BPO 2022-2023 Season: Program Book 1

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TABLE OF CONTENTS | SEPTEMBER 17 THROUGH OCTOBER 8 BPO Board of Trustees/BPO Foundation Board Directors


BPO Musician Roster


Midori Returns


Hispanic Heritage Celebration


The Doo Wop Project


The Lukas Foss Legacy


Gladys Knight


Annual Fund


Spotlight on Sponsor


Patron Information


M&T Bank Classics Series September 17 September 21

BPO Pops Series September 23 and 24

M&T Bank Classics Series September 30 and October 1 BPO Pops Series October 8


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 Buffalo and Western New York are a vibrant bundle of energy this time of year, with the curtain rising on numerous cultural seasons, sporting events kicking off, and campuses teeming with students, all while our beautiful Buffalo summer fades into the sunset. We here at the BPO have been abuzz with activity, as well, preparing for another outstanding season of memorable music. We set the bar high, following several stand-out performances and our return to full force last season. Among the programs this fall is the appearance of seven-time Grammy winner Gladys Knight on the Pops series, an undeniable legend in the music industry. And in November, one of the best-known classical musicians of our time – virtuoso cellist, educator, humanitarian, the iconic Yo-Yo Ma – returns to the BPO in a special engagement. Both artists highlight a season of spectacular collaborations, guest artists and composers from across the globe, familiar masterworks and favorite Pops, Rock, and Film offerings, and an invitation to perform once again in venerable Carnegie Hall. 2022 marks the 100th birthday of Lukas Foss, music director of the Buffalo Philharmonic Orchestra from 1963 to 1971. The BPO travels to New York City to celebrate the eclectic, innovative, and boundary-pushing composer and conductor in a Carnegie Hall performance with The Choir of Trinity Wall Street and Downtown Voices on October 3. This season, we also welcome Fernanda Lastra to the fold as our new Conductor Diversity Fellow. A native of Argentina, Fernanda comes to us with an impressive background of conductoreducator achievements. She will lead our Music for Youth and BPO Kids concerts, as well as our Hispanic Heritage Celebration in September. The orchestra continues to strive for higher levels of musical excellence, bolstered by your invaluable support. Attaining this new level of sustained artistic excellence is only possible thanks to your reliable commitment to the BPO and your passion for orchestral music. We are grateful for the continued investment of your time and resources in the Buffalo Philharmonic Orchestra. Sincerely,

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




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, Renée Fleming and Yo-Yo Ma. During the tenure of JoAnn Falletta, who has served as music director since 1998, the BPO has rekindled its history of radio broadcasts and recordings, including the release of 51 new CDs. The BPO’s Naxos recording of composer John Corigliano’s “Mr. Tambourine Man: Seven Poems of Bob Dylan,” won two Grammys. Our recordings are heard on classical radio worldwide.

HISTORY OF KLEINHANS MUSIC HALL Since 1940, the orchestra’s home has been Kleinhans Music Hall, which enjoys an international reputation as one of the finest concert halls in the world due to its superb acoustics. Kleinhans Music Hall was built thanks to the generosity and vision of Edward and Mary Seaton Kleinhans and the stewardship of their charitable dreams by the Community Foundation for Greater Buffalo, and the support of the federal government. The Community Foundation was bequeathed the estates of Mr. and Mrs. Kleinhans, who made their fortune from the clothing store that bore their name, and who died within three months of each other in 1934. The Public Works Administration, an agency of the New Deal, provided crucial funding that made it possible to complete the hall.

John R. Yurtchuk, Chair Scott Stenclik, Vice Chair — Chair-Elect

Angelo Fatta, Treasurer Peter Eliopoulos, Secretary

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

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

Sonny Sonnenstein Karen Sperrazza Christine Standish David Stark Rev. Jonathan Staples Stephen T. Swift John Zak*

*ex-officio † musician representatives

LIFE MEMBERS Anthony Cassetta Randall Odza Edwin Polokoff

John N. Walsh III Robert G. Weber

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.

John J. Zak, Chair Holly Hejmowski, Treasurer Alexs Spellman, Secretary


Karen Arrison Michael Munschauer John Yurtchuk

Kleinhans is owned by the City of Buffalo but operated by a separate 501(c)(3) non-profit corporation. Its Board of Directors is Jeremy Oczek, chair; Karen Arrison, vice chair; Stephanie Simeon, secretary and treasurer; Cindy Abbott Letro; Peter Eliopoulos; Tania Werbizky; and city officials including Byron Brown, Mayor of the City of Buffalo, and David Rivera, Niagara District Council member.




Multiple Grammy Award-winning conductor JoAnn Falletta serves as Music Director of the Buffalo Philharmonic, Music Director Laureate of the Virginia Symphony, Principal Guest Conductor of the Brevard Music Center, and Artistic Adviser of the Hawaii Symphony. Recently named as one of the 50 great conductors of all time by Gramophone Magazine and among the top 10 conductors today by David Hurwitz of ClassicsToday.com, she is hailed for her work as a conductor, recording artist, audience builder and champion of American composers. As Music Director of the Buffalo Philharmonic, Falletta became the first woman to lead a major American ensemble and has been credited with bringing the Philharmonic to an unprecedented level of national and international prominence. The Buffalo Philharmonic has become one of the leading recording orchestras for Naxos, with two Grammy Award-winning recordings. In Summer 2022, Falletta made her Boston Symphony Orchestra debut at the Tanglewood Music Festival. International highlights for 2022-23 include concerts in Spain, Sweden, Germany, and Croatia. Her recent and upcoming North American guest conducting includes the National Symphony, and the orchestras of Baltimore, Detroit, Nashville, Indianapolis, Houston, Toronto, and Milwaukee. Internationally, she has conducted many of the most prominent orchestras in Europe, Asia, and South America. In the past year, she has led the National Symphony in two PBS televised specials for New Year’s Eve and the 50th Anniversary of the Kennedy Center.

With a discography of over 120 titles, JoAnn is a leading recording artist for Naxos. She has won two individual Grammy Awards, including the 2021 Grammy Award for Best Choral Performance as Conductor of the Buffalo Philharmonic in the world premiere Naxos recording, Richard Danielpour’s The Passion of Yeshua, and the 2019 Grammy Award as Conductor of the London Symphony for Spiritualist by Kenneth Fuchs. Her Naxos recording of John Corigliano’s Mr. Tambourine Man: Seven Poems of Bob Dylan with the BPO received two Grammys in 2008 and her 2020 Naxos recording with the BPO of orchestral music of Florent Schmitt received the prestigious Diapason d’Or Award. Falletta is a member of the esteemed American Academy of Arts and Sciences, has served by Presidential appointment as a Member of the National Council on the Arts during the Bush and Obama administrations and is the recipient of many of the most prestigious conducting awards. She has introduced over 500 works by American composers, including well over 100 world premieres. ASCAP has honored her as “a leading force for music of our time.” In 2019, JoAnn was named Performance Today’s first Classical Woman of The Year. After earning her bachelor’s degree at Mannes, Falletta received master’s and doctoral degrees from The Juilliard School. For more information, visit www.joannfalletta.com.



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



CONDUCTOR DIVERSITY FELLOW Fernanda Lastra was born in Mar del Plata, Argentina. She is a passionate and creative conductor with an energetic personality which characterizes her artistic and leadership style. In 2021, Fernanda was selected as a conducting fellow for the Cabrillo Festival of Contemporary Music led by Mtro. Cristian Măcelaru. In 2019, she was a finalist for the Assistant Conductor position at the Chattanooga Symphony Orchestra, and in 2018 Fernanda was awarded First Prize for the conducting competition held by the Opera de Bauge, France.

Fernanda Lastra’s interests encompass a vast repertoire including symphonic, contemporary and opera works. She has served as assistant conductor in public opera performances, most recently the University of Iowa's 2019 production of Little Women by Mark Adamo. Fernanda participated in masterclasses with esteemed maestri such as: Larry Rachleff, Marin Alsop, Donald Schleicher, Markand Thakar, Elizabeth Askren, Jac van Steen, Carlo Montanaro, Konstantinos Diminakis, Daizuke Soga, Luis Gorelik, Abel Rocha, Osvaldo Ferreira and Ariel Alonso. Fernanda Lastra is a passionate advocate for Latin American composers, especially those from Argentina. In June 2020, she created Compositores. AR, a cycle of interviews with Argentinian composers in collaboration with the magazine MúsicaClasicaBA in Buenos Aires. As a conductor-educator Fernanda served as principal conductor for the Central Pennsylvania Youth Orchestra during 2016-2017, as professor of orchestral activities at El Sistema, Argentina, from 2008- 2012 and as music faculty of La Plata University from 2005 to 2016. For four years Fernanda served as musical and artistic director of an instrumental training ensemble she founded in Argentina in 2013. Through this project she fostered community appreciation for classical music, with a broad repertoire and active participation in city festivals and cultural events. Fernanda Lastra currently serves as Director of Orchestras at Augustana Collegein Rock Island, Illinois, where she leads the symphony and chamber orchestras. She also serves as Assistant Conductor for the University of Iowa symphony orchestra. Fernanda earned two bachelor's degrees from La Plata University in orchestral and choral conducting, and a master’s degree in orchestral conducting from Penn State University. She is trained in piano and viola. Fernanda is currently completing doctoral studies in orchestral conducting at The University of Iowa under the mentorship of Dr. William LaRue Jones, Prof. David Becker and Dr. Mélisse Brunet.



Angelo and Carol Fatta Endowed Chair


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


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


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


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


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


Christine Bailey Davis principal Linda Greene Natalie Debikey Scanio


Natalie Debikey Scanio


Henry Ward principal Joshua Lauretig Anna Mattix


Anna Mattix


William Amsel principal Patti DiLutis Salvatore Andolina


Patti DiLutis


Salvatore Andolina


Glenn Einschlag principal Doron Laznow




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

Joseph Alberico* Jay Matthews Daniel Sweeley


Alex Jokipii principal Geoffrey Hardcastle Philip Christner


Jonathan Lombardo1 principal Timothy Smith


Filipe Pereira


Seth Rawleigh


Matthew Bassett principal Dinesh Joseph assistant principal


Mark Hodges principal Dinesh Joseph


Madeline Olson principal


Travis Hendra principal librarian Erin Vander Wyst assistant librarian


Charles Gill Interim Master property person IATSE Local 10


Chair dedicated to the memory of Scott Parkinson


Chair dedicated to the memory of Maer Bunis


One Year Appointment

** Temporary Appointment *** Partial Year Appointment (L) Leave of Absence


Saturday, September 17, 2022 at 7:30 PM

Classic Series


JoAnn Falletta, conductor Midori, violin


O Canada The Star-Spangled Banner Fandangos Violin Concerto in D Major, Op. 35 I. Moderato nobile II. Andante III. Finale: allegro assai vivace Midori, violin INTERMISSION

RIMSKY-KORSAKOV Scheherazade, Op. 35 I. Largo e maestoso - Allegro non troppo II. Lento - Allegro molto III. Andantino quasi allegretto IV. Allegro molto

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.



MIDORI, VIOLIN Midori is a visionary artist, activist, and educator who explores and builds connections between music and the human experience and breaks with traditional boundaries, which makes her one of the most outstanding violinists of our time. She has performed with many of the world’s most prestigious orchestras and has collaborated with some of the most outstanding musicians of our time, including Leonard Bernstein, Yo-Yo Ma, and many others. As someone deeply committed to furthering humanitarian and educational goals, she has founded several non-profit organizations: the New York City-based Midori & Friends; MUSIC SHARING, based in Japan; Partners in Performance (PiP), which helps to bring chamber music to smaller communities in the U.S.; and the Orchestra Residencies Program (ORP), which supports American youth orchestras. In recognition of her work as an artist and humanitarian, she serves as a United Nations Messenger of Peace, and in 2021, she was named a Kennedy Center Honoree. She began her 2021–22 season with the Festival Strings Lucerne and will appear with orchestras in Atlanta, New Mexico, Phoenix, Austin, Kansas City, and Palm Beach, in U.S. recitals, and on tour throughout Europe and Asia. She will perform the world premiere of Detlev Glanert’s Violin Concerto No. 2 with the Royal Scottish National Orchestra and with the NDR Elbphilharmonie Orchestra. The most recent recording in Midori’s diverse discography features Beethoven’s Violin Concerto and Two Romances with the Festival Strings Lucerne (2020, Warner Classics). Midori was born in Osaka in 1971 and began her violin studies with her mother, Setsu Goto, at an early age. In 1982, conductor Zubin Mehta invited the then 11-year-old Midori to perform with the New York Philharmonic in the orchestra’s annual New Year’s Eve concert. Midori joined the faculty of the Curtis Institute of Music in 2018 and also teaches at the Peabody Institute. She plays the 1734 Guarnerius del Gesù ‘ex-Huberman’ and uses four bows - two by Dominique Peccatte, one by François Peccatte, and one by Paul Siefried.




Welcome to opening night! We are very glad we can celebrate together, and thrilled to have superstar violinist Midori back on our stage. She brings us the beautiful Korngold Violin Concerto, written by one of the greatest musicians of the 20th century, who left Europe to become the most beloved composer of Hollywood movies. Rimsky-Korsakov's extravagant Scheherazade is our blockbuster finale, featuring our own superstar Nikki Chooi in the title role. Roberto Sierra's Fandangos is absolute fun - a perfect way to start our season. We are so happy to have you here with us! with love and thanks, JoAnn and the BPO musicians

PROGRAM NOTES Roberto Sierra (Puerto Rican; b. 1953)

Fandangos Composed 2000; Duration 11 minutes Roberto Sierra’s music fuses his interest in music from Spanish-speaking countries with a European modernist technical foundation, notably having studied with György Ligeti in the 1980s. One such example of his voice is the 2000 work Fandangos, commissioned by the National Symphony, first conducted by Leonard Slatkin. The work continues to have a vibrant life on the performance circuit, memorably being included on the 2002 Proms opening concert. With a kaleidoscopic lens, the work peers into the past at two fandangos written by early classical-era composers Antonio Soler and Luigi Boccherini. This mysterious fantasia reimagines these works with updated orchestrations and disorienting transitions. Classical melodies are tinted with engaging orchestrations, propelled by rhythmic intensity.


Erich Wolfgang Korngold (Austrian/American; 1897-1957) Violin Concerto in D Major, Op. 35 I. Moderato nobile II. Andante III. Finale: Allegro assai vivace Composed 1945; Duration: 24 minutes Celebrated as a prodigy, Erich Korngold enjoyed early success and a healthy career in Europe in the years prior to the Second World War. However, the rise of Hitler motivated him to accept an invitation to move to Hollywood to score films, and from 1934 until the end of the War, he dedicated all of his time composing for the film industry, cementing his legacy with a total of 16 film scores. By the end of the War, Korngold had gained American citizenship, but had grown tired of the film industry and sought to revive his roots as a composer of concert music. Egged on by a fellow transplant, Korngold finally fulfilled a promise to violinist Bronislaw Huberman to compose for him a violin concerto. Ul-

timately, the work was premiered by Jascha Heifitz in 1947, and served to silence Korngold’s critics by proving he retained the technical capabilities of his pre-film career. The Concerto still maintains a cinematic quality, and borrows heavily from his films, injecting the concert music that began his career with the film music that subsisted him through wartime. The soloist introduces the principal theme immediately, lifted from the 1937 film Another Dawn. Heroically soaring, the melody’s twisting harmonies melt into satisfying resolutions. A section of flittering notes dance and skid in the stratosphere, leading to a second, lyrical theme. Here Carlotta’s theme from the 1939 film Juarez provides a contrasting melancholy. These themes develop into an impressive cadenza that is followed by a reprise of the opening material, complete with lavish commentary from the soloist. The second movement, “Romance,” opens with dense string harmonies that warmly hover under a singing melody pulled from romantic scenes from Anthony Adverse (1936), which returns after an atmospheric middle diversion. The work’s finale unfolds with bright, staccato virtuosic playing. A quaint lyrical theme is borrowed from his 1937 score for The Prince and the Pauper (after Mark Twain). The jaunty movement concludes with a demanding climax. Nikolai Rimsky-Korsakov (Russian; 1844-1908)

Scheherazade, Op. 35 I. Largo e maestoso - Allegro non troppo II. Lento - Allegro molto III. Andantino quasi allegretto IV. Allegro molto Composed 1888; Duration: 47 minutes

Nineteenth-century Russian music was polluted by Western influence—a matter that a group of young firebrands sought to rectify. Dubbed “The Five” (you can count them on one hand), they eschewed Western symphonic models in favor of narrative-driven works imbued with Russian melody and harmony, and avoided the conservatory, instead relying on an atmosphere of DIY amateurism. Of The Five, Nikolai Rimsky-Korsakov broke the most rules of the group. A naval officer by career, his adventurous curiosity and a self-starting attitude led him to self-learn Western musical techniques, such that he could achieve musical Russification with the backing of technical prowess. He lost some respect from his fellow nationalists when he began teaching at the St. Petersburg Conservatory, but the path he chose solidified him as among the most important national voices in Russian music. A fascination with Orientalism was an area of aesthetic focus for the Russian arts, a fact not lost on a seafaring dreamer like Rimsky-Korsakov. In the depths of the 1887 winter, he was focused on completing his recently-deceased colleague Alexander Borodin’s opera Prince Igor. His wandering imagination took him to the warm climates like those found in One Thousand and One Nights, the Middle Eastern folk tale compilation. Inspired by the Arabic pictures and stories, his sketches would be compiled into an episodic orchestral composition named for the principal storyteller, Scheherazade.

One Thousand and One Nights tells of a Sultan, who, untrusting of women, would sentence his wives to death following their nuptial night. Scheherazade avoids this grisly end by entertaining the Sultan


with a story every night. The work’s four movements are given titles referencing selected stories, but the composer shrugged off most specific programmatic intentions, rather, insisting that the work should be transportive, with the listener being enthralled with “fairy-tale wonders” in an Oriental context. The work dances around two contrasting themes. The first belongs to the Sultan and is a brooding unison that snakes and falls ominously. Soon after, we meet Scheherazade, who is represented by a sweet, languid violin melody. Often heard alone, she captivates the listener with the first story, “The Seas and Sinbad’s Ship.” The Sultan’s theme serves as the basis of the movement, but is transformed to undulate on a rocky sea, as if Scheherazade is charming the Sultan by making him the principal character on a heroic adventure. Scheherazade’s theme is woven in, and we are reminded of the true protagonist. In medieval Islamic tradition, a Kalandar was a wandering mystic subsisting on charity, but the Kalandar Prince was forced into poverty through a number of misfortunes. Scheherazade’s telling begins with an elaborate presentation of her melody, followed by a series of variations. Rimsky-Korsakov demonstrates his technical prowess as an adroit orchestrator, and rather than varying the melody, it is repeated verbatim in a series of increasingly exciting settings. He deepens the fantastic journey by adding a punchy middle section. The third movement, “The Young Prince and The Young Princess,” features a tender melody, memorably punctuated by a sumptuous clarinet line. A playful march serves as a second theme, but upon the return of the opening mate-


rial, Scheherazade interrupts. As the solo violin presents impressive arpeggiations, the melody returns, growing to a grand climax, followed by a playful conclusion. The action comes to a head in the finale, first with a brash reframing of the Sultan’s theme, then a frantic sounding of Scheherazade’s melody. Here, RimskyKorsakov summarizes his work by bringing back themes and combining multiple episodes in his grand finale, “Festival at Baghdad. The Sea. The Ship Breaks upon a Cliff Surmounted by a Bronze Horseman.” The festive energy is palpable and growing in intensity, and a return of earlier sea music leads to the dramatic shipwreck. Scheherazade’s theme is heard again over the slumbering Sultan. —Chaz Stuart, 2022

Wednesday, September 21, 2022 at 7:00 PM


HISPANIC HERITAGE CELEBRATION Fernanda Lastra, conductor Ricardo Saeb, guitar Hispanic Heritage Guitar Initiative Ensemble

CLARICE ASSAD Sin fronteras (Without Borders) FALLA/arr. S. Chapelier Spanish Dance No. 1 from La Vida Breve MEJÍA Acuarela PONCE Concierto del Sur for Guitar and Orchestra

I. Allegro moderato Ricardo Saeb, guitar Hispanic Heritage Council Guitar Initiative Ensemble

LECUONA/Gould La Comparsa from Danzas Afro-Cubanas Suite GERARDO GARDELIN Furtivo ROMERO Fuga con Pajarillo ARTURO MÁRQUEZ Conga del Fuego Nuevo

This program is presented in partnership with the Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.


RICARDO SAEB, GUITAR Mexican guitarist Ricardo Saeb has performed in venues across Latin America, Europe, the Middle East, and the United States. His performances have been described as “perfectly balanced,” “of an exquisite subtlety,” and “simply spectacular.” His tours have taken him to cities as diverse as Querétaro, Beirut, Ciudad Juárez, Austin, Boston, Dallas, and Córdoba. Ricardo Saeb has appeared as a guest artist at international festivals such as the Festival Internacional de Música de Morelia, Festival Internacional Chihuahua, Queretaro’s International Guitar Festival, Chicago’s Latin American Guitar Festival, among others. Ricardo has appeared as a soloist with numerous orchestras in Mexico and the USA, performing some of the most iconic guitar concertos. Ricardo has also collaborated with various artists including tenor Manuel Castillo, pianist Cliff Jackson, the Buffalo Chamber Players, and is featured in jazz saxophonist, Rusty Crutcher’s album, Romances Latinos. Ricardo began his music education at the Conservatory of Chihuahua, and continued at the Conservatorio de las Rosas and the University of Texas at Austin. In 2016, he received his Doctorate degree in Musical Arts from the University of Kentucky, under the mentorship of professor Dieter Hennings. In addition to performing, Dr. Saeb enjoys sharing his philosophy on guitar pedagogy and enthusiasm for music. He has adjudicated guitar competitions and has given masterclasses at the University of Texas at El Paso, Indiana University Southeast, Texas A&M International Guitar Symposium, National Guitar Competition of the UACJ, etc. Ricardo recently moved to Buffalo, NY, where he founded a community program through the Hispanic Heritage Council of WNY, called the HHC Guitar Initiative. The Initiative gives free guitar classes for children of underserved populations, and brings some of the best guitarists in the world to Buffalo in a free International Concert Series. Ricardo teaches privately at the CastellaniAndriaccio Guitar Studio, and he recently released his premier solo recording with Fleur de Son Classics, titled Zephyr. This recording includes works by Rodrigo, Brouwer, Tamez, Gainey, Aguado, Barrios, and Oliva.



Friday, September 23, 2022 at 10:30 AM Saturday, September 24, 2022 at 7:30 PM

BPO Pops Series

THE DOO WOP PROJECT John Morris Russell, conductor Dwayne Cooper, vocals John Michael Dias, vocals Russell Fischer, vocals Jesse Nager, vocals Dominic Nolfi, vocals Joe Bergamini, drums Sonny Paladino, piano/music director


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



DWAYNE COOPER, VOCALS Dwayne (The Bass) is from Florence, SC and currently lives in New York City. He first began singing with a Christian Acapella group called “The Cunningham Singers” where he learned how to sing in tight harmonies. Often referred to as a modern-day Sammy Davis Jr. Meets Barry White, he is what the industry calls a “triple threat” and has performed in the Broadway Casts of Motown: The musical, Hairspray the NY Revival/ Off-Broadway production of Smokey Joe’s Café and has done several National Tours. As a songwriter, he has charted on Billboard’s over 1 million people. Dwayne’s TV/Film credits include Law and Order, Difficult People, Unbreakable Kimmy Schmidt, and RuPaul’s Drag Race.

JOHN MICHAEL DIAS, VOCALS John Michael Dias recently appeared on Broadway as Neil Sedaka in the Tony and Grammy Award-winning hit Beautiful: The Carol King Musical. He originated the same roll for the Beautiful First National Tour. Originally from Tiverton, RI, Dias earned a BFA in musical theater from Boston Conservatory. John gained a nationwide following starring as Frankie Valli of the Four Seasons in the smash hit Jersey Boys, playing the role on Broadway, as well as in the first National Tour, Vegas, and Chicago companies. Concerts: Breaking Up Is Hard To Do: Neil Sedaka’s Greatest Hits! And Get Happy (a celebration of songs made famous by Judy Garland) with friend/collaborator Jacqueline Carnahan. Johns’ solo album, Write This Way, which features intimate takes on Broadway and pop favorites like “Can’t Take My Eyes off of You” and “New York State of Mind” is available on iTunes.

RUSSELL FISCHER, VOCALS Russell Fischer was cast in the Broadway company of Jersey Boys on his 22nd birthday, marking his Broadway debut. Fischer starred in the second national tour of Big: The Musical. His latest NYC credit was in Baby Fat, Act 1: A Rock Opera at LaMama Experimental Theater Club. Regional credits include Thoroughly Modern Millie, The Music Man at Chautauqua Opera, the American premiere of Children of Eden at Papermill Playhouse and most recently, the Atlanta Musical Theater Festival premiere of The Collins Boy. Fischer was a featured vocalist on Last Week Tonight with John Oliver and in the HBO documentary, The Bronx, USA. He has appeared on the live broadcasts of the 2015 Belmont Stakes, the 2009 Tony Awards, and several spots for TV Land’s 60 Second Sitcoms.


JESSE NAGER, VOCALS As a performer, Jesse starred as Smokey Robinson in the Broadway revival of Motown: The Musical (NAACP Theatre Award Nomination). He was also featured in the original New York productions of Motown: The Musical, Mamma Mia, Mary Poppins, Scandalous, Good Vibrations, and Fame!, and workshops of Rocky The Musical and Disney’s upcoming Hercules! Regional highlights include Stephen Sondheim’s Being Alive (dir. by Billy Porter at PTC), A Midsummer Night’s Dream (Papermill), and Jesus Christ Superstar ( Jesus at The Ordway). He has performed with Mariah Carey and Shania Twain at Madison Square Garden and his vocals have been heard on both seasons of NBC’s “Smash,” as well as the movie of “Hairspray,” and numerous commercials and corporate recordings across the country. As a producer/director/choreographer/arranger/writer, Jesse has built and staged numerous events and concerts at venues across the world.

DOMINIC NOLFI, VOCALS Dominic Nolfi was last seen on Broadway in Chazz Palminteri's A Bronx Tale - The Musical, directed by Robert DeNiro and Jerry Zaks. As an Original Cast member of A Bronx Tale - The Musical, Motown: The Musical (Grammy nominated) and Jersey Boys (Grammy Award for Best Cast Album, Tony Award for Best Musical), he can be heard on all three soundtracks. Dominic also performed in the World Premiere productions of A Bronx Tale and Jersey Boys at the Paper Mill Playhouse and the La Jolla Playhouse. Dom was born and raised in San Francisco where he studied youth acting at the acclaimed American Conservatory Theatre. He studied Voice at the San Francisco Conservatory and attended the Boston Conservatory on scholarship where he graduated with a BFA in Theater. Upon graduation Dominic joined the European production of Grease. It was there that he met his future wife, Sonia Iannetti; they have a daughter Vivienne. Dominic studies Brazilian Jiujitsu at Brooklyn Martial Arts. He is currently a Blue Belt.

SANTINO PALADINO, PIANO, MUSIC DIRECTOR Currently Sonny is the Music Supervisor for the Broadway Musical Natasha, Pierre, and the Great Comet of 1812, as well as Music Director for the upcoming Broadway Revival of Smokey Joe’s Café. Sonny’s recent credits include Associate Conductor, The Last Ship (written by 16 time Grammy Award winner, Sting), and the Tonywinning revival of Pippin. Other Broadway credits include Jesus Christ Superstar, Billy Elliot, Grease, Priscilla – Queen of the Desert, Guys and Dolls, Mamma Mia, Promises, Promises, Addams Family, and Women on the Verge. Sonny was the Music Supervisor for Disney’s High School Musical Italian tour and his national tour credits include Dirty Rotten Scoundrels and Grease. His arrangements and orchestrations have been performed by The Indianapolis Symphony Orchestra and he has worked with the likes of Alicia Keys, Ke$ha, and Matthew Morrison. Sonny’s work for television has been featured on the X-Factor Australia and The Next Big Thing. He earned his BFA in Jazz Piano from CUNY City College New York.


JOE BERGAMINI, DRUMS Joe Bergamini tours internationally with The Doo Wop Project and has performed on drums at 16 Broadway shows including Movin' Out, Jersey Boys, In The Heights, The Lion King, Rock of Ages, Pippin, Jesus Christ Superstar, and others. He appears on recordings by the progressive rock bands Happy the Man and 4Front, and was the principal drummer for Broadway's Gettin' the Band Back Together in 2019. Also a popular educator and author, Joe has written over a dozen books about drumming and has worked one-on-one with the world's most famous drummers on their educational books, including Neil Peart (Rush), Stewart Copeland (The Police), Steve Smith ( Journey), Steve Gadd, and many others.

Friday, September 30, 2022 at 10:30 AM Saturday, October 1, 2022 at 7:30 PM

Classic Series


JoAnn Falletta, conductor Nikki Chooi, violin Amy Porter, flute FOSS

Ode for Orchestra


Three American Pieces I. Early Songs: Andante II. Dedication: Lento III. Composer's Holiday: Allegro Nikki Chooi, violin


Renaissance Concerto I. Intrada II. Baroque Interlude (after Rameau) III. Recitative (after Monteverdi) IV. Jouissance Amy Porter, flute INTERMISSION



Three Dance Episodes from On the Town I. The Great Lover II. Lonely Town (Pas de deux) III. Times Square Symphony No. 1 I. Andantino; Allegretto II. Adagio III. Scherzo: Vivace IV. Andantino; Allegro

Coffee Concerts 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.



NIKKI CHOOI, BPO 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, Winnipeg, and Edmonton Symphonies, the Calgary Philharmonic, 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 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 served as Concertmaster of New York's Metropolitan Opera Orchestra in 2016/2017 while working closely with singers and conductors including Renée 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. In 2015, Nikki was a violinist in the cross-over ensemble, Time for Three. In collaboration with From the Top and Universal Music, the group released a rendition of Taylor Swift’s “Shake it Off” to recordbreaking views on YouTube.

AMY PORTER, FLUTE Flutist Amy Porter has been praised by critics for her exceptional musical talent and passion for scholarship. In a versatile and distinguished career as a concert performer, she has become one of the most skillful and creative muses for composers of our time. Ms. Porter has been hailed for her “strength, beauty, a captivating and seductive force, sensitivity, perfection, and a sense of humor.” Her performances of American flute concerti have won critical acclaim. When she performed her commissioned concerto Trail of Tears by Michael Daugherty with the Indianapolis Chamber Orchestra in January 2020, one reviewer wrote, "Porter's appearance with a modern piece in which such embedding of the guest artist with the vehicle shone so brightly seems to me a high point in the ICO's recent history." American Record Guide has lauded her playing for having "an innocent American lyricism..." and a reviewer for annarbor.com noted that “Amy Porter deeply imbues her performance with a sense of narrative and of speech and, yes, drama.” Winner of the 3rd Kobe International Flute Competition and the Paris/Ville d’Avray International Flute Competition, Ms. Porter has served on international juries around the world, including the 6th Kobe International Flute Competition. She has been heard in recital on National Public Radio; highlighted on PBS’s Live From Lincoln Center, and featured on the covers and as a writer for the magazines Flute Talk in the USA and The Flute in Japan. Formerly a member of the Atlanta Symphony Orchestra, Ms. Porter is Principal Flute of North Carolina’s Brevard Music Center, where she performs as soloist, chamber musician, and orchestral player. Amy Porter has been Professor of Flute at the University of Michigan School of Music Theatre and Dance since 1999. She is host of the podcast PorterFlute Pod. Born in Wilmington, DE, Ms. Porter graduated from The Juilliard School and pursued further studies at the Mozarteum Academy in Salzburg. She plays a 14K white gold flute with rose gold engraved keys made for her by the Wm. S. Haynes Co.

He released his debut album of works by Prokofiev, Ravel, and Gershwin on the Atoll Label.



THE LEGACY OF LUKAS FOSS Composer, performer, educator, and conductor Lukas Foss came to Buffalo in 1963 as the BPO’s newly appointed music director, and brought with him a passion for musical experimentation that transformed the city into a center for avant-garde music composition and performance unlike anywhere else at the time. Born in Berlin in 1922, Foss started studying piano and music theory with Julius Goldstein Herford at seven years old. When the Foss family fled Nazi Germany in 1933, he enrolled at the Paris Conservatory and studied piano with Lazare Lévy, flute with Louis Moyse, composition with Noël Gallon, and orchestration with Felix Wolfes. As a 15-year-old prodigy, Foss came to America in 1937 and enrolled at the Curtis Institute of Music in Philadelphia, where he took conducting lessons with Fritz Reiner and piano lessons with Isabelle Vengerova. That same year, G. Schirmer issued Foss’ first published work: a series of piano pieces composed on the New York subway. At 18, Foss graduated with honors from Curtis and began advanced study in composition with Paul Hindemith at Yale and conducting with Serge Koussevitzky at Tanglewood, where he met his classmate and lifelong friend, Leonard Bernstein. In 1953 at the age of 31, Foss succeeded Arnold Schoenberg as the head of the Composition department at the University of California at Los Angeles, making history as the youngest full professor ever hired there. While at that post, experiments in performance with his newly founded Improvisation Chamber Ensemble led to compositions like Time Cycle for soprano and orchestra, which was premiered by Leonard Bernstein and the New York Philharmonic, and Echoi, in which he blended his experimental instincts with tradition to create a piece now considered one of the chamber masterworks of the 20th century. Foss’ best known orchestral works include Baroque Variations, Piano Concerto No. 2, and the Renaissance Concerto for flute. Foss also wrote a considerable body of vocal work including two operas, in addition to chamber ensemble and solo piano pieces. His compositional style was eclectic with a wide variety of musical influences, representative of his comprehensive music background and appreciation for all musical eras. Regarding his varying influences, Foss asserted, “Why should an artist restrict themself to one technique? Of course, everyone should use whatever technique he or she wishes. But I find it is infinitely more challenging to use many techniques – often in the same piece – and yes, make them my own. The resulting music is more challenging. One is more likely to want to hear the piece again. I believe that the only criterion for making an intelligent evaluation for a piece of music is, Does it make you want to hear it again?” Over the course of his career, Foss composed well over 100 works – an oeuvre which Aaron Copland described as “among the most original and stimulating compositions in American music.”

of major tours. In 1970, Maestro Foss shared the podium with Governor Nelson Rockefeller at the groundbreaking of Artpark, the declared permanent summer home of the BPO at the time. Foss believed that performers played a crucial role in the process of writing contemporary music. As a musical all-rounder himself, Foss envisioned an environment in which young musicians with both composing and performing talents could experiment, hone their craft, and collaborate. This vision became reality when he founded and became Director of the University at Buffalo’s Center for the Creative and Performing Arts, which Foss obtained funding for from the Rockefeller Foundation alongside UB’s then-Department of Music Chair, Allen D. Sapp, Jr. The Center’s musical fellows, called Creative Associates, performed in “Evenings for New Music” concerts at the Albright-Knox Art Gallery auditorium and Carnegie Hall, and included such famous avant-garde composers as John Cage, Philip Glass, and Pauline Oliveros. Throughout his lengthy career, Foss conducted most of America’s major symphony orchestras, including the New York Philharmonic for the premiere of Bernstein’s Symphonic Dances from West Side Story, and led many famous orchestras abroad from Berlin to Tokyo. As an educator, Foss taught composition at Tanglewood and was composer-in-residence at Harvard, the Manhattan School of Music, Carnegie Mellon, Yale, and Boston University. In 1983 Foss was elected to the American Academy and Institute of Arts and Letters and served as its Vice Chancellor in the late 1980s. He was the recipient of eight honorary doctorates. In his seven years in Buffalo, Lukas Foss brought the BPO and Buffalo itself into the limelight as champions of contemporary music, revolutionizing the 20th-century music world by sharing a range of new music with the public and giving young musicians the opportunity to experiment with music themselves. As his long career came to a close in the 2000s, Foss lived by his words: “The creative process cannot happen without a passion for learning. Yes, real artists continue to learn – to the very end.”

In 1963, Lukas Foss was named the next Music Director of the BPO. Foss’ conducting debut in Buffalo shook the walls of Kleinhans with Stravinsky’s Rite of Spring for the first time, which Foss had selected for the season’s opening concert. Within three seasons of Foss in Buffalo, the BPO led the world in the performance of new music. The late BPO clarinetist and historian Edward Yadzinski once referred to the Foss era as “the wild and wooly days,” recalling, “the orchestra had gone from the super conservative William Steinberg to the Viennese maestro Josef Krips, who was marvelous in the great Beethoven and Schubert tradition. Then Lukas Foss came to town, and we were playing with the Grateful Dead within a few months.” Additionally, under Foss’ direction: the BPO was invited to Carnegie Hall for the first of what became regular appearances there; the BPO’s first major recordings were made featuring music of contemporary composers; and the BPO’s first nationwide TV appearances were broadcast on PBS, followed by a variety




We celebrate the 100th anniversary of the amazing composer, conductor, and pianist Lukas Foss. As music director of the Buffalo Philharmonic, Lukas put our orchestra on the international musical map, making Buffalo the epicenter of the new music scene. A brilliant maverick, he was a pivotal force for music of our time, and we are honored to celebrate him - along with the University at Buffalo where he founded the extraordinary Creative Associates. We include Lukas' dear colleague "Lenny" on the program, as a tribute to their lifelong friendship. Please join us at CARNEGIE HALL on October 3 as we bring Lukas Foss to New York City! with love and thanks, JoAnn and the BPO musicians

PROGRAM NOTES Lukas Foss (German-American born Lukas Fuchs; 1922-2009) It’s hard to get a fix on the music of Lukas Foss. Some composers aim at distilling a single, recognizable voice, even going so far as to shut their ears to competing styles. Minimalist Steve Reich is a prime example, proclaiming, “I don’t want to hear a note of [Brahms, Mahler, Wagner, Sibelius], not now, not later, not ever.” Foss could not be more different. True, especially during his tenure as Music Director of the Buffalo Philharmonic (1963-1971), he was legendary as a champion of the musical vanguard who helped turn the city into a magnet for new music. But he also loved (and the word “love” turns out to be important) listening to and performing Renaissance music, Bach, Mozart, Schumann, and all those composers that Reich renounced. This restless breadth of interest marked his work as a composer, too. Pick up a book on conservative American neo-classicism, you’re apt to find


Foss; turn to a discussion of revolutionary American “mavericks,” you’re apt to find Foss. He was at home in shapeshifting improvisatory and chance music; he was at home in rigid serialism; he was at home in Coplandesque American populism. Yet in contrast, say, to his much-admired Stravinsky—who moved methodically from late romanticism through aggressive modernism to neo-classicism to serialism—Foss didn’t have a clear trajectory, a well-defined development. Sometimes he looked ahead, sometimes back; but he didn’t follow the trends of his day. In fact, he often seemed slightly out of sync with the world. “My curiosity led me absolutely everywhere,” he said. “But … I’ve never done anything at the OK time.” As a result, you could never be sure what was coming next. Indecisiveness? Hardly. His unpredictability was a matter of principle, growing out of a conviction that artistic strength lies in variety. “I don’t believe in belonging to any school at all,” Foss said in an oftquoted remark. “The more techniques a composer employs, the richer his or

her vocabulary will be.” No surprise that stylistic multiplicity is found within pieces as well as between them. Yet beneath that diversity of technique is a common thread. Foss described his Renaissance Concerto as a “loving handshake across the centuries.” And that gesture of love, that desire to communicate across boundaries, characterizes his output as a whole.

Ode for Orchestra Composed 1944, revised 1958; Duration 10 minutes Take this evening’s opener, Ode (or, to give it its original full title, Ode to Those Who Will Not Return). It’s a ten-minute work inspired by John Donne’s “Devotion,” the poem from which Hemingway took his title For Whom the Bell Tolls. And it draws on Foss’s belief that art is not an “escape from the world, but a direct expression of it”—as well as his view that all our fates are intertwined. Composed around D-Day (and revised in 1958), Ode is not exactly a patriotic work: Its emotional landscape is too subtle, too jumpy for that. Still, the composer saw it as representing “crisis, war and, ultimately, ‘faith.’” It begins with a gloomy bell-like tread in the low strings and harp that uneasily wobbles between major and minor, introducing a gravity that never seems to disappear. The music that follows—sometimes lyrical, sometimes jazzy, sometimes glistening with shards of Stravinsky, sometimes lifted by rhythms that look ahead to Bernstein—tries to break through, without success until a final climax marked by trombone glissandos promises a grand peroration, perhaps modeled on the closing of the Copland Third Symphony. But instead of whacking us over the head, the music dissolves peacefully into a quiet C major, with just a slight

rustle of high woodwind chatter to keep us slightly off balance, reminding us of the sacrifices of others we don’t even know.

Three American Pieces Composed 1944; Duration 13 minutes Love across boundaries appears in a very different way—or several different ways—in Three American Pieces, composed in 1944 for violin and piano, and orchestrated in 1986. Foss wrote it during what he called a “love affair … with my newly adopted country.” Born in Germany, he came to the United States (via Paris) as part of the wave of refugees who fled the Holocaust. This background gives the work a hint of dislocation. It’s hard not to hear the music as nostalgic—especially what Foss called the “prairie lullaby” in the first movement. Yet because it recalls an America so far from him and his ancestors, it’s a distanced nostalgia. You might even describe the nostalgia as doubly distanced. Foss claimed to have picked up its “open-air quality” from Copland; but the homespun, open-air flavor of Copland’s most popular “Americana” (say, Rodeo) did not grow out of his, or his family’s, experiences either. As a Brooklyn-born child of Russian immigrants, Copland had no direct connection to the American frontier, and had to invent the sound that eventually came to represent it so forcefully.

Three American Pieces not only crosses national boundaries; a quiltlike piece, it crosses stylistic boundaries, too. As violinist Nikki Chooi points out, it’s a melding of different traditions—most obviously, the “melding of the classical tradition with folk tunes and tunes you’d hear in salons or bars back in the day,” including, in the third movement,


“the feel of ragtime and blues.” It changes perspective often, too: Every few bars, Nikki says, you wonder “Where’s this coming from?” The result is a delightful sense of intoxication.

as Amy puts it, she has to roll her lips and roll her hands to create the sense that “one note just becomes the next note”— and, to do so in a way that carries “the nuance, the color” to the back of the hall.

Renaissance Concerto Finally, in spectacular contrast, there’s a Composed 1985-86; brilliant “Jouissance” after the nearly forDuration 21 minutes gotten Melville, with additional nods to Vincenzo Galilei and Carlos Gesualdo. The work on tonight’s concert that most In the final measures, the sound of the explicitly reflects the “loving handshake soloist slowly fades away, her tone inacross the centuries” is, not surprisingly, creasingly dominated by breath tones, the one that generated the phrase, the then reduced to simply the tapping of Renaissance Concerto for flute and orchestra, premiered in Buffalo in 1986. the keys, eventually reaching the point Like Foss’s Baroque Variations (1967), where, according to the score, they are but in a less aggressive fashion, it revis- “not necessarily audible.” Finally, the flutits earlier music from a contemporary ist, in what might be a wink at Haydn’s perspective. More precisely, in the com- “Farewell” Symphony, walks off the stage poser’s words, the Concerto “invent[s] entirely. Amy points out that some of …a Renaissance sound that never was. these techniques of sound producIt’s not modernizing the Renaissance, but tion—so-called “extended techniques” dreaming yourself back to it.” The four when the piece was new, but nowadays movements greet at least six different “a normal fixture in our music”—require composers. And to heighten the sense a little boost from the performer, espeof reaching across time, Foss plays with cially if she wants to avoid damaging her instrument. For instance, to make sure physical distance as well. the audience catches the clicking on The Concerto begins with an “Intrada” the flute, she’ll add a “tch” sound—and after William Byrd (including antiphonal use her acting ability as well. Theatrical? trumpets shaking hands across the stage), Sure—but it’s a theatrical piece. followed by a “Baroque Interlude” based on Rameau. (“The right notes are Ra- A theatrical piece—and a difficult one. meau’s, the wrong notes are mine,” Foss There are the technical challenges. There quipped.) Then comes the work’s deep- are the rhythmic challenges of putting est moment, a “Recitative” drawn from the metrical changes together, so they the wrenching passage in Monteverdi’s create coherent phrases. And there’s Orfeo, “Tu se’morta,” where Orfeo la- what Amy calls the “roadmap challenge” ments the loss of Eurydice. The Recitative of maintaining the music’s long line as it features a distant quartet (the orchestral moves in and out of the Renaissance. In flute, violin, viola, and cello) which sounds addition, she says, the work is difficult as if, as in the myth, the gods were weep- because she must embody so many difing. This is soloist Amy Porter’s favorite ferent roles: She’s an actor, an ensemble movement. It may also be the most dif- member (much of the piece is nearly ficult. The mournful solo part requires chamber music), a concerto soloist—all extreme sensitivity, including passages while serving as a host extending a welwhere portamento bends the line. Here, come across centuries.


Leonard Bernstein (American, 1918-1990)

Copland. But it also offers a handshake to two other American composers as well— or, more accurately, two older European Three Dance Episodes from composers who fled to the United States On the Town shortly after Foss did. The piece is marked Composed 1944; by a contrapuntal rigor nurtured by his Duration 10 minutes study with Hindemith—as well as a metFoss liked to mix things up. It’s in that spirit rically complex rhythmic vitality inherited that, after intermission, we get what might from Stravinsky (although it’s less jagged be called a mid-concert encore: the Three and more spontaneously dance-like than Dances from the 1944 musical On the Stravinsky’s music usually is). Town by Leonard Bernstein (1918-1990). Those are probably the qualities that Bernstein and Foss followed eerily paral- the early listeners latched on to. But in lel paths. Both attended Curtis, studying retrospect, we can also hear, in nascent piano with Isabelle Vengerova, and con- form, Foss’s individuality. This is clearest ducting with Fritz Reiner and Serge Kous- in the subtle, but characteristic, refusal sevitzky, who was a crucial mentor. They to do what’s expected, the bending of both went on to fame as conductors (of conventions to lead us in unforeseen the two largest cities in New York State), directions. The first movement is typical, as pianists, and as composers. The similar- setting up a familiar pattern—optimism, ity of their routes might have led to ani- threat, triumph—only to subvert it. After mosity, but in fact the two were close, and an ear-catching opening gesture (which championed each other’s music. Tonight’s returns in the finale), we find ourselves offering is a celebration of their friend- basking in outdoorsy music that laces the ship. The plot centers on the madcap ad- breezy with the pensive. Distant trumventures of three sailors looking for dates pets soon give way to sinister threat (not while on leave in New York for a day; but surprising, given the state of the world at the musical is less about romance than it the time), a threat that briefly dies out, is about the camaraderie forged among only to return with greater violence. This the six main characters and about the in turn dissolves into Coplandesque composer’s affection for the Big Apple of music heralding victory. But, as in the the 1940s. Even if you’ve never heard this Ode, the promised triumph is shortinfectious music before, you’ll recognize circuited—and in an unanticipated shift, “New York, New York.” the movement ends quietly and ambiguously. The second and third movements Lukas Foss are similarly marked by gentle evasions. (German-American born Lukas Fuchs; Only the whirlwind perpetual motion of 1922-2009) the finale—at least once it gets past its Symphony No. 1 equivocal opening—sweeps to its expected conclusion. Composed 1944; Duration 33 minutes Peter J. Rabinowitz 2022 The concert concludes with a return to Peter J. Rabinowitz is Contributing Ediearly Foss, the 1944 Symphony No. 1. tor of Fanfare and program annotator Like the American Pieces, the Symphony for Symphoria reflects his love for his newly adopted country. This is most evident in its nods to


Saturday, October 8, 2022 at 7:30 PM

BPO Pops Series

GLADYS KNIGHT Ron Spigelman, conductor Gladys Knight, vocals


This concert is graciously sponsored by the Catherine M. and Paul W. Beltz Fund for Artistic Excellence Patrons are asked to turn off all electronic devices. The use of cameras and recording devices is strictly prohibited.


GLADYS KNIGHT, VOCALS The great ones endure, and Gladys Knight has long been one of the greatest. Very few singers over the last fifty years have matched her unassailable artistry. This seven-time Grammy winner has enjoyed #1 hits in Pop, Gospel, R&B and Adult Contemporary, and has triumphed in film, television and live performance. In her first effort since 2013’s “Another Journey” – Knight’s 8th solo effort – this summer marked the release of “Where My Heart Belongs”, a new inspiration gospel album. Knight is a two-time Grammy winner in the gospel category, and “Where My Heart Belongs” dropped on September 9th from Deseret Book, and recently won an NAACP Image Award for “Outstanding Gospel Album.” “Another Journey” enjoyed success from the hit “I Who Have Nothing” as well as the up-tempo track “Settle,” produced by Randy Jackson, with whom she previously collaborated with on her Grammy-winning album, “At Last.” Knight also enjoyed the success of her song “You and I Ain’t Nothin’ No More” which appeared over the end credits of the critically-acclaimed Lee Daniels film THE BUTLER. Last month, Knight returned to the small screen in the Lifetime original movie “Seasons of Love”. In the story about two lovers as they journey through life, love and family, Knight stars alongside Oscar-nominee Taraji P. Henson and fellow Grammy winner Cliff “Method Man” Smith. In the New Year she will guest on Lee Daniels and FOX TV’s new series “Empire” opposite Terrence Howard and Taraji P. Henson. Also on the small screen, Knight recently shared her musical expertise on the second season of Centric’s original series "Apollo Live.” Joining judges Doug E. Fresh and Michael Bivins, the legendary songstress gave guidance to contestants as they took the stage with the hope to jumpstart their career in the entertainment industry. No stranger to performing and light choreography over the course of her career, Knight raised the stakes when she put on her dancing shoes in the spring of 2012. She joined the cast of ABC’s hit reality competition “Dancing with the Stars” for season 14, partnering with Tristan MacManus. The year of 2011 was a year of much recognition as Knight was both honoring and being honored, first at a Michael Jackson tribute concert, and then at the 2011 Soul Train Awards. At the Millenium Stadium in Cardiff, Wales, Knight joined such performers as Jennifer Hudson, Beyonce, and Smokey Robinson in a tribute to the legendary King of Pop in a concert event called “Michael Forever.” Following that, Knight was honored with a “Legend Award” alongside fellow recipients Earth, Wind & Fire on the BET broadcast of the 3rd annual Soul Train Awards, hosted by Cedric the Entertainer. Knight, known as the “Empress of Soul,” a longtime Las Vegas resident, returned to the Strip in the late-2000s to the famed Tropicana Hotel for a special engagement that ran in the newly named Gladys Knight Theater, making her the first African-American performer to have a venue named after her in Las Vegas. This followed a successful four-year show run at The Flamingo, which the Las Vegas Review-Journal praised as “the number-one show on the Strip.” A tireless humanitarian, Knight is an iconic supporter of the Boys & Girls Club of America, to which she donated a Randy Jackson-produced song, “The Dream.” As the celebrated


singer of the timeless song “Midnight Train to Georgia,” Knight was a natural fit as national spokesperson and host of Amtrak’s National Train Day, the celebration of which took place Washington, DC’s famed Union Station. In February 2011, Knight reunited with Elton John, Dionne Warwick, and Stevie Wonder for the first time in 25 years to perform their Grammy-winning song, “That’s What Friends Are For” at an AIDS research benefit at the downtown Cipriani in New York. Adored the world over, Knight then toured across the UK, performing at packed arenas that included a sold-out performance at Wembley Stadium. Knight fans enjoyed Before Me – Knight’s last big commercial effort – which paid homage to the great legends of song – Ella, Duke, Billie, Lena – as well as the many artists who served as Knight’s friends, mentors, colleagues and inspiration throughout her career. Knight’s second collaboration with the Saints Unified Voices gospel choir, A Christmas Celebration, was an album of holiday classics. Coming off of a “Best Gospel/Choir Album” Grammy win with their debut album One Voice, Knight again directed the 100-member multi-cultural choir she formed, injecting their unique flavor and definitive soul into such Christmas staples as “Silent Night,” “White Christmas,” and a medley of “Winter Wonderland/Jingle Bells” among others. Adding to her already impressive collection, Knight won another Grammy for her duet with the late Ray Charles on his posthumous album Genius Loves Company (2005). The duo won for Best Gospel Performance for their duet “Heaven Help Us All.” Knight’s solo album At Last also won a Grammy for Best Traditional R&B Vocal Album in 2002 and featured a duet with Jamie Foxx, “I Wanna Be Loved.” During the televised opening ceremonies kicking off the 2002 Winter Olympics in Salt Lake City, Knight performed “This is Our Time” (which she co-wrote with husband William McDowell), which was featured on a commemorative Olympic album. A tireless performer who still wows audiences around the country and the world, Knight also finds the time to make forays into film and television. Her version of “I Hope You Dance” played during the end credits of Tyler Perry’s THE FAMILY THAT PREYS TOGETHER, and she appeared in his film I CAN DO BAD ALL BY MYSELF (which featured her song “The Need to Be”). She also starred in the holiday-themed HOLIDAZE, her first animated project to which she also contributed a track, UNBEATABLE HAROLD, and the Harrison Ford film HOLLYWOOD HOMICIDE. On the small screen, Knight did a cameo on the Emmy-winning NBC hit comedy “30 Rock”, and also appeared in NBC’s “Las Vegas,” former CBS hit “JAG,” and former FOX talent competitions “American Juniors” and “Duets.” She also starred as Jamie Foxx’s mother on “The Jamie Foxx Show.” Knight has appeared as a guest judge on FOX’s smash hit “American Idol,” and has performed in the show’s always star-studded finale. In season two of “Idol,” Knight famously dubbed eventual winner Ruben Studdard the ‘Velvet Teddy Bear” while she sat in the guest judge’s chair. Georgia-born, Knight began performing gospel music at age four in the Mount Mariah Baptist Church and sang as a guest soloist with the Morris Brown College Choir. Three years later, she won the grand prize on television’s “Ted Mack’s Amateur Hour,” and the following year, her mother Elizabeth Knight created the group consisting of Gladys, her brother Bubba, her sister Brenda and her cousins William and Elenor Guest. They called themselves The Pips in honor of their cousin/manager, James Pip Woods. In 1959, Brenda and Elenor left the group, replaced by cousin Edward Patten and friend Langston George. The group was renamed Gladys Knight & The Pips, and following George’s departure in 1962, the classic line-up was in place. The group debuted their first album in 1960, when Knight was just sixteen. With Knight singing lead and The Pips providing lush harmonies and graceful choreography, the group went on


to achieve icon status, having recorded some of the most memorable songs of the 1960s, 1970s and 1980s. Top 20 hits, like “Every Beat of My Heart,” “Letter Full of Tears,” “I Heard it Through the Grapevine” and “If I Were Your Woman,” set the stage for an amazing run in the mid-1970s, with Top 10 gold-certified singles like “Neither One of Us (Wants to be the First to Say Goodbye),” “I’ve Got to Use My Imagination,” “Best Thing to Ever Happen to Me” and the #1 smash “Midnight Train to Georgia” established Gladys Knight and The Pips as the premiere pop/R&B vocal ensemble in the world. The party kept rolling with hits like “On and On” from the Academy Award nominated soundtrack of Curtis Mayfield’s “Claudine,” the 1974 comedy about love in the inner city. Knight enjoyed another #1 hit in 1985 when she teamed with Stevie Wonder, Elton John and Dionne Warwick on “That’s What Friends are For.” She and Stevie Wonder sang together again for the successful Frank Sinatra Duets II album, joining his voice for the song “For Once in My Life” in 1994. All told, Knight has recorded more than 38 albums over the years, including four solo albums during the past decade: “Good Woman” (1991); “Just for You” (1994); the inspirational “Many Different Roads” (1999); and “At Last” (2001). “At Last” showed the world that she still has what it takes to record a hit album, employing the talents of contemporary producers like Randy Jackson, Gary Brown and James D.C. Williams III, Jon John, Jamey Jaz, Keith Thomas, Tom Dowd and Tiger Roberts. Her involvement in other creative undertakings, business ventures and humanitarian activities has been extensive, and has brought her honors from industry and community alike. In 1986, she produced and starred in the Cable Ace Award-winning “Sisters in the Name of Love,” an HBO special co-starring Dionne Warwick and Patti LaBelle. That same year, she showcased her acting ability when she co-starred with Flip Wilson in the CBS comedy “Charlie & Co.” Other acting roles followed on such TV shows as “Benson,” “The Jefferson’s” and “New York Undercover,” and in such television films as “Pipe Dreams,” “An Enemy Among Us” and “Desperado.” She recorded the title theme for the James Bond movie “License to Kill” (1989). In 1999, she completed a starring run on Broadway in the smash musical hit “Smokey Joe’s Café.” In 1995, Knight earned her star on the Hollywood Walk of Fame, and the next year, Gladys Knight & The Pips were inducted into the Rock ‘N’ Roll Hall of Fame. Knight published an autobiography, “Between Each Line of Pain and Glory” (a line taken from her million selling recording “Best Thing That Ever Happened to Me”), in 1997, and the next year, she and The Pips were presented with the Lifetime Achievement Award from the Rhythm & Blues Hall of Fame. In 2004, Knight received the “Lifetime Achievement Award” at the annual BET Awards ceremony. A humanitarian and philanthropist, Knight has devoted to various worthy causes, including the American Diabetes Association – for which she is a national spokesperson, the American Cancer Society, the Minority AIDS Project, amFAR and Crisis Intervention, and The Boys and Girls Club. She has been honored by numerous organizations as well, including the NAACP Legal Defense Fund, Congress of Racial Equality (CORE), B’Nai Brith, and is a recent recipient of BET’s Lifetime Achievement Award. Today, Knight and husband William, along with various other members of the family, oversee her busy career from the Las Vegas headquarters of Shakeji, Inc., her personal entertainment corporation. She is a wife, mother, grandmother, great-grandmother, performer, restaurateur, and businesswoman with a spiritual outlook on her life. Her faith in God has been the driving force behind all of Knight’s endeavors, guiding her through her many successes.



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

Ansgarius Aylward, assistant concertmaster

Sponsored Anonymously

Douglas Cone, first violin

Sponsored by Bradford Lewis

Alan Ross, first violin

Sponsored by Anthony J.* and Carmela M. Colucci

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

Janz Castelo, viola

Sponsored by Anthony J. and Barbara Cassetta

Feng Hew, associate principal cello

Sponsored by Kenneth Schmieder, in loving memory of Nancy L. Julian

Nancy Anderson, cello

Sponsored by Stephen Still

Robert Hausmann, cello Sponsored by Sally and Donald Dussing

David Schmude, cello Sponsored by Jim and Michal Wadsworth

Andrea Blanchard-Cone, first violin

Amelie Fradette, cello

Jacqueline Galluzzo, associate principal second violin

Brett Shurtliffe, associate principal bass

Sponsored by Drs. Clement and Margot Ip

Sponsored by Sandra and Dennis McCarthy

Amy Licata, second violin

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

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

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

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

Xiaofan Liu, 2nd assistant concertmaster

Henry Ward, principal oboe

Robert Prokes, second violin

Joshua Lauretig, oboe

Sponsored by Michael D'Ambrosio Sponsored by Ansie Baird

Caroline Gilbert, principal viola Sponsored by Bruce and Gail Johnstone

Anna Shemetyeva, associate principal viola

Sponsored by Christine Standish & Chris Wilk

Sponsored by Mr. and Mrs. Robert C. Wetter Sponsored by Sonny & Diane Sonnenstein

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

William Amsel, principal clarinet Sponsored by Dr. Gilbert Schulenberg

Natalie Piskorsky, viola

Patti DiLutis, clarinet

Matthew Phillips, viola

Salvatore Andolina, clarinet/saxophone

Sponsored by Dr. Patricia and Burt* Notarius Sponsored by Mr. and Mrs. George G. Herbert

Kate Holzemer, viola

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

Sponsored by Dennis P. Quinn


Daniel Kerdelewicz, associate principal, French horn

Sponsored by Gretchen Wylegala and Stephen McCabe

Jay Matthews, French horn

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

Sheryl Hadeka, French horn

Sponsored by Linda Johnson & Sanford Eisen

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

Philip Christner, trumpet

Sponsored by Frank and Wilma Cipolla

Jonathan Lombardo, principal trombone

Sponsored by Nicole and Stephen Swift

Timothy Smith, trombone Sponsored by Arthur W. and Elaine I. Cryer

Filipe Pereira, bass trombone

Sponsored by Constance A. Greco

Matthew Bassett, principal timpani

Sponsored by Bonnie and Nick Hopkins

Mark Hodges, principal percussion

Sponsored by Vanda and Paul Albera

Dinesh Joseph, percussion

Sponsored by Lynne Marie Finn, on behalf of Broadleaf Results

Madeline Olson, principal harp

Sponsored by Dr. and Mrs. Curtis F. Holmes

Jennifer Dowdell, in memory of Charles and Nancy Dowdell

Glenn Einschlag, principal bassoon

Sponsored by Barbara B. Bunker

To learn more about the Sponsor a Musician program, please contact Jen Barbee at (716) 242-7810 or jbarbee@bpo.org


* deceased

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


The Cameron and Jane Baird Foundation Carol & Angelo Fatta The Ralph C. Wilson, Jr. Foundation John & Carolyn Yurtchuk


Anonymous Mr. Brent Baird Brian and Barbara Baird Mark Chason & Mariana Botero Chason Louis P. Ciminelli Family Foundation The Robert and Patricia Colby Foundation Cullen Foundation Carlos and Elizabeth Heath Foundation W. & J. Larson Family Foundation Mulroy Family Foundation The Walter Schmid Family Foundation Charitable Trust Bonnie & Nick Hopkins Christine Standish & Chris Wilk


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

Maestro’s Circle $10,000-$24,999

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

Concertmaster’s Circle $5,000-$9,999

Anonymous (4) Ansie Baird Oliver G. & Sarah Sloan Bauman Fund for the Arts James and Linda Beardi James M. Beardsley & Ellen M. Gibson Barbara Bunker Mr. Joseph F. Casey Frank and Wilma Cipolla Conable Family Foundation Michael D'Ambrosio Wendy Diina

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

Encore Circle $2,500-$4,999

Anonymous (3) Dr. George N. Abraham Joan and Peter Andrews Family Foundation Douglas Bean and Elisa Kreiner Ann N. Bonte


The Reverend* and Mrs. Peter Bridgford Mr. & Mrs. John Burkholder Joanne Castellani & Michael Andriaccio William & Ida Christie Fund for Music Ms. Elizabeth G. Clark Ms. Anne E. Conable Richard and Cornelia Dopkins Mr. and Mrs. Douglas Easton Ms. Mary A. Ferguson Mrs. Marta Fernandez Thomas and Grace Flanagan Ilene and Peter Fleischmann Beth Fleming AnneMarie Farmer and David Gaydosh Dr. Samuel Goodloe, Jr. Mr. and Mrs. Robert M. Greene Dave & Katie Hayes Michele O. Heffernan and John J. Cordes Dr. Barbara W. Henderson Philip & Marion Henderson Martha & Tom Hyde Mr. James & Mrs. Diana Iglewski Mr. & Mrs. Jeremy Jacobs Jr. Joseph & Anna Gartner Foundation Mr. William P. Keefer Joseph M. Kelly In memory of W. R. Keppel from S. A. K. Dwight King & Leslie Duggleby Rosalind & Michael Kochmanski 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 Meyers-Rezabek Frances L. Morrison Michael and Lorrie Munschauer Dr. Thomas Nochajski OSC Charitable Foundation Mary Jane and Walter Pawlowski Frederick S. & Phyllis W. Pierce Family Fund Mrs. Susan A. Potter Peter & Nancy Rabinowitz Ms. Georgeann W. Redman Mr. and Mrs. Bruce Renner Thomas Rolle and Ms. Deborah Henning Dr. Richard J. Saab/Maureen Wilson Saab Ken Schmieder and Nancy Julian* Miss Louise E. Seereiter Dr. Maxine Seller Simple Gifts Fund Dr. Joyce E. Sirianni Stephen Stewart Ronald Struzik Dr. Joseph R. Takats, III Jeffrey J. Thompson Drs. Mark and Maansi Travers Nicholas & Nicole Tzetzo Barry & Donna Winnick Gregory and Donna Yungbluth John and Deanna Zak


Bravo Circle $1,000-$2,499

Patricia B. Frey, Ed.D. Mr. and Mrs. David Fried Mr. and Mrs. Michael A. Giambra Ms. Carol A. Golder Anonymous (9) Marc J. Goldstein Morton & Natalie Abramson Dr. and Mrs. Fred and Bonnie Albrecht Dr. Susan Graham and Dr. Jon C. Kucera George and Cecelia Grasser JoAnne Alderfer Mr. and Mrs. William Greenman Liz & John Angelbeck Adrienne Tworek-Gryta and Matt Gryta Ann Holland Cohn Endowment Fund Thomas J. Hanifin BPO Fund II at the at the FJP Community Foundation for Greater Rita Argen Auerbach Buffalo Reverend James M. Augustyn Mr. and Mrs. Van N. Harwood, Jr. Mr. and Mrs. Teo Balbach Martha Haseley Bradford Banks Ms. Sharon M. Heim and Mary L. and Ronald E* Banks Mr. David Wahl Mr. Steve Earnhart and Mrs. Jennifer Carla J. Hengerer Barbee Amy & Eduardo Heumann Drs. Kevin and Elizabeth Barlog Nancy Higgins Thomas R Beecher, Jr. Richard and Lynn Hirsch Dr. David B. Bender Monte Hoffman, Niscah Koessler Mr. Thomas Boeck Mr. Paul A. Hojnacki Gary & Willow Brost Duncan C. Hollinger R. R. Bujnicki John and Janice Horn Tim and Mary Lou* Butler Marie F. and Frederic K. Houston Fund Dr. and Mrs. John L. Butsch at the Community Foundation for William Catto & Katharine Pierce Greater Buffalo Cheryl Christie Mr. Bernhard Huber, Jr. Ms. Rosemary Christoff Dolan in memory of Gerald Christoff, composer Mrs. Pamela R. Jacobs Kevin and Kelly James and pianist Karen Jarvis Dr. Sebastian* & Marilyn Ciancio Thomas and Deborah Jasinski Dr. and Mrs. Michael E. Cohen Luella H. Johnson Jennifer Read and Craig Colder Craig and Deborah Johnston John and Patricia Connolly Mr. Alex Jokipii and Ms. Shari L. Dr. and Mrs. Harold G. Corwin, Jr. McDonough Patti Cosgrove Mr. and Mrs. Benoy Joseph Legacy II Fund at the Community Mr. Charles J. Kaars Foundation for Greater Buffalo Ms. Jennifer Kartychak Mr. and Mrs. David Croen Jane and John Kearns Jean McGarry and James F. Cunning Dr. and Mrs. Kenneth R. Kahn Peter S. and Elizabeth H. Curtis Dr. Kathleen Keenan-Takagi Jane M D'Agostino Milton Kicklighter Beverly Davies Verna Kieffer Jason and Sheryl Davies Mr. and Mrs. Douglas G. Kirkpatrick Clotilde & Trey Dedecker Robert and Barbara Klocke Mr. and Mrs. Joseph S. DePaolo Carol & John* Kociela James & Mary Frances Derby Mr. and Mrs. Jean Pierre A. Koenig Mr. and Mrs. Thomas Detwiler Bob & Liz Kolken Tony* & Kathy Diina Dr. Daniel Kosman and Dr. Gabriela Duane & Nancy DiPirro Popescu Mrs. Carol Donley Mr.* and Mrs. Robert J. Kresse Richard and Cornelia Dopkins Risé & Kevin* Kulick Miriam & Peter Dow Joan Kuhn Ellen & Victor* Doyno Drs. Jeffery Lackner and Ann Marie Patricia K Duffner Carosella Edward G Eberl Mr. Donald Latt Mr. and Mrs. Kim A. Ferullo Dr. John Leddy and Dr. Carmen Alvarez Joyce E. Fink Amanda and Ian Lee-Bennett Timothy and Deborah Finnell Paul E Lehman Robert and Ruth Fleming Drs. David B. and Madeline A. Lillie The Honorable and Mrs. Leslie G. Ms. Donna J. Ludwig Foschio Judy Marine Ms. Margaret A. Frainier Rose H. and Leonard H. Frank Ms. Linda Marsh Community Endowment Fund Randy & Diana Martinusek Eileen & Laurence Franz Mr. George L. Mayers

Elsie P. & Lucius B. McCowan Private Charitable Foundation Ms. Michaelene J. McFarlane Ms. Barbara Mellerski-Farkas Dr. and Mrs. Franklin H. Meyer David & Gail Miller Ms. Pennie C. Hoage Mitchell Family Philanthropic Fund at the Community Foundation for Greater Buffalo Mrs. Alexandra and Mr. Michael Montante Anne Moot Ms. Sharon F. Mortin Robert Moskowitz and Mary McGorray Sandra Mundier Philip Nicolai and Mary Louise Hill Dr. Michael F. Noe Mr. Phillip L. Nones Mr. and Mrs. Randall M. Odza Mr. Gerald Pacillo Eleanor & Tony Paterson Laurence & Sylvia Paul Lois and Thomas Pause Charitable Fund and the Community Foundation for Greater Buffalo Dr. & Mrs. Philip Penepent Mr. & Mrs. Richard C. Penfold Erin Peradotto David Schopp and Mark Peszko Ms. Christye Peterson and Mr. Peter J. Grogan Gregory Photiadis and Sandy Chelnov Mr. and Mrs. Robert W. Plyler Karen L. Podd Keith & Beth Podgorny Mr. Paul J. Polokoff Joseph and Pamela Priest Dr. Igor and Dr. Martina Puzanov Ted and Mary Ann Pyrak Ms. Stephanie Robb Drs. John and Sheliah Roehmholdt Mary Anne Rokitka Ms. Elaine Rubenstein Mr. Philip Rumore Dina & Carlos Santos William and Elizabeth Savino Ruth and Darwin Schmitt Fund at the CFGB Susan and Jeffrey Schwartz Mr. and Mrs. Roger L. Schintzius Mr. Michael B. Sexton and Dr. Sandra Sexton Mr. and Mrs. Lawrence D. Seymour Caren and Stuart C. Shapiro Mr. and Mrs. Robert Shappee Larry & Barbara Sherman Mr. and Mrs. John W. Sherman Charles E. and Penelope R. Shuman Philanthropic Fund Mr. Gerould R. Stange Ruth and Ted Steegmann Alma Owen Strachan Jan Svec Mr. and Mrs. Thomas W. Symons Mr. Ronald G. and Mrs. Margaret N. Talboys

Nancy B. Thomas Susan & John Thomas Mr. and Mrs. John C. Thompson Dr. Albert H. Titus and Dr. Ann M. Bisantz Hon. and Mrs. Paul A. Tokasz Garin Tomaszewski Lyle & Phil Toohey Dr. & Mrs. Raymond C. Vaughan Janet D. Vine Dr. and Mrs. P.K. Wallace Nellie B. Warner Endowment Fund William & Valerie Warren William Weiss Wende Family Fund Mr. and Mrs. Richard H. Wetter Dr. & Mrs. Richard A. Wiesen Wayne* & Janet Wisbaum Paul M. Wos Arden and Julie Wrisley The Yadzinski Family Charles and Maura Yates Cynthia Zane & Stephen Mazurak* Mr. Paul Zarembka Dr. Gregory Castiglia & Dr. Valerie Zingapan Drs. Bill Ziter & Cathy Gogan C. Richard and Joyce T. Zobel

Crescendo $500-$999

Anonymous (2) Ms. Gail Adema Eileen M. & Erik S. Anderson Mr. and Mrs. James M. Arena Susan Baird Karen A. Barbee Mr. Matthew & Mrs. Kathleen Bassett Mr. Richard C. Batt Mark & Debbie Bauer Henry E. and Susan W. Beamer Endowment Fund at CFGB Mr. Donald M. Behr Berardi Immigration Law Ms. Linda M. Betzer Peg Beyer Mr. and Mrs. Terrence Bisson Alan and Barbara Blackburn Drs. Gale Burstein and Peter Bloom Derek & Laura Brann Bruce and Jill Brown Ms. Bette J. Brunish Mr. & Mrs. David Bullions Mr. & Mrs. Dean & Patricia Burgstahler Mr. and Ms. Randall Burkard Drs. Evan & Virginia Calkins* Margaret C. Callanan Dr. Mireya B. Camurati Joseph and Susan Cardamone Jerry* & Barbara Castiglia Miss Victoria A. Christopher Mr. Michael Charles Cimasi Collins Charitable Foundation Ginger and Gordon* Comstock Bob and Susan Conklin Diana M. Conroy Mrs. Donanne S. Coovert

Andrea and Don Copley Paulette Crooke & Michael Toner Croucher - Fletcher Charitable Fund Mrs. Elizabeth Crump and Ms. Janet Cooper Ms. Ellen J. Daly Walter & Rosemary Dannhauser Mr. and Mrs. David Day Dr.* and Mrs. David C. Dean Jonathan Dewald Gary Diamond & Julie Klotzbach Lusyd W. Doolittle Robert G Dunford Drs. Philip Dvoretsky & Linda Ludwig Mr. Edward Eardley Amy P. Early M.D. Mr. and Mrs. Arthur Efron Marla Eglowstein Dr. Richard S. Elman and Dr. Nora Meaney-Elman Mr. and Mrs. Robert Ewing Mr. and Mrs. James S. Fanning Mr. Leo Fedor Dr. W. Ferguson Mr. & Mrs. Paul Ferington Denise Ferkey and Jeffrey Swaluk Mrs. Judith Ferrentino Mr. and Mrs. Karl D. Fiebelkorn Michael R. Fiels Family in honor of William J. Coughlin Edward* and Cynthia Fisher John & Imelda Fitzpatrick Mr. John F. Fleischman Jr. Dr. Peter Fletcher Mr. William S. Flickinger Rita A. Forman Howard and Laurie Foster Maryann Saccomando Freedman Rick Friend John Fudyma and Sarah Fallon Mrs. Joanne Gaffin Sue Gardner William H. Gardner Jeffrey & Norma Gentner Mr. and Mrs. Kenneth T. Glaser Drs. Philip Glick & Drucy Borowitz Mr. and Mrs. Peter H. Grace Mr. and Mrs. Jerry Greenlee Ms. Jane Griffin Kenneth W. Gross Mr. and Mrs. William H. Gurney Edward and Karen Healy Dr. and Mrs. Reid R. Heffner, Jr. Mrs. Patricia Helfrich Mr. and Mrs. Fred R. Hemmer Ann W Herman Dr. Theodore Herman and Ms. Judith Ann Cohen Ms. Olive Marie Hewett Richard and Laura Hill Richard and Virginia Hillegas Dr. & Mrs. Ralph W. Hinds, III Mr. Raymond and Mrs. Virginia Hohl Arleen Hollas Mr. Paul Homer & Ms. Kathryn Mary Homer David & Karen Howard


Michael Huber Scott and Alyssa Hunt Hunt Charitable Foundation Peter & Mary Jo Hunt Yasushi Innami Dr. Thomas A. Jambro William & Genevieve James Mr. and Mrs. Carl E. Jennings Claire E. Johnson Larry E. Jones and Nancy J. Rosenbloom Drs. Richard and Barbara Jurasek Nathan Kahn Theresa Kazmierczak Juliet E. Kline Mr. and Mrs. Paul C. Koppmann Mr. Charles Korn & Dr. Deborah Raiken George Kotlewski Paul & Marilyn Koukal James and Leslie Kramer Ms. Rosemary Kuca and Mr. Kevin J. Hagerty David & Marilyn Kurzawa Dr. and Mrs. Kevin W. Lanighan Mr. and Dr. John M. Laping Ruth and Dick Lasure Mr. and Mrs. Don E Lawrence, Jr. Kathleen Le Fauve Msgr. Fred Leising Fern & Joel Levin Mr. Douglas J. Levy Dr. Sanford Levy Dorothy M. Lien Christopher Lightcap Catherine & Matt Lincoln Faye Elizabeth Justicia Linde Howard and Lorna Lippes Joel & Andree Lippes Dr. Thomas & Donna Lombardo Mrs. Olga Lownie Karen Magee Mr. and Mrs. Kenneth F. Manly Robert & Elsie Martino Ms. Elaine Mackensen May Dr. and Mrs. Walter S. Mayo Dr. & Mrs. Philip McCarthy Mr. Scott W. McCone Louise McGrath McLain Foundation Michael and Lucille Melton

Mr. & Mrs. Frank & Tracy Mendicino Alicia Meyers Dr. and Mrs. Donald E. Miller Mrs. Sharon P. Miller Mr. John E. Milner Dr. & Mrs. Herman S. Mogavero Jr. Robert and Nancy Morey Mark Lauretig & Susan Morgenstern Dr. Joshua Morra Sandra G. Morrison JFF and JFFLabs Mr. and Mrs. Franklin Nice Susan D. Nusbaum Bernard & Linda O'Donnell Benjamin and Lila Obletz Endowment Fund Jeremy and Sally Oczek Barbara Ann Oliver Mr. Rick Paulson Jo Anne Brocklehurst Robert S. Petersen Rodney P. Pierce James and Nancy Poole Henry & Patty Porter Dr. Kevin & Merle Pranikoff John & Betty Preble Ms. Carol Dean Privitera Charles and Joanne Privitera Linda and Patrick Rankin Mr. Alex J. Ratkowski Mrs. Kathrin Reid Mr. Charles Rice Al and Cindy Ripley Randolph & Cathy Ritz Mr. and Mrs. Casimiro D. Rodriguez Mr. and Mrs. Edward L. Schaefer Ms. Elizabeth S. Rundle Revs. Melody and Rodney Rutherford Mr. Glenn Sanders Scott & Ardeen Schaefer Barbara & Daniel Schifeling John & Connor Cardot-Schloop Paul J. Schulz Alvin Schuster & Gladys Gifford Eleanor Scott Mary Anne Seifert Henry & Tricia Semmelhack Dr. Mary Ellen Shaughnessy Ms. Nancy Shepard

Mr. Joseph A. Shifflett Peter Siedlecki & Lynnette Mende Mr. and Mrs. Roger T. Sieracki John G. Sisson Mr. Jeremy Smith Lynne G. Smith Mr. and Mrs. Kenneth Sodaro Melissa & Kurt Spaeth Mr. John Spears Lynn & JoAnn Spees Jean & Russ Speidel James and Karen Stephenson Mr. Edwin F. Stohrer, Jr. Joan R. Strachan Mr. William & Ms. Kathaginia Sullivan Marilyn & Irving Sultz Ms. Mary J. Syrek Mr. & Mrs. Dennis Szymkowiak Mr. and Mrs. Richard J. Thompson Dr. & Mrs. Thomas B. Tomasi Mr. Guido A. Tomassi Ms. Sylvia Tourbaf Sheila Trossman Dr. and Mrs. Stephen J. Turkovich Frederick Turner John H. Twist, D.D.S. Ilona Tylwalk Chris and Kathy Tzetzo Charitable Fund Susan & Ron Uba Mr. and Mrs. Thomas H. Van Nortwick Dr.* and Mrs. Rocco C. Venuto Ms. Suzanne J. Voltz Mr. William Vosteen Mr. Rudolph Vrbsky Ms. Suzanne Sheard-Walsh Mr. Angus Watkins and Mrs. Anne L. Watkins Karen Wehn Norman and Carole Weingarten Ms. Marlene A. Werner Mr. and Mrs. K. Wiedenhaupt Katherine Powel and Ann K. Wittowsky Mr. Martin Wolpin Quinn & Jewell Wright Ms. Kelly Ann Wright Mr. Bryan Zielenieski

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

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

Check out YOUR Buffalo Philharmonic Orchestra online!


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 June 1, 2022 and July 31, 2022.


In Honor of

Jonathan Borden Edward N Giannino Jr

Mrs. Gloria McLaughlin Bill Fay

In Memory of

James Flannan Browne Ms. Marty Lyons Lee Cohen Dr. Sharon Cramer


Marianne and Norman Goldstein Marc J. Goldstein Donald J Krentz John and Deborah Tracy

Robin Parkinson Buffalo Alumnae Chapter of Sigma Alpha Iota Ted Lownie Marie S. and Frederic K. Houston Fund at the Community Foundation for Greater Buffalo

Mindy, Eli and Jen Wendy Diina

Susan Ebersole Skoney Bruce, Daisy, & Tina King Connie Walsh Mr. David Munschauer

Buffalo City Council Members Joel Feroleto; David Golombek, Jr.; Mitch Nowakowski; Christopher Scanlon; David Rivera;




Musical Heritage Society

We are pleased to list the current members herein because they have realized the importance of “the gift that keeps giving.” Each of these individuals or couples have made provisions for a contribution to the BPO in their estate plans and while there are many different methods, the most common is by adding the BPO as a beneficiary in one’s will. Anonymous (4) Mr.* and Mrs. Anthony N. Diina Rev. Russell A. Newbert Charlotte C. Acer Ellen & Victor* Doyno Drs. Howard & Karen Noonan Elizabeth & John Angelbeck Sarah & Donald Dussing Robert & Marion North Fund Rita Argen Auerbach Angelo & Carol Fatta Mrs. Frederick S. Pierce Charles Balbach Judith & John* Fisher Edwin Polokoff Jennifer Barbee Marjorie* and William Gardner Susan Potter Donald M. Behr & Samuel E. Edward N. Giannino, Jr. Dennis Quinn Lolinger* Mr. George Eagan Ginther Virginia Ann Quinn David Bender Mr. & Mrs. Byron R. Goldman Evelyn Joyce Ramsdell The Reverend* and Ms. Constance A. Greco John and Susan Rowles Mrs. Peter W. Bridgford Susan J. Grelick Paul and Gerda Sanio James A. Brophy & Fraser B. Drew* Peter Hall & M.E. O'Leary Kenneth Schmieder, Daniel R. Burch Mr. & Mrs. George G. Herbert In memory of Nancy L. Julian Anthony J. Cassetta Monte & Cheryl* Hoffman Gilbert Schulenberg The Joanne Castellani and Philip H. Hubbell Betty J. Schultz Michael Andriaccio Charitable Trust in memory of Jayne T. Hubbell Catherine F. Schweitzer Barbara & Jerry* Castiglia Paul A. Imbert Joseph and Carole Sedita Gerard and Rachel Catalano Robert and Hana Jacobi Roger & Joan Simon Cheryl I. Christie Bruce and Gail Johnstone Robert B. Skerker Victoria A. Christopher Theresa Kazmierczak Dennis M. Smolarek In honor of JoAnn Falletta and Dr. & Mrs. Kenneth R. Kahn Monica and Steve Spaulding Donald McCrorey Nathan Kahn David D. Stout & Dr. Sebastian* and Mrs. Marilyn in honor of JoAnn Falletta, Janet E. Popp Stout Ciancio Dan Hart, and the BPO Musicians Gerald R. Strauss Louis & Ann Louise Ciminelli Kathleen Keenan-Takagi Sue W. Strauss Ms. Elizabeth G. Clark The Herbert & Ella Knight Nancy B. Thomas Mrs. George Cohn Family Charitable Fund Therese M. Vita Anne Conable Rosalind and Michael Kochmanski Jim and Michal Wadsworth, Dr. Elizabeth Conant Dr. Merrily Kuhn and Mr. James as trustees of the Mulroy, Ellen Todd Cooper Kulwicki Heath and Colby Foundations Rev. Raymond G. Corbin Eric E. & Ruth F. Lansing Marjorie W. Watson Marilyn R. Cornelius Steve & Sandy Levinthal Wayne* & Janet Wisbaum Dr. Sharon F. Cramer and Bradford Lewis, PhD Elizabeth Ann Withrow Mr. Leslie R. Morris* Gerald & Barbara Lipa in honor of the BPO Viola Section Francie D. & Joel N. Lippman Sandra B. Cumming Mr.* & Mrs. J. A. Mattern Beverly Davies Sandra and Dennis McCarthy Mrs. Roberta Dayer Michael and Lorrie Munschauer Tim DiCarlo Donna & Leo Nalbach *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 Jennifer Barbee (716) 242-7810 for more information. The Buffalo Philharmonic Orchestra endorses the LEAVE A LEGACY® WESTERN NEW YORK program, an initiative of the WNY Planned Giving Consortium and a public awareness campaign of the National Committee on Planned Giving.



BPO ADMINISTRATIVE STAFF Administration Daniel Hart

President & Executive Director

Diana Martinusek Executive Assistant

Development Jennifer Barbee

Kevin James

Vice President, Finance & Administration

Adam Cady

Associate Director of Finance

Laura Papit

Nicole M. Bodemer Jacqueline Henry

Finance/Accounts Payable Associate

Associate Executive Director & Vice President, Development

Susan Hill

Associate Director of Development

Marilyn Miller

Annual Fund & Grants Manager


Mindy Takacs Eli Campbell

Jacqueline Chagnon

Donor Relations Manager

Taylor Heaphy

Development and Database Administrator

Carson Mannino

Special Events and Project Coordinator

Jordan Walker

Development Assistant

Luke Borkowski

Kleinhans Capital Campaign Coordinator

PATRON INFORMATION Sales and Patron Services


Finance Assistant

AndréeRenée Simpson Marketing Manager

Kelcie Hanaka

Vice President, Education & Community Engagement

Rachael Pudlewski Education Manager

• Kleinhans Music Hall will open 90 minutes before a concert’s scheduled start, or earlier depending on pre-concert activities.

Assistant Manager of Patron Services

• Special assistance in the areas of parking, seating, and hearing will be accommodated to the best of our ability. Please contact the Box Office ahead of your visit.

Anne Boucher Bethany Erhardt Ally Jindra Amy Sturmer

Kleinhans Music Hall Staff

-Options are available for patrons using mobility aids or requesting a wheelchair accessible location and accompanying companion seating. -Hearing Assistance Devices are available at the coat check. -Please note: there is no elevator to the balcony level. • It is strictly forbidden to record, photograph, or film during a performance in the Main Auditorium. Photography is permitted in the hall before and after concerts.

Digital Marketing Manager

Brian Seibel

• Late arrivals will be seated at the first suitable break or at intermission. Late seating may not be in the purchased section.

Graphic Designer/Consultant

Reneé Radzavich

Marketing Assistant

Michael Cassidy

• 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.

Event Manager

Cary Michael Trout Mikaela Huber

Building Services Coordinator Chief Engineer

Operations Alison Bolton

Vice President, Artistic & Orchestra Operations

• Kleinhans Music Hall maintains a smoke-free environment.

Dennis Nawojski

• All programs and artists are subject to change without notice.

Lucas Parks

• Sorry, no refunds or exchanges on single ticket purchases.

Concessions Manager

Education and Connor Schloop Community Engagement Operations Manager Robin Parkinson,

Associate Director of Patron Services

Patron Services Representatives

Payroll and HR/ Benefits Administrator


Parking & Set-Up Supervisor

Shuttle Service and BPO Preferred Restaurants

Orchestra Personnel Manager

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

Audience Services Manager

FREE Park and Ride Shuttle (SELECT Saturdays)

Sarah Lewandowski Corinna Scozzaro

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

Conn Sullivan

Operations Assistant

• D’Youville College Lot D, 430 West Avenue between Connecticut & Porter Ave, 14213 (SELECT Saturday performances only) • BPO Clement House Lot, 786 Delaware Avenue corner of Summer Street, 14209 (SELECT Saturday performances only)


Sharon Levite Barbara E. Macks EXECUTIVE EDITOR Sabrina Kahwaty MANAGING EDITOR Donna Hoke VP/ADMINISTRATIVE & FINANCE Michele Ferguson CREATIVE DIRECTOR Jean-Pierre Thimot PRESIDENT & CEO


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

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


Shuttle service is only available for SELECT dates. Please join our email club at bpo.org or call the Box Office for updated information. SALVATORE’S SYMPHONY SHUTTLE Saturday Nights $15 per person, leaving promptly at 6:30pm from the rear of the lot near the water tower, 6461 Transit Rd. and Genesee St. in Depew. Call the reservation hotline at (716) 885-5000 and select “shuttle” option to reserve your place, or reserve online at bpo.org MARCATO by Oliver’s at Kleinhans Music Hall A new concept for fine dining on Kleinhans Lower Level. For more information or to make reservations, call (716) 877-9662.


Joshua Flanigan | Kim Miers | Nicholas Vitello GRAPHIC DESIGNERS

Rachel Kaznica | Taramarie Mitravich

buffalospree.com | 716-972-2250

SALVATORE’S ITALIAN GARDENS 6461 Transit Rd. and Genesee St. in Depew. Call (716) 683-7990 for dinner reservations. Dinner and shuttle sold separately.