The Jupiter Symphony Chamber Players, the creation and legacy of Jens Nygaard, who passed away in 2001, presented their latest program Monday at the Good Shepherd Church.

I admired Nygaard for a number of reasons, but two come immediately to mind. First, he was an advocate, as am I, of the Scot musicologist Donald Francis Tovey. Second, how can you not love a guy who stops his forces during a rehearsal of the Beethoven Five to exclaim, “Save the pretty playing for Juilliard!”

Nygaard was American but of Danish ancestry. One would think that he would have approved of the all-Scandinavian concert that his colleagues gave this week (though the concert actually began with the work of a Germanic composer).

Former principal flutist Barry Crawford led a lively account of Joseph Martin Kraus’s Wuintet in D Major, Op. 7. Kraus was a contemporary of Mozart and adopted his insouciant style for the outer movements of this piece.The string quartet — Misha Keylin and Annaliesa Place, violins; Max Mandel, viola, and Andrey Tchekmazov, cello — was well blended and accurate. The Largo was beautiful, filled with flowing, long legato lines. There is a seemingly endless stream of these flute gems from the Viennese Classical era, and Mr. Crawford is doing his best to present them all.

Clarinetist Vadim Lando, hornist Karl Kramer-Johansen, and bassist Joseph Bongiorno joined the quintet for a performance of the septet version of En Saga by Jean Sibelius. Those readers who have already had their morning coffee will notice that it took eight people to play this septet. Why? Because Mr. Kramer-Johansen, the Scandinavian in the group, felt this arrangement by Gregory Barrett could use augmentation.

I have loved En Saga in its massive orchestral form since childhood, but I am an instant convert to the chamber version as a result of this performance. There is considerable evidence that Sibelius originally envisioned En Saga for some combination of small groups of winds and strings.When this composition was complete, however, it was already fully fleshed out for orchestra. This chamber version is superior primarily because of timbral combinations. Colors are more vivid in solo wind parts, while the landscape is incredibly stark.

In fact, the spare instrumentation magnifies exponentially Sibelius’s signature atavistic feel. This was fantasy writing at its most affecting. Every sonic combination was a new shock. This was the best performance of any work I have encountered thus far this season.

The other work on the program was obscure Norwegian composer Christian Sinding’s Piano Quintet, Op. 5, his first successful composition. Pianist Yung Wook Yoo led the string quartet through this massive work. He has a gigantic keyboard voice, too large and resonant for that little room, which made it sound as though he were consistently intoning the opening passages of that other Norwegian composer Edward Grieg’s famous Piano Concerto at Carnegie Hall. It was tempting to consider Mr. Yoo a pounder, but I don’t think this is fair. He was simply performing in the wrong space.

His Brobdignagian utterances were consistent with the rest of the piece, a rather blowsy work full of sound but little substance. If you like this sort of 1930s nightclub thing, then this was a superb version of it. Apparently there is more to Sinding than Rustles of Spring.