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MONDAY, SEPTEMBER 23, 2013
pre-concert lecture at 7 pm
directions to Alice Tully Hall>>
| Boccherini |
Symphony in D |
| Cimarosa |
Concerto for 2 flutes |
| Respighi |
Ancient Airs and Dances, Suite III |
| Rossini |
Serenata per piccolo complesso |
| Mozart |
Symphony No 13 in F |
Sandra Miller and Anne Briggs, flute
Thomas C. Crawford, Music Director
The New York Times, James R. Oestreich (June 7, 2013): "Twice in the opening movement Mendelssohn quotes the "Dresden Amen" ... as a sort of benediction to introduce the main theme. The end of the development section runs wild: never wilder than Mr. Crawford made it here, driving the music loud and fast right to the edge of the cliff. Then long silence and, eventually, the ethereal “Dresden Amen”; it was stunning.... The performance as a whole was excellent, with just fleeting reminders of how difficult it is to play antique brass instruments."
Crain's New York Business, Theresa Agovino (February 10, 2013): "When the orchestra played a concert at Alice Tully Hall last week, the aggregate value for its 43 instruments was $2 million, or an average of $46,511. A 1780 Bergonzi bass was valued at $250,000, and a circa-1690 Giovanni Battista Rogeri violin at $175,000. In contrast, an especially good concert violin made in the past few years could cost about $10,000, experts said.
'The instruments just sound richer,' said Vincent Gardino, the orchestra's executive director.”
The New York Times, James R. Oestreich (November 28, 2012): "The Magnificat was presented in the 1733 version, with four movements appropriate to the Christmas season interpolated from the original version of 1723....Light, clear and pleasant voices predominated among the soloists....In the Bach prelude and fugue Mr. D’Agostino drew mighty and attractive sounds from Tully Hall’s Kuhn organ and extended his unobtrusive but imaginative embellishments even to the fugue subject."
The New York Times, Zachary Woolfe
(October 16, 2012): "...it was in parts of the Mendelssohn that the sound of the period instruments was most distinctive. The softer, almost waxy antique woodwinds gave the overture an appropriately dreamlike cast, and the rawer-sounding trumpets made you hear a newly grand quality in the familiar Wedding March."
The New York Times, Allan Kozinn (April 10, 2012): "Thomas C. Crawford's American Classical Orchestra is working hard to be the period instrument orchestra that survives and thrives in New York, where so many have foundered. It is, in a way, a stealth contender....the orchestra devoted itself to works by Mozart and Beethoven, presented in trim, sculpted readings that captured the vigor and zest of the historical style...."
The New York Times, Anthony Tommasini (May 19, 2011): "With Mr. Crawford drawing stylish, lively playing from the orchestra; a gifted cast; and an inventive semi-staging by Cynthia Edwards, this performance put the piece [Grétry’s Richard Coeur de Lion] across beautifully."
The New York Times, Vivien Schweitzer ( October 5, 2010 ): "... an excellent rendition of Beethoven’s Symphony No. 3 (“Eroica”), which Mr. Crawford conducted from memory in an interpretation notable for its buoyancy and spirit."
The New York Times, Steven Smith (April 26, 2010): "Mr. Crawford’s conception of the Beethoven registered clearly enough in a taut, driven first movement; a crisp, sharply articulated Molto Vivace; and a sweetly spun Adagio."
The New York Times, Anthony Tommasini (November 18, 2009):
"I liked almost everything about the program: the informed, earnest and lively if sometimes scrappy performances; the alluring tonal qualities of the period instruments, especially the mellow strings and the dark reedy woodwinds; the chance to hear a titanic work like Mozart’s “Jupiter” Symphony played in an intimate hall."
The New York Times, Vivien Schweitzer (May 6, 2009): "Thomas C. Crawford conducted the orchestra from the harpsichord in a lithe reading of the melodic score...."
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