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Jupiter Symphony Chamber Players
“This was music-making of a very high order”
Fred Kirshnit, The New York Sun
Jupiter 2017 - 2018 Season
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Roman Rabinovich piano
Antonín DVORÁK Piano Trio No. 1 in Bb Major Op. 21
Jupiter in the News
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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
Monday, February 19, 2pm & 7:30pm
Fei Fei piano
Itamar Zorman violin
Cynthia Phelps viola
Édouard DUPUY Introduction and Polonaise
Dupuy led quite a colorful and peripatetic life—by 1785 he was leader at the private theater of Prince Henry of Prussia, but a scandal led to his dismissal in 1792, so he became a touring violinist instead. By 1793 he was in Stockholm, working actively as a singer and composer in the court orchestra. He was then expelled from Sweden in 1799 for political reasons and moved to Copenhagen where, in 1807, he sang the title role in Mozart’s Don Giovanni. His stay in Denmark, however, was cut short—his pupil in singing, Princess Charlotte Frederikke of Mecklenburg-Schwerin, fell in love with him, and their alleged affair led to their exile in 1809. Dupuy then went to Paris, but in 1811 a change in the Swedish political situation enabled him to return to Stockholm, where he died in 1822.
Luigi BOCCHERINI String Quintet in A minor Op. 25 No. 6 (G300)
Boccherini’s closest friends in Madrid were the Font family—violist Francisco Font and his three sons, violinists Antonio and Juan and cellist Pablo. They premiered the majority of his quintets with the Italian composer playing the more virtuosic second cello. The addition of another cello resulted in an innovative string quintet with two cellos, which became Boccherini’s main contribution to the chamber music repertoire.
Max BRUCH Eight Trio Pieces, Op. 83 Nos. 2, 5, 7
Giuseppe MARTUCCI Piano Quintet in C Major Op. 45
Championed by Toscanini, Martucci was perhaps the most significant representative of Italian instrumental music in the second half of the 19th century and revived Italy’s interest in non-operatic music. His compositions are said to unite romantic sonorities with Parnassian elegance, as can be heard in the Piano Quintet.
Jupiter Players on this program:
Lisa Shihoten violin
Zlatomir Fung cello
Sarah Rommel 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
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.
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