Join Us For Our 2020-2021 Season!
Jupiter Symphony Chamber Players
“This was music-making of a very high order”
Fred Kirshnit, The New York Sun
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.
Join us for our next concerts...
Monday, October 5 ♦ 2 PM & 7:30 PM
Maxim Lando piano
Stefan Milenkovich violin
Cynthia Phelps viola
Geneva Lewis violin
Christine Lee cello
Vadim Lando clarinet
Note: Maxim Lando replaces Mackenzie Melemed for this concert
Samuel COLERIDGE-TAYLOR Clarinet Quintet in F# minor Op. 10
The post-Romantic Quintet, written at age 20, was played by none other than Richard Mühlfeld, for whom Brahms wrote his Clarinet Trio and Clarinet Quintet.
The “Black Mahler”—son of a Sierra Leonean Creole father and English mother—was named Samuel after the poet, and in 1890 at age 15 he entered the Royal College of Music as a violin student. When he switched to studying composition with Charles Villiers Stanford, his tutor challenged him to write a clarinet quintet without any inkling of the influence of his favorite composer, Brahms. The Clarinet Quintet is a testament to his success. Much admired in his day, his greatest hit was the cantata Hiawatha’s Wedding Feast. Coleridge-Taylor was proud to be “an Englishman” even though he suffered intense racism. On several occasions he visited the United States, where he was warmly received; he met Booker T. Washington and President Theodore Roosevelt, who invited him to the White House. He was an ardent supporter of the Pan African Movement, and was intent on establishing “the dignity of the Black man.” In 1912, he contracted double pneumonia and died at the age of 37. He left two children, Hiawatha and Gwendolyn, both of whom had distinguished careers as conductors and composers.
Cyril SCOTT Piano Quartet Op. 16
Premiered in April 1902 at a Classical Chamber Concert in Liverpool, the Quartet made its London debut on 12 February 1902 at a Broadwood Concert at St. James Hall, with violinist Fritz Kreisler, Emil Kreuz on viola, cellist Ludwig Lebell, and Scott at the piano.
The son of a Greek scholar, Scott (1879–1970) was sent to the Hoch Conservatory in Frankfurt at age 12 to study music with Engelbert Humperdinck and Lazzaro Uzielli, one of Germany’s finest piano pedagogues. His English classmates there included Percy Grainger, who remained a close friend. He also befriended the poet Stefan George, whose work he later translated. After he left Frankfurt in 1898, he taught piano and gave recitals in Liverpool. In 1905 Scott wrote Lotus Land, a mystically atmospheric parlor piece that became a huge commercial hit. By the 1920s, his music gravitated toward neoclassicism. He also became absorbed with theosophy and the occult sciences and wrote successfully on these and other topics, publishing no less than 40 books, of which only 4 are on music. During World War II Scott suffered a health crisis that evolved into a creative spurt, first with the help of Grainger and then, in 1963, when a group of friends formed a “Cyril Scott Society” to help promote his music.
Frank BRIDGE Piano Quintet in D minor
First written when Bridge was in his mid-20s, the Quintet was radically revised just after he turned 30. The refined version premiered on 29 May 1912 with pianist Harold Samuel and the English String Quartet. Bridge studied composition with Sir Charles Villiers Stanford at the Royal College of Music, where he also studied violin. He played the viola in string quartets (most notably the English String Quartet), conducted and taught, before devoting himself to composing. Bridge was the private tutor of Benjamin Britten, who later championed his teacher’s music and paid homage to him in Variations on a Theme of Frank Bridge.
By now you know the danger of gathering indoors with people outside your bubble. If you come, it’s at your own risk. If you are in the least bit fearful of CoVid-19, please do not come. We can, however, offer:
Please use the restrooms before or after the concert.
In addition to the above guidelines, New York State Covid-19 Travel Advisory requires visitors from certain states to quarantine for 14 days. If you are traveling to NYC from any of these states, visitors are required to complete the online Travel Health Form.
Jupiter 2020 - 2021 Season
Please visit our Media Page to hear Audio Recordings from the Jens Nygaard and Jupiter Symphony Archive
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
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As promised, here are the videos of John Field’s Divertissement No. 1 and Sir Hamilton Harty’s Piano Quintet. Fortuitously, our Jupiter musicians had the good sense to record the rehearsal in an impromptu decision, literally minutes before pressing the record button. Pianist Mackenzie Melemed (replacing Roman Rabinovich at the last minute) learned the music in 2 days! Bravo to him.
Both works are Irish rarities that were scheduled for the March 16 performances which had to be canceled because of the coronavirus epidemic. Even though the entire program could not be recorded because of technical issues, we are pleased to be able to share with you the 2 musical gems. Enjoy.
John FIELD Divertissement No. 1 H. 13
We thank the University of Illinois (Champaign) for a copy of the Divertissement music.
Mackenzie Melemed piano
Sir Hamilton HARTY Piano Quintet in F Major Op. 12
Andrew Clements of the Guardian proclaimed the beautiful Quintet “a real discovery: a big, bold statement full of striking melodic ideas and intriguing harmonic shifts, which adds Brahms and Dvořák into Harty’s stylistic mix, together with Tchaikovsky in some passages.” There’s folk music charm as well, reminiscent of Percy Grainger—notably in the Scherzo (Vivace) with its folksy quirks and nonchalance, and the winding, pentatonic melody in the Lento.
Our gratitude to the Queen’s University Library in Belfast, Northern Ireland, for a copy of the autograph manuscript of the music. Much thanks, too, to Connor Brown for speedily creating a printed score and parts from Harty’s manuscript.
Mackenzie Melemed piano
I Allegro 0:00
Jupiter in the News
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 media 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 media
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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