10th anniversary season 2017/2018 masterworks … and william tell. ... th e overture concludes with...

10th Anniversary Season 2017/2018 Masterworks Series at Carnegie Hall

ChamberOrchestraofNewYork.org

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Dear Friends:

Come celebrate the 10th Anniversary Season 2017/2018 of the Chamber Orchestra of New York. Th e milestone season includes a four-concert Masterwork Series at Carnegie Hall with additional productions around the city.

“Postcards from Italy” is our opening concert at 7:30 p.m. on Saturday, October 28th at Carnegie Hall’s Zankel Hall. It features music by Rossini and Verdi, along with Mendelssohn’s Italian Symphony. Th ese works complement American violinist Elena Urioste’s performance of Respighi’s fi rst Violin Concerto in A Ma-jor, the work which on Naxos Records brought the orchestra to international acclaim. Dirk Brossé’s Pictures at an Exhibition receives its New York premiere alongside the world premiere of Di Vittorio’s own Palermo Overture. VIP ticket buyers will enjoy ac-cess to our post-concert champagne reception.

Our Masterwork Series at Carnegie Hall also includes three programs at Weill Hall: Saturday, December 9, 2017, Th ursday, March 1, 2018, and Th ursday, June 7, 2018. Th e orchestra will have additional productions around the New York area, such as a “Christmas Concerti” program at Th e Morgan Library & Museum in collabora-tion with the exhibition “Charles Dickens and the Spirit of Christmas” (November 17, 2017), and a program celebrating the launch of Th e Respighi Prize in Piano at the Adelphi University Performing Arts Center (June 8, 2018).

Season highlights include a focus of the music of our founding Music Director and composer Salvatore Di Vittorio, and four of our principals as soloists: Burt Mason in Albrechtsberger’s Trombone Concerto, concertmaster Kelly Hall-Tompkins and violist Margaret Snyder in Mozart’s Sinfonia Concertante, and harpist Kristi Shade - together with Italian fl utist Tommaso Benciolini - in Mozart’s Concerto for Flute and Harp. And in celebration of Claudio Monteverdi’s 450th birth anniversary, Di Vittorio will pres-ent his orchestration of the Monteverdi opera overture Orfeo, Toccata e Ritornello.

We greatly look forward to your presence for all the celebrations! Become a regular member of the Chamber Orchestra of New York experience. Visit our website to pur-chase subscription or single tickets: chamberorchestraofnewyork.org

Enjoy the season!

John Soppe, Board President

WELCOME FROM OUR BOARD PRESIDENT

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CONTACT US

For general questions, to hire the orchestra, or further information, please contact us by phone 646-397-1879, email [email protected], or write:

Chamber Orchestra of New York450 Lexington Avenue, #1514New York, NY 10163

For further information about the Orchestra, visit our website www.chamberorchestraofnewyork.org

For Public Relations:Jeff rey James Arts ConsultingTel: 516-586-3433 E-mail: [email protected] Website: www.jamesarts.com

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Chamber Orchestra of New York is a not-for-profi t organization under Section 501(c)(3) of the Internal Revenue Code. All donations are tax-deductible to

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Th e Orchestra invites you to make a donation in support of our concert seasons. Online: ChamberOrchestraofNewYork.org/supportusIn Person: Visit the orchestra table outside the hall.By Mail: Chamber Orchestra of New York

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For questions regarding concert program donations, endowments and planned giving, and advertising, please contact our Orchestra Manager, Ms. Santa Maria Pecoraro: [email protected]

Th anks for supporting the Chamber Orchestra of New York!

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CHAMBER ORCHESTRA OF NEW YORK


Zankel Hall at Carnegie Hall

Saturday, October 28, 2017 at 7:30pm

10TH ANNIVERSARY CONCERT:

POSTCARDS FROM ITALY

ROSSINI The Barber of Seville Overture

DI VITTORIO Palermo Overture [World Premiere]

VERDI La Traviata, Prelude to Act 1

RESPIGHI - DI VITTORIO Concerto for Violin (in A)

I. Allegro energetico

II. Molto lento, Agitato, Tranquillo

III. Allegro (Rondo)

Elena Urioste, violin

INTERMISSION

BROSSÉ Pictures at an Exhibition [New York Premiere]

I. The Peaceable Kingdom

II. The Grand Canyon of the Colorado River

III. Fair Weather

IV. Road and Trees

MENDELSSOHN Symphony No. 4 “Italian”

I. Allegro vivace

II. Andante con moto

III. Con moto moderato

IV. Presto and Finale: Saltarello

This program is supported, in part, by public funds from the New York City

Department of Cultural Affairs in partnership with the City Council. Additional funding

is generously provided by The Herman Goldman Foundation.

Please turn off your cell phone and other electronic devices.

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PROGRAM NOTES

POSTCARDS FROM ITALY

THE BARBER OF SEVILLE OVERTURE

COMPOSERDETAILS: Gioacchino Rossini (Pesaro, 1792 – Paris, 1868; Italian) HIGHLIGHTS: Rossini wrote 39 operas, including such classics as Th e Barber of Seville, Cenerentola, and William Tell. His musical identity is marked by his colorful over-tures and ravishing melodies for voices in the bel canto style that he, Bellini and Donizetti made famous.

WORKYEAR/DURATION: 1816; 7 minutesHISTORICAL NOTES: Rossini’s opera Th e Barber of Seville remains his most popular work, even making its way into fi lm and television. Th e overture was borrowed from two earlier opera overtures, Aureliano in Palmira and Elisabetta - Regina d’Inghilterra, and therefore does not contain any of the Barber’s themes. Nonethe-less, the overture is one of the most recognizable opera overtures in music history, with its colorful orchestration and crescendo ending.

PALERMO OVERTURE [WORLD PREMIERE]

COMPOSERDETAILS: Salvatore Di Vittorio (Palermo, 1967; Italian)HIGHLIGHTS: See Biography on page 30

WORKYEAR/DURATION: 2013; 7 minutesHISTORICAL NOTES: Palermo Overture, an overture with program, was composed following a meeting with Palermo’s Mayor Leoluca Orlando, who bestowed the Medal of Palermo for “the great importance of Di Vittorio’s work as a promoter of Palermo around the world” (Il Moderatore). Th e work serves as a postcards from Palermo, featuring historical sites which ennoble the city. Di Vittorio’s original themes depict each location’s historical signifi cance: the ships arriving from the Mediterranean borrow ancient Phoenician and Greek themes, the Norman Palace theme comes from a medieval French chanson. A spagnola theme depicts “the people of the city” by remembering the Spanish conquest of the two Sicilies; while a Gregorian chant highlights Villa Bonnano’s Roman artifacts. Th e overture concludes with a ‘bersagliere’ (army band) styled March for a hymn to Palermo. Opera lovers may detect the ending variations of Bellini’s I Capuleti e I Montecchi and Verdi’s Falstaff , which were performed during the opening of both Palermo theaters – Politeama Garibaldi and Teatro Massimo Opera, respectively. Di Vittorio’s fi rst inspiration came from a painting by Pietro Fabris titled “A View of Palermo from the Sea with the ‘Marino’ and Fashionable Folk” (1770).

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INDIVIDUAL & CORPORATE SPONSORS (Continued)

Gifts under $500Anonymous (12)AmazonSmileAnthony and Frances AngiuoliJeffrey and Kristine AlpiUrsula AndreoFrancesca AngiuoliSandra BaronJohn Bitondo In Memory of Tony BitondoTony BitondoJohn William CarrollMaria Teresa CataneseEdgar CharlesDavid and Debbie ChiangLinden ChubinLinda and Arthur CoussaJPMorgan Chase (Matching gift)Sharon DarnovJoseph DelaneyMeike DittmanVictoria EisenMatthew EvansBryan FarlowIan FiedorekMalva FilerArash GrakouiMark HerticaKaren Ikeda and Neil Court Charitable Gift FundClarence KeenumJeffrey KimKurland PhotoMary Harriet LaddJohn and Rosalia LawAnna Grace MackayJames S. MayerJoseph Marcotrigiano, PhDSvetlana MarukianMelissa and Dan McClainJohn MincarelliJoe O’KeefePatricia O’Shea Seamus and Ivana McCotterJane PalmquistPatricia Picchochi I, In Memory of Tony BitondoTom PhilipsTerri and Kevin PuttRuth and Steven RosenhausDavid SantiagoLanny and Robin SchwartzfarbWilliam and Kristin SchneiderMargaret ScullAmanda SewkumarRichard J. TrujilloJohn and Rosalina VelascoAlexander VogtVincent and Josette ZichelloEdyta Zych

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Gifts of $100,000 or moreGoogle, Inc. Grant Award (annual, in-kind)

Gifts of $50,000 or moreAnonymous (1)

Gifts of $25,000 or moreAnonymous (1)Giuseppe and Caterina Chiello Di

Vittorio, In Memory of Salvatore & Giuseppina Di Vittorio

The Vaughan Williams Charitable Trust

Gifts of $15,000 or moreAnonymous (3)Salvatore Di VittorioRobert and Carol MorrisJames and Kalpana Rhodes

Gifts of $10,000 or more Anonymous (3)Shanan and Tiffany EstreicherLower Manhattan Cultural CouncilNew York City Department of Cultural

AffairsO’Lampia Studio, Inc.

Gifts of $5,000 or moreSteven AvaryGiuseppe and Dorotea Carera ChielloChurch of St. Jean BaptisteConsort MusickRichard and Geraldine EisenbergAdrian FluryThe Herman Goldman FoundationStephen D. Hans & AssociatesMr. Kim J. Hartswick and Maria Ann

ConelliIstituto Italiano di Cultura, New YorkSanta Maria PecoraroMassimiliano PincioneCharles M. Rice, PhDWalton TrustPaul WexlerAlicia Zizzo, PhD

Gifts of $3,000 or moreJude and Barbara BarberaGoldman SachsKwangsung and Chongkuem Lee New York State Council on the ArtsGeorge HemingwayGloria ShiaJohn SoppePatrick WaideEvan N. Wilson

Gifts of $1,000 or moreAnonymous (3)Barber of Seville, San Diego, CAJohn and Karen BergerElizabeth Dervy, Esq.Ebbin Properties Corp.John FarrerFaust Harrison PianosMichael and Marina Harrison Todd HollanderJeffrey James Arts ConsultingMichael LubinThomas and Marie-Pierre MurryMarea Parker, Esq. George and Nunzia PecoraroJonathan A. SebastianiJeffrey I. Stone

Gifts of $500 or moreRichard BrunswickJill Cashman Joseph and Rosalia Giuffrida CassarMichael and Deborah CharnessCarmine and Mary ConelliAmelio A. D’Onofrio, PhDHoward and Nell DillonVictoria EisenRosemary GentAda GentileWilliam HoodiGive.comJohnson & Johnson (Matching gift)Michael KurjakovicMelinda LevineCalin Moucha and Emily ZimmermanEric SteinbergWeiss and Associates

Wish to be a patron of the Chamber Orchestra of New York? Make a donation at the info table in the lobby, or email us:

[email protected]

INDIVIDUAL & CORPORATE SPONSORS

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Di Vittorio’s program notes in the published score:

“Panormus! New Port of the Mediterranean. Th e bells of the cathedral. Th e people of the city. La Kalsa. Th e splendor of the Norman Palace. A walk through the Ballarò Market. Th e pride of the statues of the fountain of Pretoria Square – Venus, Bacchus and Apollo. Th e cave of Saint Rosalie. Th e beautiful scent of Villa Bonanno. A hymn for Palermo, from Teatro Politeama Garibaldi and the Teatro Massimo.”

LA TRAVIATA, PRELUDE TO ACT 1

COMPOSERDETAILS: Giuseppe Verdi (Busetto, 1813 – Milan, 1901; Italian) HIGHLIGHTS: Giuseppe Verdi is today considered the most infl uential Italian com-poser, and perhaps the most widely performed opera composer of all time. His twenty-six operas include such towering masterworks as Nabucco, Rigoletto, La Traviata, Don Carlo, Aida, Otello and Falstaff . Verdi’s lyricism, specifi cally, is con-sidered by some music historians to be the pinnacle in achievement and ultimate standard by which perfection is measured along with musical structure.

WORKYEAR/DURATION: 1853; 4 minutesHISTORICAL NOTES: Verdi’s 18th opera La Traviata (Th e Fallen Woman) was com-pleted in 1853, and premiered on March 6th of the same year at La Fenice Opera in Venice. Th e Italian libretto, by Francesco Maria Piave, was adapted from an 1848 play by Alexandre Dumas entitled “La Dame aux Camélias” (Th e Lady of the Ca-mellias). Th e heavenly, beautiful Prelude to Act I is one of Verdi’s most admired gems. It is a refl ective music, which awakens the senses to the opera’s unfolding story of grief and loss.

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CONCERTO FOR VIOLIN (IN A MAJOR)

COMPOSERDETAILS: Ottorino Respighi (Bologna, 1879 – Rome, 1936; Italian)HIGHLIGHTS: Respighi is renowned for his Roman Trilogy of works (Fountains of Rome, Pines of Rome, and Roman Festivals) and dozens of other orchestral works, such as his collection of Ancient Airs and Dances No. 1-3, Trittico Botticelliano and Th e Birds, numerous concerti, choral and chamber music. Respighi’s prolifi c com-positional output includes about 200 works (including nine operas), about three dozen transcriptions, and a handful of unfi nished works. His music in the twen-tieth century signaled the rebirth of Italian symphonic music and a restored ap-preciation of Renaissance and Baroque musical forms.

WORKYEAR/DURATION: 1903/2009 (Completed by Di Vittorio); 21 minutesHISTORICAL NOTES: Respighi’s fi rst Violin Concerto in A major was left unfi nished by the composer in 1903. Th is work, which harks back to the concerto writing of such masters as Vivaldi and the young Mendelssohn, pre-dates Respighi’s other violin concertos, including his second Concerto all’antica (in A minor) of 1908. As for the original manuscript of this concerto, Respighi had completed the fi rst two movements and begun the third movement in piano reduction, with only a few measures orchestrated. In completing the concerto, Di Vittorio maintains the nature and musical integrity of the work, based on the unfi nished Respighi manu-script. He begins by enhancing the orchestration of the fi rst two movements, and then models the third movement development section as a sort of rondo comprised of musical ideas gathered from these two movements. Di Vittorio then extends the introductory themes of the third movement, which greatly resemble the thematic material of the fi rst movement, through a series of variations and reinventions. Th e resulting work embraces Respighi’s vision, while Respighi’s conclusion to the fi rst movement foreshadows the master’s later colourful orchestration in arguably his greatest work, Pines of Rome. Th e completed concerto received its world première under the baton of Salvatore Di Vittorio with the Chamber Orchestra of New York on February 13, 2010, at the Church of St Jean Baptiste in New York, and was later released on Naxos Records in 2011.

PICTURES AT AN EXHIBITION (NEW YORK PREMIERE)

COMPOSERDETAILS: Dirk Brossé (Ghent, 1960; Belgian) HIGHLIGHTS: See Biography on page 9

WORKYEAR/DURATION: 2017; 15 minutesHISTORICAL NOTES: On May 14-15, the Chamber Orchestra of Philadelphia pre-sented the world premiere of their Music Director Dirk Brossé’s Pictures at an Ex-hibition in a multidisciplinary collaboration with the Philadelphia Museum of Art. Brossé’s evocative work is inspired by seven beloved American paintings from the Museum’s collection. (Images courtesy of Philadelphia Museum of Art.)

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PATRONS

Chamber Orchestra of New York graciously recognizes its generous contributors. As of 8/15/2017.

FOUNDATIONAL & GOVERNMENT SPONSORS


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ADMINISTRATION & BOARD

ADMINISTRATION

Salvatore Di Vittorio, Music Director & ComposerSanta Maria Pecoraro, Orchestra ManagerShanan Estreicher, Education ManagerStephen D. Hans, Esq., Legal CounselPaul Wexler, Esq., Legal CounselJeffrey James Arts Consulting, Public RelationsBarbara Venetikidou, International Tours Manager

BOARD OF DIRECTORS

John Soppe, President Kim J. Hartswick, President Emeritus

GOVERNING BOARDSteven AvaryElizabeth Dervy, Esq. Salvatore Di VittorioShanan EstreicherGeorge HemingwayMarea Parker, Esq. Santa Maria PecoraroGloria ShiaJohn SoppePaul Wexler, Esq.

HONORARY BOARDAlberto CantùEnnio Morricone Potito Pedarra (Respighi Archive

Curator)Elsa and Gloria Pizzoli (Respighi

family)Emilio RespighiCharles M. Rice, Ph.D.Cia Toscanini Peter Vallone Jr., Esq.Luigi VerdiEvan N. Wilson

ADVISORY BOARDIra Abrams, Esq.John Farrer Alan GilbertLynn Harrell Cho-Liang Lin Andrew Litton Olivera Medenica, Esq.Francesco Panasci (Edizioni

Panastudio)Nadja Salerno-Sonnenberg Alessandra Visconti Alicia Zizzo, Ph.D.

If you wish to join our Board, please contact our offi ce at [email protected]

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Enjoying the concert? Make a donation at the info table in the lobby or email us: [email protected]

Below are four of the paintings selected for tonight’s performance (clockwise): 1) Th e Peaceable Kingdom (Edward Hicks), based on the Book of Isaiah, 11:6-8.2) Grand Canyon of the Colorado River (Th omas Moran).3) Fair Weather (Man Ray), based on Italian Commedia dell’arte Harlequin character. 4) Road and Trees (Edward Hopper).

SYMPHONY NO. 4 “ITALIAN”

COMPOSERDETAILS: Felix Mendelssohn (Hamburg, 1809 – Leipzig, 18476; German)HIGHLIGHTS: Mendelssohn had early success in his career by rediscovering and championing J.S. Bach’s music, also through his travels to Europe including in Britain and Italy - where he conceived his Italian Symphony. Compared with his contemporaries Liszt and Berlioz, Mendelssohn’s musical tastes were conversative. He is especially well-known for his symphonies, especially his Scottish and Ital-ian symphonies, overtures such as Th e Hebrides, his Violin Concerto, and incidental music for Midsummer Night’s Dream.

WORKYEAR/DURATION: 1833; 30 minutesHISTORICAL NOTES: In 1831 Mendelssohn wrote his sister Fanny from Italy: “Th e Italian symphony is making great progress. It will be the jolliest piece I have ever done, especially the last movement. I have not found anything for the slow move-ment yet, and I think that I will save that for Naples.” Th e work was fi nished in Berlin, to fulfi ll a request for the London (now Royal) Philharmonic. Mendels-sohn conducted the world premiere himself on May 13, 1883 at the orchestra’s concert hall.

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Violinist Elena Urioste, hailed by Th e Washington Post as “a drop-dead

beauty who plays with equal parts pas-sion, sensuality, brains and humor,” was recently selected as a BBC New Gen-eration Artist, and has been featured on the cover of Symphony magazine. Elena has given acclaimed performances with major orchestras throughout the United States, including the Philadelphia Or-chestra, Cleveland Orchestra, New York Philharmonic, Boston Pops, Buff alo Philharmonic, and the Chicago, San Francisco, National, Atlanta, Baltimore, Detroit, Pittsburgh, Columbus, Austin, Charleston, Richmond, and San Anto-nio symphony orchestras. Abroad, she has appeared with the London Philhar-monic Orchestra, Hallé Orchestra, BBC Symphony, BBC Philharmonic, BBC National Orchestra of Wales, Edmon-ton Symphony, Würzburg Philharmonic, and Hungary’s Orchestra Dohnányi Bu-dafok and MAV Orchestras. She has reg-ularly performed as a soloist in Carnegie Hall’s Stern Auditorium and has given recitals in such distinguished venues as Wigmore Hall in London, Carnegie Hall’s Weill Recital Hall, Konzerthaus Berlin, the Sage Gateshead in Newcas-tle, Bayerischer Rudfunk Munich, and the Mondavi Center at the University of California-Davis.

As fi rst-place laureate in both the Ju-nior and Senior divisions of the Sphinx Competition, Elena debuted at Carnegie Hall’s Isaac Stern Auditorium in 2004. She has collaborated with such acclaimed conductors as Sir Mark Elder, Yannick Nézet-Séguin, Christoph Eschenbach, Robert Spano, and Keith Lockhart; pia-nists Mitsuko Uchida, Dénes Várjon, and Ignat Solzhenitsyn; cellists Peter Wiley, Colin Carr, and Carter Brey; violists Kim Kashkashian and Michael Tree; and violinists Joseph Silverstein, Arnold Steinhardt, and Cho-Liang Lin. An avid

chamber musician as well as soloist, Elena has been a featured artist at the Marl-boro, Ravinia, La Jolla, Bridgehampton, Moab, and Sarasota Music Festivals, Switzerland’s Sion-Valais International Music Festival, and the Verbier Festival’s winter residency at Schloss Elmau. She regularly performs in a piano trio with pianist Michael Brown and cellist Nicho-las Canellakis, as well as in recital with Michael Brown and pianist Tom Poster.

Elena is a graduate of the Curtis In-stitute of Music where she studied with Joseph Silverstein, Pamela Frank, and Ida Kavafi an. She completed graduate studies with Joel Smirnoff at Th e Juilliard School. Other notable teachers include David Cerone, Choong-Jin Chang, So-ovin Kim, and Rafael Druian.

Elena Urioste is under general man-agement with the New York-based fi rm Sciolino Artist Management. In Europe she is represented by Th omas Hull of Maestro Arts.

elenaurioste.com

VIOLINIST

ELENA URIOSTE

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ensemble of gifted musicians, including fi rst concertmaster Kelly Hall-Tompkins (New Jersey Symphony).

During the Second Season 2008/09, Respighi’s great nieces Elsa and Gloria Pizzoli, and archive curator/cataloger Potito Pedarra entrusted Music Direc-tor Salvatore Di Vittorio with the task of editing, orchestrating, and completing several early orchestral works of Respighi, in their fi rst printed editions published by Panastudio/Casa Ricordi in Italy. As part of the commission, Di Vittorio was in-vited to complete Respighi’s rediscovered fi rst Violin Concerto (in A Major). Th e or-chestra then premiered Respighi’s Violin Concerto, Aria and Suite for strings with Di Vittorio’s homage Overture Respighi-ana during the Th ird Season 2009/10. In 2010, the orchestra established Th e Respighi Prize Music Competition in collaboration with the City of Bologna (Respighi’s birthplace), and also received the prestigious Google Grant for online marketing. In 2011, the orchestra had an-other breakthrough with the release of its debut CDs on Naxos Records (Respighi, 8.572332 and Di Vittorio, 8.572333). Th e Naxos recordings were immediately suc-cessful on the international level, listed for several weeks on Gramophone Top 20 Classical Chart in London, honored as WQXR Classical Radio NY “Album of the Week” and “Album of the Month” in Italy (for June and July 2011). Th e music has also aired on RAI, BBC radio, and dozens of stations in the U.S. and abroad. Over fi fty positive reviews have been writ-ten in praise of the orchestra’s recordings.

As part of its Fourth Season 2011/12, the orchestra championed performances of four newly printed critical editions of music by not only Respighi, but Alessan-dro Scarlatti and the restoration of Clau-dio Monteverdi’s Lamento di Arianna (Ariadne’s Lament) for mezzo-soprano and orchestra. Th e orchestra’s Fifth Sea-son 2012/13 was highlighted by the re-cording of its third Naxos CD, including

Respighi’s Th e Birds, Trittico Botticelliano, Serenata and Suite in G for organ. Its Sixth Season 2013/14 marked the orches-tra’s championing of the early music of Vaughan Williams, which the ensemble extended into its Seventh Season 2014/15 with an all Vaughan Williams program for its debut at the Adelphi Performing Arts Center in Long Island, NY—also the home of its Naxos recordings.

Th e orchestra’s Eight Season 2015/16 witnessed the premiere of Dirk Brossé’s Violin Concerto Black, White and In Between, and a continuity of sold-out concerts which led to a season fi nale con-nected to a Rome exhibition at Th e Mor-gan Library & Museum. Di Vittorio’s La Villa d’Este a Tivoli (after Liszt) was received with much acclaim and entered into the Morgan Museum’s prestigious music archive.

On November 2016, Naxos Records released the orchestra’s fourth album, featuring the music of Vaughan Wil-liams. In June of 2017, the inaugural New York Conducting Workshop was pre-sented by founders Maestros John Farrer, Salvatore Di Vittorio, and Dirk Brossé. Th e orchestra’s 10th Anniversary Season 2017/2018 is marked by a return to Carn-egie Hall’s Zankel Hall on October 28, 2017, with a program of “Postcards from Italy”. It’s four concert Carnegie Hall series coincides with productions at Th e Morgan Library & Museum and Adelphi University Performing Arts Center.

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Sir Dirk Brossé, born in Ghent, Bel-gium in 1960, is a multi-faceted com-

poser and a respected conductor on the international music scene. He is currently Music Director of Th e Chamber Orches-tra of Philadelphia, Music Director of the Film Festival Ghent and Music Director and principal conductor of the Star Wars In Concert World Tour.

He has composed some 200 works, in-cluding concerti, oratorios, lieder, cham-ber music and symphonic works. He has also composed extensively for cinema, television and stage. His fi lm soundtracks include Boerenpsalm, Daens, Singularity and Koko Flanel. His score for the BBC/HBO series Parade’s End was nominated for an Emmy Award. He wrote the scores for the musicals Prince of Africa, Daens, Sacco & Vanzetti, Tintin, Rembrandt, Ben X, Pauline & Paulette, and 14-18.

Brossé has conducted many top orches-tras, both at home and abroad. Amongst them, the London Symphony Orchestra, London Philharmonic Orchestra, Royal Philharmonic, Vancouver Opera, Opéra de Lyon, Hong Kong Chinese Orchestra, l’Orchestre de la Suisse Romande and the Pilharmonic Orchestras of Brussels, An-twerp, Rotterdam, Basel, Madrid, Porto, Birmingham, Ulster, Shanghai, Hong Kong, Seoul, Queensland, St Petersburg, Los Angeles and Boston.

In 2008 he made his fi rst appearance at the Royal Albert Hall in London, conducting the London Symphony Or-chestra. In 2016, he made his debut at Carnegie Hall in New York, conduct-ing his violin concerto Black, White & In Between with the Chamber Orchestra of New York. He has made more than 70 CD recordings and has collaborated with world-class artists such as Barbara Hendricks, Salvatore Accardo, John Williams, Toots Th ielemans, Hans Zim-mer, Elmer Bernstein, Emma Th omp-

son, Kenneth Branagh, Mel Brooks, Sinead O’ Connor, Maurice Jarre, Mi-chel Legrand and Youssou N’Dour. He has worked with directors Stijn Coninx, Frank Van Laecke, Susanna White and Roland Joff é, and with writers Gabriel Garcia Marquez, Seth Gaaikema and Didier Van Cauwelaert.

Dirk Brossé has been awarded the title Cultural Ambassador of Flanders, the Flemish Parliament’s Gold Medal for Merit, the Achille Van Acker Prize, the Joseph Plateau Honorary Award and the Global Th inkers Forum Award for Ex-cellence in Cultural Creativity.

In 2010 Dirk Brossé was made an hon-orary citizen of Destelbergen. In 2013 he was elevated to Belgium’s hereditary no-bility, with the personal title of Knight.

In late 2010 EMI Classics released the 6 CD Box Dirk Brossé, A Portrait in Music. Th e documentary Brossé, a des-tiny in Music by Jacques Servaes received international acclaim.

dirkbrosse.be

GUEST COMPOSER

DIRK BROSSÉ

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Congratulations on the 10th Anniversary Season!

Board of DirectorsChamber Orchestra of New York

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Chamber Orchestra of New York is the city’s premier young professionals or-

chestra. Founded to advance the careers of extraordinary artists, the orchestra presents works that bridge the classical and modern traditions. Internationally recognized for its championing of the

Italian repertoire, the orchestra aims to cultivate a wider audience for the future of classical music.

MISSION

Established in 2006, the Chamber Or-chestra is one of the fi rst auditioned

young professionals orchestras’ in the history of New York City. Its triumphant debut was held on October 11, 2007 at Zankel Hall/Carnegie Hall. Following the Inaugural Season 2007/08 fi nale con-cert, Vivien Schweitzer of Th e New York Times wrote: “Th e musicians played…producing a polished, rich sound…a stirring performance [of Mahler’s Ada-gietto and]...a voluptuous rendition of Tchaikovsky’s Souvenir….” Th e ensemble has served as orchestra-in-residence of “Music Under the Dome” series at the Church of St. Jean Baptiste, and also per-formed at the Italian Cultural Institute of New York, Big Screen Plaza/Eventi Hotel, Caspary Auditorium/Th e Rock-efeller University, Merkin Concert Hall/

Kaufman Center, Pace Gallery, Gilder Lehrman Hall at Th e Morgan Library & Museum, and Adelphi Performing Arts Center.

Over the next seasons, the orches-tra’s Board developed to include many esteemed artists as well, such as violist Evan Wilson (Former Principal Viola, Los Angeles Philharmonic), fi lm com-poser Ennio Morricone, conductors Alan Gilbert (Music Director, New York Phil-harmonic) and Andrew Litton (Music Director, Colorado Symphony) as well as soloists Lynn Harrell, Cho-Liang Lin, Nadja Salerno-Sonnenberg and Alicia Zizzo. Honorary Board members include Respighi family descendents Elsa and Gloria Pizzoli, Respighi archive curator/cataloguer Potito Pedarra and musicolo-gist Luigi Verdi. It now boasts an elite

ABOUT THE ORCHESTRA

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FORMER MUSICIANS OF THE ORCHESTRA

HIGHLIGHTING THEIR AFFILIATIONS

Adele Akiko-Kearns, violoncello - Santa Rosa SymphonyYousef Assi, French horn - Dallas SymphonySusan Babini, violoncello - Milwaukee SymphonyPaul Cinque, contrabass - San Diego SymphonyJoanna Marie Frankel, violin - Columbus SymphonyDaniel Khalikov, violin - Metropolitan Opera OrchestraChristopher Gaudi, oboe - San Francisco SymphonyChelsea Knox, fl ute - Baltimore SymphonyKiwon Nahm, violin - New Haven SymphonyCecee Pantikian, violin - Albany SymphonySarah Pratt, violin - New York City BalletSean Rice, clarinet - National Arts Centre OrchestraAnton Rist, clarinet - Metropolitan Opera OrchestraJulia Sakharova, violin - Alabama SymphonyAnna Steltenpohl, clarinet - Rochester Philharmonic OrchestraRachel Tobin, violoncello - Melbourne SymphonyLaura Vincent, bassoon - Glyndenbourne Opera Orchestra

2012Ezra Donner, composition (USA)Victor Cayres, piano (Brazil)

2013Daniel Muck, composition (Austria)Stacey Mastrian, soprano (USA)

2014Emiliano Imondi, composition (Italy)Sina Kloke, piano (Germany)

2015Irene Abrigo, violin (Italy/Switzerland)

2016Piotr Pakhomkin, guitar (Russia)

2017Andrea Montepaone, composition (Italy)Tommaso Benciolini, fl ute (Italy)

WINNERS OF THE RESPIGHI PRIZE COMPETITION

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Weill Recital Hall at Carnegie Hall

Saturday, December 9, 2017 at 8:00pm

STRAUSS, THOMAS TALLIS FANTASIA, AND

GRIEG’S HOLBERG SUITE

GRIEG Holberg Suite

I. Praeludium

II. Sarabanda

III. Gavotte

IV. Air

V. Rigaudon

DI VITTORIO Preludio Sentimentale [World Premiere]

VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis

INTERMISSION

STRAUSS, R. Metamorphosen



is generously provided by Lower Manhattan Cultural Council.


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PROGRAM NOTES

STRAUSS, THOMAS TALLIS SUITE AND GRIEG’S HOLBERG

SUITE

HOLBERG SUITE

COMPOSERDETAILS: Edvard Grieg (Bergen, 1843 – Bergen, 1907; Norwegian)HIGHLIGHTS: Grieg is Norway’s most famous composer. He is best remembered for his Piano Concerto in A Minor, Peer Gynt (the incidental music to Henrik Ibsen’s play), Lyric Pieces for piano, and Holberg Suite. A nationalist composer, Grieg’s mu-sic was infl uenced by Norwegian folksong, though his Scottish family origins may also contribute to his musical language and style.

WORKYEAR/DURATION: 1884; 21 minutesHISTORICAL NOTES: Grieg’s very popular Holberg Suite was initially composed for the piano, and orchestrated for string orchestra one year later. Th e suite includes an in-troduction and four subsequent dances in the ‘olden’ or Baroque/Classical style. In celebration of the 200th anniversary of the birth of Danish-Norwegian playwright and humanist Ludvig Holberg (1684-1754), Grieg desired to capture the sounds of music during Holberg’s time. Th e resulting work is a profound testament to Grieg’s musical genius, a rich, beautiful music, full of bold lyricism and provocative string writing, with high spirited, lively rhythms. Many composers have been infl uenced by Grieg’s Holberg Suite in particular, such as Ottorino Respighi. Respighi also composed his Suite for strings of 1902 in the ‘olden style’ based directly on the Hol-berg Suite, as an homage to Grieg.

PRELUDIO SENTIMENTALE [WORLD PREMIERE]

COMPOSERDETAILS: Salvatore Di Vittorio (Palermo, 1967; Italian)HIGHLIGHTS: Di Vittorio’s compositional output includes three overtures, four pro-gram symphonies, an opera, and numerous other orchestral works - some including voices and/or chorus.

WORKYEAR/DURATION: 2017; 7 minutesHISTORICAL NOTES: Th e music of the Preludio Sentimentale was derived primarily from the fi rst movement Preludio of Di Vittorio’s Sinfonia No. 1 for strings (1999) - the composer’s fi rst mature, published orchestral work. Di Vittorio had originally conceived this music in two formats, a string symphony and a single-movement work. Th e Preludio’s tempo in the symphony was marked ‘Largo, con sentimento’, and thus inspired the title of this single-movement version.

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MUSICIANS: 2017/2018 SEASON

MUSIC DIRECTOR & COMPOSERSalvatore Di Vittorio

VIOLIN 1Kelly Hall-Tompkins, First ConcertmasterDaniel Khalikov, Second ConcertmasterNicholas PapponeBella HorvathDavid LiskerMialtin ZhezhaKaren DrekkerHirona AmamiyaCaroline DrexlerHolly Nelson

VIOLIN 2Russell Kotcher, PrincipalSarah CharnessLavinia PavlishDavid BoussoMandy WolmanAudrey HayesSarah Koenig-PlonskierDasol JeongYan Izquierdo

VIOLAMaggie Snyder, PrincipalChloe Thominet, Co-PrincipalSanta Maria Pecoraro, Orchestra ManagerLaura SacksElise Frawley

VIOLONCELLOAdrian Daurov, PrincipalLeigh StuartLaura MetcalfMindy AsherJoanne ChoiVivian Chang

CONTRABASSVictoria Tsvetkova, PrincipalChristopher JohnsonKyle Colina

FLUTEGinevra Petrucci, PrincipalMira Magrill (Piccolo)

OBOESlava Znatchenii, PrincipalMerideth Hite (English Horn)Scott Bartucca

CLARINETBen Baron, PrincipalMark Dover

BASSOONStephanie Corwin, PrincipalNatalie Pilla

FRENCH HORNAleksander Ozolins, PrincipalJenny NeyErin PaulBert HillMichael Lombardi

TRUMPETThomas Boulton, PrincipalHugo Moreno

TROMBONEBurt Mason, Principal

TUBATom Lukowitz

PERCUSSION/TIMPANIDavid Mancuso, PrincipalChris ThompsonSean RitenaurDavid Stevens

HARPKristi Shade

HARPSICHORD/ORGAN/CELESTAAymeric Dupré la Tour

New York City’s premier young professionals orchestra


13

FANTASIA ON A THEME BY THOMAS TALLIS

COMPOSERDETAILS: Ralph Vaughan Williams (Down Ampney, 1872 – London, 1958; Eng-lish)HIGHLIGHTS: Vaughan Williams composed symphonies, operas, chamber and cho-ral music, as well as fi lm scores. Some of his most renowned titles include: Ser-enade for Music, A Sea Symphony, Fantasia on a Th eme by Th omas Tallis, Fantasia on Greensleeves, and Th e Lark Ascending.

WORKYEAR/DURATION: 1910; 15 minutesHISTORICAL NOTES: Vaughan Williams conducted the world premiere of the Th omas Tallis Fantasia on September of 1910 at the Th ree Choirs Festival in Gloucester Cathedral. Th e theme is borrowed from English Renaissance composer Th omas Tallis’ ‘Th ird Mode Melody’. Th e string orchestration not only involves double string orchestra, allowing much usage of musical echoes, but includes an addi-tional string quartet. It also engages an Elizabethan fantasy style whereby the theme is heard three times throughout the course of the work, as the music devel-ops towards the fi nal climactic point.

METAMORPHOSEN

COMPOSERDETAILS: Richard Strauss (Munich, 1864 – Garmisch-Partenkirchen, 1949; Ger-man)HIGHLIGHTS: Strauss is revered for his tone poems (or symphonic poems), a further development of said works by Franz Liszt. Strauss’ most important tone poems include: Don Juan, Death and Transfi guration, Till Eulenspiegel’s Merry Pranks, and Th us Spake Zaratustra.

WORKYEAR/DURATION: 1945; 26 minutesHISTORICAL NOTES: Metamorphosen is scored for 23 strings, and is perhaps one of Richard Strauss’ most serious, refl ective late orchestral works - a technical mas-terpiece to be sure. Strauss dedicated the work to the Basler Kammerorchester and Collegium Musicum Zurich, which premiered the work under conductor Paul Sacher. Th ere are references to Mozart’s Jupiter Symphony, and Beethoven’s Eroica Symphony, among other works. As a whole the composition highlights Strauss’ rich sonorities and orchestration, as well as his talent for Bachian counterpoint.


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Zuckermann Harpsichords International

31

of an international musical palette.” La Repubblica acknowledged Di Vittorio’s neo-classical works and in particular his third symphony, presented alongside Fountains of Rome, as “his fi rst composi-tion to capture Respighi’s impressionism, together with [infl uences of] Berlioz and Richard Strauss.” Mayor Leoluca Or-lando awarded Di Vittorio the Medal of

Palermo, recognizing “the great impor-tance of Di Vittorio’s work as a promoter of the Palermo around the world” – Il Moderatore.

Di Vittorio’s Naxos recordings have been airing worldwide, receiving much critical praise. “Top billing goes to Di Vittorio’s completion of [Respighi’s] Vio-lin Concerto” – Gramophone Magazine; “Unabashedly tonal, traditional, and Ital-ian, his style employs a swelling lyricism” – American Record Guide; “A brilliant and sparkling overture and two sympho-nies, which are pictorial-philosophical, approachable works distinguished by his Respighian sense of orchestral color” – Records International; “[Di Vittorio] is a composer of beautiful music extraordi-naire” – Fanfare Magazine; “[Th e Violin Concerto] sounds like genuine Respighi, with anticipations of characteristic mo-ments in Pines of Rome” – Classics To-day; “his transcriptions and completions are sensitive to Respighi’s Neo-Baroque style” – Music Web International; “di Vittorio proves more and more to be an important Italian composer…one can also fi nd hints of Scarlatti and Rossini – Qobuz; a modernism resolutely neo-romantic, also verismo, even cinemato-graphic…without concerns of criticism from the avant-garde…Respighiana, entwined with Rossini crescendos and

fanfares alla Pines, a contemporary mu-sic entirely timeless” – Abeillemusique; “a musician of remarkable attainment…, a composer of prodigious imagination and talent” – Houston Public Radio/NPR.

Di Vittorio began his musical studies at an early age with his father Giuseppe, who introduced the operas of Verdi and Puccini – forever infl uencing his musical

destiny. He studied composition with Gi-ampaolo Bracali (later, conducting) and Ludmila Ulehla at Manhattan School of Music, and philosophy at Columbia Uni-versity. He is a protégé of such esteemed conductors as Piero Bellugi (of Florence). His compositions are published by Pan-astudio/Casa Ricordi (Universal Music), recorded on Naxos Records, and listed in David Daniels’ Orchestral Music.

With La Villa d’Este a Tivoli in 2016, Di Vittorio reached a signifi cant mile-stone when he became the fi rst composer to dedicate a work to Th e Morgan Li-brary & Museum, and the fi rst Italian composer during his lifetime to be in-vited to donate an autograph manuscript to the museum’s world-renowned music archive.

salvatoredivittorio.com

Di Vittorio conducted Respighi Anniversary concert in Milan.

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Born in Palermo, Italy, composer and conductor Salvatore Di Vittorio is

heir to the Italian neo-classical orchestral tradition. He has been hailed “a lyrical musical spirit, following in the footsteps of Ottorino Respighi” – Luigi Verdi, Philharmonic Academy of Bologna. He was fi rst noticed when Italian chamber orchestras programmed his works along-side Respighi, and later gained consider-able attention with his completion of the fi rst Violin Concerto (in A) and other works by commission of the Bolognese composer’s great nieces and archive cura-tor. Di Vittorio is founding Music Direc-tor of Chamber Orchestra of New York, which debuted in 2007 at Carnegie Hall’s Zankel Hall.

He has worked with numerous orches-tras, including San Diego Symphony, Chamber Orchestra of Philadelphia, Or-chestra Sinfonica Siciliana, Teatro Mas-simo Opera Palermo, Orchestra Vivaldi, Sinfonia Varsovia, Orchestra Regionale Filarmonica Veneta, Orchestra da Cam-era Fiorentina, Orchestra Sinfonica della Calabria, Orchestra of the Swan of Strat-ford-upon-Avon, Vancouver Island Sym-phony, Orquesta de Cámara Bellas Artes, and Santa Rosa Symphony.

Di Vittorio is fascinated with the world of storytelling, and best known for his symphonic poems – full of poignant, romantic lyricism and magnifi cent or-chestrations. His upcoming Sinfonia N. 4 “Metamorfosi” will highlight the magical stories in Ovid’s Metamorphosis, with each movement drawing inspiration from an Italian painting related to the stories. A strong interest with the Italian Renais-sance and Baroque is often the inspira-tion for his original compositions.

Under his baton, Chamber Orches-tra of Philadelphia world premiered his Ode Corelliana in 2017, after the suc-cessful premiere of Venus and Adonis

in 2016. “Di Vittorio’s Venus was an or-chestral song, and often a beautiful one.” – Philadelphia Inquirer. “Venus…recalls Respighi, and is infused with Di Vit-torio’s original imagination and ability to build musical architecture that ultimately fades, like Venus’s own loveliness. Th ere is an appealing heft to this work, [infl u-enced by] Bach and Ravel.” – Broad Street Review. In 2015, San Diego Symphony world premiered his orchestral Fanfara del Mare “Su un Tema di Monteverdi”, commissioned for the centennial of Bal-boa Park at Copley Symphony Hall.

In 2012, Di Vittorio made his con-ducting debut with Orchestra Sinfonica Siciliana at Teatro Politeama Garibaldi with the world premiere of his Sinfonia N. 3 “Templi di Sicilia” and European premieres of his Overtura Respighiana and Respighi’s Violin Concerto (in A). Giornale di Sicilia praised the evening “From Pines of Rome to the Temples of Sicily”, depicting Di Vittorio’s third symphony as “a commemorative memo-rial with a dimension of insularity, which during great peaks reveals suggestions

MUSIC DIRECTOR & COMPOSER

SALVATORE DI VITTORIO

15




Thursday, March 1, 2018 at 7:30pm

VIVALDI, MONTEVERDI, AND MOZART’S

SINFONIA CONCERTANTE

MONTEVERDI Orfeo, Toccata e Ritornello (Orchestrated by Di Vittorio)

450th Anniversary of Claudio Monteverdi’s Birth

CORELLI Concerto Grosso No. 4

I. Adagio, Allegro

II. Adagio

III. Vivace

IV. Allegro

ALBRECHTSBERGER Concerto for Trombone in B fl at

I. Allegro Moderato

II. Andante

III. Allegro Moderato

Burt Mason, trombone

VIVALDI Concerto for Lute (Guitar) in D

I. Allegro

II. Largo

III. Allegro

Piotr Pakhomkin, guitar [Winner, The Respighi Prize]

INTERMISSION

DI VITTORIO Ode Corelliana [New York Premiere]

MOZART Sinfonia Concertante, for Violin and Viola

I. Allegro Maestoso

II. Andante

III. Presto Kellly Hall-Tompkins, violin; Margaret Snyder, viola



is generously provided by Lower Manhattan Cultural Council.


16

PROGRAM NOTES

VIVALDI, MONTEVERDI, AND MOZART’S SINFONIA

CONCERTANTE

ORFEO, TOCCATA E RITORNELLO

COMPOSERDETAILS: Claudio Monteverdi (Cremona, 1567 – Venice, 1643; Italian)HIGHLIGHTS: Claudio Monteverdi is one of the most prolifi c composers of all time, whose musical output includes eight operas, ballets, and stage works, as well as many sacred works including masses, and nine books of madrigals. His music, es-pecially his vocal music such as his madrigals, has inspired hundreds of composers. Monteverdi is considered a transitional fi gure in musical history, bridging the gap between the Renaissnace and Baroque periods.

WORKYEAR/DURATION: 1607/2017 (Orchestrated by Di Vittorio); 4 minutesHISTORICAL NOTES: Claudio Monteverdi’s opera Orfeo (Orpheus) is the earliest sur-viving opera performed to this day. On a libretto by Alessandro Striggio, Orfeo is based on the Greek legend of Orpheus, telling the story of Orpheus’ travels to the underworld of hades to rescue his wife Eurydice. Th e introduction to the opera has two sections, a Toccata and a Ritornello, often referred to as the overture. Or-chestras have rarely performed any of the music from the opera due to the lack of printed editions. Th e Orfeo, Toccata e Ritornello was orchestrated by Di Vittorio in honor of the 450th Anniversary of Claudio Monteverdi’s birth in 2017.

CONCERTO GROSSO NO. 4

COMPOSERDETAILS: Arcangelo Corelli (Fusignano, 1653 – Rome, 1713; Italian)HIGHLIGHTS: Arcangelo Corelli was known in his day as an extraordinary violinist. Corelli’s comparatively small body of work is largely restricted to three genres: the solo sonata, the trio sonata, and the concerto grosso. He was the fi rst composer to achieve widespread fame purely for instrumental music, never composing an opera or (as far as we can tell) any vocal music whatsoever. His concerti grossi have infl u-enced all composers from J.S. Bach to modern times.

WORKYEAR/DURATION: 1714; 11 minutesHISTORICAL NOTES: Corelli’s twelve concerti grossi were likely composed during the last two decades of his life and fi rst performed at the composer’s weekly concerts in Rome. Corelli began revising and preparing them for publication in 1708; the preface is dated December 3, 1712. Th ey were published posthumously, in 1714. Each concerto is scored for a solo concertino of two violins and cello, with string orchestra and continuo.

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HARPIST

KRISTI SHADE

Based in New York City, Kristi Shade began playing the harp at the age of

two and has since become one of the pre-eminent emerging harpists in the indus-try. A diverse performer, Kristi performs in a variety of musical settings including classical, jazz, pop, Broadway, contempo-rary and electronic music.

Kristi received her Bachelor of Music degree from the University of Miami, where she studied with Valerie Whitcup. She went on to study with Susan Jolles at the Manhattan School of Music, where she received her Master of Music degree in 2007. She has been a participant of the National Orchestral Institute and the Henry Mancini Institute. Awards include American Harp Society Awards (1988, 1990, 1991), a Downbeat Jazz Award (2006) and an ASTA Award as Competition Winner for the state of Florida (2005).

Kristi is the Principal Harpist with the Chamber Orchestra of New York, with which she has recorded three al-bums on the Naxos record label. She also performs regularly with Th e Miami Symphony, Ensemble LPR, One World Symphony and Ensemble 212. She is a founding member of the trio, Th e Gene Project, and the harp duo, Duo Scorpio. Duo Scorpio released their debut album, Scorpion Tales, in the fall of 2012 on the American Modern Recordings label and were featured performers at the 50th An-niversary American Harp Society Con-ference in New York City. Th eir album, Scorpion Tales, was included on the 2012 GRAMMY nomination ballot in three separate categories. Duo Scorpio were also featured performers at Th e World Harp Congress in Sydney, Australia in July 2014, where they premiered their commissions by composers Nico Muhly and Andy Akiho.

Kristi has been a guest artist with

Th e Baltimore Symphony, Th e Florida Philharmonic, Th e Albany Symphony Orchestra, Th e Columbus Symphony Orchestra, Th e Brooklyn Symphony Orchestra and Th e Brooklyn Repertory Orchestra. Her solo engagements have included performances of Rodrigo’s Con-cierto de Aranjuez with Th e Miami Sym-phony, Ravel’s Introduction and Allegro with the Philharmonic Orchestra of the Americas, Ravel’s Introduction and Alle-gro and Mozart’s Concerto for Flute and Harp with Ensemble 212, as well as Mo-zart’s Concerto for Flute and Harp with the Astoria Symphony. Kristi was the Principal Harpist for the Philharmonic Orchestra of the Americas, with which she toured Mexico and North America, recorded an album for Sony Classical and appeared live on television for the Mexi-can Bicentennial Celebration in Septem-ber 2010.

Kristi is on faculty at the Manhat-tan School of Music Precollege Division where she teaches private lessons, harp ensemble and a harp repertoire class.

kristishade.com

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FLUTIST

TOMMASO BENCIOLINI

Born in Bologna (Italy) in 1991, Tom-maso Benciolini began studying

fl ute at twelve and graduated at eigh-teen at Conservatory “E. F. Dall’Abaco” in Verona with M° Stefano Maffi zzoni achieveing the highest honors. After his diploma he won the XV Rassegna “Mi-gliori Diplomati d’Italia” in Castrocaro getting a special prize.

Winner of scholarship from French foundation “Zygmunt Zaleski” he stud-ied at Ecole Normale de Musique “Alfred Cortot” in Paris with Pierre-Yves Artaud. He also received his masters diplome, achieving the highest marks at Conser-vatory “C. Pollini” in Padova, after which he graduated from the Lugano University of Music (Switzerland) and received the “Masters in Advanced Studies” with the internationally renowned soloist Mario Caroli. He then studied under the guid-ance of M° Nicola Campitelli.

At the age of sixteen he began a professional career that brought him to perform regularly at such venues as Sala Verdi di Milano, Teatro La Fenice di Venezia, Teatro Bibiena di Mantova, Teatro Filarmonico di Verona, Teatro Toniolo di Mestre, Teatro Grande di Brescia, Teatro Donizetti di Bergamo and abroad in France (Salle Cortot, Paris), Switzerland (Auditorium CSI, Lugano), Poland (Teatr Wielki), Spain (Teatro Juan Bravo, Segovia), Belgium (Flagey Studio 4, Bruxelles), Germany (Detlmoder Landesteather), England (Notting Hill Concert Series, London), Finland (Suomitaly Festival), Malta (Gaulitana Festival), and Estonia (Eller Concert Hall).

Tommaso Benciolini then col-laborated with “Orchestre de Flû tes Franç ais” of Paris and became a member of the FortePiano Trio with Ludovico e Leonora Armellini, creating an intense and enthusiastic concert activity. He cur-

rently collaborates with Orchestra Anto-nio Vivaldi of Como, Hulencourt Soloist Chamber Orchestra of Bruxelles and Fi-larmonica Internazionale di Brescia e Bergamo which has given him the op-portunity to collaborate with musicians such as Nelson Freire, Lilya Zilberstein, Daniil Trifonov, Th omas Zehetmair, Au-gustin Dumay.

Tommaso Benciolini is also instruc-tor at the Verona Conservatory “E. F Dall’Abaco” where in 2012 he became the youngest teacher. He has also been invited to give masterclasses in Cuba (In-ternational Contemporary Music Festi-val), Finland (Tampere Music Academy and Suomitaly Music Festival) and Esto-nia (Tartu Eller Music Academy).

In 2015 Tommaso made his debut in two of the most important Italian venues: Gran Teatro La Fenice in Venice, and Sala Verdi in Milan.

tommasobenciolini.net

17

CONCERTO FOR TROMBONE

COMPOSER DETAILS: Johann Georg Albrechtsberger (Klosterneuburg, 1736 – Vienna, 1809; Austrian) HIGHLIGHTS: Albrechtsberger was a student of music and philosophy, and became one of the most skilled composers of counterpoint and music theory of his genera-tion. His most prominent student was a young Ludwig van Beethoven.

WORKYEAR/DURATION: 1765(?); 15 minutesHISTORICAL NOTES: Albrechtsberger’s Trombone Concerto has remained a staple of the orchestral repertoire, as the fi rst notable concerto for an instrument which few composers have endeavored to complete successfully. It is quite signifi cant that a classical period composer, such as Albrechtsberger, could achieve this in an era preceding Beethoven’s contribution in adding the trombone to the orchestra itself. With this concerto, Albrechtsberger also demonstrates his gift for strict counter-point.

CONCERTO FOR GUITAR

COMPOSER DETAILS: Antonio Vivaldi (Venice, 1678 – Vienna, 1741; Italian) HIGHLIGHTS: Antonio Vivaldi, nicknamed “the red priest”, is recognized as one of the most important composers of the early Baroque period, leading the way to J.S. Bach and others in the late Baroque. He is especially revered for his instru-mental concerti, primarily written for the violin. Vivaldi also wrote many sacred choral works and over forty operas. Equally important, Vivaldi is seen as one of the pioneers of program music, or the tone poem and program symphony, fi rmly established later by Franz Lizst (1811-1886) and advanced by composers such as Hector Berlioz, Richard Strauss and Vivaldi’s compatriot Ottorino Respighi. Viv-aldi achieved this feat with a set of twelve violin concerti published in 1725 under the title Il Cimento dell ’armonia e dell ’ inventione. Th e group of works was intended to strike a balance between harmony and creative imagination.

WORKYEAR/DURATION: 1730; 10 minutesHISTORICAL NOTES: Vivaldi’s Lute Concerto in D is in modern times regularly per-formed with the guitar substituting for the lute. It is one of the most memorable, popular guitar concerti. And this is no surprise given its incredibly pleasing melo-dies, happy spirit and galloping rhythms. Th e music is naturally well-balanced between the agile guitar and light, eff ective scoring of the ensemble. Th e galant and expressive Largo movement is well defi ned, and full of energy.

18

ODE CORELLIANA

COMPOSERDETAILS: Salvatore Di Vittorio (Palermo, 1967; Italian)HIGHLIGHTS: See Biography on page 30

WORKYEAR/DURATION: 2016; 7 minutesHIGHLIGHTS: Ode Corelliana is based on Di Vittorio’s aff ection for the music of the Italian Baroque. Th e work is an homage to Arcangelo Corelli, and his Concerto Grosso No. 8 “Christmas”. It was written for the Chamber Orchestra of Philadel-phia, and Di Vittorio conducted its world premiere on March 26-27, 2017 at Kim-mel Center for the Performing Arts. Th ere is one musical quote at the beginning of the work, a variation of the ending of the Adagio to Corelli’s Christmas Concerto. Th e themes and melodies are original throughout the composition, yet Di Vittorio makes use of Corelli’s musical infl ections and rhythms to carry the music to its fi nale.

SINFONIA CONCERTANTE, FOR VIOLIN AND VIOLA

COMPOSERDETAILS: Wolfgang Amadeus Mozart (Salzburg, 1756 - Vienna, 1791; Austrian)HIGHLIGHTS: W. A. Mozart was a prolifi c and incredibly infl uential composer, with over 600 works ranging from some of the most beloved operas (21), 41 symphonies, dozens of concerti (27 for piano alone), as well as a great number of important cho-ral works and chamber music.

WORKYEAR/DURATION: 1779; 30 minutesHISTORICAL NOTES: Mozart’s Sinfonia Concertante was composed during a tour of Europe, including Paris where the concertante style was in fashion. Th e result-ing work has been lauded for centuries as the ideal structure somewhere between a symphony and a concerto. Mozart treats interactions between the soloists and the orchestra quite delicately, leaning on symphonic models. Th e work is majestic, and memorable in its ability to reserve surprises from soloists to orchestra and vice versa. Historians account the maturity in part to Mozart falling in love during this European voyage, together with the loss of his mother who passed away in Paris. It is considered one of Mozart’s masterpieces, a faith no doubt secured by its beautiful slow and eloquent, yet melancholy, second movement.


27

has helped assert its longevity. It is in fact Schubert’s only symphony for the cham-ber orchestra. Th e work is also, in some ways, an homage to W. A. Mozart and his Symphony No. 40. Th e third movement Minuet especially shows connections with the chromaticism in Mozart’s 40th symphony, not to mention the playfulness in the second movement. On its own merits, Schubert’s Fifth Symphony is a noble work, full of light, energy and happiness.


Piergiorgio Ratti, born in 1991, studied oboe at the “Giuseppe Verdi” Con-

servatory of Como, graduating in 2011 under the guide of Adriano Mondini. He attended masterclasses with Luca Vignali, Fabien Th ouand and private les-sons with Luigi Finetto and Francesco Di Rosa.

From 2009 he has been studying com-position with Antonio Negri Eros, of whom he become a close associate, and has started a prolifi c output for a great variety of ensembles. He later attended masterclasses with Andrea Portera.

Ratti won the fi rst prize at composi-tion competition “Azione Musicale 2014”. Together with his friend conductor Lo-renzo Passerini, Piergiorgio has founded the “Antonio Vivaldi Orchestra”, assum-ing the role of resident composer. He has dedicated works to international soloists such as Giampaolo Pretto (principal fl ute of “Orchestra Sinfonica Nazionale della Rai”), Francesco Manara (principal vio-lin of “La Scala Opera Orchestra”), Gi-uliano Sommerhalder (principal trumpet of “Gewandhaus Orchestra” in Lipsia), Francesco Tamiati (principal trumpet of “La Scala Th eatre Orchestra”). Some of his compositions have been premiered at the “Conservatorio Giuseppe Verdi” in Milan (under the season “Serate Musi-cali”), at “Juan Bravo” Th eatre in Segovia (Spain), at “Teatro Sociale” in Como, at “Palazzo della Gran Guardia” in Verona, the Teatro della Triennale in Milan, the

Auditorium of St. Antonio in Morbe-gno, the Teatro Nuovo and Villa Olmo in Como, the “City Th eatre” in Vicenza, the “Manzoni Th eatre” in Monza, “Villa Castiglione” in Florence, Cathedral in Como, in “Teatro Civico” in Tortona, in Villa D’Este in Como.

He has a physics degree from the “Universita degli Studi di Milano”, with a thesis on quantum Hall eff ects.

piergiorgioratti.com

GUEST COMPOSER

PIERGIORGIO RATTI

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PROGRAM NOTES

SCHUBERT’S 5TH AND MOZART’S CONCERTO FOR FLUTE

AND HARP

RED FIREWORKS

COMPOSERDETAILS: Piergiorgio Ratti (Como, 1991; Italian)HIGHLIGHTS: Th e young Italian composer Piergiorgio Ratti has attracted consid-erable attention with various orchestral works, including concerti, following his studies at the Conservatory of Como. He is currently Composer-in-residence of the Orchestra Antonio Vivaldi in Milan.

WORKYEAR/DURATION: 2017; 5 minutesHISTORICAL NOTES: To Be Announced.

CONCERTO FOR FLUTE AND HARP

COMPOSERDETAILS: Wolfgang Amadeus Mozart (Salzburg, 1756 - Vienna, 1791; Austrian)HIGHLIGHTS: W. A. Mozart was a prolifi c and incredibly infl uential composer, with over 600 works ranging from some of the most beloved operas (21), 41 symphonies, dozens of concerti (27 for piano, alone), as well as a great number of important choral works and chamber music.

WORKYEAR/DURATION: 1778; 29 minutesHISTORICAL NOTES: Mozart’s Concerto for Flute and Harp is one of two well-known works that he wrote in Paris as a double concerto, the other being the Sinfonia Concertante for Violin and Viola. Th e work was commissioned by Duke Adrien-Louis de Bonnières (a fl utist), to be played with his daughter harpist Marie-Louise-Philippine. Th e Concerto is truly magnifi cent with its tender melodies and wistful accompaniment, and has endured through the centuries as one of Mozart’s most endearing pieces.

SYMPHONY NO. 5

COMPOSERDETAILS: Franz Schubert (Alsergrund-Vienna. 1797 – Vienna, 1828; Austrian)HIGHLIGHTS: Schubert is best known for his output of six hundred vocal works, though he also composed seven symphonies and much chamber music. During his lifetime, Schubert’s works were appreciated within a small circle in Vienna, but he achieved signifi cant recognition years following his death.

WORKYEAR/DURATION: 1816; 27 minutesHISTORICAL NOTES: Schubert’s Symphony N. 5 has become a recognized masterwork of the orchestral repertoire. Certainly, its having been scored for small orchestra

19

Burt Mason currently serves as Princi-pal Trombone of both the Chamber

Orchestra of New York and the Green-wich Village Orchestra. Recent appoint-ments have included solo trombone for the Miami Music Project and Principal Trombone and soloist of the New York Staff Band of Th e Salvation Army. He has performed several times with the New York Philharmonic in addition to numerous ensembles and orchestras. He has also appeared as soloist with numer-ous ensembles, performing throughout North America, Th e United Kingdom, Europe and Australia.

Mr. Mason has performed under the baton of notable conductors such as Ms-tislav Rostropovich, Esa-Pekka Salonen, Skitch Henderson, Alan Gilbert and Sidney Harth amongst others in world-renowned venues such as Royal Albert Hall, Carnegie Hall, Lincoln Center, Kennedy Center and the Apollo Th eater.

Mr. Mason began playing trombone at age 12 but did not receive any formal les-sons until he entered college at the Crane School of Music (SUNY Potsdam). De-spite this lack of formal training, his nat-ural skills as a trombonist placed him as a fi nalist in the fi rst annual New York Phil-harmonic Young Performers Audition, selection for the esteemed MENC All-Eastern Band, the NYSSMA All-State Band and Orchestra, as well as winning several local music contests. While in college at the Crane School of Music, Mr. Mason won the Crane School of Music’s most prestigious performing contest, the annual Crane Concerto Competition as a sophomore.

As a recording artist, Mr. Mason has been featured as a soloist on a variety of recordings with the New York Staff Band on the Triumphonic label. He has also completed recordings with Chamber Or-chestra of New York, which was released

on the Naxos label.Mr. Mason has completed his Masters

of Music in Orchestral Performance at the Manhattan School of Music studying with David Finlayson of the New York Philharmonic. He has had additional studies with Joseph Alessi of the New York Philharmonic, Weston Sprott of the Metropolitan Opera Orchestra and Mark Hartman at the Crane School of Music. Outside of performing, he actively com-poses and arranges.

burtmason.com

TROMBONIST

BURT MASON

20

Acclaimed by the New York Times as “the versatile violinist who makes the

music come alive” and for her “tonal mas-tery” (BBC Music Magazine) and “sear-ing intensity” (American Record Guide), violinist Kelly Hall-Tompkins is forging a dynamic career as a soloist and cham-ber musician. Winner of a Naumburg International Violin Competition Hono-rarium Prize as well as a Concert Artists Guild Career Grant, Ms. Hall-Tompkins has appeared as soloist with orchestras including the Dallas Symphony, Oak-land Symphony, Jacksonville Symphony, Tulsa Philharmonic, Chamber Orchestra of New York, and a Brevard Festival Or-chestra under the baton of Keith Lock-hart, in addition to numerous concerts and recitals in cities including New York, Washington, Cleveland, Toronto, Chi-cago, Baltimore, and Greenville, South Carolina, and at festivals in France, Ger-many and Italy.

Ms. Hall-Tompkins’ orchestral career also includes extensive touring in the United States and internationally with the Orpheus Chamber Orchestra, in-cluding performances in Carnegie Hall, Lincoln Center, Japan, Singapore, Scot-land and a recording with countertenor Andreas Scholl. She has also performed over 150 performances with the New York Philharmonic, under conductors including Kurt Masur, Leonard Slatkin, Andre Previn, Charles Dutoit and Valery Gergiev. Ms. Hall-Tompkins has also lead numerous Carnegie Hall concerts with the New York Pops and as found-ing member of the Chamber Orchestra of New York, which performed its debut concert in Carnegie’s Zankel Hall in the Fall ’07 with Ms. Hall-Tompkins also as soloist. From 1999-2012 she was a mem-ber of the New Jersey Symphony Orches-tra’s fi rst violin section.

A dedicated humanitarian, Ms. Hall-

Tompkins founded and directs Music Kitchen-Food for the Soul, which has, to date, brought almost 100 chamber music performances to New York City and Los Angeles homeless shelters, with over 150 artists.

Ms. Hall Tompkins received an Hon-orary Doctorate from the Manhattan School of Music, her alma mater, in 2016, and also delivered the Commencement address. She is also one of three 2017 re-cipients of the Sphinx Medal of Excel-lence, which will be presented at the US Supreme Court by Justice Sotomayor. She earned a Master’s degree from the Manhattan School under the mentorship of Glenn Dicterow, concertmaster of the New York Philharmonic.

An avid polyglot, Ms. Hall-Tompkins studies and speaks seven languages. A native of Greenville, South Carolina, Ms. Hall-Tompkins began her violin studies at age nine. She lives in New York City with her husband Joe.

kellyhall-tompkins.com

VIOLINIST

KELLY HALL-TOMPKINS

25




Thursday, June 7, 2018 at 7:30pm

SCHUBERT’S 5TH AND MOZART’S

CONCERTO FOR FLUTE AND HARP

RATTI Red Fireworks [World Premiere]

MOZART Concerto for Flute and Harp

I. Allegro

II. Andantino

III. Rondeau

Tommaso Benciolini, fl ute; Kristi Shade, harp

INTERMISSION

Work To Be Announced

Winner - The Respighi Prize in Conducting (from New York Conducting Workshop)

SCHUBERT Symphony No. 5

I. Allegro

II. Andante con moto

III. Menuetto, Allegro molto

IV. Allegro Vivace


Department of Cultural Affairs in partnership with the City Council. Additional in-kind

funding is generously provided by the Adelphi University Performing Arts Center.


24 21

Violist Maggie Snyder is Associate Professor of Viola at the Hugh Hodg-

son School of Music at the University of Georgia. She has performed solo recitals, chamber music, concertos, and as an or-chestral musician throughout the United States and abroad. She has performed at the Kennedy Center, Carnegie Hall, and the Seoul Arts Center, and in Mexico, Greece, Korea, and Russia. She has per-formed under the batons of James Levine, Yuri Temirkanov, David Zinman, Robert Spano, Leonard Slatkin, James dePriest, Julius Rudel, James Conlon, and Michael Tilson Th omas and at such festivals as the Brevard Music Festival, the Sewanee Summer Music Festival, and the Aspen Music Festival where she was a Time Warner Fellow. In May, 2009, she made her recital debut in Weill Recital Hall at Carnegie Hall with her sister duo, Al-lemagnetti. Th at recital featured three world premiere works written for the ensemble by Th omas Pasatieri, Kamran Ince, and Garrett Byrnes and the group was noted as a “winning pair,” with a “highly promising debut,” by the New York Concert Review.

Ms. Snyder is principal viola of the Chamber Orchestra of New York, and is on the artist faculty of the Brevard Mu-sic Festival. She has performed chamber music with members of the Cleveland and Tokyo Quartets and the Aspen String Trio. She has recently been con-tracted for online release of her fi rst CD recording with Allemagnetti through Arabesque Records. Upcoming release includes a CD of modern American Viola works by Kenji Bunch, Stephen Paulus, Garrett Byrnes, and Christopher Th eo-fanidis.

Ms. Snyder has given master classes, clinics, and performances at universi-ties and music schools throughout the country, including Th e University of

Michigan, Interlochen Arts Academy, Eastman, Hartt, Th e University of Roch-ester, Th e University of Tennessee, Th e University of Kentucky, and the Univer-sity of South Carolina, among others. She earned the Masters and Graduate Performance Diploma from Th e Peabody Conservatory of Music, where she was the teaching assistant for Victoria Chi-ang. Her Bachelor’s degree is from the University of Memphis, where she was a Pressar Scholar. Her principal teachers have been Victoria Chiang, Heidi Castle-man, and Lenny Schranze. She has been President of the Alabama Orchestra As-sociation, and on the board of the Ala-bama Music Educator’s Association, the state chapter of Music Educator’s Na-tional Conference. Ms. Snyder has served on the faculties of West Virginia Univer-sity, Ohio University, and the University of Alabama, where she was coordinator of the string area.

maggiesnyder.com

VIOLIST

MARGARET SNYDER

22

Hailed by Classical Guitar Magazine as “one of the bright lights of the

younger generation of classical musicians, a player of tremendous skill and sensitiv-ity,” Russian-American guitarist, Piotr Pakhomkin has extensively performed and given masterclasses in Europe, Central America, and the U.S. Based in Washington, D.C., he was the only guitarist to be featured at Strathmore, Kennedy Center, and Phillips Collection series in the span of a single concert sea-son in 2014.

After fi nishing his studies with Man-uel Barrueco at Peabody, Piotr became the First Prize winner of the 2012 Mexi-can International Guitar Competition in Culiacan and has taken top prizes at the 2012 Boston GuitarFest International Guitar Competition, Great Lakes Gui-tar Competition, Montreal International Guitar Competition, and the European International Guitar Competition, “En-rico Mercatali,” in Italy. After fi nishing the prestigious Strathmore Artist-in-Residence program in 2014, he returned to serve as a faculty member and mentor in their Institute for Artistic Develop-ment.

As the winner of the 2016 Respighi International Soloist Competition, he will make his concerto and solo debut at Carnegie Hall in the Chamber Orches-tra of New York’s “Masterwork Series” in June 2018. Piotr plays exclusively on a 2010 Ross Gutmeier Guitar using Oasis GPX strings.

piotrguitar.com

GUITARIST

PIOTR PAKHOMKIN

Best Wishes for a great season to Chamber Orchestra of New York

Peggy C. Willenbucher & Paul D. Wexler

23

10th anniversary season 2017/2018 masterworks … and william tell. ... th e overture concludes with...

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