TABLE OF CONTENTS | SEPTEMBER 21 – OCTOBER 19 BPO Board of Trustees/BPO Foundation Board Directors
BPO Musician Roster
Favorites & Friends: A Celebration of 20 Years
Canadian Superstar James Ehnes
The Paul Simon Songbook
Danny Elfman’s Violin Concerto
Meet a Musician
Spotlight on Sponsors
M&T Bank Classics Series September 21 BPO Pops Series September 27 and 28 M&T Bank Classics Series October 5 and 6 BPO Pops Series October 12
M&T Bank Classics Series October 18 and 19
CONTACT Buffalo Philharmonic Orchestra 786 Delaware Ave. Buffalo, NY 14209 bpo.org Kleinhans Music Hall 3 Symphony Circle, Buffalo, NY 14201 kleinhansbuffalo.org
BPO Administrative Offices Box Office Box Office Fax Line Kleinhans Music Hall
(716) 885-0331 (716) 885-5000 (716) 885-5064 (716) 883-3560
MESSAGE FROM THE BOARD CHAIR As our orchestra launches another outstanding season, I look forward to stepping into the role as Chair of the Board of Trustees for this prestigious organization. As a long-time patron of the BPO with my wife Carolyn, and now as a board member, I’ve witnessed the incredible outpouring of pride that Buffalo has for the orchestra, and feel particularly privileged that my term includes the 20th anniversary celebration of JoAnn Falletta as our Music Director. There are big shoes to fill as Steve Swift steps down from this position. He has helmed the board admirably as an ardent supporter and advocate for the many programs we strive to bring to our diverse community of patrons. I will be joined in my efforts to continue his legacy by fellow officers Scott Stenclik as Vice Chair – Chair Elect, Peter Eliopoulos as Secretary, Ange Fatta as Treasurer, and a truly wonderful and dedicated group of Trustees. On behalf of the entire board, musicians, staff, and volunteers, we welcome you to the 2019-20 season, the BPO’s 85th since its founding in 1935. We are pleased you are joining us for a season filled with spectacular collaborations, a broad spectrum of diverse programming and guest artists. These range from film composer Danny Elfman’s mysterious new Violin Concerto to Mendelssohn’s scoring of Shakespeare’s iconic A Midsummer Night’s Dream in partnership with Irish Classical Theatre Company, to the close harmonies of The Doo Wop Project, and the oneand-only rock sound of Jefferson Starship. The BPO offers extraordinary experiences for every taste in the exquisite setting of Kleinhans Music Hall. We hope that during the course of the year you will have the opportunity to meet many of the great musicians of the BPO family including new concertmaster Nikki Chooi, as well as our fabulous Pops Conductor John Morris Russell and newly appointed Assistant Conductor, Community Engagement, Jaman E. Dunn. May you continue to enjoy discovering new favorites as this wonderful season unfolds. Sincerely,
John R. Yurtchuk Chair, Board of Trustees Buffalo Philharmonic Orchestra Society, Inc.
BUFFALO PHILHARMONIC ORCHESTRA BOARD OF TRUSTEES OFFICERS John R. Yurtchuk, Chair Scott Stenclik, Vice Chair — Chair-Elect
Angelo Fatta, Treasurer Peter Eliopoulos, Secretary
BOARD OF TRUSTEES Cindy Abbott Letro Douglas Bean Jonathan Borden † Janz Castelo † Anne Conable JoAnn Falletta* Otis N. Glover Amy Habib Rittling Daniel Hart* Jim Hettich Mark Hodges † Monte Hoffman †
James Iglewski William Keefer Ronald Luczak William Maggio Anna Mattix † Alex Montante Douglas Moreland Allan C. Ripley* Casimiro D. Rodriguez, Sr. Rev. Melody I. Rutherford Diana Sachs† Kelly Schultz
Robin G. Schulze, Ph.D Joseph Sedita Loren Silvertrust* Karen Sperrazza Christine Standish 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 & Secretary
Karen Arrison John Collins Michael Munschauer
Bob Skerker Michael Wurst
JOANN FALLETTA MUSIC DIRECTOR Angelo and Carol Fatta Endowed Chair Grammy-winning conductor JoAnn Falletta serves as Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center, and Artistic Adviser of the Hawaii Symphony Orchestra. Ms. Falletta has guest conducted over one hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America, and Africa. In 2019-20 she will guest conduct orchestras in Ireland, Sweden, Germany, Mexico, Brazil, and across the US. Upon her appointment as Music Director of the Buffalo Philharmonic, Falletta became the first woman to lead a major American ensemble. Celebrating her 20th anniversary with the Buffalo Philharmonic last season, she has been credited with bringing the Philharmonic to an unprecedented level of national and international prominence. In 2018, the BPO made their first international tour in three decades, to perform at Warsaw’s prestigious Beethoven Easter Festival, where Falletta made history as the first American woman conductor to lead an orchestra at the Festival. With a discography of over 115 titles, JoAnn is a leading recording artist for Naxos. In 2019, JoAnn won her first individual Grammy Award as conductor of the London Symphony for Spiritualist by Kenneth Fuchs. Her Naxos recording with the BPO of John Corigliano’s Mr. Tambourine Man: Seven Poems of Bob Dylan received two Grammys in 2008. Falletta is a member of the American Academy of Arts and Sciences, has served by presidential appointment as a Member of the National Council on the Arts during the Bush and Obama administrations, and is the recipient of many of the most prestigious conducting awards. She has introduced over 500 works by American composers, including well over 100 world premieres. In March 2019, JoAnn was named Performance Today’s 2019 Classical Woman of The Year. She received her undergraduate degree from the Mannes School of Music, and her master’s and doctorate degrees from The Juilliard School. When not on the podium, JoAnn enjoys 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. For the past four years he has been Principal Pops Conductor of the Buffalo Philharmonic Orchestra, following in the footsteps of Marvin Hamlisch and Doc Severinsen. He is in his ninth year as conductor of the Cincinnati Pops Orchestra, and is also Music Director of the Hilton Head Symphony Orchestra in South Carolina. Mr. Russell’s recent collaborations around the world include Aretha Franklin, Emanuel Ax, Amy Grant and Vince Gill, Garrick Ohlsson, Rhiannon Giddens, Brian Stokes Mitchell, Jon Kimura Parker, Ann Hampton Callaway, Michael McDonald, Cho-Liang Lin, Sutton Foster, George Takei, Megan Hilty, Ranky-Tanky, Steve Martin, Edie Brickell and the Steep Canyon Rangers, Over the Rhine, Brian Wilson, and Leslie Odom, Jr. As a guest conductor, Mr. Russell has worked with the Los Angeles Philharmonic, Cleveland Orchestra, New York Philharmonic, the Boston Pops, New York Pops, and the National Symphony of Washington, D.C., to name just a few. John Morris Russell is widely considered one of North America’s leaders in orchestral educational programming. From 1997 to 2009 he helped develop and conducted the LinkUP! educational concert series at Carnegie Hall, the oldest and most celebrated series of its kind, created by Walter Damrosch in 1891 and made famous by Leonard Bernstein. John Morris Russell earned degrees from the University of Southern California, Los Angeles and Williams College in Massachusetts, and has 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, COMMUNITY ENGAGEMENT
Jaman E. Dunn is an African American orchestral conductor of classical and film music. He currently holds the positions of Assistant Conductor, Community Engagement with the Buffalo Philharmonic, and Interim Music Director of the Buffalo Master Chorale. A native of Chicago, IL, he attended The Ohio State University for his undergraduate studies, earning a Bachelor of Music in Vocal Performance under the study of Dr. C. Andrew Blosser. During his time at Ohio State, Mr. Dunn founded and conducted the Buckeye Philharmonic Orchestra, which is the university’s only completely student run orchestra. Mr. Dunn also earned his Master of Music in Orchestral Conducting, under the instruction of Maestro Bruce Hangen at The Boston Conservatory at Berklee. While at the Boston Conservatory, he led the Conductor’s Orchestra, assisted the Boston Conservatory Orchestra, and conducted the Boston Conservatory Orchestra in Copland’s Billy the Kid. Other conducting activities included forming an ad-hoc orchestra and performing three concerts, premiering pieces on student composer recitals, and conducting the Berklee Boston Conservatory Recording Orchestra. Vocally, Mr. Dunn has performed throughout the Midwest and Northeast in both oratorio and operatic repertoire, including works of Handel, Mendelssohn, Mozart, Verdi, and Orff, among others. In a professional capacity, he hopes to raise awareness for African-American performers in classical music at all levels and in all mediums.
HISTORY OF THE BUFFALO PHILHARMONIC ORCHESTRA As Buffalo’s cultural ambassador, the Grammy Award-winning Buffalo Philharmonic Orchestra under Music Director JoAnn Falletta presents more than 120 Classics, Pops, Rock, Family and Youth concerts each year. After the rise and fall of several forerunners, the BPO was founded in 1935, performing most often at the Elmwood Music Hall, which was located at Elmwood Ave. and Virginia St., and demolished in 1938 as its permanent home, Kleinhans Music Hall, was constructed. During the Great Depression, the orchestra was initially supported by funds from the Works Progress Administration and the Emergency Relief Bureau. Over the decades, the orchestra has matured in stature under outstanding conductors including William Steinberg, Josef Krips, Lukas Foss, Michael Tilson Thomas, Maximiano Valdes, Semyon Bychkov and Julius Rudel. The orchestra has welcomed many distinguished guest performers, such as Isaac Stern, Aaron Copland, Van Cliburn, Igor Stravinsky, Renee Fleming and Yo-Yo Ma. During the tenure of JoAnn Falletta, who has served as music director since 1998, the BPO has rekindled its history of radio broadcasts and recordings, including the release of 47 new CDs. The BPO’s Naxos recording of composer John Corigliano’s “Mr. Tambourine Man: Seven Poems of Bob Dylan,” won two Grammys. Their 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: Bob Skerker, chair; Karen Arrison; Cindy Abbott Letro; Jeremy Oczek, secretary and treasurer; Stephanie Simon, Tania Werbizky, Wayne Wisbaum, chair emeritus for life; Mary Ann Kresse, director emeritus; Chris Brown, director emeritus; Milton Kicklighter, director emeritus; Byron Brown, Mayor of the City of Buffalo; David Rivera, Niagara District Councilmember, City of Buffalo; and Stephen Stepniak, of the City of Buffalo Department of Public Works.
JOANN FALLETTA, MUSIC DIRECTOR
Angelo and Carol Fatta Endowed Chair
JOHN MORRIS RUSSELL, PRINCIPAL POPS CONDUCTOR JAMAN E. DUNN, ASSISTANT CONDUCTOR, COMMUNITY ENGAGEMENT FIRST VIOLIN
FIRST VIOLIN Nikki Chooi concertmaster Amy Glidden assoc. concertmaster Louis P. Ciminelli Family Foundation Chair Ansgarius Aylward asst. concertmaster Clement Luu* 2nd asst. concertmaster Douglas Cone Deborah Greitzer Diana Sachs Alan Ross Melanie Haas Andrea Blanchard-Cone Loren Silvertrust Hee Sagong
Antoine Lefebvre principal Jacqueline Galluzzo assoc. principal Richard Kay Robert Prokes Frances Morgante Amy Licata Dmitry Gerikh Shieh-Jian Tsai Xiaofan Liu Iain Crampton*
Caroline Gilbert principal Anna Shemetyeva assoc. principal Matthew Phillips Kate Holzemer Valerie Heywood Natalie Piskorsky Janz Castelo
Roman Mekinulov principal Jane D. Baird Endowed Chair Feng Hew assoc. principal Nancy Anderson Monte Hoffman1 (L) Robert Hausmann David Schmude Amelie Fradette
Daniel Pendley principal Garman Family Foundation Endowed Chair Brett Shurtliffe assoc. principal Michael Nigrin Makoto Michii Edmond Gnekow Jonathan Borden Nicholas Jones
Christine Lynn Bailey principal Linda Greene Natalie Debikey Scanio
Natalie Debikey Scanio
Henry Ward principal Joshua Lauretig Anna Mattix
William Amsel principal Patti DiLutis Salvatore Andolina
BASS CLARINET AND SAXOPHONE
Glenn Einschlag principal Hunter Gordon* Martha Malkiewicz
Jay Matthews Daniel Sweeley
Alex Jokipii principal Geoffrey Hardcastle Philip Christner
Jonathan Lombardo2 principal Timothy Smith
Don Harry principal
Matthew Bassett principal Dinesh Joseph assistant principal
Mark Hodges principal Dinesh Joseph
Cheryl Losey-Feder principal
Patricia Kimball principal librarian Travis Hendra associate principal librarian
Richard George Master Property Person IATSE Local 10 Charles Gill Assistant Property Person IATSE Local 10
Jacek Muzyk principal Kay Koessler Endowed Chair Daniel Kerdelewicz assoc. principal Sheryl Hadeka
Chair dedicated to the memory of Maer Bunis
Chair dedicated to the memory of Scott Parkinson
* Temporary Appointment
(L) Leave of Absence
Saturday, September 21, 2019 at 8:00 PM
FAVORITES & FRIENDS: A CELEBRATION OF 20 YEARS
JoAnn Falletta, conductor Tianwa Yang, violin William Wolfram, piano
Overture to Semiramide
Introduction and Rondo Capriccioso in A minor for Violin and Orchestra, Op.28
Tianwa Yang, violin LISZT
Totentanz for Piano and Orchestra
William Wolfram, piano
Symphony No. 8 in G major, Op. 88
I. Allegro con brio
III. Allegretto grazioso
IV. Allegro ma non troppo
Thank You to
for sponsoring the Opening Night Dinner
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.
TIANWA YANG, VIOLIN Tianwa Yang is a winner of the prestigious ECHO Klassik Instrumentalist of the Year (Violin) 2015 for her Naxos recording Ysaÿe’s 6 Sonatas for Solo Violin, the Best Upand-Coming Artist 2014, and the Annual Prize of the German Record Critics 2014 for her Naxos recordings of the Mendelssohn Violin Concertos and Complete Music for Violin by Sarasate. The young violinist, a resident of Germany, performs with major orchestras including Detroit, Seattle, Baltimore, Nashville, Sydney, Kansas City, Virginia, Pacific, Vancouver, Toledo, SWRBaden Baden-Freiburg, WDR-Cologne, MDR-Leipzig, HR Radio Frankfurt, Malmö, Singapore and New Zealand Symphonies; the London, Dresden, Helsinki, Hong Kong, Malaysia, Buffalo, BBC, Deutsche Radio, Erfurt, Warsaw and Royal Liverpool Philharmonics; and Orchestre National d’Île de France. International concert and recital engagements take her to the Ravinia, Virginia Arts, Schwetzinger, Rheingau Music, Heidelberger Frühling, and Lucerne Festivals, London’s Wigmore Hall, Paris’ Salle Pleyel, New York’s Rose Theater, Lincoln Center, and Leipzig’s Gewandhaus. As a critically acclaimed recording artist for Naxos, Ms. Yang’ most recent releases include Brahms’ Violin Concerto and Double Concerto with DSO Berlin, Antoni Witt and cellist, Gabriel Schwabe; and two highly acclaimed volumes of the Complete Music for Violin and Orchestra by Wolfgang Rihm. Considered the world’s best interpreter of the music of Sarasate since Heifetz, her complete music for Violin and Orchestra and for Violin and Piano by Sarasate are now released as two complete box sets by Naxos. Raised in the Chinese capital city of Bejing, Ms. Yang began studying violin at the age of four. Demonstrating unquestionable ability, Ms. Yang won six competitions as a young child. At the age of ten she was accepted to study at the Central Conservatory of Music in Beijing as a student of Lin Yaoji. Within one year, Hong Kong media described the young artist as “A Pride of China.” Ms. Yang recorded the 24 Paganini Caprices at the age of thirteen, making her the youngest artist to release the works. In 2003 Ms. Yang was awarded a scholarship by the German Academic Exchange Service to study chamber music in Germany, marking the beginning of her European career. Ms. Yang has won several awards during her career including the Volkswagen Foundation prize “Star of Tomorrow” by Seiji Ozawa and the 2006 “Prix Montblanc,” and has received multiple accolades, awards, prizes and top album placings for her extensive discography. She is Professor of Violin at the University of the Arts, Bern, Switzerland, and performs on a Guarneri del Gesu (1730) on kind loan from the Rin Collection in Singapore.
WILLIAM WOLFRAM, PIANO American pianist William Wolfram was a silver medalist at both the William Kapell and the Naumburg International Piano Competitions, and a bronze medalist at the prestigious Tchaikovsky Piano Competition in Moscow. Wolfram has appeared with many of the greatest orchestras of the world and has developed a special reputation as the rare concerto soloist who is also equally versatile and adept as a recitalist, accompanist and chamber musician. In all of these genres, he is highly sought after for his special focus on the music of Franz Liszt and Beethoven and is a special champion for the music of modernist 20th century American composers. His concerto debut with the Pittsburgh Symphony under the baton of Leonard Slatkin was the first in a long succession of appearances and career relationships with numerous American conductors and orchestras. He has also appeared with the San Francisco, Saint Louis, Indianapolis, Seattle and New Jersey symphonies, the Buffalo Philharmonic, the National Symphony Orchestra (Washington D.C.), the Baltimore Symphony, the Colorado Symphony, the Rochester Philharmonic, the Nashville Symphony, the Oregon Symphony, the Utah Symphony, the San Diego Symphony, the Edmonton Symphony, the Columbus Symphony, the Florida Orchestra, and the Grand Teton and San Luis Obispo Mozart festival orchestras, among many others. He enjoys regular and ongoing close associations with the Dallas Symphony, the Milwaukee Symphony, the Phoenix Symphony and the Minnesota Orchestra as well as the musicians of the New York Philharmonic for chamber concerts in the United States. Internationally recognized conductors with whom he has worked include Osmo Vanska, Andrew Litton, Jerzy Semkow, Mark Wigglesworth, Jeffrey Tate, Vladimir Spivakov, Michael Christie, Gerard Schwarz, Carlos Miguel Prieto, Jeffrey Kahane, James Judd, Roberto Minczuk, Stefan Sanderling, JoAnn Falletta, James Paul, Carlos Kalmar, Hans Vonk, Joseph Silverstein, Jens Nygaard, Yan Pascal Tortelier and Vasily Petrenko. Abroad, Wolfram has appeared with the BBC Symphony Orchestra of London, the City of Birmingham Symphony Orchestra, the Royal Scottish National Orchestra, the RTE Symphony Orchestra of Ireland (Dublin), the BBC National Orchestra of Wales, the Bergen Philharmonic (Norway), the Beethovenhalle Orchestra Bonn, the Tokyo Metropolitan Symphony Orchestra and many others. As educator and teacher, Mr. Wolfram is a long-standing member of the piano faculty of the Eastern Music Festival in North Carolina, and a regular featured guest at the Colorado College Music Festival in Colorado Springs, Colorado. He also teaches a performance class and a chamber music class at the acclaimed Manhattan School of Music. In print and other media Wolfram was the focus of a full chapter in Joseph Horowitzâ€˜s book, The Ivory Trade: Music and the Business of Music at the Van Cliburn International Piano Competition. On television, he was a featured pianist in the documentary of the 1986 Tchaikovsky International Piano Competition. A graduate of the Juilliard School, William Wolfram resides in New York City with his wife and two daughters and is a Yamaha artist.
PROGRAM OVERVIEW Every opening night is exciting, but tonight is extra special for me- it marks my 20th season with the Buffalo Philharmonic! What a 20 years it has been- filled with brilliant concerts by our superb musicians, 50 BPO CDs, tours to Poland, Carnegie Hall, Saratoga and Florida, and-most cherished of all- YOU! Your presence, your support, your friendship and love have made these 20 years the happiest of my life. Tonight we feature two special friends- violinist Tianwa Yang and pianist Bill Wolfram- both of whom have been a treasured part of my musical life. It is a program of great romantic music that will open a season of celebration and joy. Thank you so much for being with us!
PROGRAM NOTES Gioacchino Rossini
Italian composer born: 29 February 1792, Pesaro died: 13 November 1868, Passy, France
Overture to Semiramide First Classics performance: February 14, 1954, conducted by Milton Katims; most recent performance: March 7, 2010, conducted by JoAnn Falletta; duration 12 minutes Gioacchino Rossini is best known for his operas The Barber of Seville, Cinderella, Semiramide, and William Tell among others. His catalog is also a trove of diverse masterworks: masses, oratorios, cantatas, hundreds of small incidental pieces for piano, and volumes of chamber music. But for all his diversity, ‘Maestro Crescendo’ (as he was known to the musicians of the time) is best celebrated in the concert hall for the overtures to his operas. Every one of them is tuneful and flamboyant, and each achieves an orchestral tour de force. Completed in 1823, Semiramide is a two-act opera seria (dramatic opera, often tragic), and was regarded as a masterpiece from the very first curtain.
The libretto by Gaetano Rossi is based on Voltaire’s Semiramis of 1748. Notwithstanding the opera’s wide appeal, a charming mix of reviews came from high places: Stendhal admired the work but thought it was tunefully and harmonically too German, while Wagner himself (always self-conscious of Rossini’s achievement) thought the opera abounded in ordinary Italian conventions! A synopsis of the story reveals a plot entangled with politics, revenge and familial conflict. The action takes place in the ancient city of Babylon, famous for its Hanging Gardens and Asian magnificence, yet notorious for its indulgent sensuality. The storyline in sum: Semiramide, the Queen of Babylon, has murdered her husband Nimo, the King, with the help of her lover Assur, who now desires the throne. But Nimo’s tomb opens to reveal a prophesy that at midnight the King’s Ghost will tell the names of his killers to Arsace, an enemy commander, who shall himself become King. With dramatic irony Semiramide learns that Arsace is really her son, but who is now in danger because the jealous Assur intends to ambush him at the tomb.
Semiramide arrives just in time to place herself between the two. As if decreed by Fate, she is killed by a stroke from her son whose target had been the heart of Assur. The libretto and its setting in Babylon provided an ideal opportunity for Rossini’s florid style. At first the overture conveys a pastoral ambiance, heard in the long lyric for a quartet of French horns, derived from a choral setting in the opera. From that point the overture unfolds with bright and glowing phrases which belie what is to follow. Rossini deftly inflects the mood along the way with chords and progressions which only hint at the serious storyline at hand. The sheer melody that poured so easily from the composer’s pen is everywhere apparent, articulated by exciting figures from the strings, colorful replicas in the woodwinds, and rhythmic flair in the brass and percussion. It is all delivered with Con Brio virtuosity. And yes, along the way, we are treated to a few of Rossini’s signature crescendos. Bravissimo..!
French composer born: 9 October 1835, Paris died: 16 December 1921, Algiers, Algeria
Introduction and Rondo Capriccioso, Op.28 First Classics performance: November 20, 1984, conducted by Raymond Harvey, with violinist Stacy Phelps; most recent performance: September 20, 2003, conducted by JoAnn Falletta, with violinist Nadja Salerno-Sonnenberg; duration 10 minutes The music of French composer Camille Saint-Saëns was colored by his lifelong penchant for other disciplines. He was one of the great polymaths of
the Romantic era: apart from his voluminous musical output he wrote scholarly papers on astronomy, archaeology, mathematics, philosophy, and acoustics. Just for good measure, all of that was topped-off with a breezy fluency in several languages, a polyglot par excellence. As one might guess, the signs of genius showed up very early. For example, Saint-Saëns composed his first piece at the age of 3 years and debuted as a pianist at Salle Pleyel in Paris at the age of 10, when, after many curtain calls the diminutive child offered to play any one of Beethoven’s 32 sonatas from memory! No wonder Paris buzzed with comparisons to the early years of Mozart. Saint-Saëns later became the organist at the Church of the Madeleine, as well as a respected teacher and champion of the music of Wagner, Liszt, Chabrier, Debussy, Dukas, Fauré and Ravel. Hector Berlioz once noted “Camille knows everything but lacks inexperience.” Saint-Saëns’ catalog reveals examples of every kind of serious music, from opera to song cycles, symphonies, chamber music of every variety, et cetera, as well as a handsome collection of specialty pieces like the celebrated Carnival of the Animals, the dashing Danse Macabre and virtuoso genre pieces like the Introduction and Rondo Capriccioso for violin and orchestra. The latter was composed in 1863 with a dedication to Pablo de Sarasate. For violin buffs the term ‘genre piece’ holds special meaning, if only because so many of them appeared during the height of the Romantic Zeitgeist of the 19th century. Oddly, most of the works of this type were scored by great performers who desired to spice up their touring repertoire with flashy works of their own. Among these the
list begins with Paganini, followed by names like Lalo, Wieniawski, Sarasate and Ysaye. Strangely, except for one stellar exception - the peerless Fritz Kreisler (1875-1962) - the phenomenon of the great violinist/composer came to an end in the early 20th century. Saint-Saëns’ mini-masterpiece begins with a breathless, haunting lyric from the soloist over gentle A minor chords in the strings. For all its simplicity the tune is imbued as if with Byronic reverie - something gorgeous and exciting is at hand. Sure enough - right on cue - a determined and bright Rondo tune is offered over a strumming symphonic background with an operatic feel. In a moment begin the flaring pyrotechnics - but without losing our balance. The spirit flows summa cum laude clear to a ravishing close in A major. One cannot help but note the ‘capriccioso’ title and the similarity in gypsy esprit with Paganini’s most famous Caprice No.24, another tour de force in A minor.
Hungarian composer born: 22 October 1811, Raiding died: 31 July 1886, Bayreuth, Germany
Totentanz (Dance of Death) First Classics performance: April 25, 1976, conducted by Michael Tilson Thomas with pianist Andre Watts; most recent performance: March 3, 2013, conducted by JoAnn Falletta, with pianist Cecile Licad; duration 16 minutes Beyond his devotion to music, Liszt was passionate about literature, sculpture, and painting. Totentanz was inspired by the frescoes of Orcagna (Andrea di Cione, 1308-1368) at Campo Santo di Pisa, as well as the etchings of the German master Hans Holbein (14971543). Dedicated to the great piano
virtuoso and conductor Hans von Bülow, the piece was originally scored for solo piano in 1839, then orchestrated by Liszt in 1855. (On a local note, the great von Bülow played two solo recitals here in Buffalo in 1876.) For reference, the term ‘totentanz’ is a metaphor intended to convey the ecumenical and downright democratic nature of the ‘endgame’ which awaits everyone here on terra firma. For the main theme Liszt quotes the ancient requiem chant Dies Irae (Day of Wrath), used by many (many..!) composers from the Renaissance through our modern day. For his part, Liszt is both reverent and bravely mocking. When asked by a friend to explain the passing scenes represented by the variations in the score, Liszt remarked: “I must decline to relate the program or story behind Totentanz because the piece is one of those works for which the content must never be told to the public.” To this, Hungarian composer Béla Bartók later replied: “Totentanz is simply a set of variations on the Gregorian chant “Dies Irae” ‘Day of Wrath.’ It is astonishingly harsh, from beginning to end. But what do we find in the middle section? - A variation hardly eight bars long, of Italianate emotionalism. Here Liszt obviously intended to relieve the overwhelming austerity and darkness with a ray of hope. The work as a whole always has a profound effect upon me.” In sum, only Liszt could have written such a devil-daring work and survived another half century without getting struck by lightning (he took church vows later in life, some say to improve his résumé in certain high quarters).
About Liszt, poet Charles Baudelaire wrote: “Dear Liszt, through the cloudy mist, above the flowing rivers, above the cities where pianos sing of your glory, where publishers translate your wisdom - wherever you may be - in the splendor of the Eternal City or in the mist of the dreamy lands of consolation - improvising chants of inexpressible sadness, or confide to paper your abstruse meditations, Voluptuous songs of eternal Agony - philosopher, poet and artist - I salute your immortality.”
Bohemian composer born: 8 September 1841, Nelahozeves, Bohemia died: 1 May 1904, Prague, Czechoslovakia
Symphony No.8 in G Major, Op.88 Allegro con brio Adagio Allegretto grazioso; Molto vivace Allegro ma non troppo First Classics performance: January 19, 1961, conducted by Josef Krips; most recent performance: April 10, 2010, conducted by JoAnn Falletta; duration 36 minutes Antonin Dvořák was fortunate to receive thorough training in the styles and methods of the early masters, from the Renaissance through Beethoven. Moreover, he was also keenly interested in ‘modern’ trends. For example, he signed-on early as an admirer of Richard Wagner without compromising his enthusiasm for Brahms and Tchaikovsky. Dvořák also journeyed to the United States, where he resided primarily in New York City, although he also took time to venture into the heartland as far west as Iowa. By the composer’s
own accounts, he eagerly absorbed American motifs at every step, paying special attention to the spirit and nuance of indigenous folk songs, dances and ethnic spirituals from Europe and Africa. As a result, for his time, Dvořák’s palette was perhaps the most colorful and informed in all of Europe. Best known today are his nine symphonies, virtuoso concertos for the violin and cello and the graceful settings of his popular Slavonic Dances. But his catalog otherwise includes pearls lesser known, with a variety of overtures and tone poems like The Wood Dove and The Golden Spinning Wheel. (For Dvořák, the distinction about whether a piece was a tone poem or not was rhetorical - just about everything he ever scored contained a program of one kind or another). He also composed the opera, Rusalka, a small wealth of chamber music and many songs. Dvořák’s music blooms with a particular gypsy touch, a cachet manifest in everything he ever composed. Added to this are his indelible gifts for weightless beauty, liquid eloquence, heart-struck melodies, and wistful harmony - precisely like the opening of Symphony No.8 of 1889. Note the deep intonations in the strings, broken in a moment by an idyllic flute just before the rhythmic base becomes bright and unmistakably dance-like. This is high-Slavic art, with a continuous major-to-minor harmonic spin, blending airy lightness with piquant mystery at every turn. The second movement Adagio opens with the inscrutable highlights characteristic of Eastern Europe, teasing the ear, mostly in C minor. But here and there the skies seem to brighten momentarily, carried by bouncing
woodwinds over a lovely descant in the strings. The movement ends after a few diminishing taps in the trumpets, coyly tuned with a trace of Picardie (a picturesque term for a closing chord that blends from minor to major). For beguiling beauty and haunting enigma, nowhere in music is there a moment more captivating than the exquisite waltz in G minor which soars from the violins at the beginning of the third movement. It is as if the dance in triple time has just returned from heartache - barely but bravely - with faith intact:
Thou, Ambrosial Waltz, when first the moon Beheld thee twirling, to thy melting tune Endearing, Seductive - Muse of motion! Lord Gordon Byron
Back in G major, stand by for the peal of sterling trumpets, heralding the new dawn of the last movement. In a moment the cello section chants the principal tune which is then taken up by the full orchestra in a flowing set of brilliant variations. DvoĹ™ĂĄk has conjured a mini-suite of Slavonic dances on the fly - i.e. cryptic tunes and volatile energy scored with breathless swirls of color. At the coda, the curtain closes with a furiant-flurry of brazen accents. (A furiant is a vigorous Czech folk dance). Brilliant..! program notes by Edward Yadzinski
Friday, September 27, 2019 at 10:30 AM Saturday, September 28, 2019 at 8:00 PM
John Morris Russell, conductor Cirque de la Symphonie CHABRIER
PIAZZOLLA / Mondelci
BIZET / Hoffmann
Danse Boheme from Carmen Suite No. 2
FALLA / Chapelier
Spanish Dance No. 1 from La Vida Breve
Final Dance from The Three-Cornered Hat, Suite No. 2
Intermedio from La Boda de Luis Alonso
LECUONA / Gould
La Comparsa from Danzas Afro-Cubanas Suite
ABREU / Dragon & Barker Tico Tico HERNANDEZ / Gonzales El Cumbanchero TURINA
Orgia from Danzas Fantasticas, Op. 22
BARROSO / Wasson
Brasil (Aquarela do Brasil)
Capriccio espagnol, Op. 34 RIMSKY-KORSAKOV IV. Scena e canto gitano V. Fandango asturiano BIZET / Hoffman
Les Toreadors from Carmen, Suite No. 1
This concert is sponsored by the Catherine M. and Paul W. Beltz Fund for Artistic Excellence The Coffee Concert Series is presented by Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.
Saturday, October 5, 2019 at 8:00 PM Sunday, October 6, 2019 at 2:30 PM
CANADIAN SUPERSTAR JoAnn Falletta, conductor James Ehnes, violin
Die Dämmerungen (world premiere)
II. East of Aurora - Lyrical
III. De profundis clamavi
Violin Concerto in D Major, Op. 35
I. Moderato nobile
III. Finale: allegro assai vivace
WEBER /orch. Berlioz Invitation to the Dance R. STRAUSS
Suite from Der Rosenkavalier, Op. 59
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.
JAMES EHNES, VIOLIN James Ehnes has established himself as one of the most sought-after violinists on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favourite guest of many of the world’s most respected conductors, and his long list of orchestras includes the Boston, Chicago, London, NHK and Vienna Symphony Orchestras, and the Los Angeles, New York, Munich and Czech Philharmonic Orchestras. Recent orchestral highlights include the MET Orchestra at Carnegie Hall, San Francisco Symphony, London Symphony, and Munich Philharmonic, as well as his debut with the London Philharmonic Orchestra at Lincoln Center in spring 2019. Ehnes is Artist in Residence with the Dallas Symphony Orchestra. In 2017, Ehnes premiered the Aaron-Jay Kernis Violin Concerto with the Toronto, Seattle and Dallas Symphony Orchestras. Alongside his concerto work, James Ehnes maintains a busy recital schedule. He performs regularly at the Wigmore Hall, Carnegie Hall, Symphony Center Chicago, Amsterdam Concertgebouw, Ravinia, Montreux, Chaise-Dieu, the White Nights Festival in St Petersburg, Verbier Festival, Festival de Pâques in Aix, and in 2018 he undertook a recital tour to the Far East. As part of the Beethoven celebrations, Ehnes has been invited to perform the complete cycle of Beethoven Sonatas at the Wigmore Hall throughout 2019/20. As a chamber musician, he has collaborated with leading artists such as Andsnes, Capucon, Lortie, Lugansky, Yo-Yo Ma, Tamestit, Vogler and Yuja Wang. In 2010, he formally established the Ehnes Quartet, with whom he has performed in Europe at venues including the Wigmore Hall, Auditorium du Louvre in Paris and Théâtre du Jeu de Paume in Aix. Ehnes is the Artistic Director of the Seattle Chamber Music Society. Ehnes has an extensive discography and has won many awards for his recordings, including a Grammy Award (2019) for his live recording of Aaron Jay Kernis’ Violin Concerto and a Gramophone Award for his live recording of the Elgar Concerto. His recording of the Korngold, Barber and Walton violin concertos won a Grammy Award for ‘Best Instrumental Soloist Performance’ and a JUNO award for ‘Best Classical Album of the Year’. Ehnes began violin studies at the age of five, became a protégé of the noted Canadian violinist Francis Chaplin aged nine, and made his orchestra debut with Orchestra Symphonique de Montréal aged 13. He continued his studies at the Meadowmount School of Music and The Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon his graduation in 1997. He is a Fellow of the Royal Society of Canada and in 2010 was appointed a Member of the Order of Canada. Ehnes was awarded the 2017 Royal Philharmonic Society Award in the Instrumentalist category. James Ehnes plays the “Marsick” Stradivarius of 1715.
PROGRAM OVERVIEW Several of my dreams are coming true tonight! We welcome international superstar James Ehnes for his debut with the Buffalo Philharmonic. The musicians and I have wanted to make music with James for a very long time- and he is here at last, with one of the most gorgeous concertos in the violin literature. Another great violinist is also making his debut- this weekend we welcome our new concertmaster Nikki Choi, featured in Strauss’ breathtaking Rosenkavalier Suite. A premier by Buffalo composer David Felder rounds out the concert as we pay a tribute to our great University at Buffalo and its music department. Welcome to Buffalo, James, and welcome to the BPO family Nikki!
American composer born: 27 November 1953, Cleveland, OH
Die Dämmerungen I. Dämmerungen Morgendämmerung - Lyric Abenddämmerung - Calmo II. East of Aurora - Lyrical III. De profundis clamavi Shir HaMa’alot Mima’amakim Elegaic - Lamentoso IV. Götzen-Dämmerung Dämmerungengutter Shrill - Declamatory These are the first performances of this work on the Classics series; duration 23 minutes David Felder began his life in music at age 10 with lessons on drums. His formal training ensued at Miami University, Ohio, where he majored in composition, and studied voice, and choral conducting as well, and was awarded Bachelor’s and Master’s degrees. In turn he was appointed to direct the electronic music studio at the Cleveland Institute of Music, where he studied composition with Donald Erb. For his doctoral studies, David
attended the University of California at San Diego. At USCD he studied with composers Roger Reynolds, Bernard Rands, and Robert Erickson, and was awarded a PhD in composition. Felder joined the music faculty at UB in 1985, where he holds the Birge-Cary Chair in composition. Since 1985-6 David has also served as the Director of the June in Buffalo new music festival, which he revived upon his arrival in Buffalo. He is Director of the Center for 21st Century Music and Co-Director of the Creative Arts Initiative at the University. During the 1990s Felder was named Meet the Composer Composer-in-Residence for the Buffalo Philharmonic during the tenure of music director Maximiano Valdés. Over many seasons the BPO has performed many of Felder’s scores including Six Poems from Neruda’s Between; Coleccion “Alturas”; Nocturna, Linebacker Music, Three Pieces for Orchestra, Incendio, and Three Lines from Twenty Poems. Felder’s numerous awards include three commissions supported by the National Endowment for the Arts, the Aaron Copland fund, the Guggenheim and Koussevitzky Foundations, Fromm Foundation Fellowships, and the
Rockefeller Foundation. He has also received the Music Award from the American Academy of Arts and Letters, a career recognition award.
Die Dämmerungen was completed in 2018 with a dedication to JoAnn Falletta and the Buffalo Philharmonic Orchestra. The work reveals Felder’s continuing interest in scoring evocative narratives for orchestra. As a grandly cast metaphor, the elaborate score reflects a past-to-present synthesis of both musical and literary sources, from a Biblical reference through Wagner through late 20th century poetry. Conceived as an expansive tone poem with layers of emotive symbolism, Die Dämmerungen offers a complex soundscape to represent diverse and powerful elements of human reality. The first clue that something momentous is at hand comes from the title in German - Die Dämmerungen - an unmistakable reference to the cataclysmic apotheosis of Wagner’s Götterdämmerung, when Valhalla, the palace of the gods, is consumed in a great fury of fire and flood. (The conclusion of Felder’s work confirms the similitude at hand - stand by). In German, the title ‘Die Dämmerungen’ translates into ‘The Twilights’ - whether at dusk or at sunrise. As a prologue to the first three movements, the score contains printed verse. Movement 1 is framed by American poet William Carlos Williams (1883-1963) poem, titled The Descent, beginning with the lines: “Sparkles from the Wheel The descent beckons As the ascent beckoned.” In sequence, the first movement offers both motifs: Morgendämmerung (sunrise at dawn), opens with quiescent stillness; Abenddämmerung (sunset
at dusk) begins with high decibel timbres which blend into an intrigue of devolving phrases. Titled East of Aurora, the second movement is a reference to Felder’s permanent residence in East Aurora. The score likewise contains symbolic verse as a preface, i.e. The Burning Ladder by American poet Michael Dana Gioia (b.1950), here in brief summation: “Jacob never climbed the ladder burning in his dream ...his eyes closed to the Seraphim ascending ...into the scattered light between the stars.” As before, the music begins with subdued poise, in turns enlightened by gathering luminance as a prelude to a striving adventure of orchestral effects, all of which subside into Jacob’s reverie. Titled in Latin, De profundis clamavi, the third movement is a reference to Psalm 130 in the Bible. Felder also includes the title in Hebrew: Shir HaMa’alot Mima’amakim, known as A song of Ascents. As performance cues, the music is marked “Elegiac Lamentoso.” With many changes in meter and accent, the narrative gathers solemn luster through to a voluminous close. “Out of the depths I cry to you, O Lord! O Lord, hear my voice! Let your ears be attentive to the voice of my pleas for mercy!” Apart from the preceding, the Finale does not offer a specific literary or Biblical reference. Felder states that the fourth movement represents the verismo reality of today’s world, with discarded ideals and unconscionable ideologies. Like the opening movement, the Finale is cast in two parts: Götzen-Dämmerung (Idol
Twilight) and Dämmerungengutter (Gutter Twilight). For reference, ‘GötzenDämmerung’ may be taken as the decline of symbolic idols (perhaps even the decline of Idylls). Moreover, Felder adds the term Secco (dry, harsh) as a style cue to the garish tonal symbolism. In turn follows Dämmerungengutter (decline to the gutters of reality). The composer applies the term Shrill as a style marker, as the graphic score proceeds to the flagrant final moment, marked Declamatory.
Erich Wolfgang Korngold
American composer born: 29 May 1897, Brünn, Austria-Hungary died: 29 November 1957, Hollywood
Violin Concerto, Op.35 Moderato nobile Romance Finale: Allegro assai vivace First Classics performance: May 11, 1996. Conducted by Roberto Abbado, with violinist Gil Shaham; most recent performance: April 13, 2014, conducted by JoAnn Falletta, with violinist Michael Ludwig; duration 25 minutes Recognized as one of the greatest child prodigies of all time, Erich Wolfgang Korngold is best-known today for his film scores, the opera Die tote Stadt (“The Dead City”) and his Violin Concerto, Op.35. The stories from his youth are astonishing. For example, at the age of eleven Korngold scored the ballet Der Schneermann (The Snowman) which caused a sensation when it was premiered at the Vienna Court Opera in 1910. His first orchestral works, the Schauspiel Ouvertüre (1911) and the Sinfonietta (1912), so impressed Richard Strauss that he noted: “One’s first reactions to the fact that these compositions are by an adolescent boy
are those of awe and fear. The firmness of style, the sovereignty of form, the individual expression, the harmonic structure - it is truly amazing.”
Die tote Stadt, which premiered in Hamburg in 1920, is among the most successful operas of the 20th century. The work cast its 22-year old composer into the international limelight. However, the emergence of Nazi politics eventually forced Korngold to immigrate to the United States in 1934, where he settled in Hollywood and began a second career as a film composer. He won two Academy Awards for best film scores for Anthony Adverse (1936) and The Adventures of Robin Hood (1938). In 1975, Die tote Stadt was successfully revived in New York City. Korngold’s Violin Concerto was scored in 1945 and dedicated to the eminent virtuoso Jascha Heifetz (whose brilliant recording of the work with the Los Angeles Philharmonic has been reissued on CD). Opus 35 is a modern example of a very old practice among composers - i.e. the art of borrowing from previous scores and adapting the music to a new purpose. In this case the lovely tune heard at the very opening is from Konrngold’s film score Another Dawn (1939). After a gentle development the music introduces a second theme, this time appropriated from the film Juárez (1939). One can only listen in admiration to the mastery of this mélange, crafted as well with a breathless cadenza to add excitement to the musical imagery. As a source for the second movement Romance, Korngold overlays one of the loveliest moments from his score for the film Anthony Adverse (1936). Here the music is a poignant reverie, with the lyrical line in the solo violin scored in a sunlit, high-wire tessitura. One wishes for
associated snapshots from the film for clues to the tender meaning of the tune. For lighthearted contrast the third movement takes off as half-scherzo and half-folk dance. Once again Korngold borrows one of his own motifs, this time from the film score for The Prince and the Pauper (1937). The nuance here is unmistakably jocular and playful, with some very classy and bumptious Hollywood scoring. The music capers with everything from a fiddler’s country reel to a rodeo hoe-down. Great fun.
Carl Maria von Weber
German composer born: 18 November 1786, Eutin died: 5 June 1826, London, England
Invitation to the Dance Introduction, Moderato grazioso Allegro vivace, brillante, grazioso These are the first performances of this work on the Classics series; duration 9 minutes Through all of classical music, references to the myriad forms of dance are everywhere: minuet, gavotte, bolero, pavane, tarantella, gigue, Ländler, gallop, polka, etc. Yet of all the forms, none reigns more supreme than the orchestral waltz. Consider the record: after Carl Maria von Weber’s Invitation to the Dance, followed the beautiful waltz movements of Brahms and Dvořák, the keyboard poetry of Chopin’s Waltzes, “At the Ball” from Berlioz’s Fantastic Symphony, great waltz scenes in opera and ballet, the treasures of the Waltz King Johann Strauss, Jr., etc. In sum, the waltz repertoire is a veritable trove of light and highly variable masterpieces, almost all of them scored prior to 1900. Indeed, by the turn of the century
one might have reasonably hung a ‘No Vacancy’ sign on the genre. But then along came Franz Lehar with The Merry Widow in 1905, followed by Richard Strauss’ Der Rosenkavalier in 1910, and Maurice Ravel’s tour de force in 3/4 time, La Valse, in 1920. Returning to the era of Carl Maria von Weber, he was revered by Wagner and lauded by virtually every composer who followed. His music remains among the most enduring from the theater wing of the symphonic repertoire. It was Weber who took the baton from Mozart and expanded the genre of the lyric stage into a form that now bears the name ‘grand opera.’ He wrote: “Opera must be a self-contained work in which all the related arts are in collaboration, blended together to create a new world.” Weber’s remark also hints at why even all of his instrumental music has a theatrical feel. And he was true to form when scoring his now very famous Invitation to the Dance for piano in 1819, well before the waltz craze captivated the whole of Europe. Weber wrote the piece as an anniversary gift for his wife. The ‘Invitation’ part of the piece carries a mini storyline about a young cavalier who gets up his courage to ask a damsel to dance. Among the measured phrases of the slow introduction Weber added a scenario: “The dancers approach each other - the lady is politely hesitant. With excited desire he takes a step towards her. He begins to converse. She replies modestly, and responds warmly to his compliments. Now for the dance! He asks for the honor to take her hand. She responds affirmatively. The pair steps forward together, waiting for the dance to begin. After the brilliant waltz, she
accepts his thanks as they retire from the floor. Silence returns.” While Weber originally scored the work for keyboard, by far the best known version is Berlioz’ brilliant arrangement for orchestra. Transposing the work up a half-step to the string-friendly key of D major, the French master recast the work as a ballet interlude for a Paris performance of Weber’s opera Der Freischütz in 1842. We should note that Weber’s influence was keenly appreciated by Berlioz, whose own Ball Scene from the Fantastic Symphony was scored a dozen years after Invitation. In his Memoirs many years later, Berlioz offers a tribute to Weber’s inspired genius. In keeping with Weber’s narrative, the music begins demurely, with the role of the young man represented by the cello, and that of the young girl by the upper winds. His invitation and her careful replies are unmistakable. Then suddenly - a florid waltz takes to the air, spinning with happy whirls and seductive delight. A tender postlude closes the scene. Wunderbar..!
German composer born: 11 June 1864, Munich died: 8 September 1949, Garmisch-Partenkirchen
Der Rosenkavalier Suite First Classics performance: March 29, 1949, conducted by William Steinberg; most recent performance: March 30, 2008, conducted by JoAnn Falletta; duration 22 minutes Richard Strauss enjoyed a long and creative life. His first major work was Don Juan, scored in 1888 at the age of 24 - a racy orchestral tone poem (the
first of many to come). At the far end of his catalog are the perpetual lilies of the Four Last Songs, an exquisite cycle that Strauss composed as his farewell in 194849. But from within those brackets we find a wealth of Romantic passion, including the well-known tone poems which alternate between dark philosophy and comic relief, and some very heavy-duty operas like Salome of 1905 and Elektra of 1908. Then, in 1910, for a change of pace, the composer completed what he called ‘a comedy for music’ - the endearing Der Rosenkavalier, The Knight of the Rose. Based on a three-act libretto by the Austrian poet Hugo von Hofmannsthal, the opera is set in 18th century Vienna during the time of Empress Maria Theresa. However, Strauss’ music is a tribute to an era about a century later, marked by the gaiety of the Viennese waltz, a style altogether unknown during the Empress’ celebrated reign. No matter - we are out to have fun. Moreover, this is ‘komische Oper’ (comic opera), which means that anything can happen and most certainly will happen: like the fact that both the male and female leading parts are played by sopranos - with the cavalier role of Octavio assigned to a mezzo. (On this Strauss followed Mozart’s lead: in The Marriage of Figaro the male role of Cherubino is likewise set for a mezzo-soprano.)
Der Rosenkavalier in sum: Bored with palace life and her urbane husband, the beautiful Marschallin amuses herself with the conquest of Octavian, a handsome young page. The curtain opens just past dawn in the Marschallin’s boudoir, after an amorous night with Octavian. An impromptu interruption by her country cousin, Baron Ochs, sets the comedy in action. In behalf of the
old Baron, Octavian is sent to deliver a Silver Rose (symbolizing a marriage proposal) to a lovely debutante, Sophie, whose father is a newly rich noble. To be sure, Octavian and Sophie discover true love. Droll mayhem begins, featuring a gallery of gallants and their dissatisfied ladies. There is even a special ‘tryst room’ hidden from detection. At the final curtain, Sophie and Octavian are united while the Marschallin and everyone else is free to pursue any next ‘opportunity.’ In the course of the action, the Marschallin realizes that she must give up her young lover to a girl of his own generation. About this Strauss later noted in his memoirs, titled Recollections and Reflections: “The Marschallin must be a young and beautiful woman of about thirty-
two, who, when she is in a bad mood, occasionally feels ancient compared to her paramour, the seventeen-year old Octavian. Of course, Octavian is neither the first nor the last lover of the beautiful Marschallin, and she is not to play the end of the first act in a sentimental fashion, as a tragic farewell to life, but with Viennese grace and lightness, half weeping, half smiling.” Strauss later extracted the alluring tunes into an orchestral suite, followed by a variety of derivations by others. All of the settings are centered around the florid waltzes of Der Rosenkavalier. And in every version, the music resounds with lusty tunes, swaggering rhythms, piquant harmonies and a scintillating orchestration - all in tribute to the great tradition of the Viennese waltz. program notes by Edward Yadzinski
Saturday, October 12, 2019 at 8:00 PM
THE PAUL SIMON SONGBOOK
Bradley Thachuk, conductor Daniel Berryman, vocals Emily Drennan, vocals David James Guidice, vocals Shubh Sarah, guitar Mark Minoogian, bass Eric Metzgar, drums
Graceland Mrs. Robinson Scarborough Fair /Canticle Homeward Bound Cecilia El Condor Pasa (If I Could) 59th Street Bridge Song The Sound of Silence America The Boxer Kodachrome
INTERMISSION You Can Call Me Al Take Me to the Mardi Gras 50 Ways to Leave Your Lover Mother and Child Reunion Still Crazy After All These Years Loves Me Like A Rock Bridge Over Troubled Water Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.
BRADLEY THACHUK, CONDUCTOR Canadian conductor, Bradley Thachuk, is the Music Director of the Niagara Symphony Orchestra, entering his 9th season as their artistic leader and conductor. Previously, he held the positions of Music Director of the Erie Chamber Orchestra, Associate Conductor of the Fort Wayne Philharmonic (Indiana), Interim Music Director of the Prince George Symphony Orchestra (Canada), Conducting Assistant of the Cincinnati Symphony and Pops Orchestras (Ohio), Staff Conductor of the Opera Theatre of Lucca (Italy), and Music Director of the Brampton Symphony Orchestra (Canada). Mr. Thachuk’s recent and upcoming guest engagements include the English Symphony Orchestra (U.K.), Sinfonieorchester Wuppertal (Germany), the U.K. “Genesis Revisited” tour with legendary guitarist Steve Hackett, the Indianapolis Chamber Orchestra, Ocean City Pops, 13 Strings (Canada), the Reading Symphony Orchestra, the Windsor Symphony Orchestra (Canada), the Fort Wayne Philharmonic, the Tucson Symphony Orchestra, the Cincinnati Pops, the Richmond Symphony, the Hartford Symphony Orchestra, and the Hradec Kralove Philharmonic (Czech Republic). Additionally, in 2019 he was appointed Festival Orchestra Conductor for the Festival de Febero in Mexico. A highly sought-after symphonic arranger, recent and upcoming collaborations include Steve Hackett of Genesis, the music of Leonard Cohen, a tribute to the Tragically Hip, Dave Mason of Fleetwood Mac and Traffic, ABC’s Dancing with the Stars franchise, and Tony-Award winning Heather Headley. In addition to conducting duties, Mr. Thachuk is a lecturer at the Glenn Gould School at the Royal Conservatory of Music in Toronto.
DANIEL BERRYMAN, VOCALS Daniel Berryman is thrilled to be a featured soloist in The Paul Simon Songbook. Daniel was most recently seen with the St. Louis Symphony Orchestra celebrating 100 years of the MUNY under the direction of Ben Whitely. Credits include - New York: Call Me Madame (Ens/Encores!), Sweeney Todd (Vacation Swing/ Barrow Street), The Golden Apple (Ens/Encores!), The Fantasticks (The Boy/Theatre Center). National Tours: Les Miserables (Swing), The Sound of Music (Ens). Regional: Sweeney Todd (Anthony/Denver Center), Hello, Dolly! (Ambrose/MUNY), The Most Happy Fella (Ciccio/Goodspeed), and Rent (Mark/The 5th Ave Theatre). Daniel received a BFA in musical theatre from the University of Michigan.
EMILY DRENNAN, VOCALS Emily Drennan has performed as a guest soloist at Carnegie Hall, Lincoln Center, and as “Mezzo” in Voca People Off-Broadway as well as on The Jimmy Fallon Show and with Sting. Emily has also appeared in NBC’s Celebrity Apprentice; Radio City Christmas Spectacular and Toxic Audio Off-Broadway, winning the Drama Desk Award. She has been a guest soloist with The Indianapolis Symphony Orchestra; OKC Philharmonic; Colorado Springs Philharmonic; Tulsa Signature Symphony; Long Beach Symphony; and Winston-Salem Symphony. Emily is a published ASCAP/ Recording Academy (GRAMMY) producer, lyricist, composer and recording artist, and performs voice-over work in Spanish and English. Her latest album, A Mother Daughter Christmas, won the IMEA Holiday Album of the Year. She and her husband just welcomed their first-born son.
DAVID JAMES GUIDICE, VOCALS From dueling pianos in Las Vegas to major cruise lines around the world, David has been captivating audiences with his talent as a pianist, singer, and entertainer in a variety of musical styles, including his own tribute to “Piano Man” Billy Joel. Born and raised in Rochester, New York, David is a graduate of the Eastman School of Music with a Bachelor’s degree in Jazz Piano Performance. He just finished a 5 week run performing dueling pianos at Harvey’s Lake Tahoe Resort and Casino and is thrilled to be working with Jeff Tyzik again. When not traveling the world performing, he writes, composes, and records his own music. For more information, please visit: www.davidjamesguidice.com & www.UniqueBackingTracks.com
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Friday, October 18, 2019 at 10:30 AM Saturday, October 19, 2019 at 8:00 PM
DANNY ELFMAN’S VIOLIN CONCERTO
JoAnn Falletta, conductor Sandy Cameron, violin
Concerto for Violin & Orchestra: Eleven Eleven
I. Grave, Animato
IV. Giocoso, Lacrimae
Tod und Verklärung, Op. 24 [Death and Transfiguration]
Salome’s Dance from Salome, Op. 54
The Coffee Concert Series is 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.
SANDY CAMERON, VIOLIN Declared “brilliant” by the Washington Post, violinist Sandy Cameron is one of the most strikingly unique artists of her generation. Since her debut at the age of 12 in Eindhoven, The Netherlands, Sandy has performed extensively as a soloist throughout the world. Here are some personal highlights of Sandy’s work: Places: The White Nights Festival in St. Petersburg, Russia, when the sun would barely set, was one of the first of a number of unique performance experiences Ms. Cameron has had. Another standout was her first time to Australia, performing at the Adelaide Festival of the Arts. Performing in an Olympic stadium in South Korea and bringing world premiere performances to Tokyo have also been very special. Additionally, Ms. Cameron has enjoyed playing in David Geffen Hall at Lincoln Center, the Kennedy Center in Washington, D.C., the Hollywood Bowl in Los Angeles, Royal Albert Hall in London, and the Elbphilharmonie in Hamburg, Germany. Orchestras: The Seattle Symphony and the Kirov Orchestra were the first two great orchestras Ms. Cameron had the privilege of performing with. Since then, collaborations have included the San Diego Symphony, Colorado Symphony Orchestra, Royal Liverpool Philharmonic, Tokyo Philharmonic, and the National Symphony Orchestra, among others. Projects: The most rewarding experience of Ms. Cameron’s career is Danny Elfman’s Violin Concerto, “Eleven Eleven”. Danny wrote this concerto for Ms. Cameron, and she had the great pleasure and honor of presenting the world premiere with conductor John Mauceri at the Prague Proms in June 2017. It was received with great success, and they had the luxury of continuing that success in Hamburg at the Elbphilharmonie. She first began working with Mr. Elfman while performing with the Los Angeles based Cirque du Soleil show, “IRIS”, which ran from 2011-2013. Since Cirque, she’s had a number of exciting experiences which include performing Tan Dun’s Martial Arts Trilogy, touring globally with renowned trumpeter-composer Chris Botti, as a featured soloist in Austin Wintory’s score to the video game Assassin’s Creed: Syndicate, and a number of featured solo appearances in concert productions such as Danny Elfman’s Music from the Films of Tim Burton, Disney’s The Nightmare Before Christmas Live in Concert, Disney›s The Little Mermaid Live in Concert, and Willy Wonka and the Chocolate Factory Live in Concert, all at the Hollywood Bowl. The outstanding violin played by Ms. Cameron, crafted by Pietro Guarnerius of Venice, c. 1735, is on extended loan through the generous efforts of the Stradivari Society® of Chicago.
DANNY ELFMAN, COMPOSER For over 30 years, four-time Oscar nominee Danny Elfman, has established himself as one of the most versatile and accomplished film composers in the industry. He has collaborated with directors such as Tim Burton, Gus Van Sant, Sam Raimi, Peter Jackson, Ang Lee, Rob Minkoff, Guillermo del Toro, Brian De Palma, James Ponsoldt and David O’ Russell. Beginning with his first score on Tim Burton’s Peewee’s Big Adventure, Elfman has scored over 100 films, including: Milk (Oscar nominated), Good Will Hunting (Oscar nominated), Big Fish (Oscar nominated), Men in Black (Oscar nominated), Edward Scissorhands, Batman, To Die For, The Nightmare Before Christmas, Alice in Wonderland, Silver Linings Playbook, American Hustle, Avengers: Age of Ultron, Spiderman, A Simple Plan, Midnight Run, Sommersby, Dolores Claiborne, and the Errol Morris documentaries The Unknown Known, and Standard Operating Procedure. Elfman’s other scores include the Warner Bros. blockbuster Justice League, Gus Van Sant’s Don’t Worry He Won’t Get Far On Foot, The Grinch for Universal, Tim Burton’s live action remake of Disney’s Dumbo, and the latest installment from Sony Pictures Men In Black: International starring Chris Hemsworth and Tessa Thompson. Upcoming for Elfman is the Universal Pictures’ family comedy The Voyage of Doctor Dolittle starring Robert Downey Jr. and Tom Holland. A native of Los Angeles, Elfman grew up loving film music. He travelled the world as a young man, absorbing its musical diversity. He helped found the band Oingo Boingo, and came to the attention of a young Tim Burton, who asked him to write the score for Pee-wee’s Big Adventure. 34 years later, the two have forged one of the most fruitful composer-director collaborations in film history. In addition to his film work, Elfman wrote the iconic theme music for the television series The Simpsons and Desperate Housewives. Elfman has expanded his writing to composing orchestral concert works which include: Serenada Schizophrana, a symphony commissioned by the American Composer’s Orchestra, which premiered at Carnegie Hall in 2005, Rabbit and Rogue, for the American Ballet Theater choreographed by Twyla Tharp, performed at The Metropolitan Opera house in 2008, and Iris for Cirque du Soleil directed by French choreographer Philippe Decouflé. In 2011, Danny Elfman’s Music from the Films of Tim Burton live orchestral concert premiered at Royal Albert Hall, and has since toured around the world and won two Emmys. In 2017 Elfman premiered his first violin concerto in Prague, which was performed by the Czech National Orchestra. This year, his first Piano Quartet, commissioned by the Berlin Philharmonic Piano Quartet, will premiere in the fall at the Berlin Philharmonie. “I need to push myself into new territory with fresh challenges as much as I can and whenever I can. I am told I have a recognizable style but my greatest pleasure is when I can surprise the audience with my music.”
PROGRAM OVERVIEW What if Batman played the violin? Well, it might sound like this extraordinary new violin concerto by legendary composer Danny Elfman! Danny composed this amazing work for the violinist Sandy Cameron, and I know you will love both the dark romance of the concerto and Sandy’s astonishing artistry. The second half of the concert features two Richard Strauss masterpieces. His profound portrait of death - and the soaring transcendent life beyond - will thrill and uplift you. We will close with his wild and sensuous Dance of the Seven Veils. I am so glad you are with us for these brilliant pieces!
American composer, singer, producer born: May 29, 1953, Los Angeles
Violin Concerto “Eleven Eleven” Grave, Animato Spietato Fantasma Giocoso, Lacrimae These are the first performances of this work on the Classics series; duration 40 minutes Raised in a creative home environment, Danny Elfman is largely self-trained in music through his wide range of experience in the entertainment industry. Beginning at age 21, he was the lead singer with the new wave band Oingo Boingo for almost 20 years. Elfman relates he received ‘unofficial’ formal training in music at the California Institute of the Arts. Among important influences from classical composers, Elfman credits Tchaikovsky, Bartók, Stravinsky, and Ravel, among several others. With regard to the violin concerto in particular, he cites his admiration for the four-movement masterwork by Shostakovich. Elfman’s achievements as a film and
television composer are highlighted by his sound track scores for Hollywood director Tim Burton, including the films Batman, Sleepy Hollow, and Planet of The Apes, among others. Elfman also wrote the themes for popular TV shows, including The Simpsons and Desperate Housewives. The violin concerto, Eleven Eleven, was jointly commissioned by the Prague Proms, the Stanford Symphony, and the Royal Scottish National Orchestra in 2017. In creating the score, Elfman corroborated with the violinist Sandy Cameron, whom he had met during productions for Cirque du Soleil in Hollywood. The title of the concerto derives from the length of the score, in sum: all four movements add up to 1111 measures of music.
Eleven Eleven begins with solemn, sustained harmonies under a pleading theme from the solo violin. Ominous dissonances unfold into a macabre interplay between soloist and orchestra. Elfman’s instincts for graphic effects offer an evocative scenario, highlighted by an intricate cadenza for the soloist. The music progresses to an imperious crescendo before the opening nuance returns at the close.
Spietato means ‘ruthless, relentless’ in Italian (unknown in the musical lexicon). The music of the second movement is launched in a scherzo-like caper, i.e. a caprice charged with savvy, 20th century motifs and pointed accents. As a graphic statement listeners may be reminded of Saint-Saëns’ Danse Macabre for violin, as the extended development continues à la madcap to the max. Elfman titles the third movement, Fantasma, offering a fantasy of tender innuendo in the opening strings, overlaid with searching dissonances. The soloist emerges from the depths with ascendant colors, and continues on a long enchantment with dream-like, wordless lyrics.
Giocoso - Lacrimae ( Joyfully - Tearful) are the style cues of the finale, a most unusual coupling, if not unknown in formal music. Jocular scampers in as the bassoons set the droll tone at the opening. A playground of impish effects color the scene with caricatures on the fly, clear to a majestic, dark crescendo at the downbeat of the Tearful memoir. Elfman concludes with voluminous, bigsky orchestral chords, which decline precipitously to a solitary and quiescent open E on the violin.
German composer born: 11 June 1864, Munich died: 8 September 1949, Garmisch-Partenkirchen
Tod und Verklärung, op.24 (Death and Transfiguration) First Classics performance: November 15, 1936, conducted by Franco Autori; most recent performance: October 6, 2001, conducted by JoAnn Falletta; duration 23 minutes
Credit for the invention of the ‘symphonic poem’ is generally accounted to Franz Liszt. But in fact he simply derived the term from the old Renaissance idea of a ‘tone poem’ (most often a poetic text sung over a simple accompaniment). Madrigal composers of that early period were fond of a device known as ‘tone painting’ - i.e. melody and harmony flowed with the storyline of a text. Leaping ahead three or four centuries we find that by around 1900 ‘tone poems’ had become a favorite mode in the concert halls of Europe, although the constructions were far from simple. In particular, ears were turned and tuned to the spectacular scores of Richard Strauss, who by then was regarded as the greatest master of the form. Strauss was just 26 when he completed Death and Transfiguration, a work which, along with Don Juan of the previous year, launched the young composer into the permanent limelight of serious music. As with most tone poems, there was a literary inspiration for Death and Transfiguration. But in this case the idea originated with Strauss himself, as he later wrote (in 1894) to his friend Friedrich von Hausegger: “Six years ago the idea occurred to me to write a tone poem which portrays the final hours of a man - an artist - who had striven to achieve the highest ideals. He lies in his bed, asleep, breathing heavily and irregularly. Gentle dreams bring a smile to his face; his sleep grows lighter. He wakens, only to be overwhelmed once again with horrible pain. His whole form trembles with fever. As the episode of agony passes, he recalls the time of his childhood, the time of his youth with its yearning and passion. But then, as the tormenting pain returns, he
reviews again the path of his life which was devoted to the absolute ideal, the goal he tried to reach but could not attain, even as he understood that no individual could ever achieve such perfection. At the moment of death, his soul leaves its embodied form, to find in the eternal cosmos the magnificent perfection which was impossible on earth.” Strauss’ letter may be viewed as the libretto for the wordless tone poem, which follows the text very closely. The music begins with quiescent poise in the strings, presenting long evocations of both sleep and the ascent of the artist’s ideal. The latter was a special favorite of Strauss, who used the rising melody again at the end of his life in his Lied Im Abendrot (At Sunset), the very last of his Four Last Song, which includes the lines:
Rings sich die Täler neigen, Around us the valleys close es dunkelt schon die Luft, The air already becomes dark zwei Lerchen nur noch steigen None but two larks ascend nachträumend in den Duft. Dreaming into the soft air. The larks symbolize the artist’s rising soul, ever nearer to paradise. On this point, Strauss remarked with irony on his own deathbed that the moment “... feels just as I had imagined it as a young man in Tod und Verklärung.” To be sure, characteristic of Strauss’ scores, the entire orchestra gets a workout. Note the important roles for the harp, the poetic valentines in the solo violin and various woodwinds, and, of course, the maddening episodes of angst, marked with a chilling stroke in the timpani. In turns, the power converts from anguish to resolve - and finally - into a tender apotheosis in celestial C major.
Richard Strauss Dance of the Seven Veils from Salome First Classics performance: March 18, 1951, conducted by William Steinberg; most recent performance: April 27, 1980, conducted by Julius Rudel; duration 10 minutes Richard Strauss was a master at telling stories in music - indirectly via stunning tone poems or directly via his gift for opera. Among his best known tone poems are Thus Sprach Zarathustra (the exciting music quoted in the Hollywood film 2001), separate scores on the notorious caballeros Don Quixote and Don Juan, a delightful portrait of Till Eulenspiegel’s Merry Pranks, etc. Among his operas are the lightweight Der Rosenkavalier and the very serious Salome, from which is extracted the Dance of the Seven Veils. The music of the Dance is entirely instrumental and is often performed as a mini-tone poem on its own. The story of Salome is based on a play of 1893 by the Irish playwright Oscar Wilde. From the original French, Strauss adapted the libretto (in one act) in 1904 from a German translation by Hedwig Lachmann. The storyline is based on the gospels of Mark and Matthew and concerns the imprisonment of the prophet John the Baptist by King Herod, who is reluctant to order his execution. But the young, beautiful and seductive Salome agrees to dance for Herod provided her any-wish is granted as reward. While Biblical accounts do not define the mode or manner of her dance, Wilde’s version, adopted by Strauss, calls for Salome to dance wearing seven veils, discarding each in turn. When her dance is finished, Salome demands the
head of John the Baptist, which she then anoints with kisses. Needless to say - the performances caused a rush of scandal all over Europe - but the censors were not fast enough and the work became an enormous success. It has been the custom for many years for a stand-in to perform the sultry dance, though some leading sopranos have performed the scene in full - i.e. au naturel.
As one might guess, Strauss’ spectacular music begins in a frenzy, with eastern colorings in the oboe and flute. And in unveiling turns, the score offers shades of rapturous color and a tantalizing waltz mid-way before wild passion retakes the scene, progressing relentlessly to its final denouement. program notes by Edward Yadzinski
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MEET A MUSICIAN NIKKI CHOOI, CONCERTMASTER Canadian violinist Nikki Chooi, praised for his passionate and poetic performances, has established himself as an artist of rare versatility. Described as “vigorous, colorful” by the New York Times, he has received critical acclaim in recent engagements at the Harris Theatre in Chicago, Kimmel Center in Philadelphia, Carnegie Hall and Kauffman Center in New York, Koerner Hall in Toronto, Place des Arts and Salle Bourgie in Montreal, as well as appearing as soloist with orchestras across Canada including the Montréal Symphony, Winnipeg Symphony, Calgary Philharmonic, Edmonton Symphony, and internationally with the St. Petersburg State Orchestra, Chamber Orchestra of Wallonie, National Orchestra of Belgium, Auckland Philharmonia, Malaysian Philharmonic, and Hong Kong Philharmonic. He has been featured at many international festivals with performances at the Marlboro Festival, Ravinia Festival, La Jolla Summerfest, Vancouver Recital Series, Moritzburg Festival, Kammermusik Utrecht, Dresden Music Festival, Olympus Festival in Russia, and Fundación Beethoven in Chile. Nikki has also delved into the orchestral repertoire, having served as Concertmaster of New York’s Metropolitan Opera Orchestra in 2016/2017 while working closely with singers and conductors including Renee Fleming, Elīna Garanča, Eric Owens, Fabio Luisi, and Esa-Pekka Salonen. His solos can be heard through The Met: Live in HD broadcasts in productions of Verdi’s La Traviata, Janacek’s Jenufa, and the Grammy-nominated recording of Strauss’ Rosenkavalier released on the Decca Label. He has also appeared as Guest Concertmaster with the Pittsburgh Symphony, Sydney Symphony, and Houston Symphony. A passionate educator, Nikki has presented masterclasses at the San Francisco Conservatory, Morningside Music Program at the New England Conservatory, Sphinx Academy at the Curtis Institute of Music, Hong Kong Cultural Center, and the University of Auckland. A recipient of prizes at the Queen Elizabeth and Tchaikovsky Competitions, Nikki was the 1st Prize Winner of the Montreal Symphony’s Standard Life Competition, the Klein International Strings Competition, and the Michael Hill International Violin Competition. He released his debut album of works by Prokofiev, Ravel, and Gershwin on the Atoll Label. With his brother, violinist Timothy Chooi, they perform as the “Chooi Brothers” in selective projects. The duo recently gave the world premiere performance of Sheridan Seyfried’s Double Violin Concerto at the Lake George Festival, toured Canada through Jeunesse Musicale and Prairie Debut, and were featured Canadian artists at the 2018 International G7 Meeting held in Whistler, British Columbia. In 2015, Nikki was a violinist in the crossover ensemble, Time for Three, performing in genres ranging from Bluegrass to Pop. In collaboration with From the Top and Universal Music, the group released a rendition of Taylor Swift’s “Shake it Off” to record-breaking views on YouTube. Nikki and his wife, JoAnn, are avid Toronto Raptors basketball fans, and Nikki is passionate about exploring the local coffee brews of each city he travels to.
SPONSOR A MUSICIAN Nikki Chooi, Concertmaster Sponsored by Clement and Karen Arrison
Natalie Piskorsky, viola
Sponsored by Dr. Patricia and Burt Notarius*
Ansgarius Aylward, assistant concertmaster
Matthew Phillips, viola
Douglas Cone, first violin
Kate Holzemer, viola
Sponsored Anonymously Sponsored by Bradford Lewis, Ph.D.
Diana Sachs, first violin
Sponsored by Gordon and Gretchen Gross
Alan Ross, first violin
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Loren Silvertrust, first violin Sponsored by Mrs. George F. Phillips, Jr.
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Janz Castelo, viola
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Feng Hew, associate principal cello
Sponsored by Kenneth Schmieder, in loving memory of Nancy L. Julian
Monte Hoffman, cello
Glenn Einschlag, principal bassoon Sponsored by Dr. and Mrs. Friedrich J. Albrecht
Martha Malkiewicz, bassoon/contrabassoon
Sponsored by Frances L. Morrison
Jay Matthews, French horn
Sponsored by Philip H. Hubbell, in loving memory of Jayne T. Hubbell
Sheryl Hadeka, French horn Sponsored by Lawton* and Linda Johnson
Alex Jokipii, principal trumpet Jennifer Dowdell, in memory of Charles and Nancy Dowdell
Jonathan Lombardo, principal trombone
Andrea Blanchard-Cone, first violin
Robert Hausmann, cello
Melanie Haas, first violin
David Schmude, cello
Antoine Lefebvre, principal second violin
Amelie Fradette, cello
Matthew Bassett, Principal timpani
Brett Shurtliffe, associate principal bass
Mark Hodges, Principal percussion
Jonathan Borden, bass
Dinesh Joseph, percussion
Henry Ward, principal oboe
Cheryl Losey-Feder, Principal harp
Sponsored by Drs. Clement and Margot Ip Sponsored by Sue Fay & Carl
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Jacqueline Galluzzo, associate principal second violin Sponsored by Sandra and Dennis McCarthy
Richard Kay, second violin
Sponsored by Joyce L. Wilson
Jeffrey Jones, second violin Sponsored by Mr. and Mrs. George G. Herbert
Amy Licata, second violin
Sponsored by David I. Herer on behalf of ABC-Amega, Inc.
Diane Melillo, second violin
Sponsored by Jack* & Ellen Koessler
Shieh-Jian Tsai, second violin Sponsored by Joyce L. Wilson
Valerie Heywood, associate principal viola
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Anna Mattix, oboe/English horn
Sponsored by Jennifer Lawner In memory of Scott Parkinson, my brother
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Patti DiLutis, clarinet
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Jennifer Dowdell, in memory of Charles and Nancy Dowdell
To learn more about the Sponsor a Musician program, please contact Guy Tomassi at (716) 242-7821 or firstname.lastname@example.org.
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The Buffalo Philharmonic Orchestra gratefully acknowledges contributions received from the following individuals and foundations who gave $500 and above through August 8, 2019. 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 Mr. Angelo A. Fatta The John R. Oishei Foundation
$50,000-$149,999 Anonymous Clement & Karen Arrison Mr. Brent Baird Mr. and Mrs. Brian D. Baird Mark Chason & Mariana Botero Chason Louis P. Ciminelli Family Foundation Cullen Foundation John & Carolyn Yurtchuk
$25,000-$49,999 Cindy Abbott Letro and Francis Letro Mr. Bruce C. Baird & Mrs. Susan O'Connor-Baird The Robert and Patricia Colby Foundation Carmela M. Colucci Grigg Lewis Foundation Montgomery Family Foundation Mulroy Family Foundation Mr.* and Mrs. George F. Phillips, Jr.
Maestroâ€™s Circle $10,000-$24,999
Anonymous (2) Sue Fay Allen & Carl Klingenschmitt Joan and Peter Andrews Family Foundation The Baird Foundation Mr. Charles Balbach The Better Buffalo Fund at the CFGB Anthony & Barbara Cassetta Arthur W. & Elaine I. Cryer Donald MacDavid Charitable Trust Jennifer Dowdell, in memory of Charles and Nancy Dowdell Bob & Doris Drago Ms. JoAnn Falletta & Mr. Robert Alemany Robert J. & Martha B. Fierle Foundation Patricia & William Frederick The Garman Family Foundation George and Bodil Gellman Mrs. Amy Habib-Rittling and Mr. Mark Rittling Daniel & Barbara Hart Carlos and Elizabeth Heath Foundation Mr. and Mrs. George G. Herbert Hooper Family Foundation Bonnie and Nick Hopkins Mr. Philip H. Hubbell, in memory of Jayne T. Hubbell Bruce and Gail Johnstone Roberta & Michael Joseph Mrs. Ellen T. Koessler Wilfred and Joan Larson Fund Dr. Bradford Lewis, Ph.D. Mr. and Mrs. Carl J. Montante, Sr. Svetla and Doug Moreland Mr.* and Mrs. Reginald B. Newman II Thomas Rolle and Deborah Henning Roy and Ruth Seibel Family Foundation Scott R. and Rachel C. Stenclik The Vincent and Harriet Palisano Foundation Jim and Michal Wadsworth Jack Walsh, in memory of Connie Walsh Christine Standish & Chris Wilk
Sally and Don Dussing Peter & Maria Eliopoulos Mr. and Mrs. Warren E. Emblidge, Jr. Lynne Marie Finn Mrs. John B. Fisher Ms. Sarah C. Goodyear Ms. Constance A. Greco Dr. Elisabeth Zausmer and Dr. Angel A. Gutierrez David and Eva Herer The Hicks Fund Monte Hoffman & Niscah Koessler Dr. and Mrs. Curtis F. Holmes John J. and Maureen O. Hurley Martha & Tom Hyde Drs. Clement and Margot Ip Linda Johnson Joy Family Foundation Michael & Marilee Keller Mr. and Mrs. Charles F. Kreiner, Jr. Kurt Weill Foundation for Music Wilfred and Joan Larson Fund at the CFGB Mr. and Mrs.* Philip Kadet The Linton Foundation Lorinda McAndrew Voelkle Foundation Mr. and Mrs. William Maggio Charles & Judith Manzella Sandra and Dennis McCarthy Frances L. Morrison Mrs. Sheila M. Nancollas Patricia Notarius/ Premier Group The Ralph F. Peo Fund at the CFGB Mr. and Mrs. Edwin Polokoff Mr. Dennis P. Quinn Robert and Nancy Warner Memorial Fund at the FJP Adam Rome and Robin Schulze Joseph & Carole Sedita Lowell and Ellen Shaw Monica and Stephen Spaulding Mr. and Mrs. Daniel Sperrazza Steve & Nicole Swift Gary and Katharina Szakmary Carolyn & Joe Voelkl Martha and John Welte Robert and Judith Wetter The Ralph C. Wilson, Jr. Foundation Wayne* & Janet Wisbaum
Encore Circle Concertmasterâ€™s Circle $2,500-$4,999 $5,000-$9,999 Douglas Bean and Elisa Kreiner Anonymous (2) Mrs. Vanda Albera James and Linda Beardi James M. Beardsley & Ellen M. Gibson Mr. Joseph F. Casey Donald F. & Barbara L. Newman Family Foundation
Ann N. Bonte Joanne Castellani & Michael Andriaccio Ms. Elizabeth G. Clark Ms. Anne E. Conable Judith Clarke & Alan Dozoretz Ms. Ruth Irene Dwigans Mr. and Mrs. Douglas Easton
Drs. Kevin and Elizabeth Barlog Dave & Wendy Barth Patricia S. Beagle Thomas R Beecher Jr Dr. David B. Bender Berardi Immigration Law Ms. Alison Bolton BPO Diversity Council The Reverend and Mrs. Peter Bridgford Laura and Josh Brodie Mr. James A. Brophy, Jr. Mr. and Mrs. John Burkholder Dr. and Mrs. John L. Butsch Janet M. Casagrande Rudolph and Ann* Casarsa Joanne Castellani and Michael Andriaccio Charitable Trust Cheryl I. Christie Robert & Karen Christmann Ms. Rosemary Christoff Dolan in memory of Gerald Christoff, composer and pianist Emmy Lou Churchill Dr. Sebastian and Mrs. Marilyn Ciancio Ruth C. Cisek Nan & Will* Clarkson Elizabeth B. Conant and Camille Cox Ellen Todd Cooper Don and Andrea Copley Mr. Michael P. D'Ambrosio Beverly Davies Dr.* and Mrs. David C. Dean Clotilde & Trey Dedecker James & Mary Frances Derby Dr. Timothy G. DeZastro Duane and Nancy DiPirro Joan M. Doerr Richard and Cornelia Dopkins Ellen & Victor* Doyno Edward G Eberl Cynthia Swain and Stephen Edge Dr. Sanford H. Eisen Elsie P. & Lucius B. McCowan Private Charitable Foundation Joyce E. Fink Dr. Mildred J. Fischle Thomas & Grace Flanagan Peter & Ilene Fleischmann Mrs. Beth Fleming Ms. Margaret A. Frainier Eileen & Laurence Franz Bravo Circle Patricia B. Frey, Ed.D. $1,000-$2,499 Mr. and Mrs. David Fried Anonymous (5) Rick Friend Morton & Natalie Abramson Theodore & Joan Geier Phil & Nan Ackerman Gerald and Jody Lippes Dr. and Mrs. Fred and Bonnie Ms. Dolores S. Gernatt Albrecht Mr. and Mrs. Michael A. Giambra JoAnne Alderfer Lynne and Joe Giroux Burtram W. & Ellen Anderson Ms. Carol A. Golder Ann Holland Cohn Endowment Fund Mark Goldman at the FJP Marc J. Goldstein Reverend James M. Augustyn Dr. Susan Graham and Dr. Jon C. Bradford Banks Kucera Mary L. and Ronald E* Banks Adrienne Tworek-Gryta and Mr. Steve Earnhart and Mrs. Jennifer Matt Gryta Barbee Thomas J. Hanifin Marion S. Fay Mrs. Marta Fernandez Friends of the BPO Mr. Edward N. Giannino Jr. Dr. Samuel Goodloe, Jr. Drs. James Grunebaum & Penelope Prentice Dr. Barbara W. Henderson Philip M. and Marion Henderson Mr. James & Mrs. Diana Iglewski Dr. and Mrs. Robert D. Jacobi Joseph & Anna Gartner Foundation Mr. William P. Keefer Dr. Kathleen Keenan-Takagi Mr. Dwight King & Ms. Leslie Duggleby James & Leslie Kramer Norma Jean Lamb Susan B. Lee Steve & Sandy Levinthal Sr. Beatrice Manzella William and Jane Mathias Mr. and Mrs. John R. McClester Mr. and Mrs. Sheldon E. Merritt Denise & Ron* Rezabek Ms. Beth Mooney Anne Moot Michael and Lorrie Munschauer Mr. and Mrs. James D. Newman Pappalardo Family Foundation Mrs. Michelle Parrish Mary Jane and Walter Pawlowski Mrs. Susan A. Potter Ms. Georgeann W. Redman David & Joan Rogers Dr. Annie Schapiro Ken Schmieder and Nancy Julian* Ronald Frank & Anne Schneider Dr. Gilbert Schulenberg Ms. Betty J. Schultz Dr. Maxine Seller Joan and Roger Simon Dr. Joyce E. Sirianni and Mr. John Owen Mr. Gerould R. Stange Dr. Joseph R. Takats, III Nicole & Nicholas Tzetzo Mrs. Dorothy H. Westhafer Young Presidents Organization Inc, Empire State John and Deanna Zak C. Richard and Joyce T. Zobel
Mr. and Mrs. Van N. Harwood, Jr. Mrs. G. Wayne Hawk Mr. Donald J. Hayes Dave & Katie Hayes Michele O. Heffernan & John J. Cordes Mr.* and Mrs. Sherlock A. Herrick, Jr. Richard and Lynn Hirsch Stuart & Ellin Hirsch Mrs. Alice Jacobs Mrs. Pamela R. Jacobs Mr. Edward Jacowitz Thomas and Deborah Jasinski Luella H. Johnson Craig & Deborah Johnston Edwin M. Johnston, Jr. Benoy and Suzanne Joseph Mary Ann & Stephen Joyce Dr. and Mrs. Kenneth R. Kahn Ms. Jennifer Kartychak Dr. Joseph M. Kelly, Esq. Milton Kicklighter Douglas and Nancy Kirkpatrick Rosalind and Michael Kochmanski The Kociela Family Philanthropic Fund John and Carol Kociela Fund at the CFGB Mr. and Mrs. Jean Pierre A. Koenig Ken & Paula Koessler Bob & Liz Kolken Kenneth A. & Gretchen P. Krackow Mr. and Mrs. Robert J. Kresse Joan Kuhn RisĂŠ & Kevin* Kulick Dr. and Mrs. C. Frederick Kurtz Drs. Jeffery Lackner and Ann Marie Carosella Dr. and Mrs. Kevin W. Lanighan Mr. and Dr. John M. Laping Mr. Donald Latt Christopher Lightcap Judy Marine Randy & Diana Martinusek Mr. George L. Mayers Ms. Michaelene J. McFarlane McLain Foundation The Honorable Ann T. Mikoll Ms. Pennie C. Misuraca Mitchell Family Philanthropic Fund at the Community Foundation for Greater Buffalo Michael and Alex Montante Ms. Sharon F. Mortin Barbara & Gerry Murak Mr. and Mrs. Franklin Nice Dr. Thomas Nochajski Dr. Michael F. Noe Douglas & Laurette* Oak Mr. and Mrs. Randall M. Odza William & Lori Pacer Judith Parkinson Laurence & Sylvia Paul Lois & Tom Pause Dr. Philip & Mrs. Paula Penepent Richard & Karen Penfold Erin M. Peradotto Mr. Robert S. Petersen Ms. Christye Peterson and Mr. Peter J. Grogan Gregory Photiadis and Sandy Chelnov Gunther & Dorothy Piepke
David C. Pixley and Dr. Laura V. Morrissey Mr. and Mrs. Robert W. Plyler Mr. Paul J. Polokoff Henry & Patty Porter Joseph and Pamela Priest Mr. and Mrs. Joseph Priselac, Jr. Scott Propeack and Heidi Freedman Ted and Mary Ann Pyrak Peter & Nancy Rabinowitz Ms. Elaine Ragusa Corinne & Victor Rice Foundation Ms. Mary Anne Rokitka Rose H. and Leonard H. Frank Community Endowment Fund Ruth and Darwin Schmitt Fund at the CFGB Maureen W. & Dr. Richard J. Saab Anne Saldanha M.D. Mr. Destin Santacrose William & Elizabeth Savino Denise M. Scheig Ms. Sara Schneider Susan and Jeffrey Schwartz Mr. Michael B. Sexton and Dr. Sandra Sexton Drs. Caren & Stuart Shapiro Mr. and Mrs. John W. Sherman Charles E. and Penelope R. Shuman Philanthropic Fund Frank & Deeta Silvestro Dr. Sharon Simpson Sara Gregg Skerker Melissa & Kurt Spaeth Stephen Still Alma and Malcolm Strachan Mr. and Mrs. David G. Strachan Dr. Gerald Sufrin & Dr. Janice Sufrin Gary R. Sutton Mr. and Mrs. Thomas W. Symons Joseph R. Takats Foundation Jim & Connie Tanous Mr. Ivan Tarnopoll John and Susan Thomas Nancy B. Thomas Mr. Jeffrey J. Thompson Dr. Ann M. Bisantz and Dr. Albert H. Titus Hon. and Mrs. Paul A. Tokasz William and Patricia Townsend Mark and Maansi Travers Mr. William Vosteen Nellie B. Warner Endowment Fund Dr. and Mrs. Richard A. Wiesen William & Ida Christie Fund for Music Shari Willis Barry & Donna Winnick Paul M. Wos Gregory and Donna Yungbluth Mr. Paul Zarembka Ms. Barbara M. Ziegler Dr. Gregory Castiglia & Dr. Valerie Zingapan Drs. Bill Ziter & Cathy Gogan
Anonymous (4) Steve & Jean Ambroselli
Mr. Joshua Arcadi Mr. and Mrs. James M. Arena Ms. Joyce Bailey Mr. and Mrs. Teo Balbach Mrs. Susan Baumler Mr. Donald M. Behr Benjamin and Lila Obletz Endowment Fund Ms. Linda M. Betzer Peg Beyer Alice F. Bird Mr. and Mrs. Gary A. Blessing Renate Bob Drs. Philip Glick & Drucy Borowitz Mrs. John M. Bozer Bruce and Jill Brown Mrs. Dorothy J. Brown Ms. Bette J. Brunish Buffalo Academy For Visual and Performing Arts R. R. Bujnicki Dr. Barbara B. Bunker Tim and Belle Butler Margaret C. Callanan Joseph and Susan Cardamone Jerry* & Barbara Castiglia Miss Victoria A. Christopher Carol and Robert Chur Ms. Paula Ciprich Gary Cohen Dr. and Mrs. Michael E. Cohen Collins Charitable Foundation Bob and Susan Conklin John and Patricia Connolly Mrs. Donanne S. Coovert Dr. and Mrs. Harold G. Corwin, Jr. Mr. and Mrs. Bernard W. Cryan Jean McGarry and James F. Cunning Mr. Peter Curtis Ms. Ellen J. Daly Mr. and Mrs. Walter Dannhauser Dr. Juan F. de Rosas Jonathan Dewald Julie Klotzbach and Gary Diamond Mr. and Mrs. Anthony N. Diina Wendy Diina Deborah DiMatteo Miriam & Peter Dow Mr. and Mrs. Shaun T. Doyle Dr. Jack and Inez Lippes Foundation Mrs. Marguerite G. Drinnan Mr. David T. Duff Mr. Edward Eardley Amy P. Early M.D. Mr. and Mrs. Arthur Efron Robert & M. Jane Ehrke Mr. Francis E. Evans Hon. Leo and Johanna Fallon James Farry Robert & Victoria Fenstermaker Fern & Joel Levin Mrs. Judith Ferrentino Mr. and Mrs. Kim A. Ferullo Michael R. Fiels & Mary T. Ricotta Edward* and Cynthia Fisher Loretta Fizpatrick Robert and Ruth Fleming Rita A. Forman Sue Gardner
William H. Gardner Donald Gibson Mr. Otis Glover George and Cecelia Grasser Mr. William A. Greenman Carol H. Grieco Ms. Jane Griffin Dr. Kenneth W. Gross Sona Grovenstein John I. and Susan Gullo L. Haniford Martha Haseley Barbara R. Hayes Dr. and Mrs. Reid R. Heffner, Jr. Ms. Sharon M. Heim and Mr. David Wahl Mr. and Mrs. Fred R. Hemmer Carla J. Hengerer Dr. Theodore Herman and Ms. Judith Ann Cohen Richard and Virginia Hillegas Dr. & Mrs. Ralph W. Hinds, III Mr. Paul A. Hojnacki Duncan C. Hollinger Mr. and Mrs. John K. Howell Mr. John Hurld Mr. and Mrs. Charles P. Jacobs William & Genevieve James Michael & Janette Neumeister RenĂŠe Joffe & Children Mr. Alex Jokipii and Ms. Shari L. McDonough Katherine K. Juhasz Drs. Richard and Barbara Jurasek Dr. Faye Justicia-Linde Mr. Charles J. Kaars Len & Judy Katz Theresa Kazmierczak Msgr. Patrick Keleher Kathie A. Keller Ms. Bettyann Kinyoun Juliet E. Kline Robert and Barbara Klocke Carol & John* Kociela Mr. and Mrs. Thomas Konopa Mr. and Mrs. Paul C. Koppman Mr. Charles Korn and Dr. Deborah Raiken Ms. Catherine A. LaPorte Dr. John Leddy and Dr. Carmen Alvarez Faye S. Levy Holly & Jordan Levy Dorothy M. Lien Joan Light Drs. David B. and Madeline A. Lillie Catherine and Matt Lincoln Howard and Lorna Lippes Joel & Andree Lippes Frank & Kitty* Lysiak Allcare Family Services, Inc. Karen Magee Lucy C. Maisel Paul & Marilyn Koukal Alexandra Merritt Mathews Dr. and Mrs. Walter S. Mayo Stephen McCabe and Gretchen Wylegala Mr. Scott W. McCone Mrs. Barbara A. McCulloch
Dr. G. Allen McFarren Kate McGhee Louise McGrath Michael and Lucille Melton Drs. Michael M. and Erika A. Metzger Dr. and Mrs. Franklin H. Meyer David and Gail Miller Dr. and Mrs. Donald E. Miller Hugh and Joan Miller Mr. John E. Milner Denis & Elizabeth Miranda Mrs. Sally Moehlau Dr. and Mrs. Herman S. Mogavero, Jr. Mr. and Mrs. Van Mollenberg James & Mona Kontos Robert and Nancy Morey Mr. and Mrs. Peter J. Morphis Sandra G. Morrison and Melvin Livingston Robert Moskowitz and Mary McGorray Sarah & Richard Munschauer Philip Nicolai and Mary Louise Hill Christa and Jim Nolan Karen and Howard Noonan Ed and Dawn Northwood Susan D. Nusbaum Mr. and Mrs. Patrick O'Brien Tim O'Brien Fund at the FJC Mr. John O'Connor Bernard & Linda O'Donnell Ann C. Pappalardo Mrs. Phyllis Vogt
Karen L. Podd Mr. James and Mrs. Nancy Poole Katherine Powell and Ann K. Wittowsky Charles and Joanne Privitera Ms. Carol Dean Privitera Drs. Igor and Martina Puzanov Mr. Alessandro & Mrs. Karen Renzi Mr. and Mrs. Allan Ripley Mrs. Susan C. Robinson Mr. and Mrs. Edward L. Schaefer Mr. Philip Rumore Revs. Melody and Rodney Rutherford Mr. and Mrs. Mark W. Schack Mr. and Mrs. W. Scott Schaefer William Scheider Mr. and Mrs. Roger L. Schintzius Gary & Barbara Schober Gwendolyn R. Schopp Paul & Peggy Schulz Mary Anne Seifert Mr. and Mrs. Lawrence D. Seymour Mr. and Mrs. Stephen C. Shewan Edward and Elizabeth Simmons Robert & Jeanne Spampata Ruth & Ted Steegmann James and Karen Stephenson Mr. Edwin F. Stohrer, Jr. Mr. Joseph Sullivan Marilyn & Irving Sultz Mr. Ronald G. and Mrs. Margaret N. Talboys Dr. & Mrs. Thomas B. Tomasi Mr. Guido A. Tomassi
Garin Tomaszewski Lyle & Phil Toohey Mr. and Mrs. Toscano Sheila Trossman Joan B. Trump John H. Twist, D.D.S. Christopher Tzetzo Susan & Ron Uba Mr. and Mrs. Thomas H. Van Nortwick Dr. & Mrs. Raymond C. Vaughan Mrs. Lawrence Vilardo Villa Maria College Mrs. Roberta M. Vincent Ms. Melva D. Visher Ms. Suzanne J. Voltz Robert Vosteen Andrew and Pamela Warner Mr. Jeffrey Weber Mrs. Helen Weiser Ms. Marlene A. Werner Ms. Doris Mae Whitwell Ms. Karen Wielinski Mr. & Mrs. Paul A. Willax Edwin* & Judy Wolf Mr. and Mrs. Martin Wolpin Quinn & Jewell Wright Ms. Kelly Ann Wright Arden and Julie Wrisley The Yadzinski Family Mr.* and Mrs. James C. Yuhnke Amy M. Zeckhauser* Mr. and Mrs. Walter Zylka
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 between May 29, 2019 and August 8, 2019.
In Memory of Charles Holly Augspurer President, BPO: 1951-1952 Holly Augspurger Donaldson, and Ann (Nini) Augspurger Crane
Ethel Kirkpatrick & Charlotte Joy Joan P. Kirkpatrick Eugene Kelly Anthony & Jane DiMaggio Jack Koessler Ken & Paula Koessler
Jim Barbee Monte Hoffman & Niscah Koessler Joan & Roger Simon Louis Lazar Nicole & Nicholas Tzetzo Mark Chason & Mariana Botero Chason Anthony T. Mastandrea Joseph Castiglia Barbara Castiglia Geraldine Ciprich Ms. Paula Ciprich Dr. Fraser B. Drew James A. Brophy
Joseph Militello Ms. Sara J. Tower Ms. Geraldine Neff Luigi Tomassi Guy Tomassi Dr. Lynne White Scheider William Scheider
Edward Gerstel BPO violist Susan J. Elkin
Leah Schneider Rich and Ann Kellman
Gordon Gross Mr. and Mrs. Robert J. Kresse
Maksym Sugorovskiy Daniel J. Cantor
In Honor of Salvatore Andolina Mr. John C. Lowe Dr. Evan Calkins In honor of his 99th birthday Judy Marine JoAnn Falletta & the BPO Musicians Marvin & Marcia Frankel JoAnn Falletta Mr. and Mrs. Edwin Polokoff Angela Zimmerman Kim Schepart
Council Member David Franczyk | Council Member Joel Feroleto New York State Senator Chris Jacobs
The New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature
Check out YOUR Buffalo Philharmonic Orchestra online!
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(716) 783-9119 buffalospree.com
Musical Heritage Society
We are pleased to list the current members herein because they have realized the importance of “the gift that keeps giving.” Each of these individuals or couples have made provisions for a contribution to the BPO in their estate plans and while there are many different methods, the most common is by adding the BPO as a beneficiary in one’s will. Rev. Russell A. Newbert Angelo & Carol Fatta Anonymous (4) Drs. Howard & Karen Noonan Marion Fay Charlotte C. Acer Robert & Marion North Fund Dr. Mildred J. Fischle Elizabeth & John Angelbeck George F. Phillips, Jr.* Judith & John* Fisher Rita Argen Auerbach Mrs. Frederick S. Pierce Marjorie* and William Gardner Charles Balbach Edwin Polokoff Richard E. Garman* Jennifer Barbee Susan Potter Donald M. Behr & Samuel E. Lolinger* Edward N. Giannino, Jr. Dennis Quinn Mr. George Eagan Ginther The Reverend and Virginia Ann Quinn Mr. & Mrs. Byron R. Goldman Mrs. Peter W. Bridgford Evelyn Joyce Ramsdell Ms. Constance A. Greco James A. Brophy & Fraser B. Drew* Sylvia L. Rosen Susan J. Grelick Daniel R. Burch John and Susan Rowles Gordon & Gretchen Gross Anthony J. Cassetta Nancy E. Ryther* Peter Hall & M.E. O'Leary The Joanne Castellani and Paul and Gerda Sanio Michael Andriaccio Charitable Trust Marion Hanson Kenneth Schmieder, Margaret W. Henry Barbara & Jerry* Castiglia In memory of Nancy L. Julian Mr. & Mrs. George G. Herbert Gerard and Rachel Catalano Glibert Schulenberg Monte & Cheryl* Hoffman Ida Christie* Betty J. Schultz Mrs. L. Nelson Hopkins, Jr.* Victoria A. Christopher Catherine F. Schweitzer Philip H. Hubbell In honor of JoAnn Falletta and Joseph and Carole Sedita in memory of Jayne T. Hubbell Donald McCrorey Roger & Joan Simon Dr. Sebastian and Mrs. Marilyn Ciancio Paul A. Imbert Mr. & Mrs. Robert B. Skerker Bruce and Gail Johnstone Louis & Ann Louise Ciminelli Dennis M. Smolarek Theresa Kazmierczak Ms. Elizabeth G. Clark Jane Snowden* Dr. & Mrs. Kenneth R. Kahn Mr.* & Mrs. William M. Clarkson Monica and Steve Spaulding Kathleen Keenan-Takagi Mary E. Clemesha* Harriet Stewart* The Herbert & Ella Knight Ruth Cohan* David D. Stout & Family Charitable Fund Mrs. George Cohn Janet E. Popp Stout Rosalind and Michael Kochmanski Dr. Elizabeth Conant Gerald R. Strauss Dr. Merrily Kuhn and Ellen Todd Cooper Sue W. Strauss Mr. James Kulwicki Rev. Raymond G. Corbin Cecelia Tachok* Norma Jean Lamb Marilyn R. Cornelius Nancy B. Thomas Eric E. & Ruth F. Lansing Dr. Sharon F. Cramer and Therese M. Vita Mr. & Mrs.* Wilfred J. Larson Mr. Leslie R. Morris* Jim and Michal Wadsworth, Kalista S. Lehrer* in honor of the BPO Viola Section as trustees of the Mulroy, Steve & Sandy Levinthal Sandra B. Cumming Heath and Colby Foundations Bradford Lewis, PhD Beverly Davies Dr. Bernard D. Wakefield* Gerald & Barbara Lipa Mrs. Roberta Dayer Mrs. Robert Warner* Francie D. & Joel N. Lippman Tim DiCarlo Marjorie W. Watson Marie Marshall* Mr. and Mrs. Anthony N. Diina Dorothy Westhafer Mr.* & Mrs. J. A. Mattern Charles* & Nancy* Dowdell Wayne* & Janet Wisbaum Sandra and Dennis McCarthy Ellen & Victor* Doyno Elizabeth Ann Withrow Michael and Lorrie Munschauer Sarah & Donald Dussing Mr.* and Mrs.* J. Milton Zeckhauser Donna & Leo Nalbach Jeanne C. Eaton* *deceased
Anonymous AJL Fund Lawrence M. Appleby Fund at the CFGB Cameron Baird Fund Benderson BPO Endowment Fund Virgil A. and Margaret L. Black Memorial Fund Philip & Joyce Celniker Fund Irwin H. Cheskin Fund at the CFGB Mildred Bork Conners & Joseph E. Conners Fund Buffalo Philharmonic Orchestra Society Inc. Endowment Fund Grace Neff Daniels Memorial Anne Catt Filer Fund at the CFGB
Howard F. Gondree Fund Joan Hetzelt Hanifin Memorial Fund D. Bruce and Gail Johnstone Fund at the CFGB The Herbert & Ella Knight Family Charitable Fund John and Carol Kociela Fund at the CFGB Janet K. Larkin & John D. Larkin III Fund Albert H. Laub Bequest Donald I. MacDavid Charitable Trust Marie A. Marshall Fund MPZ Endowment Fund Benjamin and Lila Obletz Endowment Fund Mary Louise Olmsted Fund
Susan Harvey Prentis Fund Margaret Frank Rofot Charitable Lead Trust Natalie Kubera Roth Fund Martin and Barbara Schechtman Charitable Remainder Unitrust William Kenneth Schmitt Fund Dr. & Mrs. Roy E. Seibel Philanthropic Fund Joseph and Loretta Swart Fund Nellie B. Warner Endowment Fund Charlotte Potter Whitcher Trust
To ensure your wishes are carried on for the BPO for generations to come, you may call Guy Tomassi (716) 242-7821 for more information. The Buffalo Philharmonic Orchestra endorses the LEAVE A LEGACY® WESTERN NEW YORK program, an initiative of the WNY Planned Giving Consortium and a public awareness campaign of the National Committee on Planned Giving.
SPOTLIGHT ON SPONSORS
BPO ADMINISTRATIVE STAFF Administration Daniel Hart
Patron Services Representatives
Associate Director and Director of Development
Director of Special Projects Associate Director of Development
Katie Bates Johnson
Anne Boucher Bethany Erhardt Scott Kurchak Amanda Paruta
Director of Marketing
Digital Marketing Manager
Kleinhans Music Hall Staff
Cary Michael Trout
Program Annotator & Historian
Master Electrician, IATSE local 10
Lisa J. Gallo
Jennifer N. Comisso
Major and Planned Gifts Officer
Annual Fund Manager
Nicole Murray Megan Smith Guy Tomassi
Director of Artistic and Orchestra Operations
Concessions Manager Hospitality Supervisor
Director of Concert Production Personnel Manager Event Manager
Education and Connor Schloop Community Engagement Operations Coordinator Robin Parkinson
Sales and Patron Services
Director of Education and Community Engagement Education Manager
Audience Services Manager
Senior Manager of Patron Services
Nicole M. Bodemer
Director of Finance
Box Office Assistant Manager
Group Sales Coordinator
Finance/Accounts Payable Associate
Payroll and HR/ Benefits Administrator
PROGRAM BOOK PRODUCED BY
ART & PRODUCTION
Jennifer Tudor Adam Van Schoonhoven
PRODUCTION DIRECTOR PRODUCTION MANAGER
SENIOR GRAPHIC DESIGNERS
Joshua Flanigan | Kim Miers | Andrea Rowley GRAPHIC DESIGNERS PRESIDENT & CEO Sharon
Levite PUBLISHER/CHIEF REVENUE OFFICER Barbara E. Macks ASSOCIATE PUBLISHER/EDITOR-IN-CHIEF Elizabeth Licata VICE PRESIDENT/DIRECTOR OF PRODUCTION & ADVERTISING Jennifer
Tudor Michele Ferguson CREATIVE DIRECTOR Jean-Pierre Thimot
VICE PRESIDENT/ADMINISTRATIVE & FINANCE
Kristen Thomas | Nicholas Vitello PRINTING BY
Zenger Group TO ADVERTISE
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PATRON INFORMATION Lobby doors open 90 minutes before the concert is scheduled to begin, or earlier depending on pre-concert activities. All performances begin promptly at the designated time.
ASSISTED SEATING/ WHEELCHAIR ACCESSIBILITY Patrons requiring special assistance are encouraged to contact the Box Office prior to attending a concert. New Main Floor options are available for patrons using mobility aids or requesting a wheelchair accessible location and accompanying companion seating. Please notify the parking attendant upon arrival to inquire into availability of one of our handicapped parking spaces. Please note: there is no elevator to the balcony level.
Cameras, Recording Devices Photography is permitted in the hall before and after concerts, but all devices must be turned off during a concert. It is strictly forbidden to record, photograph, or film a performance.
Shuttle Service and BPO Preferred Restaurants BPO Parking at Kleinhans $8; Coffee Concerts and BPO Kids $5 FREE Park and Ride Shuttle (SELECT Saturdays) Shuttle service begins at 6:30pm and ends 30 minutes following the end of the concert. Visit bpo.org for more information. • D’Youville College Lot D, 430 West Avenue between Connecticut & Porter Ave, 14213 • NEW! BPO Clement House, 786 Delaware Avenue corner of Summer Street, 14209
SALVATORE’S ITALIAN GARDENS
6461 Transit Rd, Depew, NY. $35 prix-fixe “Symphony Menu”. Call (716) 683-7990 for dinner reservations. SYMPHONY SHUTTLE For $13 per person. Enjoy shuttle service to and from Kleinhans on Saturday nights. To reserve shuttle, call (716) 885-5000 and select option 1. Dinner and shuttle sold separately. The shuttle leaves promptly at 7pm.
Late Arrivals Patrons arriving after the performance has started will be seated at the discretion of the House Manager. Seating will not be until the first suitable break or at intermission. Late seating may not be in the purchased location. • 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.
Medical/Security 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 Lower Level. For more information or to make reservations, Call (716) 881-4438.
BUFFALO GRAND HOTEL
120 Church Street, Downtown Buffalo. $35 three-course prix-fixe menu. Complimentary parking and shuttle service for patrons to and from Kleinhans on concert nights. Call (716) 845-5100, ext. 0 for reservations and information.
31 N. Johnson Park and Elmwood Avenue, Downtown Buffalo. Complimentary shuttle service for patrons to and from Kleinhans on concert nights. Call (716) 332-3131 for reservations and information.
ECKL’S @ LARKIN
703 Seneca Street, Buffalo (Larkinville). Prix-fixe menu available. A mid-century supper club providing complimentary parking and shuttle service between the restaurant and Kleinhans for patrons during the BPO season. Reservations required. Dinner reservations required. Call (716) 331-3242 for more information.
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Buffalo Philharmonic Orchestra 2019-2020 Season: Program Book 1