JOIN US FOR OUR 2017-2018 SEASON!
Jupiter Symphony Chamber Players
“This was music-making of a very high order”
Fred Kirshnit, The New York Sun
Jupiter 2017 - 2018 Season
Listen to a live recording of the Jupiter Symphony
Roman Rabinovich piano
Antonín DVORÁK Piano Trio No. 1 in Bb Major Op. 21
Jupiter in the News
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, March 26, 2pm & 7:30pm
Max Levinson piano
Xiao-Dong Wang violin
Richard STRAUSS Variationen über Das Dirndl is harb auf mi (Variations on a Bavarian Folksong) TrV 109
Strauss came from a musical family (his father was principal horn of the Munich Court Orchestra for 49 years) and spent much time and effort in his early years on music, composing more than 140 pieces by the time he matriculated from the Ludwigsgymnasium at age 18. The Variations were written in March 1882 in his 17th year. In August, he entered the University of Munich, where he read philosophy, aesthetics, history of art, and literature. The title is an in-joke. Harbni was the name of the amateur orchestra in Munich, comprising family and friends, conducted by his father Franz Joseph Strauss. It comes from the Bavarian expression “nie harb” meaning never bitter, never bad-tempered. The orchestra name thus reflects on its noble goal of living in peace and harmony and avoiding any harm towards fellow men. The work includes quotations from Wagner’s Ring and is one of Strauss’s first pieces to use his favorite device of quotation.
Eduard FRANCK String Quartet No. 3 in C minor Op. 55
Renowned in his day as a composer, concert pianist, and teacher, Franck was born in Breslau in 1817 and studied with Mendelssohn. As a teacher, he was much loved, and according to the New Grove Dictionary, “he was also admired as a pianist with a particularly fine touch; his music, largely instrumental, was praised by his contemporaries, including his friend, Schumann.” Other prominent admirers were Mendelssohn and Chopin; Moritz Moszkowski was among his pupils. Eduard’s son, Richard, whom he taught, became a composer as well—Jupiter performed Richard’s Piano Trio in May 2016. The Francks came from a privileged banking family in Breslau.
BEETHOVEN Piano Trio in Eb Major Op. 38
The descriptive text of the autograph at the Beethoven-Haus museum explains, “In the dedication written in French...Beethoven expresses very warm feelings for the doctor, who had treated the composer from 1801 onwards. Schmidt played the violin and his daughter the piano. This is the reason why the composer suggested in his dedication that the work should be played within the family, at least when the beloved daughter’s playing had improved somewhat. Beethoven’s extremely high regard for the doctor is not only apparent in the dedication. Even in the so-called Heiligenstadt Testament, which Beethoven wrote on 6 October 1802 in great desperation due to his increasing loss of hearing, he had written of the doctor in respectful and thankful terms [in false hopes of a cure] despite his general bitterness ‘...I thank all my friends, in particular Prince Lichnovski and Professor Schmidt.’ [He also sought the opinion of his friend in Bonn, Dr. Franz Gerhard Wegeler]: ‘People talk about miraculous cures by galvanism [therapy using electricity]; what is your opinion? A medical man told me that in Berlin he saw a deaf and dumb child recover its hearing and a man who had also been deaf for seven years recover his. I have just heard that your Schmidt is making experiments with galvanism.’”
When Beethoven heard of the Septet’s sensational reception in London in 1815, he snarled, “That damn work; I wish it could be burned!” For the poet Walt Whitman, however, it evoked thoughts of “Dainty abandon, sometimes as if Nature laughing on a hillside in the sunshine; serious and firm monotonies, as of winds; a horn sounding through the tangle of the forest, and the dying echoes; soothing floating of waves but presently rising in surges, angrily lashing, muttering, heavy; piercing peals of laughter, for interstices; now and then weird, as Nature herself is in certain moods—but mainly spontaneous, easy, careless…”
Jupiter Players on this program:
Lisa Shihoten violin
Cong Wu viola
Ani Aznavoorian cello
Vadim Lando clarinet
Monday, March 5, 2pm & 7:30pm
Ilya Itin piano
Dmitri Berlinsky violin
Hyunah Yu soprano
Johann Rudolf ZUMSTEEG (1760-1802) Duo for flute and cello
Zumsteeg’s importance lies in his development of the ballad, which exerted an unequivocal influence on young Franz Schubert, whose friend Josef von Spaun claimed he could “revel in these songs for days on end.” The German composer was also a solo cellist in the court orchestra in Stuttgart; while there, he wrote 10 cello concertos. The dramatist Friedrich Schiller was his close friend.
Franz LACHNER (1803–1890) Herbst “Autumn” Op. 30 No. 1
It has been said that Lachner’s concert songs were his most distinctive works, as evident in Herbst with its ominous rustling in the piano and the lovely duet between the singer and obbligato cello.
Graham Johnson clarifies the relationship between Lachner and Schubert: “Lachner was the most successful composer of the Schubert circle, the only one of Schubert’s younger musical friends to become a musical celebrity outside Vienna. Moritz von Schwind, Lachner’s close friend as he had been Schubert’s, also made his career in Munich and became a celebrated visual artist. Although he is largely forgotten now (there are some signs of a revival) Lachner is the ‘missing’ link between Schubert and Schumann. He was born in Bavaria, and he was to return there as a favourite son; in the intervening years, one may call these his ‘Schubert period’, he lived in Vienna where he was a pupil of Sechter and the Abbé Stadler. He was a friend of the composer from about 1823, although we have no idea how he was introduced to the Schubert circle. In 1826 Lachner was appointed to a post at the Kärntnertor Theatre. He was with Schubert on many occasions in the last years of the composer’s life, but his memoirs of the time are not always reliable. He seems to have been more interested than many of his contemporaries in Schubert’s instrumental works. He claimed he often discussed his current compositions with Schubert, and that the two men showed their sketches to each other. This must have been something rare indeed: since his break with Mayrhofer, Schubert had no one among his friends, apart from Schober perhaps, with whom he might have had this kind of exchange. Lachner returned to Munich in 1836 and he played an increasingly dominant part in the musical life of that city. On the twenty-fifth anniversary of Lachner’s return to Munich, Moritz von Schwind dedicated to him the ‘Lachner roll’, twelve-and-a-half metres of remarkably witty drawings on a roll of paper thirty-four centimetres high. This depicted Lachner’s career from its beginnings, and included several drawings of Schubert surrounded by his friends. Schwind’s own close position to Schubert, and the integrity of his memories, verifies the strength of the connection between Lachner and his immortal mentor.” After his return to Munich in 1836, he conducted the Vienna Court Opera and became an important figure in that city. The works of Beethoven he performed were considered exemplary.
Franz Anton SCHUBERT (1768–1827) Flute Quartet in G Major Op. 4
Unrelated to the famous Schubert, Franz Anton came from the German family of musicians active in Dresden in the 18th and 19th centuries. He is remembered mainly for his caustic remarks when by mistake a copy of Erlkönig, which became one of Schubert’s most celebrated songs, was sent to him by the publisher Breitkoft & Härtel. He huffily retorted in a letter of 18 April 1817 that the “cantata” was not his composition but that he would retain the copy “so as to learn if possible who has so impertinently sent you that sort of rubbish and also to discover the fellow who has thus misused my name.” He and his music are virtually forgotten today, whereas the beloved Erlkönig will live on to eternity. Franz Anton was also a friend of Franz von Schober, who had a very close and special relationship with Schubert.
SCHUBERT Mignon Lieder
Reimann, the German composer and arranger, has selected from Schubert’s numerous settings 3 of the lesser-known poignant songs—Nur wer die Sehnsucht kennt, Heiß mich nicht reden, and So laßt mich scheinen bis ich werde—and has transcribed and linked them brilliantly “as a continuous, organically connected mini-cantata for voice and string quartet, which follows Mignon through her longing for an absent lover, passionate secrecy, and anticipation of release in death” (Andrea Budgey). The lyrics concern Harfenspieler or Harper (the mad father) and his delicate daughter, Mignon. The poems by Johann Wolfgang von Goethe are from his second novel, Wilhelm Meister’s Apprenticeship.
Born into a musical family in Berlin in 1936, Reimann became a répétiteur at the Deustche Oper Berlin and a distinguished accompanist of lieder, most notably in performances with the great German lyric baritone, Dietrich Fischer-Dieskau, for whom many of his original works were written, including the opera King Lear.
SCHUBERT Piano Trio in Bb Major Op. 99
Jupiter Players on this program:
Ji Won Song violin
Maurycy Banaszek viola
David Requiro cello
Sooyun Kim flute
Monday, March 19, 2pm & 7:30pm
Timur Mustakimov piano
Alexi Kenney violin
Alexandr GRECHANINOV Clarinet Sonata No. 1 in Bb Major Op. 161
Grechaninov (1864–1956) was a late starter; his piano lessons did not begin till age 14. Three years later he went to the Moscow Conservatory and studied counterpoint and theory with Arensky and form with Sergei Taneyev. When a disagreement with Arensky occurred in 1890 over composition teaching he left and studied with Rimsky-Korsakov at the St. Petersburg Conservatory. After the Revolution, he lost his pension and became anxious in Soviet Russia, so he left for Paris in 1925, and then immigrated to the United States at age 75 in 1939, the year he composed the Bb Sonata. Grechaninov was a piano and choral teacher for most of his career, and he composed in all genres, but has a special place in 2 fields: children’s music and liturgical music, the latter testifying to his liberal religious outlook. His music was influenced by Tchaikovsky, Borodin, and Rimsky-Korsakov. Mainly decadent in style, he never abandoned Russian lyricism.
Anton ARENSKY Piano Quintet in D Major Op. 51
Viktor Belayev, in Cobbett’s Cyclopedic Survey of Chamber Music, proclaimed the Quintet a “masterpiece” and Cobbett himself stated that the scherzo “sparkles like diamonds in the sun.” Arensky studied with Rimsky-Korsakov at the St. Petersburg Conservatory, graduating with a Gold Medal. He became one of the youngest professors (in harmony and counterpoint) ever to teach at the Moscow Conservatory, where he was influenced by Tchaikovsky and Sergei Taneyev. Among his pupils were Rachmaninoff and Scriabin. He died at age 44 from tuberculosis, most likely exacerbated by his drinking.
Dmitri SHOSTAKOVICH Piano Trio in C minor Op. 8
Reinhold GLIÈRE String Sextet No. 3 in C Major Op. 11
The noted critic Wilhelm Altmann asserted, “This magnificent work is packed with a treasure chest of wonderful musical ideas. The writing is so powerful it approaches the orchestral in nature.” Glière’s teachers included Taneyev, Arensky, and Ippolitov-Ivanov, and among his students were Khachaturian, Myaskovsky, the eleven-year-old Prokofiev, and Scriabin’s young son.
Jupiter Players on this program:
Maria Ioudenitch violin
Cong Wu viola
Matthew Cohen viola
Ani Aznavoorian cello
Mihai Marica cello
Vadim Lando clarinet
Dear Friends and Music Lovers,
Why not make stargazing a habit at Jupiter—a stellar lineup awaits you.
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.
Please send any correspondence to
performances, except where otherwise noted, are held at:
Copyright © 1999-2018 Jupiter Symphony. All rights reserved.