BPO 2022-2023 Season: Program Book 3

TABLE OF CONTENTS

28 THROUGH

19

BPO Board of Trustees/BPO Foundation Board Directors 6

BPO Musician Roster

Symphonie Fantastique 13 M&T Bank Classics Series

October 28 and 29

Prohibition 19 BPO Pops Series November 4 and 5

Elgar & Kodály 25 M&T Bank Classics Series November 12 and 13 Yo-Yo Ma 33 BPO Special Event November 18

The Music of ABBA 38 BPO Pops Series November 19

a Musician

Fund

CONTACT

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

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

BPO Administrative Offices (716) 885-0331 Box Office (716) 885-5000 Box Office Fax Line (716) 885-5064

Kleinhans Music Hall (716) 883-3560

MESSAGE FROM THE BOARD CHAIR

How do you get to Carnegie Hall? With the support of a community that understands the intrinsic benefit a worldclass cultural organization provides its residents. The Buffalo Philharmonic Orchestra is fortunate to exist in just such a community. My wife, Carolyn, and I just returned from the BPO’s performance at Carnegie Hall, and we could not be prouder. The Centennial Celebration concert of former BPO music director Lukas Foss was a resounding success, receiving a standing ovation before the last notes faded, and followed by enthusiastic reviews. It was made possible in large part by our supporters across Western New York and beyond, and the dedication of our talented musicians and professional staff whose work behind the scenes made it a seamless trip.

But while we bask in the afterglow, the days grow shorter, and there is much more music to celebrate. We welcome Argentinian trumpeter Pacho Flores, joining JoAnn Falletta for energetic performances October 28 & 29 of a concerto by Mexico’s premier composer, Arturo Marquéz, on a program anchored by the wild romantic obsession of Hector Berlioz’s Symphonie Fantastique. And on November 4 & 5 the decadent Roaring 20s are featured in Prohibition, when new jazz music and dazzling lifestyles ruled the era. Join us post-concert for our own speakeasy cabaret!

Then cello takes center stage in November, with Elgar’s Concerto in E minor performed by preeminent Spanish cellist, Asier Polo on the 12th and 13th, followed on November 18 by the return of the incomparable Yo-Yo Ma tackling Dvořák’s Concerto in B minor with the BPO. We close out our pre-Thanksgiving offerings with Arrival from Sweden, re-creating all your favorite ABBA tunes in one of the world’s foremost tributes.

Which brings us again to the subject of thanksgiving, and how grateful the BPO is for the on-going support of our patrons, subscribers, and donors. Carolyn and I wish you and yours a heartfelt celebration this year filled with the warmth of family and the joy of friendship.

Sincerely,

John R. Yurtchuk Chair, Board of Trustees

Buffalo Philharmonic Orchestra Society, Inc.

BUFFALO PHILHARMONIC ORCHESTRA BOARD OF TRUSTEES AS OF SEPTEMBER 1, 2021

OFFICERS

John R. Yurtchuk, Chair

Scott Stenclik, Vice Chair — Chair-Elect

Peter Eliopoulos, Secretary

BOARD OF TRUSTEES

Cindy Abbott Letro Douglas Bean

Jonathan Borden †

Janz Castelo †

Anne Conable Stephen B. Edge, MD*

JoAnn Falletta*

Daniel Hart*

Jim Hettich Mark Hodges †

William Keefer

Ronald Luczak

Alex Montante

Allan C. Ripley*

Casimiro D. Rodriguez, Sr.

Rev. Melody I. Rutherford

Diana Sachs †

Robin G. Schulze, Ph.D Joseph Sedita

Brett Shurtliffe † Sonny Sonnenstein Karen Sperrazza

Christine Standish

David Stark

Rev. Jonathan Staples Stephen T. Swift John Zak*

JOANN FALLETTA MUSIC DIRECTOR

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.

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.

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.

*ex-officio † musician representatives

LIFE MEMBERS

Anthony Cassetta Randall Odza Edwin Polokoff

John N. Walsh III Robert G. Weber

BUFFALO PHILHARMONIC ORCHESTRA FOUNDATION

BOARD OF DIRECTORS

John J. Zak, Chair

Holly Hejmowski, Treasurer

Alexs Spellman, Secretary

Karen Arrison Michael Munschauer

John Yurtchuk

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 150 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.

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

For more information, visit www.joannfalletta.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. 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.

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 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.

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.

FERNANDA LASTRA CONDUCTOR DIVERSITY FELLOW

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.

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.

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.

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.

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.

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.

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.

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.

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, 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.

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.

JOANN FALLETTA, MUSIC DIRECTOR Angelo and Carol Fatta Endowed Chair

JOHN MORRIS RUSSELL, PRINCIPAL POPS CONDUCTOR

FERNANDA LASTRA, CONDUCTOR DIVERSITY FELLOW

FIRST VIOLIN

Nikki Chooi concertmaster Amy Glidden assoc. concertmaster LouisP.CiminelliFamily Foundation Endowed Chair Ansgarius Aylward asst. concertmaster Xiaofan Liu 2nd asst. concertmaster** Douglas Cone Deborah Greitzer Diana Sachs Alan Ross Andrea Blanchard-Cone Loren Silvertrust Hee Sagong

SECOND VIOLIN

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; 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.

Antoine Lefebvre principal Jacqueline Galluzzo assoc. principal Richard Kay Robert Prokes Frances Morgante Amy Licata Shieh-Jian Tsai Iain Crampton*** Cindy Lin***

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

CELLO

Roman Mekinulov principal

Jane D. Baird Endowed Chair Feng Hew assoc. principal Nancy Anderson Robert Hausmann 2 David Schmude Amelie Fradette Philo Lee

BASS

Daniel Pendley principal

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

FLUTE

Christine Bailey Davis 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 Doron Laznow

CONTRABASSOON (vacant)

FRENCH HORN

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

Joseph Alberico* Jay Matthews Daniel Sweeley

TRUMPET

Alex Jokipii principal Geoffrey Hardcastle Philip Christner

TROMBONE Jonathan Lombardo1 principal Timothy Smith

BASS TROMBONE Filipe Pereira TUBA Seth Rawleigh TIMPANI Matthew Bassett principal Dinesh Joseph assistant principal

PERCUSSION Mark Hodges principal Dinesh Joseph HARP

Madeline Olson principal MUSIC LIBRARY

Travis Hendra principal librarian Erin Vander Wyst assistant librarian

STAGE MANAGERS

Charles Gill

Interim Master property person IATSE Local 10

1 Chair dedicated to the memory of Scott Parkinson

2 Chair dedicated to the memory of Maer Bunis

* One Year Appointment

** Temporary Appointment

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

Friday, October 28, 2022 at 10:30 AM Saturday, October 29, 2022 at 7:30 PM

Classics Series

SYMPHONIE FANTASTIQUE

JoAnn Falletta, conductor

Pacho Flores, trumpet

ARTURO MÁRQUEZ

Concierto de Otoño for Trumpet and Orchestra

1. Son de luz

2. Balada de Floripondios

3. Conga de Flores

Pacho Flores, trumpet

HAYDN / ed. by Pacho Flores

Trumpet Concerto in E-flat major, Hob. VIIe: 1

I. Allegro

II. Andante

III. Allegro Pacho Flores, trumpet

INTERMISSION

BERLIOZ

Symphonie Fantastique, Op.14

I. Reveries and Passions: Largo - Allegro agitato e appassionato assai II. A Ball: Waltz - Allegro non troppo

III. In the Country: Adagio

IV. March to the Scaffold: Allegretto non troppo

V. Dream of the Witches' Sabbath: Larghetto - Allegro

Coffee Concerts 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.

PROGRAM OVERVIEW

Happy Halloween! We are celebrating with the ultimate piece for that holiday - Hector Berlioz's wild orchestral showpiece that brings a fun "nightmare" to blazing life. The work is absolute fun for the orchestra and the audience!

Another amazing treat - we have as our soloist a young performer who is perhaps the greatest trumpet virtuoso of our time. Pacho Flores is bringing us the beloved Haydn Trumpet Concerto, and also a fantastic new work for the instrument by Arturo Márquez, Mexico's star composer.

This is a must-see event, and we are so glad you are celebrating with us!

PROGRAM NOTES

Arturo Márquez (Mexican; b. 1950)

ConciertodeOtoño,fortrumpet and orchestra

I. Son de luz

II. Balada de Floripondios

III. Conga de Flores

Composed 2018; Duration: 19 minutes

Born in Álamos, Sonora, in 1950, com poser Arturo Márquez was exposed to music as a child by his grandfather, a Mexican folk musician, and his father, a mariachi performer. Studying at the Mexican Music Conservatory and California Institute of the Arts, he became a skilled composer who incorporated the music of his roots into his brilliant orchestral scores. He has spent decades building a catalog that establishes him as among the most important Mexican composers today.

Concierto de Otoño, or Autumn Con certo, was the result of a massive project led by Venezuelan trumpeter Francisco “Pacho” Flores with the intention to build a modern repertoire for the instrument. Márquez was one of five international composers to contribute to the project, with Autumn Concerto being jointly commissioned by five orchestras. The work premiered in 2018 at the Orquesta Sinfónica Nacional de México, conduct

ed by Carlos Miguel Prieto with Flores featured as soloist.

The opening Son de luz (“Dance of light”) features the C trumpet with bright energetic virtuosity. The soar ing opening theme is presented by the soloist, supported by rhythmic or chestral accents. Márquez embellishes the melody throughout and vigorously develops snippets of the melody in the strident movement.

The flugelhorn is featured in the central movement, Balada de floripondios (“Ballade of floripondios”), in which the instrument’s low, warm tone provides a soothing, lyrical contrast. The strings provide a comforting cushion as pizzicato bass and subtle percussion maintain the rhythmic undergirding one might hear in a smoke-filled club. The soloist switches to the F soprano cornet, which maintains the warmth of the flugelhorn while elevating the movement’s climactic intensity. Márquez concludes his con certo with Conga de Flores (“Conga of flowers”), in which the higher D trumpet impresses with a fiery display of dexter ity. The orchestra’s intense rhythms are bolstered by driving percussion, and our soloist demonstrates the musical pos sibilities of the trumpet with a cadenza that leads to the final exciting bars.

Franz Joseph Haydn (Austrian; 1732-1809)

Trumpet Concerto in E-flat major, Hob. VIIe/1

I. Allegro II. Andante

III. Allegro

Composed 1796; Duration: 16 minutes

Haydn was uniquely positioned as the most influential composer of the clas sical era. Employed for decades by the wealthy Esterházy family, his job was to constantly produce new scores in a wide range of genres. His extensive portfolio essentially established the standardiza tion of the symphony and string quartet, while contributing to a number of other genres. Not every contribution made waves, such as the ten dozen baryton trios composed for his benefactor who was obsessed with the ill-fated instru ment, but the development of instrument technology in the eighteenth-century led to one of the most beloved trumpet con certos in the repertoire.

The nature of “natural” brass instruments was such that the number of notes they could play was limited by the length of the instrument’s tubing. Efforts were being made to achieve a full chromatic range, such as the keyed trumpet devel oped by Austrian virtuoso Anton Wei dinger. Although his design would be superseded several decades later by the modern valved trumpet, the simultane ous development of a chromatic trumpet repertoire only increased the demand for innovation. The 64-year-old Haydn took this challenge with aplomb in his 1796 Concerto in E-flat major, composed for Weidinger and his chromatic trumpet.

Haydn unleashes the modern trumpet, exposing its newfound flexibility. After a short introduction, the trumpet’s multifaceted musicality is on display, simultane

ously producing sonorous melodic lines, rhythmically impressive runs, and regal trills. The gentle Andante features a quietly flowing melody with previously-impossible chromaticism and key changes. The Concerto is filled with famous melodies, but the finale has the most recognizable. The infectiously joyful theme is toyed with throughout the movement with interesting mood changes all throughout, keeping a bright energy.

Hector Berlioz (French; 1803-1869)

SymphonieFantastique, Op. 14

I. Reveries and Passions: LargoAllegro agitato e appassionato assai

II. A Ball: Waltz - Allegro non troppo

III. In the Country: Adagio IV. March to the Scaffold: Allegretto non troppo

V. Dream of the Witches Sabbath: Larghetto – Allegro Composed 1830; Duration: 52 minutes

When Beethoven’s ninth and final sym phonic statement, the ground-breaking Choral Symphony, premiered in 1824, it reinforced the younger generation’s ven eration of the elder statesman of the new Romantic era. The same year, a young, uninspired Hector Berlioz was graduat ing from medical school. Disgusted by surgery, the musical upstart rebuked his parents, choosing poverty and passion as his way forward by enrolling in conserva tory. Though something of an underdog at the conservatory, he proved himself by winning the vaunted Prix de Rome on his fourth attempt in 1830.

Obsessive and passionate, Berlioz wrote many unanswered letters to his love inter est, Irish actress Harriet Smithson, whom he saw in a Paris performance of Shake

speare’s Hamlet. In the same year as his Prix de Rome victory, in a frustrated expression of unrequited love, he composed his first major work, Symphonie Fantastique.

Just six years after Beethoven’s final Symphony, the young Berlioz raised the bar of musical progressivism with this psychedelic symphonic drama.

Composed in five movements, Sym phonie Fantastique depicts an artist af flicted with the obsession of a woman.

A melody haunts the artist: Berlioz calls this the idée fixe, a precursor to Wagner’s Leitmotif, as its recurrence throughout the work carries the specific symbolism of the artist’s fixation. In the work’s opening movement, our protagonist is lost in thought, and suffers every emotion brought on by his passions. Melancholy, joy, tenderness, and hopelessness afflict the artist.

Even in the daily life of the artist, he is re minded of his love. The second movement depicts a ball, and amidst festive waltz ing, the idée fixe asserts itself. In the quiet third movement, the artist finds himself in

the countryside as two distant shepherds duet, cooling his passions. But even in the pastoral setting, he is not assuaged and is consumed with jealous thoughts.

The despairing artist self-sabotages with a near-lethal dose of opium, causing wild visions. In the fourth movement, he dreams that he has killed his love and is marched to the scaffold, where, in a final moment of clarity, hears the idée fixe as he meets his end. In the final movement, all sorts of diabolical figures such as witches, monsters, and skeletons gather for the artist’s funeral. As witches dance, the final song of the artist is heard: the Dies irae.

The fantastic drama that Berlioz created, in many ways, was all too real. His obses sion with Smithson eventually turned into an extremely unhappy and doomed mar riage. Although his love life was a disaster, the importance of Berlioz’ radical work cannot be understated, as it set the tone for later composers of programmatic works of fantasy.

—Chaz Stuart, 2022

PACHO FLORES, TRUMPET

Pacho Flores was awarded First Prize in the “Maurice André” International Contest, the most renowned trumpet Contest in the world, as well as First Prize in the “Philip Jones” International Contest and First Prize in the “Cittá di Porcia” International contest. Trained in the marvelous Orchestra System for Youth and Children in Venezuela, he received top recognition for his performances, recitals, and recordings as a soloist. Capable of managing classical or popular styles indistinctively, Flores adds to his captivating interpretations a great deal of energy tinged with the most beautiful instrumental colors. Acting as soloist, he has performed with the Philharmonic Orchestra of Kiev, Camerata from St. Petersbourg, Orchestral Ensemble from Paris, Orchestre de la Garde Républicaine, NHK Orchestra from Japan, Symphony Orchestra of Tokio, Philharmonic Orchestra of Osaka, Simón Bolívar Symphony Orchestra from Venezuela, Symphony Orchestra of Dusseldorf, and the Arctic Philharmonic Orchestra amongst many others. He has also given recitals in concert halls such as the Carnegie Hall in New York, Pleyel Hall in Paris, and the Opera City in Tokio. Serving as one of the founding members of the Simón Bolívar Brass Quintet, he has taken part in numerous tours around Europe, South America, United States, and Japan. Experienced orchestral musician, Flores has held the Leading Trumpet position in the Simón Bolívar Symphony Orchestra of Venezuela, Saito Kinen Orchestra from Japan, and the Symphony Orchestra of Miami, under the musical direction of Maestros like Claudio Abbado, Sir Simon Rattle, Seiji Ozawa, Giuseppe Sinopoli, Rafael Frübeck of Burgos, Eduardo Marturet, and Gustavo Dudamel including many others. Founding Director of the Latin-American Trumpet Academy in Venezuela, he fosters a promising generation of young talents. Flores is extremely keen on promoting Contemporary Music and does so providing important contributions by means of the performance and interpretation of his instrument. His repertoire includes commissions and premieres of works by composers such as Roger Boutry, Efraín Oscher, Giancarlo Castro, Santiago Báez, Juan Carlos Nuñez, and Sergio Bernal. Recently he has carried out an important concert tour across Norway and Austria with the Arctic Philharmonic Orchestra under the direction of Maestro and Composer Christian Lindberg, interpreting his concert “Akbank Bunka”, a piece for Trumpet and Orchestra, making his debut at the Fiestpielhaus of Salzburg, and at the Musikverein of Viena. His first album “La Trompeta venezolana” was released by the record label Guataca Producciones.

Artist from the Stomvi family, he plays instruments that have been exclusively manufactured for him by this renowned firm and is actively involved in the developments and innovations of his instruments. Pacho Flores is a Deutsche Grammophon exclusive artist with already three recordings, Cantarwith Konzerthaus Orchester Berlin and Christian Vásquez; Entropía, Gold Medal of the Global Music Awards; Fractales with Arctic Philharmonic and Christian Lindberg; and the double CD-DVD CantosyRevueltaswith Real Filharmonía de Galicia and Manuel Hernández-Silva.

Friday, November 4, 2022 at 10:30 AM

Saturday, November 5, 2022 at 7:30 PM

BPO Pops Series

PROHIBITION

Bradley Thachuk, conductor Bronson Norris Murphy, vocals

arr. Jeff Tyzik

Madison Claire Parks, vocals Myra Maud, vocals

Powerhouse

My Canary Has Circles Under His Eyes

Put A Tax On Love

What'll I Do Hallelujah

Dizzy Fingers

La Vie En Rose

De Temps En Temps

La Conga Blicoti

Twilight In Turkey

Jonny Alabama Song Mack The Knife

Bei Mir Bist Du Schön

INTERMISSION

Black Bottom Stomp

Doin' The Uptown Lowdown St. Louis Blues

Sweet Georgia Brown

At An Arabian House Party

Brother, Can You Spare a Dime

We're In The Money

Dream A Little Dream of Me

Midnight, The Stars and You

On The Sunny Side Of The Street Shout For Happiness

Puttin' On The Ritz (Irving Berlin)

Guest Artist sponsor

Coffee Concerts presented by

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

BRADLEY THACHUK, CONDUCTOR

Bradley Thachuk is the Music Director of the Niagara Symphony Orchestra (NSO) in Canada, entering into his 12th season as their artistic leader and conductor in September 2022. He is also the conductor for the Buffalo Philharmonic Orchestra’s BPO Rock series, conductor and arranger for Steve Hackett’s “Genesis Revisited” project, and a lecturer in Orchestral Literature at the world-renowned Glenn Gould School at the Royal Conservatory of Music in Toronto.

A versatile and diverse musician, Mr. Thachuk has established himself globally as one of the handful of conductors who moves easily between the classical and rock worlds, and is a highly sought-after symphonic arranger. He is quite uniquely positioned in this capacity and has worked with artists in many genres. His work on Steve Hackett’s worldwide Blu-Ray/DVD/CD release “Genesis Revisited Band & Orchestra: Live at Royal Festival Hall,” and appearances in Europe with this project have been met with critical acclaim. Recent and upcoming projects include Blue Rodeo, Styx, Dave Mason of Fleetwood Mac and Traffic, Carl Palmer of Emerson, Lake and Palmer, Bahamas, ABC’s Dancing with the Stars franchise, Tony-Award winning Heather Headley, Sarah Slean, Chantal Kreviazuk, The Beach Boys, and Air Supply.

A native of Toronto, Canada, Mr. Thachuk started his music studies in classical guitar at the age of 5, and established a performing career by the age of 9. He eventually began studies of the French horn and piano before entering the University of Toronto to pursue his Bachelor’s Degree in Music Performance as a guitarist. Following graduation, he began the Special Program for Conductors at the University of Toronto. Following studies at the Janacek Academy in Brno, Czech Republic he pursued his Masters and Doctorate degrees at the University of Cincinnati College-Conservatory of Music and completed his studies with NHK Symphony Orchestra (Japan), Orchestre de Paris (France), and Tonhalle Orchestra (Switzerland) Music Director, Paavo Järvi.

BRONSON NORRIS MURPHY, VOCALS

Recognized for his “prodigious acting abilities” and a voice that has been acclaimed as “masterful, passionate and soaringly beautiful,” Bronson Norris Murphy is best known for premiering the role of The Phantom in the first North American production of Andrew Lloyd Webber’s Love NeverDies:ThePhantomReturns. Other notable performances include Raoul in the long-running production of The Phantom of the Opera on Broadway, the world premiere of UNMASKED: The Music of Andrew LloydWebber at Paper Mill Playhouse, the 2019 New York City Center revival of Evita, the 30th Anniversary National Tour of CATS as Gus, Growltiger and Bustopher Jones and multiple US productions of West SideStory as Tony. In just over a decade of performances, some of his other credits include New York City developmental productions of: Faustus,theMusical(MTM’s Best I Hate Holmes, Joan of Arc, Catch the Wind, Alan Menken & Tim Rice’s King David MaybeOneDay:AFablefor the York Theatre. His work in regional theatres include Goodspeed Opera House, Paper Mill Playhouse, New York City Center, North Shore Music Theatre, Theatre By The Sea, The Skirball Center, Players’ Theatre, John W. Engeman Theatre, The Arts Center of Coastal Carolina, West Virginia Public Theatre and two seasons as Stephen Foster in The Stephen Foster Story in the US and Japan. Concert work includes IAmHarveyMilk at The Avery Fisher Hall, Music CityChristmas with The Nashville Symphony, WestSideStoryinConcert with Norwalk Symphony, The Music Man in Concert with Orchestra Kentucky, The Ocean City Pops Tribute to the American Songbook, and as a soloist for Bach’s Cantata No. 140, Ramirez’s Misa Criolla, Saint-Saens’ Christmas Oratorio, Vivaldi’s Magnificatand Dubois’ SevenLastWordsofChrist.In addition to his work onstage, Mr. Murphy is an advocate for music literacy, maintaining regular classroom hours as an active voice and acting teacher in NYC while hosting workshops on vocal production, song interpretation, music theory, and musical theatre audition techniques at New York University, The New York Film Academy, The Joffrey School of Ballet, Broadway Classroom, and The Institute for American Musical Theatre. Please follow @BronsonBiz for the latest information!

MADISON CLAIRE PARKS, VOCALS

Madison Claire Parks is a Musical Theatre actress and singer most wellknown for starring as Luisa in THE FANTASTICKS Off-Broadway at the Jerry Orbach Theatre in New York, for over 400 performances. Madison most recently completed her run as Laurey Williams in Rodgers & Hammerstein's OKLAHOMA! with North Shore Music Theatre in Beverly, Massachusetts. Prior to that Madison was back Off-Broadway starring as Katherine Talbot in Lerner and Loewe's rarely done musical: THE DAY BEFORE SPRING with The York Theatre Company. This was the first time the complete piece was done in New York since its original run on Broadway in 1943. Madison also recently starred as Nellie Forbush in Rodgers & Hammerstein's SOUTH PACIFIC, opposite Broadway's Ben Davis as Emile de Becque, at The Rubicon Theatre Company. Prior to that, Madison gained critical acclaim for her portrayal of Sarah Brown in GUYS & DOLLS with both Musical Theatre West at the Carpenter Center in Long Beach, California, and with Theatre Under The Stars at the Hobby Center in Houston, Texas. Other favorite roles include Cosette in LES MISÉRABLES, Hedy LaRue in HOW TO SUCCEED IN BUISNESS WITHOUT REALLY TRYING, Lady Larken in ONCE UPON A MATTRESS, Marsinah in KISMET, Precious in STEEL PIER, and Daisy Mae in the Los Angeles revival of LI’L ABNER. Madison has appeared as a soloist for numerous concerts throughout the country. Madison is a third generation performer. Her mother is Broadway actress, Karen Culliver, and her father is composer, Garrett Parks, son of Madison's grandmother; famous Broadway actress and MGM film star Betty Garrett, to whom she dedicates all her work and performances.

MYRA MAUD, VOCALS

Spreading her “Joie De Vivre” with charm and generosity, Myra's voice touches the soul and the world is amazed. Her intriguing personality and captivating artistry are as diverse as her origins. Living between New-York City and Hamburg (Germany), born and raised in Paris (France), with roots in Madagascar and Martinique, Myra is a real citizen of the world.

The multi-award singer-songwriter, instrumentalist, and producer started her career in Paris where she studied piano, saxophone, and dance at the Conservatory. Like many singers, Myra developed her singing and musical craft in church. After several shows as a singer and Master of Ceremony in Disneyland Paris, she was invited to travel the world as a soloist with the Claude Bolling Jazz Big Band and the Orchestre National Symphonique De France.

Throughout the years, Myra shared the stage with superstars such as Mireille Matthieu, Johnny Hallyday, Céline Dion. or Enrique Iglesias and performed in the presence of Quincy Jones in Davos (Switzerland) with her own choir Gospel Sans Frontières. She starred as the great Josephine Baker in the French movie “Les Enfants Du Pays" with Michel Serrault. In 2001 she left Paris to play the lead role of "Nala" in the Lion King Musical in Hamburg (Germany).

In addition to her success as a performer Myra is a highly sought after musical and vocal coach and workshop facilitator. She has led team building workshops for large multi-national corporations and smaller companies. In addition, she regularly donates and invests her time by singing in hospitals and prisons.

In 2010 Myra received her first platinum record in South Africa, for the album "Afri-Frans", a project which presents traditional South African folk songs in French. The 2nd album reached Gold Status. Myra’s international acclaim tremendously grew when she was invited to be the lead singer of the Opening Ceremony of the 2011 FIFA Women’s Soccer World Cup in Frankfurt, an event which had in excess of 130,000 spectators.

In 2014, she released her first jazz album entitled "Salt - La Solution”, a project in collaboration with acclaimed producer, Lutz Krajenski. Another major expansion of her international footprint took place when she was invited to be the headliner of the Eleuthera Jazz Festival (Bahamas) in 2015, 2017 and 2018.

In 2015, Paris welcomed her back. Myra played the lead role "Rosa L'Amour" in the musical Gospel Sur La Colline 50 performances at Les Folies Bergère (Paris, France). From 2016 to 2019 Myra starred in a series of tribute performances honoring the life and legacy of the legendary Whitney Houston. She was accompanied by the Leipzig Philharmonic Orchestra. (Germany) In May 2019, one of her biggest dreams came true when the Greenberg Artists and Schirmer Theatrical selected her in NYC to perform as a soloist for their new big production PROHIBITION.

Saturday, November 12, 2022 at 7:30 PM Sunday, November 13, 2022 at 2:30 PM

Classics Series

ELGAR & KODÁLY

JoAnn Falletta, conductor

Asier Polo, cello

WALTON

ELGAR SCHMITT KODÁLY

Portsmouth Point Overture

Concerto in E minor for Cello and Orchestra, Op. 85

I. Adagio; Moderato

II. Lento; Allegro molto

III. Adagio

IV. Allegro; Moderato; Allegro ma non troppo Asier Polo, cello

INTERMISSION

Cippus Feralis (Tombstone) from In Memorium Gabriel Fauré

Suite from Háry János

I. Prelude, The Fairy Tale Begins

II. The Viennese Musical Clock

III. Song

IV. The Battle and Defeat of Napoleon

V. Intermezzo

VI. Entrance of the Emperor and his Court

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

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

PROGRAM OVERVIEW

We welcome you to an international collection of wonderful pieces that we hope you will love. The concert's first half highlights two extraordinary English works - Walton's brilliant musical portrait of the bustling city of Portsmouth, and Elgar's heartfelt memorial to those lost in the Great War, his beautiful cello concerto. The extraordinary French composer Florent Schmitt composed an elegie for his beloved teacher Gabriel Faure, and we will end the concert with Kodaly's imaginative orchestral masterpiece, HaryJanos

The BPO musicians and I are delighted to welcome the acclaimed Spanish cellist, Asier Polo, in his Buffalo debut.

was the first British composer of orchestral music to be taken seriously abroad for centuries, and this led to high-profile commissions, international tours, and a knighthood in 1904.

Florent Schmitt (French; 1870-1958)

In Memoriam: Gabriel Fauré, Op. 72

I. Cippusferalis

PROGRAM NOTES

William Walton (English; 1902-1983)

Portsmouth Point Overture

Composed 1925; Duration 6 minutes

Born into a musical family, William Wal ton excelled as a young impressionable student at Oxford, where he discovered modern music and moved in circles of esoteric poets, artists, and high-society types. He found himself living in a Lon don attic of the well-to-do Sitwells, who only fanned the flames of his avantgarde adventures.

Inspired by the raucous port scene creat ed a century earlier by cartoonist Thomas Rowlandson, Walton sought to recreate the image’s vibrantly chaotic depiction of drunk sailors, a fiddler, and other las civious episodes in his Portsmouth Point Overture. Dedicated to his friend, poet Siegfried Sassoon, the work was pub lished on his recommendation by the Ox ford press and premiered as an interlude during a Sergei Diaghelev ballet produc tion. It was performed a few years later at the Proms under Walton’s baton.

Walton sets his scene with sunny, bus tling brass chords. Throughout, a sailor’s hornpipe dances drunkenly in and out of busy off-kilter accents. The persistent syncopations drive an atmosphere of un predictable excitement.

Edward Elgar (English; 1857-1934)

Cello Concerto in E minor, Op. 85

I. Adagio – Moderato

II. Lento – Allegro Molto III. Adagio

IV. Allegro – Moderato –Allegro ma non-troppo

Composed 1919; Duration 30 minutes

During the First World War, Elgar’s con tributions were musical and patriotic, but exhaustion and ill health punished this se nior statesman of British music, by then in his sixth decade. Retiring to his secluded Sussex cottage, each sound of artillery fire from across the nearby Channel was a reminder that the world was forever changed, and not so welcoming to the voices of the past.

As a young man, Elgar enjoyed singing in a Glee club and teaching music lessons, and with a continental education financially untenable, he relied on local opportunities—performing with a pro vincial orchestra, composing works for choral festivals—to learn and develop. While many of his colleagues would re main obscure on the world stage, his 1899 Enigma Variations brought him in ternational fame overnight. Arguably, he

Throughout his career, his wife Alice in spired Elgar in their shared successes, and she was ecstatic as he composed three sub stantial chamber works from their cottage in the closing days of the war. As Elgar healed from a recent surgery, he knew his wife was succumbing to frailty. As her death loomed, he composed his Cello Concerto.

Composed in four movements, the open ing cadenza cries out in grief, followed by a lamenting melody that first flows from the violas. Sorrowful and contemplative, the opening movement, with hesitance, is balanced by a fleeting scherzo where the soloist traverses the instrument with rapidfire notes. The Adagio is stunning for its simplicity, as the cello sings lyrically above the orchestra. The finale is symphonic, noble, and varied, spanning a spectrum of moods. Reminiscing on music that came before, this great finale is sometimes spirited, often brooding, but is ultimately heartbreaking in its conclusion.

Elgar’s Concerto opened the London Symphony’s 1919 season, but suffered from little rehearsal attention from the conductor, and the work would not gain any traction in its composer’s life. While Elgar was certainly not obscure in his final years—he still had many support ers—he was old-fashioned, and he lost his greatest inspiration. Not six months following the premiere of his Concerto, his wife Alice succumbed to cancer, and Edward would not complete another major work. Three decades after Elgar died, the first seminal recording of his Concerto was made, establishing it as a fundamental part of the cello repertoire while bringing international fame to Jacqueline du Pré.

Composed 1935; Duration 12 minutes

Gabriel Fauré (1845-1924) was among France’s most celebrated composers, known in part for his musical progeny, which included the talented nonconformist Florent Schmitt. Schmitt had many teach ers, but most treasured his relationship with Fauré, whose 1920 retirement from the Paris Conservatory sparked a project of piano works composed by his most presti gious students (such as Maurice Ravel and Georges Enesco). The project was initiated by the periodical La Revue Musicale, which challenged composers to create works in which notes would spell out Fauré’s name.

Schmitt’s contribution to the project was a Scherzo “sur le nom de Gabriel Fauré.”

Schmitt’s bombastic Scherzo, curiously steeped in disorienting dissonance, would hardly be recognizable as belonging to a student of Fauré’s. Perhaps the discovery of one’s own voice, an independent separa tion, is the greatest homage. In 1935, years after Fauré’s 1924 death, Schmitt returned to the Scherzo, orchestrating it and add ing an extensive, reflective first movement which together he titled In Memoriam

The work’s opening movement, titled Cip pus feralis, possibly referring to a grave marker, is a slowly unfolding atmospheric processional. The lone oboe opens, intro ducing a primary melody which is joined in counterpoint by a second oboe, and together, they develop a central rhythmic figure, a building block of the movement.

Schmitt explores vast orchestral colors throughout the movement’s episodes, which build to a billowing climax. The fol lowing Scherzo differs from the opening movement for its brevity, as well as for its cheeky energy. The two movements pro

vide contrasting views of Schmitt and his teacher. The Scherzo, written while Fauré was still alive, reflects a dynamic, friendly, even jocular relationship between the two, while the opening movement, composed a decade later, is a respectful reflection on Schmitt’s most important mentor.

Zoltán Kodály (Hungarian; 1882-1967)

Háry János Suite

I. Prelude; the Fairy Tale Begins

II. Viennese Musical Clock

III. Song

IV. The Battle and Defeat of Napoleon

V. Intermezzo

VI. Entrance of the Emperor and His Court

Composed 1926; Duration 22 minutes

Most heralded for his pedagogical efforts in developing the Kodály Method of mu sic education, his ground-breaking work in ethnomusicology (specifically of Hungarian music) and composition is often overshad owed by that of his prodigy Béla Bartók—a situation that is on the mend. A deep curi osity and nationalistic interest in Hungarian music and culture shaped Kodály’s men tality as a composer, notably with his only opera, his relatively early 1926 folk-opera HáryJános.

Technically a singspiel, having spoken text with songs interspersed, the four-act work is operatic in scope and drive, with a Hungar ian-language libretto by Béla Paulini. Based on the 1843 comedic epic Az obsistos (the veteran) by Hungarian writer Garay János, the story focuses on Háry János (a play on the author’s name), an old veteran of the Napoleonic wars, who sits in a tavern and tells ridiculous tales of self-aggrandizing war adventures. For Kodály, the project was an opportunity to bring Hungarian music to the operatic stage, but the sentiment of this folk hero—a peasant soldier, dreamer,

and storyteller—harnesses the qualities of the Hungarian spirit.

First staged at Budapest’s Royal Hungarian Opera House in 1926, Kodály was quick at work condensing the score into a six-part orchestral suite that premiered the follow ing year. The Prelude transports the listener to a different world, first with a flourishing figure, then a descent to long, low, moodsetting strings. Heroic horns set in a franti cally dreamy texture grow to music that flies across a European landscape. The opening movement prepares for the coming music by establishing a dreamy fairytale scene.

What follows is a series of movements chronicling our hero’s absurd stories, first with the Viennese Musical Clock, repre senting his induction into Austria’s Imperial Guard. This vibrant military march is col ored by the clanging of bells.

The third movement, simply titled Song, opens with a plaintive bout of nostalgia from a solo viola. Kodály features a cimba lom, a Hungarian dulcimer, throughout the movement, adding a folksy element to the adventurer’s tune.

The central story is of the hero’s singlehanded victory over Napoleon, portrayed in the victorious fourth movement. With clumsy battle music, triumphant fanfares, and a funeral march played by a saxo phone, the underlying humor of the tale is captured in Kodály’s musical narrative.

The cimbalom is featured heavily again in the work’s intermezzo. The self-aware over-seriousness of the movement has a tongue-in-cheek quality, maintaining a certain levity. The final movement portrays Háry János receiving a hero’s welcome by the Emperor with an uptempo march played by trumpets and flutes. The finale is an energetic jaunt to cap off our folk hero’s resplendent tales.

—Chaz Stuart, 2022

ASIER POLO, CELLO

Considered by the specialist music press as one of the most important cellists of his generation, Asier Polo has worked with many of the major international orchestras, such as the Philharmonia Orchestra, London Symphony Orchestra, Danish National Symphony Orchestra, Orchestra Sinfonica Nazionalle della RAI, Dresdner Philharmonie, Orchestre de Paris, BBC Philharmonic, Bergen Filharmoniske Orkester, Israel Philharmonic Orchestra, Berliner Symphoniker, Orquesta Nacional de México, Orquestra Sinfônica de São Paulo, Louisiana Philharmonic, Spanish National Orchestra and Basel Symphony Orchestra, under the baton of distinguished conductors such as John Axelrod, Pinchas Steinberg, Christian Badea, Rafael Frühbeck de Burgos, Claus Peter Flor, Carlos Miguel Prieto, Günther Herbig, Juanjo Mena, Antoni Wit and Anne Manson.

He is a regular guest at prestigious festivals, such as those held in Schleswig-Holstein, Nantes, Ohrid, Biennale di Venezia, Rome, Lisbon, Gstaad Menuhin Festival, Morelia, Granada and the Quincena Musical in San Sebastián.

He has appeared with great artists such as Silvia Marcovici, Nicolás Chumachenco, Sol Ga¬betta, Maxim Rysanov, Isabelle van Keulen, Josep Colom, Eldar Nebolsin, Gerard Caussé, Cuarteto Janácek, Cuarteto Casals and Alfredo Kraus, who in the last years of his career invited him to perform as soloist at his concerts, with engagements at the Maggio Musicale Fiorentino, Royal Opera House, Covent Garden in London, Tonhalle in Zurich and the prestigious Musikverein in Vienna, as well as a successful tour in the major concerts halls in Japan.

He is devoted to contemporary music, especially from his native country. Composers such as Gabriel Erkoreka, Jesús Torres, Luis de Pablo, Jesús Villa-Rojo, Fernando Velázquez and Antón García Abril have all dedicated their cello concertos to Asier Polo. He enjoys combining modern music with the great classical repertoire, covering everything from Bach’s Suites, classical and romantic concertos, to contemporary music such as Dutilleux, Cristobal Halffter and Sofia Gubaidulina.

He has recorded 19 albums for major record labels such as Naxos, Claves, RTVE, IBS Classical and Marco Polo, playing some of the major Spanish repertoire for cello, such as the concertos by José María Usandizaga, Joaquín Rodrigo, Francisco Escudero, Tomás Marco, Carmelo Bernaola and Jesús Rueda. Highlights include the nominated for the Gramophon Editor’s Choice Award CD dedicated to the work of the composer Sofia Gubaidulina (Et’ceteraRecords) and the recording of the Ecosy Sombras[Echoes and Shades] DVD dedicated to Cristóbal Halffter, performing his CelloConcerto no. 2 with the Spanish National Orchestra (KP Music).

His latest CD releases -all them for IBS Classical- include Rachmaninov and César Frank’s sonatas for cello and piano with Marta Zabaleta and Brahms’ cello sonatas with the pianist Eldar Nebolsin, as well as Vivaldi, Boccherini and Haydn’s cello concertos together with the Orquesta Barroca de Sevilla and Andrés Gabetta, and the whole set of Cello Suites by J. S. Bach, his latest album.

Two new albums will soon be released with the Spanish National Orchestra, conducted by Juanjo Mena: Joaquín Rodrigo’s two cello concertos -Concierto como un Divertimento and Concierto in modo Galante, as well as Alberto Ginastera’s Cello Concerto no. 2, Op.50 (1980).

Asier Polo studied in Bilbao, Madrid, Cologne and Basel with Elisa Pascu, Maria Kliegel and Ivan Monighetti, and also received guidance from János Starker, Natalia Gutman and Mstislav Rostropovich in various masterclasses. He soon stood out as a promising young musician, winning

the first prizes in Cello and Chamber Music at the National Young Musicians Competition in Spain.

Asier Polo has been awarded numerous prizes, and amongst others, the Ojo Crítico by Radio Nacional de España (2002), the Fundación CEOE Prize for Musical Interpretation (2004) and the National Music Award by the Ministry of Culture and Sports of Spain (2019). In 2009 he was appointed “Ilustre de Bilbao” (Bilbao being his native city).

He is regularly invited to be on the judging panel of international cello competitions, such as the Dotzauer Wettbewerb (Germany), Carlos Prieto International Cello Competition (Mexico), Benedetto Mazzacurati Competition (Italy) and the Manhattan International Music Competition (New York). He also gives masterclasses in many countries, including Germany, the Netherlands, Italy, Mexico, Venezuela and Brazil.

Asier Polo plays a Francesco Ruggeri cello (Cremona, 1689) purchased in collaboration with the Fundación Banco Santander.

Friday, November 18, 2022 at 7:30 PM

BPO Special Event YO-YO MA

JoAnn Falletta, conductor Yo-Yo Ma, cello

ROSSINI

R. STRAUSS DVOŘÁK

Overture to Guillaume Tell [William Tell]

Don Juan, Op. 20

INTERMISSION

Concerto in B minor for Cello and Orchestra, Op. 104

I. Allegro

II. Adagio ma non troppo

III. Finale: Allegro moderato Yo-Yo Ma, cello

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.

PROGRAM OVERVIEW

The most beloved cellist in the world, Yo-Yo Ma has made more friends for classical music than perhaps any other artist. His return to Buffalo is cause for celebration, and he brings us the beautiful Dvořák Cello Concerto, a piece written in New York during the composer's time in our country. We open our concert with Rossini's thrilling William Tell Overture, featuring our own cello section. Richard Strauss' sweeping DonJuan completes a program filled with romantic color and great drama.

Strauss a way forward, and this combined influence is evident in his six-decade ca reer of masterful tone poems, operas, con certos, and contributions to many other genres. This celebrated career was initiated with the 1888 tone poem Don Juan, which had instant and lasting international success.

Antonín Dvořák (Czech; 1841-1904)

Cello Concerto in B minor for Cello and Orchestra, Op. 104

I.Allegro

II.Adagio ma non troppo

III. Finale: Allegro moderato

PROGRAM NOTES

Giachino Rossini (Italian; 1792-1868)

William Tell Overture

Composed 1829; Duration 12 minutes

Giachino Rossini’s concentrated workload codified Italian opera and left him with a comfortable 40-year retirement when he stepped away from the genre at 37 years old having written 39 operas. His final contribution to the genre was Guillaume Tell which boasted an overture that would live on in popular culture, popping up everywhere from Saturday morning cartoons to The Lone Ranger, becoming an idiomatic signifier of horseback riding and western frontierism.

The Opera is based on playwright Fried rich Schiller’s 1804 portrayal of the Swiss folk hero William Tell, and the historical 14th-century rebellion against Habsburg rule in the tyrannical Albrecht Gessler. In this retelling, Tell tries to protect his friends against the authoritarian rule of Gessler’s Austrian forces. Tell’s son is captured and he is forced to display his marksmanship by shooting an arrow over his head. He succeeds and escapes, ultimately vanquishing Gessler. The revolutionary undertones of the work stymied its performance schedule in Italy but would ultimately serve as a universally victorious tale.

The four-part overture begins with “Dawn.” Low strings present a quiet moodiness that resolves to a pleasant E

major. This turns into the second section, “Storm,” that teeters with quiet tension, growing into a blustery jaunt. As the storm subsides, the sun comes out with Ranz des vaches (“call the cows”), a bucolic pasto ral scene with recognizable melodies. For the finale of the Overture, the victorious arrival of the Swiss soldiers is opened by brazen trumpets and timpani and finishes with the illustrious gallop.

Richard Strauss (German; 1864-1949)

Don Juan, Op. 20

Composed 1888; Duration 18 minutes

Richard Strauss began making music almost immediately as a child under the influence of his father, a professional horn player. The conservative musical views of his father would influence him in his early output, but the opportunity to hear his father premiere Wagner’s Parsifal at the 1882 Bayreuth Fes tival seduced the younger Strauss into the wave of Wagner fever that was sweeping the opera world, despite his father’s de spisement of this modern music.

Strauss’ celebrated career as a conductor began as an assistant to Hans von Bülow at the Meiningen Court Orchestra, where he was quickly tested, leading the premiere of Brahms’ Fourth Symphony (1885). Wag ner’s meta-musical approach was the polar opposite of Brahms’ Beethovenian com mitment to the classical forms and thematic development, yet both masters offered

The Spanish Renaissance libertine Don Juan has served as the subject for a number of works (such as Mozart’s Don Giovanni) but had made its way into German literature and theater in the nineteenth century, spe cifically, through an 1844 work by poet Nikolaus Lenau. While promiscuity is a trait traditionally attributed to Don Juan, Lenau preferred to treat him as a wanderer, des perately in search of love with the perfect woman. This justification adds sincerity to the romantic moments of Strauss’ work, but a certain amount of narcissism is pres ent in Don Juan who despairs at his inability to find the ideal partner. Strauss’ forwardthinking work masterfully captured the changing cultural spirit of the late nine teenth century, with a balance of ill-fated confidence in individualism coupled with cynical pessimism.

The burgeoning opening surges with ris ing figures, setting a spirited scene for our confident anti-hero, followed by romantic music demonstrating his seductive pow ers. Sweetly delicate woodwind melodies portray a romantic tryst, but an abrupt rise of strings bring a massive unison of horns sounding Don Juan’s theme in bravado uni son. Through Strauss’ development of the work’s thematic materials, the mood shifts from carefree to concerned, even melan cholic. Don Juan resigns to the failure of his quest and agrees to a duel with a jealous lover with the acceptance of his own de mise. Strauss’ portrayal evokes a sense of triumph in his suicidal mission as Don Juan meets his end, but the work’s final bars are also steeped in grim regret.

Composed 1894; Duration 40 minutes

Early in his career, Dvořák was an impov erished provincial Czech composer who couldn't turn down a friend’s wish to com pose his Cello Concerto in A major (1865). Although he complained that the instru ment was ill-suited for a solo role for its nasal high range and grumbling lower reg ister—Dvořák’s sentiments—he produced some 55 minutes of music that remained unorchestrated and buried in his portfolio for nearly a century. Other projects took precedence, but he would revisit the genre three decades later.

Employed as an organist, his work as a composer of a national Czech identity grew to international attention upon win ning the Austrian state prize in 1874 and 1877. The following decades would lead him to a directorship at New York’s Na tional Conservatory of Music where, be ginning in 1892, he was paid handsomely to bring his reputation and advise Ameri can composers on the development of a national musical identity.

Among the “American” works from this period was the enormously popular Sym phony No. 9, “From the New World.” which was premiered in 1893 by the New York Philharmonic. The Principal Cellist for the orchestra Victor Herbert’s own Cello Concerto inspired Dvořák to give in to the prodding of his friend, prominent Czech cellist Hanuš Wihan.

Wihan premiered the piano reduction version of Dvořák’s new Concerto but was unavailable for the full premiere to the

composer’s disappointment. He would ultimately champion the work for a number of prominent performances, but the honor of the premiere belonged to English cellist Leo Stern, with the composer conducting London Philharmonic Society at Queen’s Hall in 1896.

The Concerto is cyclic in nature, with the dark-toned clarinet melody of the open ing appearing later in the work. The build ing orchestration settles into a calming bucolic scene with a folksy melody first heard in the horn. Our soloist arrives with a generous interpretation of the opening theme, and virtuosic interpolations in the plaintive high register are balanced by the lyrically singing second theme. Peaceful moments are interrupted by tense technical displays until the action comes to fantastic B major resolution.

The extensive Adagio opens with a wood wind chorale, but the cello soon enters

with a sweet melody. In harsh juxtaposition, a surprisingly intense tutti interrupts, introducing melodies propelled by flowing rhythms. A brief cadenza is joined by a flute for an intimate duet. The movement is shaped by a variety of mood swings, ultimately settling to a quiet exit.

The rondo opens with quiet marching, dra matically building for the cello’s powerful melody. Throughout the movement, mo ments of calm adeptly feature woodwind contributions as the soloist provides impressive streams of notes. In a hushed moment, the melody that opened the work returns, before moving on to a singing melody. The vigorous movement has many sweet moments, paying homage to his dying sister-in-law, and Dvořák sneaks into the finale a quote of her favorite Czech song. Nearing the end, peaceful solitude morphs into a triumphant outburst in the final bars.

—Chaz Stuart, 2022

YO-YO MA

Yo-Yo Ma’s multi-faceted career is testament to his enduring belief in culture’s power to generate trust and understanding. Whether performing new or familiar works from the cello repertoire, collaborating with communities and institutions to explore culture’s role in society, or engaging unexpected musical forms, Yo-Yo strives to foster connections that stimulate the imagination and reinforce our humanity.

In 2018, Yo-Yo set out to perform Johann Sebastian Bach’s six suites for solo cello in one sitting in 36 locations around the world that encompass our cultural heritage, our current creativity, and the challenges of peace and understanding that will shape our future. And last year, he began a new journey to explore the many ways in which culture connects us to the natural world. Over the next several years, Yo-Yo will visit places that epitomize nature’s potential to move the human soul, creating collaborative works of art and convening conversations that seek to strengthen our relationship to our planet and to each other.

Both endeavors continue Yo-Yo’s lifelong commitment to stretching the boundaries of genre and tradition to explore how music not only expresses and creates meaning, but also helps us to imagine and build a stronger society and a better future.

It was this belief that inspired Yo-Yo to establish Silkroad, a collective of artists from around the world who create music that engages their many traditions. Through his work with Silkroad, as well as throughout his career, Yo-Yo Ma has sought to expand the classical cello repertoire, premiering works by composers including Osvaldo Golijov, Leon Kirchner, Zhao Lin, Christopher Rouse, EsaPekka Salonen, Giovanni Sollima, Bright Sheng, Tan Dun, and John Williams.

In addition to his work as a performing artist, Yo-Yo has partnered with communities and institutions from Chicago to Guangzhou to develop programs that advocate for a more human-centered world. Among his many roles, Yo-Yo is a UN Messenger of Peace, the first artist ever appointed to the World Economic Forum’s board of trustees, and a member of the board of Nia Tero, the US-based nonprofit working in solidarity with Indigenous peoples and movements worldwide.

Yo-Yo’s discography of more than 100 albums (including 19 Grammy Award winners) reflects his wide-ranging interests. In addition to his many iconic renditions of the Western classical canon, he has made recordings that defy categorization, among them “Appalachia Waltz” and “Appalachian Journey” with Mark O’Connor and Edgar Meyer and two Grammy-winning tributes to the music of Brazil. Yo-Yo’s recent recordings include: “Sing Me Home,” with the Silkroad Ensemble, which won the 2016 Grammy for Best World Music Album; “Six Evolutions — Bach: Cello Suites;” and “Songs of Comfort and Hope,” created and recorded with pianist Kathryn Stott in response to the COVID-19 pandemic. Yo-Yo’s latest album is “Beethoven for Three: Symphonies Nos. 2 and 5,” with pianist Emanuel Ax and violinist Leonidas Kavakos.

Yo-Yo was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age four and three years later moved with his family to New York City, where he continued his cello studies at the Juilliard School before pursuing a liberal arts education at Harvard. He has received numerous awards, including the Avery Fisher Prize (1978), the National Medal of the Arts (2001), the Presidential Medal of Freedom (2010), Kennedy Center Honors (2011), and the Polar Music Prize (2012). He has performed for nine American presidents, most recently on the occasion of President Biden’s inauguration.

Yo-Yo and his wife have two children. He plays three instruments: a 2003 instrument made by Moes & Moes, a 1733 Montagnana cello from Venice, and the 1712 Davidoff Stradivarius.

Saturday, November 19, 2022 at 7:30 PM

BPO Pops Series

THE MUSIC OF ABBA ARRIVAL FROM SWEDEN

Ron Spigelman, conductor

Arrival from Sweden

ProgramToBeAnnouncedFromTheStage

ARRIVAL FROM SWEDEN

The full live group ARRIVAL from Sweden is the world’s leading and biggest ABBA show today featuring the music of ABBA. The Swedish super group ABBA sold nearly 400 million records, and following the success of the musical and movie productions of “Mamma Mia,” ARRIVAL from Sweden ensures audiences across the globe can continue to enjoy the band’s fan favorites performed live. With the highly acclaimed musicians and singers from Sweden, this is the world’s most successful ABBA show ever with millions of tIckets sold all over the world.

ARRIVAL from Sweden was founded by Vicky Zetterberg in 1995, in Gothenburg, Sweden, soon becoming one of the world’s most popular and best selling ABBA performances. Since its formation, the band has toured over 70 countries, performed on multiple TV and radio shows across the world, and, since 2005, completed 90 successful and sold out USA tours, selling out arenas seating up to 50 000 people.

The Australian ABBA fan clubs have referred to ARRIVAL From Sweden as “The Closest You Will Ever Get To ABBA!”

ARRIVAL from Sweden as collaborated with more than 100 symphony orchestras world-wide, including the Boston Symphony Orchestra, San Francisco Symphony, Dallas Symphony Orchestra, Houston Symphony, and Atlanta Symphony Orchestra. They are the only group to have been provided with previously unreleased ABBA compositions directly from ABBA’s Björn Ulvaeus and Benny Andersson. The song “Just A Notion” was released by ARRIVAL from Sweden in 1999, prior to it being released by ABBA itself in its 2021 Voyage album.

RON SPIGELMAN, CONDUCTOR

A native of Australia, conductor Ron Spigelman is an honors graduate of the Royal Academy of Music, London. He was Associate Conductor of the Buffalo Philharmonic Orchestra from 2001-2004, and before that with the Fort Worth Symphony Orchestra. He has been Music Director of the Fort Worth Dallas Ballet, the San Angelo Symphony, the Texas Chamber Orchestra, Springfield Symphony Orchestra (MO) and the Lake Placid Sinfonietta (NY), where he is now Conductor Emeritus. He is currently Pops Conductor of the Tulsa Symphony Orchestra.

He has appeared as guest conductor with numerous orchestras across the U.S., and in Australia with the Adelaide, Queensland, The West Australian, and Sydney Symphony orchestras, the West Australian Opera, and the Australian Youth Orchestra. He made his Carnegie Hall debut with the Buffalo Philharmonic Orchestra in 2004.

A champion of new music, he has conducted over 30 world premieres. He was James Conlon’s assistant conductor at the Van Cliburn International Piano Competition four times, and guest artists he has accompanied include Horacio Gutierrez, Sharon Isbin, Rachel Barton Pine, Richard Stoltzman, and Pops artists including Marvin Hamlisch, Peter Paul and Mary, James Taylor, Audra McDonald, Ben Folds, Kenny G, Jason Alexander, Audra McDonald, Asleep at the Wheel, Hanson, and many others.

He has conducted live film scores for Pirates of the Caribbean, Fantasia, Raiders of the Lost Ark, The Wizard of Oz, PassionofJoanofArc, and Ben Hur. He recently added Star Wars, Home Alone, NightmareBeforeChristmas, and HarryPotter–ChamberofSecrets

Ron’s principal instrument study was the Trumpet. As a soloist he performed with several British orchestras and at music festivals in the United Kingdom, Belgium, and Italy.

Ron lives in Tulsa OK with his wife, Laura, who is a member of the Tulsa Symphony (Viola) and with two of their combined six children.

This concert is sponsored by Gurney Becker & Bourne

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

SPONSOR A MUSICIAN

Nikki Chooi, concertmaster Sponsored by Clement and Karen Arrison

Ansgarius Aylward, assistant concertmaster Sponsored Anonymously

Douglas Cone, first violin Sponsored by Bradford Lewis

Alan Ross, first violin Sponsored by Anthony J.* and Carmela M. Colucci

Loren Silvertrust, first violin Sponsored by Mrs. George F. Phillips, Jr.

Andrea Blanchard-Cone, first violin Sponsored by Drs. Clement and Margot Ip

Jacqueline Galluzzo, associate principal second violin Sponsored by Sandra and Dennis McCarthy

Amy Licata, second violin Sponsored by David I. Herer on behalf of ABC-Amega, Inc.

Xiaofan Liu, 2nd assistant concertmaster Sponsored by Michael D'Ambrosio

Robert Prokes, second violin Sponsored by Ansie Baird

Caroline Gilbert, principal viola Sponsored by Bruce and Gail Johnstone

Anna Shemetyeva, associate principal viola Sponsored by Christine Standish & Chris Wilk

Natalie Piskorsky, viola Sponsored by Dr. Patricia and Burt* Notarius

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

Kate Holzemer, viola Sponsored by Ms. Cindy Abbott Letro and Mr. Francis M. Letro

Janz Castelo, viola

Sponsored by Anthony J. and Barbara Cassetta

Feng Hew, associate principal cello Sponsored by Kenneth Schmieder, in loving memory of Nancy L. Julian

Nancy Anderson, cello Sponsored by Stephen Still and Terrie Tucker

Robert Hausmann, cello Sponsored by Sally and Donald Dussing

David Schmude, cello Sponsored by Jim and Michal Wadsworth

Amelie Fradette, cello

Sponsored by Ms. Cindy Abbott Letro and Mr. Francis M. Letro

Brett Shurtliffe, associate principal bass Sponsored by Mr. Bruce C. Baird and Mrs. Susan O’Connor-Baird

Jonathan Borden, bass Sponsored by Edward N. Giannino, Jr.

Christine Bailey Davis, flute Sponsored by Sue Fay and Carl

Henry Ward, principal oboe Sponsored by Mr. and Mrs. Robert C. Wetter

Joshua Lauretig, oboe Sponsored by Sonny & Diane Sonnenstein

Anna Mattix, oboe/English horn Sponsored by Bonnie and Nick Hopkins

William Amsel, principal clarinet Sponsored by Dr. Gilbert Schulenberg

Patti DiLutis, clarinet

Sponsored by Dennis P. Quinn

Salvatore Andolina, clarinet/saxophone Jennifer Dowdell, in memory of Charles and Nancy Dowdell

Glenn Einschlag, principal bassoon

Sponsored by Barbara B. Bunker

Daniel Kerdelewicz, associate principal, French horn

Sponsored by Gretchen Wylegala and Stephen McCabe

Jay Matthews, French horn Sponsored by Philip H. Hubbell, in loving memory of Jayne T. Hubbell

Sheryl Hadeka, French horn Sponsored by Linda Johnson & Sanford Eisen

Alex Jokipii, principal trumpet Jennifer Dowdell, in memory of Charles and Nancy Dowdell

Philip Christner, trumpet Sponsored by Frank and Wilma Cipolla

Jonathan Lombardo, principal trombone Sponsored by Nicole and Stephen Swift

Timothy Smith, trombone Sponsored by Arthur W. and Elaine I. Cryer

Filipe Pereira, bass trombone Sponsored by Constance A. Greco

Matthew Bassett, principal timpani Sponsored by Bonnie and Nick Hopkins

Mark Hodges, principal percussion Sponsored by Vanda and Paul Albera

Dinesh Joseph, percussion Sponsored by Lynne Marie Finn, on behalf of Broadleaf Results

Madeline Olson, principal harp

Sponsored by Dr. and Mrs. Curtis F. Holmes

To learn more about the Sponsor a Musician program, please contact Jacqueline Chagnon at 716) 242-7829 or jchagnon@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 September 23, 2022. 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 & Angelo Fatta

The Ralph C. Wilson, Jr.Foundation

John & Carolyn Yurtchuk

$50,000-$149,999

Anonymous

Mr. Brent Baird

Brian and Barbara Baird

Mark Chason & Mariana Botero Chason

Louis P. Ciminelli FamilyFoundation

The Robert and Patricia ColbyFoundation

Cullen Foundation

Carlos and Elizabeth Heath Foundation

W. & J. Larson FamilyFoundation

Mulroy Family Foundation

The Walter Schmid FamilyFoundation Charitable Trust

Bonnie & Nick Hopkins Christine Standish & Chris Wilk

$25,000-$49,999

Clement & Karen Arrison

Mr. Bruce C. Baird & Mrs. Susan O'Connor-Baird

The Montgomery FamilyFoundation

Steve and Nicole Swift

Mr. Gerald K. Thomas

Ralph C. Wilson, Jr. LegacyFunds at CFGB

Roy and Ruth Seibel FamilyFoundation

Stephen Still and Terrie Tucker

Maestro’s Circle $10,000-$24,999

Cindy Abbott Letro and Francis Letro Paul and Vanda Albera

Sue Fay Allen & Carl Klingenschmitt

The Baird Foundation Mr. Charles Balbach

The Better Buffalo Fund at the CFGB Oliver G. & Sarah Sloan Bauman Fund for the Arts

Anthony & Barbara Cassetta Arthur W. & Elaine I. Cryer Bob & Doris Drago Ms. JoAnn Falletta & Mr. Robert Alemany

Judith Fisher

Robert J. & Martha B. Fierle Foundation Patricia & William Frederick George and Bodil Gellman Cheryl Gorski

Mr. and Mrs. George G. Herbert Dr. and Mrs. Curtis F. Holmes Hooper Legacy Foundation

Mr. Philip H. Hubbell Clement and Margot Ip Bruce and Gail Johnstone

Roberta & Michael Joseph Mrs. Ellen T. Koessler

Bradford Lewis Lori Pacer, in memory of William J. Pacer Donald MacDavid Charitable Trust Mr.* and Mrs. Reginald B. Newman II Mr.* and Mrs. George F. Phillips, Jr. Adam Rome and Robin Schulze Joseph & Carole Sedita Sonny & Diane Sonnenstein David M. Stark & Cynthia Baird Stark Scott R. and Rachel C. Stenclik Gary and Katharina Szakmary

The Vincent and Harriet Palisano Foundation

Jack Walsh, in memory of Connie Walsh Robert and Judith Wetter

Concertmaster’s Circle

$5,000-$9,999

Anonymous (4) Ansie Baird

James and Linda Beardi James M. Beardsley & Ellen M. Gibson

Barbara Bunker

Mr. Joseph F. Casey Frank and Wilma Cipolla

Conable Family Foundation Michael D'Ambrosio Wendy Diina Jennifer Dowdell, in memory of Charles and Nancy Dowdell Sally and Don Dussing

Peter & Maria Eliopoulos

Stephen Edge and Cynthia Swain Edward N Giannino, Jr E Joseph and Lynne Giroux Sarah Goodyear

Ms. Constance A. Greco

Patricia Prentice & James Grunebaum Dr. Elisabeth Zausmer and Dr. Angel A. Gutierrez Daniel and Barbara Hart David and Eva Herer

David and Lucinda Hohn

John J. and Maureen O. Hurley Robert and Hana Jacobi

Linda Johnson & Sanford Eisen Edwin M. Johnston, Jr. Michael & Marilee Keller

Ken & Paula Koessler

Mr. and Mrs.* Philip Kadet - The Linton Foundation

Mr. Warren Lippa Mr. Ron Luczak and Mr. Michael Boland

Lorinda McAndrew Voelkle Foundation Charles & Judith Manzella Stephen McCabe and Gretchen Wylegala

Dennis and Sandra McCarthy

Mr. and Mrs. James D. Newman

Patricia Notarius/ Premier Group Marie and Jay Novello, in memory of Don and Eileen Brutvan

Douglas & Laurette* Oak Pappalardo Family Foundation Mark and Stacy Parkinson Michelle & Gerald Parrish

Mr. and Mrs. Edwin Polokoff

Mr. and Mrs. Joseph Priselac, Jr. Mr. Dennis P. Quinn David & Joan Rogers

Ronald Frank* & Anne Schneider

Dr. Gilbert Schulenberg Lowell and Ellen Shaw

Stephen and Monica Spaulding

Mr. and Mrs. Daniel Sperrazza

Robert and Nancy Warner Memorial Fund at the FJP Martha and John* Welte Bud and Sandy Whistler

Encore Circle

$2,500-$4,999

Anonymous (3)

Dr. and Mrs. Fred and Bonnie Albrecht

Joan and Peter Andrews Family Foundation

Douglas Bean and Elisa Kreiner Ann N. Bonte

The Reverend* and Mrs. Peter Bridgford

Mr. & Mrs. John Burkholder

Joanne Castellani & Michael Andriaccio

William & Ida Christie Fund for Music

Ms. Elizabeth G. Clark

Ms. Anne E. Conable

Richard and Cornelia Dopkins

Mr. and Mrs. Douglas Easton Ms. Mary A. Ferguson Mrs. Marta Fernandez

Thomas and Grace Flanagan Ilene and Peter Fleischmann Beth Fleming

AnneMarie Farmer and David Gaydosh Dr. Samuel Goodloe, Jr. Mr. and Mrs. Robert M. Greene Dave & Katie Hayes Michele O. Heffernan and John J. Cordes

Dr. Barbara W. Henderson

Philip & Marion Henderson

Martha & Tom Hyde

Mr. James & Mrs. Diana Iglewski

Mr. & Mrs. Jeremy Jacobs Jr. Joseph & Anna Gartner Foundation Mr. William P. Keefer Joseph M. Kelly

In memory of W. R. Keppel from S. A. K. Dwight King & Leslie Duggleby Rosalind & Michael Kochmanski

Susan B. Lee Steve & Sandy Levinthal Sr. Beatrice Manzella William and Jane Mathias

Mr. and Mrs. John R. McClester

Mr.* and Mrs. Sheldon E. Merritt Denise Meyers-Rezabek

Frances L. Morrison Michael and Lorrie Munschauer

Dr. Thomas Nochajski

OSC Charitable Foundation Mary Jane and Walter Pawlowski Frederick S. & Phyllis W. Pierce Family Fund

Mrs. Susan A. Potter

Peter & Nancy Rabinowitz Ms. Georgeann W. Redman Mr. and Mrs. Bruce Renner

Thomas Rolle and Ms. Deborah Henning Dr. Richard J. Saab/Maureen Wilson

Saab

Ken Schmieder and Nancy Julian* Miss Louise E. Seereiter

Dr. Maxine Seller

Simple Gifts Fund

Dr. Joyce E. Sirianni Stephen Stewart Ronald Struzik

Dr. Joseph R. Takats, III Jeffrey J. Thompson

Drs. Mark and Maansi Travers

Nicholas & Nicole Tzetzo

Barry & Donna Winnick Gregory and Donna Yungbluth

John and Deanna Zak C. Richard and Joyce T. Zobel

Bravo Circle

$1,000-$2,499

Anonymous (9) Morton & Natalie Abramson

JoAnne Alderfer Liz & John Angelbeck

Ann Holland Cohn Endowment Fund at the FJP Rita Argen Auerbach

Reverend James M. Augustyn

Mr. and Mrs. Teo Balbach

Bradford Banks

Mary L. and Ronald E* Banks

Mr. Steve Earnhart and Mrs. Jennifer Barbee

Drs. Kevin and Elizabeth Barlog Thomas R Beecher, Jr. Dr. David B. Bender

Mr. Thomas Boeck Gary & Willow Brost R. R. Bujnicki

Tim and Mary Lou* Butler

Dr. and Mrs. John L. Butsch

William Catto & Katharine Pierce

Cheryl Christie

Ms. Rosemary Christoff Dolan in memory of Gerald Christoff, composer and pianist

Dr. Sebastian* & Marilyn Ciancio

Dr. and Mrs. Michael E. Cohen

Jennifer Read and Craig Colder John and Patricia Connolly Dr. and Mrs. Harold G. Corwin, Jr. Patti Cosgrove

Legacy II Fund at the Community Foundation for Greater Buffalo

Mr. and Mrs. David Croen

Jean McGarry and James F. Cunning Peter S. and Elizabeth H. Curtis Jane M D'Agostino Ms. Ellen J. Daly

Beverly Davies Jason and Sheryl Davies Clotilde & Trey Dedecker

Mr. and Mrs. Joseph S. DePaolo James & Mary Frances Derby

Mr. and Mrs. Thomas Detwiler

Tony* & Kathy Diina

Duane & Nancy DiPirro Mrs. Carol Donley

Richard and Cornelia Dopkins Miriam & Peter Dow

Ellen & Victor* Doyno

Patricia K Duffner

Edward G Eberl

Paull Family Foundation Inc.

Mr. and Mrs. Kim A. Ferullo

Joyce E. Fink

Timothy and Deborah Finnell

Robert and Ruth Fleming

The Honorable and Mrs. Leslie G. Foschio

Ms. Margaret A. Frainier Rose H. and Leonard H. Frank Community Endowment Fund

Eileen & Laurence Franz Patricia B. Frey, Ed.D.

Mr. and Mrs. David Fried

Mr. and Mrs. Michael A. Giambra

Ms. Carol A. Golder

Marc J. Goldstein

Dr. Susan Graham and Dr. Jon C. Kucera

George and Cecelia Grasser

Mr. and Mrs. William Greenman Adrienne Tworek-Gryta and Matt Gryta

Thomas J. Hanifin BPO Fund II at the Community Foundation for Greater Buffalo

Mr. and Mrs. Van N. Harwood, Jr. Martha Haseley

Carla J. Hengerer

Amy & Eduardo Heumann Nancy Higgins Richard and Lynn Hirsch Monte Hoffman, Niscah Koessler Mr. Paul A. Hojnacki John and Janice Horn

Marie F. and Frederic K. Houston Fund at the Community Foundation for Greater Buffalo

Mr. Bernhard Huber, Jr. Mrs. Pamela R. Jacobs Kevin and Kelly James Karen Jarvis

Thomas and Deborah Jasinski Luella H. Johnson Craig and Deborah Johnston Mr. Alex Jokipii and Ms. Shari L. McDonough Mr. and Mrs. Benoy Joseph Mr. Charles J. Kaars Ms. Jennifer Kartychak Jane and John Kearns Dr. and Mrs. Kenneth R. Kahn Dr. Kathleen Keenan-Takagi Milton Kicklighter

Verna Kieffer

Mr. and Mrs. Douglas G. Kirkpatrick Robert and Barbara Klocke Carol & John* Kociela Mr. and Mrs. Jean Pierre A. Koenig Bob & Liz Kolken

Dr. Daniel Kosman and Dr. Gabriela Popescu

Mr.* and Mrs. Robert J. Kresse Risé & Kevin* Kulick Joan Kuhn

Drs. Jeffery Lackner and Ann Marie Carosella Mr. Donald Latt Dr. John Leddy and Dr. Carmen Alvarez Amanda and Ian Lee-Bennett Paul and Jane Lehman

Drs. David B. and Madeline A. Lillie Catherine & Matt Lincoln Ms. Donna J. Ludwig

Judy Marine Ms. Linda Marsh Randy & Diana Martinusek Mr. George L. Mayers Elsie P. & Lucius B. McCowan Private Charitable Foundation Ms. Michaelene J. McFarlane Ms. Barbara Mellerski-Farkas David & Gail Miller Ms. Pennie C. Hoage Mitchell Family Philanthropic Fund at the Community Foundation for Greater Buffalo Mrs. Alexandra and Mr. Michael Montante Anne Moot Ms. Sharon F. Mortin Robert Moskowitz and Mary McGorray

Sandra Mundier

Philip Nicolai and Mary Louise Hill

Dr. Michael F. Noe

Mr. Phillip L. Nones

Mr. and Mrs. Randall M. Odza

Mr. Gerald Pacillo

Eleanor & Tony Paterson

Laurence & Sylvia Paul

Lois and Thomas Pause Charitable Fund and the Community Foundation for Greater Buffalo

Dr. & Mrs. Philip Penepent

Mr. & Mrs. Richard C. Penfold

Erin Peradotto

David Schopp and Mark Peszko Ms. Christye Peterson and Mr. Peter J. Grogan Gregory Photiadis and Sandy Chelnov

Mr. and Mrs. Robert W. Plyler Karen L. Podd

Keith & Beth Podgorny

Mr. Paul J. Polokoff

Joseph and Pamela Priest

Dr. Igor and Dr. Martina Puzanov

Ted and Mary Ann Pyrak Ms. Stephanie Robb

Drs. John and Sheliah Roehmholdt Mary Anne Rokitka Ms. Elaine Rubenstein

Mr. Philip Rumore Dina & Carlos Santos

William and Elizabeth Savino Ruth and Darwin Schmitt Fund at the CFGB

Susan and Jeffrey Schwartz

Mr. and Mrs. Roger L. Schintzius Mr. Michael B. Sexton and Dr. Sandra Sexton

Mr. and Mrs. Lawrence D. Seymour Caren and Stuart C. Shapiro

Mr. and Mrs. Robert Shappee

Larry & Barbara Sherman Charles E. and Penelope R. Shuman

Philanthropic Fund

Mr. Gerould R. Stange Alma Owen Strachan

Jan Svec

Mr. and Mrs. Thomas W. Symons Mr. Ronald G. and Mrs. Margaret N. Talboys Nancy B. Thomas Susan & John Thomas

Mr. and Mrs. John C. Thompson Dr. Albert H. Titus and Dr. Ann M. Bisantz

Hon. and Mrs. Paul A. Tokasz Lyle & Phil Toohey

Dr. & Mrs. Raymond C. Vaughan

Janet D. Vine

Dr. and Mrs. P.K. Wallace

Nellie B. Warner Endowment Fund

William & Valerie Warren William Weiss

Wende Family Fund

Mr. and Mrs. Richard H. Wetter

Dr. & Mrs. Richard A. Wiesen Wayne* & Janet Wisbaum Paul M. Wos Arden and Julie Wrisley

The Yadzinski Family

Charles and Maura Yates Cynthia Zane & Stephen Mazurak* Mr. Paul Zarembka Dr. Gregory Castiglia & Dr. Valerie Zingapan Drs. Bill Ziter & Cathy Gogan

Crescendo $500-$999

Anonymous (2) Ms. Gail Adema

Eileen M. & Erik S. Anderson Mr. and Mrs. James M. Arena Susan Baird Karen A. Barbee

Mr. Matthew & Mrs. Kathleen Bassett Mr. Richard C. Batt Mark & Debbie Bauer

Henry E. and Susan W. Beamer Endowment Fund at CFGB Mr. Donald M. Behr

Berardi Immigration Law Ms. Linda M. Betzer

Peg Beyer

Mr. and Mrs. Terrence Bisson Alan and Barbara Blackburn Drs. Gale Burstein and Peter Bloom Derek & Laura Brann Bruce and Jill Brown Mr. and Mrs. William Brucker Ms. Bette J. Brunish Mr. & Mrs. David Bullions Mr. & Mrs. Dean & Patricia Burgstahler Mr. and Ms. Randall Burkard Tim and Mary Lou Butler Drs. Evan & Virginia Calkins* Margaret C. Callanan Dr. Mireya B. Camurati Joseph and Susan Cardamone Jerry* & Barbara Castiglia Miss Victoria A. Christopher Mr. Michael Charles Cimasi Collins Charitable Foundation Mrs. Mary J. Clark Ginger and Gordon* Comstock Bob and Susan Conklin Diana M. Conroy Mrs. Donanne S. Coovert Andrea and Don Copley Paulette Crooke & Michael Toner Croucher - Fletcher Charitable Fund Mrs. Elizabeth Crump and Ms. Janet Cooper Walter & Rosemary Dannhauser Mr. and Mrs. David Day Dr.* and Mrs. David C. Dean Jonathan Dewald Gary Diamond & Julie Klotzbach Lusyd W. Doolittle Robert G Dunford

Drs. Philip Dvoretsky & Linda Ludwig Mr. Edward Eardley Amy P. Early M.D. Mr. and Mrs. Arthur Efron Marla Eglowstein Dr. Richard S. Elman and Dr. Nora Meaney-Elman Mr. and Mrs. Robert Ewing Mr. and Mrs. James S. Fanning Mr. Leo Fedor

Dr. W. Ferguson Mr. & Mrs. Paul Ferington Denise Ferkey and Jeffrey Swaluk Mrs. Judith Ferrentino

Mr. and Mrs. Karl D. Fiebelkorn Michael R. Fiels Family in honor of William J. Coughlin Edward* and Cynthia Fisher John & Imelda Fitzpatrick Mr. John F. Fleischman Jr. Robert and Ruth Fleming Dr. Peter Fletcher Mr. William S. Flickinger Rita A. Forman Howard and Laurie Foster Maryann Saccomando Freedman Rick Friend

John Fudyma and Sarah Fallon Mrs. Joanne Gaffin Sue Gardner William H. Gardner Jeffrey & Norma Gentner Mr. and Mrs. Kenneth T. Glaser

Drs. Philip Glick & Drucy Borowitz Mrs. Zella Glickman Mr. and Mrs. Peter H. Grace Mr. and Mrs. Jerry Greenlee Ms. Jane Griffin Kenneth W. Gross

Mr. and Mrs. William H. Gurney Edward and Karen Healy Dr. and Mrs. Reid R. Heffner, Jr. Ms. Sharon M. Heim and Mr. David Wahl Mrs. Patricia Helfrich Mr. and Mrs. Fred R. Hemmer Ann W Herman Dr. Theodore Herman and Ms. Judith Ann Cohen Ms. Olive Marie Hewett Richard and Laura Hill Richard and Virginia Hillegas Dr. & Mrs. Ralph W. Hinds, III Mr. Raymond and Mrs. Virginia Hohl Arleen Hollas Duncan C. Hollinger Mr. Paul Homer & Ms. Kathryn Mary Homer David & Karen Howard Michael Huber Scott and Alyssa Hunt Hunt Charitable Foundation

Peter & Mary Jo Hunt Yasushi Innami Dr. Thomas A. Jambro William & Genevieve James Mr. and Mrs. Carl E. Jennings Claire E. Johnson Larry E. Jones and Nancy J. Rosenbloom Drs. Richard and Barbara Jurasek Nathan Kahn Theresa Kazmierczak Juliet E. Kline

Mr. and Mrs. Paul C. Koppmann Mr. Charles Korn & Dr. Deborah Raiken George Kotlewski Paul & Marilyn Koukal James and Leslie Kramer Ms. Rosemary Kuca and Mr. Kevin J. Hagerty

David & Marilyn Kurzawa Dr. and Mrs. Kevin W. Lanighan Toby and John M. Laping Ruth and Dick Lasure Mr. and Mrs. Don E Lawrence, Jr. Kathleen Le Fauve Msgr. Fred Leising Fern & Joel Levin Mr. Douglas J. Levy Dr. Sanford Levy Dorothy M. Lien Christopher Lightcap Faye Elizabeth Justicia Linde Howard and Lorna Lippes Joel & Andree Lippes Dr. Thomas & Donna Lombardo Mrs. Olga Lownie Joseph and Kathleen Lucke Ms. Donna Ludwig Karen Magee

Mr. and Mrs. Kenneth F. Manly Robert & Elsie Martino Ms. Elaine Mackensen May Dr. and Mrs. Walter S. Mayo Dr. & Mrs. Philip McCarthy Mr. Scott W. McCone Louise McGrath McLain Foundation Michael and Lucille Melton Mr. & Mrs. Frank & Tracy Mendicino Alicia Meyers

Dr. and Mrs. Franklin H. Meyer Dr. and Mrs. Donald E. Miller Mrs. Sharon P. Miller Mr. John E. Milner Dr. & Mrs. Herman S. Mogavero Jr. Robert and Nancy Morey Mark Lauretig & Susan Morgenstern Dr. Joshua Morra Sandra G. Morrison Brian and Jayne Murray JFF and JFFLabs

Mr. and Mrs. Franklin Nice Susan D. Nusbaum

Bernard & Linda O'Donnell Benjamin and Lila Obletz Endowment Fund Jeremy and Sally Oczek Barbara Ann Oliver

Mr. Rick Paulson

Jo Anne Brocklehurst Robert S. Petersen Rodney P. Pierce James and Nancy Poole Henry & Patty Porter Dr. Kevin & Merle Pranikoff John & Betty Preble

Ms. Carol Dean Privitera Charles and Joanne Privitera Linda and Patrick Rankin Mr. Alex J. Ratkowski Mrs. Kathrin Reid Mr. Charles Rice

Al and Cindy Ripley Randolph & Cathy Ritz

Mr. and Mrs. Casimiro D. Rodriguez Mr. and Mrs. Edward L. Schaefer Ms. Elizabeth S. Rundle

Revs. Melody and Rodney Rutherford Mr. Glenn Sanders Scott & Ardeen Schaefer

Barbara & Daniel Schifeling

John & Connor Cardot-Schloop Paul J. Schulz

Alvin Schuster & Gladys Gifford

Eleanor Scott Mary Anne Seifert

Henry & Tricia Semmelhack

Dr. Mary Ellen Shaughnessy

Ms. Nancy Shepard

Mr. and Mrs. John W. Sherman

Mr. Joseph A. Shifflett

Peter Siedlecki & Lynnette Mende

Mr. and Mrs. Roger T. Sieracki John G. Sisson Mr. Jeremy Smith

Lynne G. Smith

Mr. and Mrs. Kenneth Sodaro

Melissa & Kurt Spaeth

Mr. John Spears

Lynn & JoAnn Spees Jean & Russ Speidel

James and Karen Stephenson

Mr. Edwin F. Stohrer, Jr. Joan R. Strachan

Ruth and Ted Steegmann Mr. William & Ms. Kathaginia Sullivan Marilyn & Irving Sultz

Ms. Mary J. Syrek

Mr. & Mrs. Dennis Szymkowiak

Mr. and Mrs. Richard J. Thompson Dr. & Mrs. Thomas B. Tomasi Mr. Guido A. Tomassi

Dr. Garin Tomaszewski Ms. Sylvia Tourbaf Sheila Trossman

Dr. and Mrs. Stephen J. Turkovich Frederick Turner John H. Twist, D.D.S. Ilona Tylwalk

Chris and Kathy Tzetzo Charitable Fund Susan & Ron Uba

Mr. and Mrs. Thomas H. Van Nortwick Dr.* and Mrs. Rocco C. Venuto Ms. Suzanne J. Voltz Mr. William Vosteen

Mr. Rudolph Vrbsky Ms. Suzanne Sheard-Walsh Mr. Angus Watkins and Mrs. Anne L. Watkins Karen Wehn

Norman and Carole Weingarten Ms. Marlene A. Werner Mr. and Mrs. K. Wiedenhaupt Katherine Powel and Ann K. Wittowsky Mr. Martin Wolpin Quinn & Jewell Wright Ms. Kelly Ann Wright Mr. Bryan Zielenieski

TRIBUTE REGISTRY

You can celebrate a significant occasion, remember a loved one, or recognize someone special with an honor or memorial gift to the Buffalo Philharmonic Orchestra. These gifts were received between September 6, 2022 and September 23, 2022.

In Honor of

Jonathan Borden Edward N Giannino Jr Monte Hoffman Joyce Steckman

In Memory of

Joseph Wincenc

Mr. David and Ms. Judith Wieserner Marian Reichard

Mr. Robert D. Reichard

Jesse Kregal

Ms. Marilyn Gallivan Denise Y. Royal Ms. Mary Ruth Kapsiak

Maksym Sugorovskiy

Mr. Daniel J. & Ms. Nancy L. Cantor Mary Hager Christine Gibbons

April N.M. Baskin, Chair

John Bargnesi

Lisa Chimera

John J. Gilmour

Christopher D. Greene

Howard J. Johnson, Jr.

Joseph C. Lorigo

Timothy Meyers

John J. MIlls

Frank J. Todaro

Jeanne M. Vinal

Check out YOUR

PLANNED GIVING Musical Heritage Society

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

Anonymous (4) Charlotte C. Acer

Elizabeth & John Angelbeck Rita Argen Auerbach Charles Balbach

Jennifer Barbee Donald M. Behr & Samuel E. Lolinger* David Bender

The Reverend* and Mrs. Peter W. Bridgford James A. Brophy & Fraser B. Drew* Daniel R. Burch Anthony J. Cassetta

The Joanne Castellani and Michael Andriaccio Charitable Trust Barbara & Jerry* Castiglia Gerard and Rachel Catalano Cheryl I. Christie Victoria A. Christopher

In honor of JoAnn Falletta and Donald McCrorey Dr. Sebastian* and Mrs. Marilyn Ciancio Louis & Ann Louise Ciminelli Ms. Elizabeth G. Clark Mrs. George Cohn Anne Conable Dr. Elizabeth Conant Ellen Todd Cooper Rev. Raymond G. Corbin Marilyn R. Cornelius Dr. Sharon F. Cramer and Mr. Leslie R. Morris* in honor of the BPO Viola Section Sandra B. Cumming

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

Beverly Davies Mrs. Roberta Dayer

Tim DiCarlo

Mr.* and Mrs. Anthony N. Diina Ellen & Victor* Doyno Sarah & Donald Dussing Angelo & Carol Fatta

Judith & John* Fisher Marjorie* and William Gardner Edward N. Giannino, Jr. Mr. George Eagan Ginther Ms. Constance A. Greco Susan J. Grelick

Peter Hall & M.E. O'Leary

Mr. & Mrs. George G. Herbert Monte & Cheryl* Hoffman Philip H. Hubbell in memory of Jayne T. Hubbell Paul A. Imbert Robert and Hana Jacobi Bruce and Gail Johnstone Theresa Kazmierczak

Dr. & Mrs. Kenneth R. Kahn Nathan Kahn in honor of JoAnn Falletta, Dan Hart, and the BPO Musicians Kathleen Keenan-Takagi

The Herbert & Ella Knight Family Charitable Fund

Rosalind and Michael Kochmanski Dr. Merrily Kuhn and Mr. James Kulwicki

Eric E. & Ruth F. Lansing Steve & Sandy Levinthal Bradford Lewis, PhD Gerald & Barbara Lipa

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

Francie D. & Joel N. Lippman

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

Rev. Russell A. Newbert

Drs. Howard & Karen Noonan Robert & Marion North Fund Edwin Polokoff Susan Potter Dennis Quinn

Virginia Ann Quinn John and Susan Rowles Paul and Gerda Sanio Kenneth Schmieder, In memory of Nancy L. Julian Gilbert Schulenberg Betty J. Schultz

Catherine F. Schweitzer Joseph and Carole Sedita Roger & Joan Simon Robert B. Skerker Dennis M. Smolarek Monica and Steve Spaulding David D. Stout & Janet E. Popp Stout Gerald R. Strauss Sue W. Strauss Nancy B. Thomas Therese M. Vita Jim and Michal Wadsworth, as trustees of the Mulroy, Heath and Colby Foundations

Marjorie W. Watson

Wayne* & Janet Wisbaum

Elizabeth Ann Withrow

*deceased

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 Jacqueline Chagnon (716) 242-7829 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.

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BPO ADMINISTRATIVE STAFF

Administration

Daniel Hart

President & Executive Director

Diana Martinusek

Executive Assistant

Development

Jennifer Barbee

Associate Executive Director & VicePresident,Development Mindy Takacs

AssociateDirectorofDevelopment Eli Campbell

AnnualFund&GrantsManager

Jacqueline Chagnon DonorRelationsManager

Taylor Heaphy

DevelopmentandDatabase Administrator

Carson Mannino SpecialEventsandProject Coordinator

Jordan Walker DevelopmentAssistant Luke Borkowski

KleinhansCapitalCampaign Coordinator

Education and Community Engagement

Robin Parkinson, Vice President, Education & Community Engagement

Rachael Pudlewski EducationManager

Finance

Kevin James

Vice President, Finance & Administration

Nicole M. Bodemer

Associate Director of Finance

Jacqueline Henry Finance/AccountsPayableAssociate Marilyn Miller Finance Assistant Marketing

AndréeRenée Simpson

MarketingManager

Kelcie Hanaka

DigitalMarketingManager

Cary Michael Trout GraphicDesigner/Consultant Mikaela Huber MarketingAssistant Operations

Alison Bolton

Vice President, Artistic & OrchestraOperations Connor Schloop Operations Manager Sarah Lewandowski

OrchestraPersonnelManager Corinna Scozzaro

AudienceServicesManager Conn Sullivan Operations Assistant

Sales and Patron Services

Adam Cady

Associate Director of Patron Services

Laura Papit

AssistantManagerofPatron Services

Patron Services

Representatives

Anne Boucher

Bethany Erhardt

Ally Jindra

Amy Sturmer

Kleinhans Music Hall Staff

Brian Seibel Event Manager

Reneé Radzavich BuildingServicesManager Michael Cassidy ChiefEngineer

Dennis Nawojski Concessions Manager Lucas Parks Parking&Set-UpSupervisor

PATRON INFORMATION

WHAT TO KNOW AT THE BPO

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

• 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.

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

-Hearing Assistance Devices are available at the coat check.

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

• 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.

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

• 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.

• 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.

Shuttle Service and BPO Preferred Restaurants

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

FREE Park and Ride Shuttle (SELECT Saturdays)

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

• 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)

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

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

MARCATO by Oliver’s at Kleinhans Music Hall

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

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