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Bach, Beethoven & Beyond


Tue Nov 24, 7pm


Tue Dec 8, 7pm


Baroque Fireworks

O R C H E S T R A • N O V E

JoAnn's Classical Christmas


Tue Dec 15, 7pm

E R 2 4 D E C M B

Tue Dec 22, 7pm


BPO Holiday Pops

E R 2 2


Play your Part We need your help! Not being able to have concerts with live audiences in Kleinhans has significantly impacted our budget this season, as 50% of ticket revenue has been lost. More than ever, fundraising is vital to the BPO’s future, and we ask you to join us in helping the BPO weather this unprecedented time in history. Though this season may look different for the orchestra, we are still finding ways to serve our community. Thanks to the generosity of donors, the BPO continues to inspire the vibrancy of Western New York by: EMPLOYING












It’s easy to make a gift to the Annual Fund! Phone - 855-0331 Online - Mail - 786 Delaware Avenue, Buffalo, NY 14209

Did you know? Gifts of appreciated stock or annual IRA distributions may avoid capital gains and/or lower taxable income.* Call Guy Tomassi at 242-7821 for more information. * The BPO does not offer tax advice. Please contact your accountant, tax advisor, or estate attorney to decide if this is right for you.

TABLE OF CONTENTS | NOVEMBER 24 – DECEMBER 22 BPO Board of Trustees/BPO Foundation Board Directors


BPO Musician Roster


Bach, Beethoven & Beyond


BPO Classics Series November 24

Baroque Fireworks


BPO Classics Series December 8

JoAnn’s Classical Christmas


BPO Classics Series December 15

Holiday Pops


BPO Pops Series December 22

Sponsor a Musician


Annual Fund


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

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

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


MESSAGE FROM THE BOARD CHAIR It’s hard to imagine almost a year has passed since the last holiday season when we were so blissfully ignorant of what was to come in 2020. However, we are intent on celebrating the season and providing uplifting and inspirational programming this December for our BPO family. We hope you join us virtually for outstanding performances by our talented musicians on both perennial classics and popular works. Our BPOnDemand concerts are currently enjoyed by music lovers in almost three dozen U.S. states, from the East Coast to Texas to California and Hawaii, and internationally as far as Oslo, Norway. The holidays kick off Thanksgiving week with a nod to Beethoven’s 250th birthday in Bach, Beethoven & Beyond led by your concertmaster, Nikki Chooi, and continue with Baroque Fireworks, a quintet of pieces highlighting the talents of BPO musicians Henry Ward, Caroline Gilbert, and Anna Shemetyeva. Then the BPO brass get to shine in our traditional Classical Christmas and Holiday Pops events, plus solos by Nikki Chooi and Sal Andolina, and guest artist soprano Sirgourney Cook. During this time of sharing, we would be remiss if we did not thank each and every one of our patrons for their support and encouragement the past several months. As with most orchestras, the BPO derives much of its operating income from charitable contributions, and individual, corporate, and foundation gifts continue to help us sustain our efforts to provide comfort, diversion, and pure entertainment through musical performances. This year’s Annual Fund goal is more critical to achieve than ever, as we strive to virtually maintain educational outreach for school districts in eight counties of Western New York, and stay connected to our musical community through offerings on Instagram, Facebook, and YouTube. We are so grateful for your ongoing support and appreciate your consideration of a gift of any size. Carolyn and I join with the musicians, staff, and administration of the BPO in wishing you a safe and healthy holiday season, and a promising 2021.


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


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

Angelo Fatta, Treasurer Peter Eliopoulos, Secretary

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

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

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

LIFE MEMBERS Anthony Cassetta Randall Odza Edwin Polokoff

John N. Walsh, III Robert G. Weber



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

Karen Arrison Michael Wurst John Yurtchuk


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


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



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


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

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


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


e would like to take a moment to thank you, our amazing community, for your unwavering support and generosity. We hope you will find joy and comfort in music for the moments in life when we need it the most. Thank you for standing by the BPO this season.

Wishing you and your loved ones a New Year full of health and happiness! 9


Angelo and Carol Fatta Endowed Chair


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


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


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


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



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


Christine Lynn Bailey principal Linda Greene Natalie Debikey Scanio

Jay Matthews Daniel Sweeley


Alex Jokipii principal Geoffrey Hardcastle Philip Christner


Jonathan Lombardo2 principal Timothy Smith


Filipe Pereira





Matthew Bassett principal Dinesh Joseph assistant principal


Mark Hodges principal Dinesh Joseph

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


William Amsel principal Patti DiLutis Salvatore Andolina


Patti DiLutis


Salvatore Andolina


Glenn Einschlag principal Hunter Gordon* Martha Malkiewicz





Madeline Olson principal


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


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

Martha Malkiewicz


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

Chair dedicated to the memory of Maer Bunis 1

Chair dedicated to the memory of Scott Parkinson 2

* Temporary Appointment

(L) Leave of Absence

Edward I. Yadzinski 1940-2020 The Buffalo Philharmonic Orchestra lost an integral link to our history with the passing of Ed Yadzinski on October 26, 2020. Hired by then music director, Lukas Foss, Ed began his tenure with the BPO in 1963 as a clarinetist and saxophonist, following his graduation from the Eastman School of Music. He performed on Foss’ recording of Echoi, and performed as a soloist and chamber player at venues including the Warsaw Autumn Festival, and France’s Maeght Gallery at St.-Paul de Vence Festival for American Music. A true Renaissance man, Ed was a long-time member of the University at Buffalo’s Department of Music performance faculty, also lecturing on the science of acoustics for UB’s Department of Physics. He was a visiting faculty at the University of California at San Diego while on a year’s sabbatical, and lectured in Honolulu, Hawaii at the American-Japanese Conference on Acoustics. As a composer, Ed published original chamber works for woodwinds including a song cycle on the poems of Emily Dickinson, a chamber work inspired by the poetry of Stephen Crane, and a ballet for full orchestra. Upon his retirement as a BPO musician in August 1991, Ed assumed the role of Assistant Executive Director before transitioning to BPO historian, archivist, and program annotator in October 1992. His eloquent writing educated decades of patrons on the classical works being performed, and he was instrumental in creating the digital archive of the BPO’s history. A brilliant player, composer, and writer, Ed’s illustrious 57-year relationship with our orchestra filled his colleagues with joy and a positive spirit. Jusqu’à ce qu’on se revoie, cher ami.





memory of a half century of BPO history - he had lived through it! He was also the most positive and humorous colleague, and the first to respond to any of my queries or calls for advice with complete knowledge and






I his

enthusiastic comments on every concert he attended, and his trips backstage so that we could exchange hugs. His beautiful spirit lives forever in Kleinhans Music Hall and in our hearts.” — JoAnn Falletta

OUT Virtual Version


A traveling music video series that showcases the talent of our musicians, recognizes the power of music, and celebrates the resilient spirit of the City of Good Neighbors. December 29 Bask in the setting sun on the evening of the summer solstice at Graycliff Conservancy January 5 Honor Buffalo’s historic past and celebrate its rebirth at Buffalo River and Grain Elevators January 12 Experience the restoration and marvel at the architecture of Frank Lloyd Wright’s Darwin Martin House January 18 Fall in love all over again with the magnificent power  of Niagara Falls Broadcast at 7pm, these free videos can be streamed as often as you wish for an additional 30 days following each week’s performance. Details at Thank you sponsors! HODGSON RUSS (LOGO-biggest) Mitch Nowakowski, Common Council Member, Fillmore District Joel Feroleto, Common Council Member, Delaware District Niagara Falls State Park AT TO R N E Y S


Tuesday, November 24, 2020 at 7:00 PM

Classics Series

BACH, BEETHOVEN & BEYOND JoAnn Falletta, conductor Anna Shemetyeva, viola


Brandenburg Concerto No. 3 in G major, BWV 1048

I. Allegro II. (Adagio) III. Allegro STRAVINSKY Concerto in E-flat major for Chamber Orchestra, “Dumbarton Oaks” Tempo giusto Allegretto

Con moto ROBERT MERFELD Suite for Solo Viola

Anna Shemetyeva, viola

BEETHOVEN Septet in E-flat major, Op. 20 I. Adagio; Allegro con brio II. Adagio cantabile III. Tempo di Menuetto - Trio IV. Tema con variazioni: Andante V. Scherzo: Allegro molto e vivace VI. Andante con moto alla Marcia

You can learn more about this program from JoAnn Falletta’s introduction at Program and performers subject to change


ANNA SHEMETYEVA, VIOLA Anna Shemetyeva received her early training at the Central Music School and the Moscow Conservatory, after which she came to the United States and received both a Master’s Degree and Artist Diploma from the Longy School of Music of Bard College. She has performed as a soloist and chamber musician throughout Russia, Europe, and the United States. Her European tours were under the auspices of the Spivakov Foundation. In the U.S., she has collaborated with distinguished artists such as Bayla Keyes, Peter Zazofsky, and Zuill Bailey, and has performed in chamber concerts at Tanglewood with members of the BSO. She has appeared as well at festivals such as the Heifetz International Festival, the Perlman Chamber Music Workshop, and the San Diego Chamber Music Festival. She has served as principal violist with the Cape Cod Symphony and as a member of the Rhode Island Philharmonic. Additionally, she has played regularly with the Portland and New Hampshire Symphonies. In the autumn of 2019 she assumed her position as Associate Principal Viola with the Buffalo Philharmonic Orchestra.

presented by

BPOnDemand is broadcast each Tuesday at 7pm

and can be streamed as often as you wish for an additional 30 days following each week’s premiere. Bring the magical acoustics of Kleinhans Music Hall right to your computer or mobile device for an up-close-and-personal concert experience. Tickets may be purchased to individual performances, or join us as a season ticket subscriber and receive broadcasts for FREE! Video-streamed performances from our home to your home are available now.

Details at (716) 885-5000 or 14


We celebrate connections of past and present - a musical handshake across the centuries. Bach’s brilliant Brandenburg Concerto No. 3 (led by concertmaster Nikki Chooi), is one of the great masterpieces of the Baroque age, and inspired Igor Stravinsky to create his “neo-Baroque” gem - Dumbarton Oaks Concerto - two centuries later. We include one of Beethoven’s most beloved works, his incredible Septet, penned when he was just 19, as a celebration of the composer’s 250th birthday.


Johann Sebastian Bach

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

Brandenburg Concerto No.3 in G Major, BWV1048 Allegro (Adagio) Allegro For their time - for any time - Bach’s six Brandenburg concertos stand without peer. Scored for the limited instrumentation of a chamber orchestra, the works comprise the utmost in musical craft, variety of tonality, and technique. No less apparent here is the mysterious undertow of spirituality that seems to resonate through every bar ever scored by the venerated Johann Sebastian. Composed between 1719 and 1721, the six Brandenburg concertos were motivated by a request from Christian Ludwig, the Margrave of Brandenburg, who was a collector of manuscript scores. But since the Margrave had so few truly accomplished musicians at his disposal, the works were never performed in his court. Instead, the Margrave simply added Bach’s scores to his library of over 170 instrumental works by diverse composers. After the noble’s passing,

The Brandenburgs were sold intact and transferred to a Berlin archive. All of the Brandenburg concertos are set in what is called concerto grosso form, i.e. they feature not a single virtuoso part but a group of instrumental soloists defined as the concertino. The instruments which comprise the accompaniment are often referred to as the ripieno. Put simply: concertino + ripieno = concerto grosso. Bach’s third Brandenburg is scored entirely for strings and a ‘continuo’ part the rhythmic and harmonic background most often performed on a keyboard instrument, usually the harpsichord. ‘Light, lilting and lofty’ - so might one describe Bach’s pen at the very opening of the first movement. To be sure, the composer’s cachet is present from the first stroke of the baton. The rhythmic and melodic seeds of the initial G major phrases gradually blossom into a bright workout for the full ensemble in support of the solo lines. The principal parts alternate from that of a classical duo to respective roles for obbligato plus counterpoint, and always with Bach’s patented sense of forward energy in an eternal spin. Serving as a bridge to the third movement are brief, momentary chords, which were intended originally (most likely) to allow the players to improvise an Adagio of a kind, very much as


fine jazz players of our time create an impromptu ballade on the fly. But most modern performances segue directly to the second Allegro, refreshed in G major, where the air is thrilled with eloquent verve via dance-like rhythms and tuneful snippets on the run. Wonderful. And speaking of the Baroque era and allegros in particular, a fragment from English poet John Milton (1608-1674) provides an evocative prologue: L ’Allegro

In notes with many a winding bout Of linked sweetness long drawn out, With wanton heed and giddy cunning, The melting voice through voices running, Untwisting all the chains that tie The hidden soul of harmony; These delights if thou canst give Mirth, with thee I mean to live.

Igor Stravinsky

Russian composer born: 17 June 1882, near St. Petersburg died: 6 April 1971, New York City

Dumbarton Oaks: Concerto in E-flat major for Chamber Orchestra Tempo giusto Allegretto Con moto As variety is the spice of life, the scores of Igor Stravinsky comprise a musical smorgasbord. His output is replete with delectables of every kind, including great ballets, operas, and oratorios, symphonies, chamber music and songs - even some Rag Time. And his subject repertoire is no less expansive, including pagan motifs, mythology, Latin liturgy, Romantic poetry, children’s fables, musical games, elegies, and exercises in cerebral


atonality. And there are a few inspired detours like the current Concerto for Chamber Orchestra, composed in 1937. The work was scored for the 30th wedding anniversary of Mr. and Mrs. Robert Woods Bliss, whose family estate was named Dumbarton Oaks, located just outside Washington, D.C. Stravinsky was quick to tip his hat to preceding styles and former masters, unexpected as that was from the composer who jump started 20th century music with his early and iconoclastic ballet scores. Over many years his style underwent several major transformations, modulating from the scandalous timbres and tempos of The Rite of Spring, through a long period of neo-classical attachment, and finally, into the realm of serial technique. Also, it is a curiosity that along the way Stravinsky often indulged his artful penchant for quoting snippets from composers as diverse as Ravel and Rossini, Debussy and Johann Strauss Jr., Pergolesi and Tchaikovsky.

Dumbarton Oaks glances ‘Bach-ward’ with a schematic that reflects the earlier concerto grosso manner of Johann Sebastian himself. While the tonalities of Bach’s Brandenburg concerti will never be confused with the Dumbarton Oaks, the 200-plus years which separate the works are minimized by a few distinctive similarities: 1) an economy of instrumental forces; 2) a transparent and crystalline orchestration; 3) a rhythmic base of pointed clarity; 4) the revolving solo roles vis-à-vis a dynamic accompaniment

Dumbarton Oaks was scored when Stravinsky was at the very top of his neoclassical style. But he was very sensitive to criticism, to which he replied:

“At the beginning of my composing career I was a good deal spoiled by the public. But I have a very distinct feeling that in the course of the last fifteen years my written work has estranged me from the great mass of my listeners. “Liking the music of Firebird and The Rite of Spring, and being accustomed to the language of these works, they are astonished to hear me speaking in another idiom. They cannot and will not follow me in the progress of my musical thought. Yet art postulates communion, and the artist has an imperative need to make others share the joy which he experiences himself. But, on the other hand, it would be a great mistake to regard me as an adherent of Zukunftsmusik - the music of the future. I am in the present. I cannot know what tomorrow will bring forth. I can know only what the truth is for me today. That is what I am called upon to serve, and I serve it in all lucidity.” The première of Dumbarton Oaks was conducted by Nadia Boulanger in Washington in May of 1938. The tenor of the work is bright, punchy, and colorful in the best manner of a 20th century divertimento.

Robert Merfeld

American composer, pianist and educator born: 1945, New York City -

Suite for Solo Viola - Looking for a Key Prelude Allemande Courante – Air Sarabande Gavottes I & II Gigue

Composer’s note: This suite for solo viola, dedicated to my wife, Anya Shemetyeva, was composed during the pandemic shutdown in the spring of 2020. Living in

a 1790’s farmhouse on a New Hampshire dirt road, it seems time has changed less over the years, even during a crisis, than in the world of outside reality. This leaves one wondering: “was I born in the wrong century?” Perhaps this suite is a reflection of that quandary. Although it utilizes the dance movements found in the time of Bach, it is not intended as an homage. The harmonic language hovers between the centuries, as do I.

Ludwig van Beethoven

German composer and pianist born: 17 December 1770, Bonn died: 26 March 1827, Vienna

Septet in E-flat Major, Op.20 for Violin, Viola, Cello, Contrabass, Clarinet, Horn and Bassoon Adagio - Allegro con brio Adagio cantabile Tempo di Menuetto - Trio Tema con variazioni: Andante Scherzo: Allegro molto e vivace Andante con moto alla Marcia Architecture in music, epic grandeur, artistic power - perhaps the only name that comes to mind is Ludwig van Beethoven - the great German/Viennese master who engraved metaphysics into music with every stroke of his pen. His messages are persistent, even urgent, altogether less fate-bound than spiritual, less worldly than idealistic. Moreover, the heartful resonance of his music sounds as if it were charged by an Olympian who stole lightning from the gods. Of this Franz Liszt wrote, “The music of Beethoven is a pillar of light to guide our days, a column of fire to brighten our nights.” Of course, the grandeur of Beethoven’s catalog is established by his nine stunning symphonies, the great quartets, thirtytwo piano sonatas, several magnificent concertos, and many pieces for voice.


And beyond all of this is a diverse wealth of chamber music for various ensembles.

take Beethoven less for his words than for the power of his lyrical pen.

Of the latter, Beethoven was very fond of his six-movement septet of 1799. Written when the composer was just nineteen, he confidently dedicated the work to the Empress Marie-Theresa. And as a budding composer (he was still about a year away from completing his first symphony, Op.21) he went to unusual lengths to ensure the new work had every opportunity for performance. For example, he noted that the wind parts might be assigned to additional strings, or even that the work could be compressed into a quartet or quintet. He went even further in 1802, and rescored the work as Op.38 in the form of the traditional piano trio, bearing a new dedication, i.e. to a certain Dr. Schmidt. He had no need for concern, as the septet became one of his most popular pieces.

Opus 20 is crafted overall in the manner of a divertimento or serenade, musical forms which were so popular in Vienna at the time. As such, the movements afford an entertaining contrast in mood and tempo. And Beethoven also had some fun - e.g. the variations of the fourth movement Andante are based on a delightful folk tune about barges and ferries on the Rhine - Ach Schiffer, lieber Schiffer! (Ah, Boatman, Dear Boatman). Charming..! program notes by Edward Yadzinski

But this is Beethoven - who was already in his perpetual self-critical mood. Not long after a review in the conservative Allgemeine Musikalische Zeitung which reported “...a Septet written with much good taste and imagination” the composer noted, “...yes, a lot of imagination but not much art - I was not yet a real composer.” Fortunately, we

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Tuesday, December 8, 2020 at 7:00 PM

Classics Series


JoAnn Falletta, conductor Henry Ward, oboe Alex Jokipii, trumpet Geoff Hardcastle, trumpet GABRIELI

Caroline Gilbert, viola Anna Shemetyeva, viola

Canzon septimi toni No. 1

MARCELLO Concerto in C minor for Oboe Henry Ward, oboe RESPIGHI/Voss Ancient Airs and Dances, Suite No. 3 I. Italiana II. Arie di Corte III. Siciliana IV. Passacaglia VIVALDI Concerto in C major for Two Trumpets and Orchestra, R. 537 I. Allegro II. Largo III. Allegro Alex Jokipii, trumpet Geoff Hardcastle, trumpet J.S. BACH Brandenburg Concerto No. 6 in B-flat major, BWV 1051 I. Allegro II. Adagio ma non tanto III. Allegro Caroline Gilbert, viola Anna Shemetyeva, viola HANDEL Water Music - Suite No. 2 in D major Overture Alla Hornpipe Minuet Lentement Bourée You can learn more about this program from JoAnn Falletta’s introduction at Program and performers subject to change


HENRY WARD, OBOE A native of the Philadelphia area, oboist Henry Ward joined the Buffalo Philharmonic Orchestra as Principal Oboe in 2016, and previously served as Acting Associate Principal Oboe of the Pittsburgh Symphony Orchestra for two seasons. He has performed with the Boston Pops Orchestra, the Auckland Philharmonia Orchestra (New Zealand), and was a fellow with the New World Symphony. He made his solo debut performing Mozart’s Oboe Concerto in C Major with the Carnegie Mellon Chamber Orchestra in April 2012. He has been featured as a soloist with the BPO in concertos by Bach and Handel, and Mozart in January 2019. Henry received fellowships to the Tanglewood Music Center and the Music Academy of the West and has participated in the Marlboro Music, Oregon Bach, and the Lakes Area Music Festivals. He earned his Bachelor’s Degree from the New England Conservatory where he studied with Boston Symphony oboists Mark McEwen and John Ferrillo followed by graduate studies with Eugene Izotov at Roosevelt University.

CAROLINE GILBERT, VIOLA Born in Bloomington, IN, Caroline played violin in the pre-college program at Indiana University. She doublemajored in music and pre-med at Vanderbilt University for two years before transferring to Indiana University to complete her Bachelor of Music with Atar Arad. While at Indiana, she won the concerto competition and performed Hindemith’s Der  Schwanendreher  as a soloist with the university chamber orchestra, and also represented the school at the Kennedy Center in Washington D.C., performing in the “Conservatory Project” concert series. For her M.M., she attended The Juilliard School, studying with Samuel Rhodes and Rodger Tapping. Her performance in the Keshet Elion summer mastercourse in Israel was broadcast in New York, and she went on to play with the New York String Orchestra at Carnegie Hall; worked with Michael Tilson Thomas as a member of the YouTube Symphony Orchestra in Sydney, Australia; toured Turkey, Spain, and Germany with the Schleswig-Holstien Festival Orchestra; played alongside the Boston Symphony Orchestra at Tanglewood Music Festival; and spent three summers in Switzerland playing with the Verbier Festival Orchestra. After completing her degrees, she joined the New World Symphony until winning the BPO Principal Viola position in 2017.


ANNA SHEMETYEVA, VIOLA Anna Shemetyeva received her early training at the Central Music School and the Moscow Conservatory, after which she came to the United States and received both a Master’s Degree and Artist Diploma from the Longy School of Music of Bard College. She has performed as a soloist and chamber musician throughout Russia, Europe, and the United States. Her European tours were under the auspices of the Spivakov Foundation. In the U.S., she has collaborated with distinguished artists such as Bayla Keyes, Peter Zazofsky, and Zuill Bailey, and has performed in chamber concerts at Tanglewood with members of the BSO. She has appeared as well at festivals such as the Heifetz International Festival, the Perlman Chamber Music Workshop, and the San Diego Chamber Music Festival. She has served as principal violist with the Cape Cod Symphony and as a member of the Rhode Island Philharmonic. Additionally, she has played regularly with the Portland and New Hampshire Symphonies. In the autumn of 2019 she assumed her position as Associate Principal Viola with the Buffalo Philharmonic Orchestra.

ALEX JOKIPII, TRUMPET Alex Jokipii has been Principal Trumpet with the BPO since 1998. He started playing at 11, and began advanced musical studies at Western Michigan University, majoring in trumpet and music education. As an undergrad, Alex enrolled for one year at the Sibelius Academy in Helsinki, Finland, where he studied with Timofei Dokschitzer, celebrated Principal Trumpet of the Bolshoi Theater Orchestra. Returning home, Jokipii completed his bachelor’s degree in music education at WMU, earned a M.M. in trumpet performance from The Juilliard School, and began to pursue his Doctor of Musical Arts. Prior to being awarded his DMA, he won the position of Principal Trumpet with the Charleston Symphony Orchestra, also serving on the performance faculty of Charleston Southern University as adjunct professor of trumpet. Jokipii has appeared as a soloist with the BPO, Ars Nova Chamber Musicians, Amherst Symphony, and the SUNY Fredonia Wind Ensemble, has performed as a guest Principal Trumpet with the Dallas Symphony, Florida Orchestra, and Aspen Festival Orchestra, and has performed with the New York Philharmonic, Helsinki Philharmonic, Savannah Symphony, and Rochester Philharmonic. Alex performed the world premiere of Finnish composer Jaakko Kuusisto’s Trumpet Concerto, composed for him and recorded by the BPO in May of 2018. He teaches privately, and is also on the performance faculty at SUNY Fredonia.


GEOFF HARDCASTLE, TRUMPET Geoffrey Hardcastle has been Second Trumpet of the Buffalo Philharmonic since 2006. A native of Southern California, he began his studies with the legendary teacher, James Stamp. Geoff received his Bachelor and Master of Music degrees from the Cleveland Institute of Music, where he studied with Bernard Adelstein, David Zauder, and James Darling. Geoff was also a member for several seasons with the Cleveland Orchestra, and he has also performed with the Cincinnati Symphony Orchestra. He was a founding member of the Burning River Brass Ensemble, and is currently a member of the Center City Brass Quintet and Proteus 7. He has toured worldwide with these groups, as well as recorded numerous albums on the Chandos and Dorian record labels.


All of us have really been enjoying the chance to perform more Baroque music, now that we have been temporarily playing with a smaller-sized ensemble. We have a beautiful bouquet of Baroque favorites for you in this concert! We are delighted to be featuring several of our members in starring roles - Henry Ward in Marcello’s haunting oboe concerto, violists Caroline Gilbert and Anna Shemetyeva in Bach’s Brandenburg Concerto No. 6, trumpeters Alex Jokipii and Geoff Hardcastle in Vivaldi’s concerto for two trumpets, and our entire brass section in Gabrieli (played in “surround style” as it would have been in St. Mark’s Cathedral in Venice.) We also include Handel’s beloved Water Music, written for King George’s boating party on the Thames in London. Last, but not least, is Respighi’s lovely Ancient Airs and Dances Suite No. 3, based on 16th and 17th century Italian and French lute music meant to accompany dancers and singers.. We hope that this wonderful collection of pieces will be a beautiful start to your month of December!


Giovanni Gabrieli Italian composer and organist Born: 1554, Venice died 1612, Venice

Canzon septimi toni No. 1 (1597) In the sixteenth century, as the center of European musical innovation shifted from Rome to Venice, composers sta-


tioned at the Saint Mark’s Basilica began experimenting with spatial acoustics and instrumentation. Termed antiphony, works were composed for multiple groups positioned at great distances to take advantage of the unique echoes heard in the vast Basilica. Giovanni Gabrieli was the most important composer to come out of this Venetian School at its height, as he

championed many of the transitional innovations that led music out of the Renaissance and into the Baroque. As organist for St. Mark’s, the lessons of sacred choral music were easily recycled to secular, non-vocal works. Gabrieli used the term Canzon, Italian for song, generically to title instrumental works like his antiphonal Canzon septimi toni No. 1, with two groups of brass instruments placed at a distance for an overwhelming surround-sound effect.

from which Bach would later compile a group of six known as the Brandenburg Concertos.

Johann Sebastian Bach

Sent by his employer to Berlin in 1719 to purchase a harpsicord, Bach performed for Christian Ludwig, Margrave of Brandenburg-Schwedt, who would commission further works from the composer. In appreciation, in 1721, Bach presented him with the Brandenburg concertos. The instrumentation varies, and is often daring, as with the sixth of the group, which unusually omits violins, and is scored for two violas, two viola da gamba, violone (or bass violin) and harpsicord.

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

Brandenburg Concerto No. 6 in B-flat major, BWV 1051 (1721)

The omission of the bright violin creates a warm timbre throughout, but the composition remains spritely, as with the opening movement’s vigorously dense counterpoint. The central adagio is further reduced, with only the two violas performing a conversational duet with the support of the continuo. The stately finale is propelled by the buoyant rhythms of the gigue.

I. Allegro II. Adagio ma non tanto (in E-flat major, ends in an imperfect cadence of G minor) III. Allegro Among Johann Sebastian Bach’s accomplishments was his contribution to a huge variety of genres, in no doubt due to the wide-ranging appointments he held throughout his life. He spent his final decades focusing on sacred music at St. Thomas Church in Leipzig, but his 1717-1723 stint in Köthen led to some of the most important instrumental music ever composed. Bach’s employer during this period, Leopold, Prince of Anhalt-Köthen, was a Calvinist, and as such, had no interest in wasting a well-compensated composer of Bach’s talents on the strippeddown music of the Calvinist church. Rather, he gave him great freedom to compose instrumental music, including concertos for the musicians of the court,

Alessandro Marcello

Italian composer Born: 1673, Venice; died 1747, Padua

Oboe Concerto in C minor (published 1717)

I. Andante spiccato II. Adagio III. Presto

Venetian composer Alessandro Marcello, son of a senator, enjoyed a life of comfort and privilege, allowing him and his brother Benedetto to compose, host concerts, and self-publish numerous works. Alessandro’s robust catalogue includes works published under the pseudonym Eterio Stinfalico,


and ranges from concertos to cantatas. Composed in a style akin to his more famous contemporary, Vivaldi, the concertos were otherwise notable for their use of wind instruments as the prominent soloist role. His Oboe Concerto plays a particularly important role in the instrument’s repertoire. It’s 1717 publishing in Amsterdam (this time published under his real name), and a nod from J.S. Bach, indicates that his music was widely appealing to 18th century audiences, and the work’s haunting beauty holds up in modern performances. The work is scored for an oboe soloist with two violins, a viola, and continuo, and was originally published in the key of D minor, but is often heard in C minor as well. A few years prior to the work’s official publication, Bach had his hands on an early manuscript. Around 1714, he included a harpsicord transcription of Marcello’s Concerto in a collection that mostly included similar treatments to concertos composed by Vivaldi, cementing Marcello as a notable composer of the period. The ornamentation created by Bach has variously been printed in later publications of the Concerto’s oboe part, although the performer remains free to create their own ornamentation, in keeping with 18th century practice.

Antonio Vivaldi

Italian composer born: 4 March 1678, Venice died: 28 July 1741, Vienna, Austria

Concerto in C major for Two Trumpets and Orchestra, R. 537

I. Allegro II. Largo III Allegro


The trumpet of Vivaldi’s time was much closer to the modern bugle: a valve-less instrument with a limited number of notes, created by its player’s buzzing and lip manipulation. Ideal for fanfares and accents, the trumpet was rarely featured as a soloist in a concerto of the early 18th century, and even when performed on the modern instrument, requires a musician of exceptional skill. Vivaldi’s Concerto for Two Trumpets has the fanfare expected of such an instrumentation with powerful accents from the soloists, contrasted by often lyrical passages of call and response. The middle movement is a quiet moment of rest for the soloists, who, in the finale, are called upon to demonstrate dexterous flexibility. —Chaz Stuart, 2020

Ottorino Respighi

Italian composer Born: July 9, 1879, Bologna died: April 18, 1936, Rome

Ancient Airs and Dances, Suite No. 3 I. Italiana II. Arie di Corte III. Siciliana IV. Passacaglia Respighi’s first big success was the symphonic poem, Fountains of Rome, in 1916; the next year he put on his musicological hat and turned to his interest in the music of the 16th, 17th, and 18th centuries. The result was—over the years—the three suites for orchestra, Ancient Airs and Dances (Suites I, II, and III). The first suite was composed in 1917, and the second in 1923; both were scored for strings and winds. The third suite stems from 1932, and it is for strings alone. Its four movements are

based upon sixteenth-century compositions for solo lute by Jean-Baptiste Besard, Santino Garsi da Parma, and two anonymous composers, as well as a seventeenth-century guitar piece by Lodovico Roncalli.

George Frideric Handel

The first movement of Respighi’s third suite is an anonymous “Italiana,” simply a graceful, slow tune in the putative “Italian” style. Seven short “court airs” by Besard comprise the second movement, in a variety of tempos and meters. Gathering a series of different dances into a suite was once one of the most common genres in early music, and this little group is a perfect example. It this case it’s a “suite within a suite.” A graceful siciliana, also by an anonymous composer, is the sole dance of the third movement. This gentle traditional dance with the swinging, dotted rhythm is one of the few early dance rhythms to survive until the present day—there’s even one in Menotti’s Amahl and the Night Visitors! The last movement is a passacaglia by Roncalli. Generally speaking, a passacaglia is like a series of variations, in this case repeating much of the harmony and melody. In the middle there is the characteristic fast section in triple time before returning to the tempo of the beginning.

Overture Alla Hornpipe Minuet Lentement Bourée One of the most popular works in the Baroque repertoire is Handel’s Water Music, a collection of about twenty numbers which had been originally composed for just enough players to fit on a river raft. The title derived from novel circumstances: on July 17, 1717, when King George took a holiday trip down the River Thames on the royal barge, Handel provided a musical escort, floating beside the royal party. The various numbers are scored for strings with various combinations of horns, trumpets, and woodwinds. For convenience of relative key, the pieces are traditionally broken up into three general suites, of which Suite No.2 (mostly in D major) is featured on this concert.

German-born British composer Born: 1685, Halle, Germany died 1759, London

Water Music - Suite No.2 in D major

While purists will moan, we may easily dismiss them, for Respighi’s suites of lute music are an entrancing and masterful interpretation of a rich legacy of important music. His skillful and imaginative writing for the modern string orchestra captures all of the musical spirit and nuances of the original, but in a lush modern guise. Besides, they help spread the word about this great body of musical literature.

For at least half of the pieces Handel selected tempos and rhythms according to courtly French dance forms (also a favorite device of J.S. Bach). For reference, a hornpipe is a jig-like dance, played on the English hornpipe, a kind of folk clarinet made from an ox horn and reed. A bourrée is an old French court dance in moderate 4/4 time. Moreover, listeners will surely recognize an exceedingly familiar tune, made famous as a program logo by PBS television.

© 2015 William E. Runyan

Program Note by Edward Yadzinski


Tuesday, December 15, at 7:00 PM

Classics Series

JOANN’S CLASSICAL CHRISTMAS JoAnn Falletta, conductor Sirgourney Cook, soprano Nikki Chooi, violin Amy Glidden, violin Clement Luu, violin Antoine Lefebvre, violin Roman Mekinulov, cello Sal Andolina, saxophone

arr. Richman

Christmas Ornaments Overture

MENOTTI Amahl and the Night Visitors Introduction March Shepherd’s Dance RESPIGHI L’Adorazione dei Magi from Trittico Botticelliano VIVALDI Concerto in B minor for Four Violins, Cello, and Orchestra, R.580 I. Allegro II. Largo III. Allegro Nikki Chooi, violin Amy Glidden, violin Clement Luu, violin Antoine Lefebvre, violin Roman Mekinulov, cello VAUGHAN WILLIAMS/ Greaves


Fantasia on Greensleeves


I Know That My Redeemer Liveth from


ADAM/ Naughtin

Sirgourney Cook, soprano

O Holy Night

Sirgourney Cook, soprano


Concerto Grosso, Opus 6, No. 8,

“Christmas Concerto”

I. Vivace - Grave - Allegro

III. Vivace IV. Allegro V. Pastorale WELLS & TORME/ The Christmas Song Simmons Sal Andolina, saxophone MARTIN & BLANE/ Have Yourself a Merry Little Christmas Simmons

Sal Andolina, saxophone

The Buffalo Club is pleased to sponsor Music Director JoAnn Falletta’s appearance as program conductor

This concert is proudly sponsored by

You can learn more about this program from JoAnn Falletta’s introduction at Program and performers subject to change


SIRGOURNEY COOK, SOPRANO Sirgourney Cook, a professional opera singer and educator, is a Chicago, IL native. In 2010, she earned a Bachelor of Music Degree and a minor in Philosophy from Lawrence University in Appleton, Wisconsin. Sirgourney completed her graduate education at the Longy School of Music of Bard College in Cambridge, MA in May of 2016; where for two years she was a Presidential Scholar and earned a Master of Music Degree in Opera Performance. She is a student of the late world-renowned baritone Robert Honeysucker. Prior to pursuing graduate education, for more than three years, Sirgourney toured as the soprano background vocalist for OscarTM and Grammy® Award-winning actress and recording artist, Jennifer Hudson, singing on national and international events such as President Barack Obama’s 50t​h​Birthday Celebration and Second Campaign Party, the 2013 Nobel Peace Prize Concert in Oslo, Norway, and most recently, The Grammy® Academy’s 2019 Tribute to Aretha Franklin. Sirgourney was the featured soloist in Duke Ellington’s “Concerts of Sacred Music” conducted by Ellington’s protégé, Maestro Randall Keith Horton, at Boston University’s 2017 Rev. Dr. Martin Luther King Jr. Birthday Commemoration. Passionate about arts education and accessibility, from 2014-2016, Sirgourney served as a Graduate Teaching Fellow at the David A. Ellis Elementary School in Roxbury, MA in partnership with Longy School of Music of Bard College and Boston Public Schools. She also served as the Performing Arts Teacher for grades 5-8 at Roxbury Preparatory Charter School of Dorchester, MA. Sirgourney was cast as a handmaid in The Boston Lyric Opera’s 2019 production of Poul Ruders’ Th ​ e Handmaid’s Tale. ​In 2017, Sirgourney performed the role of Aphrodite in the world premiere of the opera ​Triangle, ​composed by Tony Solitro with the Boston Opera Collaborative. In addition, in 2017, she also debuted her one-woman show, ​What Am I Doing Here? at the Central Square Theatre, in Cambridge, MA, as an Artistin-Residence with The Boston Opera Collaborative, of which she was a member for two years. In 2018, she performed the principal role, Cora (Nat Turner’s wife), in the world premiere of the musical production, ​Brother Nat written by Liana and Jabari Asim and composed by Allyssa Jones at the Paramount Theatre in Boston, MA. Sirgourney made her debut with the Boston Landmarks Orchestra in their 2019 Summer season with Antonin Dvořák’s “Song to the Moon” from the opera​ Rusalka​. As an opera singer, educator, and administrator, she continues to use the arts as an avenue to inspire, educate, and advocate for underprivileged youth. In her recent move to Buffalo, NY, Sirgourney has continued her work in harnessing the transformative power of arts and education through her involvement in the Buffalo public and charter school systems and literacy programs such as the national ParentChild + program and the after school program (STEAM Team) through Buffalo’s King Urban Life Center, where she now serves as the appointed Executive Director. Sirgourney is grateful to share in her life’s walk with her best friend and husband, the Rev. Julian Armand Cook, an accomplished pastor and scholar.


NIKKI CHOOI, VIOLIN The BPO concertmaster, Nikki Chooi, has established himself as an artist of rare versatility, praised for his passionate and poetic performances. Described as “vigorous, colorful” by the New York Times, he has received critical acclaim in recent engagements at the Harris Theatre in Chicago, Kimmel Center in Philadelphia, Carnegie Hall and Kauffman Center in New York, Koerner Hall in Toronto, and Place des Arts and Salle Bourgie in Montreal. Nikki served as Concertmaster of New York’s Metropolitan Opera Orchestra in 2016/2017 while working closely with singers and conductors including Renee Fleming, Elīna Garanča, Eric Owens, Fabio Luisi, and Esa-Pekka Salonen. His solos can be heard through The Met: Live in HD broadcasts in productions of Verdi’s La Traviata, Janacek’s Jenufa, and the Grammy®-nominated recording of Strauss’ Rosenkavalier released on the Decca Label. He has also appeared as Guest Concertmaster with the Pittsburgh Symphony, Sydney Symphony, and Houston Symphony. He released his debut album of works by Prokofiev, Ravel, and Gershwin on the Atoll Label.

AMY GLIDDEN, VIOLIN A native of Wichita, Kansas, Amy received a B.A. in Biology as well as a B.M. in Violin Performance from the University of Kansas, and a Master of Violin Performance degree from the Cleveland Institute of Music. Amy has performed with the Toronto Symphony, Canadian Ballet Orchestra, Fort Worth Symphony, and Grand Teton Music Festival orchestra. Previously concertmaster of the Mendocino Music Festival and assistant concertmaster of the Marin Symphony, Amy was appointed concertmaster of the Saratoga Opera orchestra in 2018 and participates annually in the Sun Valley Summer Symphony. Amy is a frequent soloist with the BPO, Ars Nova Chamber Orchestra, Amherst Symphony, Cheektowaga Symphony, and Buffalo State Philharmonia. In 2009, she was invited to join the newly created string program at Buffalo State College, and founded the Buffalo State String Collective, which brings students, faculty, and community members together in string music performance. Formerly a teacher at Orchard Park Suzuki Strings, Amy maintains a home studio and has given masterclasses across the U.S. As a chamber musician, she performs locally with the Roycroft Chamber Music Festival and Buffalo Chamber Players, and is a founding member of the Artemis and Clara String Quartets.


ANTOINE LEFEBVRE, VIOLIN Canadian violinist Antoine Lefebvre was appointed Principal Second Violin of the BPO in September 2001. He began his violin studies at age 5, and at 13, was admitted into a special Bachelor of Music program at the University of Montreal under the direction of J.F. Rivest and Vladimir Landsman. He obtained a M.M. in Violin Performance at McGill University with Yehonathan Berick, and then completed a music fellowship program under the direction of Richard Roberts and Andre Roy. Summers 1992 to 1996, Antoine studied with Stephen Shipps at the Meadowmount School of Music. Summer of 1999 he worked at Ohio’s Kent Blossom Chamber Music Festival, where he received the Joseph Gingold Award. In 2000 – 2001, he performed in Breckenridge, Colorado as the Principal Second Violin with the National Repertory Orchestra under the directorship of Carl Topilow. Antoine has won several national and international competitions, and has been invited for many concerts broadcasted by CBC Radio-Canada. He has appeared as soloist with orchestras including the Montreal Contemporary Orchestra, Orchestre Metropolitan of Montreal, Mount Royal Symphony, and Laval Symphony. In Buffalo, Antoine has been featured by the BPO and Ars Nova.

ROMAN MEKINULOV, CELLO A native of Leningrad, Russia, Mekinulov immigrated to the United States in 1989 to study at the Juilliard School, where he earned bachelor’s and master’s degrees under scholarship in the class of Professor Harvey Shapiro. Mekinulov has performed extensively throughout the United States, Italy, Austria, Hungary, Germany, France, Greece, Denmark, Switzerland, and Russia. He has appeared as a principal cellist of the Juilliard Symphony and Orchestra under Kurt Masur, Hugh Wolf and Leonard Slatkin; the North Carolina Symphony in their European Tour; and the Schleswig-Holstein Festival Orchestra in Germany. Mekinulov became principal cellist of the BPO in 2001, and has been featured numerous times as soloist. He maintains a robust teaching studio and is a founding member and Artistic Director of the Bravo International Chamber Music Workshop for high school and college students. In 2015, Concierto en Tango, written for Mekinulov by Miguel del Aguila and performed and recorded with the BPO, was nominated for a Latin Grammy. Recent engagements include concerto appearances with the Virginia Symphony, Albany Symphony, and Erie Chamber Orchestra as well as the US premiere of Krzysztof Penderecki’s Concerto doppio with the BPO. 


SAL ANDOLINA, SAXOPHONE In the worlds of classical music and jazz, crossover versatility is rarely found in a single individual. Over the past decade, however, the Buffalo Philharmonic Orchestra has witnessed the keen achievements of one of Buffalo’s native sons in the person of Salvatore Andolina, who is now the BPO’s hottest switch-hitter in his permanent position of clarinetist, bass clarinetist and saxophonist. While Andolina has been a full-time member of the BPO for the past 21 seasons, his association with the orchestra began in the late 1970s when he was a standout performance major at the University at Buffalo as a full-scholarship student on the clarinet. Upon completion of his degree at UB under former BPO clarinetist James Pyne, Andolina pursued advanced clarinet studies with Stanley Hasty at the Eastman School of Music in Rochester and coaching with the legendary Benny Goodman in New York City. In addition to appearing as a soloist with the BPO, Andolina has been featured with the Rochester Philharmonic, the Grand Rapids Symphony, the Fresno Philharmonic, the Ars Nova Chamber Orchestra and the North American New Music Festival. More significantly, Andolina has been featured on at least 15 studio recordings, including his prized CD: “Like Benny to Me,” a tribute to Goodman.


Wishing you a beautiful Holiday Season, from Hanukkah to Christmas to New Year’s Day! We all need a little celebration after a difficult 2020, and we hope that our music will help make your holiday bright. Many of your favorites are on the program - from Greensleeves to O Holy Night to The Christmas Song and more. We are welcoming some special guest stars - soprano Sirgourney Cook, Buffalo’s own Sal Andolina, five of our stand-out strings in Nikki Chooi, Amy Glidden, Clement Luu, Antoine Lefebvre, and Roman Mekinulov, and all our superb orchestra members. At this time of the year, we especially want to express our thanks to all of you for your support, your encouragement, your love - you helped us in a challenging time and we are deeply grateful to you. In the words of the beloved song that Sal Andolina will play for you - Have yourself a merry little Christmas, make the Yuletide gay, next year all our troubles will be miles away.... Stay well and happy, wonderful holidays to all. Love,

JoAnn and the Buffalo Philharmonic musicians


PROGRAM NOTES Lucas Richman (b. 1964)

Christmas Ornaments Overture As a conductor, Lucas Richman leads the Bangor Symphony Orchestra, but has also spent time in Hollywood where he has conducted at least a dozen major film scores. His portfolio includes such features as Face/Off, The Manchurian Candidate, and The Village. With film music in his DNA, his compositions like the jubilant Christmas Ornaments Overture are brilliantly cinematic. Here, he quickly traverses a landscape of delightfully memorable Christmas melodies all lovers of the holidays will be sure to recognize. Gian Carlo Menotti (1911-2007)

Amahl and the Night Visitors Introduction March Shepherd’s Dance Gian Carlo Menotti had already written two operas when he entered the Milan Conservatory at the age of 13. In 1928, after emigrating to the United States, he began studies with Rosario Scalero at the Curtis Institute, where he became a fellow student with Samuel Barber. Among Menotti’s early important successes were Amelia Goes to the Ball, presented by the Metropolitan Opera in 193839. A commission by the Alice M. Ditson Fund led to his first international success, The Medium of 1947. In the same year Menotti scored his delightful one-act comedy, The Telephone, (sub-titled L’amour à trois). But by far, Menotti’s best-known work is Amahl and the Night Visitors, a one-act opera written for an NBC television broadcast on Dec. 24, 1951.


The storyline concerns a poor and crippled shepherd boy, Amahl, who lives with his mother. While they sleep on Christmas Eve, Amahl wakes up suddenly to see Three Wise Men at the door of his hut. At first, Amahl’s mother does not believe him, but she welcomes the Three into their humble home. Word of the mysterious guests spreads to other shepherds, who gather around, and dance and sing a chorus of good tidings. After Amahl learns about the birth of the Holy Infant, he asks the Wise Men to take the newborn a crutch he made himself. Suddenly, as a heavenly token for his kindness, Amahl is miraculously cured and walks with the Wise Men to visit the Holy Infant. The excerpts performed here are fine examples of Menotti’s gift for orchestral scene painting, with flowing melodies and rhythms, and a refined orchestration. Ottorino Respighi (1879-1936)

Botticelli Tryptych (Trittico Botticelliano) Adoration of the Magi: Andante lento Respighi is known principally as a composer of tone poems based on scenes from the Italian panorama. Most frequently performed are his lavishly orchestrated tone poems Pines of Rome and Fountains of Rome. No less accomplished are his sets of Ancient Airs and Dances, the naturalist evocation The Birds, and the current work, Botticelli Tryptych, which was completed in 1927. Sandro Botticelli (1445-1510) was one of the great masters of the Italian Renaissance who produced masterpieces for the major churches of Florence and the Sistine

Chapel in Rome. Respighi’s Botticelli Tryptych offers an Impressionist tribute to the art and music of that period. For reference, a triptych is a set of three paintings or bas relief sculptures related in theme, connected side by side, and often used as a movable altarpiece. Typically, the panels are hinged so that two half-sized wings (volets) may close over the dominant central frame. With birth-renewal as a motif, Respighi’s score features a central Andante (Adoration of the Magi), framed by outer movements titled Spring and Venus. The Adoration of the Magi is introduced by a plaintive bassoon, answered by songlike phrases in the oboe and flute. In turn, a light, caroling melody is sustained over luminous timbres with spiritual nuance. Antonio Vivaldi (1678-1741) Concerto in B minor for Four Violins, Cello, and Orchestra, R.580 I. Allegro II. Largo III. Allegro The Concerto in B minor for Four Violins, Cello, and Orchestra was the tenth work of Antonio Vivaldi’s twelve-part Opus 3, and was an early work in his catalogue of some 500 concertos. Published in Amsterdam in 1711, his first outside of Italy, Opus 3 played a significant role in his international acknowledgement, and even made its way in to the hands of J.S. Bach, who created a harpsicord reduction of the work. The cause of Vivaldi’s massive output was no accident, but an occupational requirement. He famously trained for the priesthood for its professional avenues, but never worked as a priest, and instead took his gifts as a composer and virtuoso violinist to the orphanage Ospedale della Pietà,

where he led an all-female ensemble for decades. Tasked with creating repertoire for the group, he penned a huge portion of his works for the group, usually highlighting a single violinist, or, as with the B minor concerto, four violinists. Although his famous Four Seasons concertos were composed some years later, the frigid atmosphere of the F minor Winter may be foreshadowed by the icy counterpoint heard throughout his B minor concerto. The four soloists dance together in blustery motion with each musician featured with equal virtuosity. Ralph Vaughan Williams (1872-1958)

Fantasia on “Greensleeves” Vaughan Williams composed the opera Sir John in Love in 1929, based on Shakespeare’s The Merry Wives of Windsor. The opera features ten classic folk songs, including Greensleeves, offered at the beginning of Act III. The introduction to the song was later rescored by Vaughan Williams as Fantasia on “Greensleeves”. The current orchestral version was adapted and arranged in 1934 by Ralph Greaves. During the holiday season, the lovely melody is often heard as What Child Is This. George Frederic Handel (1685-1759) I Know That My Redeemer Liveth from Messiah George Frederic Handel’s career in England was defined by his introduction of fashionable Italian Opera to an eager English public, but the need to create unstaged, large-scale works of Biblical subject matter led him to harness the English choral tradition for a wholly new genre,


the English oratorio. Of his more than twodozen installments of the genre, Messiah was immediately, and ever since, the most well-known and oft-performed oratorio ever written. Composed in 1741 with a libretto by Charles Jenson, it premiered in Dublin the following spring. The tripartite recollection of Christ was intended for performance during the Lenten season, but is a popular addition to the Christmastime repertoire today. The central part of Messiah dramatically deals with Christ’s passion, death, and resurrection. The victorious finale of Part II is heard in Scene 7, titled “God’s triumph,” and is capped by the jubilant Hallelujah chorus. Immediately following is the first scene of Part III, titled “The promise of eternal life.” This scene begins with the reassuringly serene “I Know That My Redeemer Liveth.” After the comforting introduction from the violins, the soprano sings floating melodies of this calming air. Adolphe Adam (1803-1856) O Holy Night (Cantique de Noël) Known for his fleet facility as a composer, Adolphe Adam wrote about 80 operas (most on light, entertaining themes) and more than a dozen ballets, including Giselle of 1841. Adam’s variable catalog of original music also includes the music for the world famous carol O Holy Night. The endearing music (also titled Cantique de Noël) was composed in 1847 for a Christmas service at a small church in Roquemaure, located in south-central France. Widely translated into many languages, the inspiring lyrics (Minuit, chrètiens - Midnight, Christians) were written by a local poet, Placide Cappeau, who worked as a wine merchant. The current setting was arranged and scored by Matthew Naughtin.


Arcangelo Corelli (1653-1713)

Concerto Grosso, Op.6, No.8 in G minor, “Christmas Concerto” I. Vivace – Grave – Allegro III. Vivace IV. Allegro V. Pastorale Born in the Late Renaissance, Arcangelo Corelli became the most celebrated violinist and composer of his era. The title ‘Christmas Concerto’ was a genre of its own during the Late Baroque, especially in Italy with works by Torelli, Vivaldi, Manfredini, and others. But of them all, the best known is Op.8, No.6 in G minor by Corelli. The work was scored in about 1680 as a concerto grosso (there are twelve in all). The title derives simply from the composer’s inscription on the title page of the score: “Written for the Night of the Nativity.” This performance offers four of the original five movements. The concerto reflects Corelli’s wonderful gift for searching melody, rhythmic contrast and probing Baroque harmony. As in all twelve of the composer’s concerti grossi, the work features two solo violins and a solo cello, complemented by a string choir and continuo (chords and rhythm accompaniment), usually assigned to a single harpsichord. Robert Wells (1922-1998) / Mel Tormé (1925-1999) The Christmas Song Hollywood-based songwriter Robert Wells was escaping the July heat in 1945 when he jotted down some holiday-time sensory memories: “Chestnuts roasting…., Jack Frost nipping…, Folks dressed up like Eskimos.” Mel Tormé had a similar career to Wells as a songwriter, composer, actor,

and performer. The two collaborated often, and when Tormé visited Wells on that hot day, he was struck by the imagery that would become the lyrics for “The Christmas Song,” which the two sat down and composed together in forty minutes. It became the most popular Christmas song ever, first recorded in 1946 by Nat King Cole, and later by countless artists over its decades of unceasing popularity. Hugh Martin (1914-2011) / Ralph Blane (1914-1995) Have Yourself a Merry Little Christmas In 1944, Judy Garland starred in the sensational musical Meet Me in St. Louis. The film comprises of seasonal vignettes, with a bitter-sweet Christmastime scene that begins with the upsetting news that the family

is to move to New York City after the holidays, just prior to the highly-anticipated 1904 World’s Fair. Esther’s (Garland) fiveyear-old sister, Tootie (Margaret O’Brien), is inconsolable facing the reality that the family must soon leave home. In an iconic scene, Esther soothes Tootie with “Have Yourself a Merry Little Christmas”. Although Hugh Martin denies Ralph Blane’s input on the song, the two collaborated on a number of songs for stage and silver screen. Martin is said to have composed the ballad while vacationing at his family home in Alabama, but the version we know today is the product of re-writing, and Martin’s melancholic lyrics were replaced with more universally uplifting turns of phrase. Among the most memorable Christmas songs of all time, it was first popularized by Garland’s initial recording and a later 1950 Frank Sinatra release, with many to follow.

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Tuesday, December 22, 2020 at 7:00 PM BPO Pops Series

HOLIDAY POPS JoAnn Falletta, conductor HERBERT/Allen

March of the Toys from Babes in Toyland

arr. Kazdin

The Twelve Days of Christmas

arr. Hanson

I Wonder As I Wander

TCHAIKOVSKY/ Suite from The Nutcracker Allen Overture March Chinese (Tea) Arabian (Coffee) Russian (Trepak) DARIN KELLY

Of Nights and Lights

arr. Marlatt

Ding Dong Merrily on High

BRAHMS/Allen Es Ist Ein Ros Entsprungen (Lo, How a Rose E’er Blooming) LEONTOVICH/ Hanson

Carol of the Bells


A Christmas Festival


Sleigh Ride

is pleased to sponsor Music Director JoAnn Falletta’s appearance as program conductor This concert is proudly sponsored by Program and performers subject to change


You’re in good company Join these businesses that support the BPO. Contact Wendy Diina (716) 242-7826 as of Nov 1, 2020

$150,000 +

$50,000 - $99,999

$20,000 - $49,999

$10,000 - $19,999 AT TO R N E Y S


$5,000 - $9,999

$1,000 - $4,999 Alesco Advisors Anthony Baldi & Associates Berardi Immigration Law Buffalo Lodging CannonDesign Chiampou Travis Besaw & Kershner LLP Curbell Medical Enterprise Car Rental

Evans Bank Ferguson Electric Fox Run Orchard Park Garrison Wealth Management Goldman Titanium Gurney, Becker and Bourne HighTower LakeWater Keller Technologies

Lawley Insurance Mark Cerrone, Inc. Marsh Ziller, LLP McGard Murak & Associates Reid Group The Travel Team Woods Oviatt Gilman LLP

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

Natalie Piskorsky, viola

Sponsored by Dr. Patricia and Burt Notarius*

Ansgarius Aylward, assistant concertmaster

Matthew Phillips, viola

Douglas Cone, first violin

Kate Holzemer, viola

Sponsored Anonymously Sponsored by Bradford Lewis, Ph.D.

Diana Sachs, first violin

Sponsored by Gordon and Gretchen Gross

Alan Ross, first violin

Sponsored by Anthony J.* and Carmela M. Colucci

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

Sponsored by Mr. and Mrs. George G. Herbert

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

Monte Hoffman, cello

Sponsored Anonymously

Andrea Blanchard-Cone, first violin

Robert Hausmann, cello

Melanie Haas, first violin

David Schmude, cello

Antoine Lefebvre, principal second violin

Amelie Fradette, cello

Sponsored by Drs. Clement and Margot Ip Sponsored by Sue Fay & Carl

Sponsored by Dorothy Westhafer

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

Richard Kay, second violin

Sponsored by Joyce L. Wilson

Jeffrey Jones, second violin Sponsored by Mr. and Mrs. George G. Herbert

Amy Licata, second violin

Sponsored by David I. Herer on behalf of ABC-Amega, Inc.

Diane Melillo, second violin

Sponsored by Jack* & Ellen Koessler

Shieh-Jian Tsai, second violin Sponsored by Joyce L. Wilson

Caroline Gilbert, principal viola Sponsored by Bruce and Gail Johnstone

Sponsored by Sally and Donald Dussing Sponsored by Jim and Michal Wadsworth

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.

Henry Ward, principal oboe

Sponsored by Mr. and Mrs. Robert C. Wetter

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

Glenn Einschlag, principal bassoon Sponsored by Dr. and Mrs. Friedrich J. Albrecht

Martha Malkiewicz, bassoon/contrabassoon

Sponsored by Frances L. Morrison

Jay Matthews, French horn

Sponsored by Philip H. Hubbell, in loving memory of Jayne T. Hubbell

Sheryl Hadeka, French horn Sponsored by Lawton* and Linda Johnson

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

Jonathan Lombardo, principal trombone Sponsored by Jennifer Lawner In memory of Scott Parkinson, my brother

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

Patti DiLutis, clarinet

Sponsored by Dennis P. Quinn

Salvatore Andolina, clarinet/saxophone

Jennifer Dowdell, in memory of Charles and Nancy Dowdell

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

* deceased


Moog sponsor spotlight Over the last 65+ years, BPO corporate supporter, Moog has developed the capability to design and manufacture the most advanced motion control products for aerospace, defense, industrial and medical applications. Moog is a leading integrator of precision motion control systems and their products reflect Moog’s culture where the opportunity to solve a challenging control problem is always welcomed. The BPO is grateful to Moog for their longtime support helping us reach nearly 200,000 people annually through our Classics, Pops, Rock, Family, Community and Education concerts. The BPO and Moog share a similar vision for innovation – bringing new ideas and approaches in our ever-changing world. Thank you Moog for your committed support to music in our community!


National Fuel sponsor spotlight National Fuel has been a committed sponsor of BPO’s Music for Youth concert series for five consecutive years now. Their dedication to the BPO’s mission and the longevity of their support has helped place the education programs on solid financial ground. This financial stability is especially important in times when funding for music education can oftentimes be tenuous. In the years since National Fuel’s initial investment, the reach of the education programs has grown by nearly 10,000 students in our region, breaking all previous records. Additionally, the award-winning West Side Connection program celebrated its 10th anniversary during National Fuel’s sponsorship tenure and a significant new Teaching Artist program has been established. Thank you National Fuel for helping make these impactful programs possible and for providing us with the opportunity to educate, inform and inspire the next generation of music lovers!



Like a warm cup of coffee, beautiful music brings comfort. And when it comes to life’s transitions, Elderwood brings comfort and confidence. Elderwood is a proud sponsor of the BPO!

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


Maestro’s Circle $10,000-$24,999

Concertmaster’s Circle $5,000-$9,999

The Cameron and Jane Baird Foundation Carol and Angelo Fatta The John R. Oishei Foundation John & Carolyn Yurtchuk

Anonymous (2) Sue Fay Allen & Carl Klingenschmitt Joan and Peter Andrews Family Foundation The Baird Foundation Mr. Charles Balbach The Better Buffalo Fund at the CFGB Anthony & Barbara Cassetta Carmela M. Colucci Arthur W. & Elaine I. Cryer Donald MacDavid Charitable Trust Bob & Doris Drago Ms. JoAnn Falletta & Mr. Robert Alemany Robert J. & Martha B. Fierle Foundation Patricia & William Frederick George and Bodil Gellman Grigg Lewis Foundation Mrs. Amy Habib-Rittling and Mr. Mark Rittling Carlos and Elizabeth Heath Foundation Mr. and Mrs. George G. Herbert Dr. and Mrs. Curtis F. Holmes Hooper Family Foundation Bonnie and Nick Hopkins Mr. Philip H. Hubbell, in memory of Jayne T. Hubbell Bruce and Gail Johnstone Mrs. Ellen T. Koessler Dr. Bradford Lewis, Ph.D. Mr. and Mrs. Carl J. Montante, Sr. Mr.* and Mrs. Reginald B. Newman II J. Warren Perry & Charles Donald Perry Memorial Fund Mr.* and Mrs. George F. Phillips, Jr. Adam Rome and Robin Schulze Roy and Ruth Seibel Family Foundation Scott R. and Rachel C. Stenclik Steve and Nicole Swift The Vincent and Harriet Palisano Foundation Jim and Michal Wadsworth Jack Walsh, in memory of Connie Walsh The Ralph C. Wilson, Jr. Foundation

Anonymous (4) Mrs. Vanda Albera James and Linda Beardi James M. Beardsley & Ellen M. Gibson Mr. Joseph F. Casey Donald F. & Barbara L. Newman Family Foundation Jennifer Dowdell, in memory of Charles and Nancy Dowdell Sally and Don Dussing Peter & Maria Eliopoulos Lynne Marie Finn Mrs. John B. Fisher Edward N Giannino, Jr. Joe & Lynne Giroux Ms. Sarah C. Goodyear Ms. Constance A. Greco Dr. Elisabeth Zausmer and Dr. Angel A. Gutierrez Daniel & Barbara Hart David and Eva Herer John J. and Maureen O. Hurley Drs. Clement and Margot Ip Linda Johnson Michael & Marilee Keller Mr. and Mrs.* Philip Kadet The Linton Foundation Lorinda McAndrew Voelkle Foundation Charles & Judith Manzella Sandra and Dennis McCarthy Frances L. Morrison Mrs. Sheila M. Nancollas Douglas & Laurette* Oak Oliver G. & Sarah Sloan Bauman Fund for the Arts Mr. and Mrs. Edwin Polokoff Mr. Dennis P. Quinn Robert and Nancy Warner Memorial Fund at the FJP Joseph & Carole Sedita Lowell and Ellen Shaw Sara Gregg Skerker Stephen and Monica Spaulding Mr. and Mrs. Daniel Sperrazza Gary and Katharina Szakmary The Frank G. Raichle Foundation Martha and John Welte Robert and Judith Wetter

$50,000-$149,999 Anonymous (1) Clement & Karen Arrison Mr. Brent Baird Mr. and Mrs. Brian D. Baird Mark Chason & Mariana Botero Chason Louis P. Ciminelli Family Foundation Cullen Foundation The Walter Schmid Family Foundation Charitable Trust

$25,000-$49,999 Cindy Abbott Letro & Francis Letro Mr. Bruce C. Baird & Mrs. Susan O’Connor-Baird The Robert and Patricia Colby Foundation First Niagara Bank Foundation Montgomery Family Foundation Svetla and Doug Moreland Mulroy Family Foundation Christine Standish & Chris Wilk Ralph C. Wilson, Jr. Legacy Funds at CFGB


Encore Circle $2,500-$4,999

Diane & Sonny Sonnenstein Ronald L Struzik Dr. Joseph R. Takats, III Garin Tomaszewski Anonymous (7) Dr. and Mrs. Fred and Bonnie Albrecht Nicholas & Nicole Tzetzo Monica Angle & Samuel D. Magavern III Barry & Donna Winnick Gregory and Donna Yungbluth Douglas Bean and Elisa Kreiner Joanne Castellani & Michael John and Deanna Zak Andriaccio Ms. Elizabeth G. Clark Bravo Circle Ms. Anne E. Conable Michael D’Ambrosio $1,000-$2,499 Alan Dozoretz Anonymous (5) Ms. Ruth Irene Dwigans Morton & Natalie Abramson Cynthia Swain and Stephen Edge Kenneth & Maura Africano Marion S. Fay JoAnne Alderfer Mrs. Marta Fernandez Liz & John Angelbeck Frederick S. & Phyllis W. Pierce Ann Holland Cohn Endowment Fund Family Fund at the FJP Dr. Samuel Goodloe, Jr. Arts Services Initiative of Western Drs. James Grunebaum & Penelope New York Inc. Prentice Rita Argen Auerbach Dave & Katie Hayes Reverend James M. Augustyn Dr. Barbara W. Henderson Mary L. and Ronald E* Banks Mr. Steve Earnhart and Mrs. Jennifer Philip M. and Marion Henderson Barbee Martha & Tom Hyde Drs. Kevin and Elizabeth Barlog Mr. James and Mrs. Diana Iglewski Patricia S. Beagle Robert and Hana Jacobi Thomas R Beecher Jr Joseph & Anna Gartner Foundation Ann N. Bonte Mr. William P. Keefer The Reverend* and Mrs. Peter Dwight King & Leslie Duggleby Bridgford Susan B. Lee Gary & Willow Brost Steve & Sandy Levinthal John & Diane Burkholder Mr. Ron Luczak and Michael Boland Dr. and Mrs. John L. Butsch Sr. Beatrice Manzella Cheryl I. Christie William and Jane Mathias Ms. Rosemary Christoff Dolan in Mr.* and Mrs. Sheldon E. Merritt memory of Gerald Christoff, Denise and Ron* Rezabek composer and pianist Michael and Lorrie Munschauer Dr. Sebastian and Mrs. Marilyn Ciancio Mr. and Mrs. Sanford M. Nobel Nan & Will* Clarkson Dr. Thomas Nochajski Dr. and Mrs. Michael E. Cohen Mrs. Michelle Parrish Elizabeth B. Conant* and Camille Cox Mary Jane and Walter Pawlowski Peter S. and Elizabeth H. Curtis Mr. Paul J. Polokoff Beverly Davies Mrs. Susan A. Potter Adrian F. Dedecker III and Clotilde Mr. and Mrs. Joseph Priselac, Jr. Perez-Bode Dedecker Ms. Georgeann W. Redman James & Mary Frances Derby Mr. and Mrs. Bruce Renner Tony & Kathy Diina David & Joan Rogers Wendy Diina Dr. Annie Schapiro Duane and Nancy DiPirro Ken Schmieder and Nancy Julian* Joan M. Doerr Ronald Frank & Anne Schneider Richard and Cornelia Dopkins Dr. Gilbert Schulenberg Ellen & Victor* Doyno Ms. Betty J. Schultz Edward G Eberl Dr. Maxine Seller Elsie P. & Lucius B. McCowan Private Dr. Joyce E. Siriann Charitable Foundation

Ms. Mary A. Ferguson Mr. and Mrs. Kim A. Ferullo Joyce E. Fink Dr. Mildred J. Fischle Thomas & Grace Flanagan Ilene and Peter Fleischmann Mrs. Beth Fleming Robert and Ruth Fleming Ms. Margaret A. Frainier Eileen & Laurence Franz Sue Gardner Garrison Wealth Management Gerald and Jody Lippes Ms. Dolores S. Gernatt Mr. and Ms. James G. Hanley Golden and Goldman Philanthropic Fund Ms. Carol A. Golder Dr. Susan Graham and Dr. Jon C. Kucera Mr. and Mrs. Robert M. Greene Mr. and Mrs. William A. Greenman Adrienne Tworek-Gryta and Matt Gryta Mr. and Mrs. Van N. Harwood, Jr. Michele O. Heffernan & John J. Cordes Richard and Lynn Hirsch Monte Hoffman and Niscah Koessler Mr. Paul A. Hojnacki Mr. and Mrs. John K. Howell Mr. and Mrs. Peter Hunt Mrs. Alice Jacobs Mrs. Pamela R. Jacobs Thomas and Deborah Jasinski Craig & Deborah Johnston Edwin M. Johnston, Jr. Benoy and Suzanne Joseph Mr. Charles J. Kaars Dr. and Mrs. Kenneth R. Kahn Ms. Jennifer Kartychak Dr. Kathleen Keenan-Takagi Joseph M. Kelly Ms. Shirley Keppel Rosalind & Michael Kochmanski Carol & John* Kociela Mr. and Mrs. Jean Pierre A. Koenig Ken & Paula Koessler Bob & Liz Kolken Kenneth A. and Gretchen P. Krackow Mr. and Mrs. Robert J. Kresse RisĂŠ & Kevin* Kulick Dr.* and Mrs. C. Frederick Kurtz Dr. John Leddy and Dr. Carmen Alvarez Catherine & Matt Lincoln Mr. Warren Lippa James* and Linda Mabry Judy Marine Ms. Linda Marsh Randy and Diana Martinusek Ms. Elaine Mackensen May


Mr. George L. Mayers Stephen McCabe and Gretchen Wylegala McLain Foundation Ms. Barbara Mellerski-Farkas David and Gail Miller Ms. Pennie C. Hoage Mitchell Family Philanthropic Fund at the Community Foundation for Greater Buffalo Michael and Alex Montante Robert Moskowitz and Mary McGorray Anne Moot Ms. Susan Morgenstern Ms. Sharon F. Mortin Murak & Associates, LLC Dr. Michael F. Noe Mr. and Mrs. Randall M. Odza Judith Parkinson Lois & Tom Pause Dr. & Mrs. Philip Penepent, Jr. Richard & Karen Penfold Erin Peradotto Mr. Mark J. Peszko & Mr. David Schopp Gregory Photiadis and Sandy Chelnov Mr. and Mrs. Robert W. Plyler Henry & Patty Porter Katherine Powell and Ann K. Wittowsky Dr. Igor and Dr. Martina Puzanov Ted and Mary Ann Pyrak Peter & Nancy Rabinowitz Ms. Elaine Ragusa Corinne & Victor Rice Foundation Al & Cindy Ripley Mary Anne Rokitka Thomas J. Rolle and Deborah A. Henning Rose H. and Leonard H. Frank Community Endowment Fund Mr. Philip Rumore Maureen W. & Dr. Richard J. Saab William and Elizabeth Savino Susan and Jeffrey Schwartz Mr. Michael B. Sexton and Dr. Sandra Sexton Mr. and Mrs. Robert Shappee Dr. Mary Ellen Shaughnessy Mr. and Mrs. John W. Sherman Charles E. and Penelope R. Shuman Philanthropic Fund Mr. Gerould R. Stange Ruth & Ted Steegmann Alma and Malcolm Strachan Mr. and Mrs. David G. Strachan Dr. Donald G. Symer, Jr. Mr. and Mrs. Thomas W. Symons Susan & John Thomas


Mr. Jeffrey J. Thompson Mr. and Ms John C. Thompson Ann M. Bisantz and Albert H. Titus Hon. and Mrs. Paul A. Tokasz Mark Travers Dr. & Mrs. Raymond C. Vaughan Ms. Therese M. Vita Ms. Suzanne J. Voltz Nellie B. Warner Endowment Fund Mr. William Weiss Dr. and Mrs. Richard A. Wiesen William & Ida Christie Fund for Music Wayne* and Janet Wisbaum Paul M. Wos Arden and Julie Wrisley Mr. Paul Zarembka Ms. Barbara M. Ziegler Dr. Gregory Castiglia & Dr. Valerie Zingapan Drs. Bill Ziter & Cathy Gogan C. Richard and Joyce T. Zobel

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

Juliet E. Kline Robert and Barbara Klocke Mr. and Mrs. Paul C. Koppmann Deborah Raiken & Charles Korn Leslie and Jim Kramer Joan Kuhn Drs. Jeffery Lackner and Ann Marie Carosella Mr. and Dr. John M. Laping Fern & Joel Levin Dr. and Mrs. Harold J. Levy Dorothy M. Lien Drs. David B. and Madeline A. Lillie Howard and Lorna Lippes Joel & Andree Lippes Dr. Thomas & Donna Lombardo Mr. and Mrs. Donald C. Lubick Ms. Donna J. Ludwig Ms. Maria Malaniak Mr. and Mrs. John R. McClester Claire Miller McGowan Louise McGrath Michael and Lucille Melton Dr. and Mrs. Franklin H. Meyer Dr. and Mrs. Donald E. Miller Mr. John E. Milner Dr. and Mrs. Herman S. Mogavero, Jr. Robert and Nancy Morey Sandra G. Morrison Gary and Carolyn Mucci Russell A. Newbert Mr. and Mrs. Franklin Nice

Philip Nicolai and Mary Louis Hill Christa* and Jim Nolan Howard & Karen Noonan Susan D. Nusbaum Tim O’Brien Fund at the FJC Bernard & Linda O’Donnell Ann C. Pappalardo Laurence & Sylvia Paul Mr. Robert S. Petersen Keith & Beth Podgorny James and Nancy Poole John & Betty Preble Charles and Joanne Privitera Ms. Carol Dean Privitera Scott Propeack and Heidi Freedman Mr. Alex J. Ratkowski Martha J. Reddout Randolph & Cathy Ritz Mrs. Susan C. Robinson Revs. Melody and Rodney Rutherford Mr. and Mrs. W. Scott Schaefer Dr William Scheider Mr. and Mrs. Roger L. Schintzius Mr. and Mrs. John H. Schlegel Paul & Peggy Schulz Eleanor Scott Miss Louise E. Seereiter Mary Anne Seifert Henry & Tricia Semmelhack Mr. and Mrs. Lawrence D. Seymour Alexander Shrader Mr. and Mrs. Roger T. Sieracki

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


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 October 5 and November 15, 2020.

In Memory of Henry Fessard Mr. Angelo Lorenzo

Maksym Sugorovsky Daniel J. Cantor

Joan Geier Michelle Willax W.R. Keppel Ms. Shirley Keppel

Sally Teibel Mrs. Susan Levy Mrs. Shelley Rohauer Sandra G. Morrison

Eleonore E. Kolodziej Mrs. Anne Furrh

Luigi Tomassi Mr. Guido A. Tomassi

Stella Ochal Carol Latona

Edward Yadzinski Deborah A Shoedel Ms. Diana Haskell Genette Foster

In Honor of Patricia Dilitus Yasushi Innami Sanford Eisen and Linda Johnson’s wedding Dr. Elisabeth Zausmer and Dr. Angel A. Gutierrez

JoAnn Falletta Marvin & Marcia Frankel Miss Victoria A. Christopher

Joe Scandy Michael Russo Mr. Benjamin Ardwin Mr. Wayne Thomas Ms. S. Rala Stone Ms. Clementina Fleshler JFF and JFFLabs Mr. Kenneth Kowalski Mr. James Sawyer Ms. Hillary Ruchlin Mr. David Thomas Mr. and Mrs. John and Annette Friedrichs The Monday Girls Martha Malkiewicz Ms. Linda M. Betzer


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


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

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

Check out YOUR Buffalo Philharmonic Orchestra online!

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(716) 972-2250



Musical Heritage Society

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


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

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

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

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




Daniel Hart

Patrick O’Herron

Executive Director

Director of Marketing

Diana Martinusek

AndréeRenée Simpson


Kelcie Hanaka

Executive Assistant

Marketing Manager

Digital Marketing Manager

Jennifer Barbee

Cary Michael Trout

Associate Director and Director of Development

Graphic Designer/Consultant

Ed Yadzinski

Wendy Diina

Director of Special Projects Associate Director of Development

Katie Bates Johnson

Program Annotator & Historian

Operations Alison Bolton

Annual Fund Manager

Holly Johnson

Grant and Corporate Relations Coordinator

Guy Tomassi

Major and Planned Gifts Officer

Patron Services Representatives Jess Berner Anne Boucher Bethany Erhardt Scott Kurchak Amanda Paruta

Kleinhans Music Hall Staff Nicole Murray

Building Services Assistant

Michael Cassidy

Interim Assistant Chief Engineer

Director of Artistic and Orchestra Operations

Dennis Nawojski

Event Manager

Alister Bouvart

Brian Seibel

Connor Schloop

Concessions Manager Parking & Set Up Supervisor

Associate Manager of Artistic and Orchestra Operations

Education and Al Rabin Community Engagement Audience Services Manager Robin Parkinson

Sales and Patron Services

Director of Education and Community Engagement

Adam Cady


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Kevin James

Rachael Pudlewski

Director of Finance

Box Office Assistant Manager/ Education Coordinator

Nicole M. Bodemer

Associate Director of Finance

Jacqueline Henry

Finance/Accounts Payable Associate

Susan Hill

Payroll and HR/ Benefits Administrator



Joshua Flanigan Kim Miers Adam Van Schoonhoven PRESIDENT & CEO Sharon PUBLISHER/CHIEF REVENUE OFFICER

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Profile for Buffalo Philharmonic Orchestra

BPO 2020-2021 Season: Program Book 3  

Buffalo Philharmonic Orchestra 2020-2021 Season: Program Book 3

BPO 2020-2021 Season: Program Book 3  

Buffalo Philharmonic Orchestra 2020-2021 Season: Program Book 3


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