BPO 2020-2021 Season: Program Book 2 by Buffalo Philharmonic Orchestra

B U F F A L O

Tartan & Tango Tue Oct 27, 7pm

P H I L H A R M O I C

Mon Nov 2, 7pm

Simply Bewitching

O R C H E S T R A â&#x20AC;¢ O C T O

A String Serenade

Tue Nov 10, 7pm

E R 2 7 N O V E M

A Brass Act

Tue Nov 17, 7pm

E R 1 7

Washing our hands. Itâ&#x20AC;&#x2122;s our job. thepartnership.org/ourjob.

presented by

BPOnDemand is our new video-streamed performance series, Tuesdays at 7pm through the December concert schedule. Using state-of-the-art audio and video recording technology, we bring the magical acoustics of Kleinhans right to your living room! Get ready for a rarely-seen, up-close-and-personal perspective on the concert experience streamed right to your computer or mobile device! The series will be broadcast on Tuesdays at 7pm, and be available on-demand for a limited time thereafter. BPOnDemand performances are FREE to all subscribers who hold season tickets to fall concerts, and available as well to those patrons near and far who wish to purchase a virtual ticket on a concert-by-concert basis. The ground-breaking video-streamed performances not only serve as an outlet for lovers of symphonic music to once again enjoy the concert experience in a new and inventive way, but also ensures the health and well-being of our incredible musicians using social-distancing protocols while our historic venue awaits New York Forward reopening guidelines.

Interested in participating? Call (716) 885-5000 or visit bpo.org today for details!

TABLE OF CONTENTS | OCTOBER 27 â&#x20AC;&#x201C; NOVEMBER 17 BPO Board of Trustees/BPO Foundation Board Directors

BPO Musician Roster

Tartan & Tango

BPO Classics Series October 27

Simply Bewitching

BPO Pops Series November 2

A String Serenade

BPO Classics Series November 10

A Brass Act

BPO Classics Series November 17

Sponsor a Musician

Annual Fund

CONTACT Buffalo Philharmonic Orchestra 786 Delaware Ave. Buffalo, NY 14209 bpo.org Kleinhans Music Hall 3 Symphony Circle, Buffalo, NY 14201 kleinhansbuffalo.org

BPO Administrative Offices Box Office Box Office Fax Line Kleinhans Music Hall

(716) 885-0331 (716) 885-5000 (716) 885-5064 (716) 883-3560

MESSAGE FROM THE BOARD CHAIR Now that we have a handful of BPOnDemand programs under our belt, albeit with some growing pains, I’d like to take a moment to recognize the dedication and hard work that our musicians and staff have demonstrated in their efforts to keep the orchestra’s message front and center during this extraordinary time. It is no small feat to strategize, organize, prioritize, and implement the myriad of steps that go into the finished product that is a performance, whether a solo effort, a small ensemble, or the re-imagined orchestra, let alone maintain a visible presence in a world turned topsy-turvy when that same orchestra is not performing for live audiences. From our individual musicians providing instructional videos for Western New York students to keep the next generation of musicians and audience members engaged and enthusiastic about the arts to Operations and the Music Library researching new repertoire and licensing logistics for a socially-reduced orchestra to perform; from Development securing the funding required to offer exceptional community-based small ensemble performances in locations such as Frank Lloyd Wright’s Graycliff, downtown Buffalo’s grain elevators, and Niagara Falls to Marketing creating games and puzzles and Box Office Sales determining the process to deliver digital programming that brings our seasoned patrons a smile on dark weekends; from our finance team and board members seeking solutions to retain job security for every member of the organization to every member of the organization making a concerted effort to remain healthy and focused on providing a memorable experience for our patrons; we are a family! We are a family, and we hope you consider us family, as well. We continue to keep you top of mind as the days grow shorter and the weeks of uncertainty grow longer. Rest assured, the BPO is committed to our pursuit of providing Western New York with music that continues to strengthen our resolve and lift our spirits. Come, join our family. Sincerely,

John R. Yurtchuk Chair, Board of Trustees Buffalo Philharmonic Orchestra Society, Inc.

BUFFALO PHILHARMONIC ORCHESTRA BOARD OF TRUSTEES OFFICERS John R. Yurtchuk, Chair Scott Stenclik, Vice Chair — Chair-Elect

Angelo Fatta, Treasurer Peter Eliopoulos, Secretary

BOARD OF TRUSTEES Cindy Abbott Letro Douglas Bean Jonathan Borden † Janz Castelo † Anne Conable Stephen B. Edge, MD* JoAnn Falletta* Otis N. Glover Amy Habib Rittling Daniel Hart* Jim Hettich

Mark Hodges † Monte Hoffman † Kate Holzemer † James Iglewski William Keefer Ronald Luczak Anna Mattix † Alex Montante Douglas Moreland Allan C. Ripley* Casimiro D. Rodriguez, Sr.

Rev. Melody I. Rutherford Diana Sachs † Robin G. Schulze, Ph.D Joseph Sedita Karen Sperrazza Christine Standish Stephen T. Swift John Zak* *ex-officio † musician representatives

LIFE MEMBERS Anthony Cassetta Randall Odza Edwin Polokoff

John N. Walsh, III Robert G. Weber

BUFFALO PHILHARMONIC ORCHESTRA FOUNDATION

BOARD OF DIRECTORS

John J. Zak, Chair Holly Hejmowski, Treasurer Alexs Spellman, Secretary Michael Munschauer, Special Advisor

Karen Arrison Michael Wurst John Yurtchuk

JOANN FALLETTA MUSIC DIRECTOR Angelo and Carol Fatta Endowed Chair Grammy-winning conductor JoAnn Falletta serves as Music Director of the Buffalo Philharmonic Orchestra, and the Connie and Marc Jacobson Music Director Laureate of the Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center and Artistic Adviser to the Hawaii Symphony Orchestra and the Cleveland Institute of Music Orchestra. She is hailed for her work as a conductor, recording artist, audience builder, and champion of American composers. Her recent and upcoming North American guest conducting includes the National Symphony, Detroit Symphony, Nashville Symphony, Indianapolis Symphony, and Milwaukee Symphony; and further north, the Toronto Symphony and Orchestre metropolitain. Internationally, she has conducted many of the most prominent orchestras in Europe, Asia, and South America. As Music Director of the Buffalo Philharmonic, Falletta became the first woman to lead a major American ensemble. Celebrating her 20th anniversary with the Buffalo Philharmonic this past season, she is credited with bringing the orchestra to a new level of national and international prominence. With a discography of almost 120 titles, Falletta is a leading recording artist for Naxos. In 2019, she won her first individual Grammy Award as conductor of the London Symphony in the Best Classical Compendium category for Spiritualist, her fifth world premiere recording of the music of Kenneth Fuchs. Her Naxos recording of John Corigliano’s Mr. Tambourine Man: Seven Poems of Bob Dylan with the Buffalo Philharmonic Orchestra received two Grammys in 2008. Falletta is a member of the American Academy of Arts and Sciences, has served by presidential appointment as a Member of the National Council on the Arts during the Bush and Obama administrations, and is the recipient of many of the most prestigious conducting awards. She has introduced over 500 works by American composers, including well over 100 world premieres. In March 2019, JoAnn was named Performance Today’s Classical Woman of the Year. She received her undergraduate degree from the Mannes School of Music, and her master’s and doctorate degrees from The Juilliard School. When not on the podium, JoAnn enjoys playing classical guitar, writing, cycling, yoga, and is an avid reader.

JOHN MORRIS RUSSELL PRINCIPAL POPS CONDUCTOR A master of American musical style, John Morris Russell has devoted himself to redefining the American orchestral experience. Now in his fourth year as Principal Pops Conductor of the Buffalo Philharmonic Orchestra, he follows in the footsteps of Marvin Hamlisch and Doc Severinsen. The wide-range and diversity of his work as a conductor, collaborator and educator continues to reinvigorate the musical scene throughout Buffalo and across the continent. Maestro Russell also serves as conductor of the Cincinnati Pops, one of the world’s most iconic and beloved pops orchestras, with which he has toured both domestically and internationally. His six recordings with The Pops include “American Originals: 1918” which earned a 2020 GRAMMY® Award nomination for Best Classical Compendium. As Music Director of the Hilton Head Symphony Orchestra in South Carolina, he leads the classical subscription series as well as the prestigious Hilton Head International Piano Competition. As a guest conductor, Mr. Russell has worked with many of the most distinguished orchestras in North America, including The Cleveland Orchestra, Los Angeles Philharmonic, New York Philharmonic as well as the Toronto and Vancouver Symphony Orchestras.

JAMAN E. DUNN

ASSISTANT CONDUCTOR

Jaman E. Dunn is an African American orchestral conductor of classical and film music. He currently holds the positions of Assistant Conductor with the Buffalo Philharmonic, and Interim Music Director of the Buffalo Master Chorale. A native of Chicago, IL, he attended The Ohio State University for his undergraduate studies, earning a Bachelor of Music in Vocal Performance under the study of Dr. C. Andrew Blosser. During his time at Ohio State, Mr. Dunn founded and conducted the Buckeye Philharmonic Orchestra, which is the university’s only completely student run orchestra. Mr. Dunn also earned his Master of Music in Orchestral Conducting, under the instruction of Maestro Bruce Hangen at The Boston Conservatory at Berklee. While at the Boston Conservatory, he led the Conductor’s Orchestra, assisted the Boston Conservatory Orchestra, and conducted the Boston Conservatory Orchestra in Copland’s Billy the Kid. Other conducting activities included forming an ad-hoc orchestra and performing three concerts, premiering pieces on student composer recitals, and conducting the Berklee Boston Conservatory Recording Orchestra. Vocally, Mr. Dunn has performed throughout the Midwest and Northeast in both oratorio and operatic repertoire, including works of Handel, Mendelssohn, Mozart, Verdi, and Orff, among others. In a professional capacity, he hopes to raise awareness for African-American performers in classical music at all levels and in all mediums.

HISTORY OF THE BUFFALO PHILHARMONIC ORCHESTRA As Buffalo’s cultural ambassador, the Grammy Award-winning Buffalo Philharmonic Orchestra under Music Director JoAnn Falletta presents more than 120 Classics, Pops, Rock, Family and Youth concerts each year. After the rise and fall of several forerunners, the BPO was founded in 1935, performing most often at the Elmwood Music Hall, which was located at Elmwood Ave. and Virginia St., and demolished in 1938 as its permanent home, Kleinhans Music Hall, was constructed. During the Great Depression, the orchestra was initially supported by funds from the Works Progress Administration and the Emergency Relief Bureau. Over the decades, the orchestra has matured in stature under outstanding conductors including William Steinberg, Josef Krips, Lukas Foss, Michael Tilson Thomas, Maximiano Valdes, Semyon Bychkov and Julius Rudel. The orchestra has welcomed many distinguished guest performers, such as Isaac Stern, Aaron Copland, Van Cliburn, Igor Stravinsky, Renee Fleming and Yo-Yo Ma. During the tenure of JoAnn Falletta, who has served as music director since 1998, the BPO has rekindled its history of radio broadcasts and recordings, including the release of 49 new CDs. The BPO’s Naxos recording of composer John Corigliano’s “Mr. Tambourine Man: Seven Poems of Bob Dylan,” won two Grammys. Our recordings are heard on classical radio worldwide.

HISTORY OF KLEINHANS MUSIC HALL Since 1940, the orchestra’s home has been Kleinhans Music Hall, which enjoys an international reputation as one of the finest concert halls in the world due to its superb acoustics. Kleinhans Music Hall was built thanks to the generosity and vision of Edward and Mary Seaton Kleinhans and the stewardship of their charitable dreams by the Community Foundation for Greater Buffalo, and the support of the federal government. The Community Foundation was bequeathed the estates of Mr. and Mrs. Kleinhans, who made their fortune from the clothing store that bore their name, and who died within three months of each other in 1934. The Public Works Administration, an agency of the New Deal, provided crucial funding that made it possible to complete the hall. The Kleinhans, who were music lovers, specified their money was to be used “to erect a suitable music hall…for the use, enjoyment and benefit of the people of the City of Buffalo.” The BPO performed at Kleinhans Music Hall’s official opening on Oct. 12, 1940, under the baton of Franco Autori. Kleinhans Music Hall was designed by the Finnish father-and-son team of Eliel and Eero Saarinen, along with architects F.J. and W.A. Kidd. Kleinhans is known for its combination of graceful structural beauty and extraordinary acoustics. Eliel Saarinen’s aim was to create “an architectural atmosphere…so as to tune the performers and the public alike into a proper mood of performance and receptiveness, respectively.” In 1989, the hall was designated a National Historic Landmark, the highest designation of significance a site or structure can receive. Kleinhans is owned by the City of Buffalo but operated by a separate 501(c)(3) non-profit corporation. Its Board of Directors is Jeremy Oczek, chair; Stephanie Simeon, secretary and treasurer; Karen Arrison; Cindy Abbott Letro; Peter Eliopoulos ; Tania Werbizky; and city officials including Byron Brown, Mayor of the City of Buffalo, and David Rivera, Niagara District Councilmember.

BUFFALO PHILHARMONIC ORCHESTRA DIVERSITY COUNCIL The BPO formed the Diversity Council in May 2016, formalizing its longstanding commitment to present diverse programming, to support artists of color, and to engage with every part of the Western New York community in a meaningful way. Comprised of community leaders, BPO staff, and musicians, the Council is helping the BPO to take its place at the vanguard of a national movement to foster greater diversity in the classical music world. As an inaugural step, the Buffalo Philharmonic Orchestra was the first cultural organization to sign Mayor Byron Brownâ&#x20AC;&#x2122;s Opportunity Pledge in July 2016, affirming our commitment to foster, cultivate, and preserve a culture of diversity, inclusion, fairness, and equality. Since then, the Council has been involved in numerous projects aimed at increasing authentic community connection and access to the BPO for all of Buffalo. This is accomplished through partnerships including the African-American Cultural Center, the Hispanic Heritage Council of WNY, the International Institute, the Buffalo Public Schools, and many others. The BPO is also a proud partner to the nationally-acclaimed Sphinx Organization, founded in 1997 to address the under-representation of people of color in classical music.

JOANN FALLETTA, MUSIC DIRECTOR

Angelo and Carol Fatta Endowed Chair

JOHN MORRIS RUSSELL, PRINCIPAL POPS CONDUCTOR JAMAN E. DUNN, ASSISTANT CONDUCTOR FIRST VIOLIN

Nikki Chooi concertmaster Amy Glidden assoc. concertmaster Louis P. Ciminelli Family Foundation Endowed Chair Ansgarius Aylward asst. concertmaster Clement Luu* 2nd asst. concertmaster Douglas Cone Deborah Greitzer Diana Sachs Alan Ross Melanie Haas Andrea Blanchard-Cone Loren Silvertrust Hee Sagong

SECOND VIOLIN

Antoine Lefebvre principal Jacqueline Galluzzo assoc. principal Richard Kay Robert Prokes Frances Morgante Amy Licata Dmitry Gerikh Shieh-Jian Tsai Xiaofan Liu Iain Crampton*

VIOLA

Caroline Gilbert principal Anna Shemetyeva assoc. principal Matthew Phillips Kate Holzemer Natalie Piskorsky Janz Castelo

CELLO

Roman Mekinulov principal Jane D. Baird Endowed Chair Feng Hew assoc. principal Nancy Anderson Monte Hoffman1 (L) Robert Hausmann David Schmude Amelie Fradette

BASS

Daniel Pendley principal Garman Family Foundation Endowed Chair Brett Shurtliffe assoc. principal Michael Nigrin Edmond Gnekow Jonathan Borden Nicholas Jones Gary Matz

FLUTE

Christine Lynn Bailey principal Linda Greene Natalie Debikey Scanio

Jay Matthews Daniel Sweeley

TRUMPET

Alex Jokipii principal Geoffrey Hardcastle Philip Christner

TROMBONE

Jonathan Lombardo2 principal Timothy Smith

BASS TROMBONE

Filipe Pereira

TUBA

PICCOLO

(vacant)

OBOE

Matthew Bassett principal Dinesh Joseph assistant principal

ENGLISH HORN

Mark Hodges principal Dinesh Joseph

Natalie Debikey Scanio Henry Ward principal Joshua Lauretig Anna Mattix Anna Mattix

CLARINET

William Amsel principal Patti DiLutis Salvatore Andolina

E-FLAT CLARINET

Patti DiLutis

BASS CLARINET AND SAXOPHONE

Salvatore Andolina

BASSOON

Glenn Einschlag principal Hunter Gordon* Martha Malkiewicz

CONTRABASSOON

TIMPANI

PERCUSSION

HARP

Madeline Olson principal

MUSIC LIBRARY

Patricia Kimball (L) principal librarian Travis Hendra acting principal librarian

STAGE MANAGERS

Richard George Master Property Person IATSE Local 10 Charles Gill Assistant Property Person IATSE Local 10

Martha Malkiewicz

FRENCH HORN

Jacek Muzyk principal Kay Koessler Endowed Chair Daniel Kerdelewicz assoc. principal Sheryl Hadeka

Chair dedicated to the memory of Maer Bunis 1

Chair dedicated to the memory of Scott Parkinson 2

* Temporary Appointment

(L) Leave of Absence

Tuesday, October 27, 2020 at 7:00 PM

BPO Classics Series

TARTAN & TANGO JoAnn Falletta, conductor Tessa Lark, violin

PIAZZOLLA / Las Cuatros Estaciones Porteñas Desyatnikov Verano Porteño Otoño Porteño Invierno Porteño Primavera Porteño Tessa Lark, violin

PUCCINI

Crisantemi - The Chrysanthemums Andante mesto

BANTOCK A Celtic Symphony for Strings and Harp Lento sostenuto Allegro con fuoco Andante con tenerezza Port-a-Bial: Allegro con spirit Largamente maestoso

You can learn more about this program from JoAnn Falletta’s introduction at bpo.org/musically-speaking

TESSA LARK, VIOLIN Violinist Tessa Lark is one of the most captivating artistic voices of our time, consistently praised by critics and audiences for her astounding range of sounds, technical agility, and musical elegance. In 2020 she was nominated for a GRAMMY in the Best Classical Instrumental Solo category and received one of Lincoln Center’s prestigious Emerging Artist Awards. Other recent honors include a 2018 Borletti-Buitoni Trust Fellowship and a 2016 Avery Fisher Career Grant; Silver Medal in the 9th Quadrennial International Violin Competition of Indianapolis; and top prize in the 2012 Naumburg International Violin Competition. A budding superstar in the classical realm, she is also a highly acclaimed fiddler in the tradition of her native Kentucky, delighting audiences with programming that includes Appalachian and bluegrass music and inspiring composers to write for her. Ms. Lark has been a featured artist at numerous U.S. orchestras, recital venues, and festivals since making her concerto debut with the Cincinnati Symphony Orchestra at sixteen. She has appeared with the Louisville Orchestra, the Buffalo Philharmonic, the Rochester Philharmonic, and the Royal Scottish National Orchestra; the Albany, Indianapolis, Knoxville, and Seattle symphonies; and at such venues as New York’s Carnegie Hall and Lincoln Center, Amsterdam’s Concertgebouw, San Francisco Performances, Ravinia, the Seattle Chamber Music Society, Australia’s Musica Viva Festival, and the Marlboro, Mostly Mozart, Bridgehampton, and Music@Menlo festivals. Highlights of her 2020-21 season include online appearances with Cal Performances, the La Jolla Music Festival, the Seattle Chamber Music Society, and Caramoor Center for Music and the Arts. Three recordings featuring Ms. Lark were released in 2019: Fantasy, an album that includes fantasias by Schubert, Telemann, and Fritz Kreisler, Ravel’s Tzigane, and Ms. Lark’s own Appalachian Fantasy; SKY, a GRAMMY-nominated Albany Symphony Orchestra release whose title selection is a bluegrass-inspired violin concerto written for her by Michael Torke that she premiered with the ASO in January 2019; and Invention, a debut album of the violin-bass duo Tessa Lark & Michael Thurber comprising arrangements of Two-Part Inventions by J.S. Bach along with non-classical original compositions by Ms. Lark and other artists. A fourth recording, The Stradgrass Sessions, will be released in early 2021. It includes collaborations with composer-performers Jon Batiste, Edgar Meyer, Michael Cleveland, and Sierra Hull; works by Bartók and Ysaÿe; and the premier recording of John Corigliano’s solo violin composition STOMP. She is a graduate of New England Conservatory and completed her Artist Diploma at The Juilliard School, where she studied with Sylvia Rosenberg, Ida Kavafian, and Daniel Phillips. Ms. Lark plays a ca. 1600 G.P. Maggini violin on loan from an anonymous donor through the Stradivari Society of Chicago. Tessa Lark is represented worldwide by Manhattan-based Sciolino Artist Management, www.samnyc.us.

Light Your Legacy WITH OUR MUSICAL HERITAGE SOCIETY Since 1935, the generosity of patrons and donors like you has made it possible for the BPO to continue educating young audiences and enriching lives through unforgettable musical events season after season. Create a legacy with us so that someday, the next generation can fill your seats and carry on your passion for the BPO. The most common planned gifts: · Gifts from IRA distribution – After the age of 59 ½ you may draw from your IRA without penalty. Making a gift directly from your IRA to the BPO also bypasses paying tax on that withdrawal.* · Gifts of Appreciated Securities – Transferring appreciated securities directly to the BPO avoids capital gains taxes.* Creating a legacy with the BPO is easier than you think. You don’t need to be incredibly wealthy to help, you just need what you already have: a passion to see the BPO continue for generations to come. Plan now, and let your love for the BPO live on through the education, entertainment, and inspiration of thousands of adults and children for years to come. For more information on making your legacy part of the BPO through a planned gift, contact Guy Tomassi in the BPO Development Office (716) 242-7821 *The BPO does not offer tax advice. You should speak with your tax advisor or financial planner to see if these are right for you.

PROGRAM OVERVIEW We feature our string section tonight, in music of heightened emotion and soaring beauty. Giacomo Puccini’s Chrysanthemums (flowers of mourning in Italy) is a very rare, non-operatic work for the composer. Deeply moved by the death of a friend, Puccini wrote the work in a single evening. Sir Granville Bantock expressed his love for the folklore, the legends, and the unique spirit of the Celtic people in his short symphony for strings and harps. Based on the folk song “Longing for the Sea,” this work is a sweeping panorama of the beauty of the Hebridean seaside. The highlight of the evening comes from yet another landscape - the steamy tango halls of Argentina. We are graced to have the effervescent violinist, Tessa Lark, return to Kleinhans’ stage to perform Piazzolla’s tango masterpiece, The Seasons of Buenos Aires.

PROGRAM NOTES

Astor Piazzolla

Ginastera, followed by a grant to study in Paris with the renowned Nadia Boulanger, who advised him to concentrate on the tango as a serious genre.

Seasons in Buenos Aires Verano Porteño (Summer in Buenos Aires) Otoño Porteño (Autumn in Buenos Aires) Invierno Porteño (Winter in Buenos Aires) Primavera Porteña (Spring in Buenos Aires)

While Piazzolla’s output of about 900 works (including about 20 film scores) is devoted almost entirely to varieties of the traditional tango, he expanded the rhythmic character of the form and opened new potentials for improvisation and virtuosity. Among his most distinctive pieces are many examples in the ‘new tango’ style for small ensembles and dance combos, as well as ambitious scores like his Concerto for Bandoneon.

Argentine composer born: 30 January 1921, Mar de Plata; died: 5 July 1992, Buenos Aires

Previous Classics performances: March 7, 8, 2014, conducted by Larry Rachleff with violinist Elissa Lee Koljonen; duration 25 minutes From age three, Astor Piazzolla lived with his family in New York City. He was just eight years old when his father gave him a bandoneon (button accordion) from a pawn shop. Following exceptional progress through his teens, Astor returned to Buenos Aires to work as a nightclub entertainer with a remarkable talent for original tunes. His gift for composition led to serious tutorials with Argentine composer Alberto

Seasons in Buenos Aires was composed between 1965 and 1970, originally for a small cabaret ensemble with a featured role for the violin. In crafting the score, Piazzolla stretched the rhythmic base of the tango - at times very slow, at times very fast - with a blend of suggestive harmonies as if for a Romantic film score. Listeners might also note a few brief quotations from the famous Four Seasons by Vivaldi, a blush here and there of Bach, and even a souvenir from Pachelbel. In 1998, the four separate pieces were assembled

into the current suite for violin and strings by the Russian composer, Leonid Desyatnikov. While the major role is carried by the solo violin, the score features important moments for other players along the way, for example, the lyrical lines for solo cello in Autumn. For reference: the word ‘tango’ is inherited from Bantu dialects in Central Africa, dating from the mid-1700s. As a genre combining dance, song, and poetry, the tango followed African immigrants to both Uruguay and Argentina, where it gained favor within diverse Spanish and Italian communities. As we know it today, the tango evolved primarily in the barrios (neighborhoods) of Buenos Aires as a sweeping tango fantasia, and later as the more intimate tango de sal¢n. For its inherent innuendo, restrained passion, and overt display between partners, the tango has tantalized dancers and listeners around the world. In about 1880 the dance began to emerge from Argentina via traveling musicians, and in a relatively short time the genre became one of the most significant dance forms of the 20th century. Supple and flexible, the tango can embrace a broad range of styles and moods. Although tangos are almost always in strolling or strutting 4/4 time, the music can be simple and tuneful with light lyrics and simple gestures, or downright dark and sensuous, with lush innuendo and suggestive motions - irresistible under smoky deep-amber light. As the tango continues to gain favor on the concert stage, we are reminded of the artistic migration of another common ‘dance hall’ favorite - the ever venerable waltz. Beyond the celebrated scores of Johann Strauss, Jr. and others, the waltz became a leading feature in the masterworks of Tchaikovsky, Berlioz, Chopin, Brahms, et al. Yet another example of concert hall migration was accomplished by George

Gershwin, who added jazz harmonies and rhythms to the classical mainstream with Rhapsody in Blue and the Concerto in F, in addition to his opera Porgy and Bess. For the tango, the future is waiting.

Giacomo Puccini

Italian composer born: 22 December 1858, Lucca; died: 29 November 1924, Brussels, Belgium

Crisantemi - Chrysanthemums Andante mesto These are the first performances of this work on the Classics series; duration 6 minutes Puccini was born into a family of musicians who had dominated the musical life of his native Lucca for several generations. At age 21, seeking to complete his formal training, Giacomo enrolled at the Milan Conservatory in a curriculum devoted to the lyrical arts. As a free-styled young man, he was attracted at once to the Milanese aesthetic clique known as the Scapigliati, a group of Bohemian intellectuals and idealists. In order to rekindle the luster of the Italian Renaissance in a new world of stark realism (verismo), the Scapigliati believed a vital kinship must be forged between poetry, painting, and music. In turn would follow the most provocative expressions of consummate artistry lofty to the max, no doubt. But for his part, Puccini kept his feet on the ground and made it a point to absorb as much diversity as possible, with keen attention to Wagner no less than Verdi, and an eye and ear on the trends of French theater. When we consider the early operatic successes of his predecessors - e.g. Bellini, Donizetti, Rossini, Verdi - Puccini was a relatively late bloomer. In fact, he made his first breakthroughs with various small instrumental works, including Crisantemi, written originally for string quartet. The

composer noted the piece was written in a single night in late January of 1890, scored as an elegy for Prince Amadeo di Savoia, Duca d’Aosta, King of Spain, who had died a few days earlier on the 18th. The work was premiered at the Milan Conservatory (now the Verdi Conservatory) by the Campanari Quartet. Throughout Crisantemi, Puccini’s lush harmonic gift is apparent, with chord progressions of exquisite intrigue. As in his later operas, the composer could touch the inscrutable strings of the heart, then linger with the moment at hand, whether in sadness or joy. In particular, Puccini later borrowed the music of Crisantemi for poignant passages in Acts III and IV for his opera Manon Lescaut, completed three years later. Set in C-sharp minor (a somber key center for string instruments), the music is cast in two sections, based on complementary and elegiac themes. Puccini’s gift for piquant harmonies (at times dissonant) is already apparent from the composer of the later operas La Bohème, Tosca, and Madame Butterfly, with Gianni Schicchi and Turandot.

Sir Granville Bantock English composer born: 7 September 1868; died: 16 October 1946

A Celtic Symphony for Strings and Harp Lento sostenuto Allegro con fuoco Andante con tenerezza Port-a-Bial: Allegro con spirito Largamente maestoso These are the first performances of this work on the Classics series; duration 18 minutes Sir Granville Bantock composed his Celtic Symphony in 1940 at age 72. Cast in one grand movement in five sections, the work was originally scored for strings and six harps, doubtless to highlight

the popularity of Irish-harp folk music throughout the British Isles. Bantock’s prolific output is highlighted by a profusion of tonal-provocative titles - many full works inspired by world mythology and classical and Romantic literature, from antiquity well into the 20th century, including the music of Jean Sibelius and Richard Wagner. Bantock was honored by the dedication of Sibelius’ Symphony No.3 and Sir Edward Elgar’s Pomp and Circumstance No.2. Moreover, Bantock’s full catalog reveals a composer who reserved his deepest pride for the heart and hearth of the British spirit - England, Ireland, Wales, and Scotland, i.e. poetry, lore, and breathtaking vistas of Britain. Virtually all of the latter are cast in sweeping melodic phrases and lush and searching harmonies, with a Highlander’s sense for rhythm, and with svelte and swagger as equal players. Performed without pause, Movements 1, 3, and 5 are plaintively lyrical, while the Allegros of movements 2 and 4 gleam and sparkle with folk-dance charm. In solo and choir, the harp adds alluring resonance along the way. The Celtic Symphony was inspired largely by the seafaring heritage of Britain. Bantock was also influenced by Celtic lore and poetry, the heritage of the Celtic harp, and specifically the evocative verse from Sea Longing by the Scottish poet Marjory Kennedy-Fraser (1857-1930). Sea Longing Sore sea-longing in my heart, Blue deep Barra waves are calling, Glides the sun, but ah ! how slowly. Far away to luring seas ! Hear’st, O Sun, the roll of waters, Breaking, calling by yon Isle ? Blue deep Barra waves are calling, Mary Mother, how I yearn. program notes by Edward Yadzinski

Monday, November 2, 2020, 7:00 PM

BPO Pops Series

SIMPLY BEWITCHING Jaman E. Dunn, conductor Amy Glidden, violin Philip Farugia, narrator

BACH

Toccata and Fugue in D minor

SIBELIUS

“Valse Triste” from Kuolema, Op. 44, No. 1

JAMES The Legend of Sleepy Hollow STEPHENSON Philip Farugia, narrator

REVUELTAS

Ocho Por Radio

DEBUSSY/Mouton

Clair de Lune

GOUNOD

Funeral March of a Marionette

TRADITIONAL

The Bells

SAINT-SAËNS / Danse Macabre, Op. 40 Mouton Amy Glidden, violin

Concert sponsored by

AMY GLIDDEN, BPO ASSOCIATE CONCERTMASTER Praised by the Buffalo News for her “keen rhythmic acuity, consistently fine tone and an innate sense of phrasing,” Amy has performed on stages throughout Western New York. A native of Wichita, Kansas, Amy attended the University of Kansas where she received a B.A. in Biology as well as a B.M. in Violin Performance. Subsequently, she received a Master of Violin Performance degree from the Cleveland Institute of Music. Orchestras with which Amy has performed include the Toronto Symphony, the Canadian Ballet Orchestra, the Fort Worth Symphony, and the Grand Teton Music Festival orchestra. She was previously the concertmaster of the Mendocino Music Festival and the assistant concertmaster of the Marin Symphony. In the summer of 2018, Amy was appointed concertmaster of the Saratoga Opera orchestra. She travels west each summer to participate in the Sun Valley Summer Symphony. Amy has often performed as a soloist with the BPO, including performances of Prokofiev’s Violin Concerto No. 2 under the baton of JoAnn Falletta. Other solo engagements include performances with the Ars Nova Chamber Orchestra, the Amherst Symphony, the Cheektowaga Symphony and the Buffalo State Philharmonia. In 2009, Amy was invited to join the newly created string program at Buffalo State College. She performed at the 2012 dedication of Buffalo State’s new Ciminelli Recital Hall and founded the Buffalo State String Collective, which brings students, faculty, and community members together in string music performance. Formerly a teacher at Orchard Park Suzuki Strings, Amy maintains a home studio and has given masterclasses throughout Western New York as well as nationally. As a chamber musician, she performs locally with the Roycroft Chamber Music Festival and the Buffalo Chamber Players, and is a founding member of the Artemis and Clara String Quartets.

Tuesday, November 10, 2020 at 7:00 PM

BPO Classics Series

A STRING SERENADE JoAnn Falletta, conductor Madeline Olson, harp

ELGAR Introduction and Allegro for String Quartet and String Orchestra, Op. 47 HANDEL Concerto for Harp in B-flat major, Op.4, No. 6 I. Andante allegro II. Larghetto III. Allegro moderato Madeline Olson, harp WALKER Lyric for Strings - Lament BACH Orchestral Suite No. 3 in D major, BWV 1068 I. Overture II. Air III. Gavotte I IV. Gavotte II IV. Bourrée V. Gigue

You can learn more about this program from JoAnn Falletta’s introduction at bpo.org/musically-speaking

MADELINE OLSON, HARP Praised for her “wonderful musical sensibility”, Madeline Olson is the principal harpist for the Buffalo Philharmonic Orchestra. In 2019 she was awarded a career grant from Salon de Virtuosi, in 2017 she was the first American to be awarded first prize at the Nippon International Harp Competition in Soka, Japan, and is a laureate of many other competitions, including the 2016 Aspen Music Festival Harp Competition. Madeline regularly works with composers to promote the expansion of the harp repertoire, and has premiered a number of solo and ensemble works featuring the harp. A five year participant in The Juilliard School’s Focus! Festival, in 2018 she performed the Western Hemisphere premiere of Cinq stades de l’existence for solo harp by China’s Yao Chen, and as part of Juilliard’s 2019 Commencement ceremony, Madeline performed Kaija Saariaho’s Fall for harp and electronics, to commemorate the composer’s awarding of an honorary doctorate. Madeline has been heard as a soloist with the Modesto Symphony, Merced Symphony, Young People’s Symphony Orchestra, and Modesto Symphony Youth Orchestra. She has received both her BM and MM degrees from The Juilliard School under Nancy Allen, and her other teachers include Linda Wood Rollo and Laura Porter.

PROGRAM OVERVIEW Tonight’s concert presents four of the greatest musicians in our musical history, in a diverse collection of works. We start with George Walker’s most famous piece, his Lyric for Strings. This heartfelt threnody beautifully conveys the composer’s grief at the loss of his grandmother in music of tremendous nobility and emotion. George Friedrich Handel’s oratorio, Alexander’s Feast, recounted the heroism of Alexander the Great, but the composer also wanted to pay tribute to the conqueror’s great love of music, and especially the Lyre. Our principal Harpist, Madeline Olson, makes her solo debut with the orchestra in the concerto that Handel wrote in honor of Alexander’s musical heart. Another beauty – long overshadowed by the more popular Enigma Variations, is Sir Edward Elgar’s sumptuous and shimmering Introduction and Allegro, incorporating string quartet and string orchestra trading voice and response themes. Our trumpets and timpani join us for the grand finale - Johann Sebastian Bach’s magnificent Third Suite for Orchestra, one of the first pieces ever written for a symphony. You might especially recognize the beautiful second movement.

PROGRAM NOTES

Sir Edward William Elgar

English composer born: 2 June 1857, Broadheath; died: 23 February 1934, Worcester

Introduction and Allegro for string quartet and string orchestra, Op. 47 These are the first performances of this work on the Classics series; duration 15 minutes The idea for the Introduction and Allegro was first put to Elgar by August JaegerNimrod of the Enigma Variations - who suggested that he write a piece for the recently founded London Symphony Orchestra. Jaeger's proposal was for "a brilliant, quick scherzo", an apt description for this exhilarating work. Elgar's normal method of composition included the use of themes which he had jotted down in his sketchbooks as they occurred to him, often years earlier, waiting for the right work in which to use them. The Introduction and Allegro contains one such theme in

particular, what Elgar himself referred to as the 'Welsh tune.' It had come to him in August 1901 when the Elgars had been on holiday in Cardiganshire, West Wales, supposedly inspired by the distant singing of Welsh folk tunes. Elgar believed it to capture a Welsh musical idiom and had planned to use it in a projected Welsh Overture. That work never materialized, however, so Elgar used the theme in this work instead. Despite a number of early champions, the work took many years to gain the popularity and esteem it has today. After an initial handful of performances which were generally coolly received, the work remained largely ignored for the next thirty years or so. Perhaps the complexity of the work deterred performers, for it was only with the general improvement in the standard of orchestral string sections since the Second World War that the work gained a foothold in the concert repertoire. Today, its position is secure. program note graciously provided by the Elgar Society

George Frideric Handel

English composer born: 23 February 1685, Halle, Germany; died: 14 April 1759, London

Concerto for Harp in B-flat major, Op.4, No.6 Andante allegro Larghetto Allegro moderato Lucent, lithe, and luxurious - the harp tuned and tempered for music of all ages. In fact, the evolution of the harp traces far back into world history, with an abundant iconography among artifacts, sculptures, and paintings of the greatest antiquity, including a trove of ancient instruments in museums around the globe. Even the development of language has had a close encounter with the harp, e.g. the term ‘lyrical’ itself derives from the root formation of ‘lyre,’ one of the oldest types of small hand harps.

across all of Europe as the spirit of the Enlightenment beamed at high noon. For Handel, the Age was a catalyst for his cosmopolitan and eclectic nature. For one, he was free to draw at will from German, French, Italian, and English traditions. And, in the best sense of the term, he became a humanist who preferred to compose theater music and other entertaining forms. However, Handel’s full catalog is a wealth of instrumental works including many concertos, orchestral suites and overtures, myriad sonatas, and various works for organ and harpsichord, art songs, etc.

When we speak of the harp today we refer to the tall, curvaceous, open-stringed instrument found on the concert stage. And like all orchestral instruments, the harp underwent centuries of discovery and experimentation. By the early 19th century, the Parisian firm of Erard (who built pianos for Chopin and Liszt) came up with a design comprising a full-sized frame, a resonant sound box, pedals, and 43 strings. That same system prevails today, although advances in metallurgy and tooling have enabled a few refinements, like the addition of 4 strings (47 in all) and a robust construction overall.

Along the way, George Frideric also became a virtuoso organist, and composed volumes of music for his own use as a performer, including a series of twelve concertos for organ. He often played them as entertainments between the acts and scenes of his new oratorios. And although the current Concerto in B-flat was most likely premiered at such a venue, the title page reveals that it was intended as a concerto for lute and harp. In fact, the work was first performed in that combination in 1736 as interludes between the acts of Handel’s oratorio The Power of Musik (a.k.a. Alexander’s Feast). In turn, avid harpists adapted the work as a formal concerto for harp, strings, and two flutes, which is the version best known today. Given the diminutive sound of the Baroque harp, it is likely that Handel selected the key of B-flat to avoid the extra resonance produced by the open strings in the accompanying string choir.

Born and trained in Germany, George Frideric Handel began his life-long assimilation of English culture not later than his 22nd year. From very early on he enjoyed popular support as well as the patronage of British royalty. It was a time (the late Baroque) when musicians, painters, writers, philosophers, and scientists began to travel extensively

The Harp Concerto begins straight away with Handel’s well-known motif a bright and charming fragment which is taken up at once by the soloist. Airy and light throughout, the solo line offers several variations on the main theme along the way. Set in G minor, the second movement Larghetto conjures a wordless poem via lovely lyrics in the solo harp. Or

perhaps Handel’s intent was to present a solemn, courtly dance in slow triple time, complete with Italian intonations. Marked Allegro moderato, the third movement returns to B-flat major, and recaptures the concerto’s opening energy, with attractive ornamentation on the wing for the harp. Intricate counterpoint likewise offers a daunting challenge for the soloist, clear to the modest close which comes too soon.

George Theophilus Walker

American composer and pianist born: 22 June 1922, Washington, D.C.; died: 23 August 2018, Montclair, NJ

Lyric for Strings - Lament George Theophilus Walker received his advanced training at the Oberlin Conservatory, the Curtis Institute, the prestigious American Conservatory at Fontainebleau in France under Nadia Boulanger, and at the Eastman School of Music where he was the first African-American to be awarded the degree Doctor of Musical Arts. Among other important teachers were Rudolf Serkin, Gregor Piatigorsky, and Gian Carlo Menotti. After making a highly successful New York debut at Town Hall as a solo pianist in 1945, Walker began a concertizing career under Columbia Artists Management here in the United States and abroad, beginning with an appearance with the Philadelphia Orchestra under Eugene Ormandy. Some years later, reflecting his continuing interest in education, Walker accepted an appointment to the faculty at Rutgers University in 1969. George Walker was also the recipient of several important commissions from major ensembles and orchestras, including the New York Philharmonic,

the Cleveland Orchestra, the Fromm Foundation, the Boys Choir of Harlem, the Kindler Foundation, the Kennedy Center for the Performing Arts, and the National Endowment for the Arts. His many honors include Fulbright and Whitney awards, MacDowell, Guggenheim and Rockefeller Fellowships, and the 1996 Pulitzer Prize in Music for his Lilacs for Voice and Orchestra, commissioned and premiered by the Boston Symphony Orchestra. Walker’s music is available on major CD labels including CBS Masterworks, CRI, and Albany Records. The composer’s full output comprises a symphony, several chamber works, various pieces for voices, several concertos, and a variety of special issues like the current selection.

Lyric for Strings - Lament is dedicated to the composer’s grandmother, Malvina King, and was scored in 1946 while Walker was yet a student at Curtis in Philadelphia. The work received its premiere on 24 March 1947 in Washington, D.C. under the baton of Richard Bales. Walker’s score is beautifully conceived and offers an evocative miniature barely six minutes in length. Cast in three parts, the first and last are tone-painted over impressions through a lingering mist in G-flat major. One detects an opening and closing tenderness which has overcome harsh elements of reality at once embracing, at once free. After a brief but intense development, the tonality shifts to a pastoral euphony in veiled E-flat major - perhaps a reverie of unworldly paradise - then reflects back to G-flat. As to specific symbolism beyond the title, the composer himself may not have known. In the words of Gustav Mahler - ‘We do not compose we are composed.’ Exquisite.

Johann Sebastian Bach

German composer and organist born: 1685, Eisenach; died: 1750, Leipzig

Orchestral Suite No.3 in D Major BWV 1068 Overture Air Gavotte Bourrée Gigue The period known as the Late Baroque - with its ornateness of fashion, décor, and style - is often regarded as a natural precursor to the more serious and austere Classical Age, particularly with regard to music. But another idea holds that, throughout the arts, a yin-yang momentum prevails, represented by two alternating modes: the Classical and the Romantic. From this we can infer that Bach was a Romantic; the music of Haydn, Mozart, and the scores from Beethoven’s early period were Classical; what ensued was again Romanticism in Chopin, Brahms, Wagner, Tchaikovsky, et al; then what followed was another period of Classicism from the early 20th Century through Schoenberg, Webern, and Berg; etc. And while qualified exceptions can be made to such a rotating theory of aesthetics, the idea has held its own in the real world and the argument bears reference here. Bach scored just four orchestral suites, all of which are structured similarly: an opening overture followed by a set of dance movements based on wellestablished motifs borrowed from Italy, Spain, and France.

Suite No.3 in D Major is believed to have been composed roughly at the time of the Brandenburg concertos, perhaps in 1720, and is scored for strings, harpsichord, oboes, and trumpets, the latter assigned an ambitious role in all of the movements

except the second. The mood of the Overture is an invocation which peals as if to a firmament beyond. The slow and elegant movement which follows is sometimes known as the Air on a G String - one of the most treasured movements in all of music - a good example of why the Baroque era enjoys such a ‘Romantic’ reputation. Bach then offers a rhythmic counterpoise through the remaining dance movements, each of which is a paradigm of elegance and charm. A Gavotte was originally a bright folk dance believed to have originated in the Brittany region of Northern France. Likewise, the origins of the Bourrée are also traceable to French soil, emerging first as a folk dance and then appropriated as formal entertainment by the leading courts of the 17th and 18th centuries. The provenance of the Gigue (originally ‘jig’) was altogether from the British Isles as a light, quickstepping, common dance, here all dressed up in formal attire by Johann Sebastian. About 50 years earlier a witty English writer and composer named Thomas Mace observed: Toys or Jigs are LightSquibbish Things only fit for Fantastical and Easie-Light-Headed People. Bach would have enjoyed the word play. program notes by Edward Yadzinski

Tuesday, November 17, 2020 at 7:00 PM

BPO Pops Series

A BRASS ACT Bradley Thachuk, conductor

DUKAS

Fanfare to precede La PÃ©ri

BIZET /Allen Carmen Suite Prelude to Act III Habanera Song of the Toreador Danse Boheme ANTHONY The Blade of Spain DILORENZO Habiba Navarre Dance of Death CHRIS HAZELL Three Black Cats Mr. Jums Borage Kraken BERNSTEIN /Gale Selections from West Side Story I Feel Pretty Maria Tonight

BRADLEY THACHUK, CONDUCTOR Canadian conductor Bradley Thachuk is the Music Director of the Niagara Symphony Orchestra, entering his 9th season as their artistic leader and conductor. Additionally, in 2019 he was appointed Festival Orchestra Conductor for the Festival de Febrero in Mexico. Previously, he held the positions of Music Director of the Erie Chamber Orchestra, Associate Conductor of the Fort Wayne Philharmonic (Indiana), Interim Music Director of the Prince George Symphony Orchestra (Canada), Conducting Assistant of the Cincinnati Symphony and Pops Orchestras (Ohio), Staff Conductor of the Opera Theatre of Lucca (Italy), and Music Director of the Brampton Symphony Orchestra (Canada). A highly sought-after symphonic arranger, recent and upcoming collaborations include Steve Hackett of Genesis, the music of Leonard Cohen, a tribute to the Tragically Hip, Dave Mason of Fleetwood Mac and Traffic, ABCâ&#x20AC;&#x2122;s Dancing with the Stars franchise, and Tony-Award winning Heather Headley. In addition to conducting duties, Mr. Thachuk is a lecturer at the Glenn Gould School at the Royal Conservatory of Music in Toronto.

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10/13/20 10:45 AM

SPONSOR A MUSICIAN Nikki Chooi, concertmaster Sponsored by Clement and Karen Arrison

Natalie Piskorsky, viola

Sponsored by Dr. Patricia and Burt Notarius*

Ansgarius Aylward, assistant concertmaster

Matthew Phillips, viola

Douglas Cone, first violin

Kate Holzemer, viola

Sponsored Anonymously Sponsored by Bradford Lewis, Ph.D.

Diana Sachs, first violin

Sponsored by Dennis P. Quinn

Salvatore Andolina, clarinet/saxophone

Jennifer Dowdell, in memory of Charles and Nancy Dowdell

To learn more about the Sponsor a Musician program, please contact Guy Tomassi at (716) 242-7821 or gtomassi@bpo.org.

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ANNUAL FUND

The Buffalo Philharmonic Orchestra gratefully acknowledges contributions received from the following individuals and foundations who gave $500 and above through August 31, 2020. While the thousands upon thousands of donors whose gifts ranged from $1 to $499 are too numerous to list here, we gratefully acknowledge those additional individuals, groups, companies and foundations who give to us so generously.

MILLONZI SOCIETY $150,000+

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Mr. Gerould R. Stange Ruth & Ted Steegmann Alma and Malcolm Strachan Mr. and Mrs. David G. Strachan Dr. Donald G. Symer, Jr. Mr. and Mrs. Thomas W. Symons Susan & John Thomas Mr. Jeffrey J. Thompson Mr. and Ms John C. Thompson Ann M. Bisantz and Albert H. Titus Hon. and Mrs. Paul A. Tokasz Mark Travers Dr. & Mrs. Raymond C. Vaughan Ms. Therese M. Vita Ms. Suzanne J. Voltz Nellie B. Warner Endowment Fund Mr. William Weiss Dr. and Mrs. Richard A. Wiesen William & Ida Christie Fund for Music Wayne* and Janet Wisbaum Paul M. Wos Arden and Julie Wrisley Mr. Paul Zarembka Ms. Barbara M. Ziegler Dr. Gregory Castiglia & Dr. Valerie Zingapan Drs. Bill Ziter & Cathy Gogan C. Richard and Joyce T. Zobel

Bob and Susan Conklin John and Patricia Connolly Mrs. Donanne S. Coovert Dr. and Mrs. Harold G. Corwin, Jr. Thomas and Elizabeth Cowley Dr. and Mrs. John Coyne Ms. Ellen J. Daly Ian Danic Mr. and Mrs. Walter Dannhauser Roger and Roberta Dayer Dr. Juan F. de Rosas Jonathan Dewald Julie Klotzbach and Gary Diamond Mrs. Carol Donley Mr. David T. Duff Mr. Edward Eardley Amy P. Early M.D. Dr. Marla Eglowstein Dr. Sanford H. Eisen Mr. and Mrs. Warren E. Emblidge, Jr. Joan Michael Eschner Mr. Francis E. Evans Mrs. Judith Ferrentino Michael R. Fiels & Mary T. Ricotta Edward J. Fine Dawn & John Fischer The Honorable Leslie G. Foschio Howard and Laurie Foster Patricia B. Frey, Ed.D John Fudyma Crescendo Rev. David M. Gallivan $500-$999 Theodore & Joan Geier Mr. and Mrs. Kenneth T. Glaser Anonymous (1) Mr. Otis Glover Eileen M. & Erik S. Anderson George and Cecelia Grasser Mr. and Mrs. Teo Balbach Mark and Lora Grinder Bradford Banks Marjorie K Hamilton Mr. Donald M. Behr Benjamin and Lila Obletz Endowment Martha Haseley David Hays Fund Dr. and Mrs. Reid R. Heffner, Jr. Ms. Elizabeth S. Bennett and Ms. Ms. Sharon M. Heim and Mr. David Marietta T. Lorenzo Wahl Peg Beyer Carla J. Hengerer Alice F. Bird Dr. Theodore Herman and Ms. Judith Derek & Laura Brann Ann Cohen Mr. James A. Brophy, Jr. Ms. Olive Marie Hewett Bruce and Jill Brown Nancy Higgins Mr. & Mrs. William Brucker Dr. & Mrs. Ralph W. Hinds, III Ms. Bette J. Brunish James & Eileen Hoffman R. R. Bujnicki Mr. Raymond and Mrs. Virginia Hohl Dr. Barbara B. Bunker Duncan C. Hollinger Tim and MaryLou Butler Michael Huber Janet M. Casagrande Yasushi Innami Jerry* & Barbara Castiglia Mr. and Mrs. Charles P. Jacobs Miss Victoria A. Christopher William & Genevieve James Ruth C. Cisek Collins Charitable Foundation Mrs. Cathleen Jeffers

David & Joan Kernan Mr. and Mrs. William Johnson Drs. Richard and Barbara Jurasek Dr. Faye Justicia-Linde Theresa Kazmierczak Kathie A. Keller Milton Kicklighter Verna & Richard Kieffer Mr. and Mrs. Scott King Douglas and Nancy Kirkpatrick Juliet E. Kline Robert and Barbara Klocke Mr. and Mrs. Paul C. Koppmann Deborah Raiken & Charles Korn Leslie and Jim Kramer Joan Kuhn Drs. Jeffery Lackner and Ann Marie Carosella Mr. and Dr. John M. Laping Fern & Joel Levin Dr. and Mrs. Harold J. Levy Dorothy M. Lien Drs. David B. and Madeline A. Lillie Howard and Lorna Lippes Joel & Andree Lippes Dr. Thomas & Donna Lombardo Mr. and Mrs. Donald C. Lubick Ms. Donna J. Ludwig Ms. Maria Malaniak Mr. and Mrs. John R. McClester Claire Miller McGowan Louise McGrath Michael and Lucille Melton Dr. and Mrs. Franklin H. Meyer Dr. and Mrs. Donald E. Miller

Mr. John E. Milner Dr. and Mrs. Herman S. Mogavero, Jr. Robert and Nancy Morey Sandra G. Morrison Gary and Carolyn Mucci Russell A. Newbert Mr. and Mrs. Franklin Nice Philip Nicolai and Mary Louis Hill Christa* and Jim Nolan Howard & Karen Noonan Susan D. Nusbaum Tim O’Brien Fund at the FJC Bernard & Linda O’Donnell Ann C. Pappalardo Laurence & Sylvia Paul Mr. Robert S. Petersen Keith & Beth Podgorny James and Nancy Poole John & Betty Preble Charles and Joanne Privitera Ms. Carol Dean Privitera Scott Propeack and Heidi Freedman Mr. Alex J. Ratkowski Martha J. Reddout Randolph & Cathy Ritz Mrs. Susan C. Robinson Revs. Melody and Rodney Rutherford Mr. and Mrs. W. Scott Schaefer Dr William Scheider Mr. and Mrs. Roger L. Schintzius Mr. and Mrs. John H. Schlegel Paul & Peggy Schulz Eleanor Scott Miss Louise E. Seereiter Mary Anne Seifert

Henry & Tricia Semmelhack Mr. and Mrs. Lawrence D. Seymour Alexander Shrader Mr. and Mrs. Roger T. Sieracki Edward & Elizabeth Simmons Lynne G. Smith Mr. and Mrs. Kenneth Sodaro Mr. Brad Stahlka Dr. Rabie N. Stephan and Dr. Eugena B. Stephan James and Karen Stephenson Stephen Still Mr. Edwin F. Stohrer, Jr. Marilyn & Irving Sultz Mr and Mrs. Dennis Szymkowiak Mr. Ronald G. and Mrs. Margaret N. Talboys Dr. & Mrs. Thomas B. Tomasi Mr. Guido A. Tomassi Lyle & Phil Toohey Sheila Trossman John H. Twist, D.D.S. Mary K. Twist Chris and Kathy Tzetzo Charitable Fund Susan & Ron Uba Mr. and Mrs. Thomas H. Van Nortwick Mr. William Vosteen Ms. Marlene A. Werner Pierre Williot MD Quinn & Jewell Wright Ms. Kelly Ann Wright The Yadzinski Family Mr.* and Mrs. James C. Yuhnke Cynthia Zane & Stephen Mazurak Mr. Bryan Zielenieski

TRIBUTE REGISTRY

You can celebrate a significant occasion, remember a loved one, or recognize someone special with an honor or memorial gift to the Buffalo Philharmonic Orchestra. These gifts were received between September 1 and October 5, 2020.

In Memory of David Deyell Kathleen Le Fauve

Louis Lazar Anthony T. Mastandrea

Norma Jean Lamb Elaine Barone

Scott Parkinson Judith Parkinson

Connie Walsh Natalie Fischer

Margaret Saetueit Mr. and Mrs. Thaddeus J. Fyda

Pat and Dick Garman Mrs. Michelle Parrish

Martin Plaut Ms. Pauline Dyson

Keith Stolzenburg Daniel and Lisa Weintraub

Judith Clarke Alan Dozoretz

Sally Teibel Ms. Jo Anne Goldfarb Linda Weiss

Vanda Spicola Mrs. Vanda Albera

JoAnn Falletta Ms. Suzanne J. Voltz

Sue Gardner’s 90th Birthday! Len & Judy Katz

In Honor of Jerome Wright Stephen Hart

April N.M. Baskin, Chair Lisa Chimera John J. Gilmour Kevin R. Hardwick Howard J. Johnson, Jr. Joseph C. Lorigo Timothy Meyers John J. MIlls Edward A. Rath, III Frank J. Todaro Jeanne M. Vinal

GOVERNMENT

Council Member Joel Feroleto; Mitch Nowakowski; Christopher Scanlon; David Rivera; Crystal Peoples-Stokes; and Ulysees Wingo, Sr.

The New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature

Check out YOUR Buffalo Philharmonic Orchestra online!

PLANNED GIVING

Musical Heritage Society

We are pleased to list the current members herein because they have realized the importance of “the gift that keeps giving.” Each of these individuals or couples have made provisions for a contribution to the BPO in their estate plans and while there are many different methods, the most common is by adding the BPO as a beneficiary in one’s will. Anonymous (4) Sarah & Donald Dussing Rev. Russell A. Newbert Charlotte C. Acer Jeanne C. Eaton* Drs. Howard & Karen Noonan Elizabeth & John Angelbeck Angelo & Carol Fatta Robert & Marion North Fund Rita Argen Auerbach Marion Fay George F. Phillips, Jr.* Charles Balbach Dr. Mildred J. Fischle Mrs. Frederick S. Pierce Jennifer Barbee Judith & John* Fisher Edwin Polokoff Donald M. Behr & Samuel E. Lolinger* Marjorie* and William Gardner Susan Potter The Reverend and Richard E. Garman* Dennis Quinn Mrs. Peter W. Bridgford Edward N. Giannino, Jr. Virginia Ann Quinn James A. Brophy & Fraser B. Drew* Mr. George Eagan Ginther Evelyn Joyce Ramsdell Daniel R. Burch Mr. & Mrs. Byron R. Goldman Sally Rohrdanz* Anthony J. Cassetta Ms. Constance A. Greco Sylvia L. Rosen The Joanne Castellani and Susan J. Grelick John and Susan Rowles Michael Andriaccio Charitable Trust Gordon & Gretchen Gross Nancy E. Ryther* Barbara & Jerry* Castiglia Peter Hall & M.E. O'Leary Paul and Gerda Sanio Gerard and Rachel Catalano Marion Hanson Kenneth Schmieder, Cheryl I. Christie Margaret W. Henry In memory of Nancy L. Julian Ida Christie* Mr. & Mrs. George G. Herbert Glibert Schulenberg Victoria A. Christopher Monte & Cheryl* Hoffman Betty J. Schultz In honor of JoAnn Falletta and Mrs. L. Nelson Hopkins, Jr.* Catherine F. Schweitzer Donald McCrorey Philip H. Hubbell Joseph and Carole Sedita Dr. Sebastian and Mrs. Marilyn Ciancio in memory of Jayne T. Hubbell Roger & Joan Simon Louis & Ann Louise Ciminelli Paul A. Imbert Mr. & Mrs. Robert B. Skerker Ms. Elizabeth G. Clark Bruce and Gail Johnstone Dennis M. Smolarek Mr.* & Mrs. William M. Clarkson Theresa Kazmierczak Jane Snowden* Mary E. Clemesha* Dr. & Mrs. Kenneth R. Kahn Monica and Steve Spaulding Ruth Cohan* Kathleen Keenan-Takagi Harriet Stewart* Mrs. George Cohn The Herbert & Ella Knight David D. Stout & Anne Conable Family Charitable Fund Janet E. Popp Stout Dr. Elizabeth Conant Rosalind and Michael Kochmanski Gerald R. Strauss Ellen Todd Cooper Dr. Merrily Kuhn and Mr. James Kulwicki Sue W. Strauss Rev. Raymond G. Corbin Norma Jean Lamb Cecelia Tachok* Marilyn R. Cornelius Eric E. & Ruth F. Lansing Nancy B. Thomas Dr. Sharon F. Cramer and Mr. & Mrs.* Wilfred J. Larson Therese M. Vita Mr. Leslie R. Morris* Kalista S. Lehrer* Jim and Michal Wadsworth, in honor of the BPO Viola Section Steve & Sandy Levinthal as trustees of the Mulroy, Sandra B. Cumming Bradford Lewis, PhD Heath and Colby Foundations Beverly Davies Gerald & Barbara Lipa Dr. Bernard D. Wakefield* Clarence Davis, Jr.* Francie D. & Joel N. Lippman Mrs. Robert Warner* Mrs. Roberta Dayer Marie Marshall* Marjorie W. Watson Tim DiCarlo Mr.* & Mrs. J. A. Mattern Dorothy Westhafer Mr. and Mrs. Anthony N. Diina Sandra and Dennis McCarthy Wayne* & Janet Wisbaum Charles* & Nancy* Dowdell Michael and Lorrie Munschauer Elizabeth Ann Withrow Ellen & Victor* Doyno Donna & Leo Nalbach Mr.* and Mrs.* J. Milton Zeckhauser *deceased

Trusts

Anonymous AJL Fund Lawrence M. Appleby Fund at the CFGB Cameron Baird Fund Benderson BPO Endowment Fund Virgil A. and Margaret L. Black Memorial Fund Philip & Joyce Celniker Fund Irwin H. Cheskin Fund at the CFGB Mildred Bork Conners & Joseph E. Conners Fund Buffalo Philharmonic Orchestra Society Inc. Endowment Fund Grace Neff Daniels Memorial Anne Catt Filer Fund at the CFGB

Howard F. Gondree Fund Joan Hetzelt Hanifin Memorial Fund D. Bruce and Gail Johnstone Fund at the CFGB The Herbert & Ella Knight Family Charitable Fund John and Carol Kociela Fund at the CFGB Janet K. Larkin & John D. Larkin III Fund Albert H. Laub Bequest Donald I. MacDavid Charitable Trust Marie A. Marshall Fund MPZ Endowment Fund Benjamin and Lila Obletz Endowment Fund Mary Louise Olmsted Fund

Susan Harvey Prentis Fund Margaret Frank Rofot Charitable Lead Trust Natalie Kubera Roth Fund Martin and Barbara Schechtman Charitable Remainder Unitrust William Kenneth Schmitt Fund Dr. & Mrs. Roy E. Seibel Philanthropic Fund Joseph and Loretta Swart Fund Nellie B. Warner Endowment Fund Charlotte Potter Whitcher Trust

To ensure your wishes are carried on for the BPO for generations to come, you may call Guy Tomassi (716) 242-7821 for more information. The Buffalo Philharmonic Orchestra endorses the LEAVE A LEGACY® WESTERN NEW YORK program, an initiative of the WNY Planned Giving Consortium and a public awareness campaign of the National Committee on Planned Giving.

BPO ADMINISTRATIVE STAFF Administration

Marketing

Daniel Hart

Patrick O’Herron

Executive Director

Director of Marketing

Diana Martinusek

AndréeRenée Simpson

Development

Kelcie Hanaka

Executive Assistant

Marketing Manager

Digital Marketing Manager

Jennifer Barbee

Cary Michael Trout

Associate Director and Director of Development

Graphic Designer/Consultant

Ed Yadzinski

Wendy Diina

Director of Special Projects Associate Director of Development

Katie Bates Johnson

Program Annotator & Historian

Operations Alison Bolton

Annual Fund Manager

Holly Johnson

Grant and Corporate Relations Coordinator

Kleinhans Music Hall Staff Nicole Murray

Building Services Assistant

Michael Cassidy

Interim Assistant Chief Engineer

Dennis Nawojski

Event Manager

Alister Bouvart

Connor Schloop

Major and Planned Gifts Officer

Jess Berner Anne Boucher Bethany Erhardt Scott Kurchak Amanda Paruta

Director of Artistic and Orchestra Operations

Brian Seibel

Guy Tomassi

Patron Services Representatives

Concessions Manager Parking & Set Up Supervisor

Associate Manager of Artistic and Orchestra Operations

Education and Al Rabin Community Engagement Audience Services Manager Robin Parkinson

Sales and Patron Services

Director of Education and Community Engagement

Adam Cady

Finance

Senior Manager of Patron Services

Kevin James

Rachael Pudlewski

Director of Finance

Box Office Assistant Manager/ Education Coordinator

Nicole M. Bodemer

Associate Director of Finance

Jacqueline Henry

Finance/Accounts Payable Associate

Susan Hill

Payroll and HR/ Benefits Administrator

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