BPO 2020-2021 Season: Program Book 5

B U F F A

JoAnn Falletta conducts Haydn

L O

Tue Feb 23, 7pm

P H I L H A M

Tue Mar 2, 7pm

R

Prelude to Pops

O N I C O R C H E

Beethoven & Strauss

S T R

Tue Mar 9, 7pm

A • F E B R A R Y

Tue Mar 23, 7pm

U

Handel & Mozart

2 3 M A C H

Tue Mar 30, 7pm

R

Charlie Parker: Easy to Love!

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presented by

Our popular BPOnDemand video-streamed series continues to delight!

The magical acoustics of Kleinhans Music Hall will continue to be available from our home to your home in 2021 on Tuesday evenings from January through March.

These virtual broadcasts will offer more extraordinary opportunities to experience our performers through the up-close-and-personal perspective provided by our state-of-the-art recording technology. And performances will continue to be available on-demand for 30 days following each 7pm Tuesday premiere.

If you would like to stream our virtual concert offerings to your computer or mobile device, tickets may be purchased to individual performances at $10 each (plus fees).

Or consider one of these cost-saving options:

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As always, current 20-21 season ticket subscribers receive broadcasts for FREE! CALL (716) 885-5000 OR VISIT BPO.ORG AND SIGN UP TODAY

TABLE OF CONTENTS | FEBRUARY 23 – MARCH 30 BPO Board of Trustees/BPO Foundation Board Directors

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BPO Musician Roster

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JoAnn Falletta conducts Haydn

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Prelude to Pops

19

Beethoven & Strauss

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Handel & Mozart

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Charlie Parker: Easy to Love!

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Sponsor a Musician

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Annual Fund

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BPO Classics Series February 23

BPO Pops Series March 2

BPO Classics Series March 9

BPO Classics Series March 23

BPO Pops Series March 30

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

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

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

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MESSAGE FROM THE BOARD CHAIR Spring is right around the corner, and we’re all anxious for the world to show us some sign of returning to at least a small fragment of ‘normal.’ For the BPO this year, that means exploring more opportunities to re-connect with our community neighborhoods, visiting forgotten wonders in our own back yards, and investigating interesting stories of Buffalo’s past.

That’s the idea behind our Out-of-the-Box series; to connect with new audiences, highlight our talented musicians, showcase the community, and celebrate our city’s on-going renewal. The unusual series was being launched right when New York state started closing, but we still wanted to continue offering hope and inspiration through music, even without live audiences. You can view our recently uploaded performances at Niagara Falls, Buffalo’s grain elevators and silos, and Frank Lloyd Wright’s Graycliff and Martin House on our YouTube channel, and we have more interesting location visits in the works!

We also hope you tuned in to our social media channels when JoAnn Falletta and concertmaster Nikki Chooi videotaped three messages at Bills Stadium to cheer on our AFC East champs. Including the video of Nikki performing his interpretation of “Shout,” they have been watched over 60,000 times.

These activities, in addition to our current streaming BPOnDemand concerts, wouldn’t be possible without the backing of the entire community. We are very fortunate to have the on-going support of the Erie County legislators and County Executive Mark Poloncarz, who approved continued funding of the BPO and other western New York culturals in recent budget hearings. Their support, coupled with lead sponsorships from M&T Bank, Calspan, BlueCross BlueShield, KeyBank, Elderwood, and countless other corporate and private donors, plus governmental funding through the New York State Council on the Arts and the National Endowment for the Arts, has allowed the BPO to continue performing for the community this season.

If you haven’t visited bpo.org recently, I encourage you to check out everything we’ve been up to lately. We hope you’ll be as pleased with our progress as we are.

Don’t stop believing!

Sincerely,

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

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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 † Kate Holzemer † James Iglewski William Keefer Ronald Luczak Alex Montante Allan C. Ripley* Casimiro D. Rodriguez, Sr. Rev. Melody I. Rutherford Diana Sachs † Robin G. Schulze, Ph.D

Joseph Sedita Brett Shurtliffe † 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

BUFFALO PHILHARMONIC ORCHESTRA FOUNDATION

BOARD OF DIRECTORS

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

Karen Arrison Michael Wurst John Yurtchuk

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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.

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JOHN MORRIS RUSSELL PRINCIPAL POPS CONDUCTOR A master of American musical style, John Morris Russell has devoted himself to redefining the American orchestral experience.

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

JAMAN E. DUNN

ASSISTANT CONDUCTOR

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.

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

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.

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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.

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JOANN FALLETTA, MUSIC DIRECTOR

Angelo and Carol Fatta Endowed Chair

JOHN MORRIS RUSSELL, PRINCIPAL POPS CONDUCTOR JAMAN E. DUNN, ASSISTANT CONDUCTOR

FIRST VIOLIN

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

SECOND VIOLIN

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

VIOLA

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

CELLO

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

BASS

Daniel Pendley principal Garman Family Foundation Endowed Chair Brett Shurtliffe assoc. principal

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Michael Nigrin Edmond Gnekow Jonathan Borden Nicholas Jones Gary Matz

FLUTE

Christine Lynn Bailey principal Linda Greene Natalie Debikey Scanio

PICCOLO

TROMBONE

Jonathan Lombardo2 principal Timothy Smith

BASS TROMBONE Filipe Pereira

TUBA (vacant)

Natalie Debikey Scanio

TIMPANI

OBOE

Matthew Bassett principal Dinesh Joseph assistant principal

Henry Ward principal Joshua Lauretig Anna Mattix

ENGLISH HORN

Anna Mattix

CLARINET

William Amsel principal Patti DiLutis Salvatore Andolina

E-FLAT CLARINET

Patti DiLutis

BASS CLARINET AND SAXOPHONE

Salvatore Andolina

BASSOON

Glenn Einschlag principal Martha Malkiewicz

CONTRABASSOON

Martha Malkiewicz

FRENCH HORN

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

TRUMPET

Alex Jokipii principal Geoffrey Hardcastle Philip Christner

PERCUSSION Mark Hodges principal Dinesh Joseph

HARP Madeline Olson principal

MUSIC LIBRARY

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

STAGE MANAGERS Richard George Master Property Person IATSE Local 10 Charles Gill Assistant Property Person IATSE Local 10 1

Chair dedicated to the

memory of Maer Bunis 2

Chair dedicated to the

memory of Scott Parkinson * Temporary Appointment

(L) Leave of Absence

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WATCH THE GRAMMY AWARDS SUNDAY, MARCH 14 AT 9PM! Our own Buffalo Philharmonic Orchestra is the proud recipient of three nominations at the 63rd Annual Grammy® Awards for its recording of Richard Danielpour’s The Passion of Yeshua, featuring JoAnn Falletta conducting the BPO, the Buffalo Philharmonic Chorus prepared by Music Director Adam Luebke, and the UCLA Chamber Singers prepared by James K. Bass.

The recording received nods in the categories of “Best Contemporary Classical Composition,” and “Best Choral Performance.” Additionally, the BPO’s longtime audio engineer, Bernd Gottinger, is nominated in the category of “Best Engineered Album, Classical.”

In 2008, under the direction of Falletta, the BPO won a Grammy® Award for “Best Contemporary Composition” for its recording of John Corigliano’s Mr. Tambourine Man: Seven Poems of Bob Dylan. Most recently, Falletta took home a Grammy® in 2019 for “Best Classical Compendium” for the recording of Kenneth Fuchs: Piano Concerto ‘Spiritualist’, Poems of Life, Glacier, Rush, which she recorded with the London Symphony.

The Grammy® Premiere Ceremony, where the majority of the 84 categories of awards are handed out including those for which the BPO is nominated, will be streamed live on Grammy.com.

The BPO recordings of Richard Danielpour’s The Passion of Yeshua, John Corigliano’s Mr. Tambourine Man: Seven Poems of Bob Dylan, plus all of the BPO’s outstanding recordings, are available for purchase at bpo.org or by calling the Box Office at (716) 885-5000.

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Tuesday, February 23, 2021 at 7:00 PM

BPO Classics Series

JOANN FALLETTA CONDUCTS HAYDN JoAnn Falletta, conductor

ARENSKY Variations on a Theme of Tchaikovsky* I. Un poco piu mosso II. Allegro non troppo III. Andantino tranquillo IV. Vivace V. Andante VI. Allegro con spirito VII. Andante con moto Coda: Moderato

SHOSTAKOVICH/ Sinfonia for Strings (after String Quartet Drew No. 8 in C minor), Op. 110 I. Largo II. Allegro molto III. Allegretto IV. Largo V. Largo

HAYDN Symphony No. 44 in E minor, “Trauer” I. Allegro con brio II. Menuetto e Trio: Allegretto III. Adagio IV. Finale: Presto

*Variations on a Theme of Tchaikovsky is dedicated in loving memory of Robert J. Kresse You can learn more about this program from JoAnn Falletta’s introduction at bpo.org/musically-speaking Program and performers subject to change.

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PROGRAM OVERVIEW

The Buffalo Philharmonic presents three pieces that are linked by the theme of ‘remembrance’. Anton Arensky adored his colleague and mentor, Piotr Tchaikovsky. He wrote tonight’s beautiful Theme and Variations in his memory, basing the composition on one of Tchaikovsky’s songs – Legend - that had particular meaning for the master composer. Many decades later, the Russian composer Dmitri Shostakovich visited the ruins of Dresden after the War, and, shaken by the scenes of devastation, composed the piece you will hear in just three days. He dedicated it to “the victims of war” and asked that it be used as his own Requiem.

Franz Joseph Haydn’s Symphony No. 44 seemed to have held a special place in the composer’s heart. Near the very end of his life, he asked that the second movement be performed at his funeral.

From the grateful love of Arensky to the searing pain of Shostakovich to a perfect symphony of Haydn, this is a concert of profound feeling and great beauty.

PROGRAM NOTES

Anton Arensky

(Russian; 1861-1906)

Variations on a Theme by Tchaikovsky, Op. 35a (1894) I. Un poco piu mosso II. Allegro non troppo III. Andantino tranquillo IV. Vivace V. Andante VI. Allegro con spirito VII. Andante con moto Coda: Moderato Anton Arensky studied in Saint Petersburg with Nikolai Rimsky-Korsakov, and would go on to teach in Moscow, with such pupils as Alexander Scriabin and Sergei Rachmaninoff. In a sense, he was of a transitional generation of Russian composers who still held dear the mammoth Romanticism of Tchaikovsky, while paving the way for a new generation of 20th century composers. However, his impact was stunted by his early death at 44 of tuberculosis.

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Tchaikovsky was by far the greatest influence on Arensky’s music. Upon the elder composer’s passing in 1893, Arensky wrote among his most famous works, Variations on a Theme by Tchaikovsky, for the odd combination of violin, viola, and two cellos, which he arranged for string orchestra after its premiere. The work’s principal theme comes from the song “Legend,” the fifth movement of Tchaikovsky’s Sixteen Children’s Songs. Here, Arensky creates seven variations, each with a contrasting mood, ranging from elegiac to ecstatic.

Dmitri Shostakovich (Russian; 1906-1975)

Sinfonia for Strings (arr. Lucas Drew (American; 1935 -) after String Quartet No. 8 in C minor, Op. 110 (1960) I. Largo II. Allegro molto III. Allegretto IV. Largo V. Largo

Lucas Drew is an American double bassist and educator who is responsible for string ensemble arrangements of a great number of classic works. He gave the title Sinfonia for Strings to his string orchestra arrangement of Dmitri Shostakovich’s 1960 String Quartet No. 8 in C minor.

Dmitri Shostakovich achieved early success as a pianist and composer, and while many of his most celebrated contemporaries variously sought careers abroad, he spent his life navigating the dangers of Soviet Russia. The threat to artists who strayed from Soviet expectations could result in brutal official denunciations—Shostakovich had two such denunciations—or even death, as with many in his circles who disappeared. The undulations of public favor ranged from reception as a wartime hero for his Seventh Symphony, which boosted morale during the siege of Leningrad; to the withdrawal of numerous works for fear of reprisal.

In 1960, as the face of Soviet music, Shostakovich was painfully pressured to join the Communist Party in order to serve on the Board of the Composers’ Union. His response was musical. In just three days’ time, he penned his Eighth String Quartet, the score for which was dedicated “to the victims of fascism and war.” Some posit that the dedication was meant to include all those who suffered under totalitarianism, but others, that it was dedicated to his own life and was a sort of suicide note (although he was suicidal at this time, he survived until 1975). Such ambiguities were the nature of Shostakovich’s balancing act: publicly patriotic, privately dissenting.

The work’s five movements are connected without break. The opening Largo begins with a grimly unfolding fugetto, with each voice taking turns entering with his common “DSCH” motive, a signature of Shostakovich in which the

note names spell his initials. As such, the work is filled with personal quotations, including in this opening movement a nod to his First Symphony, as well as a descending violin melody pulled from his famous Fifth Symphony. The resetting however is grim and sparse. The mournful mood of the Largo ends abruptly as the work transitions, without pause, to the terrifying Allegro. Like gunfire, the second movement plows ahead with a dizzying violin line, disrupted by violent accents.

Throughout the entire work, the DSCH theme returns, and it does so here in brittle layers, but the action comes to a head with the violins nearly screaming the “Jewish theme” from his wartime Second Piano Trio. The energized layers of musical material come to an unexpected halt.

In the eerily waltzing middle movement, the crisp texture supports an unsettling melody based on the DSCH theme.

Following the triple-beat waltz is a contrasting, sparsely textured duplemeter march. Central to the movement is a lamentful melody high in the cello (a quotation from his Cello Concerto No. 1), with ghastly chromatic runs high in the violins. A return to the waltz, then the march, leads to a slow isolated melody in the low violin, who hold their note into the fourth movement, which is marked by three damning accents, repeated, from the ensemble.

The fourth movement’s ominous droning is heard throughout, accompanying more references, first a stirring chorale setting of an old revolutionary song “Tormented by Grievous Bondage,” then an aria from his opera Lady Macbeth of the Mtsensk District (this opera was the cause of his first denunciation). The marcato interruptions are said to represent gunfire, and the droning is the constant sound of enemy planes. However, the

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constant threat of violence against the artist amidst his own work may also be heard in these harrowing moments.

The elegiac finale is fastened to the previous with a lonely violin note that transforms into a bleak Largo. The lush and dissonant counterpoint in the final movement is again built on the work’s familiar motif, followed by a muted reprisal of the opening fugetto, which descends into a final austere chord.

Franz Josef Haydn (Austrian; 1732-1809)

Symphony No. 44 in E minor, Hoboken I/44, “Trauer” (1772) I. Allegro con brio II. Menuetto e Trio: Allegretto III. Adagio IV. Finale: Presto Historians have often associated Franz Josef Haydn’s Symphony No. 44, and a roughly ten-year period beginning in the late 1760s, with the aesthetic movement now known as Sturm und Drang (often translated as “storm and stress”) after a 1777 Friedrich Maximilian Klinger play of the same name. The emotional tumult of Sturm und Drang is largely found in the literary and theatrical works of the German-speaking world in the later decades of the 18th century, and can be seen as oppositional to the rationalism of the French Enlightenment. This protoRomanticism prized individualism over universalism, and expression over rationalization, and was distilled by such notable figures as Goethe, Schiller, and many more playwrights, authors, and philosophers.

The movement’s impact on music would take hold in later decades with Beethoven,

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Weber, and Schubert, but it should be no surprise that an aesthetically-deft Haydn would have shaded his works with the moods of his contemporaries. For decades, Haydn lived in rural Hungary where he was employed by the wealthy Esterházy family, and was free to— and expected to—compose a great deal of works in a variety of genres. A renegotiation of his contract permitted him to publish and sell his works, which would establish him as Europe’s most famous composer, gaining celebrity particularly in London and Vienna. His huge contribution to musical literature led to the maturation of the Classicalera symphony (of which he composed a staggering 106), the string quartet (some 68 of them), the piano sonata, the piano trio, the concerto, and more.

The patronage of Prince Nikolaus Esterházy, rather than the general public, may have given Haydn the privilege of dabbling in the emotional world of Sturm und Drang, as many of his works in the 1760s and 70s seem to have done, with a greater proportion of minor-keyed works, and Symphonies with titles like Tempeste di mare (“Storm at Sea”), and Feuer (“Fire”). It is said that Haydn wished for the slow movement of his 1772 Symphony No. 44 in E minor to be played at his funeral, earning it the nickname Trauer (“Mourning”).

The symphony begins with a brief unison, at first annunciatory, then cunningly chromatic.

This minor-keyed introduction is traded for a joyous rush of lively violin passages. This exposition encapsulates the work as a whole, cleverly balancing woe and jubilation, and the following development exploits these contrasts with brilliance. Expertly framed in the formality of a Classical symphony, Haydn’s brilliant opening movement weaves together musical moments to create widely varying moods and textures.

Quite uncommon, the inner movements of the symphony are swapped, and Haydn proceeds immediately to a tonally-ambiguous minuet. Although generally in E minor, major-keyed diversions are frequent, as the upper and lower voices play heavy call-andresponse melodies. By contrast, the central trio is now set in an elevated E major, with long, elegant lines, before returning to the Menuetto’s opening.

The Adagio returns to E major, continuing to play on the E-centered minor/major juxtaposition.

With the strings muted, the ornamented melodies are intimate with a free airiness. Mostly abandoning minorkeyed moodiness, Haydn’s funeral Adagio is anything but mournful.

Throughout Haydn’s symphony, he never abandons his refined Classical identity, but the brooding storminess of Romanticism is foreshadowed in the work’s white-knuckled finale that barrels ahead tumultuously. As with the first movement, the Presto begins with a unison figure that demands attention, and unfolds this booming closing movement.

Throughout, the underpinning quickfire strings support bold wind lines. Although a typical minor-keyed work of the time might find a major-keyed resolution for its conclusion, with unceasing energy, the movement comes to a halt in an unforgettable E minor.

Chaz Stuart, 2021

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Washing our hands. It’s our job. thepartnership.org/ourjob.

Tuesday, March 2, 2021 at 7:00 PM

BPO Pops Series

PRELUDE TO POPS Jaman E. Dunn, conductor Lorenzo Parnell, tenor

SUPPÉ/ arr. Roberts

Light Cavalry Overture

DELIBES

“Pizzicati” from the ballet Sylvia

ROSSINI/ arr. Roberts

Overture to The Barber of Seville

BRAHMS/ Hungarian Dances orch. Parlow; No. 5 arr. Roberts No. 6 ANDERSON

Plink, Plank, Plunk

ARLEN/ arr. Gould

Stormy Weather

ARLEN / Over the Rainbow from The Wizard of Oz arr. Pellet Lorenzo Parnell, tenor FUČÍK / arr. Laurendeau

Entry of the Gladiators

COPLAND

Hoe Down from Rodeo

JOHN KANDER/ Chicago arr. Ricketts

ANDERSON

Fiddle-Faddle

is proud to sponsor Jaman E. Dunn’s appearance as program conductor.

This concert is proudly sponsored by Program and performers subject to change.

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LORENZO PARNELL, TENOR Hailing from Rochester, NY, Lorenzo Parnell is an active artist in the WNY community. He was recently named one of the Best of Western New York by Buffalo Spree Magazine for his performance as Motormouth Maybelle with Kavinoky Theater. He received an Artie nomination for that same role, as well as for Coalhouse Walker Jr. in Musicalfare’s production of Ragtime. Additional roles include Tom Robinson in To Kill a Mockingbird (Geva Theater), Eddie Souther in Sister Act (Lancaster Opera House) and Flick in Violet (Blackfriars Theater).

Outside of his thriving theatrical endeavors, Lorenzo is the lead vocalist for Twilight Entertainment, and can be seen performing at Seneca Niagara Casino, Batavia Downs, and other distinct venues. He is also a proud member of Actor’s Equity, and serves as a liaison for the Buffalo-Rochester region.

Lorenzo received his BA in Applied Music from SUNY Fredonia, and is currently pursuing a degree in Animal Management and Conservation from Niagara County Community College.

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Tuesday, March 9, 2021 at 7:00 PM

BPO Classics Series

BEETHOVEN & STRAUSS JoAnn Falletta, conductor Ray Ushikubo, piano

JOAQUIN TURINA

La Oracion del Torero (The Bullfighter’s Prayer)

STRAUSS

Metamorphosen

BEETHOVEN Piano Concerto No. 2 in B-flat major, Op. 19

I. Allegro con brio II. Adagio

III. Rondo: Molto allegro Ray Ushikubo, piano

This concert is proudly sponsored by You can learn more about this program from JoAnn Falletta’s introduction at bpo.org/musically-speaking Program and performers subject to change.

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RAY USHIKUBO, PIANO Pianist and violinist Ray Ushikubo has performed on the stages of Carnegie Hall and Walt Disney Concert Hall, and appeared on NBC’s The Tonight Show with Jay Leno. Following his performance with pianist Lang Lang in Segerstrom Concert Hall, Ushikubo made his solo orchestral debut at age ten. He has performed as a soloist with the Fort Collins, Hilton Head, Modesto, Pasadena, and San Diego Symphony Orchestras, as well as the Buffalo, Los Angeles, Reno, and Westchester Philharmonic Orchestras. During the 2020-2021 season, Ushikubo has recorded Gershwin’s Rhapsody in Blue with the San Diego Symphony Orchestra led by Maestro Rafael Payare, and will be recording Beethoven’s Second Piano Concerto with the Buffalo Philharmonic and Maestro JoAnn Falletta. In recent years, Ushikubo has often performed both piano and violin in the same concert. Ushikubo was featured as a Young Artist in Residence for NPR’s Performance Today with Host Fred Child.

He has performed with pianist and conductor Jeffrey Kahane for LACO, with world-acclaimed pianist Jean-Yves Thibaudet on Radio France, and with violinist Cho-Liang Lin for La Jolla Music Society. Ushikubo was named a Young Steinway Artist; won the 2017 Hilton Head International Piano Competition, the 2016 Piano Concerto Competition at the Aspen Music Festival, and the 2015 Steinway Concerto Competition; and received the prestigious Davidson Fellows Laureate.

He has performed on NPR’s From the Top and appeared on TEDx Redmond.

Ushikubo studies at the Curtis Institute of Music as a double major, where he studies piano with Gary Graffman and Robert McDonald and violin with Shmuel Ashkenasi and Pamela Frank. Ushikubo loves watching movies, listening to heavy metal, and driving cars.

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PROGRAM OVERVIEW

A silver lining of playing with a smaller orchestra is that we have the chance to introduce you to wonderful works we have not played recently, or ever before. A beautiful example is Richard Strauss’ Metamorphosen, a contemplative, tender work that he composed at the end of his life. It is written for 23 string soloists, who create a tender and heartfelt tapestry of intimate nostalgia.

Another rarity is Joaquin Turina’s beautiful tone poem, The Bullfighter’s Prayer.

One of Spain’s greatest composers, Turina creates a portrait of the Torero moments before entering the bullring, praying in the small chapel behind the arena that God will protect his life.

We end the concert with a well-known and beloved work - Beethoven’s Piano Concerto in B flat, performed by superb pianist Ray Ushikubo.

PROGRAM NOTES

Joaquín Turina Pérez (Spanish; 1882-1949)

La Oración del Torero, Op.34 (1925) Europe’s cultural capitals in Italy, France, Germany, and Austria dominated the development of classical music. However, in the late 19th century, composers outside of these powerhouses worked to establish their identity, pursuing distinct nationalistic characteristics in their own music. Joaquín Turina was among a group of Spanish composers who, in the early years of the 20th century, sought to establish a Spanish Nationalism in their music.

Turina’s contribution to Spanish music identity, however, began when he traveled to Paris in 1904. Receiving an education with the city’s top academics, he was also steeped in the burgeoning impressionism of Ravel and Debussy.

Returning to Madrid in 1914, he brought his education to Spain’s young composers, while composing modern music with a particularly impressionistic sound, imbued

with the imagery and sounds of his homeland.

La oración del torero (The Bullfighter’s Prayer) captured a particularly Spanish moment in which Turina witnessed the solemn pre-fight prayer of a matador.

The work dances with impressionistic colors, and expresses the bullfighter’s acknowledgement of mortality before taking the stage to a cheering crowd.

Originally composed upon commission in 1925 by a lute quartet, it was later arranged for string quartet, then string orchestra, which maintains the intimate Madridian scene.

Richard Strauss

(German; 1864-1949)

Metamorphosen (1945) Proudly German, Richard Strauss harbored no sympathies for the fascism he witnessed in his final decades, and was devastated by what he considered to be a disintegration of German culture caused

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by the Nazis. In fact, the world had become unrecognizable to the brilliant composer who had played a major role in the advancement of Germanic music in his eight decades of composing, which began in the 1870s.

In the final decades of the 19th century, he secured important opera and symphonic conductorships and rose to prominence as a composer with a number of significant tone poems, such as Don Juan and Also Sprach Zarathustra. In the new century, his celebrity took him on American tours, and led to a number of successful operas such as Salome, Elektra, and countless others. He also used his position to advance the music of his contemporaries, and, most importantly, his friend Gustav Mahler. Strauss led the way to the height of Germanic Romanticism with a music often thought of as the logical continuation of Wagner, containing rigorous melodic development, an expanded harmonic vocabulary, and advanced orchestration techniques.

For many, the 1933 elevation of Adolf Hitler and the Nazi Party represented the culmination of Germanic culture, but the 68-year-old Strauss was acutely aware of the opposite. He never joined the Nazi party, but instead used his position to protect the works of Jewish composers of the past, as well as his Jewish daughterin-law, Alice, and her children. Amidst the violence of war, the murder of people and the destruction of cultural sites were an abomination to Strauss, who laid the blame firmly at the feet of the fascists in power.

Deeply affected by Germany’s cultural implosion, a bereft Strauss composed his 1945 Metamorphosen for 23 solo strings.

During this period, Strauss pored over the words of Goethe and found resonance in his concept of “metamorphosen,” the lifelong transformation to an elevated intellect. However, the title may have

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a double meaning, as the work turns on its head the classical idea of an evolution to the divine, and rather portrays the slow change of cultural decline. In other words, the role Strauss played in the development of Germanic culture, which was then dismantled, may be the narrative of the work.

Metamorphosen’s elegiac tone persists with dense textures and wandering harmonies. Throughout, the musical lines seem to be in deep conversation, and the work has a least five principal themes. In the final bars, Strauss quotes the funeral march from Beethoven’s Eroica Symphony, accompanied in the score with the words “In Memorium!” giving more context for the work. Perhaps he is memorializing Beethoven and his contribution to German culture, or perhaps using Beethoven as a conduit to mourn German culture. Beethoven’s Eroica was famously dedicated to Napoleon, but sharply undedicated upon his rise to dictatorship, raising the possibility that the reference marks Strauss’ own internal struggle in complicity to the rise of Fascism. Strauss’ massive tone poem perhaps raises more questions than answers, but the context of this massive, yearning, symphonic statement portrays a master at the end of his life grappling with a changed world.

Ludwig van Beethoven (German; 1770-1827)

Piano Concerto No. 2 in B-flat major, Op. 19 (1789/95) I. Allegro con brio II. Adagio III. Rondo: Molto allegro Beethoven’s Piano Concerto No. 2, Opus 19, was not published until 1801, after

his Piano Concerto No. 1 in C major, causing some confusion as to their order, as it was Opus 19 that was composed first. The earliest fragments of the work come from 1787, while Beethoven was still studying piano and dabbling in composition in his hometown of Bonn, Germany. In 1790, Beethoven met Haydn as he traveled through Bonn. The ambitious young Beethoven would soon travel to Vienna, where he would pursue the tutelage of the old master.

Having moved to Vienna in 1792, Beethoven refined his compositional skills with the help of Haydn, while developing a following as a brilliant soloist and improviser.

The fragments of a Piano Concerto Beethoven brought with him may have already been performed in private settings, but as Beethoven matured as a composer, he developed the work into a full-scale presentable concerto, which was premiered in full by its composer in 1795. The same year, he composed a second concerto, which was later published in 1801 as Opus 15. The publisher also pressured him to publish the concerto that started in Bonn, and while the now-mature Beethoven may have been reluctant to publish such an early work, upon revision, it was finally released in the version we know it today as Opus 19.

Even Beethoven was aware that the Concerto in B-flat lacked a certain maturity, since its function was to demonstrate his brilliant keyboard skills, and yet, in its composition we see the early sparks of Beethoven’s genius.

The opening Allegro con brio features an extensive exposition without the piano, with annunciatory opening bars interspersed with an elegant and slyly chromatic theme and fateful diversions. The piano enters alone with an elaboration of the primary theme.

Throughout the extensive opening movement, the orchestra supports

the soloist’s various acrobatics, which almost certainly changed many times in the years since its initial composition in 1787. The extensive cadenza especially is of a much later style, with mature counterpoint and dense finger work, and is likely Beethoven’s 1801 contribution to the work.

The central Adagio was also composed in Bonn. The saccharine piano melodies are juxtaposed by bold orchestral interjections, and throughout, the contrasts of pensive intimacy from the soloist and climactic swells display Beethoven’s emotive youthfulness, yet bear the markers of the innately sensitive composer to be. The finale is a buoyant Rondo, now with the piano introducing the themes and the orchestra responding.

Perhaps the most mature movement of the group, this 1795 addition showcases the pianist with unceasing technical work that is all the while jocular and playful. This show-stopper gallops from one key center to another, even “accidentally” landing in an awkward G major, before finding home in B-flat major for the final clever passages.

The piano dies out into a pianissimo, and the orchestra echoes in quiet, then ends with one final exclamation!

Beethoven’s Piano Concerto No. 2, actually the first he began, features a collage of snapshots of its composer ranging from its early conception to its final publication. His nascent ambition as a composer is explored in the opening movements, which feature the piano writing of a skilled soloist, a mature cadenza, and a finale that shows off the clever compositional acumen of a student of Haydn. The work is nearly an autobiographical portrayal of Beethoven’s early years, and contains elements of genius to come.

Chaz Stuart, 2021

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WITH OUR MUSICAL HERITAGE SOCIETY Since 1935, the generosity of patrons and donors like you has helped the BPO continue educating young audiences and enriching lives through unforgettable musical events season after season.

Create your BPO legacy. It’s easier than you think.

You don’t need to be incredibly wealthy to help, you just need what you already have: a passion to see the BPO continue for generations to come.

METHOD: GIFTS OF RETIREMENT PLANS Contact your financial institution and leave a gift after your lifetime from a retirement account to the BPO. Advantage – this is a gift from the most highly-taxed portion of your estate.* Plan now, and let your love for the BPO live on through the education, entertainment, and inspiration of thousands of adults and children for years to come.

For more information on making your legacy part of the BPO through a planned gift, contact Guy Tomassi in the BPO Development Office (716) 242-7821 *The BPO does not offer tax advice. You should speak with your tax advisor or financial planner to see if this is right for you.

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Tuesday, March 23, 2021 at 7:00 PM

BPO Classics Series

HANDEL & MOZART JoAnn Falletta, conductor Anna Mattix, English horn Nikki Chooi, violin

HANDEL Concerto Grosso in C Major,

“Alexander’s Feast” I. Allegro II. Largo—Adagio III. Allegro—Adagio

IV. Andante, non presto KAY Pietà Anna Mattix, English horn MOZART Violin Concerto No. 4 in D major, K. 218 I. Allegro

II. Andante cantabile

III. Rondeau: Andante grazioso Allegro ma non troppo Nikki Chooi, violin IBERT Divertissement I. Introduction II. Cortège III. Nocturne IV. Valse V. Parade VI. Finale

This concert is proudly sponsored by You can learn more about this program from JoAnn Falletta’s introduction at bpo.org/musically-speaking Program and performers subject to change.

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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.

ANNA MATTIX, OBOE/ENGLISH HORN Anna Mattix joined the Buffalo Philharmonic in 2007. She studied at Ithaca College, Yale University, and Indiana University. Her major teachers include Daniel Carno (Syracuse Symphony), Mark Hill, Ronald Roseman, Nicholas Daniel, Anne Leek, and Theodore Baskin. Previous positions include Principal Oboe with the Indianapolis Chamber Orchestra, and English Horn with the Owensboro Symphony and Evansville Philharmonic. Hailed as “virtuosic” by the Buffalo News, Ms. Mattix has appeared as soloist with the BPO on many occasions. Solo recording credits include The Swan of Tuonela by Jean Sibelius, part of The Essential Sibelius release by Beau Fleuve in 2014, and Vox Humana by Rob Deemer, a work dedicated to Anna and premiered by the BPO in 2016. Vox Humana appears on Built for Buffalo 2, Beau Fleuve, 2018. Anna has appeared by invitation several times at the International Double Reed Society Annual Conference and has been a featured clinician for many Double Reed Day events at many colleges and universities. In addition to her work with the Philharmonic, Anna performs locally with the Buffalo Chamber Players, the ARS NOVA musicians, and teaches at Buffalo State College and Canisius College.

As a graduate student Anna was awarded the prestigious ELM and IVY Award from Yale University for her outreach work in the greater New Haven Community, where she developed a mentorship program between graduate students and New Haven Public Schools that continues to this day. In Buffalo, Anna has continued her outreach efforts as a member of the BPO's Education Committee. She is a featured Teaching Artist for BPO and is committed to making music accessible for all in Western New York.

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PROGRAM OVERVIEW

A beloved orchestral showpiece of George Friedrich Handel opens our concert, featuring virtuosic solos for violins and cello. Two of our BPO stars come to the front of the stage tonight as well. Concertmaster Nikki Chooi performs the teenaged Mozart's graceful and lyrical fourth violin concerto, and Anna Mattix will play a little-known jewel for English Horn and strings composed by Ulysses Kay, a piece that she herself researched and introduced to us.

We end the concert with a brilliant and outrageous piece by Jacques Ibert, his Divertissement, a madcap orchestral adventure that will make you smile!

PROGRAM NOTES

George Frederic Handel (German/English; 1685-1759)

Concerto Grosso in C major (“Alexander’s Feast”), HWV 318 I. Allegro II. Largo—Adagio III. Allegro—Adagio IV. Andante, non presto Among the factors leading to George Frederic Handel’s fame in London was his theatrical music, first with his introduction of Italian opera to the English public, and later with the development of the English cantata.

While these two genres overlapped in Handel’s output, the transition to a focus on the cantata can be attributed to the success of a semi-staged quasi-opera he presented in London’s Covent Garden Theatre in 1736, Alexander’s Feast, which portrays a dramatic banquet held by Alexander the Great. As was custom, throughout the dramatic scenes of the work, Handel strategically placed three entire concertos, including one for harp and lute, one for organ, and the most famous of the set, a Concerto Grosso in C major, which earned the nickname “Alexander’s Feast.”

In the context of Alexander’s Feast, the

Concerto Grosso appears between Part I and II. Alexander and his mistress, Thais, drink in excess in celebration of military victory, as the bard Timotheus sings songs to elicit various feelings from Alexander; first pity, then vengeance.

Alexander’s moods can be heard in the four movements of the Concerto Grosso, beginning with a rousing opening movement with the stately pride of military victory. The following Largo, although brief, portrays the melancholia of an endorphin crash. The third movement is a lively Allegro that begins with a conversational fugetto, and the finale is an uplifting Andante, as if confidently returning to the battlefield.

Ulysses Kay

(American; 1917-1995)

Pietà (1950) Ulysses Kay was a celebrated African American composer, conductor, and teacher, with an impressive resume.

Having studied at the University of Arizona, Eastman School of Music, and Yale University, he served in the Navy as a band member during World War II.

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Following his 1946 discharge, he continued his studies, and with several accolades in hand, including a Fulbright Scholarship and the Prix de Rome awards (he was the first African American to receive the Prix de Rome), he spent three years in Rome.

He would go on to work for Broadcast Music, Inc. and to teach at Lehman College in New York City. Among his many works were five operas, and orchestral, choral, and chamber works, generally with an American neoclassical lyricism, with some mid-century chromaticism.

It was during his time in Italy that he composed Pietà, written in 1950 for English Horn and strings. The Italian title “piety” may refer to the Michelangelo sculpture of the same name. The work is dedicated to Italian oboist Pietro Accoroni, who premiered the original version for piano and English Horn.

After Kay settled in New York, a version with string orchestra accompaniment was performed in 1958 by oboist Doris Goltzer.

The work contains challenging runs and rhythms for the English Horn, yet maintains a chromatic soulfulness.

Wolfgang Amadeus Mozart (Austrian; 1756-1791)

Violin Concerto No. 4 in D major, K. 218 (1775) I. Allegro II. Andante cantabile III. Rondeau (Andante grazioso – Allegro ma non troppo) Mozart’s storied genius seems to be that which can only exist in the fabled past, as if such a mind and career is irreplicable in the modern world, and yet, his path may be more relatable than what is seen at first glance. No doubt a brilliant youth, his father sought to create for

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him—or perhaps himself—the fame he himself lacked, trotting him and his sister from one European court to another throughout his youth. History is littered with failed prodigies, but perhaps it was Mozart’s dreamy tenacity that kept him from failure. His first real job came at 17, when he spent four years anxiously toiling as a musician in his hometown court in Salzburg, but he had already seen the world and wished to join it.

He would go on to struggle in Paris, return home for a few years, and eventually live permanently in Vienna, where he deservingly achieved fame as an adult and composed the most recognizable music of the period. However, it was during his formative stint in Salzburg from 1773-1777 when, with both a meager paycheck yet few financial responsibilities, he had the freedom to experiment without the threat of failure and with a court of willing musicianfriends at his disposal. During these years, he worked in myriad genres, producing early mature symphonies, sonatas, string quartets, as well as his five Violin Concertos.

For some unknown reason, he never composed a Violin Concerto after this time.

Perhaps he never had cause to again, but with his role of Concertmaster, he was expected to lead the orchestra as a violinist. Although Mozart was appropriately associated with the keyboard for his lifelong virtuosity on the instrument, he was exposed to the violin early, and benefitted from both his father’s instruction, as well as that of masters he encountered in Italy. It is likely that his professional requirement to play the violin led to the Five Concertos, which served both as studies in the instrument, and for him to perform himself. However, upon his departure from Salzburg, the instrument was merely a hobby for Mozart. No doubt talented, his skill with the instrument has even been debated, as with the 1775 Concerto No. 4, which was updated to be more challenging for his successor to the concertmaster position.

The Concerto follows the usual fast-slowfast movement structure, and contains many of the expected sensibilities of a Classical Concerto. The work bears the nickname “Military” and begins with a declamatory fanfare, followed immediately by the opening theme consisting of a staccato downward scale ending with a trilling figure. The second theme is sweetly lyrical, and throughout both themes, Mozart draws in the listener with engaging loud and soft contrasts. The violin enters with an embellished repetition of the theme, and continues with elegantly virtuosic lines.

The second movement, marked Andante cantabile, has singing melodies in a lightly moving triple meter. Mozart, apparently eager to compose operas, fills the movement with aria-like melodies. The finale is a joyous Rondo with a pleasant duple meter introduction that is contrasted by a 6/8 spree. The two meters are juxtaposed throughout, contrasting an 18th century stateliness with Mozart’s restless energy.

Jacques Ibert (French; 1890-1962)

Divertissement (1930) I. Introduction II. Cortége III. Nocturne IV. Valse V. Parade VI. Finale Jacques Ibert was a talented composer with a solid education from the Paris Conservatoire. Throughout his career he served as a conductor as well as an administrator, but found success as a composer of many genres, including opera, ballet, film, solo piano, and more.

Unaffiliated with any particular group

or artistic ideology, his music is often describedaseclecticandnoncontroversial.

His best-known orchestral work, Divertissement, began its life as incidental music for a 1929 production of Eugène Labiche’s five-act farce Un chapeau de paille d’Italie (1851; “The Italian Straw Hat”). The comedy begins with the bridegroom Ferdinand en route to his wedding, when his horse eats the straw hat of his ex-girlfriend who demands it be replaced. What follows are a series of vignettes in which Ferdinand is in search of an exact replacement while the wedding party waits impatiently for him to arrive.

Ibert’s score colors this raucous romp with bombastic humor. Very rarely do such scores survive the productions for which they are written, unless the composer publishes them as Ibert did in 1930 as an orchestral suite.

Divertissement begins the mood-setting introduction with an off-kilter fanfare, complete with a wood block to represent the play’s hungry horse. The second movement, Cortége, is at first mysterious, but then processes with nervous energy as the wedding approaches. The Nocturne is a foreboding interlude, colored by an anxious piano and a dark clarinet melody.

The Valse is delightfully silly with lighthearted melodies and waltzing rhythms. Before the finale, we have a Parade in which the footsteps of the wedding party march with declarative melodies.

The Finale begins with a disastrous piano, and more fanfare is heard between flitting violins, a screaming whistle, and booming timpani. The work as a whole perfectly captures the play’s farcical plot with ludicrous colors and melodies.

Chaz Stuart, 2021

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SPOTLIGHT ON SPONSORS The Buffalo Philharmonic is proud to have a longtime partnership with Bond, Schoeneck & King, a full-service law firm counseling individuals, companies, not-for-profits, and public sector entities in a wide spectrum of practice areas. Bond, Schoeneck & King employs 250 lawyers in offices across New York State as well as offices in Naples, Florida, Kansas City, and Boston.

In 2016, Bond combined with the venerable firm of Jaeckle Fleischmann & Mugel, making it one of the largest law firms in Western and Upstate New York, with considerable experience in the practices of labor and employment; litigation; employee benefit; intellectual property; public finance; corporate restructuring and creditors’ rights; business and transactions; tax law; trust and estates; and environmental and energy. Bond, Schoeneck & King has long recognized the value, both to its attorneys and the communities in which it works, of active participation in and support of charitable, governmental, professional, and community-based organizations. This is demonstrated by support from BPO’s Life Trustee Randy Odza, as well as Jeremy Oczek who serves as chair of Kleinhans Music Hall Management, Inc. Thank you Bond, Schoeneck & King for your commitment to the BPO!

The Buffalo Philharmonic is grateful to KeyBank for its generous support and commitment to bringing classical music to our community. The BPO has a kinship with KeyBank for the principles that the bank embodies, including helping the communities it serves to thrive. To KeyBank, that means doing business fairly and responsibly, promoting diversity and inclusion, and making meaningful investments in the places where the branches are located. KeyBank’s roots trace back 190 years to Albany, New York, and Buffalo is home to its Northeast Regional Headquarters.

Like the BPO, KeyBank values diversity, is committed to equity, and fosters inclusion throughout its business - from the teammates that the bank employs, to the suppliers they use and the communities that welcome them. KeyBank is proud to support art and cultural institutions like the Buffalo Philharmonic Orchestra and the important work we do to enrich the quality of life, educate, and entertain the broadest possible audiences in our communities. Thank you KeyBank for your longtime dedication!

Tuesday, March 30, 2021 at 7:00 PM

BPO Pops Series

CHARLIE PARKER: EASY TO LOVE! Bradley Thachuk, conductor Sal Andolina, saxophone

GERSHWIN/ Summertime arr. Carroll

PORTER/ arr. Mundy

Easy To Love

PORTER/ arr. Carroll

What Is This Thing Called Love

DENNI / arr. Carroll

Everything Happens To Me

BOWMAN/ arr. Lipman

East Of The Sun

RAKSIN/ Laura arr. Lipman

HEFTI Repetition

PORTER/ arr. Carisi

I’ve Got You Under My Skin

J. FRED COOTS/ arr. Herzog

You Go To My Head

This concert is proudly sponsored by Program and performers subject to change.

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BRADLEY THACHUK, CONDUCTOR Canadian conductor Bradley Thachuk is the Music Director of the Niagara Symphony Orchestra, entering his 9th season as their artistic leader and conductor.

Additionally, in 2019 he was appointed Festival Orchestra Conductor for the Festival de Febero in Mexico.

Previously, he held the positions of Music Director of the Erie Chamber Orchestra, Associate Conductor of the Fort Wayne Philharmonic (Indiana), Interim Music Director of the Prince George Symphony Orchestra (Canada), Conducting Assistant of the Cincinnati Symphony and Pops Orchestras (Ohio), Staff Conductor of the Opera Theatre of Lucca (Italy), and Music Director of the Brampton Symphony Orchestra (Canada).

A highly sought-after symphonic arranger, recent and upcoming collaborations include Steve Hackett of Genesis, the music of Leonard Cohen, a tribute to the Tragically Hip, Dave Mason of Fleetwood Mac and Traffic, ABC’s Dancing with the Stars franchise, and Tony-Award winning Heather Headley.

In addition to conducting duties, Mr. Thachuk is a lecturer at the Glenn Gould School at the Royal Conservatory of Music in Toronto.

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.

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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.

Andrea Blanchard-Cone, first violin

Sponsored by Drs. Clement and Margot Ip

Melanie Haas, first violin

Sponsored by Sue Fay & Carl

Antoine Lefebvre, principal second violin

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 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

Robert Hausmann, cello Sponsored by Sally and Donald Dussing

David Schmude, cello Sponsored by Jim and Michal Wadsworth

Amelie Fradette, cello

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

Brett Shurtliffe, associate principal bass

Sponsored by Mr. Bruce C. Baird and Mrs. Susan O’Connor-Baird

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

Henry Ward, principal oboe

Sponsored by Mr. and Mrs. Robert C. Wetter

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

Patti DiLutis, clarinet

Sponsored by Dennis P. Quinn

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

Salvatore Andolina, clarinet/saxophone

Jennifer Dowdell, in memory of Charles and Nancy Dowdell

Sponsored by Bruce and Gail Johnstone

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

* deceased

ANNUAL FUND

The Buffalo Philharmonic Orchestra gratefully acknowledges contributions received from the following individuals and foundations who gave $500 and above through 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.

MILLONZI SOCIETY $150,000+ The Cameron and Jane Baird Foundation Carol and Angelo Fatta The John R. Oishei Foundation John & Carolyn Yurtchuk

$50,000-$149,999

Anonymous (1) Mr. Brent Baird Brian and Barbara Baird Mark Chason & Mariana Botero Chason Louis P. Ciminelli Family Foundation Mr.* and Mrs. George F. Phillips, Jr. Cullen Foundation The Walter Schmid Family Foundation Charitable Trust

$25,000-$49,999

Cindy Abbott Letro & Francis Letro Clement & Karen Arrison 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 Roy and Ruth Seibel Family Foundation

Maestro’s Circle $10,000-$24,999

Concertmaster’s Circle $5,000-$9,999

Anonymous (2) Sue Fay Allen & Carl Klingenschmitt Joan and Peter Andrews Family Foundation The Baird Foundation Mr. Charles Balbach The Better Buffalo Fund at the CFGB Anthony & Barbara Cassetta 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 Adam Rome and Robin Schulze 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 (5) 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 Judith 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 David and Lucinda Hohn John J. and Maureen O. Hurley Drs. Clement and Margot Ip Linda Johnson Michael & Marilee Keller Mr. and Mrs.* Philip Kadet The Linton Foundation Mr. Warren Lippa Lorinda McAndrew Voelkle Foundation Charles & Judith Manzella Sandra and Dennis McCarthy Frances L. Morrison Mrs. Sheila M. Nancollas Mr. and Mrs. James D. Newman Patricia Notarius/ Premier Group Marie and Jay Novello, in memory of Don and Eileen Brutvan Douglas & Laurette* Oak Oliver G. & Sarah Sloan Bauman Fund for the Arts OSC Charitable Foundation Mr. and Mrs. Edwin Polokoff Mr. Dennis P. Quinn Robert and Nancy Warner Memorial Fund at the FJP

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Joseph & Carole Sedita Lowell and Ellen Shaw 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

Encore Circle $2,500-$4,999 Anonymous (7) Dr. George N. Abraham Dr. and Mrs. Fred and Bonnie Albrecht Monica Angle & Samuel D. Magavern III Douglas Bean and Elisa Kreiner Joanne Castellani & Michael Andriaccio Ms. Elizabeth G. Clark Ms. Anne E. Conable Conable Family Foundation at the CFGB Michael D’Ambrosio Alan Dozoretz Ms. Ruth Irene Dwigans Cynthia Swain and Stephen Edge Marion S. Fay Mrs. Marta Fernandez Frederick S. & Phyllis W. Pierce Family Fund Dr. Samuel Goodloe, Jr. Drs. James Grunebaum & Penelope Prentice Dave & Katie Hayes Dr. Barbara W. Henderson Philip M. and Marion Henderson Martha & Tom Hyde Mr. James and Mrs. Diana Iglewski Robert and Hana Jacobi Joseph & Anna Gartner Foundation Edwin M. Johnston, Jr. Joy Family Foundation Mr. William P. Keefer Dwight King & Leslie Duggleby Susan B. Lee Steve & Sandy Levinthal Mr. Ron Luczak and Michael Boland Sr. Beatrice Manzella William and Jane Mathias Mr.* and Mrs. Sheldon E. Merritt Denise and Ron* Rezabek Michael and Lorrie Munschauer Mr. and Mrs. Sanford M. Nobel Dr. Thomas Nochajski Mrs. Michelle Parrish Mary Jane and Walter Pawlowski

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composer and pianist Dr. Sebastian and Mrs. Marilyn Ciancio Nan & Will* Clarkson Dr. and Mrs. Michael E. Cohen Elizabeth B. Conant* and Camille Cox Mr. and Mrs. David Croen Peter S. and Elizabeth H. Curtis Beverly Davies Adrian F. Dedecker III and Clotilde Perez-Bode Dedecker James & Mary Frances Derby Tony & Kathy Diina Wendy Diina Duane and Nancy DiPirro Joan M. Doerr Richard and Cornelia Dopkins Ellen & Victor* Doyno Patricia K Duffner Edward G Eberl Elsie P. & Lucius B. McCowan Private Charitable Foundation Ms. Mary A. Ferguson Mr. and Mrs. Kim A. Ferullo Joyce E. Fink Bravo Circle Dr. Mildred J. Fischle $1,000-$2,499 Mr. and Mrs. Michael Flaherty Jr. Thomas & Grace Flanagan Anonymous (5) Ilene and Peter Fleischmann Morton & Natalie Abramson Mrs. Beth Fleming Kenneth & Maura Africano Robert and Ruth Fleming JoAnne Alderfer Ms. Margaret A. Frainier Benjamin and Helene Smith Eileen & Laurence Franz Endowment Fund Mr. and Mrs. David Fried Burtram W. & Ellen Anderson Sue Gardner Liz & John Angelbeck Ann Holland Cohn Endowment Fund Garrison Wealth Management Gerald and Jody Lippes at the FJP Ms. Dolores S. Gernatt Arts Services Initiative of Western Mr. and Ms. James G. Hanley New York Inc. Golden and Goldman Rita Argen Auerbach Philanthropic Fund Reverend James M. Augustyn Ms. Carol A. Golder Mary L. and Ronald E* Banks Mr. Steve Earnhart and Mrs. Jennifer Dr. Susan Graham and Dr. Jon C. Kucera Mr. and Mrs. Robert M. Greene Barbee Mr. and Mrs. William A. Greenman Drs. Kevin and Elizabeth Barlog Adrienne Tworek-Gryta and Matt Gryta Patricia S. Beagle Joan Hetzelt Hanifin Memorial Fund Thomas R Beecher Jr at CFGB Ann N. Bonte Mr. and Mrs. Van N. Harwood, Jr. The Reverend* and Mrs. Peter Michele O. Heffernan & John J. Cordes Bridgford Carla J. Hengerer Gary & Willow Brost Richard and Lynn Hirsch John & Diane Burkholder Monte Hoffman and Niscah Koessler Dr. and Mrs. John L. Butsch Mr. Paul A. Hojnacki Cheryl I. Christie John and Janice Horn Ms. Rosemary Christoff Dolan in Mr. and Mrs. John K. Howell memory of Gerald Christoff, Mr. Paul J. Polokoff Mrs. Susan A. Potter Mr. and Mrs. Joseph Priselac, Jr. Ms. Georgeann W. Redman Mr. and Mrs. Bruce Renner David & Joan Rogers Dr. Annie Schapiro Ken Schmieder and Nancy Julian* Ronald Frank & Anne Schneider Dr. Gilbert Schulenberg Ms. Betty J. Schultz Dr. Maxine Seller Simple Gifts Fund Dr. Joyce E. Siriann Diane & Sonny Sonnenstein Ronald L Struzik Dr. Joseph R. Takats, III Garin Tomaszewski Nicholas & Nicole Tzetzo Barry & Donna Winnick Gregory and Donna Yungbluth John and Deanna Zak

Mr. and Mrs. Peter Hunt Mrs. Alice Jacobs Mrs. Pamela R. Jacobs Thomas and Deborah Jasinski Craig & Deborah Johnston Karen Jarvis 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 Mr. and Mrs. Douglas G. Kirkpatrick 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 Risé & 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 Mr. and Mrs. John R. McClester 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. and Mrs. Daniel Sperrazza 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 Janet D. Vine Ms. Therese M. Vita Ms. Suzanne J. Voltz Dr. and Mrs. P.K. Wallace 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 The Yadzinski Family Cynthia Zane & Stephen Mazurak

Mr. Paul Zarembka Ms. Barbara M. Ziegler Dr. Gregory Castiglia & Dr. Valerie Zingapan Drs. Bill Ziter & Cathy Gogan C. Richard and Joyce T. Zobel

Crescendo $500-$999 Anonymous (1) Ms. Gail Adema Eileen M. & Erik S. Anderson Mr. and Mrs. Teo Balbach Bradford Banks Karen A. Barbee Mr. Richard C. Batt Mark & Debbie Bauer Henry E. and Susan W. Beamer Endowment Fund at CFGB Mr. Donald M. Behr Benjamin and Lila Obletz Endowment Fund Ms. Elizabeth S. Bennett and Ms. Marietta T. Lorenzo Ms. Linda M. Betzer Peg Beyer Alice F. Bird Derek & Laura Brann Mr. James A. Brophy, Jr. Bruce and Jill Brown Mr. & Mrs. William Brucker Ms. Bette J. Brunish R. R. Bujnicki Mr. & Mrs. David Bullions Dr. Barbara B. Bunker Tim and MaryLou Butler Joseph and Susan Cardamone Janet M. Casagrande Jerry* & Barbara Castiglia William Catto Miss Victoria A. Christopher Emmy Lou Churchill Ruth C. Cisek Collins Charitable Foundation Bob and Susan Conklin John and Patricia Connolly Mrs. Donanne S. Coovert Andrea and Don Copley Dr. and Mrs. Harold G. Corwin, Jr. Thomas and Elizabeth Cowley Dr. and Mrs. John Coyne Croucher - Fletcher Charitable Fund Ms. Ellen J. Daly Ian Danic Mr. and Mrs. Walter Dannhauser Roger and Roberta Dayer

39

Dr. Juan F. de Rosas Jonathan Dewald Julie Klotzbach and Gary Diamond Mrs. Carol Donley Miriam & Peter Dow 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 Mr. and Mrs. James S. Fanning Denise Ferkey and Jeffrey Swaluk Mrs. Judith Ferrentino Michael R. Fiels & Mary T. Ricotta Edward J. Fine Dawn & John Fischer Dr. Peter Fletcher The Honorable Leslie G. Foschio Howard and Laurie Foster Patricia B. Frey, Ed.D Rick Friend John Fudyma Rev. David M. Gallivan Theodore & Joan* Geier Jeffrey & Norma Gentner Mr. and Mrs. Kenneth T. Glaser Mr. Otis Glover George and Cecelia Grasser Mark and Lora Grinder Marjorie K Hamilton Martha Haseley David Hays Dr. and Mrs. Reid R. Heffner, Jr. Ms. Sharon M. Heim and Mr. David Wahl Dr. Theodore Herman and Ms. Judith Ann Cohen Ms. Olive Marie Hewett Nancy Higgins Richard and Laura Hill Dr. & Mrs. Ralph W. Hinds, III James & Eileen Hoffman Mr. Raymond and Mrs. Virginia Hohl Duncan C. Hollinger Michael Huber Scott and Alyssa Hunt Yasushi Innami Mr. and Mrs. Charles P. Jacobs William & Genevieve James Mrs. Cathleen Jeffers Mr. and Mrs. Carl E. Jennings JFF Labs David & Joan Kernan Mr. and Mrs. William Johnson Drs. Richard and Barbara Jurasek Dr. Faye Justicia-Linde

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Theresa Kazmierczak Kathie A. Keller Milton Kicklighter Verna & Richard Kieffer Mr. and Mrs. Scott King Juliet E. Kline Robert and Barbara Klocke Mr. and Mrs. Paul C. Koppmann Deborah Raiken & Charles Korn Daniel Kosman Nicholas and Lusyd Kourides Leslie and Jim Kramer Joan Kuhn Drs. Jeffery Lackner and Ann Marie Carosella Dr. and Mrs. Kevin W. Lanighan Mr. and Dr. John M. Laping Paul and Jane Lehman 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 Robert Martino Jean McGarry and James F. Cunning 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 Rodney P. Pierce Karen L. Podd Keith & Beth Podgorny James and Nancy Poole Dr. and Mrs. Kevin Pranikoff John & Betty Preble Joseph and Pamela Priest

Charles and Joanne Privitera Ms. Carol Dean Privitera Scott Propeack and Heidi Freedman Patrick J. Rankin 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 Peter Siedlecki & Lynnette Mende Mr. and Mrs. Roger T. Sieracki Edward & Elizabeth Simmons Mr. Jeremy Smith 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 Jan Svec 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 Dr. and Mrs. Stephen J. Turkovich 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 Norman and Carole Weingarten Mr. and Mrs. K. Wiedenhaupt Ms. Marlene A. Werner Bud and Sandy Whistler Pierre Williot MD Quinn & Jewell Wright Ms. Kelly Ann Wright The Yadzinski Family Mr.* and Mrs. James C. Yuhnke Mr. Bryan Zielenieski

TRIBUTE REGISTRY

You can celebrate a significant occasion, remember a loved one, or recognize someone special with an honor or memorial gift to the Buffalo Philharmonic Orchestra. These gifts were received between December 15, 2020 and January 31, 2021.

In Honor of Dr. and Mrs. Richard J. Goldberg Mr. Stanley & Mrs. Ellen Weiner

Brett Shurtliffe Jane Robbins

Linda Greene Mr. and Mrs. Peter B. Bahler

JoAnn Falletta Robert Duerr Richard and Laura Hill Stan and Terri Zionts

Deborah Greitzer Mrs. Susan Beiter

Daniel Hart Sarah Carney Ezra and Marcia Zubrow Elaine Prince Rosen Denise Prince

JoAnn Falletta & Daniel Hart Dr. George N. Abraham

In Memory of Mary Alwardt Vincent Anderson

Carlene DeRoo Ms. Marie O’Hara

Robert Barrett Ms. Kathryn Halter Carla J. Hengerer Mr. and Mrs. Dennis Kingan Russell A. Newbert Mr. and Mrs. George H. Ruffles Cheryl St. George & John Calleri

Charles and Nancy Dowdell Jennifer Dowdell

Michael Bolton Mr. Steve Earnhart and Mrs. Jennifer Barbee Dr. Corstiaan Brass Sue Fay Allen & Carl Klingenschmitt Suzanne Aquilina Artesia Plastic Surgery Buffalo General Hospital 9th floor nurses Ann & Dave Chamberlain Kathryn Duane Marvin & Marcia Frankel Mrs. Gileen French Ms. Lynn Langman Sanford Levin Shannon Hughey-Musso Ms. Debbie James Ms. Kelly McGowan Mr. & Mrs. John & Linda Manth Judith Masotti Betsy Kyger and Steve Moscov Mr. and Mrs. Brian Peek Mr. and Mrs. David M. Sisson Dr. & Mrs. Joseph Torre Mr. John Townsell Jean Valentine Mr. and Mrs. James & Anne White John Carbonara Karen Carbonara Anne Cavalcoli Paul and Meg Hickey Mona’s AWWA Friends

Edwin Hart Mr and Mrs. Skalski Valerie Heywood Phyliss and Greg Maliken James Howell Mrs. Patricia Howell Stephen T. Joyce, M.D. Mrs. Margot Banta Mrs. Shirley Barone Mr. and Mrs. George Bergantz Mr. and Mrs. Sheldon M. Berlow Mr. Kevin Brinkworth Dr. and Mrs. John J. Callahan Jr Mr. Peter Carlo Joyce & Philip Celniker Colucci & Gallaher P.C. Ms. Nadine Fanelli Ryan and Wendy Gellman Herbert J. and Anne M. Glose Ms. Andrea Gross Bonnie and Nick Hopkins Mr. and Mrs. James Kirkpatrick George J. Kloepfer Mr. and Mrs. Charles F. Kreiner, Jr. Claire Miller McGowan Aileen McNamara Ms. Callie Ostendorf Henry & Patty Porter The Renaud Family Ms. Elizabeth R. Schreier David Sheridan Joan and Roger Simon Nancy and Gregory Stevens Norma Lamb Ms. Francine Valvo

Dr. Elizabeth Conant Ms. Camille Cox

Joan Kayes Lazarus Margaret, Robert, Michael & Mary (Bell) Barone & Family

Kate Danforth Teresa Danforth

Blossom Levy Mr. Douglas J. Levy

Olga Lockwood and Virginia Kirkpatrick Elizabeth Gunnell Raymond Mangold Kelly & Joanne Brannen Annette Masling Marvin & Marcia Frankel Marylouise Nanna Mr. and Mrs. David Croen Ms. Nancy F. Oakes Mr. and Mrs. George G. Herbert Marcia J Nowak Ted Niedziela Julienne Blackwell Dennis Pines Edward N Giannino Jr Denise Yvette Royal Ms. Mary Ruth Kapsiak Marian B Scribner Linda D Scribner Fred Silver Mrs. Clareaanne Silver Luigi Tomassi Mr. Guido A. Tomassi Constance Walsh Ms. Sally Walsh Patricia Weber Mr. & Mrs. Dean & Patricia Burgstahler Charlotte Wolpin Mr. Martin Wolpin Edward Yadzinski Rodney P. Pierce John & Patricia Clark

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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

GOVERNMENT

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!

Advertise with us todaywe have your platform!

(716) 972-2250 buffalospree.com

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PLANNED GIVING

Musical Heritage Society

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

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

Trusts

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

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

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

To ensure your wishes are carried on for the BPO for generations to come, you may call Guy Tomassi (716) 242-7821 for more information.

The Buffalo Philharmonic Orchestra endorses the LEAVE A LEGACY® WESTERN NEW YORK program, an initiative of the WNY Planned Giving Consortium and a public awareness campaign of the National Committee on Planned Giving.

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BPO ADMINISTRATIVE STAFF Administration

Marketing

President & Executive Director

Diana Martinusek

Vice President, Marketing & Communications

Development

Kelcie Hanaka

Associate Executive Director & Vice President, Development

Cary Michael Trout

Daniel Hart

Executive Assistant

Jennifer Barbee Wendy Diina

Vice President, Corporate Relations & Special Projects

Katie Bates Johnson Annual Fund Manager

Holly Johnson

Grant and Corporate Relations Coordinator

Guy Tomassi

Major and Planned Gifts Officer

Education and Community Engagement Robin Parkinson,

Vice President, Education & Community Engagement

Finance

Kevin James

Vice President, Finance & Administration

Patron Services Representatives

Patrick O’Herron

Jess Berner Anne Boucher Bethany Erhardt Scott Kurchak Amanda Paruta

AndréeRenée Simpson Marketing Manager

Digital Marketing Manager

Kleinhans Music Hall Staff

Graphic Designer/Consultant

Operations

Nicole Murray

Building Services Assistant

Alison Bolton

Michael Cassidy

Vice President, Artistic & Orchestra Operations

Chief Engineer

Brian Seibel

Dennis Nawojski

Connor Schloop

Alister Bouvart

Concessions Manager

Event Manager

Parking & Set Up Supervisor

Associate Manager of Artistic and Orchestra Operations

Al Rabin

Audience Services Manager

Sales and Patron Services Adam Cady

Senior Manager of Patron Services

Rachael Pudlewski

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

PROGRAM BOOK PRODUCED BY

Sharon Levite Barbara E. Macks ASSOCIATE PUBLISHER/EDITOR-IN-CHIEF Elizabeth Licata VP/ADMINISTRATIVE & FINANCE Michele Ferguson CREATIVE DIRECTOR Jean-Pierre Thimot PRESIDENT & CEO

PUBLISHER/CHIEF REVENUE OFFICER

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