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

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To purchase Tickets ~ $25, $17, $10 
please call
(212) 799-1259 or buy at the door
or e-mail admin@jupitersymphony.com
order tickets with our printable ticket order form (pdf)

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

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...

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Monday, May 14, 2pm & 7:30pm 
Super Stars
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)
William Wolfram, piano
Robin Scott, violin
Paul Neubauer, cello
Lisa Shihoten, violin
Christine Lamprea, cello
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

Robin Scott violin
First Violin of the Ying Quartet ~ winner of the California Young Artists, WAMSO, Yehudi Menuhin, Irving Klein, and Stulberg competitions ~ he has performed at the Kennedy Center, Library of Congress, and Jordan Hall in Boston, and has participated at Marlboro, Ravinia, Yellow Barn, and Kneisel Hall

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: Robin Scott replaces Alexander Sitkovetsky for this concert

BEETHOVEN  Sextet in Eb Major Op. 81b
   ~ tailored for viola, cello, and piano from the original for 2 horns and string quartet by the German organist and composer Ernst Naumann (1832–1910)

The easygoing spirit of this early work, in an extension of the divertimento, leans on Mozart, but with Beethoven touches. Alexander Vogel in The Beethoven Companion feels “the development of the younger Beethoven as he proceeds from movement to movement. The last movement, Rondo, is one of his most beautiful compositions: a vigorous and rhythmical first subject foretells the magnificent Rondo of the Violin Concerto, and a haunting second subject gives it great profundity.”

MENDELSSOHN  Violin Concerto in D minor
   ~ originally transcribed for clarinet quintet by his close friend, the clarinetist Heinrich Baermann, for whom both Weber and Mendelssohn wrote several pieces ~ the music for the transcription, however, could not be found so Jupiter clarinetist Vadim Lando made a transcription from a recording, with alterations

In a review of Vadim’s performance of his transcription in 2006, Fred Kirshnit of the New York Sun wrote, “The challenge here is that Mendelssohn’s original violinist didn’t need to stop playing to breathe, whereas Mr. Lando, at least theoretically, had to take a breath sometime. He must be a very good underwater swimmer, however, as he was able to fashion long and extended runs and otherwise lyrical passages seamlessly. The piece is more than just juvenilia, sporting a solid sense of melodic development. After all, Felix composed it only three years before he penned ‘A Midsummer Night’s Dream.’ The final Allegro was one of those movements that express the German notion of authentic Gypsy music.”

BRAHMS  Piano Quintet in F minor Op. 34
   ~ “The Quintet is beautiful beyond words...a masterpiece of chamber music,” confirmed Hermann Levi, the German conductor and an admirer and friend of Brahms

Jupiter Players on this program:

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

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


Monday, April 23, 2pm & 7:30pm 
Touched by Mozart
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Stephen Beus, piano
Francisco Fullana, violin
Maurycy Banaszek, viola
David Requiro, cello
Barry Crawford, flute
Vadim Lando, clarinet
Karl Kramer, horn
Gina Cuffari, bassoon
Jordan Dodson, guitar

Stephen Beus piano
Winner of the Gina Bachauer competition and Vendome Prize ~ “Mesmerizing... explosive... intelligent... he belongs on the world stage.” Salt Lake Tribune ~ “...strikingly original... his playing is so natural as to seem effortless and the sound he produces has extraordinary richness and depth not quite like anyone else's.” Fanfare

Francisco Fullana violin
Principal Violinist of the Saint Paul Chamber Orchestra ~ recipient of the 2018 Avery Fisher Career Grant, winner of the Brahms, Sarasate, Julio Cardona, the TIM “Torneo Internazionale di Musica” competitions, and the Maria Paula Alonso Award, among others ~ “a very special violinist” The Boston Globe

Leopold MOZART  Horn Concerto in D Major
   ~ by Mozart’s father and principal teacher ~ in a trio version for horn, clarinet, and piano

Johann Georg Leopold Mozart (1719–1787) was born in Augsburg, Germany, and died in Salzburg, Austria. He was a distinguished musician in his own right and an accomplished composer of considerable imagination, impressively enough that some of his own work was confused with that of his son. Much of this music was written earlier in his career, diminishing in output as he devoted more and more of his attention to the development (and exploitation) of Wolfgang’s talents. Leopold was also an excellent violinist and worked at the local court of the Prince-Archbishop of Salzburg, first in an unpaid position, then rising through the ranks of the orchestra to become court composer in 1757, and vice chapelmaster in 1762. Another important contribution to music was his excellent treatise on his teaching methods, published in 1756, the year of Wolfgang’s birth. The Versuch einer gründlichen Violinschule (A Treatise on the Fundamental Principles of Violin Playing) was influential in its day and was widely reprinted and translated. It continues to be an important scholarly source on authentic 18th century performance practice, detailing many points about musical expression and ornamentation, and other topics.

MOZART  Violin Sonata in Bb Major K. 454
   ~ his virtually perfect Sonata in an arrangement for string trio published between 1823 and 1827 by Johann André, one of Mozart’s first publishers

The Sonata was written for the violin virtuoso Regina Strinasacchi of Mantua, to be performed by both of them at a concert in the Kärntnertortheater in Vienna on 29 April 1784. In a letter to his father, Mozart wrote, “She has a great deal of taste and feeling in her playing. I am this moment composing a sonata which we are going to play together on Thursday at her concert in the theatre.” Hermann Abert’s classic biography recounted that Mozart was delinquent in copying the piece out, and “it was only with difficulty that the violinist was able to extort her part from the composer on the eve of the concert. She had to rehearse it on her own the next morning. Mozart himself turned up at the concert with a sketch containing only the violin line and a few accompanying chords and modulations, playing the work virtually entirely from memory and without any rehearsal, a feat observed by the emperor [Joseph II] from his box by means of his lorgnette. In spite of this, the performers achieved an excellent rapport and were much applauded.”

Johann Nepomuk HUMMEL  Grand Serenade No. 2 Op. 66
   ~ a potpourri for piano, violin, guitar, clarinet, and bassoon by the Austrian pupil of Mozart, considered one of Europe’s greatest composers and perhaps the greatest piano virtuoso in Europe for more than 2 decades

The uniquely scored work was written for an outdoor concert series hosted by Count Franz Pálffy at Vienna’s Schönbrunn Palace in 1815. For the entertaining piece, favorite themes are quoted from Mozart’s La Clemenza di Tito and Die Zauberflöte (The Magic Flute), Zéphir (possibly the opéra comique Zéphir et Flore by Denis Ballière de Laisement, written in 1745 but not performed till 1754), and La Tempesta di Mare (The Storm at Sea). The original score apparently “also contains stage directions which involve the players, with the exception of the piano, moving themselves from their original positions and repositioning to new locations on the stage. It seems possible that dancing and acting would also be taking place on the stage,” according to the music writer Michael Cookson. Immensely popular, the Serenade was published several times, and created “a sensation at evening festivities in Vienna’s imperial gardens.”

Hummel got free lessons from Mozart, with whom he lived, and, like Beethoven, studied with Salieri and Haydn, as well as composition with Albrechtsberger. In 1804 he succeeded Haydn as Kozertmeister and later as Kapellmeister at the court of Esterházy in Eisenstadt. Hummel and guitarist Mauro Giuliani became acquainted soon after Giuliani’s arrival in Vienna in 1807, and went on to collaborate as both performers and composers in a fruitful partnership that resulted in several works for guitar and piano, as well as larger ensembles. Hummel and Beethoven were also close friends for many years until their falling out in the late 1810s, but a remarkable reconciliation took place at Beethoven’s deathbed in 1827; at the funeral, Hummel was a pallbearer and Schubert, a torchbearer.

BEETHOVEN  Symphony No. 1 in C Major Op. 21
   ~ ably transcribed by Hummel for piano, flute, violin, and cello

Written at the height of his Classical powers, the Symphony was first performed for Beethoven’s benefit at the Imperial Theatre in Vienna on 2 April 1800, and dedicated to Baron Gottfried van Swieten, an early patron and intimate friend of Haydn and Mozart. A few months later it was played at the Gewandhaus in Leipzig. What did his contemporaries think? A Viennese critic, writing in 1802, declared it “a masterpiece that does equal honor to [Beethoven’s] inventiveness and his musical knowledge. Being just as beautiful and distinguished in its design as its execution, there prevails in it such a clear and lucid order, such a flow of the most pleasant melodies, and such a rich, but at the same time never wearisome, instrumentation that this symphony can justly be placed next to Mozart’s and Haydn’s.”

Jupiter Players on this program:

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

David Requiro cello
Winner of the Naumburg, Irving Klein and Washington String competitions ~ “Requiro has everything—musicianship, poise, dazzling technique, and even that great indefinable, star quality” San Francisco Classical Voice

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

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
Praised for her “sound that is by turns sensuous, lyric, and fast moving” Palm Beach Daily News

Jordan Dodson guitar
Winner of the 2013 Astral Artists’ Auditions, 2011 Lillian Fuchs, 2010 Indiana Guitar, and 2008 American String Teachers Assn competitions “One of the top young guitarists of his generation” Performance Today

Monday, April 30, 2pm & 7:30pm 
The French Connection
Good Shepherd Presbyterian Church
152 West 66 Street (west of Broadway)

Drew Petersen, piano
William Hagen, violin
Lisa Shihoten, violin
Laura Park, violin
Cong Wu, viola
Zlatomir Fung, cello
Barry Crawford, flute
Rita Mitsel, oboe
Vadim Lando, clarinet
Gina Cuffari, bassoon
Karl Kramer, horn

Drew Petersen piano
Recipient of the 2018 Avery Fisher Career Grant and 2017 American Pianists Awards, 2015 Leeds (4th prize), Kosciuszko-Chopin competitions, Jan Gorbaty Award, and Artist-in-Residence at the University of Indianapolis ~ featured in “How to Raise a Prodigy” The New York Times, October 31, 2012 and Katie Couric’s talk show January 8, 2013 ~ “Thrilling piano playing wedded to astute quite astonishing musicianship.” East Hampton Star

William Hagen violin
Top prizewinner of the 2015 Queen Elisabeth and 2014 Fritz Kreisler competitions ~ a “brilliant virtuoso…a standout” The Dallas Morning News ~ “an intellectual command of line and score, and just the right amount of power” Violinist.com ~ “plays with an obvious and sincere love for the very act of music making” North Texas Performing Arts News

Note: Drew Petersen replaces Alexander Kobrin for this concert

Alexander SCRIABIN  Andante Anh. 20
   ~ unlike the unusual chromatic, almost bitonal, harmonies of the Russian composer’s later work, this lesser-known gem for string quartet is sheer beauty

Scriabin, who was influenced in his early life by Chopin, wrote the Romantic Andante while studying at the Moscow Conservatory. After graduating in 1892 with the “Little Gold Medal,” he made a number of trips to Paris, the city of his first concert abroad (in 1896). Other visits followed in 1898, when he played a successful concert at the Salle Erard, in 1900 during another tour, in 1904 to make arrangements for the performance of his Symphony No. 3 and again in 1905 for its performance, and in 1907.

Camille SAINT-SAËNS  Caprice on Danish and Russian Airs
   ~ the fantasy, written in honor of the Danish princess Maria Feodorovna, wife of the Russian czar Alexander III, was performed on a tour to St. Petersburg ~ for piano, flute, oboe, and clarinet

Maurice RAVEL  Le Tombeau de Couperin
   ~ transcribed for wind quintet from the orchestral version of 4 movements by the Danish composer Hans Abrahamsen

After a stint of active duty in World War I, Ravel, haunted by memories, returned to work on Le Tombeau. What had begun as an homage to François Couperin and the golden age of 18th century French music became a memorial in honor of the dead—each of six movements dedicated to a friend who had died on the front. Ravel began the piano version in 1914, completing it in 1917. In 1919 he chose 4 movements to orchestrate, and the brilliant, stylish suite premiered in Paris on 28 February 1920. Using the forms of the Baroque dance suite, Ravel wrote a graceful Prléude, a somewhat dissonant Forlane (a Northern Italian dance), a Menuet, and a Rigaudon (an old dance from Provence).

Ernest CHAUSSON  Concert in D Major Op. 21
   ~ virtuosic late Romantic tour de force for solo violin and piano, with string quartet

Neither a sextet nor a concerto, the lush Concert is deeply individual, dramatic, and resplendent, laden with new sonorities. It was dedicated to the Belgian violin virtuoso Eugène Ysaÿe, who premiered it in Brussels in 1892 with pianist Auguste Pierret and members of the Ysaÿe Quartet. Ruthlessly self-critical and pessimistic, Chausson ruled it “Another failure!” But the Belgians thought otherwise, as revealed in his diary, “Never have I had such a success! I can’t get over it. Everyone seems to love the Concert.”

Jupiter Players on this program:

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

Laura Park violin
Laureate of many competitions including the Lipizer, Stulberg, and Fischoff ~ “extraordinary maturity, interpretive insight, passion, [and] nuance” Chicagoclassicalmusic.org

Cong Wu viola
Won Third Prize and Best Performance in the 2014 Primrose Viola Competition

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

Barry Crawford flute
He plays “with steely accuracy and a superb singing tone.” Fred Kirshnit ~ New York Sun

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

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 ~ Mostly 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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