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

ChamberOrchestraofNewYork.org WELCOME FROM OUR BOARD PRESIDENT Dear Friends: Come celebrate the 10th Anniversary Season 2017/2018 of the Chamber of New York. Th e milestone season includes a four-concert Masterwork Series at Carnegie Hall with additional productions around the city.

“Postcards from ” 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 . 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 . 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 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 ’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

2 43 SUPPORT THE ORCHESTRA CHAMBER ORCHESTRA OF NEW YORK

Zankel Hall at Carnegie Hall hamber Orchestra of New York is a not-for-profi t organization under Section Saturday, October 28, 2017 at 7:30pm C501(c)(3) of the Internal Revenue Code. All donations are tax-deductible to the fullest extent allowable by law. Our tax identifi cation number is 13-4318954. 10TH ANNIVERSARY CONCERT: Th e Orchestra invites you to make a donation in support of our concert seasons. Online: ChamberOrchestraofNewYork.org/supportus POSTCARDS FROM ITALY In Person: Visit the orchestra table outside the hall. By Mail: Chamber Orchestra of New York 450 Lexington Avenue, #1514 ROSSINI The Barber of Seville Overture New York, NY 10163 Please indicate if you wish to remain anonymous. DI VITTORIO Palermo Overture [World Premiere]

dvertise your business in our Season Program Book and become part of the VERDI La Traviata, Prelude to Act 1 AChamber Orchestra of New York experience! Advertisement space is available for full, half, quarter page and booster/logo ads. RESPIGHI - DI VITTORIO Concerto for Violin (in A)

For questions regarding concert program donations, endowments and planned I. Allegro energetico giving, and advertising, please contact our Orchestra Manager, Ms. Santa Maria II. Molto lento, Agitato, Tranquillo Pecoraro: [email protected] III. Allegro (Rondo) Th anks for supporting the Chamber Orchestra of New York! Elena Urioste, violin

CONTACT US INTERMISSION or general questions, to hire the orchestra, or further information, please contact Fus by phone 646-397-1879, email [email protected], or write: BROSSÉ Pictures at an Exhibition [New York Premiere]

Chamber Orchestra of New York I. The Peaceable Kingdom 450 Lexington Avenue, #1514 II. The Grand Canyon of the Colorado River New York, NY 10163 III. Fair Weather IV. Road and Trees For further information about the Orchestra, visit our website www.chamberorchestraofnewyork.org MENDELSSOHN Symphony No. 4 “Italian”

For Public Relations: I. Allegro vivace Jeff rey James Arts Consulting II. Andante con moto Tel: 516-586-3433 E-mail: [email protected] Website: www.jamesarts.com III. Con moto moderato IV. Presto and Finale: Saltarello facebook.com/chamberorchestraofnewyork twitter.com/chamborchny This program is supported, in part, by public funds from the youtube.com/chamberorchestrany Department of Cultural Affairs in partnership with the City Council. Additional funding is generously provided by The Herman Goldman Foundation. instagram.com/chamberorchestrany Please turn off your cell phone and other electronic devices. linkedin.com/company/chamber-orchestra-of-new-york ChamberOrchestraofNewYork.org 42 3 INDIVIDUAL & CORPORATE SPONSORS (Continued) PROGRAM NOTES POSTCARDS FROM ITALY Gifts under $500 Anonymous (12) THE BARBER OF SEVILLE OVERTURE AmazonSmile Anthony and Frances Angiuoli COMPOSER Jeffrey and Kristine Alpi DETAILS: Ursula Andreo Gioacchino Rossini (Pesaro, 1792 – Paris, 1868; Italian) Francesca Angiuoli HIGHLIGHTS: Rossini wrote 39 operas, including such classics as Th e Barber of Seville, Sandra Baron Cenerentola, and William Tell. His musical identity is marked by his colorful over- John Bitondo In Memory of Tony Bitondo tures and ravishing melodies for voices in the bel canto style that he, Bellini and Tony Bitondo Donizetti made famous. John William Carroll Maria Teresa Catanese WORK Edgar Charles YEAR/DURATION: 1816; 7 minutes David and Debbie Chiang Linden Chubin HISTORICAL NOTES: Rossini’s opera Th e Barber of Seville remains his most popular Linda and Arthur Coussa work, even making its way into fi lm and television. Th e overture was borrowed JPMorgan Chase (Matching gift) from two earlier opera , Aureliano in Palmira and Elisabetta - Regina Sharon Darnov d’Inghilterra, and therefore does not contain any of the Barber’s themes. Nonethe- Joseph Delaney Meike Dittman less, the overture is one of the most recognizable opera overtures in music history, Victoria Eisen with its colorful orchestration and crescendo ending. Matthew Evans Bryan Farlow Ian Fiedorek Malva Filer PALERMO OVERTURE [WORLD PREMIERE] Arash Grakoui Mark Hertica COMPOSER Karen Ikeda and Neil Court Charitable Gift Fund DETAILS: Salvatore Di Vittorio (Palermo, 1967; Italian) Clarence Keenum HIGHLIGHTS: See Biography on page 30 Jeffrey Kim Kurland Photo WORK Mary Harriet Ladd YEAR/DURATION: 2013; 7 minutes John and Rosalia Law HISTORICAL NOTES: Anna Grace Mackay Palermo Overture, an overture with James S. Mayer program, was composed following a meeting with Joseph Marcotrigiano, PhD Palermo’s Mayor , who bestowed Svetlana Marukian the Medal of Palermo for “the great importance of Di Melissa and Dan McClain Vittorio’s work as a promoter of Palermo around the world” (Il Moderatore). Th e John Mincarelli Joe O’Keefe work serves as a postcards from Palermo, featuring historical sites which ennoble the Patricia O’Shea city. Di Vittorio’s original themes depict each location’s historical signifi cance: the Seamus and Ivana McCotter ships arriving from the Mediterranean borrow ancient Phoenician and Greek themes, Jane Palmquist the Norman Palace theme comes from a medieval French chanson. A spagnola Patricia Picchochi I, In Memory of Tony Bitondo Tom Philips theme depicts “the people of the city” by remembering the Spanish conquest of the Terri and Kevin Putt two Sicilies; while a Gregorian chant highlights Villa Bonnano’s Roman artifacts. Ruth and Steven Rosenhaus Th e overture concludes with a ‘bersagliere’ (army band) styled March for a hymn David Santiago to Palermo. Opera lovers may detect the ending variations of Bellini’s I Capuleti Lanny and Robin Schwartzfarb e I Montecchi and Verdi’s Falstaff , which were William and Kristin Schneider Margaret Scull performed during the opening of both Palermo Amanda Sewkumar theaters – Politeama Garibaldi and Teatro Richard J. Trujillo Massimo Opera, respectively. Di Vittorio’s fi rst John and Rosalina Velasco inspiration came from a painting by Pietro Alexander Vogt Vincent and Josette Zichello Fabris titled “A View of Palermo from the Sea Edyta Zych with the ‘Marino’ and Fashionable Folk” (1770).

4 41 INDIVIDUAL & CORPORATE SPONSORS Di Vittorio’s program notes in the published score:

Gifts of $100,000 or more “Panormus! New Port of the Mediterranean. Th e bells of the cathedral. Th e Google, Inc. Grant Award Gifts of $3,000 or more (annual, in-kind) people of the city. La Kalsa. Th e splendor of the Norman Palace. A walk through Jude and Barbara Barbera the Ballarò Market. Th e pride of the statues of the fountain of Pretoria Square Goldman Sachs Gifts of $50,000 or more Kwangsung and Chongkuem Lee – Venus, Bacchus and Apollo. Th e cave of Saint Rosalie. Th e beautiful scent of Anonymous (1) New York State Council on the Arts Villa Bonanno. A hymn for Palermo, from Teatro Politeama Garibaldi and the George Hemingway .” Gifts of $25,000 or more Gloria Shia Anonymous (1) John Soppe Giuseppe and Caterina Chiello Di Patrick Waide Vittorio, In Memory of Salvatore & Evan N. Wilson Giuseppina Di Vittorio The Vaughan Williams Charitable Trust Gifts of $1,000 or more Anonymous (3) Gifts of $15,000 or more Barber of Seville, San Diego, CA Anonymous (3) John and Karen Berger Salvatore Di Vittorio Elizabeth Dervy, Esq. Robert and Carol Morris Ebbin Properties Corp. James and Kalpana Rhodes John Farrer Faust Harrison Pianos Gifts of $10,000 or more and Marina Harrison Anonymous (3) Todd Hollander Shanan and Tiffany Estreicher Jeffrey James Arts Consulting Lower Manhattan Cultural Council Michael Lubin New York City Department of Cultural Thomas and Marie-Pierre Murry Affairs Marea Parker, Esq. O’Lampia Studio, Inc. George and Nunzia Pecoraro Jonathan A. Sebastiani Gifts of $5,000 or more Jeffrey I. Stone Steven Avary Giuseppe and Dorotea Carera Chiello Gifts of $500 or more LA TRAVIATA, PRELUDE TO ACT 1 Church of St. Jean Baptiste Richard Brunswick Consort Musick Jill Cashman Richard and Geraldine Eisenberg COMPOSER Joseph and Rosalia Giuffrida Cassar DETAILS: Adrian Flury Michael and Deborah Charness Giuseppe Verdi (Busetto, 1813 – Milan, 1901; Italian) The Herman Goldman Foundation Carmine and Mary Conelli HIGHLIGHTS: Giuseppe Verdi is today considered the most infl uential Italian com- Stephen D. Hans & Associates Amelio A. D’Onofrio, PhD poser, and perhaps the most widely performed opera composer of all time. His Mr. Kim J. Hartswick and Maria Ann Howard and Nell Dillon Conelli twenty-six operas include such towering masterworks as Nabucco, Rigoletto, La Victoria Eisen Traviata, Don Carlo, Aida, Otello and Falstaff . Verdi’s lyricism, specifi cally, is con- Istituto Italiano di Cultura, New York Rosemary Gent Santa Maria Pecoraro Ada Gentile sidered by some music historians to be the pinnacle in achievement and ultimate Massimiliano Pincione William Hood standard by which perfection is measured along with musical structure. Charles M. Rice, PhD iGive.com Walton Trust Johnson & Johnson (Matching gift) Paul Wexler Michael Kurjakovic WORK Alicia Zizzo, PhD Melinda Levine YEAR/DURATION: 1853; 4 minutes Calin Moucha and Emily Zimmerman HISTORICAL NOTES: Verdi’s 18th opera La Traviata (Th e Fallen Woman) was com- Eric Steinberg Weiss and Associates pleted in 1853, and premiered on March 6th of the same year at Opera in Venice. Th e Italian , 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 Wish to be a patron of the Chamber Orchestra of New York? grief and loss. Make a donation at the info table in the lobby, or email us: [email protected]

40 5 CONCERTO FOR VIOLIN (IN A MAJOR) PATRONS

COMPOSER Chamber Orchestra of New York graciously recognizes its generous contributors. As of DETAILS: (Bologna, 1879 – , 1936; Italian) 8/15/2017. HIGHLIGHTS: Respighi is renowned for his Roman Trilogy of works (Fountains of FOUNDATIONAL & GOVERNMENT SPONSORS 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.

WORK YEAR/DURATION: 1903/2009 (Completed by Di Vittorio); 21 minutes HISTORICAL 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)

COMPOSER DETAILS: Dirk Brossé (, 1960; Belgian) HIGHLIGHTS: See Biography on page 9 WORK YEAR/DURATION: 2017; 15 minutes HISTORICAL NOTES: On May 14-15, the Chamber Orchestra of 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.) ChamberOrchestraofNewYork.org 6 39 ADMINISTRATION & BOARD 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). ADMINISTRATION 3) Fair Weather (Man Ray), based on Italian Commedia dell’arte Harlequin character. 4) Road and Trees (Edward Hopper). Salvatore Di Vittorio, Music Director & Composer Santa Maria Pecoraro, Orchestra Manager Shanan Estreicher, Education Manager Stephen D. Hans, Esq., Legal Counsel Paul Wexler, Esq., Legal Counsel Jeffrey James Arts Consulting, Public Relations Barbara Venetikidou, International Tours Manager

BOARD OF DIRECTORS

John Soppe, President Kim J. Hartswick, President Emeritus

GOVERNING BOARD Steven Avary Elizabeth Dervy, Esq. Salvatore Di Vittorio Shanan Estreicher George Hemingway ADVISORY BOARD SYMPHONY NO. 4 “ITALIAN” Marea Parker, Esq. Ira Abrams, Esq. COMPOSER Santa Maria Pecoraro John Farrer DETAILS: (Hamburg, 1809 – Leipzig, 18476; German) Gloria Shia Alan Gilbert HIGHLIGHTS: Mendelssohn had early success in his career by rediscovering and John Soppe Lynn Harrell championing J.S. Bach’s music, also through his travels to Europe including in Paul Wexler, Esq. Cho-Liang Lin Britain and Italy - where he conceived his Italian Symphony. Compared with his Andrew Litton contemporaries Liszt and Berlioz, Mendelssohn’s musical tastes were conversative. HONORARY BOARD Olivera Medenica, Esq. He is especially well-known for his , especially his Scottish and Ital- Alberto Cantù Francesco Panasci (Edizioni ian symphonies, overtures such as Th e Hebrides, his Violin Concerto, and incidental Ennio Morricone Panastudio) music for Midsummer Night’s Dream. Potito Pedarra (Respighi Archive Nadja Salerno-Sonnenberg Curator) Alessandra Visconti WORK Elsa and Gloria Pizzoli (Respighi Alicia Zizzo, Ph.D. YEAR/DURATION: 1833; 30 minutes family) HISTORICAL NOTES: In 1831 Mendelssohn wrote his sister Fanny from Italy: “Th e Emilio Respighi Italian symphony is making great progress. It will be the jolliest piece I have ever Charles M. Rice, Ph.D. If you wish to join our Board, please done, especially the last movement. I have not found anything for the slow move- Cia Toscanini contact our offi ce at manager@ ment yet, and I think that I will save that for Naples.” Th e work was fi nished in Peter Vallone Jr., Esq. chamberorchestraofnewyork.org Berlin, to fulfi ll a request for the (now Royal) Philharmonic. Mendels- Luigi Verdi sohn conducted the world premiere himself on May 13, 1883 at the orchestra’s Evan N. Wilson concert hall.

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

38 7 VIOLINIST ELENA URIOSTE iolinist Elena Urioste, hailed by Th e VWashington 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 throughout the United States, including the Philadelphia Or- chestra, Cleveland Orchestra, , 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- chamber musician as well as soloist, Elena ton Symphony, Würzburg Philharmonic, has been a featured artist at the Marl- and Hungary’s Orchestra Dohnányi Bu- boro, Ravinia, La Jolla, Bridgehampton, dafok and MAV Orchestras. She has reg- Moab, and Sarasota Music Festivals, ularly performed as a soloist in Carnegie Switzerland’s Sion-Valais International Hall’s Stern Auditorium and has given Music Festival, and the Verbier Festival’s recitals in such distinguished venues as winter residency at Schloss Elmau. She Wigmore Hall in London, Carnegie regularly performs in a piano trio with Hall’s Weill Recital Hall, Konzerthaus pianist Michael Brown and cellist Nicho- Berlin, the Sage Gateshead in Newcas- las Canellakis, as well as in recital with tle, Bayerischer Rudfunk Munich, and Michael Brown and pianist Tom Poster. the Mondavi Center at the University of Elena is a graduate of the Curtis In- California-Davis. stitute of Music where she studied with As fi rst-place laureate in both the Ju- Joseph Silverstein, Pamela Frank, and nior and Senior divisions of the Sphinx Ida Kavafi an. She completed graduate Competition, Elena debuted at Carnegie studies with Joel Smirnoff at Th e Juilliard Hall’s Isaac Stern Auditorium in 2004. School. Other notable teachers include She has collaborated with such acclaimed David Cerone, Choong-Jin Chang, So- conductors as Sir Mark Elder, Yannick ovin Kim, and Rafael Druian. Nézet-Séguin, Christoph Eschenbach, Elena Urioste is under general man- Robert Spano, and Keith Lockhart; pia- agement with the New York-based fi rm nists Mitsuko Uchida, Dénes Várjon, and Sciolino Artist Management. In Europe Ignat Solzhenitsyn; cellists Peter Wiley, she is represented by Th omas Hull of Colin Carr, and Carter Brey; violists Maestro Arts. Kim Kashkashian and Michael Tree; elenaurioste.com and violinists Joseph Silverstein, Arnold Steinhardt, and Cho-Liang Lin. An avid

8 37 ensemble of gifted musicians, including Respighi’s Th e Birds, Trittico Botticelliano, GUEST COMPOSER fi rst concertmaster Kelly Hall-Tompkins Serenata and Suite in G for organ. Its Sixth DIRK BROSSÉ (New Jersey Symphony). Season 2013/14 marked the orches- During the Second Season 2008/09, tra’s championing of the early music of ir Dirk Brossé, born in Ghent, Bel- Respighi’s great nieces Elsa and Gloria Vaughan Williams, which the ensemble Sgium in 1960, is a multi-faceted com- Pizzoli, and archive curator/cataloger extended into its Seventh Season 2014/15 poser and a respected conductor on the Potito Pedarra entrusted Music Direc- with an all Vaughan Williams program international music scene. He is currently tor Salvatore Di Vittorio with the task for its debut at the Adelphi Performing Music Director of Th e Chamber Orches- of editing, orchestrating, and completing Arts Center in Long Island, NY—also tra of Philadelphia, Music Director of the several early orchestral works of Respighi, the home of its Naxos recordings. Film Festival Ghent and Music Director in their fi rst printed editions published by Th e orchestra’s Eight Season 2015/16 and principal conductor of the Star Wars Panastudio/ in Italy. As part witnessed the premiere of Dirk Brossé’s In Concert World Tour. of the commission, Di Vittorio was in- Violin Concerto Black, White and In He has composed some 200 works, in- vited to complete Respighi’s rediscovered Between, and a continuity of sold-out cluding concerti, oratorios, lieder, cham- fi rst Violin Concerto (in A Major). Th e or- concerts which led to a season fi nale con- ber music and symphonic works. He has chestra then premiered Respighi’s Violin nected to a Rome exhibition at Th e Mor- also composed extensively for cinema, Concerto, Aria and Suite for strings with gan Library & Museum. Di Vittorio’s television and stage. His fi lm soundtracks Di Vittorio’s homage Overture Respighi- La Villa d’Este a Tivoli (after Liszt) was include Boerenpsalm, Daens, Singularity ana during the Th ird Season 2009/10. received with much acclaim and entered and Koko Flanel. His score for the BBC/ In 2010, the orchestra established Th e into the Morgan Museum’s prestigious HBO series Parade’s End was nominated Respighi Prize Music Competition in music archive. for an Emmy Award. He wrote the scores collaboration with the City of Bologna On November 2016, Naxos Records for the musicals Prince of Africa, Daens, Sacco & Vanzetti, Tintin, Rembrandt, (Respighi’s birthplace), and also received released the orchestra’s fourth album, son, Kenneth Branagh, Mel Brooks, the prestigious Google Grant for online featuring the music of Vaughan Wil- Ben X, Pauline & Paulette, and 14-18. Brossé has conducted many top orches- Sinead O’ Connor, Maurice Jarre, Mi- marketing. In 2011, the orchestra had an- liams. In June of 2017, the inaugural New chel Legrand and Youssou N’Dour. He other breakthrough with the release of its York Conducting Workshop was pre- tras, both at home and abroad. Amongst them, the London Symphony Orchestra, has worked with directors Stijn Coninx, debut CDs on Naxos Records (Respighi, sented by founders Maestros John Farrer, Frank Van Laecke, Susanna White and 8.572332 and Di Vittorio, 8.572333). Th e Salvatore Di Vittorio, and Dirk Brossé. London Philharmonic Orchestra, Royal Philharmonic, Opera, Opéra Roland Joff é, and with writers Gabriel Naxos recordings were immediately suc- Th e orchestra’s 10th Anniversary Season Garcia Marquez, Seth Gaaikema and cessful on the international level, listed 2017/2018 is marked by a return to Carn- de Lyon, Hong Kong Chinese Orchestra, l’Orchestre de la Suisse Romande and the Didier Van Cauwelaert. for several weeks on Gramophone Top 20 egie Hall’s Zankel Hall on October 28, Dirk Brossé has been awarded the Classical Chart in London, honored as 2017, with a program of “Postcards from Pilharmonic Orchestras of , An- twerp, Rotterdam, , Madrid, Porto, title Cultural Ambassador of Flanders, WQXR Classical Radio NY “Album of Italy”. It’s four concert Carnegie Hall the Flemish Parliament’s Gold Medal for the Week” and “Album of the Month” in series coincides with productions at Th e Birmingham, Ulster, Shanghai, Hong Kong, Seoul, Queensland, St Petersburg, Merit, the Achille Van Acker Prize, the Italy (for June and July 2011). Th e music Morgan Library & Museum and Adelphi Joseph Plateau Honorary Award and the has also aired on RAI, BBC radio, and University Performing Arts Center. Los Angeles and Boston. In 2008 he made his fi rst appearance Global Th inkers Forum Award for Ex- dozens of stations in the U.S. and abroad. cellence in Cultural Creativity. Over fi fty positive reviews have been writ- at the Royal Albert Hall in London, conducting the London Symphony Or- In 2010 Dirk Brossé was made an hon- ten in praise of the orchestra’s recordings. orary citizen of Destelbergen. In 2013 he As part of its Fourth Season 2011/12, chestra. In 2016, he made his debut at Carnegie Hall in New York, conduct- was elevated to ’s hereditary no- the orchestra championed performances bility, with the personal title of Knight. of four newly printed critical editions of ing his violin concerto Black, White & In Between with the Chamber Orchestra In late 2010 EMI Classics released music by not only Respighi, but Alessan- the 6 CD Box Dirk Brossé, A Portrait in dro Scarlatti and the restoration of Clau- of New York. He has made more than 70 CD recordings and has collaborated Music. Th e documentary Brossé, a des- dio Monteverdi’s Lamento di Arianna tiny in Music by Jacques Servaes received (Ariadne’s Lament) for mezzo-soprano with world-class artists such as Barbara Hendricks, Salvatore Accardo, John international acclaim. and orchestra. Th e orchestra’s Fifth Sea- dirkbrosse.be son 2012/13 was highlighted by the re- Williams, Toots Th ielemans, Hans Zim- cording of its third Naxos CD, including mer, Elmer Bernstein, Emma Th omp-

36 9 MISSION

hamber Orchestra of New York is the Italian repertoire, the orchestra aims to Ccity’s premier young professionals or- cultivate a wider audience for the future Congratulations on the 10th Anniversary Season! chestra. Founded to advance the careers of classical music. of extraordinary artists, the orchestra presents works that bridge the classical and modern traditions. Internationally Board of Directors recognized for its championing of the Chamber Orchestra of New York ABOUT THE ORCHESTRA stablished in 2006, the Chamber Or- Kaufman Center, Pace Gallery, Gilder Echestra is one of the fi rst auditioned Lehrman Hall at Th e Morgan Library & young professionals orchestras’ in the Museum, and Adelphi Performing Arts history of New York City. Its triumphant Center. debut was held on October 11, 2007 at Over the next seasons, the orches- Zankel Hall/Carnegie Hall. Following tra’s Board developed to include many the Inaugural Season 2007/08 fi nale con- esteemed artists as well, such as violist cert, Vivien Schweitzer of Th e New York Evan Wilson (Former Principal Viola, Times wrote: “Th e musicians played… Los Angeles Philharmonic), fi lm com- producing a polished, rich sound…a poser Ennio Morricone, conductors Alan stirring performance [of Mahler’s Ada- Gilbert (Music Director, New York Phil- gietto and]...a voluptuous rendition of harmonic) and Andrew Litton (Music Tchaikovsky’s Souvenir….” Th e ensemble Director, Colorado Symphony) as well as has served as orchestra-in-residence of soloists Lynn Harrell, Cho-Liang Lin, “Music Under the Dome” series at the Nadja Salerno-Sonnenberg and Alicia Church of St. Jean Baptiste, and also per- Zizzo. Honorary Board members include formed at the Italian Cultural Institute Respighi family descendents Elsa and of New York, Big Screen Plaza/Eventi Gloria Pizzoli, Respighi archive curator/ Hotel, Caspary Auditorium/Th e Rock- cataloguer Potito Pedarra and musicolo- efeller University, Merkin Concert Hall/ gist Luigi Verdi. It now boasts an elite

10 35 FORMER MUSICIANS OF THE ORCHESTRA CHAMBER ORCHESTRA OF NEW YORK

HIGHLIGHTING THEIR AFFILIATIONS Weill Recital Hall at Carnegie Hall Saturday, December 9, 2017 at 8:00pm Adele Akiko-Kearns, violoncello - Santa Rosa Symphony Yousef Assi, French horn - Dallas Symphony Susan Babini, violoncello - Milwaukee Symphony Paul Cinque, contrabass - San Diego Symphony STRAUSS, THOMAS TALLIS FANTASIA, AND Joanna Marie Frankel, violin - Columbus Symphony Daniel Khalikov, violin - Metropolitan Opera Orchestra GRIEG’S HOLBERG SUITE Christopher Gaudi, oboe - San Francisco Symphony Chelsea Knox, fl ute - Baltimore Symphony Kiwon Nahm, violin - New Haven Symphony GRIEG Holberg Suite Cecee Pantikian, violin - Albany Symphony Sarah Pratt, violin - New York City Ballet I. Praeludium Sean Rice, clarinet - National Arts Centre Orchestra II. Sarabanda Anton Rist, clarinet - Metropolitan Opera Orchestra III. Julia Sakharova, violin - Alabama Symphony Gavotte Anna Steltenpohl, clarinet - Rochester Philharmonic Orchestra IV. Air Rachel Tobin, violoncello - Melbourne Symphony V. Rigaudon Laura Vincent, bassoon - Glyndenbourne Opera Orchestra DI VITTORIO Preludio Sentimentale [World Premiere]

WINNERS OF THE RESPIGHI PRIZE COMPETITION VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis

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

2013 STRAUSS, R. Metamorphosen Daniel Muck, composition (Austria) Stacey Mastrian, soprano (USA)

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

2015 Irene Abrigo, violin (Italy/Switzerland)

2016 Piotr Pakhomkin, guitar (Russia)

2017 This program is supported, in part, by public funds from the New York City Andrea Montepaone, composition (Italy) Department of Cultural Affairs in partnership with the City Council. Additional funding Tommaso Benciolini, fl ute (Italy) is generously provided by Lower Manhattan Cultural Council. Please turn off your cell phone and other electronic devices.

ChamberOrchestraofNewYork.org 34 11 MUSICIANS: 2017/2018 SEASON PROGRAM NOTES MUSIC DIRECTOR & COMPOSER FLUTE STRAUSS, THOMAS TALLIS SUITE AND GRIEG’S HOLBERG Salvatore Di Vittorio Ginevra Petrucci, Principal SUITE Mira Magrill (Piccolo) VIOLIN 1 HOLBERG SUITE Kelly Hall-Tompkins, First Concertmaster OBOE Daniel Khalikov, Second Concertmaster Slava Znatchenii, Principal COMPOSER Nicholas Pappone Merideth Hite (English Horn) DETAILS: Edvard Grieg (Bergen, 1843 – Bergen, 1907; Norwegian) Bella Horvath Scott Bartucca HIGHLIGHTS: Grieg is Norway’s most famous composer. He is best remembered for David Lisker his Piano Concerto in A Minor, Peer Gynt (the incidental music to Henrik Ibsen’s Mialtin Zhezha CLARINET play), Lyric Pieces for piano, and Holberg Suite. A nationalist composer, Grieg’s mu- Karen Drekker Ben Baron, Principal sic was infl uenced by Norwegian folksong, though his Scottish family origins may Hirona Amamiya Mark Dover also contribute to his musical language and style. Caroline Drexler Holly Nelson BASSOON WORK Stephanie Corwin, Principal YEAR/DURATION: 1884; 21 minutes VIOLIN 2 Natalie Pilla HISTORICAL NOTES: Grieg’s very popular Holberg Suite was initially composed for the Russell Kotcher, Principal piano, and orchestrated for string orchestra one year later. Th e suite includes an in- Sarah Charness FRENCH HORN troduction and four subsequent dances in the ‘olden’ or Baroque/Classical style. In Lavinia Pavlish Aleksander Ozolins, Principal celebration of the 200th anniversary of the birth of Danish-Norwegian playwright David Bousso Jenny Ney and humanist Ludvig Holberg (1684-1754), Grieg desired to capture the sounds of Mandy Wolman Erin Paul Audrey Hayes music during Holberg’s time. Th e resulting work is a profound testament to Grieg’s Bert Hill Sarah Koenig-Plonskier Michael Lombardi musical genius, a rich, beautiful music, full of bold lyricism and provocative string Dasol Jeong writing, with high spirited, lively rhythms. Many have been infl uenced Yan Izquierdo by Grieg’s Holberg Suite in particular, such as Ottorino Respighi. Respighi also TRUMPET Thomas Boulton, Principal composed his Suite for strings of 1902 in the ‘olden style’ based directly on the Hol- VIOLA Hugo Moreno berg Suite, as an homage to Grieg. Maggie Snyder, Principal Chloe Thominet, Co-Principal TROMBONE Santa Maria Pecoraro, Orchestra Manager Burt Mason, Principal PRELUDIO SENTIMENTALE [WORLD PREMIERE] Laura Sacks Elise Frawley TUBA COMPOSER Tom Lukowitz DETAILS: Salvatore Di Vittorio (Palermo, 1967; Italian) VIOLONCELLO HIGHLIGHTS: Di Vittorio’s compositional output includes three overtures, four pro- Adrian Daurov, Principal PERCUSSION/TIMPANI gram symphonies, an opera, and numerous other orchestral works - some including Leigh Stuart David Mancuso, Principal voices and/or chorus. Laura Metcalf Chris Thompson Mindy Asher Sean Ritenaur WORK Joanne Choi David Stevens YEAR/DURATION: 2017; 7 minutes Vivian Chang HISTORICAL NOTES: Th e music of the Preludio Sentimentale was derived primarily HARP CONTRABASS from the fi rst movement Preludio of Di Vittorio’s Sinfonia No. 1 for strings (1999) - Kristi Shade the composer’s fi rst mature, published orchestral work. Di Vittorio had originally Victoria Tsvetkova, Principal Christopher Johnson HARPSICHORD/ORGAN/CELESTA conceived this music in two formats, a string symphony and a single-movement Kyle Colina work. Th e Preludio’s tempo in the symphony was marked ‘Largo, con sentimento’, Aymeric Dupré la Tour and thus inspired the title of this single-movement version.

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ChamberOrchestraofNewYork.org 12 33 FANTASIA ON A THEME BY THOMAS TALLIS

COMPOSER DETAILS: 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. WORK YEAR/DURATION: 1910; 15 minutes HISTORICAL 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

COMPOSER DETAILS: (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. WORK YEAR/DURATION: 1945; 26 minutes HISTORICAL 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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13 of an international musical palette.” La fanfares alla Pines, a contemporary mu- Repubblica acknowledged Di Vittorio’s sic entirely timeless” – Abeillemusique; “a neo-classical works and in particular musician of remarkable attainment…, a his third symphony, presented alongside composer of prodigious imagination and Fountains of Rome, as “his fi rst composi- talent” – Houston Public Radio/NPR. tion to capture Respighi’s impressionism, Di Vittorio began his musical studies together with [infl uences of] Berlioz and at an early age with his father Giuseppe, Richard Strauss.” Mayor Leoluca Or- who introduced the operas of Verdi and lando awarded Di Vittorio the Medal of Puccini – forever infl uencing his musical

Di Vittorio conducted Respighi Anniversary concert in Milan.

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- destiny. He studied composition with Gi- nies, which are pictorial-philosophical, ampaolo Bracali (later, conducting) and approachable works distinguished by his Ludmila Ulehla at Manhattan School of Respighian sense of orchestral color” – Music, and philosophy at Columbia Uni- Records International; “[Di Vittorio] is versity. He is a protégé of such esteemed a composer of beautiful music extraordi- conductors as (of ). naire” – Fanfare Magazine; “[Th e Violin His compositions are published by Pan- Concerto] sounds like genuine Respighi, astudio/Casa Ricordi (Universal Music), with anticipations of characteristic mo- recorded on Naxos Records, and listed in ments in Pines of Rome” – Classics To- David Daniels’ Orchestral Music. day; “his transcriptions and completions With La Villa d’Este a Tivoli in 2016, are sensitive to Respighi’s Neo-Baroque Di Vittorio reached a signifi cant mile- style” – Music Web International; “di stone when he became the fi rst composer Vittorio proves more and more to be an to dedicate a work to Th e Morgan Li- important Italian composer…one can brary & Museum, and the fi rst Italian also fi nd hints of Scarlatti and Rossini composer during his lifetime to be in- – Qobuz; a modernism resolutely neo- vited to donate an autograph manuscript romantic, also verismo, even cinemato- to the museum’s world-renowned music graphic…without concerns of criticism archive. Zuckermann Harpsichords International from the avant-garde…Respighiana, salvatoredivittorio.com entwined with Rossini crescendos and $VUMFS4USFFUt4UPOJOHUPO $5t64" 14 )"314$%  t[IJOFU 31 MUSIC DIRECTOR & COMPOSER CHAMBER ORCHESTRA OF NEW YORK

SALVATORE DI VITTORIO Weill Recital Hall at Carnegie Hall Thursday, March 1, 2018 at 7:30pm orn in Palermo, Italy, composer and Bconductor Salvatore Di Vittorio is heir to the Italian neo-classical orchestral VIVALDI, MONTEVERDI, AND MOZART’S tradition. He has been hailed “a lyrical musical spirit, following in the footsteps SINFONIA CONCERTANTE of Ottorino Respighi” – Luigi Verdi, Philharmonic Academy of Bologna. He MONTEVERDI Orfeo, Toccata e Ritornello (Orchestrated by Di Vittorio) was fi rst noticed when Italian chamber 450th Anniversary of Claudio Monteverdi’s Birth orchestras programmed his works along- side Respighi, and later gained consider- CORELLI Concerto Grosso No. 4 able attention with his completion of the I. Adagio, Allegro fi rst Violin Concerto (in A) and other II. Adagio works by commission of the Bolognese III. Vivace composer’s great nieces and archive cura- IV. Allegro tor. Di Vittorio is founding Music Direc- tor of Chamber Orchestra of New York, ALBRECHTSBERGER Concerto for Trombone in B fl at which debuted in 2007 at Carnegie Hall’s Zankel Hall. I. Allegro Moderato He has worked with numerous orches- II. Andante tras, including San Diego Symphony, in 2016. “Di Vittorio’s Venus was an or- III. Allegro Moderato chestral song, and often a beautiful one.” Chamber Orchestra of Philadelphia, Or- Burt Mason, trombone chestra Sinfonica Siciliana, Teatro Mas- – Philadelphia Inquirer. “Venus…recalls simo Opera Palermo, Orchestra Vivaldi, Respighi, and is infused with Di Vit- VIVALDI Concerto for Lute (Guitar) in D torio’s original imagination and ability to Sinfonia Varsovia, Orchestra Regionale I. Allegro build musical architecture that ultimately Filarmonica Veneta, Orchestra da Cam- II. Largo era Fiorentina, Orchestra Sinfonica della fades, like Venus’s own loveliness. Th ere III. Allegro Calabria, Orchestra of the Swan of Strat- is an appealing heft to this work, [infl u- ford-upon-Avon, Vancouver Island Sym- enced by] Bach and Ravel.” – Broad Street Piotr Pakhomkin, guitar [Winner, The Respighi Prize] phony, Orquesta de Cámara Bellas Artes, Review. In 2015, San Diego Symphony and Santa Rosa Symphony. world premiered his orchestral Fanfara INTERMISSION Di Vittorio is fascinated with the del Mare “Su un Tema di Monteverdi”, world of storytelling, and best known for commissioned for the centennial of Bal- his symphonic poems – full of poignant, boa Park at Copley Symphony Hall. DI VITTORIO Ode Corelliana [New York Premiere] romantic lyricism and magnifi cent or- In 2012, Di Vittorio made his con- chestrations. His upcoming Sinfonia N. 4 ducting debut with Orchestra Sinfonica MOZART Sinfonia Concertante, for Violin and Viola “Metamorfosi” will highlight the magical Siciliana at Teatro Politeama Garibaldi I. Allegro Maestoso stories in Ovid’s Metamorphosis, with with the world premiere of his Sinfonia each movement drawing inspiration from N. 3 “Templi di Sicilia” and European II. Andante premieres of his Overtura Respighiana III. Presto an Italian painting related to the stories. A strong interest with the Italian Renais- and Respighi’s Violin Concerto (in A). Kellly Hall-Tompkins, violin; Margaret Snyder, viola sance and Baroque is often the inspira- Giornale di Sicilia praised the evening tion for his original compositions. “From Pines of Rome to the Temples This program is supported, in part, by public funds from the New York City Under his baton, Chamber Orches- of Sicily”, depicting Di Vittorio’s third Department of Cultural Affairs in partnership with the City Council. Additional funding tra of Philadelphia world premiered his symphony as “a commemorative memo- is generously provided by Lower Manhattan Cultural Council. Ode Corelliana in 2017, after the suc- rial with a dimension of insularity, which Please turn off your cell phone and other electronic devices. during great peaks reveals suggestions cessful premiere of ChamberOrchestraofNewYork.org 30 15 PROGRAM NOTES HARPIST VIVALDI, MONTEVERDI, AND MOZART’S SINFONIA KRISTI SHADE CONCERTANTE ased in New York City, Kristi Shade Bbegan playing the harp at the age of ORFEO, TOCCATA E RITORNELLO two and has since become one of the pre- COMPOSER eminent emerging harpists in the indus- DETAILS: Claudio Monteverdi (Cremona, 1567 – Venice, 1643; Italian) try. A diverse performer, Kristi performs HIGHLIGHTS: Claudio Monteverdi is one of the most prolifi c composers of all time, in a variety of musical settings including whose musical output includes eight operas, ballets, and stage works, as well as classical, jazz, pop, Broadway, contempo- many sacred works including masses, and nine books of madrigals. His music, es- rary and electronic music. pecially his vocal music such as his madrigals, has inspired hundreds of composers. Kristi received her Bachelor of Music Monteverdi is considered a transitional fi gure in musical history, bridging the gap degree from the University of Miami, between the Renaissnace and Baroque periods. where she studied with Valerie Whitcup. She went on to study with Susan Jolles at WORK the Manhattan School of Music, where YEAR/DURATION: 1607/2017 (Orchestrated by Di Vittorio); 4 minutes she received her Master of Music degree HISTORICAL NOTES: Claudio Monteverdi’s opera Orfeo () is the earliest sur- in 2007. She has been a participant of viving opera performed to this day. On a libretto by Alessandro Striggio, Orfeo is the National Orchestral Institute and based on the Greek legend of Orpheus, telling the story of Orpheus’ travels to the the Henry Mancini Institute. Awards underworld of hades to rescue his wife Eurydice. Th e introduction to the opera include American Harp Society Awards has two sections, a Toccata and a Ritornello, often referred to as the overture. Or- (1988, 1990, 1991), a Downbeat Jazz chestras have rarely performed any of the music from the opera due to the lack of Award (2006) and an ASTA Award Th e Baltimore Symphony, Th e Florida printed editions. Th e Orfeo, Toccata e Ritornello was orchestrated by Di Vittorio in as Competition Winner for the state of Philharmonic, Th e Albany Symphony honor of the 450th Anniversary of Claudio Monteverdi’s birth in 2017. Florida (2005). Orchestra, Th e Columbus Symphony Kristi is the Principal Harpist with Orchestra, Th e Brooklyn Symphony CONCERTO GROSSO NO. 4 the Chamber Orchestra of New York, Orchestra and Th e Brooklyn Repertory with which she has recorded three al- Orchestra. Her solo engagements have COMPOSER bums on the Naxos record label. She included performances of Rodrigo’s Con- DETAILS: Arcangelo Corelli (Fusignano, 1653 – Rome, 1713; Italian) also performs regularly with Th e Miami cierto de Aranjuez with Th e Miami Sym- HIGHLIGHTS: Arcangelo Corelli was known in his day as an extraordinary violinist. Symphony, Ensemble LPR, One World phony, Ravel’s Introduction and Allegro Corelli’s comparatively small body of work is largely restricted to three genres: the Symphony and Ensemble 212. She is a with the Philharmonic Orchestra of the solo sonata, the trio sonata, and the concerto grosso. He was the fi rst composer to founding member of the trio, Th e Gene Americas, Ravel’s Introduction and Alle- achieve widespread fame purely for instrumental music, never composing an opera Project, and the harp duo, Duo Scorpio. gro and Mozart’s Concerto for Flute and or (as far as we can tell) any vocal music whatsoever. His concerti grossi have infl u- Duo Scorpio released their debut album, Harp with Ensemble 212, as well as Mo- enced all composers from J.S. Bach to modern times. Scorpion Tales, in the fall of 2012 on the zart’s Concerto for Flute and Harp with the Astoria Symphony. Kristi was the WORK American Modern Recordings label and Principal Harpist for the Philharmonic YEAR/DURATION: 1714; 11 minutes were featured performers at the 50th An- Orchestra of the Americas, with which HISTORICAL NOTES: Corelli’s twelve concerti grossi were likely composed during the niversary American Harp Society Con- she toured Mexico and North America, last two decades of his life and fi rst performed at the composer’s weekly concerts ference in New York City. Th eir album, recorded an album for Sony Classical and in Rome. Corelli began revising and preparing them for publication in 1708; the Scorpion Tales, was included on the 2012 appeared live on television for the Mexi- preface is dated December 3, 1712. Th ey were published posthumously, in 1714. GRAMMY nomination ballot in three can Bicentennial Celebration in Septem- Each concerto is scored for a solo concertino of two violins and cello, with string separate categories. Duo Scorpio were ber 2010. orchestra and continuo. also featured performers at Th e World Harp Congress in Sydney, Australia in Kristi is on faculty at the Manhat- July 2014, where they premiered their tan School of Music Precollege Division commissions by composers Nico Muhly where she teaches private lessons, harp and Andy Akiho. ensemble and a harp repertoire class. Kristi has been a guest artist with kristishade.com

16 29 FLUTIST TOMMASO BENCIOLINI CONCERTO FOR TROMBONE orn in Bologna (Italy) in 1991, Tom- Bmaso Benciolini began studying COMPOSER fl ute at twelve and graduated at eigh- DETAILS: Johann Georg Albrechtsberger (Klosterneuburg, 1736 – , 1809; teen at Conservatory “E. F. Dall’Abaco” Austrian) in with M° Stefano Maffi zzoni HIGHLIGHTS: Albrechtsberger was a student of music and philosophy, and became achieveing the highest honors. After his one of the most skilled composers of counterpoint and music theory of his genera- diploma he won the XV Rassegna “Mi- tion. His most prominent student was a young . gliori Diplomati d’Italia” in Castrocaro WORK getting a special prize. YEAR/DURATION: 1765(?); 15 minutes Winner of scholarship from French HISTORICAL NOTES: Albrechtsberger’s Trombone Concerto has remained a staple of foundation “Zygmunt Zaleski” he stud- the orchestral repertoire, as the fi rst notable concerto for an instrument which few ied at Ecole Normale de Musique “Alfred composers have endeavored to complete successfully. It is quite signifi cant that a Cortot” in Paris with Pierre-Yves Artaud. classical period composer, such as Albrechtsberger, could achieve this in an era He also received his masters diplome, preceding Beethoven’s contribution in adding the trombone to the orchestra itself. achieving the highest marks at Conser- With this concerto, Albrechtsberger also demonstrates his gift for strict counter- vatory “C. Pollini” in Padova, after which point. he graduated from the Lugano University of Music (Switzerland) and received the “Masters in Advanced Studies” with the CONCERTO FOR GUITAR internationally renowned soloist Mario rently collaborates with Orchestra Anto- Caroli. He then studied under the guid- nio Vivaldi of Como, Hulencourt Soloist COMPOSER ance of M° Nicola Campitelli. Chamber Orchestra of Bruxelles and Fi- DETAILS: Antonio Vivaldi (Venice, 1678 – Vienna, 1741; Italian) At the age of sixteen he began a larmonica Internazionale di Brescia e HIGHLIGHTS: Antonio Vivaldi, nicknamed “the red priest”, is recognized as one of professional career that brought him Bergamo which has given him the op- the most important composers of the early Baroque period, leading the way to to perform regularly at such venues as portunity to collaborate with musicians J.S. Bach and others in the late Baroque. He is especially revered for his instru- Sala Verdi di Milano, Teatro La Fenice such as Nelson Freire, Lilya Zilberstein, mental concerti, primarily written for the violin. Vivaldi also wrote many sacred di Venezia, Teatro Bibiena di Mantova, Daniil Trifonov, Th omas Zehetmair, Au- choral works and over forty operas. Equally important, Vivaldi is seen as one of Teatro Filarmonico di Verona, Teatro gustin Dumay. the pioneers of program music, or the tone poem and program symphony, fi rmly Toniolo di Mestre, Teatro Grande di Tommaso Benciolini is also instruc- established later by Franz Lizst (1811-1886) and advanced by composers such as Brescia, Teatro Donizetti di Bergamo tor at the Verona Conservatory “E. F , Richard Strauss and Vivaldi’s compatriot Ottorino Respighi. Viv- and abroad in France (Salle Cortot, Dall’Abaco” where in 2012 he became aldi achieved this feat with a set of twelve violin concerti published in 1725 under Paris), Switzerland (Auditorium CSI, the youngest teacher. He has also been the title Il Cimento dell’armonia e dell’inventione. Th e group of works was intended Lugano), Poland (Teatr Wielki), Spain invited to give masterclasses in Cuba (In- to strike a balance between harmony and creative imagination. (Teatro Juan Bravo, Segovia), Belgium ternational Contemporary Music Festi- WORK (Flagey Studio 4, Bruxelles), Germany val), Finland (Tampere Music Academy YEAR/DURATION: (Detlmoder Landesteather), and Suomitaly Music Festival) and Esto- 1730; 10 minutes HISTORICAL NOTES: (Notting Hill Concert Series, London), nia (Tartu Eller Music Academy). Vivaldi’s Lute Concerto in D is in modern times regularly per- Finland (Suomitaly Festival), Malta In 2015 Tommaso made his debut in formed with the guitar substituting for the lute. It is one of the most memorable, (Gaulitana Festival), and Estonia (Eller two of the most important Italian venues: popular guitar concerti. And this is no surprise given its incredibly pleasing melo- Concert Hall). Gran Teatro La Fenice in Venice, and dies, happy spirit and galloping rhythms. Th e music is naturally well-balanced Tommaso Benciolini then col- Sala Verdi in Milan. between the agile guitar and light, eff ective scoring of the ensemble. Th e galant and laborated with “Orchestre de Flûtes tommasobenciolini.net expressive Largo movement is well defi ned, and full of energy. Français” of Paris and became a member of the FortePiano Trio with Ludovico e Leonora Armellini, creating an intense and enthusiastic concert activity. He cur-

28 17 ODE CORELLIANA 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 COMPOSER his Symphony No. 40. Th e third movement Minuet especially shows connections DETAILS: Salvatore Di Vittorio (Palermo, 1967; Italian) with the chromaticism in Mozart’s 40th symphony, not to mention the playfulness HIGHLIGHTS: See Biography on page 30 in the second movement. On its own merits, Schubert’s Fifth Symphony is a noble WORK work, full of light, energy and happiness. YEAR/DURATION: 2016; 7 minutes HIGHLIGHTS: Ode Corelliana is based on Di Vittorio’s aff ection for the music of the GUEST COMPOSER 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- PIERGIORGIO RATTI phia, and Di Vittorio conducted its world premiere on March 26-27, 2017 at Kim- iergiorgio Ratti, born in 1991, studied mel Center for the Performing Arts. Th ere is one musical quote at the beginning of Poboe at the “Giuseppe Verdi” Con- the work, a variation of the ending of the Adagio to Corelli’s Christmas Concerto. servatory of Como, graduating in 2011 Th e themes and melodies are original throughout the composition, yet Di Vittorio under the guide of Adriano Mondini. makes use of Corelli’s musical infl ections and rhythms to carry the music to its He attended masterclasses with Luca fi nale. Vignali, Fabien Th ouand and private les- sons with Luigi Finetto and Francesco Di Rosa. SINFONIA CONCERTANTE, FOR VIOLIN AND VIOLA From 2009 he has been studying com- position with Antonio Negri Eros, of COMPOSER whom he become a close associate, and DETAILS: (Salzburg, 1756 - Vienna, 1791; Austrian) has started a prolifi c output for a great HIGHLIGHTS: W. A. Mozart was a prolifi c and incredibly infl uential composer, with variety of ensembles. He later attended over 600 works ranging from some of the most beloved operas (21), 41 symphonies, masterclasses with Andrea Portera. dozens of concerti (27 for piano alone), as well as a great number of important cho- Ratti won the fi rst prize at composi- ral works and chamber music. tion competition “Azione Musicale 2014”. WORK Together with his friend conductor Lo- renzo Passerini, Piergiorgio has founded YEAR/DURATION: 1779; 30 minutes the “Antonio Vivaldi Orchestra”, assum- HISTORICAL 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 the role of resident composer. He has dedicated works to international soloists Auditorium of St. Antonio in Morbe- ing work has been lauded for centuries as the ideal structure somewhere between gno, the Teatro Nuovo and Villa Olmo a symphony and a concerto. Mozart treats interactions between the soloists and such as Giampaolo Pretto (principal fl ute of “Orchestra Sinfonica Nazionale della in Como, the “City Th eatre” in Vicenza, the orchestra quite delicately, leaning on symphonic models. Th e work is majestic, the “Manzoni Th eatre” in Monza, “Villa and memorable in its ability to reserve surprises from soloists to orchestra and vice Rai”), Francesco Manara (principal vio- lin of “ Opera Orchestra”), Gi- Castiglione” in Florence, Cathedral in versa. Historians account the maturity in part to Mozart falling in love during this Como, in “Teatro Civico” in Tortona, in European voyage, together with the loss of his mother who passed away in Paris. It uliano Sommerhalder (principal trumpet of “Gewandhaus Orchestra” in Lipsia), Villa D’Este in Como. is considered one of Mozart’s masterpieces, a faith no doubt secured by its beautiful He has a physics degree from the slow and eloquent, yet melancholy, second movement. Francesco Tamiati (principal trumpet of “La Scala Th eatre Orchestra”). Some of “Universita degli Studi di Milano”, with his compositions have been premiered at a thesis on quantum Hall eff ects. the “Conservatorio Giuseppe Verdi” in Milan (under the season “Serate Musi- piergiorgioratti.com 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 Enjoying the concert? Make a donation at the info table in the Enjoying the concert? Make a donation at the info table in the lobby or email us: [email protected] lobby or email us: [email protected]

18 27 PROGRAM NOTES TROMBONIST SCHUBERT’S 5TH AND MOZART’S CONCERTO FOR FLUTE BURT MASON AND HARP urt Mason currently serves as Princi- pal Trombone of both the Chamber RED FIREWORKS B Orchestra of New York and the Green- COMPOSER wich Village Orchestra. Recent appoint- DETAILS: Piergiorgio Ratti (Como, 1991; Italian) ments have included solo trombone for HIGHLIGHTS: Th e young Italian composer Piergiorgio Ratti has attracted consid- the Miami Music Project and Principal erable attention with various orchestral works, including concerti, following his Trombone and soloist of the New York studies at the Conservatory of Como. He is currently Composer-in-residence of the Staff Band of Th e Salvation Army. He Orchestra Antonio Vivaldi in Milan. has performed several times with the New York Philharmonic in addition to WORK numerous ensembles and orchestras. He YEAR/DURATION: 2017; 5 minutes has also appeared as soloist with numer- HISTORICAL NOTES: To Be Announced. ous ensembles, performing throughout North America, Th e United Kingdom, Europe and Australia. CONCERTO FOR FLUTE AND HARP Mr. Mason has performed under the baton of notable conductors such as Ms- COMPOSER tislav Rostropovich, Esa-Pekka Salonen, DETAILS: Wolfgang Amadeus Mozart (Salzburg, 1756 - Vienna, 1791; Austrian) on the Naxos label. Skitch Henderson, Alan Gilbert and HIGHLIGHTS: W. A. Mozart was a prolifi c and incredibly infl uential composer, with Mr. Mason has completed his Masters Sidney Harth amongst others in world- over 600 works ranging from some of the most beloved operas (21), 41 symphonies, of Music in Orchestral Performance at renowned venues such as Royal Albert dozens of concerti (27 for piano, alone), as well as a great number of important the Manhattan School of Music studying Hall, Carnegie Hall, Lincoln Center, choral works and chamber music. with David Finlayson of the New York Kennedy Center and the Apollo Th eater. Philharmonic. He has had additional WORK Mr. Mason began playing trombone at studies with Joseph Alessi of the New YEAR/DURATION: 1778; 29 minutes age 12 but did not receive any formal les- York Philharmonic, Weston Sprott of the HISTORICAL NOTES: Mozart’s Concerto for Flute and Harp is one of two well-known sons until he entered college at the Crane Metropolitan Opera Orchestra and Mark works that he wrote in Paris as a double concerto, the other being the Sinfonia School of Music (SUNY Potsdam). De- Hartman at the Crane School of Music. Concertante for Violin and Viola. Th e work was commissioned by Duke Adrien- spite this lack of formal training, his nat- Outside of performing, he actively com- Louis de Bonnières (a fl utist), to be played with his daughter harpist Marie-Louise- ural skills as a trombonist placed him as a poses and arranges. Philippine. Th e Concerto is truly magnifi cent with its tender melodies and wistful fi nalist in the fi rst annual New York Phil- burtmason.com accompaniment, and has endured through the centuries as one of Mozart’s most harmonic Young Performers Audition, endearing pieces. selection for the esteemed MENC All- Eastern Band, the NYSSMA All-State Band and Orchestra, as well as winning SYMPHONY NO. 5 several local music contests. While in college at the Crane School of Music, Mr. COMPOSER Mason won the Crane School of Music’s DETAILS: (Alsergrund-Vienna. 1797 – Vienna, 1828; Austrian) most prestigious performing contest, the HIGHLIGHTS: Schubert is best known for his output of six hundred vocal works, annual Crane Concerto Competition as a though he also composed seven symphonies and much chamber music. During his sophomore. lifetime, Schubert’s works were appreciated within a small circle in Vienna, but he As a recording artist, Mr. Mason has achieved signifi cant recognition years following his death. been featured as a soloist on a variety of WORK recordings with the New York Staff Band YEAR/DURATION: 1816; 27 minutes on the Triumphonic label. He has also HISTORICAL NOTES: Schubert’s Symphony N. 5 has become a recognized masterwork completed recordings with Chamber Or- of the orchestral repertoire. Certainly, its having been scored for small orchestra chestra of New York, which was released

26 19 VIOLINIST CHAMBER ORCHESTRA OF NEW YORK

KELLY HALL-TOMPKINS Weill Recital Hall at Carnegie Hall cclaimed by the New York Times as Thursday, June 7, 2018 at 7:30pm A“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), SCHUBERT’S 5TH AND MOZART’S violinist Kelly Hall-Tompkins is forging a dynamic career as a soloist and cham- CONCERTO FOR FLUTE AND HARP ber musician. Winner of a Naumburg International Violin Competition Hono- rarium Prize as well as a Concert Artists RATTI Red Fireworks [World Premiere] Guild Career Grant, Ms. Hall-Tompkins has appeared as soloist with orchestras MOZART Concerto for Flute and Harp including the Dallas Symphony, Oak- land Symphony, Jacksonville Symphony, I. Allegro Tulsa Philharmonic, Chamber Orchestra II. Andantino of New York, and a Brevard Festival Or- III. Rondeau chestra under the baton of Keith Lock- hart, in addition to numerous concerts Tompkins founded and directs Music Tommaso Benciolini, fl ute; Kristi Shade, harp and recitals in cities including New York, Kitchen-Food for the Soul, which has, to Washington, Cleveland, Toronto, Chi- date, brought almost 100 chamber music cago, Baltimore, and Greenville, South INTERMISSION performances to New York City and Los Carolina, and at festivals in France, Ger- Angeles homeless shelters, with over 150 many and Italy. Work To Be Announced artists. Ms. Hall-Tompkins’ orchestral career Ms. Hall Tompkins received an Hon- also includes extensive touring in the orary Doctorate from the Manhattan Winner - The Respighi Prize in Conducting (from New York Conducting Workshop) United States and internationally with School of Music, her alma mater, in 2016, the Orpheus Chamber Orchestra, in- and also delivered the Commencement SCHUBERT Symphony No. 5 cluding performances in Carnegie Hall, address. She is also one of three 2017 re- Lincoln Center, Japan, Singapore, Scot- cipients of the Sphinx Medal of Excel- I. Allegro land and a recording with countertenor lence, which will be presented at the US II. Andante con moto Andreas Scholl. She has also performed Supreme Court by Justice Sotomayor. III. Menuetto, Allegro molto over 150 performances with the New She earned a Master’s degree from the IV. Allegro Vivace York Philharmonic, under conductors Manhattan School under the mentorship including Kurt Masur, Leonard Slatkin, of Glenn Dicterow, concertmaster of the Andre Previn, Charles Dutoit and Valery New York Philharmonic. Gergiev. Ms. Hall-Tompkins has also An avid polyglot, Ms. Hall-Tompkins lead numerous Carnegie Hall concerts studies and speaks seven languages. A with the New York Pops and as found- native of Greenville, South Carolina, Ms. ing member of the Chamber Orchestra Hall-Tompkins began her violin studies of New York, which performed its debut at age nine. She lives in New York City concert in Carnegie’s Zankel Hall in the with her husband Joe. This program is supported, in part, by public funds from the New York City Fall ’07 with Ms. Hall-Tompkins also as kellyhall-tompkins.com Department of Cultural Affairs in partnership with the City Council. Additional in-kind soloist. From 1999-2012 she was a mem- funding is generously provided by the Adelphi University Performing Arts Center. ber of the New Jersey Symphony Orches- Please turn off your cell phone and other electronic devices. tra’s fi rst violin section. A dedicated humanitarian, Ms. Hall- ChamberOrchestraofNewYork.org 20 25 VIOLIST MARGARET SNYDER iolist Maggie Snyder is Associate VProfessor 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 Michigan, Interlochen Arts Academy, Warner Fellow. In May, 2009, she made Eastman, Hartt, Th e University of Roch- her recital debut in Weill Recital Hall at ester, Th e University of Tennessee, Th e Carnegie Hall with her sister duo, Al- University of Kentucky, and the Univer- lemagnetti. Th at recital featured three sity of South Carolina, among others. world premiere works written for the She earned the Masters and Graduate ensemble by Th omas Pasatieri, Kamran Performance Diploma from Th e Peabody Ince, and Garrett Byrnes and the group Conservatory of Music, where she was was noted as a “winning pair,” with a the teaching assistant for Victoria Chi- “highly promising debut,” by the New ang. Her Bachelor’s degree is from the York Concert Review. University of Memphis, where she was Ms. Snyder is principal viola of the a Pressar Scholar. Her principal teachers Chamber Orchestra of New York, and is have been Victoria Chiang, Heidi Castle- on the artist faculty of the Brevard Mu- man, and Lenny Schranze. She has been sic Festival. She has performed chamber President of the Alabama Orchestra As- music with members of the Cleveland sociation, and on the board of the Ala- and Tokyo Quartets and the Aspen bama Music Educator’s Association, the String Trio. She has recently been con- state chapter of Music Educator’s Na- tracted for online release of her fi rst CD tional Conference. Ms. Snyder has served recording with Allemagnetti through on the faculties of West Virginia Univer- Arabesque Records. Upcoming release sity, Ohio University, and the University includes a CD of modern American Viola of Alabama, where she was coordinator works by Kenji Bunch, Stephen Paulus, of the string area. Garrett Byrnes, and Christopher Th eo- maggiesnyder.com fanidis. Ms. Snyder has given master classes, clinics, and performances at universi- ties and music schools throughout the country, including Th e University of

24 21 GUITARIST PIOTR PAKHOMKIN ailed by Classical Guitar Magazine Has “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 As the winner of the 2016 Respighi 2012 Boston GuitarFest International International Soloist Competition, he Guitar Competition, Great Lakes Gui- will make his concerto and solo debut at tar Competition, Montreal International Carnegie Hall in the Chamber Orches- Guitar Competition, and the European tra of New York’s “Masterwork Series” International Guitar Competition, “En- in June 2018. Piotr plays exclusively on a rico Mercatali,” in Italy. After fi nishing 2010 Ross Gutmeier Guitar using Oasis the prestigious Strathmore Artist-in- GPX strings. Residence program in 2014, he returned piotrguitar.com to serve as a faculty member and mentor in their Institute for Artistic Develop- ment.

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

Peggy C. Willenbucher & Paul D. Wexler

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