Concerto Soloists Chamber Orchestra

In 1964, Marc Mostovoy founded Concerto Soloists, a 16-piece ensemble modeled after the Moscow Chamber Orchestra. Its members comprised graduates and senior students from the Curtis Institute of Music, the Juilliard School, the Philadelphia Musical Academy, and other prestigious music schools. Mostovoy’s mentor, the legendary oboist, Marcel Tabuteau, had agreed to return to the States from France to conduct and solo with the new group, but this did not materialize due to Tabuteau’s untimely death in January of 1966. Mostovoy continued as the ensemble’s leader until his retirement in 2004.

Most of the repertoire in the early years featured the Orchestra members as soloists in baroque and early classical concertos, hence the name “Concerto Soloists.” There was rotating string seating, and every member of the ensemble had the opportunity to solo during the course of the season, attesting to the high caliber of all its members. The Orchestra stood when it performed.

In addition to well-known works, Mostovoy often programmed music by unknown composers as well as lesser-known works by famous composers. He began adding concert performances of Baroque operas which was new to Philadelphia audiences then. Many programs included a new work by a Philadelphia area composer. Most were tonally based, and a number were written for unusual musical instruments. By the end of Mostovoy’s tenure, the Orchestra had premiered over 75 works, performing many several times.

He gradually expanded the repertoire to include music of all periods for various sized ensembles—from as few as 12 to as many as 33 musicians. A young artists’ competition was instituted to give talented youth the opportunity to solo with the Orchestra, and a Senior Artists Showcase brought some veteran musicians out of retirement.

Under Mostovoy’s tenure, the Orchestra undertook a number of successful national and international tours, bringing much recognition to Philadelphia. Concerto Soloists also performed numerous runouts, residencies, and educational concerts. Bernard Holland, chief Music Critic of the New York Times said of the group’s New York debut: “…the most impressive small ensemble to come through Carnegie Hall in quite some time. We should hear more of them.” In 1992 the Orchestra played at the first Clinton/Gore inauguration, the only classical group invited to perform.

In addition to its own subscription series and related concerts, the Orchestra provided instrumental support for other music organizations, especially operatic and choral groups. Concerto Soloists played a particularly important role in the Philadelphia cultural scene, raising the level of performance for many area music organizations.

The Orchestra served as the core of larger orchestras such as the Philly Pops, and performed for major soloists needing a fine back-up ensemble such as Luciano Pavarotti. The extremely wide range of repertoire served the players well, as they learned to adapt to many styles and periods.

The Orchestra gave employment to hundreds of talented young local musicians, enabling them to earn a living wage and flourish in Philadelphia. During his 40-year tenure, Mostovoy built the ensemble into one of the world’s leading chamber orchestras. In 2002, under his leadership, the Orchestra became a Resident Company in the Kimmel Center for the Performing Arts, changing its name to the Chamber Orchestra of Philadelphia.