new york city's period instrument orchestra
performing at alice tully hall - lincoln center

Join our Mailing List Join Our Email List

Email Address:

Share the Joy

About ACO Salon Concerts >>


The New York Times, James R. Oestreich (November 4, 2015): "...Mr. Müller sang John beautifully here, as usual, and the other soloists were fine, especially Teresa Wakim, soprano; Daniel Bubeck, countertenor; Dann Coakwell, tenor; and Jesse Blumberg, baritone. The orchestra and chorus were strong, and Mr. Crawford moved things along at a crisp pace.", Jean Ballard Terepka (November 10, 2015): "A masterful performance of coherent artistic vision and intense musical integrity."

The New York Times, James R. Oestreich(October 14, 2015): "Mr. Crawford’s performance was quite simply splendid. “Der Tag” is populated by a variety of characters, two named (Jesus and John), the rest allegorical (Faith, the Archangel, the Blessed and the like). Mr. Crawford divided them among his 16 choristers, who were almost uniformly excellent, both individually and as a body.", Harry Rolnick (October 13, 2015): "...the American Classical Orchestra period-instrument orchestra and the Baroque-sized 16-voice Choir created a picturesque piece of religious theatricality."

Classicalite, Steve Nagel (September 15, 2015): "Alice Tully Hall was rattling under standing ovations this Thursday, courtesy of American Classical Orchestra (ACO's) choice to begin its season with the thunderous clashes of three perennial Beethoven works: the "Lenore Overture No. 3," followed by the Emperor Concerto, and finally, Beethoven's 7th Symphony. ", Jon Sobel (September 11, 2015):"With rich harmonics, thrilling tension, and remarkable spatial awareness, the ACO made a thoroughly convincing case for how worthwhile it is to make the effort to present works like Beethoven’s Symphony No. 7 with original instruments. The all-Beethoven program made a stellar start to the orchestra’s new season."

The New York Times, James R. Oestreich (September 11, 2015): "The overture immediately opened the ears with delightfully crunchy sounds from the treacherous old valveless brasses. "

BWW Classical World, Marina Kennedy (June 22, 2015): "The magical moment of the evening occurred during Haydn's Concerto in C major for Cello and Orchestra, played by ACO principal cellist, Myron Lutzke performing on a 300 year old cello. Lutzke effortlessly executed the virtuosic maneuvers of the piece, including quadruple-stops, extended high-range passages, and displays of nimble, acrobatic fingering."


Thomas C. Crawford

Thomas C. Crawford, Music Director of the American Classical Orchestra

Music Director and Conductor

Maestro Crawford's training as a conductor, composer, and impresario make him uniquely qualified to champion the cause of a period instrument orchestra for New York City. He has conducted world-renowned artists, including Itzhak Perlman, Yo-Yo Ma, André Watts, Dawn Upshaw, Richard Goode, Victor Borge, Monica Huggett and Vladimir Feltsman. He has released numerous recordings with the ACO featuring artists such as Malcolm Bilson and Keith Jarrett. Mr. Crawford has been recognized for his dedication to music education through school programs and lectures.

As Music Director and Founder of the ACO, Mr. Crawford is active in numerous musical disciplines as conductor, composer, and organist. As a conductor, Mr. Crawford is a champion of both historically accurate performance styles of the Baroque and Classical repertoire and of new American music. He has distinguished himself as a composer in many idioms and has been especially prolific in vocal music.

Mr. Crawford founded the Fairfield Orchestra in 1980. In 1985 he also started the Orchestra of the Old Fairfield Academy, Connecticut's first regularly performing period instrument ensemble. In 1998, after achieving success in performances and professional recordings with both orchestras, Mr. Crawford changed the name of his ensembles to the American Classical Orchestra in order to focus exclusively on period instruments.

Mr. Crawford's orchestral training comes from Samuel Adler of the Eastman School of Music and from Hugo Fiorato, Conductor of the New York City Ballet Orchestra. He holds a Master of Arts degree in composition from Columbia University and a Bachelor of Music degree in both composition and organ performance from the Eastman School of Music. Mr. Crawford has held church and choral directing positions in Connecticut, New York, New Jersey, and Pennsylvania. He has served as Director of the Westchester Boys Choir and has guest conducted numerous oratorio choirs throughout the region. His choral training comes from Westminster Choir College in Princeton.