BPO 2019-2020 Season: Program Book 6 by Buffalo Philharmonic Orchestra

TABLE OF CONTENTS | FEBRUARY 21 - MARCH 28 BPO Board of Trustees/BPO Foundation Board Directors

BPO Musician Roster

High Octane Classics with Time for Three

The Music of The Grateful Dead

Rachmaninoff Piano Concerto No. 2

Mozart and the Divine

The Doo Wop Project

Spotlight on Sponsors

Sponsor a Musician

Annual Fund

Patron Information

M&T Bank Classics Series February 21 and 22 BPO Rocks Series February 25

M&T Bank Classics Series March 7 and 8 M&T Bank Classics Series March 20 and 21 BPO Pops Series March 27 and 28

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 Dear Friends, In addition to the outstanding artistry of our musicians and conductors, one of the other fantastic components of the BPO experience is the hall itself. Kleinhans Music Hall, designed by the father-son team of Eliel and Eero Saarinen, is unlike any other concert venue in the United States and we very are proud to call it home. Maestro Falletta once described it to me as like “playing inside a violin!” The building came about as the result of a community-wide effort to create a venue that would put Buffalo on the cultural map. It was made possible by the generosity of Edward and Mary Seaton Kleinhans. Upon both passing in 1934, their entire estate, which amounted to about $750,000, was turned over to the newly formed Buffalo Community Foundation (now the Community Foundation for Greater Buffalo). A dedicated group of volunteers organized by the Foundation worked tirelessly for six years on the project, along the way making all the right decisions that resulted in the hall we enjoy today. Such decisions included location, design, use, comfort, acoustics, lighting, and of course, the goal of a hall that would better serve the BPO, which had been formed in 1935. The Kleinhans’ funds were ultimately supplemented by the Works Progress Administration so the total cost grew to $1.3 million, an amount that seems unimaginable in that day and age. Many patrons may not realize that the building itself is owned by the City of Buffalo. Over the decades, the City has contributed major funds for its upkeep so we are grateful to our elected officials for their support. But the day-to day operations of the hall are vested in the non-profit created in 1940 to serve as its manager for the City. We therefore tip our hats to the Kleinhans Music Hall Management, Inc. Board of Directors, its outgoing Chair, Bob Skerker, who has led the Board for the past few years, and its incoming Chair, Jeremy Oczek. If you have not visited the Kleinhans Archive Room on the mezzanine level, I encourage you to do so. The story of the building is laid out in a very engaging way. In the meantime, please enjoy the concert and keep coming back! 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 Holly Hejmowski Aleks Spellman

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.

PROTECT YOUR FAMILY PRESERVE YOUR LEGACY

Elizabeth A. Ingold, ESQ. Elder Law | Trusts | Probate 716.932.7447 | INGOLDLAWNY.COM

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

JAMAN E. DUNN

ASSISTANT CONDUCTOR, 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 49 new CDs. The BPO’s Naxos recording of composer John Corigliano’s “Mr. Tambourine Man: Seven Poems of Bob Dylan,” won two Grammys. Our recordings are heard on classical radio worldwide.

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

Friday, February 21, 2020 at 10:30 AM Saturday, February 22, 2020 at 8:00 PM

Classics Series

HIGH OCTANE CLASSICS JoAnn Falletta, conductor Time for Three Charles Yang, violin Nicolas Kendall, violin Ranaan Meyer, double bass and vocals HINDEMITH Symphonic Metamorphosis on Themes of Carl Maria von Weber I. Allegro II. Turandot: Scherzo III. Andantino IV. March JENNIFER HIGDON Concerto 4-3 The Shallows Little River Roaring Smokies Time for Three

INTERMISSION

Selections by Time for Three including Vertigo and Joy

TCHAIKOVSKY

Francesca da Rimini, Op.32

The Coffee Concert Series is presented by 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.

TIME FOR THREE, GUEST ARTISTS Defying convention and boundaries, Time For Three stands at the busy intersection of Americana, modern pop, and classical music. To experience Time For Three (TF3) live is to hear the various eras, styles, and traditions of Western music fold in on themselves and emerge anew. Bonded by an uncommon blend of their instruments fused together with their voices, Charles Yang (violin, vocals), Nicolas “Nick” Kendall (violin, vocals), and Ranaan Meyer (double bass, vocals), have found a unique voice of expression to share with the world. Earning praise from NPR, NBC, The Wall Street Journal, and the Chicago Sun-Times to name a few, the band has become renowned for their charismatic and energetic performances. Having graced the stages of Carnegie Hall, The Kennedy Center, and The Royal Albert hall, their inimitable and mutable style fits equally well in an intimate club setting, like Joe’s Pub in New York, or Yoshi’s in San Francisco. In 2016, Time For Three was featured on the famed “Night of the Proms” tour, sharing the stage with such artists as Chaka Khan and Ronan Keating, playing arenas throughout several European countries. The trio has collaborated with artists as diverse as Ben Folds, Branford Marsalis, Joshua Bell, Aoife O’Donovan, Natasha Bedingfield, and Arlo Guthrie, and have premiered original works--written for the band--from composers Chris Brubeck and Pulitzer Prize-winners Jennifer Higdon and William Bolcom. They’ve appeared on ABC’s Dancing With The Stars, and won an Emmy for “Time For Three In Concert,” produced by PBS. Yet for all their accolades and diverse experiences, the irrepressible band constantly hungers for new ones. With a collection of new songs, the band has teamed up with GRAMMYwinning songwriter Liz Rose and GRAMMY-winning producer Femke Weidema for new recordings set to be released in 2019 through Warner Music. An upcoming commission project includes a work by Pulitzer Prize winning composer, Kevin Puts, which will be premiered by the San Francisco Symphony and the Philadelphia Orchestra in the summer of 2020.

PROGRAM OVERVIEW We welcome the amazing TIME FOR THREE to Buffalo, performing a fantastic concerto written for them by one of our country’s greatest composers- Jennifer Higdon- along with some delightful surprises that will showcase their unique and irresistible blending of styles. This is their debut with the Buffalo Philharmonic, and you will never forget their extraordinary charisma! We surround them with two brilliant orchestral showpieces, perfect for our BPO musicians. Hindemith’s Symphonic Metamorphosis is a concerto for orchestra- with solos for just about everyone. Great fun! And Tchaikovsky’s Francesca da Rimini is one of his greatest masterpieces. Dante Alighieri’s tale of the tragic love of Francesca and Paolo deeply appealed to Tchaikovsky’s romantic sensibilities, and the result is a tone poem of heart-stopping terror and doomed love..

PROGRAM NOTES Paul Hindemith

German composer born: 16 November 1895, Hanau died: 28 December 1963

Symphonic Metamorphoses on Themes by Carl Maria von Weber Allegro Turandot: Scherzo Andantino March First Classics performance: December 11, 1960, conducted by Josef Krips; most recent performance: December 4, 2005, conducted by JoAnn Falletta; duration 18 minutes Intricate melody, scholarly counterpoint and sophisticated theory often seem to be the primary ingredients of the music of Paul Hindemith. But at the heart of all his formality was an intellectual esprit inspired by the 19th Century. In 1915 Hindemith was welcomed to the stage of the music world as the orchestra director of the Frankfurt Opera at the famed Alte-Oper (the ‘old-opera house’ where the BPO performed to a sell-out crowd on its European tour a decade ago). But it was the young maestro’s gift for musical composition that gained him rapid recognition. His prolific pen would soon produce works for every conceivable combination of instruments including separate sonatas for each of the symphonic winds, brass, percussion and strings. However, by 1934 his music had so thoroughly alienated the Nazis (for his ‘spiritually non-Aryan’ scores) that he was forced to leave Germany, settling in the United States. Prior to his appointment at Yale University in 1940, Hindemith served as Visiting Professor of Composition here at UB under the sponsorship of Cameron Baird.

Symphonic Metamorphoses is a designer-display of symphonic effects, sprightly rhythms, beautiful tunes, turbo-counterpoint and witty parodies. Rarely heard melodies by Carl Maria von Weber are employed: in movements I, III and IV we hear snippets from a set of piano duets (Eight Pieces, Opus 60) dating from 1819; in the second movement Scherzo Hindemith takes a tuneful vignette from Weber’s incidental music (1809) to Schiller’s play Turandot. At once twisting and churning, the high-stepping tone of the opening is unmistakably ‘tour de force.’ Note the pulsing timpani, heralding brass and the irreverent tune which begins with trills in the high woodwinds and strings. A deft middle section features the solo oboe in a classical formation, colored-in by zesty orchestral effects. The following Scherzo is spectacular, and every chair in the orchestra gets a workout as the fugitive theme becomes snared by trills which swarm like bees at every turn. The tempest is hardly moderated via a sassy jazz-figure introduced by the trombone, and mirrored in the trumpet and tuba. As the energy begins to wane we hear retreating solos from the battery and chiming bells, as if the entire orchestra were an unwinding music box with barely enough spring to reach the final chord. For pure loveliness the melodic Andantino defies fair description. A languid tune from the solo clarinet in B-flat minor is sustained by spinning strings and answered by a plaintive solo bassoon. The tune is briefly captured by the strings for a second theme, decorated with measured ornamentation in the manner of a 19th century vocalise.

The fourth movement begins with a stentorian peal in the brass, followed by a savvy snippet in the low woodwinds over marching strings. From within that tuneful cocoon the metamorphosis begins, and Hindemith is at his witty best. Is that a wink at Rossini under the woodwind triplets..? And then a tip-ofthe-hat to Tchaikovsky in the low brass under pizzicato strings and sailing high winds..? And emerging near the close the big brass choir - could those colors be from a scene in a Wagner opera..? Moreover, the very end sounds like the finale of an epic Hollywood film. Hindemith scored the work at Yale in 1943. Metamorphoses, indeed.

Jennifer Higdon

American composer and flutist born: 31 December 1962, Brooklyn, NY

Concerto 4-3 The Shallows Little River Roaring Smokies These are the first performances of this work on the Classics series; duration 22 minutes Jennifer Higdon began her life in music at age 14 as a percussionist in a marching band. She then began to study the flute, on which she received a performance degree at Bowling Green State University. Ms. Higdon’s post-graduate study led to an Artist’s Diploma from the Curtis Institute of Music, and a Master of Arts and Doctor of Philosophy in composition from the University of Pennsylvania, where her principal teacher was George Crumb. Today, as a major figure in contemporary music, Ms. Higdon’s original scores receive several hundred performances a year at diverse venues around the world. She is the recipient of many

awards, including the Pulitzer Prize for her Violin Concerto. Her works have been recorded on over four dozen CDs and her Percussion Concerto won the 2010 Grammy for Best Contemporary Classical Composition. Higdon holds the Rock Chair in Composition at The Curtis Institute of Music. About her Concerto 4-3, composed in 2007, the composer writes: “Concerto 4-3 is a three-movement concerto, featuring 2 violins and a bass, which uses the language of Classical music, with dashes of bluegrass technique. The work is divided into three movements, with the option to perform a cadenza between the first and second movements. The movement titles refer to rivers that run through the Smoky Mountains (where growing up, I heard quite a bit of bluegrass): The Shallows, Little River, and Roaring Smokies. I wanted to reference the Smokies, because East Tennessee was the first place that I really experienced bluegrass (or as they call it there, Mountain Music). “The first movement, The Shallows, incorporates unique extended techniques (beyond the normal way of playing these instruments) that mimic everything from squeaking mice to electric guitars. These sounds resemble parts of the mountain rivers that move in shallow areas, where small rocks and pebbles make for a rapid ride that moves a rafter quickly from one side of the river to the other. “The second movement, Little River, is slow-moving and lyrical, very much in hymn-like fashion. This movement reflects the beauty of Little River as it flows through Townsend and Walland, Tennessee. At times there is real serenity and a majestic look to the water, with no movement obvious on the pure, glassy surface.

“The third movement, Roaring Smokies, is a rapid-fire virtuosic movement that shifts and moves very much like a raging river (those wild mountain waters that pour out of the mountains). It is fun to swim in those cold waters, but your attention must always be alert, as danger lurks...the water goes where it wants and will take you with it. “While Concerto 4-3 is written in the Classical vein, it features certain bluegrass techniques incorporated into the fabric of the piece: emphasis on offbeats, open strings, and slides. But the language is definitely tonal, 21st Century and American-sounding in style. “This work was commissioned by The Philadelphia Orchestra, the Pittsburgh Symphony, and the Wheeling Symphony.”

Peter Ilich Tchaikovsky

Russian composer born: 25 April 1840, Votkinsk died: 25 October 1893, St. Petersburg

Francesca da Rimini, op.32 Fantasy after Dante First Classics performance: January 22, 1946, conducted by Victor Alessandro; most recent performance: September 16, 2006, conducted by JoAnn Falletta; duration 22 minutes Tchaikovsky’s scores always seem to conjure a picturesque or dramatic scene, a literary reference or a personal story of a kind. About his own views on instrumental music he wrote: “How can one convey these indefinable sensations that you feel when you write an instrumental composition without a definite subject? It is a purely lyrical process. It can well be the musical confession of an overburdened soul which according to its essential nature

pours itself out by means of sounds, as a lyric poet expresses himself in verses.” So we are not surprised by his splendid output of seven evocative symphonies, several poetic concertos, three wonderful story ballets - Swan Lake, Sleeping Beauty and Nutcracker, the opera Eugene Onegin and about a dozen powerful tone poems, including Francesca da Rimini. During his long train trip to Paris in 1876, Tchaikovsky re-read The Inferno, the first book of the Divine Comedy by Dante Alighieri (1265-1321). The composer was doubly moved by the love saga of Francesca and Palo in Canto V. Their story derives from an historic account from the Middle Ages in the Italian city of Rimini. In sum, an aging nobleman, Gianciotto Malatesta, decides to marry the young and very beautiful Francesca. To secure her hand by proxy, he dispatches his younger brother, Palo. But things go fatefully wrong. Palo and Francesca become lovers and are vengefully murdered by the elder Malatesta. In Canto V, Dante tells how Francesca and Palo fell in love while reading about the forbidden passion of Lancelot and Guinivere in the Arthurian legends. Francesca herself laments: “There is no greater pain than happiness remembered in a time of misery. He who never will separate from me, kissed me on the mouth, trembling all over. We read no more of the book that day.” While visiting the French capitol, Tchaikovsky also encountered the large set of engravings for the Divine Comedy by Gustave Doré (1832-1883). Two of the illustrations are devoted to Canto V, the second of which portrays Francesca and Palo at the precipice of a cragged mountain, about to join the

swirling storm clouds of penitent lovers (the etching is now at the Metropolitan Art Gallery in New York). From his masterful ballet scores, we know that no one could tone-paint a scene better than Peter Ilich. Right on cue, the opening bars tell us straight away that angst and travail are at hand. Indeed, Dante’s Inferno gives fair warning at the gates of hell: “Leave all hope behind, ye who enter here.” But rather than the sound of fire and damnation, Tchaikovsky’s pen at first conjures eternal sadness, followed by the sounds of the great swirling tempest which will soon bear Francesca and Palo. But then, as a poignant memoir, the music sings of their lost sweetness and joy - the love theme is heard first in the clarinet then followed by deep

lavender strings. The moment is worthy of the composer’s great pas de deux, e.g. Swan Lake (which he completed just a few months later). As he finished scoring Francesca, Tchaikovsky wrote to his brother: “I have worked at it with love, and love, I think, has been quite successful. Regarding the whirlwind, perhaps it corresponds best with Doré’s engraving.” Later in life he noted that Francesca was among his favorite creations. program notes by Edward Yadzinski

Tuesday, February 25, 2020 at 7:30 PM

BPO Rocks Series

THE MUSIC OF THE GRATEFUL DEAD Bradley Thachuk, conductor Crazy Fingers

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.

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

CRAZY FINGERS “Crazy Fingers” performed their first show at a private party in Delray Beach, Florida, in 1990. The focus was primarily on the music of the Grateful Dead, and the lineup included Charles Newton on bass and Peter Lavezzoli on drums, both of whom remain to the present. In 1993, Rich Friedman joined on guitar, having relocated to Florida from New York City, where he had begun his career as a guitarist. Within a year of Friedman’s arrival, the band began playing throughout Florida, opening for

national acts, and writing original songs, released on two albums: Come On and Dance, and Strange Life. By this time, keyboardist Josh Foster, also from New York City, had begun joining the band for special events, eventually relocating from Tampa -- where he had studied jazz and composition at the University of South Florida -- to Miami to become a permanent member in 1998. After the untimely passing of guitarist/vocalist Corey Dwyer in 2014, Johnny Nichols joined on guitar in 2015, after relocating to Florida from Pennsylvania. Crazy Fingers has a reputation as one of the premiere Grateful Dead tribute bands, partly because the band normally plays without an arranged set list, allowing for greater spontaneity in each performance. Lavezzoli has also spent the past decade, from 2009, touring the United States and Canada with former Jerry Garcia Band keyboardist Melvin Seals and his “JGB Band,” which has featured guitarists ranging from Stu Allen and Jeff Mattson to John Kadlecik. Lavezzoli has also performed with former Grateful Dead members Phil Lesh, Bob Weir, Tom Constanten, and Donna Jean Godchaux. As author and musicologist, Lavezzoli interviewed Grateful Dead drummer Mickey Hart for his book The Dawn of Indian Music in the West, which chronicles Indian music’s interaction with Western forms. Robin Sylvester, special guest on bass guitar for tonight’s program, began his career as a composer, arranger, recording engineer, and session bassist in London, England, in the 1960s, including at EMI’s Abbey Road studios, before moving to Los Angeles. In 1974, record executive Clive Davis signed Sylvester’s band “The Movies” to Arista Records. Sylvester also recorded and performed with the Beach Boys, Ry Cooder, Marty Balin, Billy Preston, Bo Diddley, Christine McVie, and former Grateful Dead keyboardist Vince Welnick. However, Sylvester is perhaps best known for his tenure with Bob Weir in Weir’s post-Grateful Dead band “RatDog,” which Sylvester joined in 2003. Crazy Fingers were first invited to perform with the Buffalo Philharmonic Orchestra on July 12, 2015, at Artpark, in celebration of the Grateful Dead’s 50th anniversary. They are especially pleased to return to Buffalo, this time at Kleinhans, under the baton of Bradley Thachuk, with arrangements by Steven Thachuk, this time to specifically celebrate the 50th anniversary of the Grateful Dead’s unprecedented collaboration with Lukas Foss and the BPO at Kleinhans on March 17, 1970. Tonight’s program will feature a partial recreation of the original concert, followed by a newly arranged set of music performed by Crazy Fingers and Robin Sylvester with the BPO.

Saturday, March 7, 2020 at 8:00 PM Sunday, March 8, 2020 at 2:30 PM

Classics Series

RACHMANINOFF PIANO CONCERTO NO. 2 JoAnn Falletta, conductor Konrad Skolarski, piano Nikki Chooi, violin DEBUSSY

Prélude à l’Après-midi d’un faune [Prelude to the Afternoon of a Faun]

SCHMITT Legende for Violin & Orchestra, Op. 66 Nikki Chooi, violin SCHMITT Oriane et le Prince D’Amour, Op. 83 Calme Danse D’Amour – Très Lent Danse des Mongols – Assez animé Calme

INTERMISSION

RACHMANINOFF Concerto No. 2 in C minor for Piano And Orchestra, Op. 18 I. Moderato; allegro II. Adagio sostenuto III. Allegro scherzando Konrad Skolarski, piano

This concert is sponsored by The Constance Shepard Walsh Memorial Endowment Fund Konrad Skolarski’s appearance is supported by the Permanent Chair of Polish Culture at Canisius College 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.

KONRAD SKOLARSKI, PIANO As a concert pianist Konrad Skolarski is known for his extraordinary technique and recognizable style of interpretation, as well as for interesting and sophisticated piano repertoire. Among recent highlights worth mentioning are his rendition of Rachmaninov Piano Concerto No.2 under Mikhail Jurowski in Polish National Philharmony, recitals at the 20th Beethoven Easter Festival, 30th Izmir International Festival, and Beethoven Piano Concerto No.2 under Avner Biron (Camerata Jerusalem). In November 2017 Konrad Skolarski gave a very successful tour in the US, performing recitals in New York and Buffalo, as well as 2nd Chopin piano concerto with the Buffalo Philharmonic under the baton of Maestra JoAnn Falletta. His performance there was acclaimed a “revelation” and “hit” and was included in the BPO’s promotional CD. In April 2017 the pianist performed the Polish premiere of Rodion Shchedrin 1st Piano concerto with National Polish Radio Symphony Orchestra in Katowice under the baton of Alexander Humala. Konrad Skolarski started to learn to play the piano at the age of 4 under Professor Marek Mizera. At the age of 9, he performed Concerto in F Minor by J.S. Bach with the famous orchestra Concerto Avenna. At the age of 13, he became a laureate of the Professor Ludwik Stefański Competition for Young Pianists. Between 1995 and 1998, he studied under Janusz Olejniczak, developing his skills on private and master classes with such famous musicians as Alexander Jenner, Sergio Perticarolli, Hiroko Nakamura, Oxana Yablonskaya ( Julliard School of Music) and Vladimir Krainev. From 1998–2005, he studied under the Russian pianist Olga Rusina. In 2001 he won the 1st award at the 3rd International P. Tchaikovsky Competition in Spain (Huesca). In 2002 he recorded his debut album with pieces by Fryderyk Chopin, Franz Liszt, Sergei Rachmaninoff, and Sergei Prokofiev. The album was released by the Universal Company in 2005 and had very favorable reviews. In 2007, Konrad Skolarski graduated from the Fryderyk Chopin Academy of Music in Warsaw, class of Professor Alicja Paleta-Bugaj, and in the period of 2007–2010 he was a student at a master class of Pavel Gililov (postgraduate studies: “Konzertexamen”). By working under many Russian pianists and pedagogues, Konrad Skolarski had a chance to familiarize with two centers of the famous Russian piano schools – the “Leningrad” school and the “Moscow” one. Since 2010 Konrad Skolarski has been a student of legendary Prof. Peter Feuchtwanger, the mentor of many distinguished pianists, including Martha Argerich, Nelson Freire, and Shura Cherkassky. Konrad Skolarski signed a recording contract with DUX. In 2012, the company released two albums with pieces by Rachmaninoff, Scriabin, Prokofiev, and piano miniatures (Bach-Siloti, Brahms, Chopin, Grieg, Medtner, Tchaikovsky, TchaikovskyPabst, Rachmaninoff, Scriabin, Saint-Saëns/Godowsky). In 2012 his solo CD with Rachmaninov, Scriabin and Prokofiev was awarded by the international music critics – Diapason “5” Award and nomination for Fryderyk Award, and his renditions of Prokofiev’s and Rachmaninov’s Sonatas are compared by critics to legendary

recordings by Sviatoslav Richter or Emil Gilels. He teaches piano at the Fryderyk Chopin University of Music in Warsaw. His students are laureates or semifinalists at the international piano competitions, such as Busoni, Warsaw Chopin Competition, San Marino, Hannover Chopin Competition, or Yamaha Scholarship to name just a few. He gives masterclasses all around the world. Apart from that he also served as a jury member of international piano competitions. The artist is interested in painting, poetry, psychology and philosophy.

NIKKI CHOOI, VIOLIN Canadian violinist Nikki Chooi, praised for his passionate and poetic performances, has established himself as an artist of rare versatility. Described as “vigorous, colorful” by the New York Times, he has received critical acclaim in recent engagements at the Harris Theatre in Chicago, Kimmel Center in Philadelphia, Carnegie Hall and Kauffman Center in New York, Koerner Hall in Toronto, Place des Arts and Salle Bourgie in Montreal, as well as appearing as soloist with orchestras across Canada including the Montréal Symphony, Winnipeg Symphony, Calgary Philharmonic, Edmonton Symphony, and internationally with the St. Petersburg State Orchestra, Chamber Orchestra of Wallonie, National Orchestra of Belgium, Auckland Philharmonia, Malaysian Philharmonic, and Hong Kong Philharmonic. He has been featured at many international festivals with performances at the Marlboro Festival, Ravinia Festival, La Jolla Summerfest, Vancouver Recital Series, Moritzburg Festival, Kammermusik Utrecht, Dresden Music Festival, Olympus Festival in Russia, and Fundación Beethoven in Chile. Nikki has also delved into the orchestral repertoire, having served as Concertmaster of New York’s Metropolitan Opera Orchestra in 2016/2017 while working closely with singers and conductors including Renee Fleming, Elīna Garanča, Eric Owens, Fabio Luisi, and Esa-Pekka Salonen. His solos can be heard through The Met: Live in HD broadcasts in productions of Verdi’s La Traviata, Janacek’s Jenufa, and the Grammy-nominated recording of Strauss’ Rosenkavalier released on the Decca Label. He has also appeared as Guest Concertmaster with the Pittsburgh Symphony, Sydney Symphony, and Houston Symphony. A passionate educator, Nikki has presented masterclasses at the San Francisco Conservatory, Morningside Music Program at the New England Conservatory, Sphinx Academy at the Curtis Institute of Music, Hong Kong Cultural Center, and the University of Auckland. A recipient of prizes at the Queen Elizabeth and Tchaikovsky Competitions, Nikki was the 1st Prize Winner of the Montreal Symphony’s Standard Life Competition, the Klein International Strings Competition, and the Michael Hill International Violin Competition. He released his debut album of works by Prokofiev, Ravel, and Gershwin on the Atoll Label. With his brother, violinist Timothy Chooi, they perform as the “Chooi Brothers” in selective projects. The duo recently gave the world premiere performance of Sheridan Seyfried’s Double Violin Concerto at the Lake George Festival, toured

Canada through Jeunesse Musicale and Prairie Debut, and were featured Canadian artists at the 2018 International G7 Meeting held in Whistler, British Columbia. In 2015, Nikki was a violinist in the cross-over ensemble, Time for Three, performing in genres ranging from Bluegrass to Pop. In collaboration with From the Top and Universal Music, the group released a rendition of Taylor Swift’s “Shake it Off” to record-breaking views on YouTube. Nikki and his wife, JoAnn, are avid Toronto Raptors basketball fans, and Nikki is passionate about exploring the local coffee brews of each city he travels to.

PROGRAM OVERVIEW We open our program with a perfumed impressionistic dream- one of the greatest pieces in the entire French repertoire. Inspired by a poem of Stephane Mallarme, Debussy paints a musical canvas that perfectly captures Pan’s longing for an elusive forest nymphe. Listen for Christine’s beautiful flute solo at the very beginning- that is the Faun’s panpipe solo which draws us into this beautiful impressionistic world. The extraordinary French composer Florent Schmitt follows with two works that we are recording for NAXOS- one of which will feature our own concertmaster Nikki Chooi. We will end our concert with a deeply beloved piano concerto- Rachmaninoff’s second, arguably the most romantic piece ever composed. The musicians and I are thrilled to welcome virtuoso Konrad Skolarski in a much anticipated return.

PROGRAM NOTES

Claude Debussy

French composer born: 22 August 1862, Saint-Germain-en-Laye died: 25 March 1918, Paris

Prélude à L’Après-midi d’un faune Prelude to The Afternoon of a Faun First Classics performance: February 20, 1936, conducted by Lajos Shuk; most recent performances: October 1, 2, 1999, conducted by JoAnn Falletta; duration 10 minutes Composed in 1894, Debussy’s exquisite ballet, Prélude à L’Après-midi d’un faune, bears a verbatim correspondence with the dramatic poem of his friend and compatriot Stéphane Mallarmé (1842-1898). The verse and music are likewise evocative of a bucolic reverie, with the insatiable (insatyrable?) Faune enraptured by the tender visions of

alluring nymphs. Throughout the music a listener might sense the parched weight of a summer’s Mediterranean sun, with fountains of scintillating sound in a gentle idyll of pagan love. The lovely flute solos represent the pipes of the Faune, with primitive ambiance painted by a breathless, Impressionist orchestration. About the original verse: Mallarmé was one of the first sources for the Symbolist movement in French poetry - i.e. lyrics which are not about a subject per se, but rather concern the ‘feelings’ and ‘meanings’ of the experience. Mallarmé’s unusual couplings and syntax are among the most intricate in all of French literature. A critic once noted “Mallarmé’s poetry can not be translated - not even into French!” Nevertheless, a free-literal sample of the poetry is worth the effort:

...Faune, l’illusion s’échappe des yeux bleus Et froids, comme une source en pleurs, de la plus chaste Mais, l’autre tout soupirs, dis-tu qu’elle contraste Comme brise du jour chaude dans ta toison? Que non! par l’immobile et lasse pâmoison Suffoquant de chaleurs le matin frais s’il lutte, Ne murmure point d’eau que ne verse ma flûte Au bosquet arrosé d’accords; et le seul vent Hors des deux tuyaux prompt à s’exhaler avant Qu’il disperse le son dans une pluie aride, C’est, à l’horizon pas remué d’une ride, Le visible et serein souffle artificiel De l’inspiration, qui regagne le ciel.

...Faun, your dream escapes from her blue eyes Chaste and cool like a weeping spring Yet, another nymph is all sighs - in contrast Is she like a warm breeze upon your fleece? But no! this still and exhausting swoon Warmly simmers to stifle the fresh dawn if it rebels, Allows no murmuring waters but those stirred by my flute On the groves sprinkled with tone; and the lonely wind Flowing from my pipes, spends itself In sound upon the drying rain, The only true breeze is upon the pure horizon, The visible, serene breath of creation, Inspired and returning to the heavens.

Florent Schmitt

French composer and pianist born: 28 September 1870, Blâmont died: 17 August 1958, Paris

Legende, op.66 These are the first performances of this work on the Classics series; duration 11 minutes Florent Schmitt studied composition under Jules Massenet and Gabriel Fauré at the Paris Conservatoire, where he won the revered Prix de Rome. He was also a Wagner buff, with Erik Satie and Maurice Ravel among his closest friends. Schmitt’s own style is often described by the familiar term ‘eclectic’ - blending influences and inspiration from wherever the spirit happened to fly. Moreover, for most of his life, Schmitt worked as a music critic with a sharp pen for wit and irony. At times brash but often with humor, he ‘praised mediocrity’ as a means to highlight masterworks from composers as diverse as Saint-Saëns, Rimsky-Korsakov and Schöenberg. Schmitt also signedon early to the influence jazz would have on the future of serious music. As an educator, in 1922 Schmitt was appointed as the director of the Lyons Conservatoire. His honors include the French Légion d’Honneur, awarded in 1931. With such divergent interests, we are not surprised that Schmitt’s original scores comprise a potpourri of titles, with many salon pieces for piano and voice, a small wealth of chamber music, orchestral settings and scores for theater, including ballet and stage plays. Schmitt’s Legende (for violin or viola and orchestra) was originally scored for the alto saxophone in the featured role. The work was commissioned by

a certain Madame Elise Hall of Boston, MA, who played the saxophone for reasons of her health under the advice of her doctor. As a wealthy socialite and arts patron, Mme. Hall soon discovered there were no important titles for the saxophone by renowned composers. She decided to remedy the situation by commissioning new works for the saxophone from Claude Debussy and Florent Schmitt. Knowing little about the saxophone, Debussy composed his lovely but technically modest Rhapsody for Saxophone. But Schmitt was fully aware of the saxophone’s potential and composed his Legende as a showcase work. He also provided transposed versions which featured the viola or violin in the solo role. The latter is offered on this BPO program.

Op.66 begins demurely with a brief and tender plaint which blends into a rhapsodic narrative throughout the piece. Schmitt never divulged the inspiration for the cryptic title - Legende - leaving the question to the French instinct for the mysterious semblance of “je ne sais quoi” - “I don’t know whatever.” In sum, the work presents a fantasy of esoteric inspiration - consistent with the Symbolist movement which became so significant in French art and literature in the 19th and early 20th century. From the first to the final measure, Legende offers a variety of spontaneous motifs, all woven into a tapestry of diverse orchestral colors and rhythms. The influence of Debussy is evident throughout, scored likewise with a respectful glance at Stravinsky. The continuing narrative is aleatoric and improvisatory in development, with many changes in meter, tempo and style. The continued flow of impromptu effects closes suddenly with a reprise of the opening mood.

Oriane et le Prince d’Amour, op.83 Calme Danse d’Amour - Très Lent Danse des Mongols - Assez animé Calme These are the first performances of this work on the Classics series; duration 19 minutes We note the penchant of French composers to score ballets, operas and tone poems inspired by classic love stories - e.g. (among others) Saint-Saens: Samson and Delilah (1877); Franck: Psyche and Eros (1884). Debussy: Pelléas et Mélisande (1902), Ravel: Daphnis et Chloé (1912), Roussel: Bacchus and Ariane (1930). For his part, Florent Schmitt tied the ribbons on the genre with his two-act ballet, Oriane et le Prince d’Amour in 1938. He later extracted the suite offered here. The historic storyline for Oriane et le Prince d’Amour derives from about 1590 and concerns Oriane, the young and beautiful daughter of England’s King Lisuart and his Queen Brisène of Denmark. The Prince of Love is Oriane’s betrothed, Amadis. In a perilous saga, Amadis rescues Oriane from a dungeon after she was abducted by Arcalaus, an evil sorcerer. On the title page of the score Schnitt offers a prose narrative by the ballet librettist Claude Séran, the pen name of Madame Adrien Fauchier-Magnan. Séran also wrote the storylines for Nabokov’s Polichinelle and Françaix’ Verreries de Venise. The story in sum: “Oriane-Without-Equal is celebrated across the world of the troubadors. Her renowned beauty brings to Avignon all the men seeking hope and prestige. “Oriane, who has never loved, welcomes new love rich with the mysterious

promises of her own dreams. She responds to the mysterious call of the Orient, of its perfumes, of its treasures, of its legends and exquisite pleasures. In the second act, Oriane meets Amour. Fearful for the first time, Oriane is carried away to the limits of rapture and believes to have found Love’s perfect purity - a cruel illusion. As Oriane’s past indecency and cruelty surges again, the Prince of Love saw his own love die, as Oriane died from loving.” With regard to the music, the first and last movements are titled Calme (Calm, peaceful). Beginning with a bucolic call in the horns and fanfare colors in distant trumpets, the opening offers Ravel-like phrases and harmonies to convey a dream-like scenario. In turn, lush, adventurous timbres emerge from dissonant interplay, with a variety of tonal digressions. A march-like sequence midway seems expressly crafted for upbeat choreography, as a prelude to a tender exchange between Oriane and Amadis, titled Danse d’Amour. Marked accents provide dramatic contrast in the third movement, Danse des Mongols, again with march-like bearing in an extended narrative in 5/4 time. As the denouement approaches, a final lovescenario (Calme) is enchanted by a solo flute, which blends again with urgent, commanding fragments. Near the close the motifs combine in a final, exuberant flare, ending in modal B-flat, neither major or minor.

Sergey Rachmaninoff

Russian composer born: 1 April 1873, Oneg died: 28 March 1943, Beverly Hills, CA

Concerto No.2 in C Minor, Op.18 Moderato; Allegro Adagio sostenuto Allegro scherzando

First Classics performance: November 18, 1935, with pianist C. Gordon Watkins, conducted by Lajos Shuk; most recently performed on September 16, 2015, conducted by JoAnn Falletta, with pianist Lang Lang; duration 34 minutes As a student at the St. Petersburg Conservatory, Sergey Rachmaninoff became moody and detached, and at one point even failed all of his classes. Very concerned, the composer’s family transferred him to the Moscow Conservatory where a regimen of strict discipline rekindled his interest in music. Nevertheless, Sergey’s early twenties were troubled by depression. The most serious episode began at the disastrous premiere of his first symphony, after which the Russian composer César Cui wrote a malintended review: “If there were a conservatory in Hell and one of its students were to compose a symphony like this, the Devil would be delighted...it is like the Seven Plagues of Egypt.” With psychiatric help it took the composer almost three years to recover his confidence after which time he began work on Piano Concerto No.2. Completed in 1900, Rachmaninoff dedicated the piece to his benevolent counselor, Dr. Nikolay Dahl. With the successful premiere of his new concerto, Rachmaninoff was suddenly launched into the turbulent currents of serious music. At the same time he pursued a career as a concertizing pianist, and even today many piano buffs believe that Rachmaninoff was among the greatest pianists in history some rate him as the greatest of all time. (All of his recordings are now available on CDs - truly astonishing..!)

Piano Concerto No.2 begins with a somber but brief recitation from the soloist. The mood is at once deeply

personal and inscrutable, as low strings chant the first poetic phrases of the movement, supported by urgent filigree from the keyboard. In a few moments the solo line presents a second melody worthy of Apollo - a tune which later appears as a sublime descant in the solo horn. The movement is so rich with lyricism and virtuosity that one is unaware of its overall sonataallegro form. But that was just a prelude, as Rachmaninoff again reaches to the poetic realms with the exquisite melody of the second movement. Marked Adagio sostenuto (slowly sustained), a long clarinet solo paints a misty interlude in a tender scene where time seems suspended. Lyrical and deeply intimate, one can almost sense the composer’s hard-won awareness of the random caprice of life, its sorrows and joys.

And he sat him down in a lonely place, And chanted a melody full and sweet, That made the wild-swan pause in her cloud, And the lark swoop down at his feet. Alfred Lord Tennyson, The Poet’s Song

Scherzando is the style cue for the third movement, beginning with accented strings and brass as a prelude to dazzling virtuosity from the soloist. In a few brief moments the energy transposes into one of the most quoted classical melodies of all time - chanted first in the middle strings and echoed from the keyboard. An intrigue of virtuosity follows as the soloist and orchestra banter in playful repartee. In like manner the dialogue alternates from keyboard pyrotechnics to enchanted souvenirs as the tour draws to the close in punctuated C major. Magnificent. program notes by Edward Yadzinski

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Friday, March 20, 2020 at 10:30 AM Saturday, March 21, 2020 at 8:00 PM

Classics Series

MOZART AND THE DIVINE JoAnn Falletta, conductor Ray Ushikubo, piano J. S. BACH / Schöenberg

Prelude and Fugue in E-Flat major, St. Anne, BWV 552

MOZART

Concerto No. 23 in A major for Piano and Orchestra,

K. 488

I. Allegro

II. Adagio

III. Allegro assai

Ray Ushikubo, piano

INTERMISSION

SCRIABIN

The Divine Poem, Op. 43 [Symphony No. 3]

Introduction Lento Luttes (Struggles) Allegro Voluptés (Delights) Lento Jeu divin (Divine Play) Allegro - Vivo

The Coffee Concert Series is presented by 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.

RAY USHIKUBO, PIANO Pianist and violinist Ray Ushikubo has performed on the stages of Carnegie Hall and Walt Disney Concert Hall, soloed with the Los Angeles Philharmonic, and appeared on NBC’s The Tonight Show with Jay Leno. Following his performance with Lang Lang in Segerstrom Concert Hall, Ushikubo made his solo orchestral debut at age ten. He has performed with pianist and conductor Jeffrey Kahane for LACO, with world-acclaimed pianist Jean-Yves Thibaudet on Radio France, and with violinist Cho-Liang Lin for La Jolla Music Society. Performing as a soloist with the Buffalo Philharmonic, Charlotte Symphony, Fort Collins Symphony, Hilton Head Symphony, Modesto Symphony, New West Symphony, Northwest Sinfonietta, Pasadena Symphony, Reno Philharmonic, and San Diego Symphony, Ushikubo was featured as a Young Artist in Residence for NPR’s Performance Today with Host Fred Child. Ushikubo was named a Young Steinway Artist; won the 2017 Hilton Head International Piano Competition, the 2016 Piano Concerto Competition at the Aspen Music Festival, and the 2015 Steinway Concerto Competition; and received the prestigious Davidson Fellows Laureate. He has performed on NPR’s From the Top and appeared on TEDx Redmond. During the 2018-2019 season, Ushikubo performed solo on both piano and violin with the Buffalo Philharmonic in an all-Gershwin program with Maestro John Morris Russell, as well as with the Northwest Sinfonietta Orchestra and Maestro David Lockington, featuring Beethoven’s works. In the 2019-2020 season, Ushikubo performed with Charlotte Symphony and Maestro Thomas Wilkins, will perform with Westchester Philharmonic and Maestro Rachael Worby, and return to the Buffalo Philharmonic with Maestro JoAnn Falletta. Ushikubo now attends the Curtis Institute of Music as a double major, with Gary Graffman and Robert McDonald on piano and with Shmuel Ashkenasi and Pamela Frank on violin. He listens to heavy metal, watches classic action movies, and loves driving cars.

PROGRAM OVERVIEW Last season we had the great adventure of performing Scriabin’s Poem of Ecstasy, and we continue our exploration of his music this weekend with the Divine Poem. A work of deep spirituality and color in Scriabin’s uniquely beautiful language, the Divine Poem will complete a CD of Scriabin that will be released later this year. Extraordinary music! Two classics set the stage for this visionary music. Mozart’s serene and elegant piano concerto and Bach’s amazing Prelude and Fugue will create a landscape of perfection that will amaze you. We welcome our wonderful soloist Ray Ushikubo to Buffalo!

PROGRAM NOTES Johann Sebastian Bach

German composer and organist born: 21 March 1685, Eisenach died: 28 July 1750, Leipzig

Arnold Schöenberg

Austro-Hungarian composer born: 13 September 1874, Vienna died: 13 July 1951, Los Angeles

Prelude and Fugue in E-flat major, St. Anne, BWV 552 First Classics performance: October 21, 1967, conducted by Lukas Foss most recent performance:October 20. 1970, conducted by Lukas Foss; duration 15 minutes From day one in the itinerary of Western music no greater progenitor of the art can be found than Johann Sebastian Bach. His influence can be put in a simple word: profound. The music of Bach is revered for the power of its spiritual expression and the poetic blend of art and science. In virtually any work by Johann Sebastian the harmony is perfectly lucid, the counterpoint sounds like heavenly geometry, the rhythm seems dictated by a mystical clock in perfect tempo, the melody is exquisitely spiritual or commonly human (Bach used many folk tunes - even in his liturgical scores). With all of this it is hard to imagine that Bach’s total output was all but forgotten by audiences until Felix Mendelssohn, Robert Schumann and others of the Romantic era resurrected his music from the archival sepulchers. And what a collection it is: great oratorios, cantatas, concertos, chamber music, volumes for the organ and harpsichord, et al. Almost 200 years later, Arnold Schöenberg was born in opera-mad

and waltz-crazed Vienna and trained in the traditions of Bach and Beethoven. He was likewise influenced by Brahms and Wagner, and held a passion for the operettas of Johann Strauss. One would never guess that such a lover of great tunes and lush harmonies would later lead serious music straight into the cryptic world of atonality - music without a key center. In fact, Arnold Schöenberg was his own ‘enigma variation.’ A fine cellist, an excellent painter (like his California tennis partner George Gershwin) and a devoted teacher. At the end of his career, Schöenberg served at the head of the composition department at UCLA. (N.B. After Schöenberg’s passing, his renowned chair at UCLA was filled by Lukas Foss, who later became the music director of the BPO.) Among Schöenberg’s best known ‘atonal’ compositions is Pierrot Lunaire, although his tonal works like Verklârte Nacht and various symphonic arrangements are more often performed. Among the latter from 2018 is the “St. Anne” Prelude and Fugue in E flat major, originally written in 1736 by J.S. Bach among a large collection of showcase works for pipe organ. The St. Anne title is derived from a theme Bach employed from the hymn O God our Help in Ages Past by William Croft in 1708. For Schöenberg’s part, listeners may note scoring influences from Gustav Mahler and Igor Stravinsky, given the elaborate instrumentation and melange of orchestral timbres which prevailed in the early 20th century. Grandly cast in two parts, the opening Prelude begins in Bach’s all-for-glory manner, emulating the ambiance of a great cathedral. Clearly Schöenberg set out to conjure the kaleidoscopic

timbres of a full-voiced organ console driving hundreds of pipes in all registers. For rhythmic emphasis he also punctuated the score with power accents in the timpani and percussion. The second part, Fugue, begins with quiescent timbres in the clarinets, replied by the orchestral winds and contra bassoon. Like a celestial shower of comets and stars, the score evolves with lofty momentum and lush counterpoint, all expressed with a virtuoso brush from a palette of brilliant orchestral color. Indeed, Schöenberg floods the cosmic realm with Bach’s supreme joy in music.

Wolfgang Amadeus Mozart

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

Piano Concerto No.23 in A Major, K.488 Allegro Adagio Allegro assai First Classics performances: December 2, 4, 1951, conducted by William Steinberg, with pianist Mieczyslaw Horszowski; most recent performances: November 13, 14, 2009, conducted by JoAnn Falletta, with pianist Roman Rabinovitch; duration 25 minutes Peace and optimism continued to radiate from the works of Mozart after his move to Vienna in 1781. With his new bride, Constanza, he was determined to make a go of it as a free-lance musician. But as their children began to arrive, Wolfgang Amadeus began to feel the financial worries from which he would never escape. But life and reality were one thing, art and music were another. Mozart could return from a cheery gathering with friends and within an hour complete an Adagio full of

heartache. On the other hand, even during periods of the deep personal stress, he could turn out operas or concertos which sparkled with joie de vivre. Moreover, the composer was altogether tuned-in to the musical taste of Vienna, as noted by the 18th century critic Charles Burney “The Viennese prefer gaiety, wit, and charm above stormy tragic emotion. They want music that expresses whatever is graceful, elegant and tender, rather than misery and unbridled passion.” Mozart’s cornucopia of twenty-seven concertos for piano and orchestra were composed mostly for his own performances at the keyboard. Concerto No.23 was completed in 1786, during the relatively brief interval in which he also wrote piano concertos No.24 and No.25, and his comic operas The Impresario and The Marriage of Figaro. As an example of the Viennese ‘enlightenment’ noted above, K.488 offers a tonal canvas framed in A major. Following a generous introduction, the pianist takes up palette and brush and paints the air with bright tunes and pastel colors. The hues become ever more vibrant, with contrasts in mood and timbre. Note the lucent woodwinds over exquisite replies from the soloist - signature Mozart, blending charm and grace on the wing. For good measure, the gallery tour is marked by a virtuoso cadenza, with breezy cascades and sparkling brio from the soloist. Nowhere in music will we find a setting more introspective nor more lovely than the second movement Adagio, cast in F-sharp minor. Beginning with a verse of veiled sadness from the soloist, the soliloquy is in turn burnished by a breathless mist from the orchestra. (The harmonies here seem to reflect a

kinship to the opening of composer’s Requiem, scored just five years later.) After a momentary resolution, the mood lightens over triplet figures in the clarinet, but then returns to shadowed reverie. But darkness rarely carries the day with Wolfgang Amadeus. Stand by for the sassy fun of the third movement, a rondo roulade with zest and panache to the max. Back in A major, the solo piano tosses the ball into play with a signature tune. In a wink of the baton, a whirl of virtuosity spins from both the keyboard and the orchestra (note the teasing lines in the woodwinds, especially the bassoons). The scenario swings in happy variety from major to minor and back again, with the playful piano in the lead all the way. Wunderbar..!

Aleksandr Scriabin

Russian composer born: 6 January 1872 Moscow died: 27 April 1915, Moscow

Symphony No.3 in C minor, Op.43 Le Divin Poème (The Divine Poem) Introduction Lento Luttes (Struggles) Allegro Voluptés (Delights) Lento Jeu divin (Divine Play) Allegro - Vivo These are the first performances of this work on the Classics series; duration 43 minutes While he did not initiate a distinctive style like Mahler, Elgar, Prokofiev, etc., Aleksandr Scriabin was no less a musical mariner who sailed over the ocean swells on a great ship called ‘poetic license.’ The composer’s credo was fired by an extravagant belief that ‘art alone could redeem the world.’ He was not kidding. In Scriabin’s mystical view, a consummate artistic event would differ little from a spiritual experience, leaving no sacred stone unturned.

Given his exalted persona, historians often portray Scriabin’s music as if the composer were half-inspired and half-mad. But in fact Aleksandr was altogether rational about his creative intent - determined to embellish the vast musical symbolism of the human experience. For Scriabin, even Wagner’s “music of the future” was a limited edition. By contrast, as an emerging NeoRussian composer, Scriabin’s mantra was to create music beyond the moment, whether past or present - or beyond. However, it is ironic that Scriabin was so heavily influenced by the music of the past, with particular reverence for the works of Frederik Chopin. In fact, Scriabin’s own catalog of original music reveals brilliant sets of mazurkas, preludes, etudes and nocturnes, the principal genres of Chopin.

Symphony No.3 (The Divine Poem) was completed and premiered in 1904. For the performance, a hyperlofty program note was provided by the composer’s muse and inamorata, Tatiana Schloezer, who wrote that the work represented nothing less than “The evolution of the human spirit.” (Tatiana and Aleksandr were later married with three children.) Set in four sections and performed without pause, the music is a grandly cast evocation of emotive energy. Scriabin titled the work and movements in French, with tempo calls in traditional Italian and dozens of interpretive cues through the course of the narrative (also in French). A relatively brief Introduction offers most of the primary themes which are restated in variation in the three movements which follow. Scriabin raises the curtain on the work with a relatively brief Introduction, presenting the primary themes and

motifs which are variably developed in the subsequent movements. The second part, Luttes (Struggles), represents the challenges of life, and continues in flamboyant timbres and tempos, with many interpretive cues, as if borrowed from French Symbolist poetry, e.g. the verse of Baudelaire, Mallarmé, Appolinaire, et al (see below) In turn, the third section Voluptés (Delights) and the last, Jeu divin (Divine Play), likewise continue in the manner of a rhapsodic saga, with many rapid swings in mood, all conveyed through Scriabin’s luminous orchestral palette. As for the style cues, throughout the Divine Poem the composer creates a literal phantasmagoria accompanied by symphonic effects as if from a cosmic

kaleidoscope. Scriabin provides more than 60 separate lines of text to guide the performance (sampled here in translation): Slowly, divine and grandiose, with troubled fear; Mystic; more and more audacious; With ominous collapse; passionate and carried away; Profoundly tragic; monstrous and terrifying; More and more triumphant; Breathless with sublime ecstatic joy.” In sum, we might say the ‘Divinity’ of Symphony No.3 is the spirit of music itself, a melange of impromptu finesse and rhapsodic caprice. program notes by Edward Yadzinski

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Friday, March 27, 2020 at 10:30 AM Saturday, March 28, 2020 at 8:00 PM

BPO Pops Series

THE DOO WOP PROJECT John Morris Russell, conductor The Doo Wop Project Dominic Nolfi Charl Brown Dominic Scaglione, Jr. Dwayne Cooper Russell Fischer Sonny Paladino WARREN & DUBIN POWERS & ROSS SANTO & DAY KRESA & LOVEDAY THE FASCINATORS JACKSON ROBINSON, MOORE, TARPLIN ROBINSON, WONDER, COSBY MRAZ QUICK

I Only Have Eyes for You Remember Then Morse Code of Love / Little Bitty Pretty One That’s My Desire Oh, Rosemarie The Way You Make Me Feel Ooh, Ooh Baby / Tracks of My Tears Tears of a Clown I’m Yours Come and Go with Me

INTERMISSION

GAUDIO & CREWE GAUDIO & CREWE GAUDIO & CREWE PORTER SMITH, FAUST BOYCE, LEE DARION & LEIGH RENE & NAVARRO

Sherry / Big Girls Don’t Cry Walk Like A Man Can’t Take My Eyes Off of You I’ve Got You Under My Skin The Angels Listened In / Pretty Little Angel Eyes Maroon 5 Medley Impossible Dream Gloria / Speedo

The Coffee Concert Series is presented by Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.

THE DOO WOP PROJECT DOMINIC NOLFI, VOCALS Dominic Nolfi most recently performed on Broadway in Chazz Palminteri’s A Bronx Tale - The Musical, directed by Robert DeNiro and Jerry Zaks. As an Original Cast member of A Bronx Tale - The Musical, Motown: The Musical (Grammy nominated) and Jersey Boys (Grammy Award for Best Cast Album), he can be heard on all three soundtracks. Dominic also performed in the world premiere productions of A Bronx Tale and Jersey Boys at the Paper Mill Playhouse and the La Jolla Playhouse. Dom was born and raised in San Francisco where he studied youth acting at the acclaimed American Conservatory Theatre. He studied Voice at the San Francisco Conservatory and attended the Boston Conservatory on scholarship where he graduated with a BFA in Theater. Upon graduation, Dominic joined the European production of Grease. It was there that he met his future wife, Sonia Iannetti; they have a daughter Vivienne. Dominic is a founding member of The Doo Wop Project and is unbelievably proud of his association with the other men who helped create the group.

DOMINIC SCAGLIONE JR., VOCALS Dominic is perhaps best known for his starring role portraying Frankie Valli in Jersey Boys on Broadway. He previously played this leading role in the Las Vegas and Chicago companies. He performed on The Oprah Winfrey show and was personally asked by Frankie Valli to sing at his New Jersey Hall of Fame induction ceremony. Early on in his career, Dominic was a member of the Sony music group called Sygnature and toured with the likes of Christina Aguilera, Destiny’s Child, Beyoncé, Robin Thicke and Boyz II Men. He is proud to be one of the creators of The Doo Wop Project and marvels at how far this little idea has come.

DWAYNE COOPER, VOCALS Dwayne (The Bass) is from Florence, SC and currently lives in New York City. He first began singing with a Christian a cappella group called “The Cunningham Singers.” Often referred to as a modern day Sammy Davis Jr. meets Barry White, he is what the industry calls a “triple threat” and has performed in the Broadway casts of Motown: The Musical and Hairspray, the Off Broadway revival of Smokey Joe’s Café, and several national tours including Showboat. As a songwriter and producer, his songs have appeared on the Billboard’s Top Ten Dance chart. Dwayne’s film and television credits include Law And Order, Unbreakable Kimmy Schmidt, Difficult People, and RuPaul’s Drag Race.

RUSSELL FISCHER, VOCALS

Russell was cast in the Broadway company of Jersey Boys on his 22nd birthday, marking his Broadway debut. Fischer starred in the second national tour of Big: The Musical. His latest NYC credit was in Baby Fat, Act 1: A Rock Opera at LaMama Experimental Theater Club. Regional credits include Thoroughly Modern Millie, The Music Man at Chautauqua Opera, the American premiere of Children of Eden at Papermill Playhouse, and most recently, the Atlanta Musical Theatre Festival premiere of The Collins Boy. Fischer was a featured vocalist on Last Week Tonight with John Oliver and in the HBO documentary, The Bronx, USA. He has appeared on the live broadcasts of the 2015 Belmont Stakes, the 2009 Tony Awards, and several spots for TV Land’s 60 Second Sitcoms. He enjoys sharing Doo-Wop music with audiences around the world.

JOHN EDWARDS, VOCALIST “Doo Wop Pop Pop!!!” Last seen in the NYC revival of Smokey Joe’s Cafe (Lortel Nominee) Soon to be starring this summer in the upcoming Michael Jackson bio musical MJ: The Musical. Also starring this spring in New York City Center’s production of Love Life, starring Brian Stokes Mitchell and Kate Baldwin. Other credits include: Broadway and 1st Nat’l Tour of Jersey Boys (Barry Belson/others); Nat’l Tour Hairspray (Seaweed J Stubbs). Regional Credits: In The Heights (Kennedy Center); Dreamgirls ( Jimmy Early). Instagram and Facebook: @therealJohnEdwards Twitter: @Jedwards85

SONNY PALADINO, MUSIC DIRECTOR/PIANO Most recently served as Music Director, vocal/dance and incidental music arranger and orchestrator for the Broadway musical Gettin’ The Band Back Together, and for the off-Broadway revival of Smokey Joe’s Café. Other recent credits: Music Supervisor for the Broadway Musical, Natasha, Pierre and the Great Comet of 1812. Arrangements and orchestrations for The Indianapolis, Baltimore, Vancouver, Detroit and Jacksonville Symphony Orchestras and The Philly Pops. Associate Conductor for The Last Ship (written by 16 time Grammy Award winner, Sting), and the TONY winning best revival, Pippin. Other Broadway credits as a musician, Jesus Christ Superstar; Billy Elliot; Grease; Priscilla, Queen of the Desert; Guys and Dolls; Mama Mia; Promises, Promises; Addams Family; Women on the Verge. Music Supervisor for Disney’s High School Musical (Milan/Italy tour.) 1st National Tours: Disney’s High School Musical; Dirty Rotten Scoundrels, and Grease. As a composer: The Return of the Blue Cat (with poet F.D. Reeve). TV: Disney’s Encore!, The X-Factor (Australia), The Next Big Thing. Sonny holds a B.F.A. in Jazz Piano from CUNY City College.

SPOTLIGHT ON SPONSORS

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

Natalie Piskorsky, viola

Sponsored by Dr. Patricia and Burt Notarius*

Ansgarius Aylward, assistant concertmaster

Matthew Phillips, viola

Douglas Cone, first violin

Kate Holzemer, viola

Sponsored Anonymously Sponsored by Bradford Lewis, Ph.D.

Diana Sachs, first violin

Sponsored by Dennis P. Quinn

Salvatore Andolina, clarinet/saxophone

Jennifer Dowdell, in memory of Charles and Nancy Dowdell

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

* 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

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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 Peter & Maria Eliopoulos 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

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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 Mr. and Mrs. Anthony N. Diina 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 Bravo Circle Ms. Margaret A. Frainier Eileen & Laurence Franz $1,000-$2,499 Patricia B. Frey, Ed.D. Anonymous (5) Mr. and Mrs. David Fried Morton & Natalie Abramson Rick Friend Phil & Nan Ackerman Gerald and Jody Lippes Dr. and Mrs. Fred and Bonnie Ms. Dolores S. Gernatt Albrecht Mr. and Mrs. Michael A. Giambra JoAnne Alderfer Lynne and Joe Giroux Burtram W. & Ellen Anderson Ms. Carol A. Golder Liz & John Angelback Ann Holland Cohn Endowment Fund Mark Goldman Marc J. Goldstein at the FJP Dr. Susan Graham and Dr. Jon C. Rita Auerbach Kucera Reverend James M. Augustyn Adrienne Tworek-Gryta and Bradford Banks Matt Gryta Mary L. and Ronald E* Banks Mr. Steve Earnhart and Mrs. Jennifer Thomas J. Hanifin Mr. and Mrs. Van N. Harwood, Jr. Barbee Drs. Kevin and Elizabeth Barlog 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 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 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 October 15, 2019 and February 5, 2020.

In Memory of Carolee Liebeman Arbeit Anthony & Barbara Cassetta

Marian Gurney Goodyear Mr. and Mrs. Steve Gurney

George Miller Ms. Cecelia M. Whelan

Charles “Chuck” Avery Michael R. Fiels & Mary T. Ricotta

Walter Grand Fero and Nancy Sadeghian

Ann G. Moore Richard F. Moore

Jim Barbee Mr. Peter Edelman Ms. JoAnn Falletta & Mr. Robert Alemany Mr. Edward N. Giannino Jr. Guy Tomassi Gregory and Donna Yungbluth

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Milton and Ruth Cole Randolph Cole Robert and Julia Dion Anonymous Charles and Nancy Dowdell Jennifer Dowdell Dr. Fraser B. Drew James A. Brophy Donald Ebel Clarence Teachers Association Barbara Goldman & Linda Banas John Esty Mr. and Mrs. Thomas W. Symons Faith and Frank Ernst Alexa Mathes Ted Ferrara Mary Louise Clark Thomas and Elizabeth Cowley Richard & Patricia Garman Mrs. Michelle Parrish

Sally Kellman Ann and Richard Kellman

Joanne Poch Mr. Joel M. Poch James F. Phillips Kenneth A. and Gretchen P. Krackow Norma Powell Katherine Powell and Ann K. Wittowsky Ronald H Rezabek Denise Rezabek Denise Y. Royal Ms. Mary Ruth Kapsiak Marian Scribner Linda Scribner

Jeannette Ludwig Claude Welch

Richard Stenclik Catharine Ackerson Per Andersson Dianne Bennett & William Graebner Michael & Rosemary Blinkoff Chris, Cassie, and Hunter Delaney In memory of a great leader, father, and grandfather Ms. Cynthia Doolittle Mr. Steve Earnhart and Mrs. Jennifer Barbee Jane Griffin Daniel & Barbara Hart Ms. Christine Kausch Mr. and Mrs. Charles F. Kreiner, Jr. Joe & Nicole Lin-Hill Mr. Ron Luczak Matthew Schaab, JPMorgan SUNY Erie Foundation President’s Office Steve & Nicole Swift Michael Toner & Paulette Crooke Paul G. Turevon

Nancy Mackanja Olive Marie Hewett

Maksym Sugorovskiy Daniel J. Cantor

Gloria Maulucci Carol Maulucci

Gary Sutton Mr. and Mrs. Thomas W. Symons

Evelyn McDonald Ms. Mary Lou Cappellini

Harry Taub Mary Lou T. de la Plante

Eugene Kelly Anthony and Jane DiMaggio Ginny Kirkpatrick and Olga Lockwood The Gunnell Family Donald J. Krentz Mr. and Mrs. John C. Tracy David Kuehn Ruthellen Bunis Louis Lazar Anthony T. Mastandrea Loved Ones Robert Baldauff

Luigi Tomassi Guy Tomassi Constance Walsh Sally Walsh

T. Weiksnar Anonymous In memory of T.P. Weiksnar, Canisius High School ’40 whose “highest aspiration” was to play violin for the BPO

Mr. and Mrs. Wm. C. Wittowsky Katherine Powell and Ann K. Wittowsky Mary Ziolkowski Robert Ziolkowski

Wayne Wisbaum Janet Wisbaum

In Honor of Judith Clarke Alan Dozoretz

Anna Kemp William Scheider

Marcia O’Neill Kathleen Sullivan

Katie and Ernie Danforth Anonymous

Jesse Kregal Ms. Marilyn Gallivan

Margaret Saetveit Laura Zax

Dan Hart Marcia and Ezra Zubrow

Joan K. Lazarus Katie and Patrick Gaglione

JoAnn Falletta Rita Argen Auerbach Joan Michael Eschner Cynthia Zane & Stephen Mazurak Mrs. Sharon P. Miller In honor of JoAnn Falletta conducting the Sarasota Orchestra in December Ms. Beth Mooney Alma and Malcolm Strachan

Frederick Lenz Donald E. Lewis Funeral Home

Roger Simon Drs. Robert and Alice Rosenthal In honor of Roger’s birthday

Martha Malkiewicz Ms. Mary A. Devlin

Timothy Smith Bruce and Sue Smith

Musicians of Buffalo Musicians Association Local 92 Joe & Lynne Giroux

JoAnn Falletta and Robert Alemany Isaac Newman Dr. Andrew and Mary Newman Linda B. Grant

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GOVERNMENT

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

Check out YOUR Buffalo Philharmonic Orchestra online!

PLANNED GIVING

Musical Heritage Society

We are pleased to list the current members herein because they have realized the importance of “the gift that keeps giving.” Each of these individuals or couples have made provisions for a contribution to the BPO in their estate plans and while there are many different methods, the most common is by adding the BPO as a beneficiary in one’s will. 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

Ian McCuen

Building Services Assistant

Operations

Dennis Nawojski

Director of Artistic and Orchestra Operations

Development Assistant

Kleinhans Music Hall Staff Charlie McDonald

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

Chief Engineer

Interim Concessions Manager

Alister Bouvart

Parking & Set Up Supervisor

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

Associate Director of Finance

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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BPO 2019-2020 Season: Program Book 6

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BPO 2019-2020 Season: Program Book 6