BPO 2022-2023 Season: Program Book 1

Box Office (716) 885-5000

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Box Office Fax Line (716) 885-5064

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BPO Board of Trustees/BPO Foundation

The Lukas Foss Legacy 27 M&T Bank Classics Series September 30 and October 1

Kleinhans Music Hall (716) 883-3560

OCTOBER 8

Buffalo Philharmonic Orchestra 786 Delaware Ave. Buffalo, NY 14209 bpo.org

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CONTACT

Kleinhans Music Hall 3 Symphony Circle, Buffalo, NY 14201 kleinhansbuffalo.org

Annual Fund on Sponsor Information

Board Directors 7

Hispanic Heritage Celebration September 21

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Midori Returns

Gladys Knight 37 BPO Pops Series October 8

BPO Administrative Offices (716) 885-0331

The Doo Wop Project BPO Pops SeptemberSeries23and 24

TABLE OF CONTENTS SEPTEMBER THROUGH

M&T Bank Classics Series September 17

BPO Musician Roster

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49 Patron

Buffalo and Western New York are a vibrant bundle of energy this time of year, with the curtain rising on numerous cultural seasons, sporting events kicking off, and campuses teeming with students, all while our beautiful Buffalo summer fades into the sunset. We here at the BPO have been abuzz with activity, as well, preparing for another outstanding season of memorable music.

The orchestra continues to strive for higher levels of musical excellence, bolstered by your invaluable support. Attaining this new level of sustained artistic excellence is only possible thanks to your reliable commitment to the BPO and your passion for orchestral music. We are grateful for the continued investment of your time and resources in the Buffalo Philharmonic Orchestra.

2022 marks the 100th birthday of Lukas Foss, music director of the Buffalo Philharmonic Orchestra from 1963 to 1971. The BPO travels to New York City to celebrate the eclectic, innovative, and boundary-pushing composer and conductor in a Carnegie Hall performance with The Choir of Trinity Wall Street and Downtown Voices on October 3.

This season, we also welcome Fernanda Lastra to the fold as our new Conductor Diversity Fellow. A native of Argentina, Fernanda comes to us with an impressive background of conductoreducator achievements. She will lead our Music for Youth and BPO Kids concerts, as well as our Hispanic Heritage Celebration in September.

MESSAGE FROM THE BOARD CHAIR

We set the bar high, following several stand-out performances and our return to full force last season. Among the programs this fall is the appearance of seven-time Grammy winner Gladys Knight on the Pops series, an undeniable legend in the music industry. And in November, one of the best-known classical musicians of our time – virtuoso cellist, educator, humanitarian, the iconic Yo-Yo Ma – returns to the BPO in a special engagement. Both artists highlight a season of spectacular collaborations, guest artists and composers from across the globe, familiar masterworks and favorite Pops, Rock, and Film offerings, and an invitation to perform once again in venerable Carnegie Hall.

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BuffaloChair,JohnSincerely,R.YurtchukBoardofTrusteesPhilharmonicOrchestra

Society, Inc.

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.

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.

LIFE MEMBERS

AS OF SEPTEMBER 1, 2021

Janz Castelo † Anne StephenConableB.Edge, MD*

Edwin Polokoff

JoAnn Falletta* Amy Habib Rittling

Karen

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.

Angelo Fatta, Treasurer Peter Eliopoulos, Secretary

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; Karen Arrison, vice chair; Stephanie Simeon, secretary and treasurer; Cindy Abbott Letro; Peter Eliopoulos; Tania Werbizky; and city officials including Byron Brown, Mayor of the City of Buffalo, and David Rivera, Niagara District Council member.

OFFICERS

Cindy Abbott Letro Douglas JonathanBeanBorden †

Sonny Sonnenstein

Alexs Spellman, Secretary

†*ex-officioJohnStephenRev.DavidChristineSperrazzaStandishStarkJonathanStaplesT.SwiftZak*musicianrepresentatives

Robin G. Schulze, Ph.D

BUFFALO PHILHARMONIC ORCHESTRA BOARD OF TRUSTEES

BOARD OF TRUSTEES

Karen JohnMichaelArrisonMunschauerYurtchuk

John N. Walsh III Robert G. Weber

John J. Zak, Chair Holly Hejmowski, Treasurer

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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, Renée 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 51 new CDs.

HISTORY OF THE BUFFALO PHILHARMONIC ORCHESTRA

BUFFALO PHILHARMONIC ORCHESTRA FOUNDATION BOARD OF DIRECTORS

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.

Scott Stenclik, Vice Chair — Chair-Elect

Daniel Hart* Jim MarkHettichHodges †

HISTORY OF KLEINHANS MUSIC HALL

John R. Yurtchuk, Chair

Joseph Sedita Brett Shurtliffe †

Anthony Cassetta Randall Odza

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.

James CasimiroAllanAlexRonaldWilliamIglewskiKeeferLuczakMontanteC.Ripley*D.Rodriguez, Sr.

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.”

Rev. Melody I. Rutherford

Diana Sachs †

After earning her bachelor’s degree at Mannes, Falletta received master’s and doctoral degrees from The Juilliard School.

Maestro Russell is also Conductor of the renowned Cincinnati Pops, one of the world’s most iconic and beloved pops orchestras. In his eleventh season, Mr. Russell leads sold-out performances at Cincinnati Music Hall, the Taft Theater, and Riverbend Music Center; additionally, he conducts the orchestra in concerts throughout the Greater Cincinnati region as well as domestic and international tours. Creator of the orchestra’s Classical Roots series, he also conducts the Pops family concert series and the annual USO Tribute Cincinnati Gala. The Cincinnati Pops recorded legacy continues under Mr. Russell’s leadership. He led the Cincinnati Pops on their first-ever Florida tour, and in 2017 he led the orchestra’s sixth tour to Asia including performances in Shanghai and Taipei.

For more information, visit www.joannfalletta.com.

As a guest conductor, John Morris Russell has worked with many of North America’s most distinguished ensembles. He has served as Associate Conductor of the Cincinnati Symphony, Associate Conductor of the Savannah Symphony Orchestra, Director of the Orchestral Program at Vanderbilt University, and Music Director with the College Light Opera Company in Falmouth, Massachusetts. He received a Master of Music degree in conducting from the University of Southern California, Los Angeles, and a Bachelor of Arts degree in music from Williams College in Massachusetts. He has also studied at the Guildhall School of Music and Drama in London, the Cleveland Institute of Music, the Aspen Music Festival in Colorado, and the Pierre Monteux School for Conductors in Hancock, Maine.

Multiple Grammy Award-winning conductor JoAnn Falletta serves as Music Director of the Buffalo Philharmonic, Music Director Laureate of the Virginia Symphony, Principal Guest Conductor of the Brevard Music Center, and Artistic Adviser of the Hawaii Symphony. Recently named as one of the 50 great conductors of all time by Gramophone Magazine and among the top 10 conductors today by David Hurwitz of ClassicsToday.com, she is hailed for her work as a conductor, recording artist, audience builder and champion of American composers.

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With a discography of over 120 titles, JoAnn is a leading recording artist for Naxos. She has won two individual Grammy Awards, including the 2021 Grammy Award for Best Choral Performance as Conductor of the Buffalo Philharmonic in the world premiere Naxos recording, Richard Danielpour’s The Passion of Yeshua, and the 2019 Grammy Award as Conductor of the London Symphony for Spiritualistby Kenneth Fuchs. Her Naxos recording of John Corigliano’s Mr.TambourineMan:Seven PoemsofBobDylan with the BPO received two Grammys in 2008 and her 2020 Naxos recording with the BPO of orchestral music of Florent Schmitt received the prestigious Diapason d’Or Award. Falletta is a member of the esteemed 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. ASCAP has honored her as “a leading force for music of our time.” In 2019, JoAnn was named Performance Today’s first Classical Woman of The Year.

A master of American musical style, John Morris Russell has devoted himself to redefining the American orchestral experience. He is in his seventh season as Principal Pops Conductor of the Buffalo Philharmonic Orchestra. Mr. Russell made his debut with the Buffalo Philharmonic Orchestra in the fall of 2014, and later that season was named the third conductor to hold the position following in the footsteps of Doc Severinsen and Marvin Hamlisch. Mr. Russell’s concerts at the BPO reflect the diversity of American musical styles: from Classics to Jazz, Hollywood to Broadway, Country&Western to Rhythm&Blues. This season, Mr. Russell conducts Doo Wop, Broadway, and Holiday concerts.

JOHN MORRIS RUSSELL CONDUCTOR

For the last ten seasons, Mr. Russell has served as Music Director of the Hilton Head Symphony Orchestra in South Carolina, and conductor of the prestigious Hilton Head International Piano Competition. Under his leadership, the HHSO has enjoyed unprecedented artistic growth. Mr. Russell leads the orchestra in masterwork subscription concerts annually.

Between 2001-2012 Maestro Russell served as Music Director of the Windsor Symphony Orchestra in Windsor, Ontario, Canada, where he fostered a decade of unprecedented artistic growth. He led the WSO in seventeen national broadcasts on CBC Radio 2, and the orchestra’s first nationally televised production for the CBC series Opening Night, which received the orchestra’s first Gemini Award Nomination. Maestro Russell was named Conductor Laureate of the Windsor Symphony Orchestra in 2012.

JOANN FALLETTA MUSIC DIRECTOR

In Summer 2022, Falletta made her Boston Symphony Orchestra debut at the Tanglewood Music Festival. International highlights for 2022-23 include concerts in Spain, Sweden, Germany, and Croatia. Her recent and upcoming North American guest conducting includes the National Symphony, and the orchestras of Baltimore, Detroit, Nashville, Indianapolis, Houston, Toronto, and Milwaukee. Internationally, she has conducted many of the most prominent orchestras in Europe, Asia, and South America. In the past year, she has led the National Symphony in two PBS televised specials for New Year’s Eve and the 50th Anniversary of the Kennedy Center.

As Music Director of the Buffalo Philharmonic, Falletta became the first woman to lead a major American ensemble and has been credited with bringing the Philharmonic to an unprecedented level of national and international prominence. The Buffalo Philharmonic has become one of the leading recording orchestras for Naxos, with two Grammy Award-winning recordings.

Fernanda Lastra’s interests encompass a vast repertoire including symphonic, contemporary and opera works. She has served as assistant conductor in public opera performances, most recently the University of Iowa's 2019 production of Little Women by Mark Adamo.

2 Chair dedicated to the memory of Maer Bunis

Fernanda Lastra currently serves as Director of Orchestras at Augustana Collegein Rock Island, Illinois, where she leads the symphony and chamber orchestras. She also serves as Assistant Conductor for the University of Iowa symphony orchestra.

1 Chair dedicated to the memory of Scott Parkinson

STAGE MANAGERS

FIRST VIOLIN Nikki HeeLorenAndreaAlanDianaDeborahDouglasXiaofanAnsgariusAmyconcertmasterChooiGliddenassoc.concertmasterLouisP.CiminelliFamilyFoundationEndowedChairAylwardasst.concertmasterLiu2ndasst.concertmaster**ConeGreitzerSachsRossBlanchard-ConeSilvertrustSagong

SECOND VIOLIN Antoine CindyIainShieh-JianAmyFrancesRobertRichardJacquelineprincipalLefebvreGalluzzoassoc.principalKayProkesMorganteLicataTsaiCrampton***Lin***

OBOE Henry AnnaJoshuaprincipalWardLauretigMattix

Fernanda Lastra was born in Mar del Plata, Argentina. She is a passionate and creative conductor with an energetic personality which characterizes her artistic and leadership style.

Salvatore Andolina

FRENCH HORN

TUBA Seth Rawleigh TIMPANI Matthew DineshprincipalBassettJosephassistantprincipal

CharlesInterimGillMaster property

David PhiloAmelieSchmudeFradetteLee

CELLO

In 2021, Fernanda was selected as a conducting fellow for the Cabrillo Festival of Contemporary Music led by Mtro. Cristian Măcelaru. In 2019, she was a finalist for the Assistant Conductor position at the Chattanooga Symphony Orchestra, and in 2018 Fernanda was awarded First Prize for the conducting competition held by the Opera de Bauge, France.

Joseph Alberico* Jay DanielMatthewsSweeley

PERCUSSION

MUSIC LIBRARY

*** Partial Year Appointment (L) Leave of Absence

FERNANDA LASTRA CONDUCTOR DIVERSITY FELLOW

Mark DineshprincipalHodgesJoseph

JOHN MORRIS RUSSELL, PRINCIPAL POPS CONDUCTOR FERNANDA LASTRA, CONDUCTOR DIVERSITY FELLOW

CONTRABASSOON (vacant)

Patti DiLutis

PICCOLO Natalie Debikey Scanio

Fernanda participated in masterclasses with esteemed maestri such as: Larry Rachleff, Marin Alsop, Donald Schleicher, Markand Thakar, Elizabeth Askren, Jac van Steen, Carlo Montanaro, Konstantinos Diminakis, Daizuke Soga, Luis Gorelik, Abel Rocha, Osvaldo Ferreira and Ariel Alonso.

VIOLA Caroline JoshuaJanzNatalieKateMatthewAnnaprincipalGilbertShemetyevaassoc.principalPhillipsHolzemerPiskorskyCasteloLohner

BASS DanielGarmanprincipalPendleyFamily Foundation

As a conductor-educator Fernanda served as principal conductor for the Central Pennsylvania Youth Orchestra during 2016-2017, as professor of orchestral activities at El Sistema, Argentina, from 2008- 2012 and as music faculty of La Plata University from 2005 to 2016. For four years Fernanda served as musical and artistic director of an instrumental training ensemble she founded in Argentina in 2013. Through this project she fostered community appreciation for classical music, with a broad repertoire and active participation in city festivals and cultural events.

BASS CLARINET AND SAXOPHONE

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Endowed Chair

Daniel Sherylassoc.KerdelewiczprincipalHadeka(L)

Angelo and Carol Fatta Endowed Chair

Travis ErinprincipalHendralibrarianVanderWystassistantlibrarian

ENGLISH HORN Anna Mattix CLARINET William SalvatorePattiprincipalAmselDiLutisAndolina

BASSOON Glenn DoronprincipalEinschlagLaznow

HARP MadelineprincipalOlson

JOANN FALLETTA, MUSIC DIRECTOR

JacekKayprincipalMuzykKoessler

TRUMPET Alex PhilipGeoffreyprincipalJokipiiHardcastleChristner

** Temporary Appointment

RomanJaneprincipalMekinulovD.BairdEndowed Chair

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Fernanda earned two bachelor's degrees from La Plata University in orchestral and choral conducting, and a master’s degree in orchestral conducting from Penn State University. She is trained in piano and viola. Fernanda is currently completing doctoral studies in orchestral conducting at The University of Iowa under the mentorship of Dr. William LaRue Jones, Prof. David Becker and Dr. Mélisse Brunet.

FLUTE Christine Bailey Davis NatalieLindaprincipalGreeneDebikey Scanio

TROMBONE Jonathan TimothyprincipalLombardo1Smith

* One Year Appointment

Endowed Chair Brett GaryNicholasJonathanEdmondMichaelassoc.ShurtliffeprincipalNigrinGnekowBordenJonesMatz

E-FLAT CLARINET

person IATSE Local 10

BASS TROMBONE Filipe Pereira

Feng RobertNancyassoc.HewprincipalAndersonHausmann

Fernanda Lastra is a passionate advocate for Latin American composers, especially those from Argentina. In June 2020, she created Compositores. AR, a cycle of interviews with Argentinian composers in collaboration with the magazine MúsicaClasicaBA in Buenos Aires.

JoAnn Falletta, conductor Midori, violin

II. Lento - Allegro molto

IV. Allegro molto

III. Andantino quasi allegretto

RIMSKY-KORSAKOVSMITH/SkrowaczewskiLAVALLEE/FenwickROBERTOSIERRAKORNGOLD

Classic Series

I. Moderato nobile

ScheherazadeINTERMISSION,Op. 35

O TheCanadaStar-Spangled Banner

II. III.AndanteFinale:allegro assai vivace Midori, violin

MIDORI RETURNS

Learn about this program from the conductor and guest artists at Musically Speaking, one hour prior to the start of Saturday’s concert.

I. Largo e maestoso - Allegro non troppo

Saturday, September 17, 2022 at 7:30 PM

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

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FandangosViolinConcerto

in D Major, Op. 35

She began her 2021–22 season with the Festival Strings Lucerne and will appear with orchestras in Atlanta, New Mexico, Phoenix, Austin, Kansas City, and Palm Beach, in U.S. recitals, and on tour throughout Europe and Asia. She will perform the world premiere of Detlev Glanert’s Violin Concerto No. 2 with the Royal Scottish National Orchestra and with the NDR Elbphilharmonie Orchestra.

MIDORI, VIOLIN

Midori was born in Osaka in 1971 and began her violin studies with her mother, Setsu Goto, at an early age. In 1982, conductor Zubin Mehta invited the then 11-year-old Midori to perform with the New York Philharmonic in the orchestra’s annual New Year’s Eve concert.

Midori is a visionary artist, activist, and educator who explores and builds connections between music and the human experience and breaks with traditional boundaries, which makes her one of the most outstanding violinists of our time. She has performed with many of the world’s most prestigious orchestras and has collaborated with some of the most outstanding musicians of our time, including Leonard Bernstein, Yo-Yo Ma, and many others.

The most recent recording in Midori’s diverse discography features Beethoven’s Violin Concerto and Two Romances with the Festival Strings Lucerne (2020, Warner Classics).

Midori joined the faculty of the Curtis Institute of Music in 2018 and also teaches at the Peabody Institute. She plays the 1734 Guarnerius del Gesù ‘ex-Huberman’ and uses four bows - two by Dominique Peccatte, one by François Peccatte, and one by Paul Siefried.

As someone deeply committed to furthering humanitarian and educational goals, she has founded several non-profit organizations: the New York City-based Midori & Friends; MUSIC SHARING, based in Japan; Partners in Performance (PiP), which helps to bring chamber music to smaller communities in the U.S.; and the Orchestra Residencies Program (ORP), which supports American youth orchestras. In recognition of her work as an artist and humanitarian, she serves as a United Nations Messenger of Peace, and in 2021, she was named a Kennedy Center Honoree.

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with love and thanks, JoAnn and the BPO musicians

The soloist introduces the principal theme immediately, lifted from the 1937 film Another Dawn. Heroically soaring, the melody’s twisting harmonies melt into satisfying resolutions. A section of flittering notes dance and skid in the stratosphere, leading to a second, lyrical theme. Here Carlotta’s theme from the 1939 film Juarez provides a contrasting melancholy. These themes develop into an impressive cadenza that is followed by a reprise of the opening material, complete with lavish commentary from the soloist.

OneThousandandOneNights tells of a Sultan, who, untrusting of women, would sentence his wives to death following their nuptial night. Scheherazade avoids this grisly end by entertaining the Sultan

The second movement, “Romance,” opens with dense string harmonies that warmly hover under a singing melody pulled from romantic scenes from Anthony Adverse (1936), which returns after an atmospheric middle diversion. The work’s finale unfolds with bright, staccato virtuosic playing. A quaint lyrical theme is borrowed from his 1937 score for ThePrinceandthePauper (after Mark Twain). The jaunty movement concludes with a demanding climax.

III. Andantino quasi allegretto

Composed 2000; Duration 11 minutes

Celebrated as a prodigy, Erich Korngold enjoyed early success and a healthy career in Europe in the years prior to the Second World War. However, the rise of Hitler motivated him to accept an in vitation to move to Hollywood to score films, and from 1934 until the end of the War, he dedicated all of his time com posing for the film industry, cementing his legacy with a total of 16 film scores.

Of The Five, Nikolai Rimsky-Korsakov broke the most rules of the group. A na val officer by career, his adventurous cu riosity and a self-starting attitude led him to self-learn Western musical techniques, such that he could achieve musical Rus sification with the backing of technical prowess. He lost some respect from his fellow nationalists when he began teach ing at the St. Petersburg Conservatory, but the path he chose solidified him as among the most important national voic es in Russian music.

I. Moderato nobile

Erich Wolfgang Korngold (Austrian/American; 1897-1957)

Welcome to opening night! We are very glad we can celebrate together, and thrilled to have superstar violinist Midori back on our stage. She brings us the beautiful Korngold Violin Concerto, written by one of the greatest musicians of the 20th century, who left Europe to become the most beloved composer of Hollywood movies. Rimsky-Korsakov's extravagant Scheherazade is our blockbuster finale, featuring our own superstar Nikki Chooi in the title role. Roberto Sierra's Fandangos is absolute fun - a perfect way to start our season. We are so happy to have you here with us!

Scheherazade, Op. 35

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Composed 1945; Duration: 24 minutes

Roberto Sierra’s music fuses his interest in music from Spanish-speaking coun tries with a European modernist technical foundation, notably having studied with György Ligeti in the 1980s. One such example of his voice is the 2000 work Fandangos, commissioned by the National Symphony, first conducted by Leonard Slatkin. The work continues to have a vibrant life on the performance circuit, memorably being included on the 2002 Proms opening concert.

PROGRAM NOTES

I. Largo e maestoso - Allegro non troppo

A fascination with Orientalism was an area of aesthetic focus for the Rus sian arts, a fact not lost on a seafaring dreamer like Rimsky-Korsakov. In the depths of the 1887 winter, he was fo cused on completing his recently-de ceased colleague Alexander Borodin’s opera PrinceIgor. His wandering imagi nation took him to the warm climates like those found in One Thousand and One Nights, the Middle Eastern folk tale compilation. Inspired by the Arabic pictures and stories, his sketches would be compiled into an episodic orchestral composition named for the principal storyteller, Scheherazade.

Violin Concerto in D Major, Op. 35

timately, the work was premiered by Jas cha Heifitz in 1947, and served to silence Korngold’s critics by proving he retained the technical capabilities of his pre-film career. The Concerto still maintains a cin ematic quality, and borrows heavily from his films, injecting the concert music that began his career with the film music that subsisted him through wartime.

Nineteenth-century Russian music was polluted by Western influence—a matter that a group of young firebrands sought to rectify. Dubbed “The Five” (you can count them on one hand), they eschewed Western symphonic models in favor of narrative-driven works imbued with Russian melody and harmony, and avoided the conservatory, instead relying on an atmosphere of DIY amateurism.

With a kaleidoscopic lens, the work peers into the past at two fandangos written by early classical-era composers Antonio Soler and Luigi Boccherini. This mysterious fantasia reimagines these works with updated orchestrations and disorienting transitions. Classical melo dies are tinted with engaging orchestra tions, propelled by rhythmic intensity.

II. III.AndanteFinale:Allegro assai vivace

PROGRAM OVERVIEW

Roberto Sierra (Puerto Rican; b. 1953) Fandangos

Nikolai Rimsky-Korsakov (Russian; 1844-1908)

By the end of the War, Korngold had gained American citizenship, but had grown tired of the film industry and sought to revive his roots as a composer of concert music. Egged on by a fellow transplant, Korngold finally fulfilled a promise to violinist Bronislaw Huberman to compose for him a violin concerto. Ul

II. Lento - Allegro molto

IV. Allegro molto Composed 1888; Duration: 47 minutes

The action comes to a head in the finale, first with a brash reframing of the Sul tan’s theme, then a frantic sounding of Scheherazade’s melody. Here, RimskyKorsakov summarizes his work by bring ing back themes and combining multiple episodes in his grand finale, “Festival at Baghdad. The Sea. The Ship Breaks upon a Cliff Surmounted by a Bronze Horse man.” The festive energy is palpable and growing in intensity, and a return of ear lier sea music leads to the dramatic ship wreck. Scheherazade’s theme is heard again over the slumbering Sultan.

This program is presented in partnership with the

Hispanic Heritage Council Guitar Initiative Ensemble

In medieval Islamic tradition, a Kalan dar was a wandering mystic subsisting on charity, but the Kalandar Prince was forced into poverty through a number of misfortunes. Scheherazade’s telling begins with an elaborate presentation of her melody, followed by a series of varia tions. Rimsky-Korsakov demonstrates his technical prowess as an adroit orchestra tor, and rather than varying the melody, it is repeated verbatim in a series of in creasingly exciting settings. He deepens the fantastic journey by adding a punchy middle section.

PM

Wednesday, September 7:00

21, 2022 at

Sin fronteras (Without Borders)

CLARICE ASSAD

Ricardo Saeb, guitar

FALLA/arr. S.

I. Allegro moderato

The work dances around two contrast ing themes. The first belongs to the Sul tan and is a brooding unison that snakes and falls ominously. Soon after, we meet Scheherazade, who is represented by a sweet, languid violin melody. Often heard alone, she captivates the listener with the first story, “The Seas and Sin bad’s Ship.” The Sultan’s theme serves as the basis of the movement, but is trans formed to undulate on a rocky sea, as if Scheherazade is charming the Sultan by making him the principal character on a heroic adventure. Scheherazade’s theme is woven in, and we are reminded of the true protagonist.

BUFFALO PHILHARMONIC ORCHESTRA HISPANIC HERITAGE CELEBRATION

Conga del Fuego Nuevo

HispanicRicardoFernandaGERARDOLECUONA/GouldChapelierMEJÍAPONCEGARDELINROMEROARTUROMÁRQUEZLastra,conductorSaeb,guitarHeritageGuitarInitiative Ensemble

—Chaz Stuart, 2022

every night. The work’s four movements are given titles referencing selected stories, but the composer shrugged off most specific programmatic intentions, rather, insisting that the work should be transportive, with the listener being enthralled with “fairy-tale wonders” in an Oriental context.

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

rial, Scheherazade interrupts. As the solo violin presents impressive arpeggiations, the melody returns, growing to a grand climax, followed by a playful conclusion.

FugaFurtivocon

La Comparsa from Danzas Afro-Cubanas Suite Pajarillo

The third movement, “The Young Prince and The Young Princess,” features a tender melody, memorably punctuated by a sumptuous clarinet line. A playful march serves as a second theme, but upon the return of the opening mate

19with18astory

Spanish Dance No. 1 from La Vida Breve

ConciertoAcuarela del Sur for Guitar and Orchestra

RICARDO SAEB, GUITAR

Ricardo has appeared as a soloist with numerous orchestras in Mexico and the USA, performing some of the most iconic guitar concertos. Ricardo has also collaborated with various artists including tenor Manuel Castillo, pianist Cliff Jackson, the Buffalo Chamber Players, and is featured in jazz saxophonist, Rusty Crutcher’s album, Romances Latinos.

Ricardo began his music education at the Conservatory of Chihuahua, and continued at the Conservatorio de las Rosas and the University of Texas at Austin. In 2016, he received his Doctorate degree in Musical Arts from the University of Kentucky, under the mentorship of professor Dieter Hennings.

In addition to performing, Dr. Saeb enjoys sharing his philosophy on guitar pedagogy and enthusiasm for music. He has adjudicated guitar competitions and has given masterclasses at the University of Texas at El Paso, Indiana University Southeast, Texas A&M International Guitar Symposium, National Guitar Competition of the UACJ, etc.

Ricardo recently moved to Buffalo, NY, where he founded a community program through the Hispanic Heritage Council of WNY, called the HHC Guitar Initiative. The Initiative gives free guitar classes for children of underserved populations, and brings some of the best guitarists in the world to Buffalo in a free International Concert Series. Ricardo teaches privately at the CastellaniAndriaccio Guitar Studio, and he recently released his premier solo recording with Fleur de Son Classics, titled Zephyr. This recording includes works by Rodrigo, Brouwer, Tamez, Gainey, Aguado, Barrios, and Oliva.

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Mexican guitarist Ricardo Saeb has performed in venues across Latin America, Europe, the Middle East, and the United States. His performances have been described as “perfectly balanced,” “of an exquisite subtlety,” and “simply spectacular.” His tours have taken him to cities as diverse as Querétaro, Beirut, Ciudad Juárez, Austin, Boston, Dallas, and Córdoba. Ricardo Saeb has appeared as a guest artist at international festivals such as the Festival Internacional de Música de Morelia, Festival Internacional Chihuahua, Queretaro’s International Guitar Festival, Chicago’s Latin American Guitar Festival,

Russell Fischer, vocals

Saturday, September 24, 2022 at 7:30 PM

John Morris Russell, conductor

John Michael Dias, vocals

Jesse Nager, vocals

Dominic Nolfi, vocals

Joe Bergamini, drums

Coffee Concerts presented by

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

Dwayne Cooper, vocals

PROGRAM TO BE ANNOUNCED FROM THE STAGE

BPO Pops Series

Sonny Paladino, piano/music director

THE DOO WOP PROJECT

Friday, September 23, 2022 at 10:30 AM

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John Michael Dias recently appeared on Broadway as Neil Sedaka in the Tony and Grammy Award-winning hit Beautiful: The Carol King Musical. He originated the same roll for the Beautiful First National Tour. Originally from Tiverton, RI, Dias earned a BFA in musical theater from Boston Conservatory. John gained a nationwide following starring as Frankie Valli of the Four Seasons in the smash hit JerseyBoys, playing the role on Broadway, as well as in the first National Tour, Vegas, and Chicago Concerts:companies.BreakingUp

Russell Fischer was cast in the Broadway company of JerseyBoys 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 Theater Festival premiere of TheCollinsBoy. 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.

DWAYNE COOPER, VOCALS

Dwayne (The Bass) is from Florence, SC and currently lives in New York City. He first began singing with a Christian Acapella group called “The Cunningham Singers” where he learned how to sing in tight harmonies. 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, Hairspray the NY Revival/ Off-Broadway production of SmokeyJoe’sCafé and has done several National Tours. As a songwriter, he has charted on Billboard’s over 1 million people. Dwayne’s TV/Film credits include Law and Order, Difficult People, Unbreakable Kimmy Schmidt, and RuPaul’s Drag Race.

JESSE NAGER, VOCALS

commercials and corporate recordings across the country.

SANTINO PALADINO, PIANO, MUSIC DIRECTOR

RUSSELL FISCHER, VOCALS

As a performer, Jesse starred as Smokey Robinson in the Broadway revival of Motown: The Musical (NAACP Theatre Award Nomination).

is the Music Supervisor for the Broadway Musical Natasha, Pierre, and the Great Comet of 1812, as well as Music Director for the upcoming Broadway Revival of Smokey Joe’s Café. Sonny’s recent credits include Associate Conductor, The Last Ship (written by 16 time Grammy Award winner, Sting), and the Tonywinning revival of Pippin. Other Broadway credits include Jesus Christ Superstar, Billy Elliot, Grease, Priscilla – Queen of the Desert, Guys and Dolls, Mamma Mia, Promises, Promises, Addams Family, and Women on the Verge. Sonny was the Music Supervisor for Disney’s High School Musical Italian tour and his national tour credits include Dirty Rotten Scoundrels and Grease. His arrangements and orchestrations have been performed by The Indianapolis Symphony Orchestra and he has worked with the likes of Alicia Keys, Ke$ha, and Matthew Morrison. Sonny’s work for television has been featured on the X-Factor Australia and The Next Big Thing. He earned his BFA in Jazz Piano from CUNY City College New

Nolfi was last seen 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, Tony Award for Best Musical), 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 studies Brazilian Jiujitsu at Brooklyn Martial Arts. He is currently a Blue Belt.

Is Hard To Do: Neil Sedaka’s Greatest Hits! And Get Happy (a celebration of songs made famous by Judy Garland) with friend/collaborator Jacqueline Carnahan. Johns’ solo album, Write This Way, which features intimate takes on Broadway and pop favorites like “Can’t Take My Eyes off of You” and “New York State of Mind” is available on iTunes.

He was also featured in the original New York productions of Motown: BeingTheMusical,MammaMia,MaryPoppins,Scandalous,GoodVibrations,andFame!,andworkshopsofRockyTheMusicalandDisney’supcomingHercules!RegionalhighlightsincludeStephenSondheim’sAlive(dir.byBillyPorteratPTC),AMidsummerNight’sDream(Papermill),andJesusChristSuperstar(JesusatTheOrdway).HehasperformedwithMariahCareyandShaniaTwainatMadisonSquareGardenandhisvocalshavebeenheardonbothseasonsofNBC’s“Smash,”aswellasthemovieof“Hairspray,”andnumerous

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Currentlyworld.Sonny

As a producer/director/choreographer/arranger/writer, Jesse has built and staged numerous events and concerts at venues across the

JOHN MICHAEL DIAS, VOCALS

DOMINIC NOLFI, VOCALS

York.Dominic

Renaissance Concerto

II. Lonely Town (Pas de deux)

IV. Jouissance

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

Coffee Concerts presentedFriday,by September 30, 2022 at 10:30 AM Saturday, October 1, 2022 at 7:30 PM

III. Composer's Holiday: Allegro Nikki Chooi, violin

ThreeINTERMISSIONDanceEpisodes from On the Town

THE LUKAS FOSS LEGACY

I. Andantino; Allegretto

Three American Pieces

Classic Series

I. II.IntradaBaroque Interlude (after Rameau)

Amy Porter, flute

III. Times Square

I. Early Songs: Andante

Symphony No. 1

IV. Andantino; Allegro

BERNSTEINFOSSFOSSFOSSFOSS

JoAnn Falletta, conductor Nikki Chooi, violin Amy Porter, flute

III. Recitative (after Monteverdi)

Ode for Orchestra

JOE BERGAMINI, DRUMS

I. The Great Lover

Learn about this program from the conductor and guest artists at Musically Speaking, one hour prior to the start of Saturday’s concert.

Joe Bergamini tours internationally with The Doo Wop Project and has performed on drums at 16 Broadway shows including Movin' Out,JerseyBoys,InTheHeights,TheLionKing,RockofAges,Pippin,JesusChristSuperstar,andothers.HeappearsonrecordingsbytheprogressiverockbandsHappytheManand4Front,andwastheprincipaldrummerforBroadway'sGettin'theBandBackTogetherin2019.Alsoapopulareducatorandauthor,Joehaswrittenoveradozenbooksaboutdrummingandhasworkedone-on-onewiththeworld'smostfamousdrummersontheireducationalbooks,includingNeilPeart(Rush),StewartCopeland(ThePolice),SteveSmith(Journey),SteveGadd,andmanyothers.

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II. Dedication: Lento

II. III.AdagioScherzo: Vivace

Nikki served as Concertmaster of New York's Metropolitan Opera Orchestra in 2016/2017 while working closely with singers and conductors including Renée 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 LaTraviata, 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.

He released his debut album of works by Prokofiev, Ravel, and Gershwin on the Atoll Label.

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, Winnipeg, and Edmonton Symphonies, the Calgary Philharmonic, 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 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.

Flutist Amy Porter has been praised by critics for her exceptional musical talent and passion for scholarship. In a versatile and distinguished career as a concert performer, she has become one of the most skillful and creative muses for composers of our time. Ms. Porter has been hailed for her “strength, beauty, a captivating and seductive force, sensitivity, perfection, and a sense of humor.”

AMY PORTER, FLUTE

NIKKI CHOOI, BPO CONCERTMASTER

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.

Her performances of American flute concerti have won critical acclaim. When she performed her commissioned concerto Trail of Tears by Michael Daugherty with the Indianapolis Chamber Orchestra in January 2020, one reviewer wrote, "Porter's appearance with a modern piece in which such embedding of the guest artist with the vehicle shone so brightly seems to me a high point in the ICO's recent history." American Record Guide has lauded her playing for having "an innocent American lyricism..." and a reviewer for annarbor.com noted that “Amy Porter deeply imbues her performance with a sense of narrative and of speech and, yes, drama.”

Born in Wilmington, DE, Ms. Porter graduated from The Juilliard School and pursued further studies at the Mozarteum Academy in Salzburg. She plays a 14K white gold flute with rose gold engraved keys made for her by the Wm. S. Haynes Co.

Winner of the 3rd Kobe International Flute Competition and the Paris/Ville d’Avray International Flute Competition, Ms. Porter has served on international juries around the world, including the 6th Kobe International Flute Competition. She has been heard in recital on National Public Radio; highlighted on PBS’s Live From Lincoln Center, and featured on the covers and as a writer for the magazines Flute Talk in the USA and The Flute in Japan.

Formerly a member of the Atlanta Symphony Orchestra, Ms. Porter is Principal Flute of North Carolina’s Brevard Music Center, where she performs as soloist, chamber musician, and orchestral player. Amy Porter has been Professor of Flute at the University of Michigan School of Music Theatre and Dance since 1999. She is host of the podcast PorterFlute Pod

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In 2015, Nikki was a violinist in the cross-over ensemble, Time for Three. In collaboration with From the Top and Universal Music, the group released a rendition of Taylor Swift’s “Shake it Off” to recordbreaking views on YouTube.

In his seven years in Buffalo, Lukas Foss brought the BPO and Buffalo itself into the limelight as champions of contemporary music, revolutionizing the 20th-century music world by sharing a range of new music with the public and giving young musicians the opportunity to experiment with music themselves. As his long career came to a close in the 2000s, Foss lived by his words: “The creative process cannot happen without a passion for learning. Yes, real artists continue to learn – to the very end.”

Composer, performer, educator, and conductor Lukas Foss came to Buffalo in 1963 as the BPO’s newly appointed music director, and brought with him a passion for musical experimentation that transformed the city into a center for avant-garde music composition and performance unlike anywhere else at the time.

Foss believed that performers played a crucial role in the process of writing contemporary music. As a musical all-rounder himself, Foss envisioned an environment in which young musicians with both composing and performing talents could experiment, hone their craft, and collaborate. This vision became reality when he founded and became Director of the University at Buffalo’s Center for the Creative and Performing Arts, which Foss obtained funding for from the Rockefeller Foundation alongside UB’s then-Department of Music Chair, Allen D. Sapp, Jr. The Center’s musical fellows, called Creative Associates, performed in “Evenings for New Music” concerts at the Albright-Knox Art Gallery auditorium and Carnegie Hall, and included such famous avant-garde composers as John Cage, Philip Glass, and Pauline Oliveros.

In 1963, Lukas Foss was named the next Music Director of the BPO. Foss’ conducting debut in Buffalo shook the walls of Kleinhans with Stravinsky’s RiteofSpring for the first time, which Foss had selected for the season’s opening concert. Within three seasons of Foss in Buffalo, the BPO led the world in the performance of new music. The late BPO clarinetist and historian Edward Yadzinski once referred to the Foss era as “the wild and wooly days,” recalling, “the orchestra had gone from the super conservative William Steinberg to the Viennese maestro Josef Krips, who was marvelous in the great Beethoven and Schubert tradition. Then Lukas Foss came to town, and we were playing with the Grateful Dead within a few months.” Additionally, under Foss’ direction: the BPO was invited to Carnegie Hall for the first of what became regular appearances there; the BPO’s first major recordings were made featuring music of contemporary composers; and the BPO’s first nationwide TV appearances were broadcast on PBS, followed by a variety

In 1953 at the age of 31, Foss succeeded Arnold Schoenberg as the head of the Composition department at the University of California at Los Angeles, making history as the youngest full professor ever hired there. While at that post, experiments in performance with his newly founded Improvisation Chamber Ensemble led to compositions like Time Cycle for soprano and orchestra, which was premiered by Leonard Bernstein and the New York Philharmonic, and Echoi, in which he blended his experimental instincts with tradition to create a piece now considered one of the chamber masterworks of the 20th century.

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Foss’ best known orchestral works include Baroque Variations, Piano Concerto No. 2, and the Renaissance Concerto for flute. Foss also wrote a considerable body of vocal work including two operas, in addition to chamber ensemble and solo piano pieces. His compositional style was eclectic with a wide variety of musical influences, representative of his comprehensive music background and appreciation for all musical eras. Regarding his varying influences, Foss asserted, “Why should an artist restrict themself to one technique? Of course, everyone should use whatever technique he or she wishes. But I find it is infinitely more challenging to use many techniques – often in the same piece – and yes, make them my own. The resulting music is more challenging. One is more likely to want to hear the piece again. I believe that the only criterion for making an intelligent evaluation for a piece of music is, Does it make you want to hear it again?” Over the course of his career, Foss composed well over 100 works – an oeuvre which Aaron Copland described as “among the most original and stimulating compositions in American music.”

of major tours. In 1970, Maestro Foss shared the podium with Governor Nelson Rockefeller at the groundbreaking of Artpark, the declared permanent summer home of the BPO at the time.

As a 15-year-old prodigy, Foss came to America in 1937 and enrolled at the Curtis Institute of Music in Philadelphia, where he took conducting lessons with Fritz Reiner and piano lessons with Isabelle Vengerova. That same year, G. Schirmer issued Foss’ first published work: a series of piano pieces composed on the New York subway. At 18, Foss graduated with honors from Curtis and began advanced study in composition with Paul Hindemith at Yale and conducting with Serge Koussevitzky at Tanglewood, where he met his classmate and lifelong friend, Leonard Bernstein.

Throughout his lengthy career, Foss conducted most of America’s major symphony orchestras, including the New York Philharmonic for the premiere of Bernstein’s Symphonic Dances from West Side Story, and led many famous orchestras abroad from Berlin to Tokyo. As an educator, Foss taught composition at Tanglewood and was composer-in-residence at Harvard, the Manhattan School of Music, Carnegie Mellon, Yale, and Boston University. In 1983 Foss was elected to the American Academy and Institute of Arts and Letters and served as its Vice Chancellor in the late 1980s. He was the recipient of eight honorary doctorates.

THE LEGACY OF LUKAS FOSS

Born in Berlin in 1922, Foss started studying piano and music theory with Julius Goldstein Herford at seven years old. When the Foss family fled Nazi Germany in 1933, he enrolled at the Paris Conservatory and studied piano with Lazare Lévy, flute with Louis Moyse, composition with Noël Gallon, and orchestration with Felix Wolfes.

Foss; turn to a discussion of revolution ary American “mavericks,” you’re apt to find Foss. He was at home in shapeshifting improvisatory and chance music; he was at home in rigid serial ism; he was at home in Coplandesque American populism. Yet in contrast, say, to his much-admired Stravinsky—who moved methodically from late romanti cism through aggressive modernism to neo-classicism to serialism—Foss didn’t have a clear trajectory, a well-defined development. Sometimes he looked ahead, sometimes back; but he didn’t follow the trends of his day. In fact, he often seemed slightly out of sync with the world. “My curiosity led me abso lutely everywhere,” he said. “But … I’ve never done anything at the OK time.” As a result, you could never be sure what was coming next. Indecisive ness? Hardly. His unpredictability was a matter of principle, growing out of a conviction that artistic strength lies in variety. “I don’t believe in belonging to any school at all,” Foss said in an oftquoted remark. “The more techniques a composer employs, the richer his or

Ode for Orchestra

get a fix on the music of Lukas Foss. Some composers aim at distilling a single, recognizable voice, even going so far as to shut their ears to competing styles. Minimalist Steve Reich is a prime example, proclaiming, “I don’t want to hear a note of [Brahms, Mahler, Wagner, Sibelius], not now, not later, not ever.” Foss could not be more different. True, especially during his tenure as Music Director of the Buf falo Philharmonic (1963-1971), he was legendary as a champion of the musi cal vanguard who helped turn the city into a magnet for new music. But he also loved (and the word “love” turns out to be important) listening to and performing Renaissance music, Bach, Mozart, Schumann, and all those com posers that Reich renounced. This rest less breadth of interest marked his work as a composer, too.

PROGRAM NOTES

Yet beneath that diversity of technique is a common thread. Foss described his Renaissance Concerto as a “loving handshake across the centuries.” And that gesture of love, that desire to com municate across boundaries, character izes his output as a whole.

Composed 1944, revised 1958; Duration 10 minutes

Lukas Foss (German-American born Lukas Fuchs; It’s1922-2009)hardto

PROGRAM OVERVIEW

Please join us at CARNEGIE HALL on October 3 as we bring Lukas Foss to New York City!

with love and thanks, JoAnn and the BPO musicians

Three American Pieces Composed 1944; Duration 13 minutes

Pick up a book on conservative Ameri can neo-classicism, you’re apt to find

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We celebrate the 100th anniversary of the amazing composer, conductor, and pianist Lukas Foss. As music director of the Buffalo Philharmonic, Lukas put our orchestra on the international musical map, making Buffalo the epicenter of the new music scene. A brilliant maverick, he was a pivotal force for music of our time, and we are honored to celebrate him - along with the University at Buffalo where he founded the extraordinary Creative Associates. We include Lukas' dear colleague "Lenny" on the program, as a tribute to their lifelong friendship.

Take this evening’s opener, Ode (or, to give it its original full title, Ode to Those Who Will Not Return). It’s a ten-minute work inspired by John Donne’s “Devo tion,” the poem from which Hemingway took his title For Whom the Bell Tolls. And it draws on Foss’s belief that art is not an “escape from the world, but a direct expression of it”—as well as his view that all our fates are intertwined. Composed around D-Day (and revised in 1958), Ode is not exactly a patriotic work: Its emotional landscape is too subtle, too jumpy for that. Still, the composer saw it as representing “crisis, war and, ultimately, ‘faith.’” It begins with a gloomy bell-like tread in the low strings and harp that uneasily wobbles between major and minor, introducing a gravity that never seems to disappear. The music that follows—sometimes lyri cal, sometimes jazzy, sometimes glistening with shards of Stravinsky, sometimes lifted by rhythms that look ahead to Bernstein—tries to break through, with out success until a final climax marked by trombone glissandos promises a grand peroration, perhaps modeled on the closing of the Copland Third Symphony. But instead of whacking us over the head, the music dissolves peacefully into a quiet C major, with just a slight

rustle of high woodwind chatter to keep us slightly off balance, reminding us of the sacrifices of others we don’t even know.

Love across boundaries appears in a very different way—or several different ways—in Three American Pieces, com posed in 1944 for violin and piano, and orchestrated in 1986. Foss wrote it during what he called a “love affair … with my newly adopted country.” Born in Germany, he came to the United States (via Paris) as part of the wave of refu gees who fled the Holocaust. This back ground gives the work a hint of disloca tion. It’s hard not to hear the music as nostalgic—especially what Foss called the “prairie lullaby” in the first move ment. Yet because it recalls an America so far from him and his ancestors, it’s a distanced nostalgia. You might even describe the nostalgia as doubly dis tanced. Foss claimed to have picked up its “open-air quality” from Copland; but the homespun, open-air flavor of Copland’s most popular “Americana” (say, Rodeo) did not grow out of his, or his family’s, experiences either. As a Brooklyn-born child of Russian im migrants, Copland had no direct connection to the American frontier, and had to invent the sound that eventually came to represent it so forcefully.

Three American Pieces not only crosses national boundaries; a quiltlike piece, it crosses stylistic boundaries, too. As violinist Nikki Chooi points out, it’s a melding of different traditions—most obviously, the “melding of the classical tradition with folk tunes and tunes you’d hear in salons or bars back in the day,” including, in the third movement,

her vocabulary will be.” No surprise that stylistic multiplicity is found within pieces as well as between them.

The concert concludes with a return to early Foss, the 1944 Symphony No. 1 Like the American Pieces, the Symphony reflects his love for his newly adopted country. This is most evident in its nods to

of ragtime and blues.” It changes perspective often, too: Every few bars, Nikki says, you wonder “Where’s this coming from?” The result is a de lightful sense of intoxication.

The work on tonight’s concert that most explicitly reflects the “loving handshake across the centuries” is, not surprisingly, the one that generated the phrase, the Renaissance Concerto for flute and or chestra, premiered in Buffalo in 1986. Like Foss’s Baroque Variations (1967), but in a less aggressive fashion, it revis its earlier music from a contemporary perspective. More precisely, in the com poser’s words, the Concerto “invent[s] …a Renaissance sound that never was. It’s not modernizing the Renaissance, but dreaming yourself back to it.” The four movements greet at least six different composers. And to heighten the sense of reaching across time, Foss plays with physical distance as well.

Foss liked to mix things up. It’s in that spirit that, after intermission, we get what might be called a mid-concert encore: the Three Dances from the 1944 musical On the Town by Leonard Bernstein (1918-1990). Bernstein and Foss followed eerily paral lel paths. Both attended Curtis, studying piano with Isabelle Vengerova, and con ducting with Fritz Reiner and Serge Kous sevitzky, who was a crucial mentor. They both went on to fame as conductors (of the two largest cities in New York State), as pianists, and as composers. The similar ity of their routes might have led to ani mosity, but in fact the two were close, and championed each other’s music. Tonight’s offering is a celebration of their friend ship. The plot centers on the madcap ad ventures of three sailors looking for dates while on leave in New York for a day; but the musical is less about romance than it is about the camaraderie forged among the six main characters and about the composer’s affection for the Big Apple of the 1940s. Even if you’ve never heard this infectious music before, you’ll recognize “New York, New York.”

Symphony No. 1

Three Dance Episodes from On the Town

Composed 1944; Duration 10 minutes

Lukas Foss (German-American born Lukas Fuchs; 1922-2009)

Peter J. Rabinowitz is Contributing Edi tor of Fanfare and program annotator for Symphoria

Leonard Bernstein (American, 1918-1990)

Composed 1944; Duration 33 minutes

Those are probably the qualities that the early listeners latched on to. But in retrospect, we can also hear, in nascent form, Foss’s individuality. This is clearest in the subtle, but characteristic, refusal to do what’s expected, the bending of conventions to lead us in unforeseen directions. The first movement is typical, setting up a familiar pattern—optimism, threat, triumph—only to subvert it. After an ear-catching opening gesture (which returns in the finale), we find ourselves basking in outdoorsy music that laces the breezy with the pensive. Distant trumpets soon give way to sinister threat (not surprising, given the state of the world at the time), a threat that briefly dies out, only to return with greater violence. This in turn dissolves into Coplandesque music heralding victory. But, as in the Ode, the promised triumph is shortcircuited—and in an unanticipated shift, the movement ends quietly and ambigu ously. The second and third movements are similarly marked by gentle evasions. Only the whirlwind perpetual motion of the finale—at least once it gets past its equivocal opening—sweeps to its ex pected conclusion.

The Concerto begins with an “Intrada” after William Byrd (including antiphonal trumpets shaking hands across the stage), followed by a “Baroque Interlude” based on Rameau. (“The right notes are Ra meau’s, the wrong notes are mine,” Foss quipped.) Then comes the work’s deep est moment, a “Recitative” drawn from the wrenching passage in Monteverdi’s Orfeo, “Tu se’morta,” where Orfeo la ments the loss of Eurydice. The Recitative features a distant quartet (the orchestral flute, violin, viola, and cello) which sounds as if, as in the myth, the gods were weep ing. This is soloist Amy Porter’s favorite movement. It may also be the most difficult. The mournful solo part requires extreme sensitivity, including passages where portamento bends the line. Here,

Renaissance Concerto Composed 1985-86; Duration 21 minutes

35“the34feel

Finally, in spectacular contrast, there’s a brilliant “Jouissance” after the nearly for gotten Melville, with additional nods to Vincenzo Galilei and Carlos Gesualdo. In the final measures, the sound of the soloist slowly fades away, her tone in creasingly dominated by breath tones, then reduced to simply the tapping of the keys, eventually reaching the point where, according to the score, they are “not necessarily audible.” Finally, the flut ist, in what might be a wink at Haydn’s “Farewell” Symphony, walks off the stage entirely. Amy points out that some of these techniques of sound produc tion—so-called “extended techniques” when the piece was new, but nowadays “a normal fixture in our music”—require a little boost from the performer, especially if she wants to avoid damaging her instrument. For instance, to make sure the audience catches the clicking on the flute, she’ll add a “tch” sound—and use her acting ability as well. Theatrical? Sure—but it’s a theatrical piece.

A theatrical piece—and a difficult one. There are the technical challenges. There are the rhythmic challenges of putting the metrical changes together, so they create coherent phrases. And there’s what Amy calls the “roadmap challenge” of maintaining the music’s long line as it moves in and out of the Renaissance. In addition, she says, the work is difficult because she must embody so many dif ferent roles: She’s an actor, an ensemble member (much of the piece is nearly chamber music), a concerto soloist—all while serving as a host extending a wel come across centuries.

Copland. But it also offers a handshake to two other American composers as well— or, more accurately, two older European composers who fled to the United States shortly after Foss did. The piece is marked by a contrapuntal rigor nurtured by his study with Hindemith—as well as a met rically complex rhythmic vitality inherited from Stravinsky (although it’s less jagged and more spontaneously dance-like than Stravinsky’s music usually is).

Peter J. Rabinowitz 2022

as Amy puts it, she has to roll her lips and roll her hands to create the sense that “one note just becomes the next note”— and, to do so in a way that carries “the nu ance, the color” to the back of the hall.

Ron Spigelman, conductor Gladys Knight, vocals

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.

BPO Pops Series GLADYS KNIGHT

This concert is graciously sponsored by the Catherine M. and Paul W. Beltz Fund for Artistic Excellence

37 Saturday, October 8, 2022 at 7:30 PM

In February 2011, Knight reunited with Elton John, Dionne Warwick, and Stevie Wonder for the first time in 25 years to perform their Grammy-winning song, “That’s What Friends Are For” at an AIDS research benefit at the downtown Cipriani in New York. Adored the world over, Knight then toured across the UK, performing at packed arenas that included a sold-out performance at Wembley Stadium.

singer of the timeless song “Midnight Train to Georgia,” Knight was a natural fit as national spokesperson and host of Amtrak’s National Train Day, the celebration of which took place Washington, DC’s famed Union Station.

Last month, Knight returned to the small screen in the Lifetime original movie “Seasons of Love”. In the story about two lovers as they journey through life, love and family, Knight stars alongside Oscar-nominee Taraji P. Henson and fellow Grammy winner Cliff “Method Man” Smith. In the New Year she will guest on Lee Daniels and FOX TV’s new series “Empire” opposite Terrence Howard and Taraji P. Henson.

GLADYS KNIGHT, VOCALS

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In her first effort since 2013’s “Another Journey” – Knight’s 8th solo effort – this summer marked the release of “Where My Heart Belongs”, a new inspiration gospel album. Knight is a two-time Grammy winner in the gospel category, and “Where My Heart Belongs” dropped on September 9th from Deseret Book, and recently won an NAACP Image Award for “Outstanding Gospel Album.”

The great ones endure, and Gladys Knight has long been one of the greatest. Very few singers over the last fifty years have matched her unassailable artistry. This seven-time Grammy winner has enjoyed #1 hits in Pop, Gospel, R&B and Adult Contemporary, and has triumphed in film, television and live performance.

Knight, known as the “Empress of Soul,” a longtime Las Vegas resident, returned to the Strip in the late-2000s to the famed Tropicana Hotel for a special engagement that ran in the newly named Gladys Knight Theater, making her the first African-American performer to have a venue named after her in Las Vegas. This followed a successful four-year show run at The Flamingo, which the LasVegasReview-Journal praised as “the number-one show on the Strip.”

The year of 2011 was a year of much recognition as Knight was both honoring and being honored, first at a Michael Jackson tribute concert, and then at the 2011 Soul Train Awards. At the Millenium Stadium in Cardiff, Wales, Knight joined such performers as Jennifer Hudson, Beyonce, and Smokey Robinson in a tribute to the legendary King of Pop in a concert event called “Michael Forever.” Following that, Knight was honored with a “Legend Award” alongside fellow recipients Earth, Wind & Fire on the BET broadcast of the 3rd annual Soul Train Awards, hosted by Cedric the Entertainer.

“Another Journey” enjoyed success from the hit “I Who Have Nothing” as well as the up-tempo track “Settle,” produced by Randy Jackson, with whom she previously collaborated with on her Grammy-winning album, “At Last.” Knight also enjoyed the success of her song “You and I Ain’t Nothin’ No More” which appeared over the end credits of the critically-acclaimed Lee Daniels film THE BUTLER.

Knight fans enjoyed Before Me – Knight’s last big commercial effort – which paid homage to the great legends of song – Ella, Duke, Billie, Lena – as well as the many artists who served as Knight’s friends, mentors, colleagues and inspiration throughout her career. Knight’s second collaboration with the Saints Unified Voices gospel choir, A Christmas Celebration, was an album of holiday classics. Coming off of a “Best Gospel/Choir Album” Grammy win with their debut album One Voice, Knight again directed the 100-member multi-cultural choir she formed, injecting their unique flavor and definitive soul into such Christmas staples as “Silent Night,” “White Christmas,” and a medley of “Winter Wonderland/Jingle Bells” among others.

Knight began performing gospel music at age four in the Mount Mariah Baptist Church and sang as a guest soloist with the Morris Brown College Choir. Three years later, she won the grand prize on television’s “Ted Mack’s Amateur Hour,” and the following year, her mother Elizabeth Knight created the group consisting of Gladys, her brother Bubba, her sister Brenda and her cousins William and Elenor Guest. They called themselves The Pips in honor of their cousin/manager, James Pip Woods. In 1959, Brenda and Elenor left the group, replaced by cousin Edward Patten and friend Langston George. The group was renamed Gladys Knight & The Pips, and following George’s departure in 1962, the classic line-up was in place.

A tireless humanitarian, Knight is an iconic supporter of the Boys & Girls Club of America, to which she donated a Randy Jackson-produced song, “The Dream.” As the celebrated

A tireless performer who still wows audiences around the country and the world, Knight also finds the time to make forays into film and television. Her version of “I Hope You Dance” played during the end credits of Tyler Perry’s THE FAMILY THAT PREYS TOGETHER, and she appeared in his film I CAN DO BAD ALL BY MYSELF (which featured her song “The Need to Be”). She also starred in the holiday-themed HOLIDAZE, her first animated project to which she also contributed a track, UNBEATABLE HAROLD, and the Harrison Ford film HOLLYWOOD HOMICIDE. On the small screen, Knight did a cameo on the Emmy-winning NBC hit comedy “30 Rock”, and also appeared in NBC’s “Las Vegas,” former CBS hit “JAG,” and former FOX talent competitions “American Juniors” and “Duets.” She also starred as Jamie Foxx’s mother on “The Jamie Foxx Show.” Knight has appeared as a guest judge on FOX’s smash hit “American Idol,” and has performed in the show’s always star-studded finale. In season two of “Idol,” Knight famously dubbed eventual winner Ruben Studdard the ‘Velvet Teddy Bear” while she sat in the guest judge’s Georgia-born,chair.

The group debuted their first album in 1960, when Knight was just sixteen. With Knight singing lead and The Pips providing lush harmonies and graceful choreography, the group went on

Also on the small screen, Knight recently shared her musical expertise on the second season of Centric’s original series "Apollo Live.” Joining judges Doug E. Fresh and Michael Bivins, the legendary songstress gave guidance to contestants as they took the stage with the hope to jumpstart their career in the entertainment industry.

Adding to her already impressive collection, Knight won another Grammy for her duet with the late Ray Charles on his posthumous album Genius Loves Company (2005). The duo won for Best Gospel Performance for their duet “Heaven Help Us All.” Knight’s solo album At Last also won a Grammy for Best Traditional R&B Vocal Album in 2002 and featured a duet with Jamie Foxx, “I Wanna Be Loved.” During the televised opening ceremonies kicking off the 2002 Winter Olympics in Salt Lake City, Knight performed “This is Our Time” (which she co-wrote with husband William McDowell), which was featured on a commemorative Olympic album.

No stranger to performing and light choreography over the course of her career, Knight raised the stakes when she put on her dancing shoes in the spring of 2012. She joined the cast of ABC’s hit reality competition “Dancing with the Stars” for season 14, partnering with Tristan MacManus.

A humanitarian and philanthropist, Knight has devoted to various worthy causes, including the American Diabetes Association – for which she is a national spokesperson, the American Cancer Society, the Minority AIDS Project, amFAR and Crisis Intervention, and The Boys and Girls Club. She has been honored by numerous organizations as well, including the NAACP Legal Defense Fund, Congress of Racial Equality (CORE), B’Nai Brith, and is a recent recipient of BET’s Lifetime Achievement Award.

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All told, Knight has recorded more than 38 albums over the years, including four solo albums during the past decade: “Good Woman” (1991); “Just for You” (1994); the inspirational “Many Different Roads” (1999); and “At Last” (2001). “At Last” showed the world that she still has what it takes to record a hit album, employing the talents of contemporary producers like Randy Jackson, Gary Brown and James D.C. Williams III, Jon John, Jamey Jaz, Keith Thomas, Tom Dowd and Tiger Roberts.

Her involvement in other creative undertakings, business ventures and humanitarian activities has been extensive, and has brought her honors from industry and community alike. In 1986, she produced and starred in the Cable Ace Award-winning “Sisters in the Name of Love,” an HBO special co-starring Dionne Warwick and Patti LaBelle. That same year, she showcased her acting ability when she co-starred with Flip Wilson in the CBS comedy “Charlie & Co.” Other acting roles followed on such TV shows as “Benson,” “The Jefferson’s” and “New York Undercover,” and in such television films as “Pipe Dreams,” “An Enemy Among Us” and “Desperado.” She recorded the title theme for the James Bond movie “License to Kill” (1989). In 1999, she completed a starring run on Broadway in the smash musical hit “Smokey Joe’s Café.”

Today, Knight and husband William, along with various other members of the family, oversee her busy career from the Las Vegas headquarters of Shakeji, Inc., her personal entertainment corporation. She is a wife, mother, grandmother, great-grandmother, performer, restaurateur, and businesswoman with a spiritual outlook on her life. Her faith in God has been the driving force behind all of Knight’s endeavors, guiding her through her many successes.

In 1995, Knight earned her star on the Hollywood Walk of Fame, and the next year, Gladys Knight & The Pips were inducted into the Rock ‘N’ Roll Hall of Fame. Knight published an autobiography, “Between Each Line of Pain and Glory” (a line taken from her million selling recording “Best Thing That Ever Happened to Me”), in 1997, and the next year, she and The Pips were presented with the Lifetime Achievement Award from the Rhythm & Blues Hall of Fame. In 2004, Knight received the “Lifetime Achievement Award” at the annual BET Awards ceremony.

to achieve icon status, having recorded some of the most memorable songs of the 1960s, 1970s and 1980s. Top 20 hits, like “Every Beat of My Heart,” “Letter Full of Tears,” “I Heard it Through the Grapevine” and “If I Were Your Woman,” set the stage for an amazing run in the mid-1970s, with Top 10 gold-certified singles like “Neither One of Us (Wants to be the First to Say Goodbye),” “I’ve Got to Use My Imagination,” “Best Thing to Ever Happen to Me” and the #1 smash “Midnight Train to Georgia” established Gladys Knight and The Pips as the premiere pop/R&B vocal ensemble in the world. The party kept rolling with hits like “On and On” from the Academy Award nominated soundtrack of Curtis Mayfield’s “Claudine,” the 1974 comedy about love in the inner city. Knight enjoyed another #1 hit in 1985 when she teamed with Stevie Wonder, Elton John and Dionne Warwick on “That’s What Friends are For.” She and Stevie Wonder sang together again for the successful Frank Sinatra Duets II album, joining his voice for the song “For Once in My Life” in 1994.

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Tim DiCarlo

Marjorie* and William Gardner Edward N. Giannino, Jr.

Benderson BPO Endowment Fund

Mrs. George Cohn

Philip & Joyce Celniker Fund

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.

John and Carol Kociela Fund at the CFGB

Susan

Charlotte C. Acer

Theresa Kazmierczak

Francie D. & Joel N. Lippman

In honor of JoAnn Falletta and Donald McCrorey

Ms. Constance A. Greco

Marilyn R. Cornelius

Philip H. Hubbell

Julian Gilbert Schulenberg

Donald M. Behr & Samuel E.

Anthony J. Cassetta

Ellen & Victor* Doyno

Irwin H. Cheskin Fund at the CFGB

in memory of Jayne T. Hubbell

Sandra and Dennis McCarthy Michael and Lorrie Munschauer Donna & Leo Nalbach

in honor of the BPO Viola Section

MPZ Endowment Fund

Albert H. Laub Bequest

Mr.* and Mrs. Anthony N. Diina

Anne Conable

William Kenneth Schmitt Fund

Victoria A. Christopher

Dr. & Mrs. Kenneth R. Kahn

in honor of JoAnn Falletta, Dan Hart, and the BPO Musicians

Cheryl I. Christie

Nathan Kahn

Appleby Fund at the CFGB

Buffalo Philharmonic Orchestra

Family Charitable Fund

Society Inc. Endowment Fund

Judith & John* Fisher

Rita Argen Auerbach

Mrs. Roberta Dayer

Ellen Todd Cooper

Bradford Lewis, PhD Gerald & Barbara Lipa

Joan Hetzelt Hanifin Memorial Fund

Monte & Cheryl* Hoffman

Robert & Marion North Fund

Nellie B. Warner Endowment Fund

Steve & Sandy Levinthal

Mrs. Frederick S. Pierce

Elizabeth & John Angelbeck

Beverly Davies

Sarah & Donald Dussing

Robert and Hana Jacobi Bruce and Gail Johnstone

KennethPaulJohnEvelynVirginiaDennisPotterQuinnAnnQuinnJoyceRamsdellandSusanRowlesandGerdaSanioSchmieder,InmemoryofNancyL.

The Herbert & Ella Knight

Paul A. Imbert

The Joanne Castellani and Michael Andriaccio Charitable Trust

Charles Balbach

Rosalind and Michael Kochmanski

Drs. Howard & Karen Noonan

SPOTLIGHT ON SPONSOR

Trusts

Angelo & Carol Fatta

Mr. & Mrs. Byron R. Goldman

F. Lansing

Rev. Raymond G. Corbin

Dr. & Mrs. Roy E. Seibel

Gerard and Rachel Catalano

Mildred Bork Conners & Joseph E. Conners Fund

To ensure your wishes are carried on for the BPO for generations to come, you may call Jennifer Barbee (716) 242-7810 for more information.

Philanthropic Fund

Dr. Sharon F. Cramer and Mr. Leslie R. Morris*

Ms. Elizabeth G. Clark

Benjamin and Lila Obletz

Endowment Fund

Rev. Russell A. Newbert

*deceased

James A. Brophy & Fraser B. Drew*

Grace Neff Daniels Memorial

Dr. Merrily Kuhn and Mr. James EricKulwickiE.&Ruth

Edwin Polokoff

Daniel R. Burch

PLANNED GIVING

Peter Hall & M.E. O'Leary

The Herbert & Ella Knight

Marie A. Marshall Fund

Charitable Remainder Unitrust

Charlotte Potter Whitcher Trust

Susan Harvey Prentis Fund

Jennifer Barbee

Betty J.

4948

TheDavidLolinger*BenderReverend* and Mrs. Peter W. Bridgford

Family Charitable Fund

Anonymous (4)

Mary Louise Olmsted Fund

Sandra B. Cumming

Dr. Sebastian* and Mrs. Marilyn LouisCiancio&Ann Louise Ciminelli

D. Bruce and Gail Johnstone Fund at the CFGB

Kathleen Keenan-Takagi

LawrenceAJLAnonymousFundM.

Charitable Lead Trust

Cameron Baird Fund

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.

Margaret Frank Rofot

Barbara & Jerry* Castiglia

Virgil A. and Margaret L. Black Memorial Fund

Natalie Kubera Roth Fund

DianaExecutiveMartinusekAssistant

Administration

Finance

Shuttle service is only available for SELECT dates. Please join our email club at bpo.org or call the Box Office for updated information.

DanielPresidentHart&Executive Director

Jacqueline Chagnon

BuildingReneéManagerRadzavichServicesCoordinatorMichaelCassidyChiefEngineerDennisNawojskiConcessionsManagerLucasParksParking&Set-UpSupervisor

5150

BPO ADMINISTRATIVE STAFF

-Options are available for patrons using mobility aids or requesting a wheelchair accessible location and accompanying companion seating.

Cary Michael Trout Graphic MikaelaDesigner/ConsultantHuberMarketingAssistant

Patron RepresentativesServices

Kelcie Hanaka DigitalMarketingManager

Development

Alison Bolton Vice President, Artistic & OrchestraOperations Connor AudienceOrchestraSarahOperationsSchloopManagerLewandowskiPersonnelManagerCorinnaScozzaroServicesManagerConnSullivanOperationsAssistant

Brian Seibel Event

• Sorry, no refunds or exchanges on single ticket purchases.

Kleinhans Music Hall Staff

JenniferAssociateBarbeeExecutive Director & VicePresident,Development

• Kleinhans Music Hall will open 90 minutes before a concert’s scheduled start, or earlier depending on pre-concert activities.

-Please note: there is no elevator to the balcony level.

Anne AmyAllyBethanyBoucherErhardtJindraSturmer

• It is strictly forbidden to record, photograph, or film during a performance in the Main Auditorium. Photography is permitted in the hall before and after concerts.

AndréeRenée Simpson MarketingManager

EliAnnualCampbellFund&GrantsManager

• Kleinhans Music Hall maintains a smoke-free environment.

Shuttle Service and BPO Preferred Restaurants

DonorRelationsManager

• Late arrivals will be seated at the first suitable break or at intermission. Late seating may not be in the purchased section.

BPO Parking at Kleinhans $8 evening and Sunday performances; $5 Coffee concerts and BPO Kids performances.

Shuttle service begins at 6pm and ends 30 minutes after the conclusion of the concert.

A new concept for fine dining on Kleinhans Lower Level. For more information or to make reservations, call (716) 877-9662.

SALVATORE’S ITALIAN GARDENS

MARCATO by Oliver’s at Kleinhans Music Hall

Education CommunityandEngagement

FREE Park and Ride Shuttle (SELECT Saturdays)

LukeJordanCarsonAdministratorManninoSpecialEventsandProjectCoordinatorWalkerDevelopmentAssistantBorkowskiKleinhansCapitalCampaignCoordinator

• Special assistance in the areas of parking, seating, and hearing will be accommodated to the best of our ability. Please contact the Box Office ahead of your visit.

• 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.

PATRON INFORMATIONWHATTOKNOW AT THE BPO

-Hearing Assistance Devices are available at the coat check.

SALVATORE’S SYMPHONY SHUTTLE Saturday Nights $15 per person, leaving promptly at 6:30pm from the rear of the lot near the water tower, 6461 Transit Rd. and Genesee St. in Depew. Call the reservation hotline at (716) 885-5000 and select “shuttle” option to reserve your place, or reserve online at bpo.org

6461 Transit Rd. and Genesee St. in Depew. Call (716) 683-7990 for dinner reservations. Dinner and shuttle sold separately.

Marketing

Sales PatronandServices

MindyAssociateTakacsDirectorofDevelopment

TaylorDevelopmentHeaphyandDatabase

Kevin James Vice President, Finance & MarilynSusanJacquelineNicoleAdministrationM.BodemerAssociateDirectorofFinanceHenryFinance/AccountsPayableAssociateHillPayrollandHR/BenefitsAdministratorMillerFinanceAssistant

Operations

Robin Parkinson, Vice President, Education & Community Engagement Rachael EducationPudlewskiManager

AdamAssociateCadyDirector of Patron LauraServicesPapitAssistantManagerofPatron Services

“Embrace seasons past... begin life anew!” 410 Mill St., Williamsville 716.632.3000 www.park-creek.com PROGRAM BOOK PRODUCED BY PRESIDENT & CEO Sharon Levite PUBLISHER/CHIEF REVENUE OFFICER Barbara E. Macks EXECUTIVE EDITOR Sabrina Kahwaty MANAGING EDITOR Donna Hoke VP/ADMINISTRATIVE & FINANCE Michele Ferguson CREATIVE DIRECTOR Jean-Pierre Thimot SENIOR GRAPHIC DESIGNERS Joshua Flanigan | Kim Miers | Nicholas Vitello GRAPHIC DESIGNERS Rachel Kaznica Taramarie Mitravich buffalospree.com | 716-972-2250

• All programs and artists are subject to change without notice.

• D’Youville College Lot D, 430 West Avenue between Connecticut & Porter Ave, 14213 (SELECT Saturday performances only)

• BPO Clement House Lot, 786 Delaware Avenue corner of Summer Street, 14209 (SELECT Saturday performances only)

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