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.

Join Us For Our 2020-2021 Season!

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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Jan 11 2021 Sinigaglia Romanza for Horn and Piano
William Wolfram piano, Karl Kramer horn

Jan 11 2021 Mercadante  Trio
Julian Rhee violin, Christine Lamprea cello, Vadim Lando clarinet​​​​​​

Jan 11 2021 Respighi Piano Quintet in F minor
Julian Rhee violin, Claire Bourg violin, William Wolfram piano
Christine Lamprea cello, Maurycy Banaszek viola

Greetings!

A little Italy went a long way at Jupiter, as much as our young violinist Julian Rhee came a long way by car from Wisconsin to New York to play our first concerts of the New Year. The Italian composers from Altamura (near the heel), Turin, Bologna, Lucca in Tuscany, and Venice filled our ears and stirred our emotions with beauty, passion, virtuosity, and rich harmonies. The viewing is offered for $25—we hope to cover the costs of the production. It will be available until April 12. Thanks so much for viewing the video of this concert, and for supporting Jupiter with gifts as well! MeiYing

View the video for $25

You will be automatically directed to the video page once payment is made. If not, click on the “return to merchant” link after checkout. Please go through the checkout process only once and do not use the back button or reload the page while making the purchase. If there are any problems, contact jupiternews@jupitersymphony.com.

Viewers comments of previous videos:

“Oh I thoroughly enjoyed the concert. Good to see Maxim and his dad. Familiar faces to me. I enjoyed the notes about the players. Till the next time...”

“Great playing and really nice camera work. Probably better than being there!

“We so enjoyed the concert. The pianist was outstanding as was the musical selection.

“It was wonderful. Thank you.

♦ ♦ ♦

Italian Beauties
January 11, 2021 Jupiter Concert

William Wolfram piano
Winner of the William 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 ~ “Wolfram is a dazzling performer.” Kalamazoo Gazette

Julian Rhee violin
Won First Prize at the 2018 Johansen Competition, Second Prize at the 2018 Irving Klein competition, 2018 Presidential Scholar in the Arts, Gold Medals at the Fischoff and M-Prize competitions, and First Prize at the 2018 Barnett and 2018 Rembrandt chamber music competitions (playing both violin & viola)

Claire Bourg violin
Winner of New England Conservatory’s Concerto competition

Maurycy Banaszek viola
Winner of numerous violin, viola and chamber music awards

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”

Vadim Lando clarinet
Winner of the CMC Canada, Yale and Stonybrook competitions ~ “consistently distinguished...vibrant, precise, virtuosic playing” The New York Times

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

♦ ♦ ♦

Saverio MERCADANTE  Trio for Clarinet, Violin, and Cello ▪ circa 1810s
clarinet, violin, cello
Allegro • Largo • Rondo

  ~ in late Classical style with singing melodies

Mercadante (1795–1870) is considered to be an important reformer of Italian opera and was most famous in his day as a composer who produced almost 60 operas, but he also wrote an abundance of instrumental pieces. An illegitimate child born in Altamura near Bari, he learned to play the guitar and clarinet and in 1808, at age 11, he also studied flute, violin, singing, and composition at the Conservatorio di San Sebastiano in Naples. His instrumental pieces during this time include music for 3 ballets and a fine Flute Concerto in E minor. His first opera, L’apoteosi d’Ercole, written in 1819, was a success that launched a career spanning decades and led to tours in Vienna, Madrid, Cádiz, Lisbon, and Paris, where he met Giacomo Meyerbeer, whose operas influenced Mercadante to write more dramatically. From 1833 to 1840 he was maestro di cappella at Novara Cathedral, and from 1840 till his death, he served as head of the Naples Conservatory. The New Grove Dictionary contends that he is “the most important among those Italian opera composers contemporary with Donizetti, Bellini and Verdi whose works are no longer in the repertory.... After Mercadante’s death his reputation suffered a rapid decline. By the standards of his time his best work had been serious and thoughtful, producing its effect by technical skill and controlled vigour rather than by any very immediate lyrical impulse.... Mercadante clearly demands consideration as a composer in his own right.”

Leone SINIGAGLIA  Romanza for Horn and Piano ▪ 1899
  ~ somber, mournful strains of sublime melodies tug at the heart

From an early age Sinigaglia loved climbing mountains and spent many holidays in the hilly district of Cavoretto, possibly an inspiration for the Romanza.

Sinigaglia (1868–1944) was born into a prominent upper middle class family in Turin. After schooling at the Liceo Musicale he moved to Vienna in 1894 and became a pupil of Eusebius Mandyczewski, an esteemed Romanian composer and teacher. He also met Mahler and Goldmark, and got to know Brahms. In 1900 he became a close friend of Dvořák, who gave him private lessons in orchestration in Prague and at Vysoká (his summer residence) and kindled his interest in folk music. Returning to Turin the following year, he devoted his efforts, from 1902, to the collection and study of about 500 Piedmontese folksongs, many of which he arranged for voice and piano and for other instruments. His creativity, however, languished. During WWII, Sinigaglia died tragically. Being Jewish, he was persecuted by the Nazis who occupied Turin in 1944—at the moment of arrest, at age 75, he died from a heart attack. As a mountaineer, Sinigaglia made an impressive number of ascents in the Dolomites and has been described as “the first great Italian climber in the Dolomites.” Two of his most famous climbs were first ascents on Croda Da Lago and Monte Cristallo. His book, Climbing Reminiscences of the Dolomites, was published in English in 1896, shortly after the Italian edition, and is still regarded as a classic in climbing literature.

Ottorino RESPIGHI  Piano Quintet in F minor Op. 6 ▪ 1902
Allegro • Andantino • Vivacissimo
  ~ a lush and enchanting mood portrait expressing a wide range of emotions—real variety to his lyricism—with echoes of his teacher Giuseppe Martucci

Born in Bologna into a musical family, Respighi is best known for his three orchestral tone poems—Fountains of Rome, Pines of Rome, and Roman Festivals. The Piano Quintet was first performed at the Liceo Musicale in Bologna, with Respighi playing first violin.

Giacomo PUCCINI  Crisantemi “Chrysanthemums” ▪ 1890
string quartet
  ~ in response to the death of the Duke of Savoy, Puccini wrote the elegy in a single night—one dark-hued, continuous movement for string quartet ~ the Tuscan-born opera composer later reused his two liquid melodic ideas in the last act of Manon Lescaut in 1893

Sandro BLUMENTHAL  Piano Quintet No. 2 in G Major Op. 4 ▪ 1899
Adagio sostenuto—Allegretto deciso e con moto • Andante cantabile assai sostenuto • Scherzo • Finale
  ~ melodic gifts flow lavishly in this knockout by the unknown Venetian rooted in the 19th century—from a passionate and driven first movement to the heartwarming Andante, alluring Scherzo, and beguiling Finale

Blumenthal has been described by Judith Kemp as “a versatile wanderer between the establishment and the avant-garde of the German musical and cultural landscape” around the turn of the last century. While virtually forgotten today, he made a name for himself as an important singer of cabaret lieder in Munich, a leading center for the arts and culture. He was born in Venice on 30 June 1874, son of Carlo Blumenthal, the Jewish banker connected with the management of lagoons. There, he studied piano, violin, viola, and composition at the Benedetto Marcello Conservatory. From 1896, he continued his education for 3 years at the Royal Academy of Music in Munich, where Josef Rheinberger taught him composition. The results were chamber music pieces as well as works for large orchestra. Not only were his compositions performed at the Academy’s public concerts, but the press confirmed the young composer’s considerable talent, highlighting his “sure compositional technique,” “great appreciation for beautiful sounds,” and “natural and fresh feeling.” The premiere of the second quintet celebrated his graduation from the Academy. Blumenthal spent the last years of his life with his wife and 2 children in Berlin, where he died on 1 August 1919 at the age of 45.

♦ ♦ ♦

Harry Munz audio engineer
Marc Basch videographer

For more about the musicians: guest artistsplayers
For further notes on the music: calendar

Dear Friends and Music Lovers,

   During this coronavirus pandemic, our concerts this fall may be as rare as the music of the forgotten composers we often perform. While this horrid beast prevails we hope to lessen the risk of indoor gatherings. Also, please check the status of every concert on our website or by phone. If there is a cancellation, the program will be video recorded and made available for viewing on our website.

   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, please do not come. We can, however, offer:

Limited seating spaced 6 feet apart
Hand sanitizer from dispensers
Required wearing of masks by audience & staff
Doors to open 20 minutes before concert starts
Request 6 feet distancing when entering & exiting
And suggest minimal, quiet talking

   This season there are no subscriptions. Tickets are by reservation only. Please visit our ticket page for details. As these are indeed challenging times, please consider of gift of $100 or more and become a “Friend,” or please give as much as you can to help keep Jupiter alive and thriving. Your financial support is truly needed.
   All gifts are tax deductible.
   Thank you so much,
Meiying

Jens Nygaard
Caricature of Jens Nygaard on iPad
by Elizabeth "Lizzi" Volpert, age 12

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.

View Our Season Calendar

Click on the dates for 2020-2021 program details:

September 14 ~ Judge Brahms
September 21 ~ Trophies

October 5 ~ English Worthies
October 19 ~ American Ingenuity
October 26 ~ Jens’s 89th Birthday
November 9 ~ Enchanteur
November 23 ~ Russian Romantics
December 7 ~ Teamwork
December 21 ~ German Mavens
January 11 ~ Italian Beauties

January 25 ~ Hungarian Flair
February 8 ~ Classical Treats
February 22 ~ Ties to Brahms
March 8 ~ Polish Polish
March 22 ~ Known in Vienna
April 5 ~ Berliners
April 12 ~ Forgotten Women
April 26 ~ Très Magnifique
May 3 ~ Mozart’s Sway
May 17 ~ Roots

more details here...

View Our Printable Calendar (pdf)

Take a look at our guest artists for this season.
Find out more about the Jupiter Symphony Chamber Players.

Join us for our next concerts...

Albert Cano Smit, piano
Geneva Lewis, violin
Njioma Grevious, violin
Cong Wu, viola
Thomas Mesa, cello
Roni Gal-Ed, oboe
Vadim Lando, clarinet
Karl Kramer, horn
Gina Cuffari, bassoon

Monday, April 26 2 PM & 7:30 PM
Très Magnifique
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Limited Seating

Albert Cano Smit piano
Won First Prize at the 2017 Naumburg Piano Competition and finalist and CMIM grant recipient of the 2017 Concours International Musical de Montréal ~ “a superb musician has spoken” Le Devoir

Geneva Lewis violin
Won First Prize at the YoungArts, ENKOR, and 2019 New England Conservatory Concerto Competitions; and the Bronze Medal at the Fischoff competition as a member of the Callisto Trio

Njioma Grevious violin
Won a Keston-Max Fellowship to study and perform with the London Symphony Orchestra in April 2020, a Silver Medal with the Abeo Quartet at the 2019 Fischoff competition, and First Prizes for Performance and Interpretation at the 2018 Prix Ravel chamber music competition in France ~ described by the Boston Musical Intelligencer as a “thoroughly confident and mature violinist”

Cong Wu viola
Assistant Principal Violist of the New York Philharmonc, won 3rd Prize in the 14th Primrose Viola Competition and a Special Prize in the 12th Lionel Tertis Competition

Thomas Mesa cello
Winner of the 2017 Astral Artists Auditions, the 2016 Sphinx Competition, 2013 Thaviu Competition, and the 2006 Alhambra Orchestra Concerto Competition

Roni Gal-Ed oboe
First Prize winner of the Lauschmann Oboe Competition in Mannheim ~ “Outstanding” The New York Times

Vadim Lando clarinet
Winner of the CMC Canada, Yale and Stonybrook competitions ~ “consistently distinguished...vibrant, precise, virtuosic playing” The New York Times

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

Gina Cuffari bassoon
Co-principal Bassoonist of the Orpheus Chamber Orchestra, praised for her “sound that is by turns sensuous, lyric, and fast moving” Palm Beach Daily News

Ignace PLEYEL  Quintet in C Major
  ~ an exemplary work in the manner of Haydn, admired for its economy and effective use of short straightforward ideas ~ for piano, oboe, clarinet, bassoon, and horn

Pleyel was not only famous in his day as a piano builder and music publisher, he was equally acclaimed as a composer. Mozart praised the Austrian-born French composer’s merits in a letter to his father: “If you are not yet acquainted with Pleyel’s new quartets, it’s worth the effort. They are very well written and very pleasant. Perhaps one day Pleyel will be able to fill the place of our dear Haydn.” Initially a rival of Haydn’s, Pleyel made his peace with the older composer and for several years they enjoyed a close and fruitful relationship as teacher and prized pupil. In his heyday, Pleyel was all the rage in Europe, and there was even a Pleyel Society in Nantucket.

Camille SAINT-SAËNS  String Quartet No. 2 in G Major Op. 153
  ~ powerful and brilliantly original, at age 84

Mary Nemet in a review for Strings felt that the Quartet was Saint-Saëns’s “effortless mastery of string textures and his sheer inventiveness. Continual surprises enliven the overall effect, with subtle harmonic, rhythmic, and emotional shifting of gears and dramatic changes of tone color. With a backward nod, there’s a sweet, serene Haydnesque opening Allegro, and then an evocative Molto adagio with hints of the composer’s many trips to North Africa. The playful finale concludes with brilliant, scurrying virtuoso phrases and short fugues that belie the composer’s advanced years. Refusing to be pigeon-holed, the prolific master craftsman retains his wit and charm to the end.”

Baron Fernand de LA TOMBELLE  Piano Quartet in E minor Op. 24
  ~ lush late Romanticism reveals his multi-faceted style in its turbulent Allegro opening, highly expressive Adagio, jaunty Scherzo, and sparkling Finale ~ with a prize in hand from the Société des Compositeurs de Musique in 1893, it premiered on 19 April 1894 at the Salle Pleyel in Paris

Renowned in his day but now forgotten, La Tombelle (1854–1928) was a remarkable, cultivated Renaissance man—a composer, virtuoso pianist and organist, pedagogue and lecturer, poet and writer, folklorist and photographer, talented amateur painter, excellent cyclist, and he was keen on astronomy, archaeology, and gastronomy as well. Born in Paris, La Tombelle was first taught by his mother (a pupil of Thalberg and Liszt) and influenced by his teachers Alexandre Guilmant (the virtuoso organist) and Théodore Dubois, and his friend and advisor Camille Saint-Saëns. He was also a close friend of Jules Massenet. A prolific composer, his oeuvre of nearly 500 opus numbers encompasses every genre except opera. Among his masterpieces are his chamber music and choral music. His Fantaisie de concert was written for the inauguration of Chicago’s Auditorium Theater organ. Highlights of his career include his position as piano accompanist of the Trocadéro concerts at the Paris World’s Fair in 1878; an appointment as assistant organist at La Madeleine from 1885 to 1898; playing inaugural concerts on several instruments; and founding the Schola Cantorum in 1896 with Charles Bordes, Vincent d’Indy, and Guilmant. He also taught harmony there for about 10 years. Among his writings were theatrical fantasies, travelogues (he wrote about excursions around France as a member of the Automobile Club of Périgord), and a small culinary work, Les pâtés de Périgueux. After World War I he retired to Château de Fayrac in his native Perigord, devoting much effort to the music education of the lower classes and setting many popular regional themes to music.

Tickets: $25, $17, $10 ~ By Reservation Only
Call (212) 799-1259 or email admin@jupitersymphony.com
Pay by check or cash (exact change)​​​

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:

Required wearing of masks
Limited seating spaced 6 feet apart
Hand sanitizers
Doors to open 20 minutes before the concert
A short pause in place of an intermission
No refreshments
Request 6 feet distancing when entering and exiting
Suggest minimal, quiet talking

Windows and/or doors will be open

Please use the restrooms before or after the concert.
Thank you for accommodating the new format at this time.

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
20 Mondays at 2:00 PM & 7:30 PM

View Our NEW Season Calendar

To reserve Tickets ~ $25, $17, $10 
please call
(212) 799-1259
or e-mail admin@jupitersymphony.com

Please visit our Media Page to hear Audio Recordings from the Jens Nygaard and Jupiter Symphony Archive

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

admin@jupitersymphony.com
(212) 799-1259

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concert information and the latest news


Jupiter in the News

ConcertoNet
knocked the socks off this listener...It was wondrous chamber music. And the three artists gave it the deserving excitement, volition and imagination.” 
Harry Rolnick, ConcertoNet   more...

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...

ConcertoNet
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...


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

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
  ~ simply delicious piano quintet, alternately titled Rondeau Pastoral and better known in its version for solo piano, Twelve O’clock Rondo, on account of the 12 “chimes” at the end ~ by the creator of the Nocturne, which had a major influence on Chopin

We thank the University of Illinois (Champaign) for a copy of the Divertissement music.

Mackenzie Melemed piano
Abigel Kralik violin
Dechopol Kowintaweewat violin
Sarah Sung viola
Christine Lamprea cello

Sir Hamilton HARTY  Piano Quintet in F Major Op. 12
  ~ in a lyrical Romantic idiom, with a distinct, breezy Irish-salted voice

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
Abigel Kralik violin
Dechopol Kowintaweewat violin
Sarah Sun viola
Christine Lamprea cello

I Allegro 0:00
II Vivace 10:43
III Lento 14:44
IV Allegro con brio 23:59

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
Prelude

Stephen Beus piano
Stefan Milenkovich violin
David Requiro cello

 

More video from this performance can be viewed on our media 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 media 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:
JUPITER SYMPHONY
155 West 68th Street, Suite 319, New York, NY 10023
admin@jupitersymphony.com
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 20 minutes prior to each concert.

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