BPO 2021-2022 Season: Program Book 6 by Buffalo Philharmonic Orchestra

TABLE OF CONTENTS | MARCH 19 - APRIL 9 BPO Board of Trustees/BPO Foundation Board Directors

BPO Musician Roster

Tchaikovsky & The Mermaid

Leslie Odom, Jr.

Sultans of String

Schumann’s Cello

Majestic Mendelssohn

Spotlight on Sponsors

Sponsor a Musician

Annual Fund

Patron Information

M&T Bank Classics Series March 19 and 20 BPO Pops Series March 25 BPO Pops Series March 26

M&T Bank Classics Series April 1 and 2 M&T Bank Classics Series April 8 and 9

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 Welcome, Spring! And with it, the excitement of our recently announced 2022-23 season! While we still have a score of outstanding programs and guest artists remaining through June, we’ve also been hard at work creating a wealth of new program experiences that we hope will keep you coming back for more. In addition to the performances included in this concert guide, up next this season are more favorites of the repertoire, including Rachmaninoff’s Symphonic Dances and Elgar’s Enigma Variations, plus a bilingual Peter & The Wolf on the BPOKids series, our annual Memorial Day weekend celebration, and an inspiring tribute to the influences of gospel, jazz and blues with Byron Stripling. Looking out on the horizon of 22-23, the lineup is peppered with familiar faces and fantastic firsts. The Empress of Soul, Gladys Knight, sashays into Kleinhans for an unforgettable Pops evening, while superstar violinist Midori makes a stop on her Ruby Anniversary Tour to open the Classics season. JoAnn Falletta has selected masterworks from Berlioz, Beethoven, Brahms, and Bruckner to Rimsky-Korsakov, Stravinsky, Strauss, and Tchaikovsky, with two world premieres for good measure, plus collaborations with Irish Classical Theatre Company on Shakespeare’s The Tempest, and Mozart’s Magic Flute in partnership with SUNY Fredonia’s Hillman Opera Program. John Morris Russell adds perfect harmonies, passionate performances, and pop culture to the 2223 season’s mix including the return of Arrival from Sweden for The Music of ABBA, The Doo Wop Project, Latin Fire, a tribute to the legendary Nat King Cole and his daughter Natalie, and a nod to the celebrated Stephen Sondheim and the music and lyrics of his Broadway productions. Add in BPO Rock tributes to The Moody Blues, Deep Purple, The Beatles, and a visit by the original Jefferson Starship, and without question, your BPO has music for everyone. As Spring blooms in Buffalo and Western New York, my wife Carolyn and I hope you will grow with us as members of the BPO family of season ticket holders. Your support through subscriptions will continue to nurture the orchestra and cultivate new development. The best is yet to come!

Sincerely,

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

BUFFALO PHILHARMONIC ORCHESTRA BOARD OF TRUSTEES AS OF SEPTEMBER 1, 2021 OFFICERS John R. Yurtchuk, Chair Scott Stenclik, Vice Chair — Chair-Elect

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* Amy Habib Rittling Daniel Hart* Jim Hettich Mark Hodges †

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 †

Sonny Sonnenstein Karen Sperrazza Christine Standish David Stark Rev. Jonathan Staples 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

Karen Arrison John Yurtchuk

JOANN FALLETTA MUSIC DIRECTOR

Multiple Grammy Award-winning conductor JoAnn Falletta serves as Music Director of the Buffalo Philharmonic, Music Director Laureate of the Virginia Symphony, Principal Guest Conductor of the Brevard Music Center, and Artistic Adviser of both the Hawaii Symphony and the Cleveland Institute of Music Orchestra. Recently named as one of the 50 great conductors of all time by Gramophone Magazine, she is hailed for her work as a conductor, recording artist, audience builder and champion of American composers. As Music Director of the Buffalo Philharmonic, Falletta became the first woman to lead a major American ensemble. She has guest conducted over a hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America and Africa.

She has won two individual Grammy Awards, including the 2021 Grammy Award for Best Choral Performance as Conductor of the Buffalo Philharmonic in the world premiere Naxos recording, Richard Danielpour’s “The Passion of Yeshua.” 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 Mr. Tambourine Man: Seven Poems of Bob Dylan with the BPO received two Grammys in 2008, and her 2020 Naxos recording with the BPO of orchestral music of Florent Schmitt recently received the Diapason d’Or Award. Upcoming releases for Naxos include the complete William Walton Façade, with narrators Kevin Deas, Hila Plitmann, and Minnesota Public Radio Host Fred Child, and the Virginia Arts Festival Chamber Players and Scriabin’s Poem of Ecstasy with the BPO. Falletta is a member of the esteemed American Academy of Arts and Sciences, has served by presidential appointment as a Member of the National Council on the Arts during the Bush and Obama administrations, and is the recipient of many of the most prestigious conducting awards. She has introduced over 500 works by American composers, including well over 100 world premieres. ASCAP has honored her as “a leading force for music of our time.” In 2019, JoAnn was named Performance Today’s Classical Woman of The Year. Falletta is a strong advocate and mentor for young professional and student musicians. She has led seminars for women conductors for the League of American Orchestras, and established a unique collaboration between the Buffalo Philharmonic and the Mannes College of Music to give up-andcoming conductors professional experience with a leading American orchestra. She has held the positions of Principal Conductor of the Ulster Orchestra, Principal Guest Conductor of the Phoenix Symphony, Music Director of the Long Beach Symphony Orchestra, Associate Conductor of the Milwaukee Symphony Orchestra, and Music Director of the Denver Chamber Orchestra and The Women’s Philharmonic. After earning her bachelor’s degree at Mannes, Falletta received master’s and doctoral degrees from The Juilliard School. When not on the podium, JoAnn enjoys playing classical guitar, writing, cycling, yoga and is an avid reader. For more information, visit www.joannfalletta.com.

JOHN MORRIS RUSSELL PRINCIPAL POPS CONDUCTOR A master of American musical style, John Morris Russell has devoted himself to redefining the American orchestral experience. He is in his fifth season as Principal Pops Conductor of the Buffalo Philharmonic Orchestra. Mr. Russell made his debut with the Buffalo Philharmonic Orchestra in the fall of 2014, and later that season was named the third conductor to hold the position following in the footsteps of Doc Severinsen and Marvin Hamlisch. Mr. Russell’s concerts at the BPO reflect the diversity of American musical styles: from Classics to Jazz, Hollywood to Broadway, Country&Western to Rhythm&Blues. This season, Mr. Russell conducts Motown, Broadway, Holiday concerts, and Star Wars. Maestro Russell is also Conductor of the renowned Cincinnati Pops, one of the world’s most iconic and beloved pops orchestras. With his position at The Pops, Mr. Russell leads sold-out performances at Cincinnati Music Hall, the Taft Theater, and Riverbend Music Center; additionally, he conducts the orchestra in concerts throughout the Greater Cincinnati region as well as domestic and international tours. Creator of the orchestra’s Classical Roots series, he also conducts the Pops family concert series and the annual USO Tribute Cincinnati Gala. The Cincinnati Pops recorded legacy continues under Mr. Russell’s leadership. He led the Cincinnati Pops on their first-ever Florida tour, and in 2017 he led the orchestra’s sixth tour to Asia including performances in Shanghai and Taipei. For the last nine seasons, Mr. Russell has served as Music Director of the Hilton Head Symphony Orchestra in South Carolina, and conductor of the prestigious Hilton Head International Piano Competition. Under his leadership, the HHSO has enjoyed unprecedented artistic growth. Mr. Russell leads the orchestra in masterwork subscription concerts annually. Between 2001-2012 Maestro Russell served as Music Director of the Windsor Symphony Orchestra in Windsor, Ontario, Canada, where he fostered a decade of unprecedented artistic growth. He led the WSO in seventeen national broadcasts on CBC Radio 2, and the orchestra’s first nationally televised production for the CBC series Opening Night, which received the orchestra’s first Gemini Award Nomination. Maestro Russell was named Conductor Laureate of the Windsor Symphony Orchestra in 2012. As a guest conductor, John Morris Russell has worked with many of North America’s most distinguished ensembles. He has served as Associate Conductor of the Cincinnati Symphony, Associate Conductor of the Savannah Symphony Orchestra, Director of the Orchestral Program at Vanderbilt University, and Music Director with the College Light Opera Company in Falmouth, Massachusetts. He received a Master of Music degree in conducting from the University of Southern California, Los Angeles, and a Bachelor of Arts degree in music from Williams College in Massachusetts. He has also studied at the Guildhall School of Music and Drama in London, the Cleveland Institute of Music, the Aspen Music Festival in Colorado, and the Pierre Monteux School for Conductors in Hancock, Maine.

JAMAN E. DUNN

ASSISTANT CONDUCTOR Jaman E. Dunn is currently the Assistant Conductor with the Buffalo Philharmonic Orchestra, Artistic Director of the Buffalo Master Chorale, and the Founder and Music Director of the Polaris Orchestra. 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. Mr. Dunn earned his Master of Music in Orchestral Conducting under the instruction of Maestro Bruce Hangen at The Boston Conservatory at Berklee.

In addition to his orchestral activities, Mr. Dunn has also maintained a vocal career which began during his time in central Ohio. With a strong focus on oratorio and sacred music, Mr. Dunn has been Bass Soloist for performances of the Requiems of Mozart and Verdi, Handel’s Messiah, Gounod’s St Cecilia Mass, Schubert’s Mass in E ; Jesus in Bach’s St. John Passion; and Baritone Soloist in Carmina Burana. He has also been a part of opera productions including Falstaff, Il Barbiere di Siviglia, La Bohème, La Traviata, Cavalleria Rusticana, and Die lustigen Weiber von Windsor. In a professional capacity, it is Mr. Dunn’s continued goal to raise awareness of 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.

JOANN FALLETTA, MUSIC DIRECTOR

Angelo and Carol Fatta Endowed Chair

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

BASS

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

SECOND VIOLIN

Natalie Debikey Scanio

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

VIOLA

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

CELLO

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

FLUTE

Christine Bailey Davis principal Linda Greene Natalie Debikey Scanio

Jay Matthews Daniel Sweeley

TRUMPET

Alex Jokipii principal Geoffrey Hardcastle Philip Christner

TROMBONE

Jonathan Lombardo1 principal Timothy Smith

BASS TROMBONE

Filipe Pereira

TUBA

PICCOLO

(vacant)

OBOE

Matthew Bassett principal Dinesh Joseph assistant principal

ENGLISH HORN

Mark Hodges principal Dinesh Joseph

Henry Ward principal Joshua Lauretig Anna Mattix Anna Mattix

CLARINET

TIMPANI

PERCUSSION

HARP

William Amsel principal Patti DiLutis Salvatore Andolina

Madeline Olson principal

E-FLAT CLARINET

Travis Hendra principal librarian

Patti DiLutis

BASS CLARINET AND SAXOPHONE

Salvatore Andolina

BASSOON

Glenn Einschlag principal Hunter Gordon*

CONTRABASSOON

(vacant)

FRENCH HORN

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

MUSIC LIBRARY STAGE MANAGERS

Charles Gill Assistant Property Person IATSE Local 10

Chair dedicated to the memory of Scott Parkinson

Chair dedicated to the memory of Maer Bunis

One Year Appointment

** Temporary Appointment *** Partial Year Appointment

Saturday, March 19, 2022 at 7:30 PM Sunday, March 20, 2022 at 2:30 PM

Classic Series

TCHAIKOVSKY & THE MERMAID JoAnn Falletta, conductor Augustin Hadelich, violin

KENNETH FUCHS

Point of Tranquility (world premiere)

TCHAIKOVSKY

Concerto in D major for Violin and Orchestra, Op.35 I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo Augustin Hadelich, violin INTERMISSION

ZEMLINSKY

The Mermaid

Learn about this program from the conductor and guest artists at Musically Speaking, one hour prior to the start of Saturday’s and Sunday’s concert. Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.

AUGUSTIN HADELICH, VIOLIN Augustin Hadelich is one of the great violinists of our time. From Bach to Brahms, from Bartók to Adès, he has mastered a wide-ranging and adventurous repertoire. He is often referred to by colleagues as a musician's musician. Named Musical America’s 2018 "Instrumentalist of the Year," he is consistently cited worldwide for his phenomenal technique, soulful approach, and insightful interpretations. Augustin’s 2020/21 season culminated in performances of the Brahms Violin Concerto with the San Francisco Symphony, their first live performances by the full ensemble in 15 months, conducted by Esa-Pekka Salonen. In the summer of 2021 he appeared at the Aspen, Colorado, Grant Park and Verbier festivals, as well as at Bravo! Vail with the New York Philharmonic. Augustin’s 2021/22 season started off with stunning debut with the Berlin Philharmonic (Prokofiev’s Violin Concerto No. 2) with Gustavo Gimeno on the podium. Shortly thereafter, came the European premiere of a new violin concerto written for him by Irish composer Donnacha Dennehy. Other highlights of the 21/22 season include being named Artist-in-Residence with the Frankfurter Museumsorchester and continuing his residency as Associate Artist with the NDR Elbphilharmonie Orchester (Hamburg), as well as debuts with Orchestre National de France, Prague Radio Symphony, and the Warsaw Philharmonic, and return engagements with the Danish National Orchestra, Finnish Radio Orchestra, Houston Symphony, Minnesota Orchestra, Mozarteumorchester (Salzburg), Munich Philharmonic, Seoul Philharmonic, St. Louis Symphony, and WDR Orchestra (Cologne). Augustin Hadelich has collaborated with a host of nationally and internationally-renowned conductors, and appeared with every major orchestra in North America, including the Boston Symphony, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, Orchestre symphonique de Montréal, New York Philharmonic, Philadelphia Orchestra, and the San Francisco Symphony. In Europe he has performed with the Bavarian Radio Orchestra (Munich), Leipzig Gewandhaus Orchestra, London Philharmonic, Royal Concertgebouw Orchestra, Danish National Symphony, Orquesta Nacional de España, Oslo Philharmonic, the radio orchestras of Denmark, Finland, Norway, Cologne, Frankfurt, Saarbrücken, and Stuttgart, and the Academy of St. Martin in the Fields. Engagements in the Far East include the Hong Kong Philharmonic, New Zealand Symphony, NHK Symphony (Tokyo), Seoul Philharmonic, and Singapore Symphony. Augustin Hadelich is the winner of a 2016 Grammy Award – “Best Classical Instrumental Solo” – for his recording of Dutilleux’s Violin Concerto, L’Arbre des songes. A Warner Classics Artist, his most recent release is a Grammy-nominated double CD of the Six Solo Sonatas and Partitas of Johann Sebastian Bach. Born in Italy, the son of German parents, Augustin is now an American citizen. He holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. After winning the Gold Medal at the 2006 International Violin Competition of Indianapolis, concerto and recital appearances on many of the world’s top stages quickly followed. Among his other distinctions are an Avery Fisher Career Grant (2009); a Borletti-Buitoni Trust Fellowship in the UK (2011); the Warner Music Prize (2015); a Grammy Award (2016); as well as an honorary doctorate from the University of Exeter in the UK (2017). He has recently been appointed to the violin faculty at Yale School of Music. Augustin plays the violin "Leduc, ex-Szeryng" by Giuseppe Guarneri del Gesù of 1744, generously loaned by a patron through the Tarisio Trust. www.augustin-hadelich.com

PROGRAM OVERVIEW This is one of our most beautiful programs this year! Zemlinsky's musical portrait of the Little Mermaid creates an undersea landscape that is gorgeous and glittery, filled with characters like the mermaid, the sea witch, and the king of the sea. Augustin Hadelich returns with the virtuosic Tchaikovsky Violin Concerto (once pronounced "unplayable"!) The concert opens with a gift from my dear friend and superb composer Kenneth Fuchs - his evocative tone poem, Point of Tranquility. Thank you, Ken, for the privilege of this world premiere performance!

PROGRAM NOTES Kenneth Fuchs (American; 1956)

Point of Tranquility (2020) Composer Kenneth Fuchs received a doctorate from The Juilliard School and has since enjoyed a flourishing career, having five albums of his music released by Naxos, with a 2018 recording by the London Symphony Orchestra conducted by JoAnn Falletta being awarded a Grammy for Best Classical Compendium. A 2020 release on the label recorded by the U.S. Coast Guard Band showcases his breadth, highlighting works written for wind band. Among the works is his 2020 Point of Tranquility, with the subtitle “Idyll for Wind Band after a Painting by Morris Louis.” Louis’ groundbreaking style is “color field painting,” abstract works with vibrant colors, portrayed in sound by Fuchs’ vibrantly orchestrated composition. Fuchs connects Louis’ atmospheric paintings to the vast tranquility of water, providing inspiration in this work he composed for the Coast Guard.

Pyotr Ilyich Tchaikovsky (Russian; 1840-1893) Concerto in D Major for Violin and Orchestra, Op. 35 (1878) I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo

The body of standard and beloved orchestral repertoire is not fixed, but organic, always filtered through the wants and tastes of a given moment’s audiences and performers. Rare are the works and composers who, celebrated in their own life, receive persistent acknowledgement and an unbroken history of performance. More often, artists celebrated in their own time have works that fade from popularity, while many others are only appreciated with the help of time. It can be surprising to learn that Tchaikovsky, who eventually found fame in his own life, would create works unappreciated by his contemporaries yet coming to stand the test of time. Such is the case for his beloved Violin Concerto, one of the most performed works in the instrument’s repertoire. Although he had achieved some sporadic success, he found himself recovering at a Lake Geneva resort battling depression and writer’s block, distracted by the disintegration of his marriage. He was accompanied by a composition student, the rising star violinist, Josef Kotek. The two very likely had a romantic relationship that Tchaikovsky desperately tried to conceal, despite whispers and rumors. During the retreat, the two collaborated on a new concerto, but Tchaikovsky was at pains not to dedicate the work to Kotek in order to suppress damaging gossip. A wounding rejection came from Tchaikovsky’s second choice, violinist Leopold Auer, who later maintained his distaste for the work, noting its unplayability. Kotek was miffed by Tchaikovsky’s dodge and their relationship fell apart.

A third potential soloist would be found in Adolph Brodsky, who performed the work in 1881 in Vienna. The work was panned for its pretentious length, its inelegant violin writing, and its blatant Russianness. While the poison pen of harsh critics would only figure as an inconsequential footnote for posterity, Tchaikovsky memorized the words of his detractors and was deeply hurt by the perspective of his peers. History slinked forward as the work gained momentum later in the decade, and the concerto would eventually gain an unshakable foothold in the repertoire. Whereas the composer was once slammed for his inflated talent and genius-obsession (paraphrasing one particularly memorable review), he is now celebrated for it. The brief Mozartian introduction uniquely features music that does not appear again. The violin enters with a brief cadenza, and the orchestra joins for a sweetly singing melody. The opening movement, lasting half the entire work, is structured in a standard sonata-allegro form, featuring a wide berth of creative manipulations of the initial theme. The violinist proceeds with virtuosic athleticism through irregular changes of mood and keys, leaving the orchestra behind for a massive cadenza. The return to the original lyrical melody is initially calming, turning into a vibrant foot race to the end. The second half of the Concerto is two movements connected without break. The first part is a somber Andante, the tone set by a chorale of winds. The violinist presents a desperately lonesome aria in G minor, with a change in mood signaled by a shift to Eb, in which the soloist floats with confidence. A return to the opening melody reinforces an internal turmoil Tchaikovsky must have been experiencing. Delicate woodwinds return, joined by low strings for a somber transition. The finale enters with a surprising jolt. The violinist performs another brash cadenza, setting the Russian tone of the movement. Joining the orchestra, spitfire runs dance across the page for a brazen and unfettered finale. A lyrical section offers a twilight respite, but the excitement returns with a series of variations of increasing complexity and bombast.

Alexander Zemlinsky (Austrian; 1871-1942)

The Mermaid (1902) At the turn of the 20th century, a key aesthetic controversy raged around the divisive topic of “absolute” music (symphonies, for instance), and “program” music (narrativedriven works such as tone poems). During his own life, Brahms was certainly known as an absolute symphonist, but supported the development of a young Alexander von Zemlinsky, who himself would see the boundarypushing tone poems of Richard Strauss as just a jumping-off point. Zemlinsky had quite the education, attracting the attention of Brahms and Bruckner, and would develop an impressive studio of his own, notably being Arnold Schoenberg’s only formal teacher. Teaching him counterpoint, the two would form a lasting friendship, with Schoenberg marrying Zemlinsky’s sister. He maintained an impressive international career as a conductor, but his 1899 conversion from Judaism to Protestantism would play no bearing in his need to flee Nazi Germany in 1928 for New York. While Schoenberg’s career flourished in Los Angeles, Zemlinsky fell into obscurity as his health failed him. After his 1942 death, his legacy was preserved by his much younger wife, Louise, and his entire portfolio found a home at the Library of Congress, including the final two movements of his tone poem Die Seejungfrau (The Mermaid). It was not until the 1980s that the three movements of the work were reunited by some sleuthing Ph.D. students. While his marriage with Louise was a happy one, he was badly bruised by an earlier romantic tragedy with a student of his, Alma Schindler. In 1901, the two had a teasing affair, but she left him for Gustav Mahler. Soon after, and quite possibly as a result, he sourced the Hans Christian Andersen folktale “The Little Mermaid” for a new, massive orchestral work. The Mermaid was conceived with Arnold Schoenberg for a concert declaring the validity and power of “program” music,

and the work was paired with Schoenberg’s Pelleas und Melisande in a 1905 concert in Vienna with the composers conducting. Zemlinsky sought to musically depict the narrative set forth by Andersen, which tells the coming-of-age story of a mermaid who falls in love with a shipwrecked prince. Consulting with a sea witch, she trades her tongue for legs, and is only able to communicate through dancing. The prince however chooses a human bride, subjecting the mermaid to a grim fate. The loss of a detailed written program has forced speculation on various “plot-points” as they occur throughout the work, but he makes frequent use of recurring leitmotifs,

or melodic fragments connected with characters and ideas. In the opening, Zemlinsky’s deft orchestration depicts the dark depths of the sea, from which emerges the richly haunting melodies of the mermaid. The movement climaxes with a violent shipwreck, but settles with a romantic scene. The central movement begins with ecstatic chaos, portraying the protagonist gleefully longing for her prince. The finale takes a dark turn as the mermaid is unsuccessful in wooing her beloved, but captures the positive spin presented by Andersen with peacefully resolving harmonies.

Chaz Stuart, 2022

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Friday, March 25, 2022 at 7:30 PM

BPO POP SERIES

LESLIE ODOM, JR. Ron Spigelman, conductor Leslie Odom, Jr.

Program to be announced from the stage

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

RON SPIGELMAN, CONDUCTOR A native of Australia, conductor Ron Spigelman, is an honors graduate of the Royal Academy of Music, London. He was Associate Conductor of the Buffalo Philharmonic Orchestra from 2001-2004, and before that with the Fort Worth Symphony Orchestra. He has been Music Director of the Fort Worth Dallas Ballet, the San Angelo Symphony, the Texas Chamber Orchestra, Springfield Symphony Orchestra (MO) and the Lake Placid Sinfonietta (NY), where he is now Conductor Emeritus. He is currently Pops Conductor of the Tulsa Symphony Orchestra. He has appeared as guest conductor with many orchestras in the U.S. including the Dallas, St. Louis, San Antonio, Phoenix, Virginia, and North Carolina Symphonies as well as the Louisiana, Rochester, and Naples Philharmonic, and in Australia, the Adelaide, Queensland, The West Australian and Sydney Symphony orchestras, the West Australian Opera, and the Australian Youth Orchestra. A champion of new music, he has conducted over 30 world premieres. He was James Conlon’s assistant conductor at the Van Cliburn International Piano Competition four times, and guest artists he has accompanied include Horacio Gutierrez, Sharon Isbin, Rachel Barton Pine, Richard Stoltzman, and Pops artists including Marvin Hamlisch, Peter Paul and Mary, James Taylor, Audra McDonald, Ben Folds, Kenny G, Jason Alexander, Audra McDonald, Asleep at the Wheel, Hanson, and many others. In 2017 for the centennial season of the Lake Placid Sinfonietta he was the producer and conductor of a CD recording which includes the world premiere recording of Sylvan by Michael Torke, which was commissioned for the centennial. Two career highlights were the world premiere performance of Pegasus by Lowell Liebermann with the Dallas Symphony in 2001, and in 2004 his Carnegie Hall debut with the Buffalo Philharmonic. He has conducted live film scores for Pirates of the Caribbean, Fantasia, Raiders of the Lost Ark, The Wizard of Oz, Passion of Joan of Arc, and Ben Hur. He recently added Star Wars, Home Alone, Nightmare Before Christmas, and Harry Potter – Chamber of Secrets. Ron’s principal instrument study was the Trumpet. As a soloist he performed with several British orchestras and at music festivals in the United Kingdom, Belgium, and Italy. Ron lives in Tulsa OK with his wife, Laura, who is a member of the Tulsa Symphony (Viola) and with two of their combined six children.

LESLIE ODOM, JR., VOCALS Leslie Odom, Jr. recently released his third full-length album and first of original material, entitled Mr in November, and also starred alongside Cynthia Erivo in the Harriet Tubman biopic Harriet. Odom Jr. can currently be heard voicing the character of “Owen Tillerman” in Josh Gad’s new animated musical-comedy series Central Park which premiered on Apple TV+ on May 29. He will continue to captivate audiences this year in a filmed performance of the original Broadway production of “Hamilton” set to be released on Disney+ beginning July 3. His other upcoming projects include the film adaptation of the Olivier Award-nominated play Photo by Tony Duran One Night in Miami directed by Regina King, where he portrays and performs the original songs of legendary singer Sam Cooke; the feature film Music written and directed by singer-songwriter Sia; and Needle in A Timestack written and directed by John Ridley. Next Spring, he will star in The Many Saints of Newark, a prequel to David Chase’s Award-winning HBO series The Sopranos. Additional film and television credits include Murder on the Orient Express, Only, Red Tails and Smash. Odom Jr. is best known for his breakout role as ‘Aaron Burr’ in the smash hit Broadway musical Hamilton, for which he won the Tony Award for “Best Actor in a Musical” and a Grammy Award as a principal soloist on the original cast recording. He made his Broadway debut in RENT at the age of 17. He also starred opposite Lin-Manuel Miranda and Karen Olivo in a 2014 City Center Encores! revival of Jonathan Larson’s Tick, Tick…Boom! In December 2017, Odom Jr. returned to the New York City stage in a solo concert at Jazz at Lincoln Center. The cabaret-style performance was crafted around signature songs and music that shaped this artist's journey, all performed with a world-class band in front of a live audience. The show was filmed for broadcast as an hour-long PBS special as part of the 17time Emmy Award-winning series, Live from Lincoln Center, and premiered in April 2018. A Grammy Award-winning recording artist, Odom Jr.’s self-titled debut album was part-funded by a successful Kickstarter campaign and released in 2014 by Borderlight Entertainment, Inc. In June 2016, the album was re-released with additional material and charted at #1 on the Billboard Jazz chart and #147 on the Billboard 200. In winter 2017, he re-released Simply Christmas as a deluxe edition with new arrangements and new songs. The holiday album hit #1 on iTunes and Billboard Jazz Charts. In March 2018, Odom Jr. added the title of author to his resume with the release of his book – Failing Up: How to Take Risks, Aim Higher and Never Stop Learning. Written in the style of a commencement speech, the book brings together what Odom Jr. has learned in life so far, tapping into universal themes of starting something new, following your passions, discovering your own potential, and surrounding yourself with the right people. Failing Up is about unlocking your true potential and making your dreams come true even when it seems impossible. The book was published by Feiwel & Friends, an imprint of Macmillan Publishers.

Saturday, March 26, 2022 at 7:30 PM

BPO POP SERIES

SULTANS OF STRING Ron Spigelman, conductor Chris McKhool, violin Kevin Laliberté, guitar Drew Birston, bass Eddie Paton, guitar Alberto Suarez, percussion Aquarela do Brasil Alhambra Rainflower & Kitchen Party Josie Emerald Swing Road to Kfarmishki Luna INTERMISSION Surfboard A Place to Call Home Al Vuelo Sable Island Will You Marry Me? Palmas Sinfónia Auyuittuq Sunrise

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

SULTANS OF STRING 3x JUNO nominees and SiriusXM winners Sultans of String create, “Energetic and exciting music from a band with talent to burn!” (Maverick Magazine UK). Thrilling their audiences with their genre-hopping passport of Celtic reels, flamenco, Gypsy-jazz, Arabic, Cuban, and South Asian rhythms, Sultans of String celebrate musical fusion and human creativity with warmth and virtuosity. Fiery violin dances with rumba-flamenco guitar, while bass and percussion lay down unstoppable grooves. Acoustic strings meet with electronic wizardry to create layers and depth of sound, while world rhythms excite audiences to their feet with the irresistible need to dance. Since releasing their debut album Luna in 2007, Sultans of String have continually strived to make each chart-topping album more original and meaningful than the last. That includes working with an orchestra (2013's Symphony), teaming with Pakistani sitarist Anwar Khurshid (2015's Subcontinental Drift) and even crafting a world-music holiday album (2017's Christmas Caravan), which landed them on the Billboard and New York Times charts. Their ambition and work ethic have garnered them multiple awards and accolades, including three JUNO nominations, first place in the International Songwriting Competition (out of 15,000 entries), three Canadian Folk Music Awards, and countless other honors, plus a Queen’s Diamond Jubilee medal (for bandleader Chris McKhool). Their 2020 release, Refuge, garnered many awards including two Independent Music Awards for Instrumental Song of the Year and World Music Producer of the Year, two songwriting awards from Folk Music Ontario, as well as the 2021 CFMA for Producer of the Year for Chris McKhool and John Bailey. McKhool has an Egyptian-born mother who happened to play the piano, teach classical theory, and feed her young son as much Middle Eastern cuisine as she did music lessons. From there, the powerful violinist developed a taste for multi-genre string sounds and found a like-minded crew of all-world enthusiasts. When McKhool first heard founding guitarist Kevin Laliberté’s ( Jesse Cook) rumba rhythm, their musical synergy created Sultans of String’s signature sound—the intimate and playful relationship between violin and guitar. From this rich foundation, the dynamic duo grew, featuring such amazing musical friends as in-the-pocket bass master Drew Birston (Chantal Kreviazuk). Their live resume is similarly stellar. Equally at home in a concert hall, folk and jazz club, or festival setting, the Sultans have gigged at JUNOfest, the legendary club Birdland in New York, Celtic Connections Festival (Glasgow) and London’s Trafalgar Square. They have sold out Koerner Hall three times (Toronto’s Carnegie Hall) and performed with the Toronto, Vancouver, and Edmonton Symphony Orchestras. They have played live on CBC’s Canada Live, BBC Radio, BBC TV, Irish National Radio, and the syndicated World Café, Woodsongs, and SiriusXM in Washington. Sultans of String’s musicianship and versatility are also showcased in collaborations with such diverse luminaries as Paddy Moloney & The Chieftains, Sweet Honey in The Rock, Richard Bona (Paul Simon), Alex Cuba, Rubén Blades, Yasmin Levy, Benoit Bourque, Béla Fleck, Crystal Shawanda, and Ken Whiteley.

CHRIS MCKHOOL, VIOLIN A Queen’s Diamond Jubilee medal recipient for his work creating community through music, bandleader Chris McKhool’s “lush, lyrical” violin playing is inventive and rich. McKhool produces, composes, and plays violin with Billboard-charting Sultans of String, who’s CDs hit #1 across Canada in the Top Ten International/World Canadian community radio charts, and earned 3 JUNO Award Nominations for Instrumental and World Album of the Year. With Sultans of String, McKhool also won the SiriusXM World Music Award, Festivals & Events Ontario’s Best Variety Act, two Ontario Independent Music Awards, and three Canadian Folk Music Awards out of eight nominations. McKhool has recorded/performed with several jazz, world, folk, and pop artists including Béla Fleck, Jesse Cook, the Chieftains, Pavlo, Amanda Martinez, Richard Bona, Ruben Blades, Yasmin Levy, and Nikki Yanofsky. As producer he received a nomination for Producer of the Year for the 2018 Canadian Folk Music Awards, and won Producer of the Year for the 2020 Independent Music Awards and 2021 Canadian Folk Music Awards. He won the inaugural PIVOT AWARD from the Canadian Independent Music Association this year for creating the Sultans Zoom Room livestream series.

KEVIN LALIBERTÉ, GUITAR Kevin Laliberté is a guitarist, songwriter, and producer living in Toronto. Kevin’s original compositions from his hit CDs One, Sundance, Siesta, and Elation have been featured on TV shows on Showcase, The Outdoor Life Network, and TVOntario, and in the 2017 Hollywood movie Unforgettable. They can also be heard worldwide on radio, satellite, and streaming music services, and represent a meeting of many aspects of Kevin’s experience as a guitarist, melding flamenco rhythms, a jazz improvisational approach, and a pop melodic sensibility with the odd excursion into ambient meditative music. In addition to performing his own works, Kevin has toured around the globe with international artists Jesse Cook, the Chieftains, Sultans of String, Amanda Martinez, and performed on The Tonight Show with Charlotte Church, and in Beijing with Chinese superstar recording artist, Dadawa. In addition to his work with Sultans of String, Kevin has lately been producing and mixing recordings for several independent artists including Amanda Martinez, Indarra, The Gardening Club, and others, and teaching a handful of inspiring and diverse guitar students over the internet.

DREW BIRSTON, BASS Drew Birston is a one-of-a-kind player, with a rare gift for groove, swing, lines, and melody. He has been active on the Jazz and Pop scenes recording, performing, and touring with a wide variety of artists for three decades on well over a hundred sessions in folk, jazz, and pop genres. Some highlights have included performances at Madison Square Garden with Sony/BMG artist Chantal Kreviazuk, South Africa shows for the World Cup with Amanda Martinez, Celtic Connections Festival in Scotland with Sultans of String, and performances with Justin Hines for the Winter Olympics opening ceremonies in Vancouver. Tours have also included the US, Canada, Japan, China, Taiwan, Indonesia, and Europe. Recording credits include albums with JUNO-nominated artists Tomi Swick, The Worst Pop Band Ever, Kevin Laliberté, Sarah Slean, David Leask, and Jesse Cook. His first solo album, Orca Songs, delivers catchy pop tunes alongside soulful ballads with influences ranging from Nick Drake to Björk. The album allowed him to explore a deep love of pop music and spread his wings as a vocalist and multi-instrumentalist, featuring everything from a glockenspiel to bassoon, and work is currently under way on a sophomore album.

EDDIE PATON, GUITAR Versatile guitarist, singer, composer, Eddie Paton is an awardwinning musician who thrives on his eclectic career. A classicallytrained guitarist, Eddie studied on full scholarship at the University of Western Ontario. He is a co-founder of the critically-acclaimed music project ReDuX:RMx. Eddie has toured North America, the British Isles, and the Middle East with Sultans of String, Robert Michaels, Johannes Linstead, and Kevin Laliberté, and appears on a number of major and independent CD releases. Recently, internationally-renowned, and award-winning recording artist, Pavlo, offered Eddie a position in his band, and is part of Pavlo's group as they tour the United States and Canada in 2022. Eddie is a Latin category winner in the John Lennon Songwriting Contest, and a finalist in the International Songwriting Competition, the Great American Songwriting Contest, and the Billboard Songwriting Contest. Eddie, along with his ReDuX:RMx partner, Bret Menezes, cowrote the score to the Sea World Australia show Pirates Unleashed. His debut album, SOLIS, features the artistry of his distinctive and diversified guitar playing across twelve tracks of lush nylon, steel, and electric guitar soundscapes, infused with elements of electronica.

ALBERTO SUAREZ, PERCUSSION Alberto Suarez was born in Matanzas, Cuba - a city famous for its rich musical history and Rumba rhythms. Alberto began to play percussion at age 10, and completed formal years of training at both the Matanzas Provincial Music School and The National Conservatory of Music in Cuba’s capital, Havana. Alberto worked at several hotels and nightclubs in Varadero, Cuba, before gaining a prestigious position in the acclaimed International Orchestra, directed by Carlos Tarafa. Since his arrival in Canada in 2003, Alberto has been an active percussionist and educator, has taken part in international percussion festivals in Toronto and Longueuil, Quebec, and has brought a new perspective to Toronto’s Latin music community. Besides being Canefire’s resident percussionist, he has also performed with The Canadian Tenors, Jesse Cook, Amanda Martinez, Nick Ali, Ruben Vasquez, Janet Bunnett, Hilario Duran, Alexis Baro, Luis Mario Ochoa, Chris McKhool and Sultans of String, and Julie Leahy. He has also performed on various occasions with world-renowned pioneers of the Steel Pan in the Jazz world, Andy Narell and Robert Greenidge, as well as performed and recorded with Calypso legend David Rudder, and many more.

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Friday, April 1, 2022 at 10:30 AM Saturday, April 2, 2022 at 7:30 PM

Classic Series

SCHUMANN’S CELLO Elizabeth Schulze, conductor Oliver Herbert, cello CARLOS SIMON SCHUMANN

The Block Concerto in A minor for Cello, Op. 129 I. Nicht zu schnell II. Langsam III. Sehr lebhaft Oliver Herbert. cello INTERMISSION

FRANCK

Symphony in D minor I. Lento - Allegro non troppo II. Allegretto III. Allegro non troppo

Coffee Concert presented by Learn about this program from the conductor and guest artists at Musically Speaking, one hour prior to the start of Saturday’s concert. Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.

ELIZABETH SCHULZE, GUEST CONDUCTOR Praised by critics as "an ideal music director whose infectious energy is as contagious as her exuberant and thoroughly committed musicianship," Elizabeth Schulze is currently the Music Director and Conductor of the Maryland Symphony Orchestra. She is also the Artistic Director of the Flagstaff Symphony and the Principal Guest Conductor of the Hudson Valley Philharmonic. Ms. Schulze has held the positions of Associate Conductor of the National Symphony Orchestra in Washington, D.C., Music Director and Conductor of the Waterloo/Cedar Falls Symphony Orchestra in Iowa, and, sponsored by the National Endowment for the Arts, Assistant Conductor of the Buffalo Philharmonic. Ms. Schulze also served as Music Director and Conductor of the Kenosha Symphony Orchestra in Wisconsin for seven seasons. She has also been a conducting assistant and cover conductor for the New York Philharmonic. Ms. Schulze has performed as guest conductor with numerous American orchestras and opera companies, including the Milwaukee, Colorado, North Carolina, New Haven, Madison, Eugene, Annapolis, Greenville, Omaha, Oregon, Stamford, Eastern Connecticut, Anchorage and National Symphonies, the American Composer’s Orchestra, Buffalo and Tulsa Philharmonics, Chicago Sinfonietta, Baltimore Chamber Orchestra, San Francisco Women's Philharmonic, Chicago Civic Orchestra, the Tulsa Opera Company and the Colorado Opera Troupe. In 1996 she made her European debut leading the Mainz Chamber Orchestra for the opening concert of the Atlantisches Festival in Kaiserslautern, Germany. She appeared in Paris, London, Frankfurt, Amsterdam, and Vienna with the National Symphony during its 1997 European Tour. She has performed as guest conductor at the Aspen Music Festival where she served as Assistant Conductor. Ms. Schulze has also been a guest assistant conductor at the Paris Opera (Bastille) and at the Boston Symphony Orchestra. Recent guest appearances include debuts with the Baltimore, Detroit, San Francisco, and New Jersey Symphonies as well as two appearances with the Jerusalem Symphony in concerts in Tel Aviv and Jerusalem. This season, she returns to the Detroit Symphony. A strong advocate of music education, Ms. Schulze has led the American Composer's Orchestra in several educational and family concerts in Carnegie Hall and throughout the five boroughs of New York City. While in Iowa, her innovative approach to educational programming led to interactive broadcasts of educational concerts to classrooms throughout the state over the fiber-optic network. She has performed as an artist-in-residence at Northwestern University, and has been a frequent guest conductor of the orchestras of The University of Maryland, the Manhattan School of Music, and recently, The Catholic University of America. This season Schulze returns for a tenth year to conduct the All County High School Orchestra of Washington County. She has taught at the National Conducting Institute sponsored by the National Symphony and the Kennedy Center for six years, and she has also once again been engaged to teach and conduct at the NSO/Kennedy Center’s Summer Music Institute for gifted youth, a position she has held for eleven summers. Ms. Schulze was the recipient of the first Aspen Music School Conducting Award in 1991. An honors graduate of Interlochen Arts Academy and Bryn Mawr College, where she earned an A.B. cum laude in Philosophy, she holds graduate degrees in Orchestral and Choral Conducting from SUNY at Stony Brook. The first doctoral fellow in Orchestral Conducting at Northwestern University, working with Victor Yampolsky, she has been a Conducting Fellow at Les Écoles d'Art Americaines in France as well as at prestigious music festivals in America. At Aspen, she worked with Murry Sidlin, Lawrence Foster and Sergiu Commissiona. As a Tanglewood Fellow, she worked with Seiji Ozawa, Gustav Meier and Leonard Bernstein.

OLIVER HERBERT, CELLO Cellist Oliver Herbert is quickly building a reputation as an artist with a distinct voice and individual style, admired by audiences for his communicative and connective performances. The recipient of a 2021 Avery Fisher Career Grant, Oliver has been praised by San Francisco Classical Voice for his “expansive tone, virtuosity, and musical instincts.” Recent appearances include debuts with world renowned ensembles including the San Francisco Symphony, Chicago Symphony Orchestra, Warsaw Philharmonic, and Edmonton Symphony Orchestra. Oliver is equally at home playing well-known works as well as exploring uncharted musical territories. The 2021-22 season marks the beginning of several ambitious projects, including performances of the complete Bach Cello Suites at Capital Region Classical and the complete Beethoven Cello Sonatas at Guarneri Hall in Chicago. Oliver will also be premiering a commissioned work by Chelsea Komschlies for multitrack cello and electronics, as well as exploring the music of Venezuelan composer and cellist Paul Desenne. Concerto highlights for the 2021-22 season include performances with the Buffalo Philharmonic, Kitchener-Waterloo Symphony, New World Symphony, and Rhode Island Philharmonic—performing works by Barber, Ibert, Saint-Saens, Schumann, and Tchaikovsky. In June of 2020, Oliver released his debut album with pianist Xiaohui Yang, Frame of Mind: Fauré and Janáček, featuring the two cello and piano sonatas of Gabriel Fauré as well as Leoš Janáček’s Pohádka (Fairy Tale). Oliver's additional recording highlights include a release of Haydn's D Major Cello Concerto with Michael Tilson Thomas and the San Francisco Symphony. Interested in the intersection of visual art and music, Oliver also enjoys working on mixed media and video projects. Recent collaborations in this area include projects with filmmakers Lone Cricket, Mike Grittani, and Mimi Pfahler. As a chamber musician, Oliver has participated in leading music festivals including Caramoor, ChamberFest Cleveland, Krzyżowa Music, La Jolla Summerfest, Marlboro Music, Music in the Vineyards, Nevada Chamber Music Festival, Ravinia, and Verbier. In the 2021-22 season, Oliver joins violinist Alexi Kenney and pianist Eric Lu for a program of Haydn, Schumann, and Schubert at the Philadelphia Chamber Music Society. Born in San Francisco, Oliver is a graduate of the Curtis Institute of Music and the Colburn School where he studied with Carter Brey, Clive Greensmith, and Peter Wiley. Additional mentors include Pamela Frank and Dr. Ford Lallerstedt at the Curtis Institute. His competition awards include top prizes in the Lutoslawski International Cello Competition, Klein Competition, and Stulberg Competition. Oliver currently plays on a Guadagnini cello that belonged to the great Italian cellist Antonio Janigro, on generous loan from the Janigro family.

PROGRAM OVERVIEW Welcome back to Buffalo, Maestro Schulze! We are delighted to have Elizabeth return to our stage. As our former associate conductor, Elizabeth conducted hundreds of concerts and made thousands of friends and fans. She returns to conduct the beautiful Franck Symphony (with a gorgeous English Horn solo), and an exciting new work by Carlos Simon. We also welcome cellist Oliver Herbert in his Buffalo debut, performing Schumann's passionate cello concerto.

PROGRAM NOTES Carlos Simon (American; b. 1986) The Block (2019) The brilliant imagination of Atlanta-native Carlos Simon comes to life in his energetic scores. His extensive education culminated in a doctorate from University of Michigan, and he has received many prestigious recognitions, most recently a 2021 Sphinx Medal of Excellence. He also serves as the Kennedy Center’s Composer-in-Residence. His diverse repertoire boasts works for ensembles of all kinds, music for film, and a chamber opera. The composer’s keen sense for orchestration and musical communication collide with his love for African-American art forms in The Block, a bustling study on urban art, specifically the work of artist Romare Beasen. Southern-born and Harlem-based, the late artist created collage-like depictions of the African-American experience, both in the south and in busy urban environments. The Block’s rhythmic drive propels vibrantlycolored melodies that are stitched together, much like Beasen’s active and imaginative multi-media images.

Robert Schumann (German; 1810-1856) Cello Concerto in A minor for Cello, Op. 129 (1850) I. Nicht zu schnell II. Langsam III. Sehr lebhaft

Robert Schumann could have had a career in law, but his passion for the keyboard led him instead to a life as a performer. That dream fell apart after he succumbed to a hand injury, just one of many roadblocks he would need to overcome. A prolonged legal battle with the father of his bride-to-be, Clara Wieck, eventually led to the union of the two pianist/composers, but his lifelong battle with a psychological disorder would prove fatal, when he died in an asylum at 46. Amidst these turmoils of his life, he established himself as a composer. He composed four symphonies and half a dozen concertos, but the most remarkable contribution he made to early 19th century Romanticism could be found in his huge portfolio of piano music, chamber music, and songs. With his gift of melody and appreciation for the richness of the cello, he was keenly aware of the dearth of cello concerto repertoire, and sought to fix this. In 1850, he was appointed a music directorship in Düsseldorf. In a flurry of creativity, he composed his Cello Concerto in just two weeks following his arrival. Despite his skills as a composer and pianist, he ultimately failed in his duties as a conductor, facing criticisms from the musicians regarding his ineptitude on the podium. Schumann gained few friends from his brief and painful appointment, and the scarcity of cello soloists—after all, there wasn’t much of a repertoire—pushed the work to the backburner. The work would finally be heard in 1860, four years following the composer’s death. Schumann’s Concerto is often listed along-

side Dvořák and Elgar’s Concertos as the three Romantic masterworks for the instrument, but Schumann’s contribution took decades to gain recognition. A vanguard of the literature, it may not contain as much virtuosity as later works. Demanding in its own right, the work offers an inward-looking lyricism that demonstrates the instrument’s plaintive sound. The opening A minor movement begins with an icy introduction of woodwinds, punctuated by strings. The soloist enters soon after with a cold, wintry melody, heard over undulating strings. The full orchestra interjects with a rousing variation, but the calming cello returns. The opening movement is developed informally as a fantasia, with the soloist playing varying melodic fragments with an air of improvisation.

performances on new organs, and enjoyed well-attended recitals. He composed a great number of sacred works for the organ and contributed greatly to the instrument’s repertoire, but he especially excelled at improvisation, all skills he would teach at the Paris Conservatoire beginning in 1872. As he formed a cadre of supportive pupils, it was their youthful zeal that encouraged him to commit many of his long-held musical ideas to paper. Although much of this work was poorly received, it has come to be the most representative and often performed works of his life, including the Piano Quintet in F minor, a sonata he composed for violinist Eugène Ysaÿe (which was quite successful), and several orchestral works, including his only symphony.

The extensive opening movement is followed by a brief middle movement, set in a delicate, yet playful F major. The melody features musical references to his wife, coupled with some unusual duets with the principal cellist. It has been posited that the references infer an intimate conversation with Clara. The music becomes densely textured and passionate toward its conclusion, then leaves the soloist alone to transition to the finale.

In order to teach at the Paris Conservatoire, he gained French citizenship in 1871. The same year, he helped form the Société nationale de musique, an organization that promoted French music. However, it was no secret that his style was deeply influenced by the modern German school of thought, led by Wagner. His dense and richly chromatic style was on full display when his Symphony in D minor premiered at a concert hosted by the rigorously conservative Société. While the work had many detractors, this peculiar three-movement symphony was celebrated by progressive audience members.

Initially set in a brooding A minor, the martial movement churns with verve. The orchestra provides accents to the soloist, who fixates on a rhythmic cell that varies unceasingly. The movement transitions to a lighter A major, and the soloist takes the lead with an impressive cadenza. The orchestra joins, but the soloist has an unstoppable momentum that leads to a victorious conclusion.

César Franck (Belgian; 1822-1890) Symphony in D minor (1889) I. Lento; Allegro ma non troppo II. Allegretto III. Finale: Allegro non troppo Belgian by birth, César Franck built a career in Paris, gaining notoriety among the city’s great organists. He would give inaugural

The work is “cyclic,” meaning that thematic material recurs throughout the Symphony’s movements. Wagner was no symphonist, but his groundbreaking work in the use of themes in opera influenced Franck’s cyclic approach, one that was only just beginning to take hold in symphonic writing. The low stings open the gloomy, atmospheric Lento. The orchestra builds into the Allegro, which swells with thunderous accents. These two sections repeat, and then the orchestra becomes lush and romantic. The introductory theme is now valiant as it goes through numerous transformations. Throughout, Franck’s thumbprint reveals itself in orchestrations that could be coming from an organ—deep basses, trilling woodwinds, massive brass chords—and harmonic adventurism that could be thought of on the spot by an adroit improviser. The wan-

dering developmental movement concludes with ringing brass and tremolo strings.

dense counterpoint, bringing the movement’s timid tension to a conclusive exhale.

The Allegretto unites harp and plucked strings, combined with a haunting English horn solo. The melody here is a chromatically tinted version of the first theme heard in the Symphony’s opening, now heard in a slowly wandering waltz. Upon repeat, the instrumentation is cleverly toyed with, as different combinations add intrigue. A contrasting trio is nocturnal and sneaky, but a clarinet introduces a new, uncertain melody. The original melody returns, but with many of the movement’s fragments combined for a tense accompaniment. Strings and winds play in

The finale opens with an ecstatic exclamation. Cellos and bassoons team up to present a blithe configuration of the Symphony’s theme, now flowing as though carried by a river. One can imagine the composer gleefully reworking phrases at his organ, skillfully creating playful combinations and configurations. A tumultuous middle section is succeeded with triumphant brass. Another tranquil portion of the movement leads to a thunderous climax and a momentous conclusion.

Chaz Stuart, 2022

Friday, April 8, 2022 at 10:30 AM Saturday, April 9, 2022 at 7:30 PM

Classic Series

MAJESTIC MENDELSSOHN William Eddins, conductor Drew Petersen, piano JONATHAN BAILEY HOLLAND MENDELSSOHN

Motor City Remix Concerto No. 1 in G minor for Piano and Orchestra, Op, 25 I. Molto allegro con fuoco II. Andante III. Presto - Molto allegro e vivace Drew Petersen, piano INTERMISSION

MENDELSSOHN

Symphony No. 3 in A minor, Op. 56, "Scottish" I. Andante con moto - Allegro agitato II. Scherzo assai vivace III. Adagio cantabile IV. Allegro guerriero - Finale maestoso

WILLIAM EDDINS, GUEST CONDUCTOR William Eddins is the Music Director Emeritus of the Edmonton Symphony Orchestra and a frequent guest conductor of major orchestras throughout the world. Engagements have included the New York Philharmonic, St. Louis Symphony, Philadelphia Orchestra, the symphony orchestras of San Francisco, Boston Minnesota, Cincinnati, Atlanta, Detroit, Dallas, Baltimore, Indianapolis, Milwaukee, Houston, as well as the Los Angeles and Buffalo Philharmonics. Internationally, Eddins was Principal Guest Conductor of the RTÉ National Symphony Orchestra (Ireland). He has also has conducted the Berlin Staatskapelle, Berlin Radio Orchestra, Welsh National Opera, Royal Scottish National Orchestra, Bergen Philharmonic, Adelaide Symphony Orchestra, Barcelona Symphony Orchestra, and the Lisbon Metropolitan Orchestra. Career highlights include taking the Edmonton Symphony Orchestras to Carnegie Hall in May of 2012, conducting RAI Orchestra Sinfonica Nazionale on Italian television, and leading the Natal Philharmonic on tour in South Africa with soprano Rene Fleming. Equally at home with opera, he conducted a full production of Porgy and Bess with Opera de Lyon both in France and the Edinburgh Festival and a revival of the production during the summer of 2010. Mr. Eddins is an accomplished pianist and chamber musician. He regularly conducts from the piano in works by Mozart, Beethoven, Gershwin and Ravel. He has released a compact disc recording on his own label that includes Beethoven’s Hammer-Klavier Sonata and William Albright’s The Nightmare Fantasy Rag. Mr. Eddins has performed at the Ravinia Festival with both the Chicago Symphony Orchestra and the Ravinia Festival Orchestra. He has also conducted the orchestras of the Aspen Music Festival, the Hollywood Bowl, Chautauqua Festival, the Boston University Tanglewood Institute and the Civic Orchestra of Chicago. A native of Buffalo, NY, Mr. Eddins attended the Eastman School of Music, studying with David Effron and graduating at age eighteen. He also studied conducting with Daniel Lewis at the University of Southern California and was a founding member of the New World Symphony in Miami, FL.

DREW PETERSEN, PIANO Acclaimed young American pianist Drew Petersen is a soughtafter soloist, recitalist, and chamber musician in the United States, Europe and Asia. He’s been praised for his commanding and poetic performances of repertoire ranging from Bach to Zaimont, and is the recipient of the 2018 Avery Fisher Career Grant, 2017 American Pianists Award, and the Christel DeHaan Fellow of the American Pianists Association, as well as a residency at the University of Indianapolis. Since then he has made debuts with the Houston, Phoenix, Tucson, Pacific and Milwaukee Symphony Orchestras, and has appeared in solo recitals at the Gilmore International Keyboard Festival, University of Indianapolis, and Dame Myra Hess Concerts in Chicago. Most recent performances include concerts at Lincoln Center’s Mostly Mozart Festival and Brevard Music Center’s Summer Festival, orchestral performances with the Indianapolis Symphony and a recital at Chicago’s Ravinia Festival. 2018 also marked the release of his first solo recording of American music on the Steinway label for which BBC Music Magazine acknowledged his presence as a rising star. The 2019-2020 season includes appearances with orchestras in Sarasota, Fort Smith, Buffalo, Waco and Columbus, as well as recitals in Madison, Duluth, Savannah and his Kennedy Center debut. A frequent radio contributor, Petersen has performed on McGraw-Hill Young Artists Showcase, From the Top, and Performance Today. Profiles include The New York Times, New York Magazine, and the documentary just normal by award-winning director Kim A. Snyder. A champion of chamber music, Petersen has appeared on French radio’s France Musique while a member of a Verbier Festival piano trio. Drew Petersen’s firm belief in the importance of music in contemporary society led to collaborations with Young Audiences NY that presents performances in New York City’s public schools. His appearance in Andrew Solomon’s New York Times bestselling book, Far From the Tree, sparked a nation-wide conversation on raising extraordinary and different children who test the willpower and capabilities of their families and society. Petersen continually advocates for the necessity of classical music and other arts in society, and was named a 2006 Davidson Fellow for his portfolio entitled Keeping Classical Music Alive.

PROGRAM OVERVIEW Born in Buffalo, Maestro William Eddins has had a very successful career on podiums throughout the world, but he is always happy to return to his hometown! We welcome Bill for a program featuring one of his favorite composers, the extraordinary Felix Mendelssohn, showcasing his brilliant Scottish Symphony and his romantic piano concerto. Young superstar Drew Petersen is our soloist, and the program begins with an exciting work by one of our country's most important voices, Jonathan Bailey Holland. A warm welcome to Bill and Drew!

PROGRAM NOTES Jonathan Bailey Holland (American; b. 1974)

Motor City ReMix (2003/2014) Flint, Michigan, native Jonathan Bailey Holland discovered his passion for composition at the Interlochen Arts Academy. His talents took him to the Curtis Institute of Music, and later to Harvard, where he earned a Ph.D. He currently serves at the Boston Conservatory at Berklee as the Chair of Composition, Contemporary Music, and Core Studies. His music is widely performed and is celebrated for its range. Often academically rigorous, it can also be excitingly entertaining, as with the 2003 Motor City Dance Mix, which was written for the Detroit Symphony Orchestra. The energizing concert-opener is a collage, hinting at the genres that made Detroit a pop-music capital. In 2014 he returned to the work, updating it as Motor City ReMix, first performed by the Chicago Sinfonietta.

Felix Mendelssohn (German; 1809-1847) Concerto No. 1 in G minor for Piano and Orchestra, Op. 25 (1831)

I. Molto allegro con fuoco II. Andante III. Presto—Molto allegro e vivace

It is an unfortunate reality that Felix Mendelssohn lived a short life, dying of poor health at 38. This is often attributed to overwork, but appears to have been common in his family, with his sister Fanny dying some six months earlier. Despite his few years, he maintained an incredibly active schedule from quite a young age, leaving no small fortune of celebrated works. His father was a banker, affording the promising young musician every educational opportunity available. He began piano study at six, and was soon excelling in composition studies with Berlin’s brightest minds, who instilled in him a love of the classics with a unique focus on Bach (who at the time was not widely performed). Some of his bestknown works were composed in his teens. His prominent career as a pianist, composer, conductor, and teacher prompted wide travels, most notably to Britain, which he visited ten times. Always with a full social calendar, he stopped in Munich on his way to some engagements in Italy, as well as on the way back. A flirtatious twenty-something pianist and composer named Delphine von Schauroth caught his eye, and for a moment, he considered marriage with her. The brief relationship was fruitful only in that it produced Mendelssohn’s First Piano Concerto, which he composed while in Rome and dedicated to her. Mendelssohn’s classically-minded education resulted in a posthumous reputation for being more conservative than his forward-thinking contemporaries. While his

adroit counterpunctual writing was thought old-fashioned, he was taken by modern advances with the keyboard and took full advantage of the instrument’s burgeoning range, utilizing the bright high register with a dexterous attack. A brief introduction of ascending chromatics launches the piano in a flight of octaves. The piano writing is immediately demanding, first with little commentary from the orchestra, but then the two forces combining as the piano plumbs the depths of the instrument to brutal effect. The mood shifts, and for a moment, a tranquil piano recalls a Mozartian simplicity. The movement’s gusto returns in dazzling spectacle. Mendelssohn held a lifelong fascination, even compulsion, to connect his movements seamlessly. His detailed attention to transitions is exemplified when the fiery Allegro concludes with a brass fanfare, then a steady calming by the piano, which leads to the E major Andante. First, a remaining fanfare with the piano alone announces the movement, but a simple, serene chorale follows. The piano provides heartfelt drama with embellishment to the melody. The brass return for a hammering introduction to the raucous finale. The music brightens and the keyboard dances with breathless exuberance. As the finale approaches its conclusion, Mendelssohn neatly ties the work together with melodies from the opening movement. A brilliant spectacle of delight, it was immediately popular when Mendelssohn gave its 1831 premiere in Munich, and he would continue performing it throughout his life.

Symphony No. 3 in A minor, Op. 56, “Scottish” (1829-42) I. Andante con moto – Allegro agitato II. Scherzo assai vivace III. Adagio cantabile IV. Allegro guerriero -- Finale maestoso

Among Mendelssohn’s most important professional relationships was with pianist and composer Ignaz Moscheles, who taught—or confessed he barely taught—Mendelssohn beginning in 1824. The two were lifelong friends, and Moscheles, who was living in London, helped Mendelssohn establish his British reputation. Mendelssohn’s first of ten visits was in 1829, during which time he had a deeply impactful trip to Scotland. The storied journey took him far afield, visiting Edinburgh, the Highlands, several islands, Glasgow, Loch Lomond, and a number of other detours which inspired two beloved works: his Overture The Hebrides and the Third Symphony, affectionately nicknamed the “Scottish”. He began working out the ideas of a Scottish Symphony immediately, sending to his family scraps of melodies and detailed descriptions of his Edinburgh visit. However, the project remained incomplete for more than a decade, eventually finished and premiered in 1842. Visiting the ivy-covered Holyrood Chapel ruins in the dimming Scottish twilight, Mendelssohn thought of Mary Queen of Scots. The romantic vision of her life culled out of his imagination the ancient chorale melody that opens his Third Symphony. His detailed written descriptions of the city and surrounding landscapes are translated in a second section, imagining the ecstatic composer floating over the undulating geography with a soaring, concentrated Allegro. The seriousness of the opening movement is contrasted by the light Vivace. One can imagine the gleeful German traversing the verdant Highlands as staccato strings are charged with anticipation, undergirding a bouncing clarinet line. The crisp rhythms are idiomatically Scottish and were certainly inspired by the merrymaking music he heard in his travels. The gleeful movement concludes with hushed pizzicato, preparing the intimate Adagio. The drifting third movement has often been referred to as a lament for Mary Queen of Scots. His preoccupation with the historic figure may have influenced the movement, and it is said that the text of the prayer Ave Maria matches the melody, perhaps referring to Mary Stuart,

or appropriately, the Virgin Mary. The plaintive melody and its flowing accompaniment features at its most emotional climax a regal fanfare akin to those heard in a 16th century court like Mary Stuart’s. Her Catholic cause continued for nearly two more centuries through violent uprisings, portrayed in the warlike finale. The underlying incessant rhythms of brass set the violent mood for martial melodies. More skipping musical lines trip over one another in roaring exchanges. Lest the Allegro serve as a

history lesson on the grim fate of the Jacobite Uprising or some other military conflict related to Mary Queen of Scots, the musical battle fades into the mist of time and Mendelssohn punctuates his Symphony with a peculiar coda. His mind wanders back to the stirring fantasies he had that evening in Edinburgh. The Symphony’s opening melodies return, reconfigured as a triumphant exclamation.

Chaz Stuart, 2022

SPONSOR A MUSICIAN Nikki Chooi, concertmaster

Janz Castelo, viola

Jay Matthews, French horn

Ansgarius Aylward, assistant concertmaster

Feng Hew, associate principal cello

Sheryl Hadeka, French horn

Sponsored by Dennis P. Quinn

Salvatore Andolina, clarinet/saxophone

Jennifer Dowdell, in memory of Charles and Nancy Dowdell

Daniel Kerdelewicz, associate principal, French horn

Sponsored by Gretchen Wylegala and Steven McCabe * deceased

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

ANNUAL FUND

The Buffalo Philharmonic Orchestra gratefully acknowledges contributions received from the following individuals and foundations who gave $500 and above through January 31, 2022. While the thousands upon thousands of donors whose gifts ranged from $1 to $499 are too numerous to list here, we gratefully acknowledge those additional individuals, groups, companies and foundations who give to us so generously.

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

$50,000-$149,999 Anonymous Mr. Brent Baird Brian and Barbara Baird Mark Chason & Mariana Botero Chason Louis P. Ciminelli Family Foundation The Robert and Patricia Colby Foundation Cullen Foundation Carlos and Elizabeth Heath Foundation W. & J. Larson Family Foundation Mulroy Family Foundation The Walter Schmid Family Foundation Charitable Trust Christine Standish & Chris Wilk

$25,000-$49,999 Clement & Karen Arrison Mr. Bruce C. Baird & Mrs. Susan O'Connor-Baird The Montgomery Family Foundation Steve and Nicole Swift Mr. Gerald K. Thomas Ralph C. Wilson, Jr. Legacy Funds at CFGB Roy and Ruth Seibel Family Foundation

Maestro’s Circle $10,000-$24,999

Cindy Abbott Letro and Francis Letro Paul and Vanda Albera Sue Fay Allen & Carl Klingenschmitt The Baird Foundation Mr. Charles Balbach The Better Buffalo Fund at the CFGB Anthony & Barbara Cassetta Arthur W. & Elaine I. Cryer Bob & Doris Drago Ms. JoAnn Falletta & Mr. Robert Alemany Judith Fisher Robert J. & Martha B. Fierle Foundation Patricia & William Frederick George and Bodil Gellman Mrs. Amy Habib-Rittling and Mr. Mark Rittling Mr. and Mrs. George G. Herbert Hooper Family Foundation Mr. Philip H. Hubbell Clement and Margot Ip Bruce and Gail Johnstone Roberta & Michael Joseph Mrs. Ellen T. Koessler Bradford Lewis Lori Pacer, in memory of William J. Pacer Donald MacDavid Charitable Trust Mr.* and Mrs. Reginald B. Newman II Mr.* and Mrs. George F. Phillips, Jr. Adam Rome and Robin Schulze Joseph & Carole Sedita Sonny & Diane Sonnenstein David M. Stark & Cynthia Baird Stark Scott R. and Rachel C. Stenclik Gary and Katharina Szakmary The Vincent and Harriet Palisano Foundation Jack Walsh, in memory of Connie Walsh Robert and Judith Wetter The Ralph C. Wilson, Jr. Foundation @CFGB

Concertmaster’s Circle $5,000-$9,999

Anonymous (4) Oliver G. & Sarah Sloan Bauman Fund for the Arts James and Linda Beardi James M. Beardsley & Ellen M. Gibson Barbara Bunker Mr. Joseph F. Casey

Frank and Wilma Cipolla Conable Family Foundation Michael D'Ambrosio Wendy Diina Donald F. & Barbara L. Newman Family Foundation Jennifer Dowdell, in memory of Charles and Nancy Dowdell Sally and Don Dussing Peter & Maria Eliopoulos Stephen Edge and Cynthia Swain Edward N Giannino, Jr E Joseph and Lynne Giroux Sarah Goodyear Ms. Constance A. Greco Dr. Elisabeth Zausmer and Dr. Angel A. Gutierrez Daniel and Barbara Hart David and Eva Herer David and Lucinda Hohn Dr. and Mrs. Curtis F. Holmes John J. and Maureen O. Hurley Robert and Hana Jacobi Linda Johnson Edwin M. Johnston, Jr. Ken & Paula Koessler Mr. and Mrs.* Philip Kadet - The Linton Foundation Mr. Warren Lippa Mr. Ron Luczak Lorinda McAndrew Voelkle Foundation Charles & Judith Manzella Stephen McCabe and Gretchen Wylegala Dennis and Sandra McCarthy Mr. and Mrs. James D. Newman Patricia Notarius/ Premier Group Marie and Jay Novello, in memory of Don and Eileen Brutvan Douglas & Laurette* Oak Pappalardo Family Foundation Mark and Stacy Parkinson Michelle & Gerald Parrish Mr. and Mrs. Edwin Polokoff Mr. and Mrs. Joseph Priselac, Jr. Mr. Dennis P. Quinn David & Joan Rogers Ronald Frank* & Anne Schneider Dr. Gilbert Schulenberg Lowell and Ellen Shaw Stephen and Monica Spaulding Robert and Nancy Warner Memorial Fund at the FJP Martha and John Welte

Encore Circle $2,500-$4,999 Anonymous (3)

Dr. George N. Abraham Joan and Peter Andrews Family Foundation Douglas Bean and Elisa Kreiner Ann N. Bonte The Reverend* and Mrs. Peter Bridgford Gary & Willow Brost Mr. & Mrs. John Burkholder Joanne Castellani & Michael Andriaccio William & Ida Christie Fund for Music Ms. Elizabeth G. Clark Ms. Anne E. Conable Richard and Cornelia Dopkins Alan Dozoretz Mr. and Mrs. Douglas Easton Marion Fay Ms. Mary A. Ferguson Mrs. Marta Fernandez Thomas and Grace Flanagan Ilene and Peter Fleischmann Beth Fleming AnneMarie Farmer and David Gaydosh Dr. Samuel Goodloe, Jr. Mr. and Mrs. Robert M. Greene Dave & Katie Hayes Michele O. Heffernan and John J. Cordes Dr. Barbara W. Henderson Philip & Marion Henderson Martha & Tom Hyde Mr. James & Mrs. Diana Iglewski Mr. & Mrs. Jeremy Jacobs Jr. Joseph & Anna Gartner Foundation Joy Family Foundation Mr. William P. Keefer Joseph M. Kelly In memory of W. R. Keppel from S. A. K. Dwight King & Leslie Duggleby Susan B. Lee Steve & Sandy Levinthal Sr. Beatrice Manzella William and Jane Mathias Mr.* and Mrs. Sheldon E. Merritt Denise Meyers-Rezabek Frances L. Morrison Michael and Lorrie Munschauer Dr. Thomas Nochajski OSC Charitable Foundation Mary Jane and Walter Pawlowski Frederick S. & Phyllis W. Pierce Family Fund Mrs. Susan A. Potter Ms. Georgeann W. Redman Mr. and Mrs. Bruce Renner Mr. Thomas Rolle and Ms. Deborah Henning Dr. Richard J. Saab/Maureen Wilson Saab Ken Schmieder and Nancy Julian* Miss Louise E. Seereiter Dr. Maxine Seller Simple Gifts Fund Dr. Joyce E. Siriann Ronald Struzik

Dr. Joseph R. Takats, III Jeffrey J. Thompson Drs. Mark and Maansi Travers Nicholas & Nicole Tzetzo Barry & Donna Winnick John and Deanna Zak

Bravo Circle $1,000-$2,499

Anonymous (9) Morton & Natalie Abramson Dr. and Mrs. Fred and Bonnie Albrecht JoAnne Alderfer Burtram W. & Ellen Anderson Liz & John Angelbeck Ann Holland Cohn Endowment Fund at the FJP Rita Argen Auerbach Reverend James M. Augustyn Mr. and Mrs. Teo Balbach Mr. Steve Earnhart and Mrs. Jennifer Barbee Drs. Kevin and Elizabeth Barlog Thomas R Beecher, Jr. Dr. David B. Bender Mr. Thomas Boeck Tim and Mary Lou* Butler Dr. and Mrs. John L. Butsch William Catto & Katharine Pierce Cheryl Christie Ms. Rosemary Christoff Dolan in memory of Gerald Christoff, composer and pianist Dr. Sebastian & Marilyn Ciancio Dr. and Mrs. Michael E. Cohen Jennifer Read and Craig Colder John and Patricia Connolly Dr. and Mrs. Harold G. Corwin, Jr. Patti Cosgrove Legacy II Fund at the Community Foundation for Greater Buffalo Mr. and Mrs. David Croen Jean McGarry and James F. Cunning Peter S. and Elizabeth H. Curtis Jane M D'Agostino Ian Danic Beverly Davies Clotilde & Trey Dedecker Mr. and Mrs. Joseph S. DePaolo James & Mary Frances Derby Mr. and Mrs. Thomas Detwiler Tony* & Kathy Diina Duane & Nancy DiPirro Mrs. Carol Donley Richard and Cornelia Dopkins Miriam & Peter Dow Ellen & Victor* Doyno Patricia K Duffner Edward G Eberl Mr. and Mrs. Kim A. Ferullo Joyce E. Fink Mr. and Mrs. Michael Flaherty Jr. Robert and Ruth Fleming The Honorable and Mrs. Leslie G. Foschio

Ms. Margaret A. Frainier Rose H. and Leonard H. Frank Community Endowment Fund Eileen & Laurence Franz Mr. and Mrs. David Fried Ms. Carol A. Golder Marc J. Goldstein Dr. Susan Graham and Dr. Jon C. Kucera George and Cecelia Grasser Adrienne Tworek-Gryta and Matt Gryta Thomas J. Hanifin BPO Fund II at the Community Foundation for Greater Buffalo Mr. and Mrs. Van N. Harwood, Jr. Ms. Sharon M. Heim and Mr. David Wahl Carla J. Hengerer Deborah Henning and Thomas Rolle Amy & Eduardo Heumann Nancy Higgins Richard and Lynn Hirsch Monte Hoffman, Niscah Koessler Mr. Paul A. Hojnacki Duncan C. Hollinger John and Janice Horn Mr. Bernhard Huber, Jr. Mrs. Pamela R. Jacobs Kevin and Kelly James Karen Jarvis Thomas and Deborah Jasinski Luella H. Johnson Craig and Deborah Johnston Mr. Alex Jokipii and Ms. Shari L. McDonough Mr. and Mrs. Benoy Joseph Mr. Charles J. Kaars Dr. and Mrs. Kenneth R. Kahn Dr. Kathleen Keenan-Takagi Milton Kicklighter Mr. and Mrs. Douglas G. Kirkpatrick Robert and Barbara Klocke Rosalind & Michael Kochmanski Carol & John* Kociela Mr. and Mrs. Jean Pierre A. Koenig Bob & Liz Kolken Dr. Daniel Kosman and Dr. Gabriela Popescu Mr.* and Mrs. Robert J. Kresse Risé & Kevin* Kulick Drs. Jeffery Lackner and Ann Marie Carosella Mr. Donald Latt Dr. John Leddy and Dr. Carmen Alvarez Drs. David B. and Madeline A. Lillie Ms. Donna J. Ludwig Judy Marine Randy & Diana Martinusek Mr. George L. Mayers Mr. and Mrs. John R. McClester Elsie P. & Lucius B. McCowan Private Charitable Foundation Ms. Michaelene J. McFarlane Ms. Barbara Mellerski-Farkas Dr. and Mrs. Franklin H. Meyer David & Gail Miller

Ms. Pennie C. Hoage Mitchell Family Philanthropic Fund at the Community Foundation for Greater Buffalo Mr. and Mrs. Carl J. Montante, Sr. Anne Moot Ms. Sharon F. Mortin Robert Moskowitz and Mary McGorray Sandra Mundier Philip Nicolai and Mary Louise Hill Dr. Michael F. Noe Mr. Phillip L. Nones Mr. and Mrs. Randall M. Odza Mr. Gerald Pacillo Eleanor & Tony Paterson Lois & Tom Pause Dr. & Mrs. Philip Penepent Mr. & Mrs. Richard C. Penfold Erin Peradotto David Schopp and Mark Peszko Ms. Christye Peterson and Mr. Peter J. Grogan Gregory Photiadis and Sandy Chelnov Mr. and Mrs. Robert W. Plyler Karen L. Podd Keith & Beth Podgorny Mr. Paul J. Polokoff Dr. Igor and Dr. Martina Puzanov Ted and Mary Ann Pyrak Peter & Nancy Rabinowitz Ms. Stephanie Robb Mary Anne Rokitka Ms. Elaine Rubenstein Mr. Philip Rumore Mrs. Frances C. Rumsey William and Elizabeth Savino Ruth and Darwin Schmitt Fund at the CFGB Susan and Jeffrey Schwartz Mr. Michael B. Sexton and Dr. Sandra Sexton Mr. and Mrs. Lawrence D. Seymour Caren and Stuart C. Shapiro Mr. and Mrs. Robert Shappee Larry & Barbara Sherman Mr. and Mrs. John W. Sherman Charles E. and Penelope R. Shuman Philanthropic Fund Mr. and Mrs. Daniel Sperrazza Mr. Gerould R. Stange Ruth and Ted Steegmann Alma Owen Strachan Jan Svec Mr. and Mrs. Thomas W. Symons Mr. Ronald G. and Mrs. Margaret N. Talboys Susan & John Thomas Mr. Jeffrey J. Thompson Mr. and Mrs. John C. Thompson Dr. Albert H. Titus and Dr. Ann M. Bisantz Hon. and Mrs. Paul A. Tokasz Garin Tomaszewski Lyle & Phil Toohey Dr. & Mrs. Raymond C. Vaughan Janet D. Vine Dr. and Mrs. P.K. Wallace

Nellie B. Warner Endowment Fund William & Valerie Warren William Weiss Dr. & Mrs. Richard A. Wiesen Wayne* & Janet Wisbaum Paul M. Wos Arden and Julie Wrisley The Yadzinski Family Charles and Maura Yates Gregory and Donna Yungbluth Cynthia Zane & Stephen Mazurak Mr. Paul Zarembka Dr. Gregory Castiglia & Dr. Valerie Zingapan Drs. Bill Ziter & Cathy Gogan C. Richard and Joyce T. Zobel

Crescendo $500-$999

Anonymous (2) Ms. Gail Adema Eileen M. & Erik S. Anderson Susan Baird Bradford Banks Mary L. and Ronald E* 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 Ms. Linda M. Betzer Peg Beyer Mr. and Mrs. Terrence Bisson Alan and Barbara Blackburn Bruce and Jill Brown Ms. Bette J. Brunish R. R. Bujnicki Mr. & Mrs. David Bullions Mr. & Mrs. Dean & Patricia Burgstahler Mr. and Ms. Randall Burkard Drs. Evan & Virginia Calkins* Dr. Mireya B. Camurati Joseph and Susan Cardamone Jerry* & Barbara Castiglia Miss Victoria A. Christopher Emmy Lou Churchill Mr. Michael Charles Cimasi Ginger and Gordon* Comstock Bob and Susan Conklin Diana M. Conroy Mrs. Donanne S. Coovert Andrea and Don Copley Paulette Crooke & Michael Toner Croucher - Fletcher Charitable Fund Ms. Ellen J. Daly Walter & Rosemary Dannhauser Mr. and Mrs. David Day Dr.* and Mrs. David C. Dean Jonathan Dewald Gary Diamond & Julie Klotzbach Lusyd W. Doolittle Robert G Dunford Drs. Philip Dvoretsky & Linda Ludwig Mr. Edward Eardley Amy P. Early M.D.

Mr. and Mrs. Arthur Efron Marla Eglowstein Dr. Richard S. Elman and Dr. Nora Meaney-Elman Mr. and Mrs. James S. Fanning Dr. W. Ferguson Mr. & Mrs. Paul Ferington Denise Ferkey and Jeffrey Swaluk Mrs. Judith Ferrentino Mr. and Mrs. Karl D. Fiebelkorn Michael R. Fiels Family in honor of William J. Coughlin Edward* and Cynthia Fisher John & Imelda Fitzpatrick Dr. Peter Fletcher Rita A. Forman Howard and Laurie Foster Maryann Saccomando Freedman Patricia B. Frey, Ed.D. Rick Friend John Fudyma and Sarah Fallon Mrs. Joanne Gaffin Sue Gardner William H. Gardner Jeffrey & Norma Gentner Mr. and Mrs. Kenneth T. Glaser Mr. and Mrs. Peter H. Grace Mr. and Mrs. Jerry Greenlee Mr. and Mrs. William Greenman Ms. Jane Griffin Kenneth W. Gross Mr. and Mrs. William H. Gurney Martha Haseley Edward and Karen Healy Dr. and Mrs. Reid R. Heffner, Jr. Mrs. Patricia Helfrich Mr. and Mrs. Fred R. Hemmer Ann W Herman Dr. Theodore Herman and Ms. Judith Ann Cohen Richard and Laura Hill Dr. & Mrs. Ralph W. Hinds, III Mr. Raymond and Mrs. Virginia Hohl Arleen Hollas Mr. & Mrs. Paul Homer Michael Huber Scott and Alyssa Hunt Hunt Charitable Foundation/Peter & Mary Jo Hunt Yasushi Innami Dr. Thomas A. Jambro William & Genevieve James Mr. and Mrs. Carl E. Jennings Claire E. Johnson Larry E. Jones and Nancy J. Rosenbloom Drs. Richard and Barbara Jurasek Faye Elizabeth Justicia Linde Nathan Kahn David & Karen Howard Ms. Jennifer Kartychak Theresa Kazmierczak Jane and John Kearns Verna Kieffer Juliet E. Kline Mr. and Mrs. Paul C. Koppmann Mr. Charles Korn & Dr. Deborah Raiken George Kotlewski

James and Leslie Kramer Ms. Rosemary Kuca and Mr. Kevin J. Hagerty Joan Kuhn David & Marilyn Kurzawa Dr. and Mrs. Kevin W. Lanighan Mr. and Dr. John M. Laping Ruth and Dick Lasure Paul E Lehman Msgr. Fred Leising Fern & Joel Levin Dorothy M. Lien Christopher Lightcap Catherine & Matt Lincoln Howard and Lorna Lippes Joel & Andree Lippes Dr. Thomas & Donna Lombardo Karen Magee Ms. Linda Marsh Robert & Elsie Martino Randy & Diana Martinusek Ms. Elaine Mackensen May Dr. & Mrs. Philip McCarthy Mr. Scott W. McCone Louise McGrath McLain Foundation Michael and Lucille Melton Alicia Meyers Dr. and Mrs. Donald E. Miller Mrs. Sharon P. Miller Mr. John E. Milner Dr. & Mrs. Herman S. Mogavero Jr. Robert and Nancy Morey Mark Lauretig & Susan Morgenstern Sandra G. Morrison JFF and JFFLabs Mr. and Mrs. Franklin Nice Susan D. Nusbaum Bernard & Linda O'Donnell Benjamin and Lila Obletz Endowment Fund Jeremy and Sally Oczek

Laurence & Sylvia Paul Mr. Rick Paulson Jo Anne Brocklehurst Robert S. Petersen Rodney P. Pierce James and Nancy Poole Henry & Patty Porter Dr. Kevin & Merle Pranikoff John & Betty Preble Joseph and Pamela Priest Ms. Carol Dean Privitera Charles and Joanne Privitera Linda and Patrick Rankin Mr. Alex J. Ratkowski Mrs. Kathrin Reid Al and Cindy Ripley Randolph & Cathy Ritz Mr. and Mrs. Casimiro D. Rodriguez Mr. and Mrs. Edward L. Schaefer Ms. Elizabeth S. Rundle Revs. Melody and Rodney Rutherford Scott & Ardeen Schaefer Barbara & Daniel Schifeling Mr. and Mrs. Roger L. Schintzius John & Connor Cardot-Schloop Paul J. Schulz Alvin Schuster & Gladys Gifford Eleanor Scott Mary Anne Seifert Henry & Tricia Semmelhack Dr. Mary Ellen Shaughnessy Ms. Nancy Shepard Mr. Joseph A. Shifflett Peter Siedlecki & Lynnette Mende Mr. and Mrs. Roger T. Sieracki Mr. Jeremy Smith Lynne G. Smith Mr. and Mrs. Kenneth Sodaro James and Karen Stephenson Mr. Edwin F. Stohrer, Jr. Joan R. Strachan Ms. Mary J. Syrek

Mr. & Mrs. Dennis Szymkowiak Mr. and Mrs. Richard J. Thompson Dr. & Mrs. Thomas B. Tomasi Mr. Guido A. Tomassi Sheila Trossman Dr. and Mrs. Stephen J. Turkovich Frederick Turner John H. Twist, D.D.S. Ilona Tylwalk Chris and Kathy Tzetzo Charitable Fund Susan & Ron Uba Mr. and Mrs. Thomas H. Van Nortwick Dr.* and Mrs. Rocco C. Venuto Ms. Suzanne J. Voltz Mr. William Vosteen Ms. Suzanne Sheard-Walsh Karen Wehn Norman and Carole Weingarten Ms. Marlene A. Werner Bud and Sandy Whistler Mr. and Mrs. K. Wiedenhaupt Mr. Martin Wolpin Quinn & Jewell Wright Ms. Kelly Ann Wright Mr. Bryan Zielenieski

TRIBUTE REGISTRY

You can celebrate a significant occasion, remember a loved one, or recognize someone special with an honor or memorial gift to the Buffalo Philharmonic Orchestra. These gifts were received between January 1, 2022 and January 31, 2022.

In Honor of

Frank and Melanie Chamberlain & Edwin and Marilou Munschauer Michael and Lorrie Munschauer

In Memory of Hon. & Mrs. John P. Callanan Margaret C. Callanan Esther Duetsch Mr. Jozef Bajus Nancy Eberhard Elizabeth Gunnell Helen Evans Elizabeth Horvath

James and Carmen Haskell Ms. Diana Haskell Monte Hoffman Joyce Steckman

Mary Flickinger Mr. and Mrs. Robert Ewing Mr. and Mrs. Matt St. John Mr. and Mrs. David Polsinelli

Harry Taub Mary Lou Tarquini de la Plante

James Howell Patricia Howell

Pat Kimball Ms. Melissa Bender David A. Crane Megan S. Graves Carolyn and Kevin Hahn Mary C. Plaine Jesselyn Zailac

Mildred C. Jerris Ms. Janice Juliano

James McCartin Joanne McCartin

Luigi Tomassi Guy Tomassi

Bob Thornton Utah State Chapter of P.E.O. Sisterhood

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

GOVERNMENT

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

The New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature

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PLANNED GIVING

Musical Heritage Society

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

Trusts

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

*deceased 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 Daniel Hart

President & Executive Director

Diana Martinusek

Finance

Sales and Patron Services

Kevin James

Adam Cady

Vice President, Finance & Administration

Associate Director of Patron Services

Nicole M. Bodemer

Executive Assistant

Jennifer Colwell

Associate Director of Finance

Development

Jacqueline Henry

Jennifer Barbee

Finance/Accounts Payable Associate

Associate Executive Director & Vice President, Development

Susan Hill

Associate Director of Development

Andrea Bickford

Mindy Takacs Eli Campbell

Special Events Coordinator

Patron Services Supervisor

Payroll and HR/ Benefits Administrator

Finance Assistant

Marketing

Patron Services Representatives Anne Boucher Bethany Erhardt Edward Lonergan Amy Sturmer

Patrick O’Herron

Kleinhans Music Hall Staff

Jordan Walker

AndréeRenée Simpson

Reneé Radzavich

Luke Borkowski

Kelcie Hanaka

Katie Bates Johnson Annual Fund Manager

Guy Tomassi

Major and Planned Gifts Officer Development Assistant

Kleinhans Capital Campaign Coordinator

Vice President, Marketing & Communications Marketing Manager

Digital Marketing Manager

Cary Michael Trout

Graphic Designer/Consultant

Education and Mikaela Huber Community Engagement Marketing Assistant Robin Parkinson,

Vice President, Education & Community Engagement

Rachael Pudlewski Education Manager

Operations

Brian Seibel

Event Manager

Building Services Coordinator

Michael Cassidy Chief Engineer

Dennis Nawojski

Concessions Manager

Alister Bouvart

Parking & Set Up Supervisor

Alison Bolton

Vice President, Artistic & Orchestra Operations

Connor Schloop

Operations Manager

Sarah Lewandowski

Orchestra Personnel Manager

Corinna Scozzaro

Audience Services Manager

Ryder Shelley

Operations Assistant

egal Assistant

6) 932-7447

as@ingoldlawny.com www.IngoldLawNY.com Protect your family. Preserve your legacy. 5555 Main Street, Williamsville, NY 14221 Planning Trusts Elder Law Probate Protect your Estate family. Preserve your legacy.

P: (716) 932-7447

www.IngoldLawNY.com 5555 Main Street

Williamsville

“Embrace seasons past... begin life anew!”

410 Mill St., Williamsville 716.632.3000 www.park-creek.com

PATRON INFORMATION WHAT TO KNOW AT THE BPO • Kleinhans Music Hall will open 90 minutes before a concert’s scheduled start, or earlier depending on pre-concert activities. • Special assistance in the areas of parking, seating, and hearing will be accommodated to the best of our ability. Please contact the Box Office ahead of your visit. -Options are available for patrons using mobility aids or requesting a wheelchair accessible location and accompanying companion seating. -Hearing Assistance Devices are available at the coat check. -Please note: there is no elevator to the balcony level. • It is strictly forbidden to record, photograph, or film during a performance in the Main Auditorium. Photography is permitted in the hall before and after concerts. • Late arrivals will be seated at the first suitable break or at intermission. Late seating may not be in the purchased section. • Security staff is available at all times, and an EMT is on site for all concerts and performances. Please notify an usher or staff member if there is a medical or security need. • Kleinhans Music Hall maintains a smoke-free environment. • All programs and artists are subject to change without notice. • Sorry, no refunds or exchanges on single ticket purchases.

Shuttle Service and BPO Preferred Restaurants

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

FREE Park and Ride Shuttle (SELECT Saturdays)

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

• D’Youville College Lot D, 430 West Avenue between Connecticut & Porter Ave, 14213 (SELECT Saturday performances only) • BPO Clement House Lot, 786 Delaware Avenue corner of Summer Street, 14209 (SELECT Saturday performances only) Shuttle service is only available for SELECT dates. Please join our email club at bpo.org or call the Box Office for updated information. SALVATORE’S SYMPHONY SHUTTLE Saturday Nights $15 per person, leaving promptly at 6:30pm from the rear of the lot near the water tower, 6461 Transit Rd. and Genesee St. in Depew. Call the reservation hotline at (716) 885-5000 and select “shuttle” option to reserve your place, or reserve online at bpo.org MARCATO by Oliver’s at Kleinhans Music Hall A new concept for fine dining on Kleinhans Lower Level. For more information or to make reservations, call (716) 877-9662. SALVATORE’S ITALIAN GARDENS 6461 Transit Rd. and Genesee St. in Depew. Call (716) 683-7990 for dinner reservations. Dinner and shuttle sold separately.

SPOTLIGHT ON SPONSOR

BPO 2021-2022 Season: Program Book 6

Articles inside

Tchaikovsky & The Mermaid

Patron Information

BPO Board of Trustees/BPO Foundation Board Directors