Vogue Italia & Fashion Week Daily mention AcnePaper Event at Pace Gallery, March 14, 2012

The Chamber Orchestra of New York's strings provided live classical music at Pace Gallery on Wednesday for a fantastic Acne Paper event in celebration of Issue No. 13, elegantly organized by PR Consulting. 

Read about the event at Fashion Week Daily's website: http://bit.ly/yCX31C and Blouin Art Info blog: http://bit.ly/ztbMmy. Vogue Italia also mentioned the Chamber Orchestra of NY:http://bit.ly/ynWZzL

"È stato un evento all'insegna della musica quello organizzato da Acne lo scorso 14 marzo alla Pace Gallery di New York per festeggiare il lancio dell'Acne Paper n° 13. La New York Chamber Orchestra ha infatti suonato dal vivo creando l'atmosfera ideale per fare da cornice alle immagini del nuovo issue che questa volta ha come tema conduttore il corpo umano, interpretato da alcuni dei più importanti artisti visivi, e non solo, internazionali.

Tra i personaggi presenti all'evento, solo per citarne alcuni, c'erano Iris Apfel, Joseph Altuzarra, Francisco Costa, Sophie Theallet, Narciso Rodriguez, Michelle Harper, Hanne Gaby Odiele, Linda Fargo, Nicole Miller, Bianca Balti e Derek Blasberg.

"Nella nostra era digitale - ha affermato Thomas Persson, Editor in Chief e direttore creativo di Acne Paper - è rincuorante vedere come la nostra pubblicazione sia diventata un oggetto da collezionisti tra gli amanti di magazine e stampe di tutto il mondo. Diciamo sempre che il nostro ultimo numero è il migliore e la cosa vale anche per il numero 13. Con i suoi numerosi contributi di artisti, fotografi e scrittori eccezionali sarà una gioia lanciarlo nel mondo". - Barbara Sini (Vogue.it) 

Photo courtesy of BFA - more photos can be viewed on the BFA website.

Spring 2012 News!

Read our spring 2012 newsletter:  Check out video clips and photos from a standing room only concert at Rockefeller University's Caspary Auditorium on February 3rd. Also read the preview of our next concert "Rhapsodic Themes" at Merkin Concert Hall on Thursday, May 10th at 7:00pm.   http://bit.ly/xVN1wi

"Respighi Lives in the Chamber Orchestra of New York"

"Respighi Lives in the Chamber Orchestra of New York" - Read Domenic Ambrose's review on his blog about our Feb. 3, 2012 concert at Caspary Auditorium, Rockefeller University: http://bit.ly/yZcaAp

The performance included the U.S. Premiere of Ottorino Respighi's Serenata for small orchestra, Richard Strauss' Duet Concertino, Aaron Copland's Appalachian Spring (original chamber version for 13 instruments), with an encore of Respighi's Aria for strings. It was a full house, standing room only!

Baroque Garden of Roses Concert - Dec. 3rd 8PM

BAROQUE GARDEN OF ROSES

Saturday, December 3, 2011 at 8:00pm

Presented in part by the Church of St. Jean Baptiste - Music Under the Dome

 

HOLST, G.  St. Paul Suite

ELGAR, E.  Sospiri (Sighs)

RESPIGHI, O. (ed. Di Vittorio)  Suite in G Major, for organ (U.S. Premiere)

          Kyler Brown (Director of Music, Church of St. Jean Baptiste), organ

SCARLATTI, A.  Oratorio "The Garden of Roses" (U.S. Premiere)

          The Virgin Consort, Kyler Brown (organ)

Church of St. Jean Baptiste

Lexington Avenue at 76th Street, New York, NY 10021 

Our Baroque Garden of Roses begins with two English gems: Holst's energetic St. Paul Suite and Elgar's sentimental Sospiri. The program features Respighi's rediscovered Suite for Organ and strings, which will be premiered with organist Kyler Brown (Director of Music, Church of St. Jean Baptiste). Mr. Brown and The Virgin Consort will then join the Chamber Orchestra and Maestro Di Vittorio with its premiere of the recently published Oratorio "The Garden of Roses" by Alessandro Scarlatti. A gorgeous display of madrigal-like arias, this recently restored oratorio was considered one of Scarlatti's masterpieces. Songs from this Oratorio have recently been championed by mezzo-soprano Cecilia Bartoli.

Visit the Concert Season page for information and to purchase tickets.

http://www.chamberorchestraofnewyork.org

AUTUMN PRELUDE AT EVENTI HOTEL PLAZA - OCTOBER 6, 2011

AUTUMN PRELUDE AT EVENTI HOTEL PLAZA

Thursday, October 6, 2011 at 6:00pm

Presented in part by Eventi Hotel & Big Screen Plaza

Selections from...

VIVALDI, A.  Winter from The Four Season

               Kelly Hall-Tompkins, violin

CORELLI, A.  Concerto in G Minor

RESPIGHI, O. (ed. Di Vittorio)  Suite for strings & Aria

MOZART, W.A.  Eine Kleine Nachtmusik

Eventi Hotel 

851 Avenue of the Americas (at 29th Street), New York, NY 10001

Open to the public!

Experience highlights from the Chamber Orchestra's acclaimed Naxos debut CD recordings and other classics, as the musicians perform live on the Eventi Hotel's Plaza and are featured on its giant multi-media big screen. Enjoy food and drinks from the adjacent FoodParc and Bar Basque!

Announcing Fourth Season & New Logo!

Announcing Fourth Season & New Logo! Check out our Concert Season page and we look forward to seeing you at next week's FREE Eventi Hotel & Plaza performance on October 6th. For more information, visit our Concert Season page at http://www.chamberorchestraofnewyork.org/concert_season.html.

 

About "Overtura Respighiana"

The following is a more detailed overview of Overtura Respighiana:

I composed Overtura Respighiana (Respighiana Overture) in 2008, one year before completing Ottorino Respighi's rediscovered first Violin Concerto - the latter, a commission which I received from Respighi's family descendants and leading archive curator in Italy. 

The work served two purposes: first, an homage not only to Ottorino Respighi but his homage works on Gioacchino Rossini (namely La Boutique Fantasque and Rossiniana); second, a personal thank you to Respighi's family for their permission to honor Respighi's name and entrusting me with the editing and completion of several early Respighi manuscripts for publication (in their first printed editions), premieres and recordings with the orchestra that now bares his name Chamber Orchestra of New York "Ottorino Respighi". 

My initial plans for the overture began with a reworking of Respighi's above transcriptions of Rossini's piano music, Les Riens. During the compositional process, I realized a musical connection between the final movement Elegy of my own Sinfonia No. 2 and Respighi's introduction of Pines of Rome. There was a strong resemblance between my variation on an Italian nursery rhyme at the ending of my Sinfonia and Respighi's 'children's theme' at the beginning of his Pines. 

The Overture begins with a reflection on Pines of Rome, citing a reinvention of the principal elements of Rossiniana and the ending of Sinfonia No. 2. My goal for the introduction was to capture Respighi’s orchestral aesthetic at the beginning of Pines, but with entirely different and original motives and melodies. At first listening, the notes may seem quite similar, but they are not. Each orchestral line of the introduction is in fact original, not borrowed out of Pines. Only the choices and placements of instruments remain similar, not the melodies. As a result, this is perhaps the most difficult work I've had to write over recent years. 

Through a series of fanfares, the music leads to a variation of the March from La Boutique Fantasque. Though this section remains the most similar in its reinvention, every single motive has been reworked to achieve varied harmonies – a playful reconstruction. 

A brief sarabande interrupts, which introduces an entirely new Renaissance-styled melody, only inspired from the Valse Lente movement of La Boutique. Looking back, one may hear echoes of Hector Berlioz if not Richard Strauss colors and effects throughout the orchestration. This is the most deeply reflective moment of the Overture. 

Through musical interruptions which serve as reminders of the work’s powerful introduction, we are led to a happy tarantella dance alla Rossini. Using similar ornamentation as Rossini overtures, this Overture ends with a full-fledged Rossini rocket or crescendo effect. The tarantella melody is entirely original, though somewhat inspired by the noted nursery rhyme motif in my own Sinfonia No. 2. The same may be said of the related French horn motif at the beginning of the Overture, also original. The coda is a return of the middle section sarabande, in tutti. 

Overtura Respighiana thereby fuses Gioacchino Rossini’s influence on Ottorino Respighi, with both of their influences on my own orchestral musical language.

If you wish to sample Overtura Respighiana, visit:
http://www.chamberorchestraofnewyork.org/music_director.html

Salvatore Di Vittorio
Music Director, Chamber Orchestra of NY