B U F
Fri May 7, 1pm Sat May 8, 7:30pm Tue May 11, 7pm
A L O P H I L H A M O N I
Fri May 14, 1pm Sat May 15, 7:30pm Tue May 25, 7pm
Bizet's Carmen Suite
C O R C H E S T
Fri May 28, 10:30am Sat May 29, 7:30pm Tue Jun 1, 7pm
• M A Y 7 U N E
Fri Jun 4, 1pm Sat Jun 5, 7:30pm Tue Jun 8, 7pm
Mahler & Mozart
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For more online resources please visit bpo.org/community-engagement 2
TABLE OF CONTENTS | MAY 7 – JUNE 8 BPO Board of Trustees/BPO Foundation Board Directors
BPO Musician Roster
Dvořák’s Serenade 15 BPO Classics Series May 7, 8 and 11
Bizet’s Carmen Suite 23 BPO Classics Series May 14, 15 and 25
BPO Pops Series May 28, 29 and June 1
Mahler & Mozart
BPO Classics Series June 4, 5 and June 8
Sponsor a Musician
CONTACT Buffalo Philharmonic Orchestra 786 Delaware Ave. Buffalo, NY 14209 bpo.org Kleinhans Music Hall 3 Symphony Circle, Buffalo, NY 14201 kleinhansbuffalo.org
BPO Administrative Offices Box Office Box Office Fax Line Kleinhans Music Hall
(716) 885-0331 (716) 885-5000 (716) 885-5064 (716) 883-3560
MESSAGE FROM THE BOARD CHAIR As unusual as this season was, it’s gratifying to be able to say we completed what we were determined to do: find the means to continue bringing the joy, comfort, and inspiration of music into your lives during uncharted times. We stepped out of our comfort zone into a brand new world of digital technology on only a wing and prayer, and we could not have done it without your unwavering support, encouragement, and understanding. This season was a celebration of you, our tried-and-true patrons, and the BPO administration, staff, and musicians extend heartfelt thanks. We have another celebration at hand as well, that of Erie County’s 200th Anniversary. The Buffalo Philharmonic Orchestra and Kleinhans Music Hall would not exist as the familiar piece of our Western New York culture without the partnership between Erie County and the two entities. The unfailing financial backing that the County has provided to the BPO has been instrumental in the sustained health of the orchestra since its early inception, and continues today through the efforts of Erie County Executive Mark Poloncarz and legislators Lisa Chimera, John Gilmour, Kevin Hardwick, Howard Johnson Jr., Joe Lorigo, Tim Meyers, John Mills, Ed Rath, Frank Todaro, Jeanne Vinal, and chair April Baskin. The BPO is proud to be part of the year-long recognition of the County’s bicentennial, starting with the American Anthems concert on Memorial weekend. Our annual celebration of spirit and song will feature a selection of music dedicated to EC200, and include remarks from our musicians. We hope you are able to join us in expressing gratitude for the community we call home. On a final note, we are anticipating our 2021-22 season will be able to return to a more traditional live concert format this fall. Over the next several weeks, patrons should be receiving communication regarding upcoming Classics and Pops series, and corresponding renewal materials. We’re looking forward to welcoming you back with open arms and smiling faces to a performance in person.
John R. Yurtchuk Chair, Board of Trustees Buffalo Philharmonic Orchestra Society, Inc.
BUFFALO PHILHARMONIC ORCHESTRA BOARD OF TRUSTEES OFFICERS John R. Yurtchuk, Chair Scott Stenclik, Vice Chair — Chair-Elect
Angelo Fatta, Treasurer Peter Eliopoulos, Secretary
BOARD OF TRUSTEES Cindy Abbott Letro Douglas Bean Jonathan Borden † Janz Castelo † Anne Conable Stephen B. Edge, MD* JoAnn Falletta* Otis N. Glover Amy Habib Rittling Daniel Hart* Jim Hettich
Mark Hodges † 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
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. At the 63rd Annual Grammy® Awards in March 2021, Falletta won her fourth Grammy® as conductor of Richard Danielpour’s The Passion of Yeshua in the category of Best Choral Performance. 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.
We may be keeping our distance, but we are in this together.
Stay Calm. Stay Connected. Stay Active. Go to AloneTogether.com for ways to take care of yourself and others.
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
Jaman E. Dunn is an African American orchestral conductor of classical and film music. He currently holds the positions of Assistant Conductor with the Buffalo Philharmonic, and Interim Music Director of the Buffalo Master Chorale. A native of Chicago, IL, he attended The Ohio State University for his undergraduate studies, earning a Bachelor of Music in Vocal Performance under the study of Dr. C. Andrew Blosser. During his time at Ohio State, Mr. Dunn founded and conducted the Buckeye Philharmonic Orchestra, which is the university’s only completely student run orchestra. Mr. Dunn also earned his Master of Music in Orchestral Conducting, under the instruction of Maestro Bruce Hangen at The Boston Conservatory at Berklee. While at the Boston Conservatory, he led the Conductor’s Orchestra, assisted the Boston Conservatory Orchestra, and conducted the Boston Conservatory Orchestra in Copland’s Billy the Kid. Other conducting activities included forming an ad-hoc orchestra and performing three concerts, premiering pieces on student composer recitals, and conducting the Berklee Boston Conservatory Recording Orchestra. Vocally, Mr. Dunn has performed throughout the Midwest and Northeast in both oratorio and operatic repertoire, including works of Handel, Mendelssohn, Mozart, Verdi, and Orff, among others. In a professional capacity, he hopes to raise awareness for African-American performers in classical music at all levels and in all mediums.
HISTORY OF THE BUFFALO PHILHARMONIC ORCHESTRA As Buffalo’s cultural ambassador, the Grammy Award-winning Buffalo Philharmonic Orchestra under Music Director JoAnn Falletta presents more than 120 Classics, Pops, Rock, Family and Youth concerts each year. After the rise and fall of several forerunners, the BPO was founded in 1935, performing most often at the Elmwood Music Hall, which was located at Elmwood Ave. and Virginia St., and demolished in 1938 as its permanent home, Kleinhans Music Hall, was constructed. During the Great Depression, the orchestra was initially supported by funds from the Works Progress Administration and the Emergency Relief Bureau. Over the decades, the orchestra has matured in stature under outstanding conductors including William Steinberg, Josef Krips, Lukas Foss, Michael Tilson Thomas, Maximiano Valdes, Semyon Bychkov and Julius Rudel. The orchestra has welcomed many distinguished guest performers, such as Isaac Stern, Aaron Copland, Van Cliburn, Igor Stravinsky, Renee Fleming and Yo-Yo Ma. During the tenure of JoAnn Falletta, who has served as music director since 1998, the BPO has rekindled its history of radio broadcasts and recordings, including the release of 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; Karen Arrison, vice chair; Stephanie Simeon, secretary and treasurer; Cindy Abbott Letro; Peter Eliopoulos ; Tania Werbizky; and city officials including Byron Brown, Mayor of the City of Buffalo, and David Rivera, Niagara District Councilmember.
BUFFALO PHILHARMONIC ORCHESTRA DIVERSITY COUNCIL The BPO formed the Diversity Council in May 2016, formalizing its longstanding commitment to present diverse programming, to support artists of color, and to engage with every part of the Western New York community in a meaningful way. Comprised of community leaders, BPO staff, and musicians, the Council is helping the BPO to take its place at the vanguard of a national movement to foster greater diversity in the classical music world. As an inaugural step, the Buffalo Philharmonic Orchestra was the first cultural organization to sign Mayor Byron Brown’s Opportunity Pledge in July 2016, affirming our commitment to foster, cultivate, and preserve a culture of diversity, inclusion, fairness, and equality. Since then, the Council has been involved in numerous projects aimed at increasing authentic community connection and access to the BPO for all of Buffalo. This is accomplished through partnerships including the African-American Cultural Center, the Hispanic Heritage Council of WNY, the International Institute, the Buffalo Public Schools, and many others. The BPO is also a proud partner to the nationally-acclaimed Sphinx Organization, founded in 1997 to address the under-representation of people of color in classical music.
JOANN FALLETTA, MUSIC DIRECTOR
Angelo and Carol Fatta Endowed Chair
JOHN MORRIS RUSSELL, PRINCIPAL POPS CONDUCTOR JAMAN E. DUNN, ASSISTANT CONDUCTOR
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
Daniel Pendley principal Garman Family Foundation Endowed Chair Brett Shurtliffe assoc. principal Michael Nigrin Edmond Gnekow Jonathan Borden Nicholas Jones Gary Matz
Natalie Debikey Scanio
Antoine Lefebvre principal Jacqueline Galluzzo assoc. principal Richard Kay Robert Prokes Frances Morgante Amy Licata Dmitry Gerikh Shieh-Jian Tsai Xiaofan Liu
Caroline Gilbert principal Anna Shemetyeva assoc. principal Matthew Phillips Kate Holzemer Natalie Piskorsky Janz Castelo
Roman Mekinulov principal Jane D. Baird Endowed Chair Feng Hew assoc. principal Nancy Anderson Robert Hausmann David Schmude Amelie Fradette
Christine Lynn Bailey principal Linda Greene Natalie Debikey Scanio
Henry Ward principal Joshua Lauretig Anna Mattix
William Amsel principal Patti DiLutis Salvatore Andolina
BASS CLARINET AND SAXOPHONE
Glenn Einschlag principal Martha Malkiewicz
Jacek Muzyk principal Kay Koessler Endowed Chair Daniel Kerdelewicz assoc. principal
Sheryl Hadeka Jay Matthews Daniel Sweeley
Alex Jokipii principal Geoffrey Hardcastle Philip Christner
Jonathan Lombardo1 principal Timothy Smith
Matthew Bassett principal Dinesh Joseph assistant principal
Mark Hodges principal Dinesh Joseph
Madeline Olson principal
Patricia Kimball (L) principal librarian Travis Hendra acting principal librarian
Richard George Master Property Person IATSE Local 10 Charles Gill Assistant Property Person IATSE Local 10 Chair dedicated to the memory of Scott Parkinson
* Temporary Appointment
(L) Leave of Absence
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ERIE COUNTY & NEW YORK STATE HEALTH AND SAFETY PROTOCOLS FOR PATRONS Patrons must provide proof of vaccination or a negative COVID-19 diagnostic test taken within 72-hours of the concert start time. Concert attendees must affirm to health screening questions onsite. All attendees will be subject to a temperature scan at the door, which cannot exceed 100.4°F for admission. Current performances will be 90 minutes or less without intermission. Doors to the main lobby and concert hall will open 45 minutes prior to the performance start time. Entry and exit will only be accessible via Porter Avenue (parking lot side) for all performances.
OUR COMMITMENT TO YOUR SAFETY
Healthy Musicians, Staff, and Volunteers Daily wellness checks
Clean concert hall Enhanced sanitization between and during performances
Distanced Seating Protective Equipment Reconfigured layouts for sudience and musicians
Masks on all staff and volunteers
Hand sanitization stations throughout lobby
For additional information, visit 12
ATTENDING LIVE EVENTS AT KLEINHANS MUSIC HALL (As of April 30, 2021) Please adhere to new social distancing and directional flow markers for everyone’s health and wellness. Hands-free ticket scanners have been installed at the lobby entrance for your safety. Digital-only program books will be available preconcert at bpo.org/program, and concert information will be displayed on the screen in the hall as well. There will currently be no concessions, coat check, gift shop, or restaurant operations. Some live performances will be recorded for future broadcast as part of our BPOnDemand series, resulting in the program order being altered, and/or some pieces being performed more than once. While we encourage applause at the appropriate moments, we ask that you remain silent and seated for the duration of the performance.
YOUR RESPONSIBILITY TO OUR SUCCESS
Give fellow patrons space
Do not congregate
Stay home if you are sick
frequent hand washing and sanitization
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.
Friday, May 7, 2021 at 1:00 PM Saturday, May 8, 2021 at 7:30 PM Tuesday, May 11, 2021 at 7:00 PM
BPO Classics Series
DVOŘÁK’S SERENADE JoAnn Falletta, conductor Nikki Chooi, violin Roman Mekinulov, cello Henry Ward, oboe Glenn Einschlag, bassoon
Mother and Child for string orchestra
HAYDN Sinfonia concertante in B-flat major, Hob. I:105 I. Allegro II. Andante III. Finale: Allegro con spirito Nikki Chooi, violin Roman Mekinulov, cello Henry Ward, oboe Glenn Einschlag, bassoon Serenade for Strings in in E major, Op. 22 DVOŘÁK I. Moderato II. Tempo di Valse III. Scherzo: Vivace IV. Larghetto V. Finale: Allegro vivace This concert is proudly sponsored by the Consulate General of Canada in New York You can learn more about this program from JoAnn Falletta’s introduction at bpo.org/musically-speaking Program and performers subject to change.
NIKKI CHOOI, VIOLIN Canadian violinist Nikki Chooi, praised for his passionate and poetic performances, has established himself as an artist of rare versatility. Described as “vigorous, colorful” by the New York Times, he has received critical acclaim in recent engagements at the Harris Theatre in Chicago, Kimmel Center in Philadelphia, Carnegie Hall and Kauffman Center in New York, Koerner Hall in Toronto, Place des Arts and Salle Bourgie in Montreal, as well as appearing as soloist with orchestras across Canada including the Montréal Symphony, Winnipeg Symphony, Calgary Philharmonic, Edmonton Symphony, and internationally with the St. Petersburg State Orchestra, Chamber Orchestra of Wallonie, National Orchestra of Belgium, Auckland Philharmonia, Malaysian Philharmonic, and Hong Kong Philharmonic. He has been featured at many international festivals with performances at the Marlboro Festival, Ravinia Festival, La Jolla Summerfest, Vancouver Recital Series, Moritzburg Festival, Kammermusik Utrecht, Dresden Music Festival, Olympus Festival in Russia, and Fundación Beethoven in Chile. His many collaborators have included Jan Vogler, Inon Barnatan, Desmond Hoebig, Kim Kashkashian, David Shifrin, Susanna Phillips, and members of the Guarneri and Juilliard String Quartets. Nikki has embarked on nation-wide performance tours with Musicians from Marlboro in the United States, as soloist with the National Arts Centre Orchestra in Canada, Chamber Music New Zealand, and Australia’s Selby and Friends. Nikki has also delved into the orchestral repertoire, having served as Concertmaster of New York’s Metropolitan Opera Orchestra in 2016/2017 while working closely with singers and conductors including Renee Fleming, Elīna Garanča, Eric Owens, Fabio Luisi, and Esa-Pekka Salonen. His solos can be heard through The Met: Live in HD broadcasts in productions of Verdi’s La Traviata, Janacek’s Jenufa, and the Grammy-nominated recording of Strauss’ Rosenkavalier released on the Decca Label. He has also appeared as Guest Concertmaster with the Pittsburgh Symphony, Sydney Symphony, and Houston Symphony. A passionate educator, Nikki has presented masterclasses at the San Francisco Conservatory, Morningside Music Program at the New England Conservatory, Sphinx Academy at the Curtis Institute of Music, Hong Kong Cultural Center, and the University of Auckland. Nikki is also immersed in projects involving the engagement of classical music through Astral’s Community Program for schools and learning centers in Philadelphia, New Zealand’s Sistema Aotearoa Program, and Music from Angelfire’s Outreach events in New Mexico. Nikki began his studies at the Victoria Conservatory, Mount Royal Conservatory, and at the National Arts Centre Young Artist Programme with Pinchas Zukerman. He completed his formal studies at the Curtis Institute and the Juilliard School under the mentorship of Joseph Silverstein, Ida Kavafian, and Donald Weilerstein. A recipient of prizes at the Queen Elizabeth and Tchaikovsky Competitions, Nikki was the 1st Prize Winner of the Montreal Symphony’s Standard Life Competition, the Klein International Strings Competition, and the Michael Hill International Violin Competition. He released his debut album of works by Prokoﬁev, Ravel, and Gershwin on the Atoll Label.
ROMAN MEKINULOV, CELLO A native of Leningrad, Russia, Roman Mekinulov began cello studies at the age of five at the Leningrad Music School. At age 12 and 14, he was a winner of the Young Artists Competition of Leningrad. In 1985, he was presented in the Winner’s Showcase Series at Leningrad’s Great Philharmonic Hall. At age 16, Mekinulov entered the Rimsky-Korsakov College where he studied with Georgy Ginovker. As a chamber musician, he performed with various ensembles, and in 1988 was awarded First Prize in the Leningrad Chamber Music Competition. In 1989, he immigrated to the United States and continued his studies at the Juilliard School in New York, where he has successfully accomplished Bachelor’s and Master’s Degrees under scholarship in the class of Professor Harvey Shapiro. As a result of winning the 1992 Young Artists International Auditions Cello Award, Roman presented his New York Recital - Debut in Carnegie’s Weill Recital Hall in April of 1993, and since the 1995-96 season, he has been repeatedly invited to substitute in the New York Philharmonic under their music director, Kurt Masur, and other guest conductors, in concert as well as on recordings for Teldec. As an active recitalist, chamber musician, and concerto soloist, Roman has performed extensively throughout the United States, Italy, Austria, Hungary, Germany, France, Greece, Denmark, and Switzerland, as well as his native Russia. He has appeared as a principal cellist of the Juilliard Symphony and Orchestra under Kurt Masur, Hugh Wolf, and Leonard Slatkin, the North Carolina Symphony in their European Tour, as well as the Schleswig-Holstein Festival Orchestra in Germany with such conductors as Rostropovich, Menuchin, and Eschenbach. In 1998 Mekinulov was appointed principal cellist of the Orquestra Sinfonica do Estado de Sao Pauloin Brazil, and in September of 2001 he was nominated for the prestigious Carlos Gomes Prize in the “Best Instrumentalist of the Year” category. In 2001 Mekinulov was appointed principal cellist of Buffalo Philharmonic Orchestra, where in the past several years he has been featured numerous times as soloist with the orchestra, and appeared in over 60 concerts of chamber music around Western New York as well as with Jupiter Chamber Players in New York City. In 2015, Concierto en Tango, written for Mekinulov by Miguel del Aguila and performed and recorded with the BPO, was nominated for a Latin Grammy. Recent engagements include concerto appearances with the Virginia Symphony, Albany Symphony, and Erie Chamber Orchestra as well as the US premiere of Krzysztof Penderecki’s Concerto doppio with the BPO. Roman maintains a robust teaching studio and is a founding member and Artistic Director of the Bravo International Chamber Music Workshop for high school and college students. He resides in Amherst with his wife Sebnem, a lyric soprano, and their two children, Talia and Benjamin.
HENRY WARD, OBOE A native of the Philadelphia area, oboist Henry Ward joined the Buffalo Philharmonic Orchestra as Principal Oboe in 2016, and previously served as Acting Associate Principal Oboe of the Pittsburgh Symphony Orchestra for two seasons. He has performed with the Boston Pops Orchestra, the Auckland Philharmonia Orchestra (New Zealand), and was a fellow with the New World Symphony. He made his solo debut performing Mozart’s Oboe Concerto in C Major with the Carnegie Mellon Chamber Orchestra in April 2012. He has been featured as a soloist with the BPO in concertos by Bach and Handel, and Mozart in January 2019. Henry received fellowships to the Tanglewood Music Center and the Music Academy of the West and has participated in the Marlboro Music, Oregon Bach, and the Lakes Area Music Festivals. He earned his Bachelor’s Degree from the New England Conservatory where he studied with Boston Symphony oboists Mark McEwen and John Ferrillo followed by graduate studies with Eugene Izotov at Roosevelt University.
GLENN EINSCHLAG, BASSOON Principal Bassoonist of the Buffalo Philharmonic Orchestra since 1999, Glenn Einschlag has performed with the Philadelphia Orchestra, the Boston Symphony, the Indianapolis Symphony, and the Colorado Music Festival Orchestra. Mr. Einschlag has performed concerti with the Ars Nova Chamber Orchestra, the Buffalo Philharmonic Orchestra, and the Erie Chamber Orchestra, among others. Mr. Einschlag has participated in the Aspen, Tanglewood, Spoleto (USA), and Domaine Forget (Canada) festivals. He can be heard on the Beau Fleuve, Naxos, and EMI recording labels. Mr. Einschlag teaches at the Glenn Gould School in Toronto and SUNY at Buffalo. He has presented master classes at the Colburn Conservatory, the University of Michigan, the Eastman School of Music, the Manhattan School of Music, and Rice University, among others. Educated at The Juilliard School, The Curtis Institute of Music, and Rice University, he has studied with Harold Goltzer, Marc Goldberg, Bernard Garfield, William Winstead, Norman Herzberg, and Ben Kamins.
The youthful Antonin Dvořák’s Serenade is a beautiful reflection of a very happy time in his life - his first successes as a composer, and the beginning of a lifelong friendship with his mentor and champion, Johannes Brahms. The innate sweetness of this gorgeous work speaks of Dvořák’s devotion to the people and landscape of his beloved Bohemia. We celebrate four of our BPO virtuosos in Haydn’s Sinfonia Concertante for violin, cello, oboe, and bassoon - a warmhearted and joyous work that Haydn wrote for his own treasured friend, violinist Johann Peter Salomon. And in honor of Mother’s Day, we open the concert with William Grant Still’s lovely tribute to his own mother, his own favorite of his works, Mother and Child.
William Grant Still
Mother and Child for string orchestra (1943) As a teenager, William Grant Still taught himself every instrument he could get his hands on. His musical interests were stoked by his step father, leading him to the Oberlin School of Music, where he studied with some of the most important composers of the day. He would go on to work in pop music, arranging for bands and NBC Radio broadcasts, but as his career matured, he would become the first major African American composer of concert music. Although the challenges facing Still were great, he managed to find success in the late 1930s, composing for film and the 1939 World’s Fair, while his 1939 opera Troubled Island became the first opera composed by an African American to be performed by a major opera company. Although he was quite busy, in 1943 he composed his Suite for Violin and Piano, from which he extracted a movement to arrange for string orchestra under
the title Mother and Child. Like much of Still’s music, the work’s cinematic melodies have the fingerprints of his southern upbringing, with the sounds of his grandmother’s spirituals wafting over lush harmonies. Franz Joseph Haydn (Austrian; 1732-1809)
Sinfonia Concertante in B flat major (Hob. I:105) (1792) I. Allegro II. Andante III. Finale: Allegro con spirito Franz Joseph Haydn spent a large part of his career on site at the Esterházy estate, where he served the wealthy, aristocratic Hungarian family as music director. The enormity and importance of his catalogue was well-known across Europe in his own day, and continues to be celebrated for its importance in developing such genres as the Symphony and String Quartet. While most of his life’s work was done at his patrons’ rural estate, the death of his
primary backer freed him to travel. Johann Peter Salomon, in a shrewd and historical move, immediately retained Haydn with a lucrative deal to travel to London for two long stints in the 1790s, where he would write new music for adoring crowds. London had a history of celebrating Continental composers dating to the first part of the century with the arrival of the Hanovers, and modern concert organizers competed to attract the best of Europe. Already the most famous composer in London, Salomon’s securing of Haydn was sensational. In the spirit of competition, Haydn pleased an eager city with a series of exciting Symphonies and concert works. London newspapers may have hammed up these competitive concert presenters, and promoted the narrative that Haydn’s former student, Ignaz Pleyel, was to be seen as a formidable, up-and-coming rival. Salomon was determined to win out, and Haydn’s quickly-composed 1792 Sinfonia Concertante must have been a volley in response to Pleyel’s recent Concertante in B flat. The Sinfonia Concertante genre combines the weight of a symphony’s large orchestration and form, but features impressive playing from one or more soloists. In this example, Haydn plucked members of the orchestra; a cellist, oboist, bassoonist, and violinist (first played by Salomon), as the work’s principal soloists. As such, the writing for these parts is certainly challenging, even virtuosic, but integrates with the orchestra conversationally. The opening Allegro is boldly symphonic, with soaring and contrasting melodic material punctuated by rhythmic orchestration. As the movement develops, so too does the complexity and role of the soloists. The lyrical
Andante has the soloists trading embellished melodies, and the playful finale begins with operatic parody, and finishes delightfully. If the critical response is any indication, the work was a resounding success for Salomon. However, the gamesmanship played up by the media may have been more important to the box office than the two composers, who were of course close friends. Antonín Dvořák
Serenade for Strings in E major, Op. 22 (1875) I. Moderato II. Tempo di Valse III. Scherzo: Vivace IV. Larghetto V. Finale: Allegro vivace 19th-century art in Europe was impacted by the emergence of national political identities, and the first figurehead of Czech music was the revolutionary Bedřich Smetana. Incorporation of Bohemian melodies, dances, and folk subject matter enlivened the national spirit of his music, and while he has always been respected as the father of the movement, Antonín Dvořák, not two decades his junior, has always been celebrated as its most famous practitioner. Perhaps his closeness with Johannes Brahms helped soften the edge of his Bohemian inspired music, but Dvořák’s beloved symphonic music brought him international recognition, helping spread the national identity first embraced by Smetana. Dvořák
even spent three years in New York City where, as the director of the National Conservatory of Music, he helped America’s nascent music scene seek out its own national identity. Years before his billowing international reputation and travels abroad, he was one of several children in a large, working class family. His taking to music fostered a challenging, impoverished career as a regional composer, unrecognized outside of Prague. His quest for personal and professional success didn’t take off until the mid1870s, when his new, happy marriage led to his firstborn in 1875. The same year, he won the prestigious Austrian State Prize for the first time, with the jury impressed by his massive number of works considering his impoverished state. The alignment of fortunes for a prolific composer in his mid-thirties was a springboard to international fame and income to come. In the happy year of 1875, he was productive, creating many memorable works including his Fifth Symphony, the opera Vanda, and his Serenade for Strings in E major. The Serenade is a warm, jubilant work that demonstrates Dvořák’s identity as nationalist Czech composer, with the influence of Brahms’ neo-Classical restraint. Well acquainted with the formal and orchestrational demands of the Symphony, Dvořák opted for a less serious collection of five movements, mostly composed in simplified A-B-A structures. He is said to have briskly completed the work in just twelve days. The opening movement immediately bears the signs of Brahms’ influence, and rather than a bold opening, Dvořák starts off with the warm embrace of a flowing Moderato. An easy-going melody begins with a violin statement, immediately
echoed by the cellos. The orchestral conversation shifts to a stately country dance for its central section in a bright G major, returning to the opening melodies in the original E major. The second movement is a waltz that subtly juxtaposes minor and major-keyed harmonies, with floating lines contrasting with buoyant cutting dance rhythms. The movement’s central trio is dramatic in its contrast, with long lush melodies in the violins supported by a lilting accompaniment. The dramatic trio becomes stormy, with punctuating accents, and the original waltz returns to close out the movement, finishing with a smiling chord. The work’s middle Scherzo opens with a lively melody, but wanders introspectively as the opening material is developed and reset in a variety of moods, ranging from tranquil to ecstatic. The final two movements are the largest and most symphonic of the group, with the fourth being a passionate diversion separating the first three movements from the finale. Tranquil at first, the lush melodies are deeply felt, supported by dense counterpoint as the music waxes, and simple textures as it wanes. Again, Dvořák creates a dramatically contrasting central section, here with a nocturnal mood built out of sneaky staccato rhythm, but the return to the movement’s emotional lines creates calm before the finale. The Allegro Vivace has the spirit and liveliness of a village dance, opening with bold echoes and a driving eighth note rhythm. The alternating minor and major-key centers, quiet and full, light and dense, combine to create edge-of-seat tension. Building rhythms ultimately lead to a moving reprisal of the work’s opening Moderato, and a return to the boisterous dancing creates an ecstatic conclusion. Chaz Stuart, 2021
Washing our hands. It’s our job. thepartnership.org/ourjob.
Friday, May 14, 2021 at 1:00 PM Saturday, May 15, 2021 at 7:30 PM Tuesday, May 18, 2021 at 7:00 PM
BPO Classics Series
BIZET’S CARMEN SUITE JoAnn Falletta, conductor
VAUGHAN Fantasia on a Theme by Thomas Tallis WILLIAMS Carmen Suite (after Georges Bizet) RODION SHCHEDRIN I. Introduction II. Dance III. Intermezzo No. 1 IV. Changing of the Guard V. Carmen’s Entrance and Habañera VI. Scene VII. Intermezzo No. 2 VIII. Bolero IX. Torero X. Torero and Carmen XI. Adagio XII. Fortune Telling XIII. Finale
You can learn more about this program from JoAnn Falletta’s introduction at bpo.org/musically-speaking Program and performers subject to change.
We present two pieces that both looked to the past for their inspiration. Ralph Vaughan Williams adored the music of early English composers, and he borrowed a theme of the Renaissance genius, Thomas Tallis, to create a glowing and unforgettable work for strings, his Fantasia. Twentieth century Russian composer Rodion Shchedrin looked back to Bizet’s 1875 hit opera Carmen, and ‘re-imagined’ the work in a creative and highly imaginative version for strings and percussion. We are especially pleased to feature the percussion section of the Buffalo Philharmonic in this virtuoso showpiece for them.
PROGRAM NOTES Ralph Vaughan Williams (English; 1872-1958)
Fantasia on a Theme by Thomas Tallis (1910) Thomas Tallis is considered the most important composer to come from the English Renaissance of the Sixteenth Century. Working as a musician and composer of sacred music for England’s monarchs, the development of his music mirrored the religious and political changes that occurred during his life. First composing florid Latin-language music for the Roman Catholic Church, as the political pendulum swung to Protestantism, Tallis pivoted to simpler, English-language music. In 1567, Tallis composed nine settings for Archbishop Parker’s Psalter, which was a collection of metered, vernacular psalm settings. Three-and-a-half centuries later, the third setting “Why fum’th in sight,” based on Psalm 2, caught the eye of the up-and-comer Ralph Vaughan Williams. Ralph Vaughan Williams had a thoroughly English education, studying with the top English composers of the day, and a deep reverence for England’s formidable choral tradition
and its centuries of composers. His interests and education culminated into a heavy, English orchestral voice, but in 1907/8, a few weeks spent working in the studio of French modernist Maurice Ravel seemed to change his path for the better. Rather than copying Ravel’s style, Vaughan Williams benefitted from a reimagining of what the orchestra could do. In 1910, Vaughan Williams was in his late thirties and his career was only just seeing a glimmer of life when one of Britain’s prestigious festivals, the Three Choirs Festival, commissioned him for a new orchestral work. Some years earlier, Vaughan Williams was assisting the editing process for the English Hymnal when he came across Tallis’ Psalm 2 setting, which he would revisit for his new commission. The result was the Fantasia on a Theme of Thomas Tallis, which was first performed by the London Symphony Orchestra, conducted by Vaughan Williams. A “fantasia” in modern terms is most often a freely composed work, but the term was also used by 16th English composers to describe music for string consorts that mimicked the imitative counterpoint of choral
music. Vaughan Williams’ own Fantasia blends these two ideas, relying on Renaissance choral music techniques for his work, which is scored for double string orchestra and string quartet.
V. Carmen’s Entrance and Habañera
The lush and detailed orchestration shows the influence Ravel had on Vaughan Williams, evident immediately with a hushed, ethereal opening that hints at Tallis’ melody. The work explores numerous possibilities with the separate ensembles mimicking the spacing of distanced choirs and fabricating eerie echoes. In the center of the work, soloists from the quartet present animated, decorated melodies that overlap in counterpoint. Through the work’s development, the orchestra builds intensity with widely spaced harmonies that shift surprisingly, and dynamics that range from silent intimacy to the monumental. Vaughan Williams’ cunning orchestration turns an ensemble of strings into a massive cathedral organ, or an ancient choir. In many ways, the Fantasia was Vaughan Williams’ homage to the English music tradition, but it would also become one of his most memorable works, helping to establish him as an integral figure in England’s musical tradition.
Rodion Shchedrin (Russian; b.1932-)
Carmen Suite (1967) (After Georges Bizet (French; 18381875)—Carmen (1875)) I. Introduction II. Dance III. Intermezzo No. 1 IV. Changing of the Guard
VI. Scene VII. Intermezzo No. 2 IX. Torero X. Torero and Carmen XI. Adagio XII. Fortune Telling XIII. Finale
Carmen Suite began as the brainchild of Bolshoi Theatre ballerina Maya Plisetskaya, who dreamed of a ballet based on the story of Georges Bizet’s massively popular opera Carmen. In 1964, she approached two of the most famous Soviet composers of the day for the project, Dmitri Shostakovich and Aram Khachaturian, with both turning down the project. Shostakovich, with uncanny foresight, understood the baggage that came with revisiting such a well-known subject, while Khachaturian pointed out the most obvious point of all: Plisetkaya was married to a fully capable composer in Rodion Shchedrin. Perhaps Plisetskaya wanted a big name for her project, as Shchedrin was a gifted pianist but littleknown as a composer; the opportunity for a prominent stage would prove invaluable for launching his nascent career. Plisetskaya’s Carmen project picked back up in 1966 when Ballet Nacional de Cuba performed in Moscow. The company’s choreographer, Alberto Alonso. was interested in Plisetkaya’s concept, and created a libretto and committed his company to the project.
All that was left was the score. Shchedrin found that a completely original score was a dead end, and instead recognized the importance of Bizet’s original score, replete with melodies inseparable from the story. But the task was not to create a reduction typical of suites, in which a large score is reduced to its most recognizable and important music, but a wholly new score that recycled Bizet’s most integral materials in what Shchedrin referred to as a “meeting of minds.” Even though he composed more than a dozen operas, it was not until his final one that French composer George Bizet assured his memorable melodies would be known for generations with his bold 1875 masterpiece Carmen. Bizet spent most of his life struggling to find success, so his death during the first run of Carmen was tragic. Set in Seville, the work’s appealing Spanish exoticism tells of the soldier Don José, who is lured from his love and his post by the beautiful gypsy girl Carmen. When she declares her love for bull-fighter Escamillo, jealous love comes to a climax when Don José kills Carmen. The opera’s initial reception was scandalous, but nearly a century later it was beloved, and the tragic figure in Carmen was the centerpiece of Plisetskaya’s reimagined ballet that heightened the work’s initial eroticism with a vibrant reimagined scoring. Shchedrin’s score was a modern resetting of Bizet’s music for string orchestra and percussion. The abundance of such musicians made the choice obvious, but it was important to Shchedrin to juxtapose Bizet’s use of full orchestra, so as to make the difference between the two scores as explicit as possible. Orchestration was not the only change, as the suite included new rhythms,
new melodic combinations, harmonic diversions, with the occasional note change, all in reverent homage to Bizet. From the Habañero to the Toreador Song, the music is entirely recognizable, although filtered through Shchedrin’s excitingly creative kaleidoscope.
Carmen Suite remains one of Shchedrin’s most popular contributions to music, and helped launch a productive and celebrated career, which includes several operas, ballets, symphonies, concertos, and numerous prizes such as the USSR State Prize and the Lenin Prize. This would all come later though. Artists working under the watchful eyes of Soviet regimes were always at risk of upsetting the apple cart, known to carry dire consequences. The beloved nature of Bizet’s melodies made their use in Carmen Suite especially egregious to the authorities, interpreted as a bastardization of Bizet’s masterpiece, and the work’s eroticism was entirely unacceptable. Such an official ban could have damaging ramifications for Shchedrin, but Shostakovich was sympathetic and had high-reaching connections. Avoiding the controversy in the work’s early stages, he became integral to the project by leveraging his position to end the work’s ban. His effort, and Plisetskaya’s threat to leave the Bolshoi, would prove invaluable to the work’s eventual acceptance. Chaz Stuart, 2021
Friday, May 28, 2021 at 10:30 AM Saturday, May 29, 2021 at 7:30 PM Tuesday, June 1, 2021 at 7:00 PM
BPO Pops Series
AMERICAN ANTHEMS Jeff Tyzik, conductor LAVALLÉE/ W.G. Chapman
SMITH/ arr. Jeff Tyzik BAGLEY/ arr. Kim Hartquist COHAN/ arr. Jeff Tyzik
Give My Regards To George!: A George M. Cohan Medley
“A Call To Worship” from Pleasant Valley Suite
The Star-Spangled Banner
National Emblem March
arr. Jeff Tyzik “Every Time I Feel The Spirit”: An Overture in honor of Harry T. Burleigh ALFORD/ Colonel Bogey March arr. Kim Hartquist TRADITIONAL/ Amazing Grace arr. Jeff Tyzik HANDY/ arr. Jeff Tyzik arr. Jeff Tyzik
St. Louis Blues March Fantasy on American Themes
SOUSA/ arr. Jeff Tyzik The Stars & Stripes Forever March This concert is proudly sponsored by Erie County Program and performers subject to change.
JEFF TYZIK, CONDUCTOR GRAMMY Award winner Jeff Tyzik is one of America’s most innovative and sought after pops conductors, recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. Tyzik holds the Principal Pops Conductor’s podium at the Dallas Symphony Orchestra and serves as Principal Pops Conductor of the Detroit Symphony, the Oregon Symphony, and The Florida Orchestra. This season, Tyzik celebrates his 23rd season as Principal Pops Conductor of the Rochester Philharmonic Orchestra. Frequently invited as a guest conductor, Tyzik has appeared with over fifty orchestras including the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, Orchestre Philharmonique de Monte Carlo, Malaysian Philharmonic Orchestra and the Royal Scottish National Orchestra. As an accomplished composer and arranger, Tyzik has had his compositions recorded by the London Symphony Orchestra, Erich Kunzel and the Cincinnati Pops Orchestra, the Rochester Philharmonic Orchestra, the Vancouver Symphony, and Doc Severinsen with the Royal Philharmonic Orchestra in London. He has also produced and composed theme music for many of the major television networks, and released six of his own albums on Capitol, Polygram and Amherst Records. He produced a GRAMMY Award winning album, The Tonight Show Band with Doc Severinsen, Vol. 1. Tyzik’s subsequent recordings with Severinsen garnered three more GRAMMY nominations. In his twenty-two years with the Rochester Philharmonic Orchestra, Tyzik has written over 200 arrangements, orchestrations, and compositions for orchestra. He has also been commissioned to compose original works for orchestra, including a Trombone Concerto, funded by a grant from the National Endowment of the Arts and subsequently performed at Carnegie Hall. Tyzik conducted the world premiere of his original work New York Cityscapes with the Royal Scottish National Orchestra in 2010. Tyzik composed a Timpani Concerto, commissioned by the RPO, and also led the RPO in the premiere of his new orchestral suite, “Images: Musical Impressions of an Art Gallery” to rave reviews. In the 2015/16 season, Tyzik premiered his new work “Jazz Concerto for Violin and Orchestra” with the Rochester Philharmonic Orchestra. A native of Hyde Park, New York, Tyzik began his life in music when he first picked up a cornet at age nine, and went on to earn both his Bachelor’s and Master’s degrees from the Eastman School of Music. While there, he studied composition/arranging with Radio City Music Hall’s Ray Wright and jazz studies with Chuck Mangione. Tyzik subsequently toured with Mangione as lead trumpet and worked on five Mangione recordings as a producer and performer. Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen, and John Pizzarelli. Tyzik has created numerous original programs that include the greatest music from jazz, classical, Motown, Broadway, film, dance, Latin, and swing. For more information about Jeff Tyzik, please visit www.jefftyzik.com
Friday, June 4, 2021 at 1:00 PM Saturday, June 5, 2021 at 7:30 PM Tuesday, June 8, 2021 at 7:00 PM
BPO Classics Series
MAHLER & MOZART
JoAnn Falletta, conductor Nikki Chooi, violin Roman Mekinulov, cello Antoine Lefebvre, violin Daniel Pendley, double bass Caroline Gilbert, viola Kyle van Schoonhoven, tenor Elegy for those we lost (2020) AARON JAY KERNIS Delights & Dances for string quartet MICHAEL ABELS and string orchestra Nikki Chooi, violin Antoine Lefebvre, violin Caroline Gilbert, viola Roman Mekinulov, cello Lieder eines fahrenden Gesellen MAHLER / (Songs of the Wayfarer) arr. Schoenberg I. Wenn mein Schatz Hochzeit macht (“When My Sweetheart is Married”) II. Ging heut’ Morgen über’s Feld (“I Went This Morning Over the Field”) III. Ich hab’ ein glühend Messer (“I Have a Gleaming Knife”) IV. Die zwei blauen Augen von meinem Schatz (“The Two Blue Eyes of My Beloved”) Kyle van Schoonhoven, tenor Serenade No. 6 for orchestra in D major, K. 239, MOZART “Serenata notturna” I. Marcia maestoso II. Minuetto III. Rondo: allegretto Nikki Chooi, violin Antoine Lefebvre, violin Caroline Gilbert, viola Daniel Pendley, double bass
This concert graciously supported by the Constance Shepard Walsh Memorial Endowment Fund
You can learn more about this program from JoAnn Falletta’s introduction at bpo.org/musically-speaking Program and performers subject to change.
KYLE VAN SCHOONHOVEN, TENOR American tenor Kyle van Schoonhoven, a recent graduate of the prestigious Adler Fellowship Program at San Francisco Opera, made his SFO company debut as the Young Servant in Strauss’ Elektra, and has since covered such leading roles as Don Ottavio in Don Giovanni, Aegisth in Elektra, Froh in Das Rheingold, and Siegmund in Die Walküre. Mr. van Schoonhoven’s most recent engagements include performances of Tchekalinsky (while covering Ghermann) in The Queen of Spades with Lyric Opera of Chicago, Lensky in Eugene Onegin with Livermore Valley Opera, the role of Hades in Julian Wachner’s Rev. 23 with the Prototype Festival, and the title role in Act III of Siegfried with the New York Repertory Orchestra. He was scheduled to make his Metropolitan Opera debut in Tristan und Isolde, sing his first performances of Erik in The Flying Dutchman for Opera Maine and the Lakes Area Music Festival, and return to Lyric Opera of Chicago in Samson et Dalila, but unfortunately all of these engagements were cancelled or postponed due to Covid-19. Future seasons see his debut with Opera de Rouen and a return to Livermore Valley Opera. Additional highlights of recent seasons include Mr. van Schoonhoven’s role debut as Bacchus in Ariadne auf Naxos with Cincinnati Opera, his debut as Don Jose in Carmen with the Buffalo Philharmonic, and Rodolfo in La bohème with Boston Youth Symphony Orchestra. With the San Francisco Opera, he has covered Cavaradossi in Tosca and Uncle Billy/Billy Bailey in It’s a Wonderful Life. Mr. van Schoonhoven is the recipient of a 2019 George London award, was a 2017 Grand Finals Winner of the Metropolitan Opera National Council Auditions, has received the Nicolai Gedda Memorial Award, and was a finalist in the 2016 Jensen Foundation Voice Competition. Additional repertory includes the title role in Chandler Carter’s Bobby, Don José in Carmen, Alfredo in La Traviata, Bacchus in Ariadne auf Naxos, Hoffmann in Les contes d’Hoffmann, Lysander in A Midsummer Night’s Dream, Oronte in Alcina, Tamino in Die Zauberflöte, Peter Fallow in Stefania de Kenessey’s Bonfire of the Vanities, and Genaro in the US Russian language premiere cast of Prokofiev’s Maddalena. In the summer of 2016, Mr. van Schoonhoven participated in the Merola Opera Program. His performance of the Prayer from Wagner’s Rienzi was praised as “gleaming” and “potent” by the San Francisco Chronicle. In addition to participating in numerous young artist programs, van Schoonhoven holds a Master of Music degree from Westminster Choir College as well as a Bachelor of Music from Fredonia School of Music.
ANTOINE LEFEBVRE, VIOLIN Canadian violinist Antoine Lefebvre was appointed Principal Second Violin of the BPO in September 2001. He began his violin studies at age 5, and at 13, was admitted into a special Bachelor of Music program at the University of Montreal under the direction of J.F. Rivest and Vladimir Landsman. He obtained a M.M. in Violin Performance at McGill University with Yehonathan Berick, and then completed a music fellowship program under the direction of Richard Roberts and Andre Roy. Summers 1992 to 1996, Antoine studied with Stephen Shipps at the Meadowmount School of Music. Summer of 1999 he worked at Ohio’s Kent Blossom Chamber Music Festival, where he received the Joseph Gingold Award. In 2000 – 2001, he performed in Breckenridge, Colorado as the Principal Second Violin with the National Repertory Orchestra under the directorship of Carl Topilow. Antoine has won several national and international competitions, and has been invited for many concerts broadcasted by CBC Radio-Canada. He has appeared as soloist with orchestras including the Montreal Contemporary Orchestra, Orchestre Metropolitan of Montreal, Mount Royal Symphony, and Laval Symphony. In Buffalo, Antoine has been featured by the BPO and Ars Nova.
CAROLINE GILBERT, VIOLA Born in Bloomington, IN, Caroline played violin in the pre-college program at Indiana University. She doublemajored in music and pre-med at Vanderbilt University for two years before transferring to Indiana University to complete her Bachelor of Music with Atar Arad. While at Indiana, she won the concerto competition and performed Hindemith’s Der Schwanendreher as a soloist with the university chamber orchestra, and also represented the school at the Kennedy Center in Washington D.C., performing in the “Conservatory Project” concert series. For her M.M., she attended The Juilliard School, studying with Samuel Rhodes and Rodger Tapping. Her performance in the Keshet Elion summer mastercourse in Israel was broadcast in New York, and she went on to play with the New York String Orchestra at Carnegie Hall; worked with Michael Tilson Thomas as a member of the YouTube Symphony Orchestra in Sydney, Australia; toured Turkey, Spain, and Germany with the Schleswig-Holstien Festival Orchestra; played alongside the Boston Symphony Orchestra at Tanglewood Music Festival; and spent three summers in Switzerland playing with the Verbier Festival Orchestra. After completing her degrees, she joined the New World Symphony until winning the BPO Principal Viola position in 2017.
DANIEL PENDLEY, DOUBLE BASS Daniel Pendley joined the BPO as Principal Bass in September 2007. He moved to New York from Kentucky, where he served as the Assistant Principal Bass with the Louisville Orchestra in 2006-2007. Mr. Pendley was a member of the Lexington Philharmonic for several years, in addition to occasionally playing with the Cincinnati Symphony Orchestra, the Cincinnati Chamber Orchestra, and the Dayton Philharmonic. Mr. Pendley earned his Bachelor and Master of Music degrees in bass performance from the University of Cincinnati CollegeConservatory of Music while studying with Albert Laszlo. He pursued further studies at the Aspen Music Festival and School as a fellowship student with Mr. Laszlo, as well as Eugene Levinson, Bruce Bransby, Chris Hanulik, and Paul Ellison. He lives on Buffalo’s West Side with his wife, Ann, also a bass player.
The Buffalo Philharmonic musicians and I close our 20-21 season with four works of great variety and profound meaning. We begin with a work written by American composer Aaron Kernis during the pandemic as a threnody for those we lost, and we hope that his moving work will express our personal sorrow for all those who suffered during this very difficult year. Gustav Mahler’s poignant Songs of a Wayfarer express the sadness of unrequited love, and we are honored to have tenor Kyle van Schoonhoven back on our stage to sing this sublime work. Mozart’s Serenata Notturna brings beautiful elegance and serenity, and Michael Abels’ Delights and Dances features our solo strings in a piece that will absolutely charm you. The musicians and I send you our heartfelt thanks for sharing this unusual season with us. Knowing that you were watching and listening filled us with hope and optimism for the future.
With gratitude and love,
JoAnn and the BPO
PROGRAM NOTES Aaron Jay Kernis
Elegy for those we lost (2020) In mid-March 2020, as the COVID-19 pandemic quickly took hold in the United States, American composer Aaron Jay Kernis contracted a mild case of the virus, making him acutely aware
of and deeply impacted by the toll it was taking on families dealing with loss, overwhelmed healthcare workers, and students and colleagues dealing with isolation. The Yale School of Music, where Kernis serves as a Faculty Composer, began Postcards from Confinement, a project for students, alumni, and faculty to contribute short musical reactions to the pandemic. Kernis’ contribution came in May 2020
as a work for a solitary pianist titled Elegy (for those we lost), and was a reflective, mournful reaction to the devastation caused by the virus. Kernis expanded the reach of the work through a commission of filmmaker Esther Shubinski, who delicately combined video and imagery supplied by 51 families honoring their loved ones lost to the virus. As ensembles have worked to gather again, Elegy has a wider impact in an orchestral arrangement Kernis first made for the Yale Philharmonia in February 2021.
accompaniment. Throughout the work, the quartet develops dramatic melodic material that morphs into a raucous hoedown, with the orchestra adding accents and singing lines as the soloists dazzle. Gustav Mahler (German; 1860-1911)
Lieder eines fahrenden Gesellen (“Songs of a Wayfarer”) (1885) (Arr. 1920, Arnold Schoenberg (Austrian; 1874-1951))
I. “Wenn mein Schatz Hochzeit macht” (“When My Sweetheart is Married”)
Delights and Dances for string quartet and string orchestra (2007)
II. “Ging heut’ Morgen über’s Feld” (“I Went This Morning Over the Field”)
Broadly known from his cinematic scoring of Jordan Peele’s Oscarwinning film Get Out, Michael Abels’ concert works have been performed by numerous renowned ensembles and orchestras. The Sphinx Organization’s focus on African American composers like Abels led to a 10th anniversary commission for which he created Delights & Dances in 2007. Originally designed to highlight the brilliant talent of each member of the Sphinx Orchestra, it was composed for an ensemble of strings with many of the players acting as soloists throughout the work. Its current format is for a featured string quartet with string orchestra. The calming lines of the work’s opening solos hint at the bluesy developments to come. The quartet engages in emotionally billowing counterpoint, with the themes reframed as singing melodies streaming over pizzicato
III. “Ich hab’ ein glühend Messer” (“I Have a Gleaming Knife”) IV. “Die zwei blauen Augen von meinem Schatz” (“The Two Blue Eyes of My Beloved”) By 1900, Gustav Mahler was a celebrity opera conductor, also appealing to a new generation of composers as a giant in the world of contemporary symphonic music. Fourteen years his junior, Arnold Schoenberg held a paradoxical rebelliousness toward and reverence for him, and would become something of a protégé of Mahler’s. Schoenberg’s music at the beginning of the decade caught Mahler’s attention for its dramatic emotional thrust, propelled by modern, masterful orchestrations and a challenging harmonic vocabulary. Although worthy of Schoenberg’s
admiration, Mahler’s approach to harmony was conservative compared to the young firebrand. As the decade progressed, so too did Schoenberg’s progressive approach toward tonality, eventually crossing the line toward atonality, vexing Mahler. Although the two diverged in aesthetics, Schoenberg formed a modernity for the new century with important ties to the past, and maintained loyalty to Mahler long after his untimely death in 1911. In 1918, Schoenberg and his pupils founded the Society for Private Musical Performances, which for three years presented hundreds of concerts featuring modern composers to a selective, receptive Viennese audience. Economic restraints meant that the performances usually relied on piano reductions or small chamber groups, rather than full orchestral presentations. And while atonality was the flavor of the day, Schoenberg’s decision to include Mahler’s work meant the need for a chamber ensemble reduction, which led to his arrangement of Mahler’s Lieder eines fahrenden Gesellen (“Songs of a Wayfarer”) in 1920. Though best-known today for his nine Symphonies, the origin of Mahler’s compositional interest was in song, or Lieder, and folk subject matter, which often made their way into his symphonies. A lifelong obsession with Des Knaben Wunderhorn, a collection of German folk poetry, much of which would serve as the text for a separate song cycle, led Mahler to compose comparable texts and songs of his own, used for Songs of a Wayfarer, which was composed in the context of a tumultuous romantic situation, roughly from 1884-86. A decade of tampering, rewriting, and arrangements have caused some discrepancies in the score,
leaving the 1896 orchestration as the most definitive version, used as the basis for Schoenberg’s arrangement.
Songs of a Wayfarer illustrates Mahler’s conflicted sentimentality, harnessing colorful melodies to juxtapose moods, often in ironic and tragic ways. Mahler’s voice in song and symphonic composition are often identical, and much of the music used here was later recycled in several of Mahler’s Symphonies. The opening song, “When My Sweetheart is Married,” has the Wayfarer despairing at the loss of his love to another, while simultaneously observing the beauty of the world around him. The setting is bittersweet, with a mournful, haunting melody punctuated by the sounds of nature, with a brief, sweet central diversion. The second song, “I Went This Morning Over the Field,” is a joyous, folksy reflection on the beauty of nature, but the protagonist cannot help but be affected by his loss. The third movement, “I Have a Gleaming Knife,” is a dramatic contrast, as the Wayfarer despairs as all things remind him of his lost love, and likens the pain to a scorching knife piercing his heart. The energized agony of the music is grim and brooding. The final song, “The Two Blue Eyes of My Beloved,” is set much like a funeral march. As the Wayfarer despairs over his obsession with his loss, harmonies alternate between major and minor, illustrating his conflicting grief. Mahler brings resolution, as if acknowledging the inevitability of grief, leading the Wayfarer to a moment of calming rest under a tree. Although a moment of finality, the text embraces the comforting charm of the natural world.
Wolfgang Amadeus Mozart
Serenade No. 6 for Orchestra in D major, K. 239, “Serenata Notturna” (1776) I. Marcia (maestoso) II. Minuetto III. Rondo (allegretto) Salzburg’s Archbishop took pride in his city’s foremost musical family, providing funding for Leopold Mozart and his children (Wolfgang and his sister Nannerl) to travel Europe, performing for its grandest courts. Funding for Mozart’s childhood adventures dried up when the Archbishop’s austere successor, Count Hieronymus von Colloredo, called the family back to Salzburg. Stuck in his provincial town with what he considered unworthy work and compensation, Mozart’s late-teenage years were characterized by irreverence to authority, and both he and his father butted heads with the unappreciative Colloredo. With tepid enthusiasm, Mozart skirted his obligations to Colloredo (the royal court and the church), and instead was
energized in his approach to music for private patrons with such works as his Serenata Notturna. Generally, Mozart’s Serenades were composed to accompany an evening soirée of hob-knobbing for Salzburg’s well-to-do and social elite. Completed in January of 1776, his new Serenade would have been prepared for a forthcoming springtime event. With the inclusion of a timpanist, Mozart elevated what could have been easy-listening background music to something much more interesting and bold. Perhaps influenced by his recent works for university graduations, the Serenade’s opening carries the appropriate pomp of a Maestoso (majestic) march. The string soloists provide moments of tranquility, yet exciting interruptions persist! The following minuet preserves the bold stateliness of the opening, but a quietly flowing trio is a welcome diversion. The substantial finale is an electric Rondo that features dramatic twists and turns. Playful cadenzas, a warm adagio, and a lively country dance are all heard through Mozart’s creatively rich finale. Chaz Stuart, 2021
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Join the Buffalo Philharmonic as we celebrate Erie County’s 200th Birthday!
The significant milestone of Erie County’s bicentennial is an opportunity to join together as a community to reflect on the history, stories, and legacies of the many men and women who came before us, and to celebrate the diversity that makes Erie County such a vibrant place to live. New York State officially recognized Erie County on April 2, 1821. After the American Revolution, the Holland Land Company had purchased 3.2 million acres of land from the Seneca Nation of the Haudenosaunee (Iroquois). In 1808, New York organized the westernmost land as Niagara County, but by 1821, the population had increased so much that Niagara County was split. Erie County was created, defined as the land south of Tonawanda Creek, consisting of ten towns and the Buffalo Creek Reservation. Today, Erie County has twenty-five towns, three cities, two tribal reservations, and a population of approximately 920,000. Erie County has ties to several U.S. Presidents. Millard Fillmore practiced law in East Aurora before serving as President. Later, he returned to Erie County and helped establish the University of Buffalo, Buffalo General Hospital, and the Buffalo and Erie County Historical Society. Grover Cleveland practiced law in Buffalo before becoming Erie County Sheriff and then Mayor of Buffalo. President William McKinley was assassinated at the 1901 Pan-American Exposition, and on September 14th, Theodore Roosevelt was sworn in as the 26th President at the Wilcox Mansion on Delaware Avenue.
Once heavily forested frontier, the Erie Canal brought prosperity and made the region one of the largest shipping and rail centers in the country. Erie County was also the birthplace of numerous inventors or the manufacturing homes of their inventions. Buffalo has a history with the Ball glass fruit jar, the Barcalounger, and Carrier Air Conditioning. Wilson Greatbatch developed the implantable pacemaker in Clarence, and Bell Aircraft, one of the largest suppliers of aircraft during WWII, was first established on Elmwood Avenue. The county boasts major works by both local and national architects: Frank Lloyd Wright, Louis Sullivan, H. H. Richardson, E.B. Green and William Wicks, and Louise Bethune. Famous writers like F. Scott Fitzgerald, Mark Twain, and Lauren Belfer have called the area “home.” The county has given the world Fisher-Price toys and the chicken wing. Today, we celebrate our heritage and look forward to a bright future. The bio-medical research corridor is at the forefront of international scientific research. Companies from across the county do business internationally and even in outer space! The county has showcased its history, art, and architecture to become a heritage tourism destination. The Buffalo Philharmonic is honored to represent Erie County internationally through our radio and television broadcasts, recordings, and touring. We are grateful to Erie County Executive Mark Poloncarz and the members of the Erie County Legislature for supporting the arts and cultural organizations in our community, and celebrate the bicentennial of our great Erie County!
SPONSOR A MUSICIAN Nikki Chooi, concertmaster Sponsored by Clement and Karen Arrison
Ansgarius Aylward, assistant concertmaster
Douglas Cone, first violin
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
Anna Shemetyeva, associate principal viola
Sponsored by Christine Standish & Chris Wilk
Natalie Piskorsky, viola
Sponsored by Dr. Patricia and Burt Notarius*
Matthew Phillips, viola Sponsored by Mr. and Mrs. George G. Herbert
Kate Holzemer, viola
Sponsored by Ms. Cindy Abbott Letro and Mr. Francis M. Letro
Janz Castelo, viola
Sponsored by Anthony J. and Barbara Cassetta
Shieh-Jian Tsai, second violin Sponsored by Joyce L. Wilson
Caroline Gilbert, principal viola Sponsored by Bruce and Gail Johnstone
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
Jonathan Lombardo, principal trombone
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
Henry Ward, principal oboe
Sponsored by Jack* & Ellen Koessler
Martha Malkiewicz, bassoon/contrabassoon
Robert Hausmann, cello
Amy Licata, second violin
Diane Melillo, second violin
Sponsored by Dr. and Mrs. Friedrich J. Albrecht
Alex Jokipii, principal trumpet
Sponsored by Kenneth Schmieder, in loving memory of Nancy L. Julian
Jonathan Borden, bass
Sponsored by David I. Herer on behalf of ABC-Amega, Inc.
Glenn Einschlag, principal bassoon
Feng Hew, associate principal cello
Jeffrey Jones, second violin Sponsored by Mr. and Mrs. George G. Herbert
Jennifer Dowdell, in memory of Charles and Nancy Dowdell
Sponsored by Edward N. Giannino, Jr.
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
Jennifer Dowdell, in memory of Charles and Nancy Dowdell
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
To learn more about the Sponsor a Musician program, please contact Guy Tomassi at (716) 242-7821 or email@example.com.
TOGETHER, WE CAN HELP SLOW THE SPREAD. Learn more at coronavirus.gov
You’re in good company Join these businesses that support the BPO as of May 1, 2021. Contact Wendy Diina (716) 242-7826
$50,000 - $99,999
$20,000 - $49,999
$10,000 - $19,999 AT TO R N E Y S
$5,000 - $9,999
$1,000 - $4,999
Anthony Baldi & Associates
Berardi Immigration Law
Murak & Associates
Gurney, Becker and Bourne
The Buffalo Club
D.V. Brown & Associates
The Travel Team
Woods Oviatt Gilman LLP
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The Buffalo Philharmonic Orchestra gratefully acknowledges contributions received from the following individuals and foundations who gave $500 and above through April 12, 2021. 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
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
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 Joseph & Carole Sedita Mr. and Mrs. Paul Steinwachs 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 Maureen W. & Dr. Richard J. Saab 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
Dr. Joyce E. Siriann Diane & Sonny Sonnenstein Ronald L Struzik Dr. Joseph R. Takats, III Anonymous (7) Garin Tomaszewski Dr. George N. Abraham Dr. and Mrs. Fred and Bonnie Albrecht Nicholas & Nicole Tzetzo Monica Angle & Samuel D. Magavern III Barry & Donna Winnick Gregory and Donna Yungbluth Douglas Bean and Elisa Kreiner Joanne Castellani & Michael Andriaccio John and Deanna Zak The Reverend* and Mrs. Peter Bridgford Bravo Circle Ms. Elizabeth G. Clark Ms. Anne E. Conable $1,000-$2,499 Conable Family Foundation at the CFGB Anonymous (6) Michael D’Ambrosio Morton & Natalie Abramson Alan Dozoretz Kenneth & Maura Africano Ms. Ruth Irene Dwigans JoAnne Alderfer Cynthia Swain and Stephen Edge Benjamin and Helene Smith Marion S. Fay Endowment Fund Mrs. Marta Fernandez Burtram W. & Ellen Anderson Frederick S. & Phyllis W. Pierce Liz & John Angelbeck Family Fund Ann Holland Cohn Endowment Fund Dr. Samuel Goodloe, Jr. at the FJP Drs. James Grunebaum & Penelope Arts Services Initiative of Western Prentice New York Inc. Dave & Katie Hayes Rita Argen Auerbach Dr. Barbara W. Henderson Reverend James M. Augustyn Philip M. and Marion Henderson Mary L. and Ronald E* Banks Martha & Tom Hyde Mr. Steve Earnhart Mr. James and Mrs. Diana Iglewski and Mrs. Jennifer Barbee Robert and Hana Jacobi Drs. Kevin and Elizabeth Barlog Joseph & Anna Gartner Foundation Patricia S. Beagle Edwin M. Johnston, Jr. Thomas R Beecher Jr Joy Family Foundation Ann N. Bonte Mr. William P. Keefer Gary & Willow Brost Dwight King & Leslie Duggleby John & Diane Burkholder Susan B. Lee Dr. and Mrs. John L. Butsch Steve & Sandy Levinthal Cheryl I. Christie Mr. Ron Luczak and Michael Boland Ms. Rosemary Christoff Dolan in Sr. Beatrice Manzella memory of Gerald Christoff, William and Jane Mathias composer and pianist Mr.* and Mrs. Sheldon E. Merritt Dr. Sebastian* and Mrs. Marilyn Ciancio Denise and Ron* Rezabek Nan & Will* Clarkson Michael and Lorrie Munschauer Dr. and Mrs. Michael E. Cohen Mr. and Mrs. Sanford M. Nobel Elizabeth B. Conant* and Camille Cox Dr. Thomas Nochajski Mr. and Mrs. David Croen Mrs. Michelle Parrish Peter S. and Elizabeth H. Curtis Mary Jane and Walter Pawlowski Jane M D’Agostino Mr. Paul J. Polokoff Beverly Davies Mrs. Susan A. Potter Adrian F. Dedecker III and Clotilde Mr. and Mrs. Joseph Priselac, Jr. Perez-Bode Dedecker Ms. Georgeann W. Redman James & Mary Frances Derby Mr. and Mrs. Bruce Renner Tony & Kathy Diina David & Joan Rogers Wendy Diina Dr. Annie Schapiro Duane and Nancy DiPirro Ken Schmieder and Nancy Julian* Joan M. Doerr Ronald Frank & Anne Schneider Mrs. Carol Donley Dr. Gilbert Schulenberg Richard and Cornelia Dopkins Ms. Betty J. Schultz Ellen & Victor* Doyno Dr. Maxine Seller Patricia K Duffner Edward G Eberl Simple Gifts Fund
Elsie P. & Lucius B. McCowan Private Charitable Foundation Ms. Mary A. Ferguson Mr. and Mrs. Kim A. Ferullo Joyce E. Fink Dr. Mildred J. Fischle Mr. and Mrs. Michael Flaherty Jr. Thomas & Grace Flanagan Ilene and Peter Fleischmann Mrs. Beth Fleming Robert and Ruth Fleming Ms. Margaret A. Frainier Eileen & Laurence Franz Mr. and Mrs. David Fried Sue Gardner Garrison Wealth Management Gerald and Jody Lippes Ms. Dolores S. Gernatt Mr. and Ms. James G. Hanley Golden and Goldman Philanthropic Fund Ms. Carol A. Golder Dr. Susan Graham and Dr. Jon C. Kucera Mr. and Mrs. Robert M. Greene Mr. and Mrs. William A. Greenman Adrienne Tworek-Gryta and Matt Gryta Joan Hetzelt Hanifin Memorial Fund at CFGB Mr. and Mrs. Van N. Harwood, Jr. Michele O. Heffernan & John J. Cordes Carla J. Hengerer Richard and Lynn Hirsch Monte Hoffman and Niscah Koessler Mr. Paul A. Hojnacki John and Janice Horn Mr. and Mrs. John K. Howell Mr. Bernhard Huber, Jr. 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 Mr. Donald Latt
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 Sandra Mundier 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 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 Lyle & Phil Toohey 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. Jo Anne Brocklehurst 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 John & Connor Cardot-Schloop Janet M. Casagrande Jerry* & Barbara Castiglia William Catto Miss Victoria A. Christopher Emmy Lou Churchill Mr. Michael Charles Cimasi 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 Mr. and Mrs. David Day Roger and Roberta Dayer Dr.* and Mrs. David C. Dean Dr. Juan F. de Rosas Jonathan Dewald Julie Klotzbach and Gary Diamond Miriam & Peter Dow Mr. David T. Duff Robert G. Dunford Mr. Edward Eardley Amy P. Early M.D. Mr. and Mrs. Arthur Efron Dr. Marla Eglowstein Dr. Sanford H. Eisen Dr. Richard S. Elman and Dr. Nora Meaney-Elman 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 Mrs. Joanne Gaffin 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 Dr. Thomas A. Jambro 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 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 Msgr. Fred Leising 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 Eleanor & Tony Paterson Laurence & Sylvia Paul Mr. Rick Paulson 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 Paul & Kathrin Reid 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 Ms. Suzanne Sheard-Walsh 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 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
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 March 5, 2021 and April 12, 2021.
In Memory of Dr. Corstiaan Brass Ms. Robin Stall
Joan Lazarus Ms. Jeanne Beck
Stephen T. Joyce, M.D. and Mary Ann Joyce Ms. Marilyn Gallivan
Luigi Tomassi Mr. Guido A. Tomassi
April N.M. Baskin, Chair Lisa Chimera John J. Gilmour Kevin R. Hardwick Howard J. Johnson, Jr. Joseph C. Lorigo Timothy Meyers John J. MIlls Edward A. Rath, III Frank J. Todaro Jeanne M. Vinal
Council Member Joel Feroleto; Mitch Nowakowski; Christopher Scanlon; David Rivera; Crystal Peoples-Stokes; and Ulysees Wingo, Sr.
The New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature
Check out YOUR Buffalo Philharmonic Orchestra online!
Advertise with us todaywe have your platform!
(716) 972-2250 buffalospree.com
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
Anonymous AJL Fund Lawrence M. Appleby Fund at the CFGB Cameron Baird Fund Benderson BPO Endowment Fund Virgil A. and Margaret L. Black Memorial Fund Philip & Joyce Celniker Fund Irwin H. Cheskin Fund at the CFGB Mildred Bork Conners & Joseph E. Conners Fund Buffalo Philharmonic Orchestra Society Inc. Endowment Fund Grace Neff Daniels Memorial Anne Catt Filer Fund at the CFGB
Howard F. Gondree Fund Joan Hetzelt Hanifin Memorial Fund D. Bruce and Gail Johnstone Fund at the CFGB The Herbert & Ella Knight Family Charitable Fund John and Carol Kociela Fund at the CFGB Janet K. Larkin & John D. Larkin III Fund Albert H. Laub Bequest Donald I. MacDavid Charitable Trust Marie A. Marshall Fund MPZ Endowment Fund Benjamin and Lila Obletz Endowment Fund Mary Louise Olmsted Fund
Susan Harvey Prentis Fund Margaret Frank Rofot Charitable Lead Trust Natalie Kubera Roth Fund Martin and Barbara Schechtman Charitable Remainder Unitrust William Kenneth Schmitt Fund Dr. & Mrs. Roy E. Seibel Philanthropic Fund Joseph and Loretta Swart Fund Nellie B. Warner Endowment Fund Charlotte Potter Whitcher Trust
To ensure your wishes are carried on for the BPO for generations to come, you may call Guy Tomassi (716) 242-7821 for more information. The Buffalo Philharmonic Orchestra endorses the LEAVE A LEGACY® WESTERN NEW YORK program, an initiative of the WNY Planned Giving Consortium and a public awareness campaign of the National Committee on Planned Giving.
BPO ADMINISTRATIVE STAFF Administration
President & Executive Director
Vice President, Marketing & Communications
Associate Executive Director & Vice President, Development
Cary Michael Trout
Jennifer Barbee Wendy Diina
Vice President, Corporate Relations & Special Projects
Katie Bates Johnson Annual Fund Manager
Grant and Corporate Relations Coordinator
Major and Planned Gifts Officer
Education and Community Engagement Robin Parkinson,
Vice President, Education & Community Engagement
Vice President, Finance & Administration
Patron Services Representatives
Jess Berner Anne Boucher Bethany Erhardt Scott Kurchak Amanda Paruta
AndréeRenée Simpson Marketing Manager
Digital Marketing Manager
Kleinhans Music Hall Staff
Building Services Assistant
Vice President, Artistic & Orchestra Operations
Parking & Set Up Supervisor
Associate Manager of Artistic and Orchestra Operations
Audience Services Manager
Sales and Patron Services Adam Cady
Senior Manager of Patron Services
Box Office Assistant Manager/ Education Coordinator
Nicole M. Bodemer
Associate Director of Finance
Finance/Accounts Payable Associate
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
“Embrace seasons past... begin life anew!”
410 Mill St., Williamsville 716.632.3000 www.park-creek.com
PRINTING BY ZENGER GROUP SENIOR GRAPHIC DESIGNERS
Joshua Flanigan | Kim Miers Adam Van Schoonhoven | Nicholas Vitello
buffalospree.com | 716-972-2250
You Deserve the RedShirt Treatment. And a Thank You.
#1 Member Satisfaction among Commercial Health Plans in New York Our members mean a lot to us, and helping you get and stay healthy is what drives us every day. As Western New York’s local health plan, we’re also committed to supporting our community however we can. We’ve been providing the RedShirt Treatment for 40 years now, and we look forward to many more.
For J.D. Power 2020 award information, visit jdpower.com/awards
©2020 Independent Health Association, Inc. IH29394