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available for full, half, quarter page and booster/logo ads.

For questions regarding advertising, please contact our Orchestra Manager, Ms. Santa Maria Pecoraro. Th ank you for your interest in supporting the Chamber Or-chestra of New York!

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PRESS KIT2015

SALVATORE DI VITTORIOMUSIC DIRECTOR

CHAMBER ORCHESTRA OF NEW YORK

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Dear Friends:

Welcome to the Chamber Orchestra of New York’s Eighth Concert Season, 2015/2016!

With our debut concert at Zankel Hall in 2007, we were thrilled when we returned to Carnegie Hall for regular per-formances during our 2012/2013 Season. And now the or-chestra plans to make Carnegie Hall its performance home for years to come.

Th is season our programs will include masterworks of great composers such as Gershwin and Tchaikovsky, J.S. Bach and Schubert, Puccini and Mahler, Respighi and Mo-zart; and we will feature composition premieres of guest composers Emiliano Imondi, Dirk Brossé and Andrea Mor-ricone.

Season highlights include:

• Pianist Di Wu and trumpeter Th omas Boulton in Shostakovich’s Piano Concerto N. 1, and Emiliano Imondi’s Respighi Prize winning composition, Th ree Varia-tions on a Gregorian Th eme - on December 12th

• New York Premiere of Dirk Brossé’s Black, White and In Between, performed by Swiss-Italian violinist Irene Abrigo, and the U.S. Premiere of Vaughan Wil-liams’s Burley Heath - on February 11th

• New York Premiere of fi lm composer Andrea Morricone’s Cinema Paradiso Suite (after father and renowed fi lm composer Ennio Morricone), in a program of clas-sical works featured in fi lms - on April 16th

• and a World Premiere of my own La Villa d’Este a Tivoli, a free transcription of Franz Liszt’s Fountains of Villa d’Este, in a program inspired by Th e Morgan Mu-seum’s exhibition City of the Soul: Rome and the Romantics - on June 23rd

Join us for our season concerts, and become a regular member of the Chamber Or-chestra of New York experience!

Salvatore Di Vittorio

WELCOME FROM OUR MUSIC DIRECTOR

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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 info@chamberorchestraofnewyork.org, or write:

Chamber Orchestra of New York404 E. 76th Street, Suite 5ENew York, NY 10021

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

For Public Relations:

Jeff rey James Arts Consulting45 Grant AvenueFarmingdale, NY 11735Tel: 516-586-3433E-mail: jamesarts@att.netWebsite: www.jamesarts.com

SUPPORT THE ORCHESTRA

C hamber 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

the fullest extent allowable by law. Our tax identifi cation number is 13-4318954.Th e Orchestra warmly invites you to make a donation in support of our concert

seasons. Special contributions can be made for specifi c purposes such as:

• Music Library Archive Sponsorships• Concert or Season Sponsorships• Orchestra Principal Chair or Music Director Chair Sponsorships

If you wish to donate today, including by credit card, visit the orchestra table outside the hall. Make all checks payable to: Chamber Orchestra of New York. Please indicate in your correspondence if you wish to remain anonymous.

Mail your tax-deductible contribution to:Chamber Orchestra of New York404 E. 76th Street, Suite 5ENew York, NY 10021

For questions regarding concert program donations, endowments and planned giving, please contact our Orchestra Manager, Ms. Santa Maria Pecoraro.Th ank

you for your interest in supporting the Chamber Orchestra of New York!

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PATRONS

Chamber Orchestra of NY graciously recognizes its generous contributors. As of 8/31/2015.

FOUNDATIONAL & GOVERNMENT SPONSORS

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C hamber Orchestra of New York, the city’s most dynamic young profes-

sional orchestra, was founded in honor of Ottorino Respighi - the preeminent early twentieth century Italian composer whose compositions bridge the classi-cal and modern traditions. In this spirit,

our programming presents great works of the 20th and 21st centuries, including fi lm scores and rarely performed gems, alongside ancient music. Th e orchestra also serves as the premier ensemble in the United States devoted to the Italian repertoire.

MISSION

E stablished in 2006, the Chamber Or-chestra is the fi rst auditioned young

professional orchestra in the history of New York. Its triumphant debut was held on October 11, 2007 at Zankel Hall/Carnegie Hall. Following the Inaugural Season 2007/08 fi nale concert, Vivien Schweitzer of Th e New York Times wrote: “Th e musicians played…producing a polished, rich sound…a stirring perfor-mance [of Mahler’s Adagietto 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 performed at the Italian Cultural Institute of New York, Big Screen Plaza/Eventi Hotel, Caspary Auditorium/Th e Rockefeller University, Merkin Concert Hall/Kaufman Center,

Pace Gallery, and Gilder Lehrman Hall at Th e Morgan Library & Museum.

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, Bergen Philharmonic-Norway) as well as soloists Lynn Harrell, Cho-Liang Lin, Nadja Salerno-Sonnenberg and Alicia Zizzo. Honorary Board mem-bers include Respighi family descendents Elsa and Gloria Pizzoli, Respighi archive curator/cataloguer Potito Pedarra and musicologist Luigi Verdi. It now boasts an elite ensemble of gifted musicians, including fi rst concertmaster Kelly Hall-

ABOUT THE ORCHESTRA

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MUSICIANS

2015/2016 SEASON

MUSIC DIRECTOR & CONDUCTORSalvatore Di Vittorio

VIOLIN 1Kelly Hall-Tompkins, First ConcertmasterDaniel Khalikov, Second ConcermasterKiwon NahmNicholas PapponeBella Horvath

VIOLIN 2Russell Kotcher, PrincipalSarah CharnessLavinia Pavlish

VIOLAMaggie Snyder, PrincipalSanta Maria Pecoraro

VIOLONCELLOAdrian Daurov, PrincipalMichael Midlarsky

CONTRABASSVictoria Tsvetkova, Principal

FLUTEChelsea Knox, PrincipalMira Magrill (Piccolo)

OBOESlava Znatchenii, PrincipalMerideth Hite (English Horn)

CLARINETBen Baron, PrincipalAnton Rist

BASSOONStephanie Corwin, PrincipalNatalie Pilla

FRENCH HORNDan Wions, PrincipalAleksander Ozolins

TRUMPETThomas Boulton, PrincipalHugo Moreno

TROMBONEBurt Mason, Principal

PERCUSSION/TIMPANIDavid Mancuso, PrincipalChris Thompson

HARPKristi Shade

HARPSICHORD/ORGAN/CELESTAAymeric Dupré la Tour

The city’s most dynamic young professional orchestra!

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Tompkins (New Jersey Symphony) and second concertmaster Daniel Khalikov (Metropolitan Opera Orchestra).

During the Second Season 2008/09, Ottorino Respighi’s great nieces Elsa and Gloria Pizzoli and archive curator/cata-loger Potito Pedarra entrusted Music Di-rector Salvatore Di Vittorio with the task of editing, orchestrating and completing several early orchestral works of Respighi for publication, in their fi rst printed edi-tions under the Ottorino Respighi Pub-lications Series of Edizioni Panastudio in Italy. As part of the commission, Di Vit-torio was invited to complete Respighi’s rediscovered fi rst Violin Concerto (in A Major). Th e orchestra then premiered Respighi’s Violin Concerto, Aria and Suite for strings with Di Vittorio’s homage Overture Respighiana during the Th ird Season 2009/10. In 2010, the Chamber Orchestra established Th e Respighi Prize Music Competition in collaboration with the City of Bologna (Respighi’s birth-place), and also received the prestigious Google Grant for online marketing. In 2011, the orchestra had another break-through with the release of its debut CDs on Naxos Records (Respighi, 8.572332 and Di Vittorio, 8.572333). Th e Naxos recordings were immediately successful

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 thirty positive reviews have been written in praise of the orchestra’s recordings.

As part of its Fourth Season 2011/12, the Chamber Orchestra championed per-formances of four newly printed critical editions of music by not only Respighi, but Alessandro Scarlatti and the restora-tion of Claudio Monteverdi’s Lamento di Arianna (Ariadne’s Lament) for mezzo-soprano and orchestra. Th e orchestra’s Fifth Season 2012/13 was highlighted by the recording of its third Naxos CD, including Respighi’s Th e Birds, Trittico Botticelliano, Serenata and Suite in G for organ. It’s Sixth Season 2013/14 marked the orchestra’s championing of the early music of Vaughan Williams, which the ensemble extended into its Seventh Sea-son 2014/15 with an all Vaughan Wil-liams program in its debut at the Adelphi Performing Arts Center in Long Island, NY—also the home of its Naxos record-ings.

Violin Concerto in A MajorOttorino Respighi

A V A I L A B L E A T :

Sinfonias Nos. 1 and 2

The Birds

Salvatore di Vittorio

Ottorino Respighi

“Di Vittorio secures a tidy response from his young New York band” - Gramophone

My First Orchestra App

available for iPhone and

Android

“the most texturally detailed, luminous, substantial performance

yet captured on disc” - ClassicsToday.com

“Di Vittorio proves himself with this CD to be a composer of beautiful music”

- Fanfare

8572333 • 747313233373

8573168 • 747313316878

8572332 • 747313233274

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ADMINISTRATION

ARTISTIC DIRECTIONSalvatore Di Vittorio, Music Director & Conductor

ADMINISTRATIONSalvatore Di Vittorio, Executive DirectorSanta Maria Pecoraro, Orchestra ManagerShanan Estreicher, Operations ManagerStephen D. Hans, Esq., Legal CounselJeff rey James, Public Relations ConsultantTiff any Estreicher, Graphic DesignerBella Glozman, Senior Assistant to OperationsMoto Suzuki, Assistant to Operations

BOARD OF DIRECTORS

EXECUTIVE BOARDPresident (Vacant)Kim J. Hartswick, President EmeritusSalvatore Di Vittorio, FounderSanta Maria Pecoraro, Secretary-Treasurer

BOARD OF GOVERNORSShanan EstreicherGeorge HemingwayJeff rey James (Jeff rey James Arts

Consulting) - Ex offi cioSanta Maria PecoraroJohn SoppePaul Wexler, Esq.Salvatore Di Vittorio

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 Gilbert (New York Philharmonic)Lynn Harrell Cho-Liang Lin Andrew Litton Olivera Medenica, Esq.Rainer Mehne (Berlin Philharmonic) Francesco Panasci (Edizioni

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

Zuckermann Harpsichords International

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REVIEWS

“Inquisitive disc-buyers will almost certainly alight…[for the Suite in G Major, for strings and organ]. Di Vittorio’s 2011 edition (uncut, and original) restores 3 minutes, and he conducts it with energy. It is a curiosity, a portent of the subsequent homage [Respighi] was to pay to earlier Italian masters. Trittico Botticelliano and Th e Birds, preceded by the Serenata (in another Di Vittorio edition), show Respighi in a favorable light.”

Geoff rey Norris, Gramophone Magazine, London

“Th ere’s a lean and translucent quality to their sound that’s particularly successful in a work such as Th e Birds in which the scoring is so deft and agile. Trittico botticelliano is a masterpiece of ingenious orchestration on a small scale. Interpretations of both these works are wonderfully detailed, and the youthful orchestra plays well in a slightly unforgiving acoustic.”

Robert Johnson, Radio New Zealand

“One of the year’s most pleasant surprises. Di Vittorio makes no bones about his commitment to the music of Respighi or the marked infl uence of that fi gure on his outlook as a composer. (His own Th ird Symphony is called “Temples of Sicily,” a subtitle that would have appealed greatly to his famous predecessor.) Th ese are vibrant performances of some of Respighi’s most attractive music. Th e early Serenata for Small Orchestra (1904) imitates the sound of Renasissance guitar in a four-minute work of much persuasive charm. Suite in G major for Organ and Strings (1905) pays eloquent homage to Respighi’s predecessors, particuarly Bach, Corelli, and Frescobaldi, as the organ, played with power and probity by Kyler Brown, interracts with the string orchestra to create an abundance of deeply moving harmonies and textures.”

Phil Muse, Audio Video Club of Atlanta

“No recordings known to me reach a similar level of orchestral transparency. Di Vittorio illuminates the musical paintings [in Trittico Botticelliano] with a strong light; he doesn’t use LED as this would not allow the light of the full spectrum. Bright is clear, but not crude. In this interpretation, all colors obtain their full value, and the music calls, with extraordinary detail, a feeling of warmth. Also “Gli Uccelli” obtains a new layer of renovating paint, resulting in a deep penetrating cleaning. Each of the portrayed fowls is treated species-appropriately, and Respighi’s musical markings are expressed elaborately. Again, I have never before heard so many details in this work.”

Remy Franck, Pizzicato Magazine, Luxenbourg (Translation: Meike Dittman)

“Here one can get a sense of these chamber pieces within a specifi c understanding of the Neo-Baroque style of this composer by committed orchestra and by a conductor intimately connected to the editions used here, Salvatore Di Vittorio.”

Steven A. Kennedy, Cinemusical

“Luminous Respighi. Th is recording of the Th ree Botticelli Pictures has got to be the most texturally detailed, luminous, substantial performance yet captured on disc. Conductor Salvatore Di Vittorio makes sure that every strand of Respighi’s remarkable orchestration stands out in high relief, from the shockingly vivid violin trills at the start of “Spring” to the gently pulsating but constantly shifting motion of the waves in “Th e Birth of Venus”. It’s an amazing achievement, one that elevates a work all too easily dismissed as a sugary-sweet musical bon-bon. You can’t help but be impressed.”

David Hurwitz, Classics Today, New Hampshire

“Two of Respighi’s best-known works conducted by Salvatore Di Vittorio, the Italian musician specially commissioned by the composer’s family to promote his works. Th is new edition also comes from the conductor who has at his disposal the highly commended Chamber Orchestra of New York. Th ey have the warmth of tonal quality required, while able to produce the required transparency when the music grows in intensity. Th e recording is unexaggerated and of a nice ambience.”

David Denton, David’s Review Corner, Cambridge

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B orn in Palermo, Italy, Salvatore Di Vittorio has achieved international

recognition as a composer and conduc-tor, hailed “a lyrical musical spirit, re-spectful of the ancient Italian tradition”, “following in the footsteps of Ottorino Respighi”–Luigi Verdi, Philharmonic Academy of Bologna. He gained con-siderable attention with his orchestration and completion of Respighi’s rediscov-ered fi rst Violin Concerto (in A) and other works, a commission received from the great nieces and archive curator of the Bolognese composer. He was fi rst noticed when his compositions were programmed with Respighi by Italian chamber orches-tras. He then aroused national interest as Music Director/Founder of the Chamber Orchestra of New York which debuted in 2007 at Zankel Hall, Carnegie Hall.

Di Vittorio has been featured by lead-ing orchestras, including Orchestra Sin-fonica Siciliana, Teatro Massimo Opera Palermo, Orchestra Regionale Filarmon-ica Veneta, Orchestra da Camera Fioren-tina, Orchestra Sinfonica della Calabria, Orchestra of the Swan of Stratford-upon-Avon, Vancouver Island Symphony, Or-questa de Cámara Bellas Artes, Santa Rosa Symphony, Chamber Orchestra of Philadelphia, and San Diego Symphony.

His music is inspired by philosophical and programmatic themes that captivate each listener with poignant, romantic lyri-cism and magnifi cent orchestrations. Di Vittorio is fascinated with the world of sto-rytelling through symphonic poem. His upcoming Sinfonia N. 4 “Metamorfosi” for the Teatro Massimo Opera Orchestra of Palermo will highlight the magical sto-ries in Ovid’s Metamorphosis, with each movement drawing inspiration from an Italian painting related to the stories.

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 First Violin Concerto. 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 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.

Upcoming podium debuts and com-position premieres include Musica Sacra di Monreale, Teatro Massimo Opera Or-chestra, San Diego Symphony, Ensemble

COMPOSER, MUSIC DIRECTOR & CONDUCTOR

SALVATORE DI VITTORIO

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Alberto Burri, and the Chamber Orches-tra of Philadelphia.

Di Vittorio’s Naxos recordings with the Chamber Orchestra of New York have been airing worldwide and receiving much critical praise. “Top billing goes to

Di Vittorio’s completion of [Respighi’s] Violin Concerto”-Gramophone Maga-zine; “Unabashedly tonal, traditional, and Italian, his style employs a swell-ing lyricism”-American Record Guide; “A brilliant and sparkling semi-pastiche overture and two symphonies, which are pictorial-philosophical, approachable works distinguished by his Respighian sense of orchestral color”-Records In-ternational; “[Di Vittorio] is a composer of beautiful music extraordinaire”-Fan-fare Magazine; “[Th e Violin Concerto] sounds like genuine Respighi, with an-ticipations of characteristic moments in Pines of Rome”–Classics Today; “his revisions, transcriptions and comple-tions are sensitive to Respighi’s Neo-Ba-roque style”–Music Web International; “Respighiana…[is] a happy and very lively score”–David’s Review Corner; “di Vittorio proves more and more to be an important Italian composer…one can also fi nd hints of Scarlatti and Rossini; a modernism resolutely neo-romantic, also verismo, even cinematographic…without concerns of criticism from the avant-garde…Respighiana, entwined with Rossini crescendos and fanfares alla Pines, a contemporary music entirely timeless”–Abeillemusique; “a musician of remarkable attainment…, a composer of prodigious imagination and talent”–Houston Public Radio/NPR.

Di Vittorio began his musical stud-ies in Italy at an early age with his fa-ther, Giuseppe, who introduced him to the operas of Verdi and Puccini – for-ever infl uencing his musical destiny. He later studied composition with Ludmila

Ulehla and composition/conducting with Giampaolo Bracali at Manhattan School of Music, and aesthetics/ancient phi-losophy at Columbia University. He is a protégé of Francesco Carotenuto (Rome), Piero Bellugi (Florence), and John Far-rer (London). His compositions are published by Panastudio/Casa Ricordi (Universal Music), recorded on Naxos Records, and listed in David Daniels’ Orchestral Music.

salvatoredivittorio.com

“A poignant and lyrical musical spirit respectful of the ancient Italian tradition”

—Luigi Verdi, Accademia Filarmonica di Bologna