Etudes, a core work of the French school that is still a requirement for violin students to this day.
Rodolphe KREUTZER Trio in F Major
Born in Versailles, Kreutzer studied music with his father, a violinist in the royal orchestra, and with Anton Stamitz before making his debut at age 12. Marie Antoinette sponsored his early career and he later enjoyed the patronage of Napoleon and the restored Bourbon monarchy. During the late 1790s he concertized extensively in Europe, playing his Stradivari with a full sound, instinctive sense of phrase, and improvisational skill that won him many admirers. Kreutzer was professor of violin at the Paris Conservatoire from its founding in 1795 until 1826; and along with Baillot and Rode, he created the violin method that is still taught there. He outlived all the political changes in France unmolested, retaining his excellent positions, and in 1824 he was made a Knight of the Legion of Honor. His many compositions include 19 violin concertos and some 40 operas, but his influence rests on his pedagogical works, in particular the 42 études ou caprices for unaccompanied violin (1796). The New Grove Dictionary maintains that they “occupy an almost unique position in the literature of violin studies.”
BEETHOVEN Piano Trio No. 2 in G Major Op. 1 No. 2
MENDELSSOHN String Quintet No. 1 in A Major Op. 18
Jupiter Players on this program:
Claire Bourg violin
Maurycy Banaszek viola
Jordan Bak viola
Timotheos Petrin cello
Vadim Lando clarinet
Jupiter in the News
Monday, May 13, 2pm & 7:30pm
Maxim Lando piano
Danbi Um violin
Abigel Kralik violin
BEETHOVEN Mödlinger Tänze WoO 17
The authorship of the 11 Mödlinger Dances is uncertain. Anton Schindler, Beethoven’s early biographer (but not an always reliable one), claimed that the composer wrote a set of waltzes in 1819 while staying at an inn near Mödling. A band of musicians playing at the inn had apparently asked him for some waltzes (at the time he was working on the Missa solemnis). That score, however, never turned up in his lifetime. The music theorist Hugo Riemann came across the set of dances in Leipzig in 1905 and determined it to be the one referred to by Schindler. They were first published in Leipzig two years later. Although Beethoven may have indeed written the dances, as he did write a fair number of short and light works around this time, certain stylistic traits seem to cast doubt on his authorship.
Richard STRAUSS Metamorphosen Op. 142
BRAHMS Piano Quartet No. 1 in G minor Op. 25
Jupiter Players on this program:
Lisa Shihoten violin
Cong Wu viola
Lisa Sung viola
Ani Aznavoorian cello
Thomas Mesa cello
Xavier Foley double bass
Vadim Lando clarinet
Karl Kramer horn
Audrey Flores horn
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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