BPO 2019-2020 Season: Program Book 5 by Buffalo Philharmonic Orchestra

TABLE OF CONTENTS | JANUARY 25 - FEBRUARY 16 BPO Board of Trustees/BPO Foundation Board Directors

BPO Musician Roster

Mozartâ&#x20AC;&#x2122;s Requiem

The Music of The Eagles

RESPECT: A Tribute to Aretha Franklin

Mahler and Bernstein

Nobody Does It Better: The Music of Marvin Hamlisch

BuffaLove!

Spotlight on Sponsors

Sponsor a Musician

Annual Fund

Patron Information

M&T Bank Classics Series January 25 and 26 BPO Rocks Series January 31 BPO Pops Series February 1

M&T Bank Classics Series February 8 and 9 BPO Pops Series February 14 and 15

BlueCross BlueShield BPO Kids Series February 16

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 Welcome to the BPO and Kleinhans Music Hall! We are very happy to have you here once again as we make our way through the beautiful Buffalo winter. Covered in this concert guide is a series of programs guaranteed to have something for everyone. From the glory of Mozart’s Requiem to the music of the Eagles, to our tribute to the Queen of Soul, Aretha Franklin, the BPO will continue to create great musical moments for our fans. And while we have five more months of concerts in the current season with many exciting programs, Maestro Falletta, John Morris Russell, and the staff have been hard at work to create the 2020-21 season, which we are happy to unveil for you now. Planning a full season of 120-some concerts takes time and is somewhat akin to a juggling act. Our goal in creating programs is threefold: we need to keep bringing you back, we need to appeal to new people, and we need to keep moving the orchestra to higher and higher levels of artistry. These goals are balanced against the availability of artists, budget, rotation of the “warhorses,” a commitment to new compositions, and feedback from audience and orchestra members alike. As you review the line-up, I hope you will agree that we have another great season ahead but we cannot do it without you. Please take time to renew your subscription and if you are new to the BPO, please consider joining our family of season ticket holders! 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 † James Iglewski William Keefer Ronald Luczak William Maggio 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 Loren Silvertrust* Karen Sperrazza Christine Standish Stephen T. Swift, Immediate Past Chair* 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 & Secretary

Karen Arrison Michael Munschauer Bob Skerker

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 Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center, and Artistic Adviser of the Hawaii Symphony Orchestra. Ms. Falletta has guest conducted over one hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America, and Africa. In 2019-20 she will guest conduct orchestras in Ireland, Sweden, Germany, Mexico, Brazil, and across the US. Upon her appointment 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 last season, she has been credited with bringing the Philharmonic to an unprecedented level of national and international prominence. In 2018, the BPO made their first international tour in three decades, to perform at Warsaw’s prestigious Beethoven Easter Festival, where Falletta made history as the first American woman conductor to lead an orchestra at the Festival. With a discography of over 115 titles, JoAnn is a leading recording artist for Naxos. In 2019, JoAnn won her first individual Grammy Award as conductor of the London Symphony for Spiritualist by Kenneth Fuchs. Her Naxos recording with the BPO of John Corigliano’s Mr. Tambourine Man: Seven Poems of Bob Dylan 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 2019 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 writing, cycling, yoga, and is an avid reader. For more information, visit www.joannfalletta.com.

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JOHN MORRIS RUSSELL PRINCIPAL POPS CONDUCTOR A master of American musical style, John Morris Russell has devoted himself to redefining the American orchestral experience. For the past four years he has been Principal Pops Conductor of the Buffalo Philharmonic Orchestra, following in the footsteps of Marvin Hamlisch and Doc Severinsen. He is in his ninth year as conductor of the Cincinnati Pops Orchestra, and is also Music Director of the Hilton Head Symphony Orchestra in South Carolina. Mr. Russell’s recent collaborations around the world include Aretha Franklin, Emanuel Ax, Amy Grant and Vince Gill, Garrick Ohlsson, Rhiannon Giddens, Brian Stokes Mitchell, Jon Kimura Parker, Ann Hampton Callaway, Michael McDonald, Cho-Liang Lin, Sutton Foster, George Takei, Megan Hilty, Ranky-Tanky, Steve Martin, Edie Brickell and the Steep Canyon Rangers, Over the Rhine, Brian Wilson, and Leslie Odom, Jr. As a guest conductor, Mr. Russell has worked with the Los Angeles Philharmonic, Cleveland Orchestra, New York Philharmonic, the Boston Pops, New York Pops, and the National Symphony of Washington, D.C., to name just a few. John Morris Russell is widely considered one of North America’s leaders in orchestral educational programming. From 1997 to 2009 he helped develop and conducted the LinkUP! educational concert series at Carnegie Hall, the oldest and most celebrated series of its kind, created by Walter Damrosch in 1891 and made famous by Leonard Bernstein. John Morris Russell earned degrees from the University of Southern California, Los Angeles and Williams College in Massachusetts, and has studied at the Guildhall School of Music and Drama in London, the Cleveland Institute of Music, the Aspen Music Festival in Colorado, and the Pierre Monteux School for Conductors in Hancock, Maine.

JAMAN E. DUNN

ASSISTANT CONDUCTOR, COMMUNITY ENGAGEMENT

Jaman E. Dunn is an African American orchestral conductor of classical and film music. He currently holds the positions of Assistant Conductor, Community Engagement 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 48 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 Bob Skerker, chair; Karen Arrison; Cindy Abbott Letro; Jeremy Oczek, secretary and treasurer; Stephanie Simon, Tania Werbizky, and city officials including Byron Brown, Mayor of the City of Buffalo, and David Rivera, Niagara District Councilmember.

JOANN FALLETTA, MUSIC DIRECTOR

Angelo and Carol Fatta Endowed Chair

JOHN MORRIS RUSSELL, PRINCIPAL POPS CONDUCTOR JAMAN E. DUNN, ASSISTANT CONDUCTOR, COMMUNITY ENGAGEMENT 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 Makoto Michii Edmond Gnekow Jonathan Borden Nicholas Jones

FLUTE

Christine Lynn Bailey principal Linda Greene Natalie Debikey Scanio

PICCOLO

Natalie Debikey Scanio

OBOE

Henry Ward principal Joshua Lauretig Anna Mattix

ENGLISH HORN

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

Jay Matthews Daniel Sweeley

TRUMPET

Alex Jokipii principal Geoffrey Hardcastle Philip Christner

TROMBONE

Jonathan Lombardo2 principal Timothy Smith

BASS TROMBONE

Filipe Pereira

TUBA

Don Harry principal

TIMPANI

Matthew Bassett principal Dinesh Joseph assistant principal

PERCUSSION

Mark Hodges principal Dinesh Joseph

HARP

Cheryl Losey-Feder principal

MUSIC LIBRARY

Patricia Kimball principal librarian Travis Hendra associate 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

Chair dedicated to the memory of Scott Parkinson

* Temporary Appointment

(L) Leave of Absence

Saturday, January 25, 2020 at 8:00 PM Sunday, January 26, 2020 at 2:30 PM

Classics Series

MOZART’S REQUIEM JoAnn Falletta, conductor Drew Cone, cello Mary Hangley, mezzo soprano Amanda Lynn Bottoms, mezzo soprano

Gene Stenger, tenor James Wright, bass Buffalo Philharmonic Chorus Adam Luebke, music director

HAYDN Concerto in C major for Cello and Orchestra, H. VIIb:1 I. Moderato II. Adagio III. Allegro molto Drew Cone, cello

INTERMISSION

MOZART Requiem in D minor, K. 626 I. INTROITUS, Requiem aeternam II. KYRIE III. SENQUENTIA No. 1 Dies Irae No. 2 Tuba mirum No. 3 Rex tremendae No. 4 Recordare No. 5 Confutatis No. 6 Lacrimosa IV. OFFERTORIUM No. 1. No. 1. Domine Jesu Christe No. 2 Hostias V. SANCTUS VI. BENEDICTUS VII. AGNUS DEI VIII. COMMUNIO Mary Hangley, mezzo soprano Amanda Lynn Bottoms, mezzo soprano Gene Stenger, tenor James Wright, bass Buffalo Philharmonic Chorus Learn about this program from the conductor and guest artists at Musically Speaking, one hour prior to the start of Saturday’s concert.

Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.

DREW CONE, CELLO A proud native of Buffalo, Drew Cone is currently studying at the Juilliard School with Natasha Brofsky. He began his early training with Eva Herer when he was 8 years old and 3 years later performed his first solo with the Ars Nova Musicians. By age 12, he had soloed with the Buffalo Philharmonic under the baton of JoAnn Falletta. In 2014, he won the Interlochen Concerto Competition, performing Haydn’s Cello Concerto No. 1 in C Major with the Interlochen Philharmonic. Shortly thereafter, he was invited to perform on the radio show “From the Top,” where he played the first movement of Shostakovich Cello Concerto No. 1 with the BPO. As a chamber musician, Drew has worked with esteemed string quartets such as Juilliard, Borromeo, Miro, Takacs, Brentano, and Alban Berg. He continues to pursue his passion for chamber music as a member of the Abeo Quartet, which won the silver medal at the Fischoff Competition in 2019. They have performed at prestigious venues such as Alice Tully Hall, Tanna Schulich Hall, Paul Hall, and the Kennedy Center. Most recently, the quartet was invited to the Absolutt Haydn Festival in Oslo, Norway. In addition to the quartet, Drew has collaborated with many well-known musicians in chamber performances at well-known festivals such as Taos School of Music and the Perlman Program Chamber Workshop. He has had the honor to work and perform with celebrated artists, including Donald Weilerstein, members of the Ying Quartet, Catherine Cho, and Joseph Kalichstein.

MARY EVELYN HANGLEY, SOPRANO Soprano Mary Evelyn Hangley is a graduate of San Francisco Opera’s prestigious Adler Fellowship. Most recently, she made her San Francisco Opera debut with three hours’ notice as the Mother in Hansel and Gretel, in which she was praised for “...[showing] confidence and vocal security in her unexpected San Francisco Opera debut, which proceeded flawlessly.” In 2019 Ms. Hangley performed with the San Francisco Symphony in Beethoven’s Symphony No. 9 and sang the role of Anna Sørensen in Kevin Puts’ Silent Night at the 2018 Glimmerglass Festival. In concert, she has sung with the Oakland Symphony, Sacramento Philharmonic and the San Francisco Symphony Youth Orchestra among others. Ms. Hangley has participated in many of the country’s leading young artist programs, including the Merola Opera Program, Glimmerglass Festival and Minnesota Opera. As a participant of Merola Opera Program (2016), she was praised by Opera News for singing “with considerable allure” when taking over for an ill colleague mid-performance in Conrad Susa’s Transformations. During her two years as a Resident Artist with Minnesota Opera, Hangley sang leading roles for the company, including Musetta in La Bohème, Woglinde in Das Rheingold, and Contessa Almaviva in Le Nozze di Figaro. Future performances include appearances at Opera San Jose and Pensacola Opera in Verdi’s Il Trovatore.

AMANDA LYNN BOTTOMS, MEZZO SOPRANO Amanda Lynn Bottoms, mezzo-soprano, is a member of the Domingo Cafritz Young Artist Program at the Washington National Opera, where her mainstage work has included roles in Francesca Zambello’s Porgy & Bess, the Maurice Sendak production of Die Zauberflöte, Menotti’s The Consul, and the world premiere of Admissions. Acclaimed for her “superb vocal and dramatic chops” (Opera News), Bottoms recently debuted with Opera Philadelphia performing the role of Smeraldina in Prokofiev’s The Love for Three Oranges, performed as Mercedes in Carmen with the Buffalo Philharmonic, and was an Emerging Voices artist with the Philadelphia Chamber Music Society. She will join Cincinnati Opera in July 2020 for their world premiere of Spears’ Castor and Patience. She competed in this year’s Operalia Competition, was a finalist in the George London Competition, a regional finalist in the Metropolitan Opera National Councils, and a national finalist in the Zachary Society Vocal Competition. She received her Bachelor of Music in Voice Performance from the State University of New York at Fredonia; her Master’s from the Juilliard School where she was a recipient of the Kovner Fellowship; and a Performance Certificate from the Curtis Institute of Music.

GENE STENGER, TENOR Hailed as an “impressive tenor” (The New York Times) who sings with “sweet vibrancy” (The Cleveland Plain Dealer) and creates “the most lasting moments” (The Virginia Gazette) of the performance, Gene Stenger’s 2019-2020 season will feature his debuts with the Buffalo Philharmonic Orchestra (Mozart’s Requiem), Odyssey Opera (world premiere of Arnold Rosner’s The Chronicle of Nine), Orchestra Seattle and Seattle Chamber Singers (Bach’s St. Matthew Passion), Chatham Baroque (BWV 93), the Mineola Choral Society (Haydn’s Creation), Bach Vespers at Holy Trinity New York (BWV 140 & 144), and ARTEK. His return solo engagements include performances with the Virginia Symphony Orchestra (Beethoven’s Symphony No. 9), Bach Society of St. Louis (Mozart’s Requiem, and Bach’s Magnificat), Wisconsin Chamber Orchestra (Handel’s Messiah), Colorado Bach Ensemble (Handel’s Messiah), TENET Vocal Artists (Bach’s Christmas Oratorio), Madison Bach Musicians (Monteverdi’s Vespers of 1610), Bach Collegium at St. Peter’s New York (Bach’s St. Matthew Passion), and the Yale Camerata (Mendelssohn’s Elijah). Mr. Stenger has also been a featured soloist with the Internationale Bachakademie Stuttgart performing as the tenor soloist in an international tour of Bach’s St. Matthew Passion under the baton of Helmuth Rilling, the Staunton Music Festival, Emmanuel Music, the Harvard Baroque Chamber Orchestra, the Juilliard 415 Baroque Ensemble at Lincoln Center, the Yale Symphony Orchestra at Carnegie

Hall, the American Classical Orchestra, and the Baldwin Wallace, Carmel, Oregon, Bach Akademie Charlotte, and Northeast Pennsylvania Bach Festivals. Originally from Pittsburgh, PA, Gene holds degrees from Yale University’s School of Music, and Institute of Sacred Music, Colorado State University, and Baldwin Wallace University Conservatory of Music. Recent discography credits include tenor soloist in Schmelzer’s Le Memorie Dolorose with TENET Vocal Artists and ACRONYM, and tenor soloist on Yale Schola Cantorum’s album Fauré Requiem and other sacred music led by David Hill released on Hyperion Records. He currently resides in New Haven, CT, where he serves as instructor of voice at Yale University.

JAMES WRIGHT, BASS Described by critics as “tremendous,” “entertaining,” and “strong-voiced,” baritone James Wright is being lauded for his charismatic presence and warm baritone. Last season, James appeared as Larry in Masquerade with Shreveport Opera, Silvio in Pagliacci with Opera Orlando and Savannah Opera, Figaro in Il barbiere di Siviglia with Gulf Coast Symphony, and Dancaïro in Carmen with the Buffalo Philharmonic. On the concert stage, Mr. Wright joined The Riverside Orchestra for Mahler’s Lieder eines fahrenden Gesellen. Next up, he will perform as a soloist in Maryland Opera’s Viva Verismo concert and as a soloist in Buffalo Philharmonic’s Mozart’s Requiem this coming January. Other roles in his repertoire include Guglielmo in Cosi fan tutte, Count Almaviva in le nozze di Figaro, Malatesta in Don Pasquale, Sir Lancelot in Camelot, Ravenal in Showboat, and Richard White in the world premiere of Alice Ryley by Michael Ching with Sherrill Milnes and the Savannah Voice Festival. Other performances have included Jabez Stone in The Devil and Daniel Webster, The Pilot in Rachel Portman’s The Little Prince, John Sorel in The Consul, Valentin in Gounod’s Faust, and Schaunard in La Bohéme.

ADAM LUEBKE, MUSIC DIRECTOR Adam Luebke became music director of the Buffalo Philharmonic Chorus in the 2014-2015 season. Recently, he prepared the East Coast premiere performances and world premiere recording of Richard Danielpour’s The Passion of Yeshua for Naxos and the world premiere of celebrated composer and conductor Fabio Luisi’s St. Bonaventure Mass at the Metropolitan Museum of Art. He has recently made conducting debuts at David Geffen Hall, Kleinhans Music Hall, and the Chautauqua Institution. Mr. Luebke is Assistant Professor of Voice and Choral Conducting at SUNY Fredonia and received his musical training at the American Boychoir School, St. Olaf College, Westminster Choir College, and Florida State University.

PROGRAM OVERVIEW Something miraculous hovers about Mozart’s final artistic gift to the world, a valedictory statement that continues to astonish and move us. Despite dire poverty and illness, Mozart labored unceasingly to complete the work, as he had become obsessed with the idea that he had been commanded to write his own Requiem. His deep-rooted faith, his fear of death, his personal spirituality inspired a document that takes us on his last desperate journey, as he prays that this piece will insure for him redemption from his sins. Passionate, lyrical, protesting, Mozart’s personal voice speaks to us in this luminous work in a way that touches our hearts and souls. The program begins with a special celebration of a deeply gifted artist, a young man whom we are proud to call one of our “Buffalo Philharmonic kids”. Cellist Drew Cone, the son of violinists Andrea and Doug Cone, has developed from a talented young player into a virtuoso who is now studying at the Juilliard School and who is well on his way to a sterling career in music. We are delighted that he is making his professional orchestra debut with his hometown orchestra, with his parents accompanying him in the violin section.

PROGRAM NOTES

Franz Joseph Haydn

Austrian composer born: 31 March 1732, Rohrau died: 31 May 1809, Vienna

Cello Concerto No.1 in C Major Moderato Adagio Allegro molto First Classics performance: March 16, 1969, conducted by Lukas Foss with cellist Mstislav Rostropovich; most recent performance: December 2, 2012, conducted by Sarah Ioannides with cellist Zuill Bailey; duration 26 minutes It was not until 1961 that the historians R. Landon and O. Pulkert discovered Haydn’s ‘sleeping beauty’ in the archives of the Prague National Museum. For centuries, the Cello Concerto No.1 had somehow slipped past all normal scrutiny and wound up in a place that was almost too safe to find..! The uncovered manuscript is not in Haydn’s

original hand, bearing the signature of the composer’s principal cellist at the Court of Esterházy, Joseph Weigl the Elder, for whom it was most probably written in around 1765. Handwriting analysis has certified that the copy is indeed in Weigl’s hand. Also, Haydn himself had listed the work in his dossier, and references to it show up here and there in various other documents. Introductions to concertos most typically serve an obvious role - simply to get things started. But every so often we find an opening statement which is truly exquisite in its own right, and that is surely the case in the current work. The music begins innocently enough at the downbeat with the principal theme. But then, wizard Haydn shapes the ensuing figures with charmed eloquence, contrast, and witty turns of phrase. In short, a mini-masterpiece has been heard even before the solo cello draws its first tone. The magic continues

with a role for the soloist that seems to take up a theatrical dialogue with the orchestra at large. Also, the featured solo lines include some beautiful high wire singing, effortlessly scored in the upper tessitura - brilliant but not just for show.

IV. Offertorium: Domine Jesu Christe Hostias V. Sanctus VI. Benedictus VII. Agnus Dei IIX. Communio

In the second movement Adagio, in F major, Haydn likewise presents a lovely introduction to the plaintive nature of the solo lines which follow. With poetic elegance, they are among the most lyrical from the composer’s entire catalog. At about mid-way, the music takes on a darker tone in D minor before a reprise of the overall mood.

First Classics performances: December 3, 5, 1967, conducted by Lukas Foss with soloists and the Fredonia College Choir; most recent performances: April 20, 21, 2013, conducted by JoAnn Falletta, with soloists and the Buffalo Philharmonic Chorus; duration 55 minutes

Austrian composer, pianist and violinist born: 27 January 1756, Salzburg died: 5 December 1791, Vienna

In July of 1791 Mozart answered a knock at his door and found a nameless messenger with a mysterious proposition: if Wolfgang Amadeus would compose an anonymous Requiem he would receive a very large fee from an unidentified source. To back up his offer, the messenger left the composer with a substantial deposit in cash. Because of the destitute circumstances in his life, Mozart had no choice but to accept and began the work at once. As for the source of the commission, Mozart later discovered that the messenger represented Count Walsegg, a Viennese musical dilettante, who wanted to pass the work off as his own composition. About this Mozart had no qualms; he told his wife, Constanze, that the music alone would identify the author’s hand.

Requiem in D minor, K.626 I. Introitus: Requiem aeternam II. Kyrie III. Sequentia: Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa

After Mozart’s death, both his widow and his sister (Nannerl) confirmed that, while working feverishly on the Requiem, Wolfgang had expressed presentiments about his own passing. Moreover, he came to regard the work as a kind of final testament. But such sentiments were not new to Mozart, who at the age of 31 had written to his father Leopold:

One can readily guess what we have at the beginning of the Allegro molto. Yes - another parcel of introductory magic, this time full of verve and virtuoso dash in the strings. The phrases bear a kinship to the sparkle of the great Allegro movements of the composer’s brilliant symphonies. To be sure, Haydn still finds plenty for the cellist to do, but in this case the initial solo role is that of a happy respondent to the spunky lead in the windy orchestral strings. But the solo line soon takes final command in a happy flight to the bouyant close. Wunderbar.

Wolfgang Amadeus Mozart

“Since Death is the only real and ultimate consequence of life, I have for several years now made myself so thoroughly acquainted with this true and best friend of man that his image, far from appearing in any way terrifying to me, gives me a great deal of peace and comfort. I never go to bed without reflecting that - young though I still am - I might not see the next day. And no one who knows me can say that I am sullen or sad in company - and for this happiness I thank my Creator every day, and from the bottom of my heart I wish the same to everyone.” Indeed, ‘happiness’ was much dearer to the heart of Mozart’s music than the elements of sorrow or tragedy. For example, he had no trouble at all setting the Requiem aside in order to complete his last two operas, La Clemenza di Tito, and the wonderful Magic Flute. However, Mozart returned to the Requiem during the very last days of his life. He left sufficient sketches for his student, Franz Xaver Süssmayr (1766-1803), who was able to construct the Requiem in full at the request of Wolfgang’s widow.

Apart from those instructive fragments, Mozart completed the score just to the end of the eighth bar of the exquisite Lacrimosa, set in extended 12/8 time. The moment is profound: the Lacrimosa opens with a brief, exquisite introduction - a gentle, child-like tune in the softly plaintive strings. With barely time for a breath, the chorus enters chanting an angelic, touching lament, Lacrimosa, Dies Illa. Then - suddenly, frightfully - the graceful phrases change at once into a series of sixteen chords, ascending oneat-a-time, only to collapse at the gate of heaven itself. At that moment the living pen of Wolfgang Amadeus Mozart transpired into eternity.

Darkling I listen; and for many a time I have been half in love with easeful Death, Call’d him soft names in many a mused rhyme, Now more than ever seems it rich to die. Ode to a Nightingale John Keats (1795-1821)

Mozart Requiem - Latin Text and Translation I.

Introitus: Requiem (soprano soloist and chorus) Requiem aeternam dona eis Domine: Grant them eternal rest O Lord: and et lux perpetua luceat eis. let everlasting light shine on them. Te decet hymnus, Deus, in Sion, To thee, O God, praise is meet in Sion, et tibi reddetur votum in Jerusalem. and unto thee shall the vow be performed Exaudi orationem meam: in Jerusalem. Hearken unto my prayer: ad te omnis caro veniet. unto thee all flesh shall come.

II.

Kyrie (chorus) Kyrie eleison. Christe eleison. Kyrie eleison.

III. Sequenz: Dies irae (chorus) Dies irae, dies illa Solvet saeclum in favilla Teste David cum Sibylla.

Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us. The day of wrath, that day shall dissolve the world in ash, as David prophesied with the Sibyl.

Quantus tremor est futurus Quando judex est venturus Cuncta stricte discussurus.

What trembling shall there be when the judge shall come who shall thresh out all thoroughly.

Tuba mirum (soloists) Tuba, mirum spargens sonum per sepulchra regionum, Cogef omnes ante thronum.

The trumpet, scattering a wondrous sound through the tombs of all lands, shall drive all unto the Throne.

Mors stupebit et natura Cum resurget creatura Judicanti responsura.

Death and Nature shall be astounded when creation rises again to answer to the judge.

Liber scriptus proferetur In quo totum continetur Unde mundus judicetur

A written book shall be brought forth in which shall be contained all by which the world shall be judged.

Judex ergo cum sedebit Quidquid lalet apparebit: Nil inultum remanebit.

And therefore when the Judge shall sit, whatsoever is hidden shall be manifest; and naught shall remain unavenged.

Quid sum miser tunc dicturus, Quem patronum rogaturus, Cum vix justus sit securus?

What shall I say in misery? Whom shall I ask to be my advocate, when scarcely the just may be without fear?

Rex tremendae (chorus) Rex tremendae majestatis Qui salvandos salvas gratis Salva me, fons pietatis.

King of awful majesty, who freely savest the redeemed, save me, O fount of mercy.

Recordare (soloists) Recordare, Jesu pie, Quod sum causa tuae viae Ne me perdas ille die.

Remember, merciful Jesus, that I am the cause of your journey, lest thou lose me in that day.

Quaerens me sedisti lassus: Redemisti crucem passus. Tantus labor non sit cassus

Seeking me didst thou sit weary: thou didst redeem me, suffering the cross, let not such labor be frustrated.

Juste Judex ultionis Donum fac remissionis Ante diem rationis.

Just Judge of vengeance, give the gift of remission before the day of reckoning.

Ingemisco tanquam reus: Culpa rubet vultus meus. Supplicanti parce, Deus.

I groan as one guilty; my face blushes at my sin. Spare me, thy supplicant, O God.

Qui Mariam absolvisti Et latronum exaudisti, Mihi quoque spem dedisti.

Thou who didst absolve Mary, and didst hear the thiefâ&#x20AC;&#x2122;s prayer, hast given hope to me also.

Preces meae non sunt dignae, Sed tu bonus fac benigne, Ne perenni cremer igne.

My prayers are not worthy, but do thou, good Lord, show mercy, lest I burn in everlasting fire.

Inter oves locum praesta Et ab haedis me sequestra Statuens in parte dextra.

Give me place among thy sheep and put me apart from the goats, setting me on the right hand.

Confutatis (chorus) Confutatis maledictis Flammis acribus addictis, Voca me cum benedictis.

When the damned are confounded and condemned to sharp flames, call me with the blessed.

Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis. Dies irae, etc.

I pray, kneeling in supplication, my heart contrite as ashes, take thou mine end into thy care. Day of wrath, etc.

Lacrimosa (chorus) Lacrimosa dies illa Qua resurget ex favilla Judicandus homo reus.

That day is one of weeping on which shall rise again from the ashes, the guilty man, to be judged.

Huic ergo parce, Deus, Pie Jesu Domine: Dona eis requiem. Amen.

Spare then this one, O God, merciful Lord Jesus: give them peace. Amen.

IV. Offertorium: Domine Jesu (chorus) Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu; libera eas de ore leonis, ne absorbeat eas Tartarus, ne cadant in obscurum.

O Lord, Jesus Christ. King of glory, deliver the souls of all the departed faithful from the torments of hell and from the bottomless pit; deliver them from the mouth of the lion, lest Tartus swallow them, or fall into darkness

Sed signifer sanctus Michael repraesentet eas in lucem sanctam: quam olim Abrahae promisisti et semini ejus.

But let Saint Michael the standardbearer bring them forth into the holy light: which thou didst once promise to Abraham and his seed.

Hostias (chorus) Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis quarum hodie memoriam facimus: quam olim Abrahae promisisti et semini ejus.

To thee, O Lord, we render our offerings and prayers with praises. Do thou receive them for those souls which we commemorate today: which thou didst once promise to Abraham and his seed.

V. Sanctus (chorus) Sanctus, sanctus, sanctus, Domine Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.

Holy, holy, holy Lord God of Sabaoth. Heaven and earth are full of thy glory. Hosanna in the highest.

VI. Benedictus (soloists and chorus) Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Blessed is he who comes in the name of the Lord. Hosanna in the highest.

VII. Agnus Dei (chorus) Agnus Dei qui tollis peccata mundi: dona eis requiem. Agnus Dei qui tollis peccata mundi: dona eis requiem sempiternam.

Lamb of God that takest away the sins of the world: grant them rest. Lamb ot God, that takest away the sins of the world: grant them eternal rest.

VIII. Communio: Lux aeterna (soprano soloist and chorus) Lux aeterna luceat eis, Domine, cum Let everlasting light shine upon them, O sanctus tuis, quia pius es. Lord, with thy saints, for thou art merciful. Requiem aeternam dona eis. Domine, Grant the departed eternal rest. O Lord, and et lux perpetua luceat eis. Let everlasting light shine upon them. program notes by Edward Yadzinski

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Friday, January 31, 2020 at 8:00 PM

BPO Rocks Series

THE MUSIC OF THE EAGLES Ron Spigelman, conductor

Hotel California “A Salute to the Eagles” PROGRAM TO BE ANNOUNCED FROM THE STAGE Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.

RON SPIGELMAN, CONDUCTOR A native of Australia, conductor Ron Spigelman, is an honors graduate of the Royal Academy of Music, London. He was Associate Conductor of the Buffalo Philharmonic Orchestra from 2001-2004, and before that with the Fort Worth Symphony Orchestra. He has been Music Director of the Fort Worth Dallas Ballet, the San Angelo Symphony, the Texas Chamber Orchestra, Springfield Symphony Orchestra (MO) and the Lake Placid Sinfonietta (NY) where he is now Conductor Emeritus. He is currently Pops Conductor of the Tulsa Symphony Orchestra. He has appeared as guest conductor with many orchestras in the U.S. and Australia, and in 2017 he produced and conducted a CD which included the world premiere recording of Sylvan by Michael Torke, commissioned for the Lake Placid Sinfonietta centennial season. Two career highlights were the world premiere performance of Pegasus by Lowell Liebermann with the Dallas Symphony in 2001 and in 2004, his Carnegie Hall debut with the Buffalo Philharmonic. A champion of new music, he has conducted over 30 world premieres, and was James Conlon’s assistant conductor at the Van Cliburn International Piano Competition four times. He has conducted live film scores for Pirates of the Caribbean, Fantasia, Raiders of the Lost Ark, The Wizard of Oz, Passion of Joan of Arc and Ben Hur. This season he added Star Wars, Home Alone, Nightmare Before Christmas, and Harry Potter – Chamber of Secrets.

Saturday, February 1, 2020 at 8:00 PM

BPO Pops Series

RESPECT: A TRIBUTE TO ARETHA FRANKLIN Ron Spigelman, conductor Tamika Lawrence, vocalist Coco Smith, vocalist Corwyn Hodge, vocalist

PROGRAM TO BE ANNOUNCED FROM THE STAGE

Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.

For Ron Spigelman’s biography please see page 27.

TAMIKA LAWRENCE, VOCALIST Hailing from the Mount Hope neighborhood of the Bronx, Tamika Lawrence began her musical career on Broadway almost 10 years ago. (The Wiz Live! On NBC, Book of Mormon, Come from Away, RENT) She then began to lend her Alt-Rock vocals to movie soundtracks and sang backgrounds for artists including Hugh Jackman and Idina Menzel. A cross between Jack White and Betty Davis, Tamika began to write her own music and in 2014 released the Album “Ugly” with her then band Tamika & The Slay to critical acclaim. In 2018, Tamika won a Grammy for her work on the Dear Evan Hansen Album and completed her debut solo EP “Two Faced” scheduled for release in 2019.

COCO SMITH, VOCALIST Coco is thrilled to be part of “RESPECT: A Tribute to Aretha Franklin” having spent the last few years traveling the world with “The Book of Mormon” (Broadway/ National Tour/International). Since being chosen one of “Broadway’s Rising Stars” in 2015, Coco has starred in numerous regional productions including “Oklahoma” (Weston Playhouse), “Sideshow” (Near West Theatre), Children of Eden (Near West Theatre), and made a return appearance in the 2016 edition of “Broadway’s Rising Stars” at historic Town Hall in the heart of Times Square. She is a graduate of the American Musical and Dramatic Academy in New York City. Coco would like to give special thanks to Mary Feeney and Amanda Colliver. #99CoCoProblems

CORWYN HODGE, VOCALIST Corwyn is a native of Louisville, Kentucky and received his BFA in musical theatre from Cincinnati Conservatory of Music (CCM). His show credits include “The Lion King,” “Jesus Christ Superstar,” “Children of Eden,” “Joseph...” and “Grease.” Corwyn is a member of acclaimed acapella group MO5AIC (Mosaic) which travels the world and headlines in Las Vegas. The group has performed with Tony Bennett, Prince, Bruno Mars, and Justin Timberlake. Corwyn has been featured on several movie soundtracks and has a gold record for his accomplishments. He gives thanks to his family for all the love and support! ACT ❤ Be blessed everyone! @coho50

PROGRAM BOOK PRODUCED BY

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Saturday, February 8, 2020 at 8:00 PM Sunday, February 9, 2020 at 2:30 PM

Classics Series

MAHLER & BERNSTEIN JoAnn Falletta, conductor Noah Bendix-Balgley, violin Aryeh Nussbaum Cohen, counter tenor Buffalo Philharmonic Chorus Adam Luebke, music director NOAH

Fidl-Fantazye: A Klezmer Concerto

BENDIX-BALGLEY MAHLER /

Noah Bendix-Balgley, violin

Adagio from Symphony No. 10 in F-sharp Major

edition by Ratz

INTERMISSION

BERNSTEIN

Chichester Psalms for Chorus and Orchestra

I. Psalm 108: 2

Psalm 100

II. Psalm 23

Psalm 2: 1-4

III. Psalm 131

Psalm 133: 1

Aryeh Nussbaum Cohen, counter tenor

Buffalo Philharmonic Chorus

Many thanks to the Jewish Community Center of Greater Buffalo for their support of this concert Learn about this program from the conductor and guest artists at Musically Speaking, one hour prior to the start of Saturdayâ&#x20AC;&#x2122;s concert.

Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.

NOAH BENDIX-BALGLEY, VIOLIN Considering it his life-long pursuit, Noah Bendix-Balgley has a personal sound that connects with his audience in a meaningful way. Whether he’s leading the Berlin Philharmonic as First Concertmaster, performing chamber music or in front of the orchestra as soloist, Noah’s gift of communication through music has reached listeners all around the world. As a soloist, Noah regularly appears with leading international orchestras and in recital at the world’s finest halls. Upcoming highlights this season include debuts with the Orchestre Symphonique de Québec, Buffalo Philharmonic, NHK Symphony Orchestra and a play-direct program with the Kammerakademie Potsdam. Recent highlights include his concerto debut with the Berlin Philharmonic (play-direct), concerto appearances with the Verbier Festival Orchestra at Schloss Elmau, debuts with the Shanghai and Guangzhou Symphony Orchestras, and extensive recital tours throughout Asia and Europe, including performances at the Berlin Philharmonie, Beethovenhaus Bonn, National Concert Hall Wroclaw and National Concert Hall in Taipei. In 2016 Noah composed and premiered his own klezmer violin concerto FidlFantazye with the Pittsburgh Symphony conducted by Manfred Honeck, a piece which he also performed with the China Philharmonic. Further performance highlights include concerts with the Orchestre Philharmonique de Radio France, the Orchestre National de Belgique, the Utah Symphony, the Hong Kong Sinfonietta, the Auckland Philharmonia, the Nagoya Philharmonic, a tour with Apollo’s Fire Orchestra performing on period instruments and performing the Brahms Double Concerto with the Aspen Music Festival Orchestra and Alisa Weilerstein. A passionate chamber musician, Noah performs in several fixed ensembles including a trio with pianist Robert Levin and cellist Peter Wiley and the multigenre septet Philharmonix featuring members of both the Berlin and Vienna Philharmonic orchestras, which just released their 2nd album on Deutsche Grammophon. Recent and upcoming chamber highlights include performances at the Seattle Music Festival, Bergen International Festival, the Sarasota Festival, ChamberFest Cleveland, Zermatt Festival, Le Pont Festival in Japan and worldwide touring with Philharmonix including a multi-year residency at Vienna’s Konzerthaus. Noah is also a renowned performer of traditional klezmer music, a musical style which has been part of his life since an early age. He has performed with worldrenowned klezmer groups such as Brave Old World and has taught at klezmer workshops throughout Europe and the United States. He performs on a Cremonese violin made in 1732 by Carlo Bergonzi.

ARYEH NUSSBAUM COHEN, COUNTERTENOR Acclaimed as a “young star” and “complete artist” by The New York Times and “extravagantly gifted... poised to redefine what’s possible for singers of this distinctive voice type” by the San Francisco Chronicle, 25-year-old American countertenor Aryeh Nussbaum Cohen is one of the classical vocal world’s most promising rising stars. Winner of a 2019 William Matheus Sullivan Musical Foundation Award and both First Prize Winner and Audience Choice Award recipient at the 2018 Dallas Opera Guild Vocal Competition, in his breakout 20162017 season, Aryeh Nussbaum Cohen was awarded the Grand Prize of the Metropolitan Opera National Council Auditions and was the recipient of a Sara Tucker Study Grant from the Richard Tucker Music Foundation. He was Third Prize winner of Plácido Domingo’s Operalia in 2019, First Prize winner of the Houston Grand Opera Eleanor McCollum Competition, and winner of the Irvin Scherzer Award from the George London Foundation. His first commercial recording project was the GRAMMY® Award-winning world premiere recording of Kenneth Fuchs’ Poems of Life with JoAnn Falletta conducting the London Symphony Orchestra. A recent alumnus of the San Francisco Opera Adler Fellowship Program and the Houston Grand Opera Studio, Aryeh makes his French debut at the Chateau de Versailles in works by Pergolesi and Vivaldi, is heard in Handel’s Messiah with the San Francisco Symphony and the Saint Paul Chamber Orchestra, and in the thematic programs ‘Orphean Enchantments’ with American Bach Soloists and ‘Bach Goes Greek’ with Ars Lyrica Houston.

PROGRAM OVERVIEW The rich tradition of the Jewish faith has been the wellspring for some of the most glorious orchestral music, and we are delighted to pay tribute to that tradition this weekend. Noah Bendix-Balgley is a young American who was chosen from violinists all over the world to hold the position of concertmaster of the Berlin Philharmonic Orchestra, an ensemble at the very pinnacle of the music world. He is a consummate musician- a superb violinist and also a composer- and has written his own deeply personal violin concerto based on the Klezmer tradition of Eastern Europe. You will be amazed by his virtuosity and profound understanding of this extraordinary musical style, and the joy and celebration of life that is the hallmark of Klezmer music. We welcome Noah for the first time to our Kleinhans stage. Two other great Jewish composers are included on the program. Leonard Bernstein’s Chichester Psalms combines Church choral writing with Hebrew Psalms, melding both elements into a visionary plea for reconciliation and unity among all people. Countertenor Aryeh Nussbaum-Cohen also makes his debut on our stage this weekend, singing the words of King David’s most beloved Psalm. Gustav Mahler was forced to denounce his Jewish roots in the antisemitic environment of Vienna, but he neither forgot nor abandoned his heritage. The first movement of his unfinished Tenth Symphony is a moving testament to his sense of loss and sadness near the end of his life.

PROGRAM NOTES Noah Bendix-Balgley

ranging from deeply mourning improvisations to the irresistible drive of its fast dance music.

Fidl Fantazye: A Klezmer Concerto

“The idea of a klezmer violin concerto was one I had for a while, since I was looking for a virtuoso piece in the klezmer style to play with orchestra. My original thought was to commission the work from another composer, but I was encouraged by my father, by Manfred Honeck, and by Michael Alpert to write the work myself. I am thankful to them for this suggestion.

American violinist, composer born: July 15, 1984, Asheville, NC

These are the first performances of this work on the Classics series; duration 33 minutes Noah Bendix-Balgley began his life in music with violin lessons at age 4. His advanced training continued later at Indiana University in Bloomington with Mauricio Fuks, followed by study at the renowned Hochschule für Musik in Munich, Germany in the studio of Ana Chumachenco. Mr. Bendix-Balgley performs on a rare violin made in 1732 by Carlo Bergonzi of Cremona. About Fidl Fantazye, the composer writes: “I grew up around klezmer music and it had a significant influence on my musical upbringing. My father, Eric Bendix, is a dance teacher who specializes in Eastern European folk dancing. He is an expert on Yiddish dance, so as a child I often listened to recordings of klezmer music or heard live bands play at workshops and festivals where my father taught. I began picking up klezmer tunes shortly after I had started playing the violin. I then was lucky to learn from great klezmer musicians such as Michael Alpert and Alan Bern of Brave Old World and Alicia Svigals of The Klezmatics. To this day, playing klezmer music is a wonderful counterweight to my classical playing, since it allows the performer to improvise and embellish on the spot. Developing this freedom helps me play with greater flexibility and imagination within the stricter structures of classical repertoire. Klezmer music is vividly emotional,

“I decided to write a virtuosic violin fantasy accompanied by full orchestra. I am extremely grateful that the wonderful composer Samuel Adler agreed to orchestrate the piece for me, realizing a full version of the violin and piano score that I composed. “My first question when composing was whether to use existing traditional klezmer melodies or to compose my own. I decided to compose my own tunes in the style of traditional ones I have learned over the years. “The piece is constructed in three movements that are played without pause. Each movement is a medley of different dances. After a short orchestral introduction, the violin enters alone, playing a simple Khosidl tune. A Khosidl is a slow and heavy line dance in the old Hassidic style. The violin soon plays duets with various other solo instruments, presenting the tune in virtuosic style. “This is followed by a Doina, a Romanian-style improvisation over of a held harmony. The first of three Doina sections in the piece serve as transitions. The melody of the next section uses my musical translation of the name Samuel: E-flat (eS in German), A, E-natural (Mi

in solfege), C (Ut in solfege), E, A (La in solfege). My middle name is Samuel, after my great-grandfather, Samuel Leventhal, who was a violinist. Like me, he went to Germany to study violin, and following his studies joined the Pittsburgh Symphony. He was later concertmaster of the Hartford Symphony. Because of my connection with him as well as the happy coincidence that Samuel Adler is the orchestrator of this work, the musical version of the name felt like a nice dual homage. It appears throughout the work in different forms. Sam Adler’s Syrtos at the end of the first movement is a dance in mixed meter (7/8) and refers to the Syrtos music of the Greek islands that was absorbed into klezmer music under the name Terkisher, or ‘in the Turkish style,’ in that Greece had long ago been under Ottoman Turkish rule. “The second movement opens with another Doina that features a duet with solo viola. This leads to a slow Nigun or Lid, a wordless song which then becomes a Hora, a slow dance in three. Here I incorporate small quotes from Mahler’s Symphony No.5. Gustav Mahler incorporated klezmer tunes and elements into a number of his works (most famously in the 3rd movement of Symphony No.1). Here my quotations of his melodies came from the question: what if the classical melodies in Mahler’s 5th symphony had been inspired by klezmer tunes? What would those tunes have sounded like? So in the 2nd movement of the Fantazye, I incorporated some Mahler into a version of Hora, and wove more Mahler into my version of Freylekhs. “The third movement is an extended medley of fast tunes, alternating between full orchestra and smaller ensembles within the orchestra. Throughout I wanted the solo violin to trade off

tunes with individual members of the orchestra. At the end, the full orchestra joins in, with a wild race to the finish.”

Gustav Mahler

Austrian composer born: 7 July 1860, Kaliste, Bohemia died: 18 May 1911, Vienna

Symphony No.10 Adagio

First Classics performance: May 6, 1978, conducted by Michael Tilson Thomas; most recent performance: April 21, 2013, conducted by JoAnn Falletta; duration 26 minutes At the downbeat of the Romantic era in music (i.e. following Haydn and Mozart), the symphony began to reveal more than expansive themes cast in four movements. In small but indelible steps, the form began to carry messages - sometimes philosophical (Beethoven’s Symphony No.3, “Eroica”), or picturesque (Mendelssohn’s Symphony No.4, “Italian”), sometimes narrative (Berlioz’s Fantastic Symphony), or personal (Tchaikovksy’s Symphony No.6, “Pathetique”). In all cases the emotive power of the music delivers the goods, well beyond the notions of thematic structure and development. As Gustav Mahler reached maturity, the Romantic crosswinds raged from all directions. With his idyllic banner high on the mast, Mahler sailed straight into the eye of every musical storm. Almost at once he found success both as an aspiring composer and as a brilliant conductor of the lyric stage, embracing the traditional and most innovative operas from Italy, Germany, France and Russia. With all of this we are not surprised that Mahler’s own music would be steeped in symbolic meaning. From

the very first he kept an ear on the intimate undertow of life as he found it. Moreover, he was quick to confirm that his symphonies were autobiographic at the core. Between 1888 and 1910, Mahler completed ten symphonies Nos. 1 through 9, plus Das Lied von der Erde. While his tenth and last symphony remained unfinished at his death, the first movement Adagio was completed in full. The movement was premiered in Vienna on November 14, 1924 under the baton of Franz Schalk. We should note the personal irony behind the music of Symphony No.10, vis-à-vis Mahler’s first symphony, scored 22 years before, which the composer described as the “cry of a deeply wounded heart” - a reference to a failed love affair. Déjà vu: just as Mahler began scoring his tenth symphony, he discovered that his wife, Alma, was amorously involved with Walter Gropius, a well-known architect. Gustav came to blame himself for the predicament, and set about to do everything possible to regain her affections, even adding dedications to her among the pages of the manuscript for his tenth symphony. (Four years after Mahler’s passing, Alma gave her hand to Gropius.) All during that time, the composer was well aware that an acute heart condition would soon determine his fate. Thus, even as he worked feverishly on the tenth symphony, his mood was contrite, forgiving, and altruistic - sentiments beautifully conveyed in the symphony’s exquisite Adagio. Listeners are often struck by the intimate tenderness of the score, painted especially in the deep luster of the orchestral strings, with searching melody cast over probing and lush harmonies - Romantic to the Nth degree.

On a local note, while working on his tenth symphony, Mahler conducted a tour performance by the New York Philharmonic here in Buffalo on December 7, 1910, at Convention Hall (later renamed as Elmwood Music Hall) at the intersection of Elmwood and Virginia. The program included the music of Bach (with Mahler at the keyboard), Beethoven, and Wagner. The concert took place little more than five months before Mahler’s death, which means he probably carried the working manuscript of Symphony No.10 to Buffalo, consistent with his ‘work-every-minute’ life style. P.S. Mahler’s Buffalo appearance is featured on the BPO Archive: http:// archives.bpo.org/mahler-1910.htm (program book and newspaper review).

Leonard Bernstein (1918-1990)

American composer, pianist and conductor born: 25 August 1918, Lawrence, MA died: 14 October 1990, New York City

Chichester Psalms I. Psalm 108, verse 2; Psalm 100, complete Maestoso ma energico; Allegro molto II. Psalm 23, complete; Psalm 2, verses 1-4 Andante con moto, ma tranquillo Allegro feroce III. Psalm 131, complete; Psalm 133, verse 1 Prelude - Sostenuto molto First Classics performance: December 14, 1969, conducted by Lukas Foss; most recent performance: November 5, 2000, conducted by Arie Lipsky; duration 18 minutes Even if you never met him before, Leonard Bernstein preferred to be addressed as ‘Lenny,’ often with a hug. But oddly, his genuine informality only added to the gravitas of his persona - and only ‘Lenny’ could pull it off. However, his attempt to hide in ‘normalcy’ simply

never worked. Your devoted annotator was fortunate to meet him on different occasions, including performing under LB’s inimitable baton here with the Buffalo Philharmonic in Kleinhans. In sum, Bernstein was the embodiment of the up-to-date Enlightenment, gifted in all directions: composer, conductor, virtuoso pianist, historian, lecturer, writer, publisher and, for savvy good measure, a ‘don’t-tread-on-me’ Liberal. However, despite all of these worldly variations, by the end of the day Bernstein will be revered as a composer. The list of his major works includes the ballet Fancy Free, a concerto for piano and orchestra titled The Age of Anxiety, three symphonies, assorted chamber music, the film score for On the Waterfront and theater works including On the Town, West Side Story, and Candide. Beyond these is a trove of vocal music, including Chichester Psalms, for chorus, high solo tenor and orchestra. The work was commissioned for the 1965 choral festival at the Cathedral of Chichester in Sussex, England. Writing to the Very Reverend Walter Hussey just prior to the premiere, the composer noted: “I am pleased with the work and hope you will be too; it is quite popular in feeling (even a hint, as you suggested, of West Side Story), and it has an oldfashioned sweetness along with its more violent moments. The work is in three movements, lasting about 18 minutes, and each movement contains one complete psalm plus one or more verses from another complementary psalm, by way of contrast or amplification. Thus: I. Opens with a chorale (Ps. 108, vs.3) evoking praise; and then swings into Ps.100, complete, a wild and joyful dance, in the Davidic spirit.

II. Consists mainly of Ps.23, complete, featuring a boy solo and his harp, but interrupted savagely by the men with threats of war and violence (ps.2, vv.14). This movement ends in unresolved fashion, with both elements, faith and fear, interlocked. III. Begins with an orchestral prelude based on the opening chorale, whose assertive harmonies have now turned to painful ones. There is a crises; the tension is suddenly relieved, and the choir enters humbly and peacefully singing Ps.131, complete, in what is almost a popular song (although in 10/4 time!). In this atmosphere of humility, there is a final chorale coda, (Ps.133, vs.1), a prayer for peace. “I hope my score is legible. In order to help with the Hebrew text, I shall enclose a typewritten copy of the words (the Hebrew words of Ps.2 are a tongue breaker!). The score contains exact notes on the pronunciation. As to the orchestra, I have kept to your prescribed forces, except that there will be a large percussion group necessary (xylophone, glockenspiel, bongos, chimes, etc., in addition to the usual timpani, drums, cymbals, etc.) Also, I am sure more strings will be necessary than the number you list - especially low ones. Certainly ‘one’ bass will not do the trick. One of the three trumpets must be very good indeed, in order to perform several difficult solo passages. There is also an extensive harp part. “I wish you well with the piece; and I may even take your performance as an excuse to visit Sussex in late July. I should dearly love to hear this music in your cathedral.” Faithfully yours, Leonard Bernstein

For the premiere of the work Bernstein also wrote to the New York Times:

These psalms are a simple and modest affair, Tonal and tuneful and somewhat square, Certain to sicken a stout John Cager With its tonics and triads in E-flat major. But there it stands - the result of my pondering, Two long months of avant-garde wandering My youngest child, old-fashioned and sweet. And he stands on his own two tonal feet.

Chichester Psalms I. Psalm 108, verse 2 Awake, psaltery and harp! I will rouse the dawn!

Shall follow me all the days of my life, And I will dwell in the house of the Lord forever.

Psalm 100, complete Make a joyful noise unto the Lord all ye lands. Serve the Lord with gladness. Come before His presence with singing. Know ye that the Lord, He is God. It is He that hath made us, and not we ourselves. We are His people and the sheep of His pasture. Enter into His gates with thanksgiving, And into His courts with praise, Be thankful unto Him, and bless His name. For the Lord is good, His mercy is everlasting, And His truth endureth to all generations.

Psalm 2, verses 1-4 Why do the nations rage, And the people imagine a vain thing? The kings of the earth set themselves, And the rulers take counsel together Against the Lord and against His anointed.

II. Psalm 23, complete The Lord is my shepherd, I shall not want. He maketh me to lie down in green pastures. He leadeth me beside the still waters, He restoreth my soul, He leadeth me in the paths of righteousness, For His nameâ&#x20AC;&#x2122;s sake. Yeah, though I walk Through the valley of the shadow of death, I will fear no evil, for Thou art with me. Thy rod and Thy staff, they comfort me. Thou prepares a table before me in the presence of mine enemies, Thou anointest my head with oil, My cup runeth over. Surely goodness and mercy

Saying, let us break their bands asunder, And cast away their cords from us; He that sitteth in the heavens Shall laugh, and the Lord Shall have them in derision! III. Psalm 131, complete Lord, Lord, my heart is not haughty, Nor mine eyes lofty, Neither do I exercise myself In great matters or in things Too wonderful for me. Surely I have calmed and quieted myself, As a child that is weaned of his mother, My soul is even as a weaned child. Let Israel hope in the Lord From henceforth and forever. Psalm 133, verse 1 Behold how good, And how pleasant it is, For brethren to dwell Together in unity. program notes by Edward Yadzinski

Friday, February 14, 2020 at 10:30 AM Saturday, February 15, 2020 at 8:00 PM

BPO Pops Series

NOBODY DOES IT BETTER: THE MUSIC OF MARVIN HAMLISCH

John Morris Russell, conductor Kevin Cole, piano Carlyn Connolly, vocalist HAMLISCH A Chorus Line Overture HAMLISCH They’re Playing My Song Carlyn Connolly, vocalist JOPLIN/ HAMLISCH Ragtime Medley Solace The Entertainer Pine Apple Rag Kevin Cole, piano HAMLISCH Dreamers Carlyn Connolly, vocalist HAMLISCH Sunshine, Lollipops and Roses Carlyn Connolly, vocalist HAMLISCH The Way We Were Carlyn Connolly, vocalist GERSHWIN Allegro Agitato from Concerto in F major for Piano Kevin Cole, piano INTERMISSION STYNE / Bennett Gypsy: Selection for Orchestra RODGERS / Paul Carousel Selections HAMLISCH Marvin’s Medley The Way We Were At the Ballet What I Did for Love Kevin Cole, piano HAMLISCH What I Did for Love from Chorus Line Carlyn Connolly, vocalist HAMLISCH Ice Castles Carlyn Connolly, vocalist HAMLISCH Nobody Does It Better Carlyn Connolly, vocalist HAMLISCH Chorus Line Concerto Kevin Cole, piano Please join us following the concert Saturday in the Mary Seaton Room for the annual Sweetheart Dance, featuring Colleen Williams and Bobby Jones.

Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.

KEVIN COLE, PIANO Kevin Cole is an award-winning musical director, arranger, composer, vocalist, and archivist who garnered the praises of Irving Berlin, Harold Arlen, E.Y. Harburg, Hugh Martin, Burton Lane, Stephen Sondheim, Marvin Hamlisch, and members of the Jerome Kern and Gershwin families. Engagements for Cole include: soldout performances with the Los Angeles Philharmonic at the Hollywood Bowl; BBC Concert Orchestra at Royal Albert Hall; National Symphony at the Kennedy Center; San Francisco Symphony, Chicago Symphony, Philadelphia Orchestra, Minnesota Orchestra, Pittsburgh Symphony, Philharmonia Orchestra (London); Hong Kong Philharmonic; Vietnam National Symphony Orchestra; New Zealand Symphony, Adelaide Symphony Orchestra (Australia), Ravinia Festival, Wolf Trap, Savannah Music Festival, Castleton Festival, Chautauqua Institute, Carnegie Hall with Albany Symphony, and many others. Kevin was featured soloist for the PBS special Gershwin at One Symphony Place with the Nashville Symphony. He has shared the concert stage with William Warfield, Sylvia McNair, Lorin Maazel, Audra McDonald, Barbara Cook, and friend and mentor Marvin Hamlisch. In addition to his busy touring and performing schedule, Kevin is currently Artist in Residence in Musical Theatre and Voice at Saginaw Valley State University. More information and an updated performance schedule can be found at kevincolemusic.com.

CARLYN CONNOLLY, VOCALIST Carlyn Connolly is thrilled to be making her Buffalo Philharmonic debut! Carlyn has performed as a soloist with orchestras in the US, Canada, and across Asia, including The Orchestra Japan, Metropolitan Festival Orchestra, Niagara Symphony Orchestra, Fort Wayne Philharmonic Orchestra, and Cincinnati Pops Orchestra. She is also a founding member of Always Andrews: A Tribute to the Andrews Sisters. Carlynâ&#x20AC;&#x2122;s recent theatre credits include Cabaret (Ivoryton Playhouse), Honky Tonk Laundry (Lana Mae), An American in Paris (Arts Center of Coastal Carolina), White Christmas (Mill Mountain Theatre), Hello, Dolly! (Virginia Musical Theatre), and The Music Man (North Shore Music Theatre). Endless gratitude to Scott Coulter and the BPO for this wonderful opportunity, and to Mom, Dad, Devin, and Melissa for their immeasurable love and support. www.carlynconnolly.com

MARVIN HAMLISCH, COMPOSER

( JUNE 2, 1944 – AUG 6, 2012)

As composer, Hamlisch won virtually every major award that exists: three Oscars, four Grammys, four Emmys, a Tony, three Golden Globe awards, and the Pulitzer Prize (won by A Chorus Line.) Only Marvin Hamlisch and Composer Richard Rodgers have won a “PEGOT” (Pulitzer, Emmy, Grammy, Oscar, Tony awards). For Broadway he wrote the music for his groundbreaking show, A Chorus Line, which received the Pulitzer Prize, as well as They’re Playing Our Song, The Goodbye Girl, and Sweet Smell of Success. He also wrote the musical scores for Jean Seberg (1983) and Nutty Professor Musical (2012). He was the composer of more than forty motion picture scores including his Oscar-winning score and song for The Way We Were, and his adaptation of Scott Joplin’s music for The Sting, for which he received a third Oscar. His prolific output of scores for films include original compositions and/or musical adaptations for Sophie’s Choice, Ordinary People, The Swimmer, Three Men and a Baby, Ice Castles, Take the Money and Run, Bananas, Save the Tiger, and The Informant! starring Matt Damon and directed by Steven Soderbergh. At the time of his passing he had just finished his last musical score for film. “Liberace — Behind The Candelabra” starred Michael Douglas and Matt Damon and was directed by Steven Soderbergh. It was shown at the 2013 Cannes Festival and aired on HBO on May 2013 to great reviews. The film won several Emmys including Michael Douglas for Best Actor. Mr. Hamlisch was Musical Director and arranger of Barbra Streisand’s 1994 concert tour of the U.S. and England as well as of the television special, Barbra Streisand: The Concert, for which he received two of his Emmys. Marvin Hamlisch held the position of principal pops conductor for the Buffalo Philharmonic Orchestra from 2000 through 2008, and other posts included the Pittsburgh Symphony Orchestra, Milwaukee Symphony Orchestra, Dallas Symphony Orchestra, Pasadena Symphony and Pops, Seattle Symphony, San Diego Symphony, and The National Symphony Orchestra in Washington, D.C. At the time of his death he was preparing to assume responsibilities as Principal Pops Conductor for The Philadelphia Orchestra. Hamlisch was a graduate of the Juilliard School of Music and Queens College, where he earned a Bachelor of Arts degree. He believed in the power of music to bring people together. “Music can make a difference. There is a global nature to music, which has the potential to bring all people together. Music is truly an international language.” — Marvin Hamlisch

Sunday, February 16, 2020 at 2:30 PM

BUFFALOVE! Jaman E. Dunn, conductor Jimmy Featherstone, piano Carnival Kids Steel Orchestra Verve Dance Studios MICHAEL GIACCHINO Suite from Coco ELGAR Variations on an Original Theme, Op. 36 “Enigma Variations” IV. “W.M.B.” Allegro di molto XIII. “*** - Romanza” Moderato XI. “G.R.S.” Allegro di molto III. “R.B.T.” Allegretto VII. “Troyte” Presto BACH Allegro from Brandenburg Concerto No. 3 in G major, BWV 1048 Verve Dance Studios GERSHWIN / Grofe Excerpt from Rhapsody in Blue Jimmy Featherstone BERLIOZ

“Hungarian March” from La Damnation de Faust, Op.24

KEN KOWALSKI Liv It Up ! Carnival Kids Steel Orchestra Nora Carnival Kids Steel Orchestra

Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.

SPOTLIGHT ON SPONSORS

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

Matthew Phillips, viola Sponsored by Mr. and Mrs. George G. Herbert

Ansgarius Aylward, assistant concertmaster

Kate Holzemer, viola

Douglas Cone, first violin

Janz Castelo, 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

Natalie Piskorsky, viola

Sponsored by Dr. Patricia and Burt Notarius*

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

* deceased

ANNUAL FUND

The Buffalo Philharmonic Orchestra gratefully acknowledges contributions received from the following individuals and foundations who gave $500 and above through October 15, 2019. 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+ The Cameron and Jane Baird Foundation Carol and Angelo Fatta The John R. Oishei Foundation

$50,000-$149,999 Anonymous Clement & Karen Arrison Mr. Brent Baird Mr. and Mrs. Brian D. Baird Mark Chason & Mariana Botero Chason Louis P. Ciminelli Family Foundation Cullen Foundation John & Carolyn Yurtchuk

$25,000-$49,999 Cindy Abbott Letro and Francis Letro Mr. Bruce C. Baird & Mrs. Susan O'Connor-Baird The Robert and Patricia Colby Foundation Carmela M. Colucci Grigg Lewis Foundation Montgomery Family Foundation Mulroy Family Foundation Mr.* and Mrs. George F. Phillips, Jr.

Maestroâ&#x20AC;&#x2122;s Circle $10,000-$24,999

Anonymous (2) Sue Fay Allen & Carl Klingenschmitt Joan and Peter Andrews Family Foundation The Baird Foundation Mr. Charles Balbach The Better Buffalo Fund at the CFGB Anthony & Barbara Cassetta Arthur W. & Elaine I. Cryer Donald MacDavid Charitable Trust Bob & Doris Drago Robert J. & Martha B. Fierle Foundation Patricia & William Frederick The Garman Family Foundation George and Bodil Gellman Mrs. Amy Habib-Rittling and Mr. Mark Rittling Carlos and Elizabeth Heath Foundation Mr. and Mrs. George G. Herbert Hooper Family Foundation Bonnie and Nick Hopkins Mr. Philip H. Hubbell, in memory of Jayne T. Hubbell Bruce and Gail Johnstone Roberta & Michael Joseph Mrs. Ellen T. Koessler Wilfred and Joan Larson Fund Dr. Bradford Lewis, Ph.D. Mr. and Mrs. Carl J. Montante, Sr. Svetla and Doug Moreland Mr.* and Mrs. Reginald B. Newman II Thomas Rolle and Deborah Henning Roy and Ruth Seibel Family Foundation Scott R. and Rachel C. Stenclik Steve & Nicole Swift The Vincent and Harriet Palisano Foundation Jim and Michal Wadsworth Jack Walsh, in memory of Connie Walsh Christine Standish & Chris Wilk

Concertmasterâ&#x20AC;&#x2122;s Circle $5,000-$9,999 Anonymous (2) James and Linda Beardi James M. Beardsley & Ellen M. Gibson Mr. Joseph F. Casey Donald F. & Barbara L. Newman Family Foundation Jennifer Dowdell, in memory of Charles and Nancy Dowdell Sally and Don Dussing Peter & Maria Eliopoulos Mr. and Mrs. Warren E. Emblidge, Jr.

Ms. JoAnn Falletta & Mr. Robert Alemany Lynne Marie Finn Mrs. John B. Fisher The Frank G. Raichle Foundation Mr. Edward N. Giannino, Jr. Ms. Sarah C. Goodyear Ms. Constance A. Greco Dr. Elisabeth Zausmer and Dr. Angel A. Gutierrez Daniel & Barbara Hart David and Eva Herer The Hicks Fund Monte Hoffman & Niscah Koessler Dr. and Mrs. Curtis F. Holmes John J. and Maureen O. Hurley Martha & Tom Hyde Drs. Clement and Margot Ip Linda Johnson Joy Family Foundation Michael & Marilee Keller Mr. and Mrs. Charles F. Kreiner, Jr. Kurt Weill Foundation for Music Mr. and Mrs.* Philip Kadet The Linton Foundation Lorinda McAndrew Voelkle Foundation Mr. and Mrs. William Maggio Charles & Judith Manzella Sandra and Dennis McCarthy Ms. Beth Mooney Frances L. Morrison Mrs. Sheila M. Nancollas Patricia Notarius/ Premier Group The Ralph F. Peo Fund at the CFGB Mr. and Mrs. Edwin Polokoff Mr. Dennis P. Quinn Robert and Nancy Warner Memorial Fund at the FJP Adam Rome and Robin Schulze Joseph & Carole Sedita Lowell and Ellen Shaw Monica and Stephen Spaulding Mr. and Mrs. Daniel Sperrazza Gary and Katharina Szakmary Carolyn & Joe Voelkl Martha and John Welte Robert and Judith Wetter The Ralph C. Wilson, Jr. Foundation Wayne* & Janet Wisbaum

Encore Circle $2,500-$4,999

Mrs. Vanda Albera Douglas Bean and Elisa Kreiner Ann N. Bonte Joanne Castellani & Michael Andriaccio Ms. Elizabeth G. Clark Ms. Anne E. Conable Judith Clarke & Alan Dozoretz Ms. Ruth Irene Dwigans

Mr. and Mrs. Douglas Easton Marion S. Fay Mrs. Marta Fernandez Friends of the BPO Dr. Samuel Goodloe, Jr. Drs. James Grunebaum & Penelope Prentice Dr. Barbara W. Henderson Philip M. and Marion Henderson Mr. James & Mrs. Diana Iglewski Dr. and Mrs. Robert D. Jacobi Joseph & Anna Gartner Foundation Mr. William P. Keefer Dr. Kathleen Keenan-Takagi James & Leslie Kramer Norma Jean Lamb Susan B. Lee Steve & Sandy Levinthal Sr. Beatrice Manzella William and Jane Mathias Mr. and Mrs. John R. McClester Mr. and Mrs. Sheldon E. Merritt Denise & Ron* Rezabek Anne Moot Michael and Lorrie Munschauer Mr. and Mrs. James D. Newman Pappalardo Family Foundation Mrs. Michelle Parrish Mary Jane and Walter Pawlowski Mrs. Susan A. Potter Ms. Georgeann W. Redman Bruce Renner David & Joan Rogers Dr. Annie Schapiro Ken Schmieder and Nancy Julian* Ronald Frank & Anne Schneider Dr. Gilbert Schulenberg Ms. Betty J. Schultz Dr. Maxine Seller Joan and Roger Simon Dr. Joyce E. Sirianni and Mr. John Owen Mr. Gerould R. Stange Cynthia Swain and Stephen Edge Dr. Joseph R. Takats, III Nicole & Nicholas Tzetzo Mrs. Dorothy H. Westhafer Young Presidents Organization Inc, Empire State John and Deanna Zak C. Richard and Joyce T. Zobel

Drs. Kevin and Elizabeth Barlog Dave & Wendy Barth Patricia S. Beagle Thomas R Beecher Jr Dr. David B. Bender Berardi Immigration Law Ms. Alison Bolton BPO Diversity Council The Reverend and Mrs. Peter Bridgford Laura and Josh Brodie Mr. James A. Brophy, Jr. Mr. and Mrs. John Burkholder Dr. and Mrs. John L. Butsch Janet M. Casagrande Rudolph and Ann* Casarsa Joanne Castellani and Michael Andriaccio Charitable Trust Cheryl I. Christie Robert & Karen Christmann Ms. Rosemary Christoff Dolan in memory of Gerald Christoff, composer and pianist Emmy Lou Churchill Dr. Sebastian and Mrs. Marilyn Ciancio Ruth C. Cisek Nan & Will* Clarkson Elizabeth B. Conant and Camille Cox Ellen Todd Cooper Don and Andrea Copley Mr. Michael P. D'Ambrosio Beverly Davies Dr.* and Mrs. David C. Dean Clotilde & Trey Dedecker James & Mary Frances Derby Dr. Timothy G. DeZastro Duane and Nancy DiPirro Joan M. Doerr Richard and Cornelia Dopkins Ellen & Victor* Doyno Edward G Eberl Dr. Sanford H. Eisen Elsie P. & Lucius B. McCowan Private Charitable Foundation Joyce E. Fink Dr. Mildred J. Fischle Thomas & Grace Flanagan Peter & Ilene Fleischmann Mrs. Beth Fleming Ms. Margaret A. Frainier Bravo Circle Eileen & Laurence Franz Patricia B. Frey, Ed.D. $1,000-$2,499 Mr. and Mrs. David Fried Anonymous (5) Rick Friend Morton & Natalie Abramson Gerald and Jody Lippes Phil & Nan Ackerman Ms. Dolores S. Gernatt Dr. and Mrs. Fred and Bonnie Mr. and Mrs. Michael A. Giambra Albrecht Lynne and Joe Giroux JoAnne Alderfer Ms. Carol A. Golder Burtram W. & Ellen Anderson Mark Goldman Liz & John Angelback Ann Holland Cohn Endowment Fund Marc J. Goldstein Dr. Susan Graham and Dr. Jon C. at the FJP Kucera Rita Auerbach Adrienne Tworek-Gryta and Reverend James M. Augustyn Matt Gryta Bradford Banks Thomas J. Hanifin Mary L. and Ronald E* Banks Mr. Steve Earnhart and Mrs. Jennifer Mr. and Mrs. Van N. Harwood, Jr. Barbee Mrs. G. Wayne Hawk

Mr. Donald J. Hayes Dave & Katie Hayes Michele O. Heffernan & John J. Cordes Dr. and Mrs. Reid R. Heffner, Jr. Mr.* and Mrs. Sherlock A. Herrick, Jr. Mr. Jim Hettich Richard and Lynn Hirsch Stuart & Ellin Hirsch Mr. and Mrs. Peter Hunt Mrs. Alice Jacobs Mrs. Pamela R. Jacobs Mr. Edward Jacowitz Thomas and Deborah Jasinski Luella H. Johnson Craig & Deborah Johnston Edwin M. Johnston, Jr. Benoy and Suzanne Joseph Mary Ann & Stephen Joyce Dr. and Mrs. Kenneth R. Kahn Ms. Jennifer Kartychak Dr. Joseph M. Kelly, Esq. Mr. Dwight King & Ms. Leslie Duggleby Douglas and Nancy Kirkpatrick Rosalind and Michael Kochmanski The Kociela Family Philanthropic Fund John and Carol Kociela Fund at the CFGB Mr. and Mrs. Jean Pierre A. Koenig Ken & Paula Koessler Bob & Liz Kolken Kenneth A. & Gretchen P. Krackow Mr. and Mrs. Robert J. Kresse Joan Kuhn RisĂŠ & Kevin* Kulick Dr. and Mrs. C. Frederick Kurtz Drs. Jeffery Lackner and Ann Marie Carosella Dr. and Mrs. Kevin W. Lanighan Mr. and Dr. John M. Laping Mr. Donald Latt Christopher Lightcap Judy Marine Linda Marsh Randy & Diana Martinusek Mr. George L. Mayers Ms. Michaelene J. McFarlane McLain Foundation Ms. Barbara Mellerski-Farkas The Honorable Ann T. Mikoll David and Gail Miller Ms. Pennie C. Misuraca Mitchell Family Philanthropic Fund at the Community Foundation for Greater Buffalo Michael and Alex Montante Ms. Sharon F. Mortin Barbara & Gerry Murak Dr. Thomas Nochajski Dr. Michael F. Noe Douglas & Laurette* Oak Mr. and Mrs. Randall M. Odza William & Lori Pacer Judith Parkinson Laurence & Sylvia Paul Lois & Tom Pause Dr. Philip & Mrs. Paula Penepent Richard & Karen Penfold Erin M. Peradotto Mr. Robert S. Petersen Ms. Christye Peterson and Mr. Peter J. Grogan

Gregory Photiadis and Sandy Chelnov Gunther & Dorothy Piepke David C. Pixley and Dr. Laura V. Morrissey Mr. and Mrs. Robert W. Plyler Mr. Paul J. Polokoff Henry & Patty Porter Joseph and Pamela Priest Mr. and Mrs. Joseph Priselac, Jr. Scott Propeack and Heidi Freedman Ted and Mary Ann Pyrak Peter & Nancy Rabinowitz Ms. Elaine Ragusa Corinne & Victor Rice Foundation Ms. Mary Anne Rokitka Rose H. and Leonard H. Frank Community Endowment Fund Ruth and Darwin Schmitt Fund at the CFGB Maureen W. & Dr. Richard J. Saab Anne Saldanha M.D. Mr. Destin Santacrose William & Elizabeth Savino Denise M. Scheig Ms. Sara Schneider Susan and Jeffrey Schwartz Mr. Michael B. Sexton and Dr. Sandra Sexton Drs. Caren & Stuart Shapiro Dr. Mary Ellen Shaughnessy Charles E. and Penelope R. Shuman Philanthropic Fund Frank & Deeta Silvestro Dr. Sharon Simpson Sara Gregg Skerker Melissa & Kurt Spaeth Stephen Still Alma and Malcolm Strachan Mr. and Mrs. David G. Strachan Dr. Gerald Sufrin & Dr. Janice Sufrin Gary R. Sutton Mr. and Mrs. Thomas W. Symons Joseph R. Takats Foundation Jim & Connie Tanous Mr. Ivan Tarnopoll John and Susan Thomas Nancy B. Thomas Mr. Jeffrey J. Thompson Dr. Ann M. Bisantz and Dr. Albert H. Titus Hon. and Mrs. Paul A. Tokasz Garin Tomaszewski William and Patricia Townsend Mark and Maansi Travers Mr. William Vosteen Nellie B. Warner Endowment Fund Dr. and Mrs. Richard A. Wiesen William & Ida Christie Fund for Music Shari Willis Barry & Donna Winnick Paul M. Wos Gregory and Donna Yungbluth Mr. Paul Zarembka Ms. Barbara M. Ziegler Dr. Gregory Castiglia & Dr. Valerie Zingapan Drs. Bill Ziter & Cathy Gogan

Crescendo $500-$999 Anonymous (4)

Steve & Jean Ambroselli Mr. Joshua Arcadi Mr. and Mrs. James M. Arena Ms. Joyce Bailey Mr. and Mrs. Teo Balbach Mrs. Susan Baumler Mr. Donald M. Behr Benjamin and Lila Obletz Endowment Fund Ms. Linda M. Betzer Peg Beyer Alice F. Bird Mr. and Mrs. Gary A. Blessing Renate Bob Drs. Philip Glick & Drucy Borowitz Mrs. John M. Bozer Bruce and Jill Brown Mrs. Dorothy J. Brown Ms. Bette J. Brunish Buffalo Academy For Visual and Performing Arts R. R. Bujnicki Dr. Barbara B. Bunker Tim and Belle Butler Margaret C. Callanan Joseph and Susan Cardamone Jerry* & Barbara Castiglia Miss Victoria A. Christopher Carol and Robert Chur Ms. Paula Ciprich Gary Cohen Dr. and Mrs. Michael E. Cohen Collins Charitable Foundation Bob and Susan Conklin John and Patricia Connolly Mrs. Donanne S. Coovert Dr. and Mrs. Harold G. Corwin, Jr. Mr. and Mrs. Bernard W. Cryan Thomas and Elizabeth Cowley Jean McGarry and James F. Cunning Mr. Peter Curtis Ms. Ellen J. Daly Mr. and Mrs. Walter Dannhauser Roger and Roberta Dayer Dr. Juan F. de Rosas Jonathan Dewald Julie Klotzbach and Gary Diamond Mr. and Mrs. Anthony N. Diina Wendy Diina Deborah DiMatteo Miriam & Peter Dow Mr. and Mrs. Shaun T. Doyle Dr. Jack and Inez Lippes Foundation Mrs. Marguerite G. Drinnan Mr. David T. Duff Mr. Edward Eardley Amy P. Early M.D. Mr. and Mrs. Arthur Efron Robert & M. Jane Ehrke Mr. Francis E. Evans Hon. Leo and Johanna Fallon James Farry Robert & Victoria Fenstermaker Mrs. Judith Ferrentino Mr. and Mrs. Kim A. Ferullo Michael R. Fiels & Mary T. Ricotta Edward J. Fine Edward* and Cynthia Fisher Loretta Fizpatrick

Robert and Ruth Fleming Rita A. Forman Mr. & Mrs. Leslie G. Foschio Howard and Laurie Foster Sue Gardner William H. Gardner Theodore & Joan Geier Donald Gibson Mr. Otis Glover George and Cecelia Grasser Mr. William A. Greenman Carol H. Grieco Ms. Jane Griffin Dr. Kenneth W. Gross Sona Grovenstein John I. and Susan Gullo L. Haniford Martha Haseley Barbara R. Hayes Ms. Sharon M. Heim and Mr. David Wahl Mr. and Mrs. Fred R. Hemmer Carla J. Hengerer Dr. Theodore Herman and Ms. Judith Ann Cohen Richard and Virginia Hillegas Dr. & Mrs. Ralph W. Hinds, III Mr. Paul A. Hojnacki Duncan C. Hollinger Mr. and Mrs. John K. Howell Mr. John Hurld Mr. and Mrs. Charles P. Jacobs William & Genevieve James Michael & Janette Neumeister RenĂŠe Joffe & Children Mr. Alex Jokipii and Ms. Shari L. McDonough Katherine K. Juhasz Drs. Richard and Barbara Jurasek Dr. Faye Justicia-Linde Mr. Charles J. Kaars Len & Judy Katz Theresa Kazmierczak Msgr. Patrick Keleher Kathie A. Keller David & Joan Kernan Milton Kicklighter Ms. Bettyann Kinyoun Juliet E. Kline Robert and Barbara Klocke Carol & John* Kociela Mr. and Mrs. Thomas Konopa Mr. and Mrs. Paul C. Koppman Mr. Charles Korn and Dr. Deborah Raiken Ms. Catherine A. LaPorte Dr. John Leddy and Dr. Carmen Alvarez Fern & Joel Levin Faye S. Levy Holly & Jordan Levy Dorothy M. Lien Joan Light Drs. David B. and Madeline A. Lillie Catherine and Matt Lincoln Howard and Lorna Lippes Joel & Andree Lippes Frank & Kitty* Lysiak Allcare Family Services, Inc. Karen Magee

Lucy C. Maisel Paul & Marilyn Koukal Alexandra Merritt Mathews Dr. and Mrs. Walter S. Mayo Stephen McCabe and Gretchen Wylegala Mr. Scott W. McCone Mrs. Barbara A. McCulloch Dr. G. Allen McFarren Kate McGhee Louise McGrath Michael and Lucille Melton Drs. Michael M. and Erika A. Metzger Dr. and Mrs. Franklin H. Meyer Dr. and Mrs. Donald E. Miller Hugh and Joan Miller Mr. John E. Milner Denis & Elizabeth Miranda Mrs. Sally Moehlau Dr. and Mrs. Herman S. Mogavero, Jr. Mr. and Mrs. Van Mollenberg James & Mona Kontos Robert and Nancy Morey Mr. and Mrs. Peter J. Morphis Sandra G. Morrison and Melvin Livingston Robert Moskowitz and Mary McGorray Sarah & Richard Munschauer Mr. and Mrs. Franklin Nice Philip Nicolai and Mary Louise Hill Christa and Jim Nolan Karen and Howard Noonan Ed and Dawn Northwood Susan D. Nusbaum Mr. and Mrs. Patrick O'Brien Tim O'Brien Fund at the FJC

Mr. John O'Connor Bernard & Linda O'Donnell Ann C. Pappalardo Karen L. Podd Mr. James and Mrs. Nancy Poole John & Betty Preble Katherine Powell and Ann K. Wittowsky Charles and Joanne Privitera Ms. Carol Dean Privitera Drs. Igor and Martina Puzanov Mr. Alessandro & Mrs. Karen Renzi Mr. and Mrs. Allan Ripley Mrs. Susan C. Robinson Mr. and Mrs. Edward L. Schaefer Mr. Philip Rumore Revs. Melody and Rodney Rutherford Mr. and Mrs. Mark W. Schack Mr. and Mrs. W. Scott Schaefer William Scheider Mr. and Mrs. Roger L. Schintzius Gary & Barbara Schober Gwendolyn R. Schopp Paul & Peggy Schulz Mary Anne Seifert Mr. and Mrs. Lawrence D. Seymour Mr. and Mrs. John W. Sherman Mr. and Mrs. Stephen C. Shewan Alexander Shrader Edward and Elizabeth Simmons Robert & Jeanne Spampata Mr. Brad Stahlka Ruth & Ted Steegmann James and Karen Stephenson Mr. Edwin F. Stohrer, Jr. Mr. Joseph Sullivan Marilyn & Irving Sultz

Mr. Ronald G. and Mrs. Margaret N. Talboys Dr. & Mrs. Thomas B. Tomasi Mr. Guido A. Tomassi Lyle & Phil Toohey Mr. and Mrs. Toscano Sheila Trossman Joan B. Trump John H. Twist, D.D.S. Chris and Kathy Tzetzo Charitable Fund Susan & Ron Uba Mr. and Mrs. Thomas H. Van Nortwick Dr. & Mrs. Raymond C. Vaughan Mrs. Lawrence Vilardo Villa Maria College Mrs. Roberta M. Vincent Ms. Melva D. Visher Mrs. Phyllis Vogt Ms. Suzanne J. Voltz Robert Vosteen Andrew and Pamela Warner Mr. Jeffrey Weber Mrs. Helen Weiser Ms. Marlene A. Werner Ms. Doris Mae Whitwell Ms. Karen Wielinski Mr. & Mrs. Paul A. Willax Edwin* & Judy Wolf Mr. and Mrs. Martin Wolpin Quinn & Jewell Wright Ms. Kelly Ann Wright Arden and Julie Wrisley The Yadzinski Family Mr.* and Mrs. James C. Yuhnke Amy M. Zeckhauser* Mr. and Mrs. Walter Zylka

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 between Nov. 23 and Dec. 23, 2019.

In Memory of Jim Barbee Mr. Peter Edelman George & Jane Benziger Anonymous Curtis Clark John & Patricia Clark Judith Clarke Kristin Matteson, DO Mary Louise Clark Ms. Shellie Rutstein Fran Kurtz Chris & Theresa Cancilla Robert and Julia Dion Anonymous Charles and Nancy Dowdell Jennifer Dowdell Dr. Fraser B. Drew James A. Brophy Donald A. Ebel Barbara Goldman & Linda Banas Ted Ferrara Mary Louise Clark Thomas and Elizabeth Cowley

Marian Gurney Goodyear Mr. and Mrs. Steve Gurney

Gloria Maulucci Carol Maulucci

Walter Grand Fero and Nancy Sadeghian

Evelyn McDonald Ms. Mary Lou Cappellini

Valerie Heywood Mr. and Mrs. Paul D. Vigyikan

George Miller Ms. Cecelia M. Whelan

John T. Ho Martha Leung

Scott Parkinson David and Carolyn Parkinson Gough

Carlos Jimenez Judith Jimenez Nancy F. Oakes

Joanne Poch Mr. Joel M. Poch

Thomas Kachelmeyer Laura Kachelmeyer

Denise Y. Royal Ms. Mary Ruth Kapsiak

Sally Kellman Ann and Richard Kellman

Richard R. Stenclik Mrs. Cynthia Doolittle Michael & Rosemary Blinkoff Ms. Christine Kausch Steve & Nicole Swift

Donald J. Krentz Mr. and Mrs. John C. Tracy

Maksym Sugorovskiy Daniel J. Cantor

Louis Lazar Anthony T. Mastandrea

Harry Taub Mary Lou T. de la Plante

Jeannette Ludwig Claude Welch

Luigi Tomassi Guy Tomassi

Dr. Reuben R. Kaiser Dr. Mary Ellen Shaughnessy

In Honor of JoAnn Falletta Rita Argen Auerbach Mrs. Sharon P. Miller In honor of JoAnn Falletta conducting the Sarasota Orchestra in December Ms. Beth Mooney

GOVERNMENT

JoAnn Falletta & Robert Alemany Linda B. Grant Jesse Kregal Ms. Marilyn Gallivan Frederick Lenz Donald E. Lewis Funeral Home

Joan K. Lazarus Katie and Patrick Gaglione Martha Malkiewicz Ms. Mary A. Devlin Roger Simon Drs. Robert and Alice Rosenthal In honor of Rogerâ&#x20AC;&#x2122;s birthday

Council Member Joel Feroleto; David Franczyk; Christopher Scanlon; David Rivera; 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

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

Administration

Payroll and HR/ Benefits Administrator

Daniel Hart

Executive Director

Diana Martinusek

Marketing

Executive Assistant

Patrick O’Herron

Development

Director of Marketing

AndréeRenée Simpson

Jennifer Barbee

Marketing Manager

Associate Director and Director of Development

Kelcie Hanaka

Digital Marketing Manager

Wendy Diina

Director of Special Projects Associate Director of Development

Katie Bates Johnson

Cary Michael Trout

Graphic Designer/Consultant

Grant and Corporate Relations Coordinator

Chuck Avery

Master Electrician, IATSE local 10

Operations

Charlie McDonald

Director of Artistic and Orchestra Operations

Development Assistant

Kleinhans Music Hall Staff Ian McCuen

Alison Bolton

Nicole Murray

Jess Berner Anne Boucher Bethany Erhardt Scott Kurchak Amanda Paruta

Ed Yadzinski

Program Annotator & Historian

Annual Fund Manager

Holly Johnson

Patron Services Representatives

Megan Smith

Jennifer N. Comisso

Guy Tomassi

Brian Seibel

Building Services Assistant Chief Engineer

Dennis Nawojski

Interim Concessions Manager

Personnel Manager

Event Coordinator

Event Manager

Major and Planned Gifts Officer

Connor Schloop

Operations Coordinator Education and Community Engagement Al Rabin

Audience Services Manager

Robin Parkinson

Sales and Patron Services

Director of Education and Community Engagement

Jeff Dabbelt

Adam Cady

Education Manager

Senior Manager of Patron Services

Finance

Rachael Nakoski

Box Office Assistant Manager

Kevin James

Claire Saunders

Director of Finance

Group Sales Coordinator

Nicole M. Bodemer Financial Accountant

Jacqueline Henry

Finance/Accounts Payable Associate

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PATRON INFORMATION Lobby doors open 90 minutes before the concert is scheduled to begin, or earlier depending on pre-concert activities. All performances begin promptly at the designated time.

ASSISTED SEATING/ WHEELCHAIR ACCESSIBILITY Patrons requiring special assistance are encouraged to contact the Box Office prior to attending a concert. New Main Floor options are available for patrons using mobility aids or requesting a wheelchair accessible location and accompanying companion seating. Please notify the parking attendant upon arrival to inquire into availability of one of our handicapped parking spaces. Please note: there is no elevator to the balcony level.

Cameras, Recording Devices Photography is permitted in the hall before and after concerts, but all devices must be turned off during a concert. It is strictly forbidden to record, photograph, or film a performance.

Shuttle Service and BPO Preferred Restaurants BPO Parking at Kleinhans $8; Coffee Concerts and BPO Kids $5 FREE Park and Ride Shuttle (SELECT Saturdays) Shuttle service begins at 6:30pm and ends 30 minutes following the end of the concert. Visit bpo.org for more information. • D’Youville College Lot D, 430 West Avenue between Connecticut & Porter Ave, 14213 • NEW! BPO Clement House, 786 Delaware Avenue corner of Summer Street, 14209

SALVATORE’S ITALIAN GARDENS

6461 Transit Rd, Depew, NY. $35 prix-fixe “Symphony Menu”. Call (716) 683-7990 for dinner reservations. SYMPHONY SHUTTLE For $13 per person. Enjoy shuttle service to and from Kleinhans on Saturday nights. To reserve shuttle, call (716) 885-5000 and select option 1. Dinner and shuttle sold separately. The shuttle leaves promptly at 7pm.

Late Arrivals Patrons arriving after the performance has started will be seated at the discretion of the House Manager. Seating will not be until the first suitable break or at intermission. Late seating may not be in the purchased location. • Kleinhans Music Hall maintains a smoke-free environment. • All programs and artists are subject to change without notice. • Sorry, no refunds or exchanges on single ticket purchases.

Medical/Security Security staff is available at all times and an EMT is on site for all concerts and performances. Please notify an usher or staff member if there is a medical or security need.

HENRY’S RESTAURANT

Kleinhans Music Hall Lower Level. For more information or to make reservations, Call (716) 881-4438.

BUFFALO GRAND HOTEL

120 Church Street, Downtown Buffalo. $35 three-course prix-fixe menu. Complimentary parking and shuttle service for patrons to and from Kleinhans on concert nights. Call (716) 845-5100, ext. 0 for reservations and information.

31 CLUB

31 N. Johnson Park and Elmwood Avenue, Downtown Buffalo. Complimentary shuttle service for patrons to and from Kleinhans on concert nights. Call (716) 332-3131 for reservations and information.

ECKL’S @ LARKIN

703 Seneca Street, Buffalo (Larkinville). Prix-fixe menu available. A mid-century supper club providing complimentary parking and shuttle service between the restaurant and Kleinhans for patrons during the BPO season. Dinner reservations required. Call (716) 331-3242 for more information.

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