Classics 2012-2013 Biographies - The Buffalo Philharmonic Orchestra

Galway’s Golden Flute – Opening Night Gala sponsored by the Louis P. Ciminelli Family Foundation
Sat, Sept. 22, 8pm
JoAnn Falletta, conductor
Sir James Galway, flute
SMETANA Overture to The Bartered Bride
HARTY An Irish Symphony
MOZART Flute Concerto No.2 in D major
http://www.jamesgalway.com/
https://www.facebook.com/pages/Sir-­‐James-­‐Galway/165548003305?ref=ts
https://twitter.com/#!/sir_j_galway
Sir James Galway is regarded as both the supreme interpreter of the classical flute repertoire and a consummate
entertainer whose appeal crosses all musical boundaries.
Sir James has made himself a legend, a modern musical master whose virtuosity on the flute is equaled only by his
limitless ambitions and vision. Through his extensive touring, over 30 million albums sold and his frequent
international television appearances, Sir James has endeared himself to millions worldwide and is a tireless promoter
of the arts.
Arguably the busiest man in classical music, the 2011/12 season sees Galway appearing all over the world in concert
– opening the season with a tour of China, Korea & Japan. An extensive tour of North America follows on, including
performances with the Pittsburgh, Dallas, Detroit, Roanoke & Montreal Symphonies and recital performances in New
York, Toronto and the American Midwest. European engagements include performances with the Orchestre National
de Lyon and a New Years Concert with the Zurich Kammerorchestra. Other performances include a long awaited
Spring Tour of South America followed by performances in Ireland, UK, Germany and Italy.
Belfast born, Sir James studied in London and Paris before embarking on his orchestral career in such prestigious
orchestras such as the Sadlers Wells & Royal Covent Garden Operas, The BBC, Royal Philharmonic and London
Symphony Orchestra, before taking up the coveted position of solo flautist with the Berlin Philharmonic under Herbert
von Karajan.
Since launching his successful career as a soloist in 1975, his busy touring schedule sees him performing with the
world’s leading orchestras and most prestigious conductors. From Galway’s lips have come definitive treatments of
classical repertoire and masterworks by Bach, Vivaldi and Mozart. He also features contemporary music in his
programs, including new flute works commissioned by him and for him by composers such as Adamo, Amram,
Bolcom, Corigliano, Heath, Lieberman and Maazel. Recently commissioned are two new works; a Double Flute
Suite for 2 flutes and piano written especially for Sir James & Lady Galway by the Northern Irish Composer, Philip
Hammond; and the other an Irish concerto by Bill Whelan (composer of River Dance). Both to be premiered in the
2011/12 season.
The 1st James Galway International Flute Competition will be held in Belfast, Northern Ireland in June 2012, in
collaboration with the Ulster Orchestra, BBC Northern Ireland, Northern Ireland Tourist Board and the Northern
Ireland Arts Council. As part of the legacy of Sir James, he has created this platform to help launch and promote
young flutists through this competition.
Alongside his busy performing schedule he makes time to share his wisdom and experience conducting annual
master classes, commissioning new works for the flute, publishing articles, flute studies and books (his latest
autobiography, entitled The Man with the Golden Flute, a Celtic Minstrel, was published by John Wiley & Son). To
celebrate his legacy and commitment to flute players all over the world, he has recently collaborated with Conn-­‐
Selmer Inc, in the development of a new, high quality student flute, aptly called ‘The Galway Spirit’. His website
www.thegalwaynetwork.com is devoted to students and educators.
Sir James has played for such dignitaries as Queen Elizabeth II, Pope John Paul II, President Clinton, President
George W. Bush, President George H.W. Bush, President Mary McAleese, Prince Charles, HRH The Princess Royal,
The Empress of Japan, The Queen of Norway, Princess Diana, TRH The Earl and Countess of Wessex, TRH The
Duke and Duchess of Kent, and most recently President Shimon Peres, and shared the stage with an amazing array
of entertainers including Stevie Wonder, Henry Mancini, John Denver, Elton John, the Chieftains, Ray Charles, Joni

Mitchell, Jessye Norman, Cleo Laine and Andrea Bocelli. He performed with Pink Floyd in their memorable concert at
the Berlin Wall, was part of the Nobel Peace concert in Norway and performed at the G Seven summit hosted by
Queen Elizabeth II in Buckingham Palace.
He also devotes much of his free time supporting charitable organizations such as SOS, FARA, Future Talent, Youth
Music (UK), The Caron Keating Foundation and UNICEF, with which he holds the title of special representative.
Among the many honors and awards for his musical achievements are; the Recording Academy’s President’s Merit
Award; Classic Brits Lifetime Achievement Award; numerous gold and platinum CD’s and most recently inducted into
the Hollywood Bowl Hall of Fame. He has been honored twice by Her Majesty Queen Elizabeth II, with The OBE in
1979 and again in 2001 with a Knighthood for his services to music. In December 2009, Sir James was awarded the
honor of being made the first Artist Laureate of the Ulster Orchestra.
2009 saw the release of the spectacular Vivaldi DVD by Hardy Classics, with I Solisti Veneti, Claudio Scimone and
Lady Galway recorded live at the Palazzo Ducale in Venice, Italy.
A discography of over 65 CD’s with BMG Sony Classics and Deutsche Grammophon ranging from the great classics
such as Mozart & Bach, his performing on the sound track of ‘Lord of the Rings’ (Return of the King) a recent release
“O’Reilly Street” with the Cuban timba group, Tiempo Libre, reflects his mastery of musical diversity. Latest releases
include a 70th Birthday compilation of some of the Maestro’s favourite collaborations. In March, Sony will be releasing
as part of their ‘Sony Classical Masters’ series, a 12 CD box set titled “James Galway – The Great Flute Concerto
Edition”.
Sir James lives with his wife and family in Switzerland and currently plays on the 20K ‘Galway’ Nagahara Flute –
especially commissioned for him.

Joyce Yang Returns
Sat, Oct. 6, 8pm
Sun, Oct. 7, 2:30pm
JoAnn Falletta, conductor
Joyce Yang, piano
BARBER Overture to The School for Scandal
BEETHOVEN Piano Concerto No. 5, “Emperor”
GERSHWIN Catfish Row (Suite from “Porgy and Bess”)
GERSHWIN Overture to Strike Up the Band
http://pianistjoyceyang.com/
https://www.facebook.com/pages/Joyce-­‐Yang/119665791381594?ref=ts
Agent: Opus 3, Elaine Lipcan
elipcan@opus3artists.com
212-­‐584-­‐7522
Critically acclaimed as “the most gifted young pianist of her generation” with a “million-­‐volt stage presence,” pianist Joyce Yang
captivates audiences around the globe with her stunning virtuosity combined with heartfelt lyricism and interpretive sensitivity.
Just twenty-­‐five, she has established herself as one of the leading artists of her generation through her innovative solo recitals and
notable collaborations with the world’s top orchestras. In 2010 she was awarded an Avery Fisher Career Grant, one of the most
prestigious prizes in classical music.
Ms. Yang came to international attention in 2005 when she became the Silver Medalist of the 12th Van Cliburn International
Competition. As the youngest contestant, she swept two additional awards as an all-­‐around winner, receiving the Steven De
Groote Memorial Award for Best Performance of Chamber Music with the Takàcs Quartet, and the Beverley Taylor Smith Award for
Best Performance of a New Work.
Since her spectacular finish, Ms. Yang has flourished into an “astonishing artist” (Neue Zürcher Zeitung), and she is continually re-­‐
engaged by orchestras across the U.S. and abroad. She has performed with the New York Philharmonic, Chicago Symphony, Los
Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Baltimore Symphony, Houston Symphony, and BBC
Philharmonic, among many others, working with such renowned conductors as Edo de Waart, Lorin Maazel, James Conlon,
Leonard Slatkin, David Robertson, and Bramwell Tovey. In recital, Ms. Yang has appeared at New York’s Lincoln Center and the
Metropolitan Museum, the Kennedy Center in Washington, D.C., Chicago’s Symphony Hall, and Zurich’s Tonhalle.
This past season, Ms. Yang appeared for the first time with the San Francisco Symphony, led by Alondra de la Parra, returned to the
Chicago Symphony under James Conlon at Ravinia, and performed as concerto soloist with Edo de Waart in Milwaukee, Sydney,
Melbourne, Malaysia, and Hong Kong. She made her Lincoln Center recital debut at Alice Tully Hall and gave recitals in Atlanta,
Berkeley (Cal Performances) and Sydney, Australia. An avid chamber musician, she continued her longtime collaboration with the
Takàcs Quartet, and toured with violinist Stefan Jackiw and the Miró Quartet.
During the summer of 2011, Ms. Yang performed recitals, chamber music and concertos at eminent U.S. music festivals, including
the Aspen Music Festival with conductor Jaap van Zweden, Napa’s Festival del Sole with the Russian National Orchestra, the
Brevard Music Center, Bravo! Vail Valley with artistic director Anne-­‐Marie McDermott, and La Jolla Summerfest with the Tokyo
Quartet. In her first appearance at the Santa Fe Chamber Music Festival, she played a solo recital and four chamber music
concerts.
In the 2011/12 season Ms. Yang returns to the Los Angeles Philharmonic at the Hollywood Bowl under Bramwell Tovey. She
continues her Rachmaninoff Concerto series with the Milwaukee Symphony and Edo de Waart, appears as soloist with the Franz
Liszt Chamber Orchestra in Budapest, the State Academic Philharmonic in Moscow, and the symphony orchestras of Eugene,
Charlotte and Vancouver, among others. The Van Cliburn Foundation, San Francisco Performances and Wolf Trap each present her
in recital, and she tours California and Texas with violinist Augustin Hadelich. She also reunites for concerts with the Takàcs
Quartet and violinist Stefan Jackiw. Fall 2011 marks the release of her first solo album for Avie, Collage, featuring piano works by
Scarlatti, Liebermann, Debussy, Currier, Schumann and Chopin/Liszt.
Ms. Yang made her celebrated New York Philharmonic debut with Lorin Maazel at Avery Fisher Hall in November of 2006 and
performed on their Asian tour, making a triumphant return to her hometown in South Korea. Since then, she has appeared with
the orchestra frequently, including the opening night of the Leonard Bernstein Festival in September 2008 at the special request of

Lorin Maazel in his final season as Music Director. The New York Times called Yang’s rendition of Bernstein’s “Age of Anxiety” a
“knock-­‐out.”
Born in Seoul, Korea, Ms. Yang received her first piano lesson at age four from her aunt. She quickly took to the instrument, which
she received as a birthday present. Over the next few years, she won several national piano competitions in Korea. By age ten, she
had entered the School of Music at the Korea National University of Arts, and subsequently made a number of concerto and recital
appearances in Seoul and Daejon. In 1997, Ms. Yang moved to the United States to begin studies at the Pre-­‐College division of the
Juilliard School in New York with Dr. Yoheved Kaplinsky. During her first year at Juilliard, she won its Pre-­‐College Division Concerto
Competition, resulting in a performance of the Haydn Concerto in D major with the Juilliard Pre-­‐College Chamber Orchestra.
Winning the Philadelphia Orchestra's Greenfield Competition led to a performance of the Prokofiev Piano Concerto No. 3 with the
Philadelphia Orchestra when she was just twelve. ? She graduated from Juilliard with special honor, and is the recipient of the
school’s 2010 Arthur Rubinstein Prize and William A. Petschek Piano Recital Award.
Joyce Yang is featured in In the Heart of Music, the film documentary about the 2005 Van Cliburn International Piano Competition,
and she is a frequent guest on American Public Media’s nationally syndicated radio program “Performance Today”. Her debut disc,
distributed by harmonia mundi usa, includes live performances of works by Bach, Liszt, Scarlatti, and the Australian composer Carl
Vine. A Steinway Artist, she currently resides in New York City.

Brahms’ Blue Heaven
Sat, Oct. 20, 8PM
Sun, Oct. 21, 2:30PM
Hugh Wolff, conductor
Alexandre DaCosta, violin
DEBUSSY Rondes de Printemps from Images
MICHAEL DAUGHERTY Fire and Blood Concerto
BRAHMS Symphony No. 2
http://www.hughwolff.com/Home.htm
lsam@icartists.co.uk
Liz Sam -­‐ International Classical Artists
The French-­‐born American conductor Hugh Wolff was born in Paris to American parents. He spent his early years in London and
Washington DC. After graduating from Harvard, he returned on a fellowship to Paris, where he studied conducting with Charles
Bruck and composition with Olivier Messiaen. He then continued his studies in Baltimore with Leon Fleisher.
Hugh Wolff is among the leading conductors of his generation. He has appeared with all the major North American orchestras
including the Chicago Symphony Orchestra, New York Philharmonic Orchestra, Boston Symphony Orchestra, Philadelphia
Orchestra, Los Angeles Philharmonic Orchestra, San Francisco Symphony Orchestra, Cleveland Orchestra, Toronto Symphony
Orchestra and Montreal Symphony. Wolff is much in demand in Europe, where he has worked with such orchestras as the London
Symphony Orchestra, Philharmonia Orchestra, City of Birmingham Symphony Orchestra, Orchestre National de France,
Gewandhausorchester Leipzig, Münchner Philharmoniker, Czech Philharmonic Orchestra, Israel Philharmonic Orchestra,
Bayerischer Rundfunk Symphonieorchester and Radio-­‐Symphonie-­‐Orchester-­‐Berlin. He is a regular guest conductor with orchestras
in Japan, Scandinavia and Australia and a frequent conductor at summer music festivals including Aspen, Tanglewood and Ravinia.
A conductor whose interests span Baroque performance practice to the championing of new works, Hugh Wolff began his
professional career in 1979 as Associate Conductor of the National Symphony Orchestra under Mstislav Rostropovich later going
on to become Music Director of the New Jersey Symphony Orchestra (1986-­‐1993) and Music Director of Chicago’s Grant Park
Music Festival (1994-­‐1997).
Hugh Wolff was Principal Conductor and then Music Director of the Saint Paul Chamber Orchestra (1988-­‐2000), with whom he
recorded twenty discs and toured the USA, Europe and Japan. Of this partnership, the New York Times wrote: ‘The Saint Paul
Chamber Orchestra, under the direction of Hugh Wolff, has developed an effortlessly polished sound ... Wolff shapes his
interpretations with impeccable taste.’
Hugh Wolff was later Principal Conductor of the Frankfurt Radio Symphony Orchestra (1997-­‐2006), with whom he maintains a
close relationship. The Sunday Times wrote of their recording of George Antheil’s Symphonies Nos 1 & 6, ‘the Frankfurt Radio
Symphony Orchestra under Wolff dazzles throughout.’ Together they have toured Europe, Japan and China, and appeared at the
Salzburg, Rheingau, and Mozart Würzburg Festivals.
Hugh Wolff has an extensive discography on the Teldec label, with works ranging from Haydn to Igor Stravinsky with the Saint Paul
Chamber Orchestra and Philharmonia Orchestra. His recordings for Decca include a disc of works by Aaron Jay Kernis with the City
of Birmingham Symphony Orchestra (Argo label), and a disc with Jean-­‐Yves Thibaudet and the BBC Symphony Orchestra. He has
also recorded the Samuel Barber and Meyer Violin Concertos with Hilary Hahn for Sony Classical, which along with the disc of
George Antheil Symphonies 1 & 6, won a 2001 Cannes Classical Award.
Hugh Wolff and his wife, Judith Kogan, have three sons and live in Boston.

Brahms’ Blue Heaven
Sat, Oct. 20, 8PM
Sun, Oct. 21, 2:30PM
Hugh Wolff, conductor
Alexandre DaCosta, violin
DEBUSSY Rondes de Printemps from Images
MICHAEL DAUGHERTY Fire and Blood Concerto
BRAHMS Symphony No. 2
http://www.alexandredacosta.com/
alexandre@alexandredacosta.com
Evans Mirageas
www.evansmirageas.com
1-­‐917-­‐863-­‐4825
It is with lots of enthusiasm that I recommend a great artist that I appreciate and strongly support, violinist Alexandre Da Costa.
“Rafael Frühbeck de Burgos Musical America Artist of the Year 2010
“31 years-­‐old violinist Alexandre Da Costa plays with so much sensuality and shows all his qualities: Irreproachable technique,
sensitivity and temperament. “ Neue Zürcher Zeitung November 19th 2010 (Zürich, Switzerland)
ALEXANDRE DA COSTA was born in Montreal, Quebec, Canada in 1979. He showed an uncommon interest for both the violin and
piano at a very early age. By the age of nine, he had the astonishing ability to perform his first concerts with stunning virtuosity on
both instruments, which brought him recognition as a musical prodigy. His chosen professional career as a violinist began very
early and he was soon performing regularly as soloist with orchestra as well as in recital.
At age 18, he obtained a Master’s Degree in violin and a First Prize from the Conservatoire de Musique du Québec. Concurrently,
he also obtained a Bachelor’s Degree in Piano Interpretation from the University of Montreal. From 1998 to 2001, he studied at the
Escuela Superior de Música Reina Sofia in Madrid with his mentor Zakhar Bron, teacher of violinists such as Maxim Vengerov and
Vadim Repin. In 2002, he won the Sylva Gelber Foundation Award from the Canada Council for the Arts given for an exceptionally
gifted Canadian Artist under 30 years old. In 2003, he was awarded the “1689 Baumgartner Stradivarius”
from the Canada Council for the Arts -­‐ Musical Instrument Bank. In 2010, he received the prestigious Virginia-­‐Parker Prize from the
Canada Council for the Arts, given by the Government of Canada to the Canadian musician that has distinguished himself in Canada
and abroad. Winner of many national and international first prizes, Alexandre Da Costa has given over a thousand concerts and
recitals throughout North America, Mexico, Europe, United Kingdom and Asia. He has performed in major halls such as Vienna’s
Musikverein, Berlin’s Philharmonie, New York's Carnegie Hall, Hamburg’s Musikhalle, Madrid’s National Auditorium, Beijing’s Poly
Theater, and played with prestigious orchestras such as the London Royal Philharmonic Orchestra, the Orchestre Symphonique de
Montreal, the Dresden Philharmonic Orchestra, the Bergen Philharmonic Orchestra, the Berlin Symphony Orchestra, the Hamburg
Symphony Orchestra, the Vienna Symphony Orchestra, the Prague Philharmonic Orchestra, the Toronto Symphony Orchestra, the
Buffalo Philharmonic and the Spain’s National TV & Radio Symphony Orchestra.
He has worked with conductors such as Rafael Frühbeck de Burgos, Leonard Slatkin, Matthias Bamert, Günter Herbig, Pedro
Halffter, Adrian Leaper, Lior Shambadal, Yannick Nézet-­‐Séguin, Carlos Miguel Prieto, to name a few. His live performance
broadcasts have aired on BBC, WestDeutscher Rundfunk (WDR), Radio-­‐Classical International, Radio-­‐Canada/CBC, American NPR,
Radio Nacional de España (RNE), Austria State Radio (ORF), and TV Asahi Japan. As recording artist, he has 12 CDs for the XXI-­‐21
Records, ATMA and Octave/Universal labels, among them the world premiere recordings of the Violin Concertos by Portuguese
composers Luis de Freitas Branco and Armando José Fernandes with the Extremadura Symphony Orchestra under Jesús Amigo, a
disc nominated at the JUNO Awards 2006. In 2009, he recorded concertos by American composer Michael Daugherty, with the
Montreal Symphony under Pedro Halffter for Warner Classics. He now records for Warner Classics International, Acacia
Classics/Universal Music Group and JVC/Victor (Japan).
In addition to his concert schedule, Alexandre Da Costa teaches violin at the Gatineau Music Conservatory (Ottawa, Canada), and
regularly gives masterclasses at various universities and conservatories around the world. He was also named Musical
Development Director of the Canimex Foundation, an organization gathering an impressive collection of fine instruments for the
benefit of talented artists. Alexandre Da Costa now plays the 1727 "Di Barbaro" Stradivarius and a Sartory bow, loaned by Canimex.

A Poet’s Inspiration
Fri, Nov. 2, 10:30am
Sat, Nov. 3, 8pm
JoAnn Falletta, conductor
Yevgeny Yevtushenko, honored guest
Michael Boriskin, piano
Mikhail Svetlov, bass
SHOSTAKOVICH Piano Concerto No. 2
SHOSTAKOVICH Symphony No.13, “Babi Yar”
YYEVGENY YEVTUSHENKO
“Morality is a sister of conscience. And perhaps God is with Yevtushenko when he speaks of conscience. Every morning, in place of
prayers I reread or repeat by memory two poems by Yevtushenko “ Career” or “boots”.-­‐ Dmitri Shostakovich 1961
“…One of Russia’s most adventurous writers for more than 30 years”-­‐ Arthur Miller 1990
“In my mind he is one of the true heroes of the entire soviet period”-­‐ Norman Mailer 1991
“Yevtushenko is clearly a figure of important international stature. It is rare for someone who is so talented and famous at an early
age to sustain his career.”-­‐ James Billington, Librarian of Congress 1991
“Today you recited your poetry at my home touching me and all my guests to tears with obvious proof of your talent. I am sure in
your bright future.” Autograph on his book-­‐gift to Yevtushenko – Boris Pasternak, 1959
It is difficult to find another writer who did so much for mutual understanding between America and Russia than Yevtushenko. He
was inspired in his childhood by the historical encounter of American and Russian soldiers on the river Elbe in May 1945. He was
the first Russian poet who promoted in the worst days of the Cold War the spirit of Elbe and condemned all efforts to resurrect
Cold War between USA and USSR.
He was called by the American media as the Russian mixture of Walt Whitman and Bob Dylan. Yevtushenko first came to the
United States as a tourist in the 1960’s. In his warm and heartfelt poem, “American Nightingale”, Yevtushenko wrote lines symbolic
about the role of poets in the contemporary world, “All Nightingales will understand each other-­‐ they all share the same language…
and than why can’t we, people, understand each other?” His first reading in America in 1961 was in Harvard for a small audience of
post-­‐graduate students and a few young future professors, one of them was Albert Todd who became his close friend and
translator. He promised Yevtushenko to organize a giant tour across America and a reading in Madison Square Garden.
When Yevtushenko returned to Russia he published his thunderous poem “Babi Yar” against anti-­‐Semitism breaking a conspiracy of
silence in USSR. Soon afterwards the Great Russian composer, Dmitri Shostakovich created his famous 13 th symphony based on five
of Yevtushenko’s poems. Since that time Yevtushenko’s young voice became an alarming trumpet against all attempts of neo-­‐
Stalinism and any restrictions of freedom. Suddenly Yevtushenko found himself under attacks from Soviet officials and his planned
tour was canceled. In 1961, Time magazine published a cover story about Yevtushenko. Albert Todd was stubborn and insistent
and in 1966 he finally organized this tour with the help of invitations from 27 American Universities. Yevtushenko successfully
toured across America. He was received by Senator Robert Kennedy, Jacqueline Kennedy, the Secretary of the United Nations U
Tan and many other leading political figures. Yevtushenko was befriended by Robert Frost, Carl Sandburg, John Steinbeck, Arthur
Miller, John Updike, Richard Wilbur, Stanley Kuntz, Allen Ginsburg, James Dickey, John Cheever, Edward Albee, John Updike,
Harrison Salisbury, Art Buchwald, Leonard Bernstein, Louis Armstrong, Michael Nichols, Stanley Kramer, Ben Shahn, and Edward
Steichen and at that time a young promising professor James Billington, afterwards Librarian of Congress.
During Yevtushenko’s next trip in 1972, by invitation of Double Day publishing house, Albert Todd finally fulfilled his promise.
Yevtushenko made an unprecedented poetry concert in Madison Square Garden. It was overcrowded. The performance was a
manifestation of international brotherhood between Russian and American poets. Yevtushenko was always a poet of love and
protest, glorifying everything great in his motherland or abroad and protesting against all cruelties and human tragedies, including
war in Vietnam or the Soviet invasion in Czechoslovakia.
“I would like happiness but not at the expense of the unhappy, and I would like freedom, but not at the expense of the unfree”.
During Perestroika Yevtushenko became, together with Sakharov, one of the most popular members of Russian Parliament
because he fought against war in Afghanistan and for the creation Democracy. In 1991 during the attempt of coup de etat
Yevtushenko recited his poetry before 200,000 defenders of freedom. Later on he received the American Liberties Medal-­‐ the

highest honor the America Jewish Committee and at the same time he received in Russia the Defenders of Freedom medal. He
celebrated his 75 th birthday at the Olympic Stadium in Moscow in 2008 with an audience of 12,000 people. According to the
surveys 70% of the audience were younger than 25.In the same year he received one of the highest decorations in Chile-­‐medal of
O’Higgins from the hands of President Mishelle Bachelet for his support of freedom during dictatorship.
In 2009 he received in Washington DC a special diploma of the American-­‐Russian Cultural Association for his great achievements in
art for the mutual understanding between Russia and USA which before him was given to Van Clyburn, James Billington. Mstislav
Rostropovich and Dave Brubeck. In 2010 he recited his poetry at the presence of the 42 thousands of young people on the Russian
Woodstok on the shores of Volga River. In August of 2011 the book signing of his new book of poetry “Everything could be saved”
lasts in Moscow bookstore “Biblio Globus” about 8 hours. Through his worldwide performances Yevtushenko has visited and
performed in 96 countries. His poetry and prose is translated into 72 languages.\18 books In English\ In 2000 the Russian Academy
of sciences named after him a minor planet.
He is an honorary member of the American and European Academies of Arts and Sciences, a distinguished professor of the
University of Tulsa and the honorary citizen of many American cities. His wife Maria teaches in Tulsa at the Edison school and was
announced the best teacher of the Russian in the State of Oklahoma, where her husband teaches and shares his time between
Russia and America, still not having lost the spirit of the River Elbe.

A Poet’s Inspiration
Fri, Nov. 2, 10:30am
Sat, Nov. 3, 8pm
JoAnn Falletta, conductor
Yevgeny Yevtushenko, honored guest
Michael Boriskin, piano
Mikhail Svetlov, bass
SHOSTAKOVICH Piano Concerto No. 2
SHOSTAKOVICH Symphony No.13, “Babi Yar”
Elizabeth Dworkin
Dworkin & Company
PO Box 248
Bedford Hills, NY 10507
914.244.3803
Elizabeth@DworkinCompany.com
http://www.dworkincompany.com/html/boriskin/boriskin_artist.html
MICHAEL BORISKIN has become recognized on five continents as one of the most imaginative and versatile American pianists of
his generation. Whether the composer is Mozart or Beethoven, Brahms or Ravel, Copland or Gershwin, Perle or Lutoslawski, Mr.
Boriskin offers "an adventure for the audience" (The New York Times). Each performance and recording attests to a vivid
communicativeness, natural expressivity, and deeply musical virtuosity that have made him one of the most highly-­‐regarded
exponents of both old and new works.
Mr. Boriskin has performed throughout the United States and in over 30 countries. His extensive international itinerary includes
the San Francisco, Seattle, and Utah Symphonies, New York Chamber Symphony, Polish National and Munich Radio Orchestras,
American Composers Orchestra, and UNAM Philharmonic of Mexico City, among many other orchestras. He has performed at
many of the world's foremost concert venues, including Lincoln Center (on its Great Performers Series), the Kennedy Center,
Carnegie Hall, BBC in London, South West German Radio, Theatre des Champs-­‐Elysées in Paris, Vienna's Arnold Schoenberg Center,
Athens Festival of Music and Dance, Teatro Colon in Buenos Aires, Library of Congress, and Istanbul International Festival. His
performances, recordings, and commentary figure regularly on National Public Radio, where his innovative broadcast series
CENTURYVIEW, celebrating piano works of the past hundred years, was enjoyed for three seasons by over one-­‐million listeners on
200 stations coast-­‐to-­‐coast. Mr. Boriskin is also a much sought-­‐after guest with chamber ensembles worldwide, and has worked
with the Borromeo, St. Petersburg, St. Lawrence, Penderecki, Ludwig, and Lark String Quartets, Dorian and Arioso Wind Quintets,
and the New York Philharmonic Ensembles.
A prolific recording artist, Mr. Boriskin's impressive discography on BMG/Conifer, New World, Koch International, Albany, and
many other labels ranges widely from Brahms and Tchaikovsky through the present, and continues to grow in depth and breadth.
His BMG recording of Gershwin's complete works for piano and orchestra with the Eos Orchestra conducted by Jonathan Scheffer
was awarded a coveted Rosette from Britain’s Penguin Guide to Recordings. He recorded five concerti for Newport Classic,
including the rarely-­‐heard Tchaikovsky Second and the Prokofiev First. He has four highly-­‐acclaimed discs of postwar American
piano works on New World Records, which have often appeared on Best Recordings lists of The New York Times and many other
publications. On Bridge and Albany, he has recorded both of George Perle's towering piano concerti (the second of which was
written for Mr. Boriskin). Other solo discs have been devoted to Brahms (Music & Arts), Poulenc (Musical Heritage Society), Joplin
(BMG, appearing on Crossover Charts in the U.K.), and Lou Harrison (Newport Classic), as well as concerti by Richard Danielpour
and Edward Smaldone (Bridge and CRI, respectively).
As the Los Angeles Times noted, Mr. Boriskin's lively programming is "a paragon of enlightenment," and he actively seeks, through
content and presentation, to refresh and broaden the concert experience. His vast repertoire reaches back to the works of
Rameau, Scarlatti, Bach, and other Baroque masters, and he has also worked with virtually every major American composer of the
past 30 years.
Long ago, Mr. Boriskin broke the constraints of a traditional performing career, with major institutions enlisting his many talents.
As Artistic and Executive Director of Copland House, he has guided the national emergence of this unique creative center for
American music based at Aaron Copland's restored, longtime New York home. He has served as an artistic advisor for programs
and projects at Carnegie Hall, Lincoln Center, the Tisch Center for the Arts at the 92nd Street Y, Columbia University's Kathryn
Bache Miller Theatre, New Line Cinema, and the fabled Arnold Schoenberg Institute in Los Angeles, and has traveled as an emissary
for the U. S. Department of State and the U. S. Information Agency. For the New York Philharmonic, he played a significant role as

piano soloist, chamber music collaborator, pre-­‐concert lecturer, moderator, and program consultant at the orchestra's Completely
Copland Festival (1999). As Music Director for three seasons of the White Oak Dance Project, his collaborations with Mikhail
Baryshnikov were celebrated throughout the dance and music worlds, and Mr. Boriskin oversaw the musical preparations and
production of nearly 250 performances on 10 national and international tours. An accomplished writer, his articles have appeared
in American Record Guide, Symphony, Chamber Music, Stagebill, Piano and Keyboard, Clavier, The Piano Quarterly, and other
publications, and he was a contributing author to the 1993 Schirmer book on Vladimir Horowitz.
He has had a long and extensive commitment to education, and has been affiliated over the years with the Mannes College of
Music, Manhattan School of Music, City University of New York, University of California, and many other leading institutions. He
has also brought music to life in master classes, residencies, workshops, and guest lectures at campuses around the world.
As The New York Observer noted, "Michael Boriskin is an American pianist who grew up in Long Beach, Long Island to become one
of the world's most valuable piano virtuosos." He was born in New York City to a family long active in music and the visual arts. He
attended public schools on Long Island, and pursued his musical studies at The Juilliard School and the City University of New York
at Queens College.

A Poet’s Inspiration
Fri, Nov. 2, 10:30am
Sat, Nov. 3, 8pm
JoAnn Falletta, conductor
Yevgeny Yevtushenko, honored guest
Michael Boriskin, piano
Mikhail Svetlov, bass
SHOSTAKOVICH Piano Concerto No. 2
SHOSTAKOVICH Symphony No.13, “Babi Yar”
www.mikhailsvetlov.com
contact@mikhailsvetlov.com
Agent: Alexandra Mercer
alexandra@mercer.uk.com
The voice of bass Mikhail Svetlov has been described by “The Washington Post” as a Titanic, all encompassing, penetrating.
Mikhail Svetlov graduated Moscow’s State Conservatory by Tchaikovsky. Since winning the Viotti International Voice Competition
(Italy) Mikhail was admitted to the permanent troupe of the Bolshoi Theater (Russia) as a principle soloist.
Mikhail was nominated for a Grammy Award for recording of Stravinsky; also was honored Telerama Awards (France) for recording
of the world premiere of Rachmaninoff’s ‘The Miserly Knight’ and Serov’s ‘Judith’ on Le Chant du Monde.
Mikhail has been an acclaimed guest at many of the world’s opera companies, festivals and orchestras including:
Teatro Carlo Felice; Arena di Verona; New York City Opera; Houston Grand Opera; Florida Grand Opera; Baltimore Opera; Atlanta
Opera Company; San Diego Opera; Santa Fe Opera; Deutsche Oper Berlin; Bayerische State Opera; Hamburg Staatsoper; L’Opera de
Montreal; Opera de Bellas Artes; New Zeland Opera; Bolshoi Theatre; Teatro Colon; the artist tour at the MET and Teatro Alla Scala
with Bolshoi Theatre; Santa Fe Opera, Wexford Festival (Ireland); Salzburg Festival (Austria); Bregenz Festspiele (Austria); Gstaad
Festival (Switzerland); Holland Park Opera Festival; Edinburgh Festival; Britten’s Festival (UK); Chaliapin’s Festival (Russia); London
Symphony Orchestra; Berliner Filarmoniker; Royal Scottish Orchestra; State Symphony orchestra of Russia; American Symphony
Orchestra; RAI Orchestra; Royal Philarmonic Orchestra, Detroit Symphony, Houston Symphony.
His repertoire includes such operatic roles as:
Verdi: ZACCARIA ‘Nabucco’ , ATTILA ‘Attila’, FERRANDO ‘Il trovatore’, RAMFIS,‘Aida’,
WALTER, ‘Luisa Miller’, PHILLIPP / GRAND INQUISITOR ‘Don Carlos’,
SPARAFUCILE ‘Rigoletto’, BANQUO,‘Macbeth’
Puccini: SCARPIA ‘Tosca’, TIMUR ‘Turandot’, COLLINE ‘La Boheme’
Wagner: DER HOLLANDER / DALAND / ‘Der Fliegender Hollander’,
WOTAN ‘Der Ring des Nibelungen’
Beethoven: ROCCO
Tchaikovsky: PRINCE GREMIN ‘Eugene Onegin’, KING RENE ‘Iolanta’,
KOCHUBEY ‘Mazepa’
Rossini: DON BASILIO ‘Il Barbiere di Siviglia’
Bellini: GIORGIO ‘Puritani’, OROVESO ‘Norma’
Donizetti: RAIMONDO ‘Lucia Di Lamermoor’, DULCAMARA ‘L’Elisir d’Amore’
Gounod: MEPHISTOPHELES ‘Faust’
Mozart: DON GIOVANNI / COMMENDATORE ‘Don Giovanni’, ZARASTRO ‘Die Zauberflote’,
OSMIN ‘Die Entfuhrung aus dem Serail’
Offenbach: MIRACLE ‘Tales of Hoffman’
Borodin: GALITZKY / IGOR / KONCHACK ‘Prince Igor’
Moussorgsky: BORIS GODUNOV / PIMEN / VARLAAM ‘Boris Godunov’, DOSIFEY ‘Khovanshina’
Prokofiev: MENDOZA ‘Betrothal in a Monastery’
Janacek: DIKOY ‘Katya Kabanova’
Bartok: BLUEBEARD ‘Bluebeard Castle’
Symphony Programme:

‘REQUIEM’s Verdi; Mozart; Dvorak
‘MESSA SOLEMNIS’ Bethoven
SYMPHONYs #9 Bethoven; #13, #14 Shostakovich
SUITE ON POEMS by MICHELEANGELO, Op.145 Shostakovich
Some recent highlights include: This past seasons, he has performed with the Opera de Bellas Artes, Walter in Luisa Miller, and
Banquo in Macbeth, Baltimore Opera as Giorgio in I Puritani, recital with the Smithsonian Institution, 13 and 14 Symphonies by
Shostakovich with the Royal Scottish Orchestra, Osmin in Abduction from Seraglio and Scarpia in Tosca with Atlanta Opera, Opera
de Bellas Artes, Florida Grand Opera, Mephistopheles in Faust with New Zealand Opera, Varlaam in Boris Godunov with San Diego
Opera, Archibaldo in L’amore Dei Tre Re, Bluebeard in Bluebeard Castle with Quebec Opera, Verdi Requiem in Detroit and Kansas
City, Mozart and Salieri with Saint Paul Orchestra.
Some upcoming engagements: 2009-­‐2010 seasons include Verdi Requiem in Albert Hall with Royal Philharmonic Orchestra in
London, Padre Guardiano in La Forza Del Destino with Holland Park Opera Festival in London, Zaccaria in Nabucco with Bolshoi
Opera, Chaliapin Opera Festival in Russia, recital in Blue Candle Light Festival in Dallas,Gala concert Day of Russia in New York, Gala
concert Dyagilev in Paris in Boston, recording CD Mighty Five for Naxos.
His discography also includes: Shostakovich’s #14 th Symphony by Virgin Classics Limited, Shostakovich’s ‘The Gamblers’ on Delta
Music, and ‘Betrothal in a Monastery’ on BMG.
Conductors: Sir Yehudi Menuhin, Mstislav Rostropovich, Claudio Abbado, Nello Santi, Roberto Abbado, Hans Graf, Aleksander
Lazarev, Vladimir Ashkenasi, Richard Bonynge, Aleksander Vedernikov, Frubek de Burgos, Brian Write.

Trombone Times Three
Fri, Nov. 16, 10:30am
Sat, Nov. 17, 8pm
Sun, Nov. 18, 2:30pm
JoAnn Falletta, conductor
Jonathan Lombardo, tenor trombone
Timothy Smith, tenor trombone
Jeffrey Dee, bass trombone
PROKOFIEV Symphony No. 1, “Classical”
ERIC EWAZEN Triple Trombone Concerto (World Premiere)
BEETHOVEN Symphony No. 7
Jonathan Lombardo is Principal Trombone of the Buffalo Philharmonic Orchestra, a position he has held since 2004. He has played
with the Boston, Baltimore, Syracuse, San Antonio Symphonies as well as the Aspen Chamber Symphonies and The Spoleto Festival
Orchestra. Jonathan began playing trombone at age eleven in his hometown of San Antonio, Texas and continued his studies at the
Interlochen Arts Academy under Thomas Riccobono from 1996-­‐1999. He earned a Bachelor of Music degree from The Juilliard
School in 2003 where he studied with Joseph Alessi and Per Brevig. As a soloist, Jonathan has performed recitals in Europe and
throughout the United States. His performance of Nina Rota’s Concerto for Trombone with the Juilliard Orchestra was featured
several times on NPR’s Performance Today. In 2005, he was a guest soloist with the University of New Mexico Wind Ensemble
while participating in the prestige’s Alessi Seminar. Jonathan is on faculty at The University at Buffalo and he maintains a private
studio in Buffalo. He has given classes throughout the United States as well as Europe and South and Central America.
http://www.bpo.org/meet/orchestra-­‐lombardo.php
tboneone@aol.com
Timothy Smith currently holds the chair of 2 nd Trombone with the Buffalo Philharmonic Orchestra, a position he has had since
2009. Prior to joining the BPO, Tim served as Acting Principal Trombone of the San Diego Symphony and Opera during the 2008-­‐
2009 season, and also served as Acting 2 nd Trombone for the Jacksonville Symphony in 2007. Mr. Smith frequently substitutes with
the Chicago Symphony Orchestra, and has also appeared with the Lyric Opera of Chicago, Grant Park Symphony, Baltimore
Symphony, Cincinnati Symphony and Opera, Virginia Symphony, Chicago Philharmonic, Ravinia Festival Orchestra, Chicago’s Music
of the Baroque, Chicagoland Pops, and many regional orchestras throughout greater Chicago. Internationally, Mr. Smith has
performed in Germany, Ireland, Mexico, and the Dominican Republic with orchestras and chamber ensembles alike. In the
chamber music realm, Tim was a founding member of the Second City Brass Quintet, as well as the CT3 Trombone Quartet,
winners of the 2005 ITA International Trombone Quartet Competition. Additionally, he has performed with the Bach Week of
Evanston festival, International Contemporary Ensemble, and Buffalo Chamber Players. As a pedagogue, Mr. Smith has served on
the music faculty of San Diego State University, the British School of Chicago, and maintained a private teaching studio while living
in Chicago. He has also been a featured clinician and recitalist, presenting programs at schools such as Baylor University, Ithaca
College, San Diego State, SUNY Fredonia, University of San Diego, and the University of Central Arkansas. Timothy studied with Dr.
Harold Reynolds at Ithaca College, and following graduation in 2003, went on to complete his Master’s studies with Michael
Mulcahy and Charlie Vernon at Northwestern University. Tim is an S.E. Shires Company Artist.
http://www.bpo.org/meet/orchestra-­‐smith.php
madbone88@gmail.com
Jeffrey Dee currently holds the bass trombone position with the Buffalo Philharmonic Orchestra, and serves on faculty at SUNY
Fredonia. Prior to this, Jeff held similar positions with the Jacksonville Symphony and Shanghai Broadcasting Symphony Orchestras.
Career highlights include performances with Yo-­‐Yo Ma, Luciano Pavarotti, Itzhak Perlman, Ray Charles, and the Cincinnati
Symphony Orchestra under James Levine. He received a B.M. in Trombone Performance from Southern Methodist University in
Dallas, Texas.While at SMU, Jeff was engaged on numerous occasions by the Dallas Wind Symphony and the Dallas Symphony
Orchestra. With the Dallas Symphony, he recorded Shostakovich’s Festive Overture and accompanied the DSO on their 1999
Carnegie Hall Tour. After SMU, Jeff moved to New York City where he completed his M.M. in Trombone Performance from The
Juilliard School of Music. His teachers were Donald Harwood and Joseph Alessi of the New York Philharmonic. In addition to his
recording with the Dallas Symphony, Jeff can be heard on numerous recordings with the Buffalo Philharmonic Orchestra under
Maestro JoAnn Falletta.
http://www.bpo.org/meet/orchestra-­‐dee.php
basstrombone80@gmail.com

Trombone Times Three
Fri, Nov. 16, 10:30am
Sat, Nov. 17, 8pm
Sun, Nov. 18, 2:30pm
JoAnn Falletta, conductor
Jonathan Lombardo, tenor trombone
Timothy Smith, tenor trombone
Jeffrey Dee, bass trombone
PROKOFIEV Symphony No. 1, “Classical”
ERIC EWAZEN Triple Trombone Concerto (World Premiere)
BEETHOVEN Symphony No. 7
http://www.ericewazen.com/new/index.php
Eric Ewazen is an important American composer active in the latter twentieth and early twenty first centuries. He has
demonstrated considerable versatility in his output, producing orchestral, piano, vocal, chamber, and various other works. He has
favored brass and wind instruments in many of his compositions, however, and exhibits a unique style often tinged with the spirit
of Copland, Creston, and other iconic American composers, and a melodic facility one critic compared to Prokofiev's, not that there
is anything particularly Russian about his music.
Ewazen was born in Cleveland on March 1, 1954. He enrolled at the Eastman School of Music in 1972 and after graduating went on
to Juilliard, where he earned a doctorate degree. Among his teachers were Milton Babbitt, Joseph Schwantner, Samuel Adler, and
Gunther Schuller. He was active in composition even in his student years, turning out such works as Dagon for 5 cellos (1973),
Psalm 90 for baritone, horn and piano (1977), and Kronos for brass quintet and tympani (1979). After receiving a BMI Award for
Dagon, Ewazen continued with a string of composition prizes, his harvest including a Louis Lane Prize (1974) and Howard Hanson
Prize (1976).
Ewazen joined the faculty at Juilliard in 1980 and serves as professor of composition there. He remained active in composition with
highly successful works like the Colchester Fantasy for brass quintet and Ballade for clarinet, harp, and strings, both from 1987, and
the American Indian-­‐inspired 1996 work Shadowcatcher for brass quintet and orchestra, regarded by many critics as one of his
finest compositions.
From the 1980s onward Ewazen extended his ties to education and to actively promoting serious music in general by accepting
numerous invitations to appear at universities in the United States and abroad, including Curtis, Peabody, Boston Conservatory, the
Santa Cruz Conservatory, and the Birmingham Conservatory in England. In addition, in 1992 Ewazen became a lecturer for the New
York Philharmonic Musical Encounters program.
Ewazen has garnered numerous prestigious commissions in the new century, including a pair on patriotic subjects: Legacy (2000),
for the Bi-­‐Centennial of West Point, and Flight (2001), for the U.S. Air Force Band in Langley, VA. His later works include Rhapsody
for trumpets and orchestra, whose successful 2005 premiere he attended in Bangkok, Thailand.
Eric Ewazen was born in 1954 in Cleveland, Ohio. Receiving a B.M. At the Eastman School of Music, and M.M. and D.M.A. degrees
from The Juilliard School, his teachers include Milton Babbitt, Samuel Adler, Warren Benson, Joseph Schwantner and Gunther
Schuller. He is a recipient of numerous composition awards and prizes. His works have been commissioned and performed by
many soloists, chamber ensembles and orchestras in the U.S. and overseas. His works are recorded on Summit Records, d'Note
Records, CRS Records, New World, Clique Track, Helicon, Hyperion, Cala, Albany and Emi Classics. Two of his solo CD's featuring his
chamber music are available on Well-­‐Tempered Productions. Three additional solo CD's, one featuring his orchestral music,
another his music for low brass instruments, and a third, his music for string orchestra, are available on Albany Records. A sixth
solo Cd of his music for percussion is available on Resonator Records. New World Records has released his concerto for brass
quintet, "Shadowcatcher" with the American Brass Quintet and The Juilliard Wind Ensemble, conducted by Mark Gould of the
Metropolitan Opera Orchestra. Individual works of Eric Ewazen have recently been released by the Ahn Trio, Julie Giacobassi of the
San Francisco Symphony, Charles Vernon of the Chicago Symphony, Koichiro Yamamoto of the Metropolitan Opera Orchestra,
Ronald Barron of the Boston Symphony, Doug Yeo of the Boston Symphony, Steve Witser of the Cleveland Orchestra, Joe Alessi
and Philip Smith of the New York Philharmonic, the Horn Section of the New York Philharmonic, the Summit Brass Ensemble and
the American Brass Quintet. His music is published by Southern Music Company, International Trombone Association Manuscript
Press, Keyboard Publications, Manduca Music, Encore Music, Triplo Music, and Brass Ring Editions. Recent works include "Legacy"
commissioned for the Bi-­‐Centennial of West Point and performed by the USMA Band in Carnegie Hall and "Flight", commissioned

y the USAF Heritage of America Band at Langley AFB, VA, celebrating the 100th anniversary of powered flight. Recent premieres
of his Orchestral and Wind Ensemble works have been given by the Charleston (SC) Symphony, West Virginia Symphony, Orquesta
Sinfonica de Tenerife in Spain, Orquesta Sinfonica Carlos Chavez in Mexico City, Orchestre de la Garde Republicaine in Paris, the
Jeju Music Festival Wind Ensemble in Korea and the Moment Musicale Orchestra of Taiwan. Recent Wind ensemble premieres
include his Bassoon Concerto for the University of Florida, a Euphonium Concerto (for Robert Grechesky and the Butler University
Wind Ensemble), “Visions of Light” for Joseph Alessi and the Indiana University Wind Ensemble. He was also commissioned to write
a Trumpet Concerto, "Danzante", for Allen Vizzutti by CBDNA which was premiered in Reno, NV in March, 2004 by the
Intercollegiate Wind Ensemble. In January “Southern Landscapes” was premiered by the University of Georgia Wind Ensemble at
the GMEA in Savannah. Orchestral performances of Mr. Ewazen's music have recently been given by the Juilliard Symphony, Stow
Chamber Orchestra (OH), Flower Mound Chamber Orchestra (TX), Birmingham (UK) Philharmonic, Illinois Symphony, Israel
Symphony Orchestra Rishon Le'Zion, Honolulu Symphony, Mankato (MN) Symphony and the Everett (WA) Symphony. He has been
a guest at almost 100 Universities and colleges throughout the world in recent years including, Curtis, Eastman, Peabody, Indiana
U., UCLA, U. of Texas, U. of Hawaii, Birmingham (UK) Conservatory, the Conservatory of Santa Cruz (Spain) and Boston
Conservatory. During the past season, he has been a guest at Appalachian State U., Tenn. Tech. U., Murray State, U. of MI, Emory
University, Laval University in Quebec, U. of GA, U. of Washington in Seattle, Rutgers, Butler U., University of Northern Iowa,
Brevard College, U. of MI and Cal. Poly Tech. Also during the past season, his music has been performed by the Orchestre National
de Lille in France, the Milano Classica Sinfonica in Italy, the Brisbane Philharmonic in Australia, South Arkansas Symphony, Stow
Chamber Orchestra, the Midland-­‐Odessa Symphony, and in June he will be a guest at the 2005 International Trumpet Guild
Festival, held at Mahidol University in Bangkok, Thailand, where his Rhapsody for trumpets and orchestra will be premiered by the
Bangkok Philharmonic. In July he will be a guest at the WASBE (World Association of Symphonic Bands and Ensembles) in
Singapore, where his music will be performed by the University of Florida. During the 2005-­‐2006 season, the Alabama Symphony
will be premiering a song cycle for Soprano and Orchestra, the U. of NC-­‐Pembroke will be premiering a new work for chorus and
wind ensemble, and there will be concerts of his music in the Loire Valley in France in April, 2006. He has been lecturer for the New
York Philharmonic's Musical Encounters Series, Vice-­‐President of the League of Composers-­‐-­‐International Society of Contemporary
Music, and Composer-­‐In-­‐Residence with the Orchestra of St. Luke's in New York City. He has been a faculty member at Juilliard
since 1980.

Romantic Treasures
Sat, Dec. 1, 8pm
Sun, Dec. 2, 2:30pm
Sarah Ioannides, conductor
Zuill Bailey, cello
MENDELSSOHN Overture to A Midsummer Night’s Dream
HAYDN Cello Concerto No. 1, in C major
SCHUBERT Symphony in B minor, “Unfinished”
BORODIN Polovtzian Dances from Prince Igor
malpert@cami.com
CAMI, Mark Alpert
212-­‐841-­‐9568
http://www.sarahioannides.net/
Hailed by the New York Times as a conductor with “unquestionable strength and authority,” Sarah Ioannides' dynamic energy and
presence on the podium has won praise from audiences and critics alike for her fresh ideas, original programs and exciting
performances. Currently Music Director of the Spartanburg Philharmonic Orchestra since 2005, Ioannides also served as Music
Director for the El Paso Symphony Orchestra from 2005-­‐2011. As such she has introduced compelling new multi-­‐media
productions, commissioned world premieres, developed educational programs and enriched the orchestras? repertoire with
numerous first time performances. Her dedication to develop and sustain an enthusiastic audience for classical music has attracted
new generations of music lovers bearing a powerful impact on the cities' cultural quality.
Maintaining an active guest conducting schedule, her engagements span five continents. Notable recent American engagements
include the Rochester Philharmonic Orchestra, North Carolina Symphony, Chattanooga Symphony, Cincinnati Symphony Orchestra,
and Annapolis Symphony. Ioannides has conducted many orchestras in Europe with highlights including the Orchestra Nationale de
Lyon, Flemish Radio Orchestra, Gothenburg Symphony, Cyprus State Orchestra, Västerås Sinfonietta, Wurttembergisches
Kammerorchester Heilbronn and the Nordic Chamber Orchestra. Notable South American and Asian engagements include the
Simon Bolivar Youth Orchestra and Orquesta Sinfonica Municipal de Caracas, and Daejeon Philharmonic. She has also appeared in
special engagements with the Los Angeles Philharmonic, the New World Symphony and the London Symphony Orchestra.
In 2009 Ioannides was named in the Los Angeles Times as one of six female conductors breaking the glass podium. Noted in the
New York Times as part of “a new wave of female conductors in their late 20’s through early 40’s,” Ioannides is the recipient of
numerous prizes and scholarships. Highlights include: a Fulbright Scholarship, Women’s Conducting Grant from the League of
American Orchestras, The Kenneth Tyghe Memorial Prize (Audience Prize) as a finalist in the Leeds Conducting Competition, the
Bruno Walter Assistant Conductor Chair; one of two awards presented by the Bruno Walter Foundation in the United States during
the 2003-­‐2004 season, the Presser Award from the Curtis Institute and the Janet Watson Prize from Oxford University and the
JoAnn Falletta award for the most promising female conductor.
Her recent recording with The Royal Philharmonic Orchestra and violinist Lara St. John was released to great critical acclaim and
reviewed by Gramophone music magazine commenting “directed with panache by Sarah Ioannides”. The disc features the Suite
from the Red Violin by John Corigliano and two world premiers, including the Australian composer, Matthew Hindson’s Violin
Concerto.
Ioannides was appointed as Assistant Conductor of the Cincinnati Symphony Orchestra from 2002 through 2004 under Music
Director Paavo Jarvi, and served as the Music Director of the Cincinnati Symphony Youth Orchestra. Prior to that appointment
Ioannides was Assistant Conductor to Academy Award winning composer Tan Dun touring Japan, China, Hong Kong, Russia, France,
Germany, Sweden, the USA and the UK. As such, she conducted the Gothenburg Symphony Orchestra, the BBC Concert Orchestra,
the Flemish Radio Orchestra, BBC Symphony Orchestra, London Sinfonietta and the Oregon Bach Festival. Sarah Ioannides was the
choir director for the RIAS Kammerchor and production coordinator for the world premiere performance of Tan Dun’s Water
Passion after St. Matthew and at the request of Tan Dun, she conducted his Water Passion in Perth, Australia as the first conductor
to perform this work other than the composer.
In the field of opera, Ioannides led the European premiere of Stephen Paulus’ The Woodlanders, garnering acclaim from the Times,
The Guardian, The Independent and The Telegraph in the UK. Additional production highlights include the works of Mozart, Britten
and Offenbach, as well as numerous collaborations with opera companies and festivals worldwide. Opera-­‐Opera depicted

Ioannides’ lyrical conducting technique as one "with the most persuasive of gentle textures, she coaxed from the performers an
extraordinary array of sounds. She was grace personified.”
Born in Australia, Ioannides was raised in England. Studying violin, piano and French horn from an early age, she entered Oxford
University on an instrumental scholarship earning a Bachelor of Arts and Masters of Music degree. At 19 she was won a conducting
audition to be Music Director of Oxford University Philharmonia and shortly after was appointed Music Director of Oxford
University Opera. Ioannides then received an Advanced Certificate in Conducting from the Guildhall School of Music in London, a
Diploma in Conducting from the Curtis Institute of Music where she studied as a Fulbright scholar, and a Masters in Orchestral
Conducting from the Juilliard School of Music, where she served also as Assistant Conductor to her teacher, Otto Werner-­‐Mueller.
Ioannides has won great acclaim as a young conductor and been the subject of numerous articles in the national press recently
including Southern Living Texas and South Carolina issues, Pink, Working Mother in 2008 and 2011 and Twins magazines. Ioannides
lives in Connecticut with her husband and three children, and maintains a base in both South Carolina and England.

Romantic Treasures
Sat, Dec. 1, 8pm
Sun, Dec. 2, 2:30pm
Sarah Ioannides, conductor
Zuill Bailey, cello
MENDELSSOHN Overture to A Midsummer Night’s Dream
HAYDN Cello Concerto No. 1, in C major
SCHUBERT Symphony in B minor, “Unfinished”
BORODIN Polovtzian Dances from Prince Igor
Agent: Lee Prinz Colbert
lprinz@colbertartists.com
212-­‐757-­‐0783
http://zuillbailey.com/
ZUILL BAILEY is widely considered one of the premiere cellists in the world. His rare combination of celebrated artistry, technical
wizardry and engaging personality have secured his place as one of the most sought after and active cellists today.
A consummate concerto soloist, Mr. Bailey has been featured with the symphony orchestras of Chicago, San Francisco,
Indianapolis, Dallas, Louisville, Honolulu, Milwaukee, Nashville, Toronto, Minnesota, Utah, Israel, and the Bruchner Orchestra in
Linz, Austria. He has collaborated with such conductors as Itzhak Perlman, Alan Gilbert, Andrew Litton, James DePriest and
Stanislav Skrowaczewski and has been featured with musical luminaries Leon Fleisher, Jaime Laredo, the Juilliard String Quartet,
Lynn Harrell and Janos Starker.
Mr. Bailey has appeared at the Kennedy Center, the United Nations, Alice Tully Hall, the 92nd St. Y and Carnegie Hall, where he
made his debut performing the U.S. premiere of Miklos Theodorakis’ “Rhapsody for Cello and Orchestra.” In addition, he made his
New York recital debut in a sold out performance of the complete Beethoven Cello Sonatas at the Metropolitan Museum of Art.
His international appearances include celebrated performances with the Moscow Chamber Orchestra in its 50th anniversary tour
of Russia, as well as concerts in Australia, the Dominican Republic, France, Israel, Spain, Hong Kong, Jordan, Mexico, South America
and the United Kingdom. Festival appearances include Ravinia, the Interlochen Center for the Arts, Manchester Cello Festival (UK),
Consonances-­‐ St. Nazaire (France), Australian Festival of Chamber Music, Deia Music Festival-­‐ Mallorca (Spain), Santa Fe,
Caramoor, Chautauqua, Bravo!, Vail Valley, Maverick Concert Series, and the Music Academy of the West. In addition, he was the
featured soloist performing the Elgar Cello Concerto at the Bard Festival in the World Premiere of the Doug Varrone Dance
Company’s performance of “Victorious.” Zuill Bailey also performs regularly in a piano trio with violinist Philippe Quint and pianist
Navah Perlman in addition to duo recitals with pianist Awadagin Pratt.
Zuill Bailey is an exclusive recording artist on Telarc International. His “Bach Cello Suites” recording immediately soared to the
Number One spot on the Classical Billboard Charts. Other critically acclaimed recordings on Telarc feature "Brahms" complete
works for cello and piano with pianist Awadagin Pratt, and “Russian Masterpieces” showcasing the works of Tchaikovsky and
Shostakovich performed with the San Francisco Ballet Orchestra. Other releases include his live performance of the Dvorak Cello
Concerto with the Indianapolis Symphony Orchestra and in his innovative "Spanish Masters" CD for Zenph Studios, where he forms
a unique duo blending with recordings of composer Manuel de Falla. His discography also includes a debut recital disc for Delos,
Cello Quintets of Boccherini and Schubert with Janos Starker, Saint-­‐Saëns’ Cello Concertos No. 1 and 2 "Live," and the Korngold
Cello Concerto with Kaspar Richter and the Bruckner Orchestra Linz for ASV.
Zuill Bailey was awarded the Classical Recording Foundation Award for 2006 and 2007 for Beethoven’s complete works for Cello
and Piano. The highly touted two disc set with pianist Simone Dinnerstein was released on Telarc worldwide. In celebration of his
recordings and appearances, Kalmus Music Masters will release “Zuill Bailey Performance Editions,” which will encompass the core
repertoire of cello literature.
Network Television appearances include a recurring role on the HBO series “Oz,” NBC's "Homicide", A&E, NHK TV in Japan, a live
broadcast of the Beethoven Triple Concerto performed in Tel Aviv with Itzhak Perlman conducting the Israel Philharmonic, and a
performance with the National Symphony Orchestra of Mexico City. Mr. Bailey is also featured in the televised production of the
Cuban premiere of Victor Herbert’s Cello Concerto No. 2 with the National Orchestra of Cuba. He has been heard on NPR’s

“Morning Edition,” “Tiny Desk Concert,” “Performance Today”, “Saint Paul Sunday,” BBC’s “In Tune,” XM Radio’s “Live from Studio
II,” Sirius Satellite Radio’s “Virtuoso Voices,” the KDFC Concert Series, Minnesota Public Radio, WFMT and RTHK Radio Hong Kong.
Mr. Bailey received his Bachelor’s and Master’s Degrees from the Peabody Conservatory and the Juilliard School. His primary
teachers include Loran Stephenson, Stephen Kates and Joel Krosnick. Mr. Bailey performs on a 1693 Matteo Gofriller Cello,
formerly owned by Mischa Schneider of the Budapest String Quartet. In addition to his extensive touring engagements, he is the
Artistic Director of El Paso Pro Musica (Texas), Artistic Director of the Sitka Summer Music Festival and Series, (Alaska) and
Professor of Cello at the University of Texas at El Paso.

Cheers to Mozart!
Sat, Jan. 19, 8pm
Sun, Jan. 20, 2:30pm
Pawel Przytocki, conductor
Christina Naughton, piano
Michelle Naughton, piano
MOZART Overture to Le Nozze di Figaro
MOZART Symphony No. 34
MOZART Concerto No.10 in E-­‐flat major for Two Pianos and Orchestra
concertopp@wp.pl
http://www.przytocki.art.pl/
Paul was born in Przytocki Krośnie.Ukończył Academy of Music in Cracow in 1985. Conducting the class of prof. George Katlewicz.
Between 1986 -­‐1987 he was a scholarship student Bachakademie Stuttgart, participating in master classes of Professor. Helmuth
Rilling.
Since 1983, worked with the Cracow Philharmonic, and since 1987 with the Grand Theatre in Lodz. From 1988. to 1991 he was a
conductor and artistic director of the Baltic Philharmonic in Gdansk.
In 1992 he debuted at the Grand Theatre in Warsaw. From 1995 to 1997 he was artistic director of the Philharmonic. Arthur
Rubinstein in Lodz.
Przytocki works with most philharmonic orchestras in Poland, as well as with orchestras and chamber abroad: I with the Budapest
Concert Orchestra, Orchestra de Xalapa Sinfonika Real Philharmonic de Galicia, Capella Istropolitana in Bratislava, the Neue
Philharmonie Westfalen, Philharmonisches Staatsorchester Halle, Bilkent Symphony Orchestra in Ankara, im.Janacka Philharmonic
in Ostrava, Bratislava, Slovak Philharmonic, National Orchestra of Ukraine Symfoniaczna in Kiev, in the Santiago Philharmonic,
National Philharmonic in Zagreb. Przytocki has performed with many Polish orchestras in Germany, Austria, Switzerland, Belgium,
Holland, France and Spain. Regularly participates in international festivals: Athens Festival/1987, Musikfest Stuttgart/1988,
Flanders Festival / 1989, La Chaise-­‐Dieu Festival / 1996, Kissinger Sommer/1998, Bratislava Musik Festival/1999, Augsburger
Mozartsommer / 2000, Prague Spring/2001 , Wratislavia Cantans/2005.
He also appeared in many prestigious music centers of Europe, such as Vienna (Musikverien), Berlin (Konzerthaus), Brussels (Palais
des Beaux-­‐Arts), Santiago (Teatro Municipal) Paris (Théâtre du Châtelet), Hamburg (Musikhalle), and Bonn (Beethovenhalle).
He also made recordings for Polish Radio and Television and CD recordings for DUX, Aurophon and Point Classics. His recording of
Rachmaninov's Symphony was awarded by the American music magazine "La foil" (along with such creations as Beethoven's
Symphony under the baton of Carlos Kleiber and Sviatoslav Richter Appasionata 1960) as an example of rare intensity and
involvement in music.
Since 2005 Przytocki is the conductor of the Grand Theatre National Opera in the 2005/2006 season Warszawie.W prepared the
premiere of "Spartacus" and conducted performances of Khachaturian's "Onegin" by Tchaikovsky, "La Traviata" by Verdi, and "La
Boheme" by Puccini. In the 2006/2007 season he conducted the premiere of the ballet "Onegin" choreographed by John Cranko.
In March 2009, Paul Przytocki was appointed Chief Executive and Artistic Karol Szymanowski Philharmonic in Krakow.

Cheers to Mozart!
Sat, Jan. 19, 8pm
Sun, Jan. 20, 2:30pm
Pawel Przytocki, conductor
Christina Naughton, piano
Michelle Naughton, piano
MOZART Overture to Le Nozze di Figaro
MOZART Symphony No. 34
MOZART Concerto No.10 in E-­‐flat major for Two Pianos and Orchestra
Columbia Artrists Mgmt
jagusti@cami.com
212-­‐841-­‐9567
http://www.cami.com/?webid=2128
Christina and Michelle Naughton has been hailed by the San Francisco Examiner for their “stellar musicianship, technical mastery,
and awe-­‐inspiring artistry.” The Naughtons made their European debut at Herkulesaal in Munich, where the Sueddeutsche Zeitung
proclaimed them “an outstanding piano duo”. They made their Asian debut with the Hong Kong Philharmonic, where the Sing Tao
Daily said of their performance "Joining two hearts and four hands at two grand pianos, the Naughton sisters created an
electrifying and moving musical performance." An appearance with the Philadelphia Orchestra led the Philadelphia Inquirer to
characterize their playing as “paired to perfection.”
Other orchestras the Naughtons have performed with include the Milwaukee and New Jersey Symphonies, the Wisconsin Chamber
Orchestra, Chicago’s Ars Viva Symphony Orchestra, the Gulf Coast Symphony, and the Erie Philharmonic. They have also performed
in the Parc Du Chateau de Florans at France’s La Roque d’Antheron Festival, on the Steinway Society-­‐The Bay Area, Artist Series of
Sarasota, UAB Piano Series, Chamber Music San Francisco Series, Kingston Chamber Music Festival, at the Kennedy Center’s
Terrace Theater, the Kravis Center in West Palm Beach, and on Chicago’s Music in the Loft and Pianoforte classical piano series.
Their performances have been broadcast on Chicago’s WFMT, Philadelphia’s WHYY, Hong Kong’s RTHK, and Germany’s
Bayerischen Rudfunks.
Upcoming engagements include the Napa Valley, Delaware, El Paso, Buffalo, Madison, and North Carolina Symphonies; a re-­‐
engagement with the Philadelphia Orchestra; at the Wharton Center, Interlochen, Harriman-­‐Jewell Series, Schubert Club in St.
Paul, and the Isabel Stewart Gardner Museum; as well as performances abroad with the Mahler Chamber Orchestra, in Hannover’s
NDR Kleiner Sendesaal, on the Homburg-­‐Saar series, the Bremen Music Festival, Bad Kissingen Festival, again at Munich’s
Herkulesaal, at Berlin’s Kammermusiksaal and with the Hamburg Chorus.
Christina and Michelle are graduates of the Curtis Institute of Music, where they were each awarded the Festorazzi Prize. They
currently reside in New York City.

Pictures at an Exhibition
Fri, Feb. 1, 10:30am
Sat, Feb. 2, 8pm
JoAnn Falletta, conductor
Alain Lefèvre, piano
COPLAND Dance Symphony
MATHIEU Piano Concerto No. 4
MUSSORGSKY/RAVEL Pictures at an Exhibition
CAMI
Mark Alpert
malpert@cami.com
212-­‐841-­‐9568
http://www.alainlefevre.com/
Canadian pianist and composer Alain Lefèvre born in Poitiers on July 23 rd 1962 into a family of musicians, was introduced to piano
at only four years old, by his father, a clarinetist. At five, he took his first lessons in Montreal, at the College Marguerite-­‐Bourgeoys
and soon, he revealed himself to be a young virtuoso. At six years old, he wins the 1 st Prize at the Canadian Music Competition and
gives his first recital at the Grand Théatre in Quebec city. At nine, he wins the 1 st Prize at the Heintzman Piano Competition, makes
the headlines of the Montreal Star, describing him as the “Star of tomorrow” and gives his first television interview on CBC. Over
the years, he will win the 1 st Prize at the Canadian Music Competition eight more times. At fourteen, he takes Master Classes with
Jeanne-­‐Marie Darré and Lucette Descaves in France and at seventeen he returns there to complete his studies at the Conservatoire
National Supérieur de Musique de Paris, in the class of the highly esteemed Pierre Sancan, who saw in Alain Lefèvre one of his
“most brilliant disciples”. Also his teachers are Pierre Max Dubois in composition and Geneviève Joy. In the course of his studies
there, the great violinist Christian Ferras, moved by his talent, invites him to play with him, after having heard him perform on air
at Radio-­‐France. They will give a recital of Bach Sonatas at Salle Gaveau in Paris. The sudden death of Ferras interrupts their tour in
Spain. He will then join Isaac Stern and Ivry Gitlis on stage at the Châtelet for a tribute to the late virtuoso. At the Conservatoire, he
is awarded first prizes in both piano and chamber music. He wins the Grand Prix at the Alfred Cortot International Piano
Competition and gives his first recital in Milan, at the Piccola Scala. Following a remarkable debut at Salle Pleyel in Paris, in a
stunning performance of the Rachmaninov’s Piano Concerto No. 3, Lefèvre is immediately invited to a return performance, and
those concerts will mark the debuts of his sparkling international career. (See “Concert Artist” Section for a Bio).
When not on stage, Alain Lefèvre spends time composing. He also hosts a radio show broadcasted every Sunday, on Radio-­‐
Canada’s Espace Musique, featuring two hours of classical music. For a third consecutive year, he will be the Artistic Ambassador of
the Lanaudière International Festival. Extremely dedicated to bringing classical music to the young ones, he pursues his “cultural
mission” by seeing thousands of students every year, all over the world, from elementary to high school, when invited on tour, or
at home.

Hungarian Spirit
Sat, Feb. 23, 8pm
Sun, Feb. 24, 2:30pm
JoAnn Falletta, conductor
Michael Ludwig, violin
KODÁLY Variations on a Hungarian Folksong “The Peacock”
GOLDMARK Violin Concerto in A minor
BARTÓK Suite from The Miraculous Mandarin
LISZT Hungarian Rhapsody No. 2
http://www.michaelludwig.com/
mikeludwig@aol.com
267-­‐847-­‐8200
Hailed by Strad Magazine for his "effortless, envy-­‐provoking technique, sweet tone, brilliant expression, and grand style", Michael
Ludwig enjoys a multi-­‐faceted career as a soloist, recording artist, and chamber musician. A highly sought-­‐after soloist, he
has performed on four continents, including appearances with the Chicago Symphony Orchestra, The Philadelphia Orchestra, the
Boston Pops and the Shanghai Philharmonic Orchestra, collaborating with such conductors as Sir Georg Solti, and John Williams
among others.
Highlights of the 2010-­‐11season include performances in Germany, Spain, Poland, China, Korea, and Israel, as well as
numerous appearances throughout the United States. Composer Daron Hagen has written a new violin concerto, American
Songbook, for Michael Ludwig, which Ludwig will premiere with the Buffalo Philharmonic in May 2011. According to Hagen,
"Michael is a superb, world-­‐class musician and the perfect person to premiere this concerto." This season marks the release of
Ludwig's live recording of the Beethoven Violin Concerto and Dvorak Romance with the Virginia Symphony, as well as a
NAXOS recording of the Josef Suk Fantasy with the Buffalo Philharmonic. In August of 2011, Ludwig will record Kenneth Fuchs'
American Rhapsody with the London Symphony Orchestra in the famed Abbey Roads Studios.
Ludwig's discography has drawn critical acclaim from both sides of the Atlantic. Fanfare magazine writes: "His phrasing is so
sensitive-­‐-­‐it could serve as an object lesson to every budding violinist." And BBC Music Magazine praises his "persuasive playing,
silky tone, sensitivity to colour and flair for golden-­‐age' style." His recording of the rarely performed Dohnanyi Violin Concertos
with the Royal Scottish National Orchestra has received extraordinary reviews worldwide, and has revived interest in these
neglected romantic works. Ludwig's recording of the Corigliano Red Violin Concerto with JoAnn Falletta and the Buffalo
Philharmonic is "hot, sharp, and close to the edge" writes critic Norman Lebrecht. This Grammy-­‐nominated recording hit the
Billboard Top 100 within the first week of its release. Other recordings include the Beethoven Triple Concerto with the Lithuanian
National Symphony Orchestra and the Bruch Scottish Fantasy with the Virginia Symphony.
As a chamber musician, he has shared the stage with numerous acclaimed artists, such as Christoph Eschenbach, Wolfgang
Sawallisch, Yefim Bronfman, Sarah Chang, and Jean-­‐Yves Thibaudet. His recording of the world premiere of Marcel Tyberg's Piano
Trio in F Major was released by NAXOS in August 2010. His chamber music performances include appearances at the Prague Spring
Music Festival, New Hampshire Music Festival, and a benefit appearance for the Terezin Music Foundation at Symphony Hall in
Boston.
Michael Ludwig has been featured numerous times on Performance Today, a program that reaches approximately 1.2 million
listeners on 230 radio stations nationwide. Ludwig's media credits include live broadcasts at WRTI (Philadelphia) and WAMC
(Albany, NY), as well as an appearance on the program "From the Top." He has been featured on Bulgarian National Radio and
Balkan Bulgarian Television.
As a producer his honors include a Mid Atlantic Emmy Award nomination for Outstanding Live Programming. Ludwig has served as
the artistic producer of The Philadelphia Orchestra's national radio broadcasts, syndicated by the WFMT Fine Arts Network in
Chicago.
In addition to his active performance and recording schedule, Ludwig provides master classes around the world. He has held
faculty positions at Rowan University and the University of the Arts in Philadelphia, as well as the School of Orchestral Studies in
Saratoga Springs, NY and the National Youth Orchestra Festival. He has also held the appointment of Sterne Virtuoso Artist-­‐in-­‐
Residence at Skidmore College. Ludwig has given master classes and coachings with the New World Symphony. He has served as a
member of the board of directors of the Philadelphia Youth Orchestra, and is currently a member of the Artistic Advisory Board for

Access to Art, Inc.
Ludwig performs on a rare violin made in the late 1700's by the Cremonese master Lorenzo Storioni and a Dominique Peccatte
bow. His violin has been lauded in a Fanfare review by Jerry Dubins as "one of
the most gorgeous instruments I've ever heard."
Michael Ludwig studied violin with his father, Irving Ludwig, a violinist in the Philadelphia Orchestra, as well as Raphael
Bronstein and Josef Gingold. He attended the Curtis Institute of Music and the University of the Arts in Philadelphia, and Indiana
University.

Hungarian Soul
Sat, March 2, 8pm
Sun, March 3, 2:30pm
JoAnn Falletta, conductor
Cecile Licad, piano
DOHNÁNYI Ruralia Hungarica
LISZT Piano Concerto No. 1
LISZT Totentanz for Piano and Orchestra
RÓZSA Hungarian Nocturne
BRAHMS Hungarian Dances Nos. 1, 4, 5
Herbert Barrett Management, Inc.
Mary Lynn Fixler
mlfixler@barrettvantage.com
212-­‐245-­‐3530
http://www.barrettvantage.com/artist.php?id=clicad
Called "a pianist's pianist" by The New Yorker, Cecile Licad's artistry is a blend of daring musical instinct and superb training. Her
natural talent was honed at the Curtis Institute of Music by three of the greatest performer/pedagogues of our time: Rudolf Serkin,
Seymour Lipkin and Mieczyslaw Horszowski. Licad's large repertoire as an orchestral soloist spans the Classical works of Mozart and
Beethoven, the Romantic literature of Brahms, Chopin, Tchaikovsky, Schumann and Rachmaninoff, and on to the 20th century
compositions of Debussy, Ravel, Shostakovich, Prokofiev and Bartok.
Recent highlights include performances with Seattle Symphony, Buffalo Philharmonic, Virginia Symphony, Santa Rosa Symphony,
Tucson Symphony, and at the La Jolla Chamber Music and Eastern Music Festivals. In 2010-­‐11, she joined the Wynton Marsalis
Septet performing the music of Louis Moreau Gottschalk to accompany the feature film Louis, a silent film homage to Louis
Armstrong which premiered at Chicago's Symphony Center, and was also seen in Detroit, Bethesda MD, Philadelphia and at the
Apollo Theater in New York City. She also traveled to Russia to play Brahms Piano Concerto #1 with the Moscow State Academy
Symphony.
In 2011-­‐12 she performs with Santa Fe Pro Musica Chamber Orchestra in Brahms' Concerto No. 1 and in recital playing a
Liszt/Chopin program; performs in recital at Xavier University in Cincinnati and on Boston's Gardner Museum Concerts series; and
tours Germany again with cellist Alban Gerhardt, with whom she often collaborates in piano/cello duos recitals. The Louis project
was also repeated with two performances at London's Barbican Hall, followed by a recording of the live music at Abbey Road
studios.
Licad has toured in Germany in past seasons with the Wurtemburg Philharmonic, appeared with the Freiburg Orchestra performing
the Shostakovich Concerto for Piano and Trumpet, and performed with Alban Gerhardt, both in Germany and the United States.
She has appeared in North America with orchestras such as the Chicago Symphony, Boston Symphony, Philadelphia Orchestra,
New York Philharmonic, National Symphony, Los Angeles Philharmonic, and many others. In Europe she has played with the
London Symphony, London Philharmonic, Bayerisches Rundfunk Orchestra, and Orchestre de la Suisse Romande. In Asia, she has
performed with the Hong Kong Philharmonic, New Japan Philharmonic, Tokyo's NHK Symphony and her native Philippine
Philharmonic. Among the conductors with whom she has collaborated are Claudio Abbado, Andrew Davis, Charles Dutoit, Kurt
Masur, Sir Neville Marriner, Zubin Mehta, Seiji Ozawa, André Previn, Gerard Schwarz, Michael Tilson-­‐Thomas, David Zinman,
Pinchas Zukerman, as well as the late Sir Georg Solti, Eugene Ormandy, and Mstislav Rostropovich.
Cecile Licad has performed in recital with Murray Perahia, Peter Serkin and Nadja Salerno-­‐Sonnenberg, with whom she has
appeared at Lincoln Center, Orchestra Hall in Chicago, and the Kennedy Center, respectively. She appeared as soloist in the
Steinway Piano Sesquicentennial Celebration at Carnegie Hall, performing six Rachmaninoff songs with tenor Ben Heppner, and has
made television appearances with Mstislav Rostropovich.
As a highly regarded chamber musician, she has performed regularly with ensembles such as the New York Chamber Symphony, St.
Paul Chamber Orchestra, Guarneri Quartet, Takacs Quartet, Chamber Music Society of Lincoln Center, and Music from Marlboro.
She also appeared as guest soloist on tour with the Orpheus Chamber Orchestra in Leipzig, Hamburg, Dusseldorf and Cologne,
among other European cities. Her summer festival appearances have included Caramoor, Tanglewood, the International Music

Festival of Seattle, Mostly Mozart Festival (in both New York and Tokyo) and the Santa Fe Chamber Music Festival where she
returns in summer of 2011. She also performs in Korea at the Great Mountains Music Festival.
On the Music Masters label, Licad released a recording of three works by Ravel: Le tombeau de Couperin, Gaspard de la Nuit, and
Sonatine. She has an all-­‐Gottschalk recording on the Naxos label. And on Sony Classical, she has recorded Schumann's Carnaval,
Papillions and Toccata in C Major; and Rachmaninoff's Piano Concerto No. 2, and Rhapsody on a Theme of Paganini with the
Chicago Symphony, conducted by Claudio Abbado. Her Sony Classical release of Chopin's Piano Concerto No. 2 and Saint-­‐Saens'
Piano Concerto No. 2, with André Previn conducting the London Philharmonic, was awarded the Grand Prix du Disque Frederic
Chopin. Angel/EMI produced her solo all-­‐Chopin recordings, which include Études, Op. 10. Also for Angel/EMI, she recorded, with
Nadja Salerno-­‐Sonnenberg, the Franck Sonata in A Major, the Brahms Sonata No. 2 in A Major, and Sonatensatz in C Major.
Cecile Licad began her piano studies at the age of three with her mother, Rosario Licad, in her native Philippines, and later studied
with the highly regarded Rosario Picazo. At seven, she made her debut as soloist with the Philharmonic Orchestra of the
Philippines. As one of the youngest musicians to receive the prestigious Leventritt Gold Medal, Ms. Licad won immediate
international recognition, and her career was launched

Béla Fleck
Sat, March 16, 8pm
Sun, March 17, 2:30pm
Matthew Kraemer, conductor
Béla Fleck, banjo
CHRISTOS PAPAGEORGIOU Pyrrichios
DELIUS Florida Suite
BÉLA FLECK Banjo Concerto
Ted Kurland Associates
David Bendett
artistsin@aol.com
310-­‐278-­‐5657
http://www.belafleck.com/
Béla Fleck is often considered the premier banjo player in the world. A New York City native, he picked up the banjo at age 15 after
being awed by the bluegrass music of Flatt & Scruggs. While still in high school he began experimenting with playing bebop jazz on
his banjo, mentored by fellow banjo renegade Tony Trischka. In 1980, he released his first solo album, Crossing the Tracks, with
material that ranged from straight ahead bluegrass to Chick Corea’s “Spain.” In 1982, Fleck joined the progressive bluegrass band
New Grass Revival, making a name for himself on countless solo and ensemble projects ever since as a virtuoso instrumentalist. In
1989 he formed the genre-­‐busting Flecktones, with members equally talented and adventurous as himself.
Throw Down Your Heart, the third volume in Béla’s renowned Tales From the Acoustic Planet series, is his most ambitious project
to date. In on-­‐location collaborations with musicians from Uganda, Tanzania, Senegal, Mali, South Africa and Madagascar, Béla
Fleck explores the African origins of the banjo, the prototype of which was brought to American shores by African slaves. Throw
Down Your Heart is a companion to the award-­‐winning film of the same name, which Béla and director Sascha Paladino are
currently premiering at festivals nationwide. Transcending barriers of language and culture, Fleck finds common ground with
musicians ranging from local villagers to international superstars such as the Malian diva Oumou Sangare to create some of the
most meaningful music of his career.
The music on the album is as adventurous and varied as anything we’ve come to expect from Béla, ranging from the tradition-­‐
based opening track, performed with a group of Kenyan women singers, to the exquisite title track, performed with the Haruna
Samake Trio and Bassekou Kouate from Mali. Basseko, who comes from a long line of Griot musicians, is an incredible improvising
player who plays the n’goni, the Malian banjo. The music he and Béla make together is gentle and melodic. Equally modern is his
duet with South African guitarist Vusi Mahlasela, who is simply known as ‘the voice’ (and what an awesome and expressive voice
he has). His music connects South Africa’s Apartheid-­‐scarred past with its promise for a better future.
Nothing can quite prepare the listener for the sound of the giant marimba played by the Muwewesu Xylophone Group in Uganda.
Says Béla, “The marimba is reassembled every day, and it seems to be played by a set group of men. Each one plays a certain
musical part in the group. I think there are other people who know each of the parts in case someone is unable, or unavailable to
play. Also there seemed to be kids who were being taught parts. But a spot in the primary team seemed to be a very coveted
spot, and the men who played in this group were very serious and very good. The village did join in – in large numbers, singing and
playing flutes and fiddles and percussion instruments. They also danced.” It’s a sound of pure joy.
Another highlight is “Djorolen,” a duet with singer Oumou Sangare, who delivers a vocal that expresses heartbreaking beauty and
sadness. “As she points out in this song,” says Béla, “it is often the orphans, those who have lost their parents when they are
young, who have the greatest problems in life.”
“D’Gary Jam” is a fascinating amalgam that exemplifies the spirit of the album. Béla explains, “This track started its life in
Nashville. We had a great jam one day, which went for 22 minutes straight, the whole take was really cool.
This was in July, about 7 months before we went to Africa. I decided to bring the track along, and add people to it as we went, and
even after the trip, a kind of science project, if you will. After things got added, I took some liberties with people’s parts and did a
little audio sculpting.” Along with the great acoustic guitarist D’Gary, the track features, among others, Oumou Sangare, the
legendary kora player Toumani Diabate, and Bassekou Kouyate.
As to the origins of the banjo, Béla comments, “When I went to Africa I found instruments and players that gave me a better sense
of where the thing started. In Gambia and Mali in particular, I found what I was looking for!” This is especially apparent on the
traditional song medley “Ajula/Mbamba,” performed by Béla and The Jatta Family from the Gambia. “The akonting could very well

e the original banjo. Everyone around Banjul certainly seems to think so! Huge numbers of slaves came west from this area. We
were told that the musicians were allowed to play these instruments on the slave ships, and that many lives were saved due to it.”
While many of these recordings were made in the field, in Uganda, Tanzania, The Gambia and Mali, the album is beautifully
recorded. The lasting impression is that Béla Fleck has revealed many subtle facets of African music, from the fully modern to the
deeply traditional. It is some of the most exciting and beautiful music he’s ever made. “[Fleck’s] reverence for his fellow players
allows for the honey of the African sounds to seem that much sweeter. And the music, well…You’ll just have to hear it for
yourself…” -­‐Popmatters.com
“The banjo sheds its image as the quintessential American instrument to reveal a symbol of deep African heritage and the
collective wail of the European slave trade (the film’s title derives from this heartbreaking historical chapter).” -­‐ Austin American
Statesman
Just in case you aren't familiar with Béla Fleck, there are some who say he's the premiere banjo player in the world.. Others claim
that Béla has virtually reinvented the image and the sound of the banjo through a remarkable performing and recording career
that has taken him all over the musical map and on a range of solo projects and collaborations. If you are familiar with Béla, you
know that he just loves to play the banjo, and put it into unique settings.
Born and raised in New York City, Béla began his musical career playing the guitar. In the early 1960's, while watching the Beverly
Hillbillies, the bluegrass sounds of Flatt & Scruggs flowed out of the TV set and into his young brain. Earl Scruggs's banjo style
hooked Béla's interest immediately. "It was like sparks going off in my head" he later said.
It wasn't until his grandfather bought him a banjo in September of '73, that it became his full time passion. That week, Béla entered
New York City's, High School of Music and Art. He began studies on the French horn but was soon demoted to the chorus, due his
lack of musical aptitude. Since the banjo wasn't an offered elective at Music & Art, Béla sought lessons through outside sources.
Erik Darling, Marc Horowitz, and Tony Trischka stepped up and filled the job. Béla joined his first band, "Wicker's Creek" during this
period. Living in NYC, Béla was exposed to a wide variety of musical experiences.. One of the most impressive was a concert by
"Return to Forever" featuring Chick Corea and Stanley Clarke. This concert encouraged further experimenting with bebop and jazz
on the banjo, signs of things to come.
Several months after high school, Béla moved to Boston to play with Jack Tottle's Tasty Licks. While in Boston, Béla continued his
jazz explorations, made two albums with Tasty Licks, and at 19 years old made his first solo banjo album Crossing the Tracks, on
Rounder Records. This is where he first played with future musical partners Sam Bush and Jerry Douglas.
After the breakup of Tasty Licks, Béla spent a summer on the streets of Boston playing with bass player, Mark Schatz. Mark and
Béla moved to Lexington, KY to form Spectrum, which included Jimmy Gaudreau, Glen Lawson, and Jimmy Mattingly. Spectrum
toured until 1981. While in Spectrum, he and Mark traveled to California and Nashville to record his second album Natural Bridge
with David Grisman, Mark O'Connor, Ricky Skaggs, Darol Anger, Mike Marshall, and other great players.
In 1981, Béla was invited to join the progressive bluegrass band New Grass Revival, lead by Sam Bush on mandolin, fiddle and
vocals. With the addition of Pat Flynn on guitar and NGR veteran John Cowan on bass and vocals, New Grass Revival took bluegrass
music to new limits, exciting audiences and critics alike. Through the course of five albums, they charted new territory with their
blend of bluegrass, rock and country music. The relentless national and international touring by NGR exposed Béla's banjo playing
to the bluegrass/acoustic music world.
(During the 9 years Béla spent with NGR he continued to record a series of solo albums for Rounder, including the ground breaking
1988 album "Drive". He also collaborated with Sam Bush, Jerry Douglas, Edgar Meyer and Mark O'Connor in an acoustic super
group called Strength in Numbers. The MCA release, "The Telluride Sessions", is also considered an evolutionary statement by the
acoustic music community.
Towards the end of the New Grass years, Béla and Howard Levy crossed paths at the Winipeg Folk Festival. Next came a phone call
from a friend who wanted to introduce him to an amazing bass player. Victor Lemonte Wooten played some licks on the phone for
Béla and the second connection was made. In 1988 Dick Van Kleek, Artistic Director for the PBS Lonesome Pine Series based in
Louisville, Kentucky, offered Béla a solo show.
Béla put several musical sounds together with his banjo, a string quartet, his Macintosh computer and also the more jazz based
combo. Howard and Victor signed on for the concert, but the group still lacked a drummer. The search was on for an unusual
drummer/percussionist. Victor offered up his brother Roy Wooten, later to become known as FutureMan. Roy was developing the
Drumitar (Drum -­‐ Guitar), it was then in its' infancy. A midi trigger device, the drumitar allowed FutureMan to play the drums with
his fingers triggering various sampled sounds. The first rehearsal held at Béla's Nashville home was hampered by a strong

thunderstorm that knocked the electricity out for hours. The four continued on with an acoustic rehearsal and the last slot on the
TV show became the first performance of Béla Fleck and the Flecktones.
Next came the self-­‐titled CD, which Béla financed himself. The recording attracted the attention of the folks at Warner Brothers
Records. It was released in 1990, dubbed a"blu-­‐bop" mix of jazz and bluegrass, and soon became a commercially successful disc.
The album was Grammy nominated, and their second recording "Flight of the Cosmic Hippo" followed suit. Howard Levy toured
and recorded with the Flecktones till the end of 1992. After several years as a trio and touring with special guests, saxophonist Jeff
Coffin joined the Tones. Famed for a non-­‐stop touring schedule, the Flecktones have reached more than 500,000 audience
members yearly from 2001 on.
Still releasing albums and touring, the Tones have garnered a strong and faithful following among jazz and new acoustic fans. They
have shared the stage with Dave Mathews Band, Sting, Bonnie Raitt and the Grateful Dead, among many others, made several
appearances on The Tonight Show in the Johnny Carson days and the Jay Leno days, as well as Arsenio Hall, and Conan O'Brian.
Béla also appeared on Saturday Night Live and David Letterman's show as well.
Although the first Flecktones albums were created live-­‐in-­‐the-­‐studio, the group went on to experiment with overdubs and guest
artists on later albums, with contributions from artists as diverse as Chick Corea, Bruce Hornsby, Branford Marsalis, John Medeski,
Andy Statman, the Alash Group and Dave Matthews. The Flecktones went on tour with Dave Matthews Band in 1996 and 1997,
and Fleck is featured on several tracks on DMB's 1998 album "Before these Crowded Streets." In 2003, Béla Fleck & the Flecktones
released the landmark three-­‐disc set "Little Worlds" simultaneously with a highlights disc entitled Ten From Little Worlds.
In 2006 the band released The Hidden Land, which won the Grammy for Best Contemporary Jazz Album in 2007.
In 2008, Jingle All The Way, the band's holiday album was released, and in 2009 it was voted best Pop Instrumental Album at the
Grammies.
Any world-­‐class musician born with the names Béla (for Bartok), Anton (for Dvorak) and LÈos (for Janacek) would seem destined to
play classical music. Already a powerfully creative force in bluegrass, jazz, pop, rock and world beat, Béla at last made the classical
connection with "Perpetual Motion", his critically acclaimed 2001 Sony Classical recording that went on to win a pair of Grammys,
including Best Classical Crossover Album, in the 44th annual Grammy Awards.
(Collaborating with Fleck on "Perpetual Motion" was his long time friend and colleague Edgar Meyer, a bassist whose virtuosity
defies labels and also an acclaimed composer. In the wake of that album's release, Fleck & Meyer came up with the idea of a
banjo/bass duo, which they developed and refined during a concert tour of the US. Live recordings from that tour are the basis for
their latest Sony Classical recording "Music For Two" which also includes a bonus DVD featuring a documentary film by Sascha
Paladino (Fleck's brother) that captures the duo's collaboration and crafting of repertoire while on tour. Béla and Edgar also co-­‐
wrote and performed a double concerto for banjo, bass and the Nashville Symphony, which debuted in November 2003.
The recipients of Multiple Grammy Awards going back to 1998, Béla Flecks' total Grammy count is 14 Grammys won, and 30
nominations. He has been nominated in more different categories than anyone in Grammy history.

Hadelich Debut
Sat, March 23, 8pm
Sun, March 24, 2:30pm
JoAnn Falletta, conductor
Augustin Hadelich, violin
JOHN ADAMS The Chairman Dances (Foxtrot for Orchestra)
BRAHMS Violin Concerto
DVOŘÁK Symphony No. 7
Patricia Handy
mph@schmidtart.com
http://augustin-­‐hadelich.com/
Consistently cited in the press for his “gorgeous tone” (New York Times), “poetic communication” (Washington Post), “fast-­‐-­‐Bingered
brilliance” (The New Yorker), and “Blawless intonation” (Vancouver Sun), Augustin Hadelich has catapulted into the top echelon of
young violinists. After his sensational debut last summer with the New York Philharmonic under Alan Gilbert at the Bravo! Vail
Valley Festival, he was immediately invited to play again with the Philharmonic in Vail this summer, as well as the Caramoor Festival
in September and a subscription concert during the
2012-­‐-­‐13 season.
During this past season, Mr. Hadelich played extremely well-­‐-­‐received debuts with the symphonies of Atlanta, Baltimore,Cincinnati,
Colorado, Phoenix, Seattle, Utah and Vancouver. He will debut next season with the Dublin Symphony, Nashville Symphony,
Netherlands Philharmonic (at the Amsterdam Concertgebouw), Orchestre Philharmonique de Strasbourg, San Diego Symphony, the
Aspen Chamber Symphony and the St. Paul Chamber Orchestra, as well as tour Brazil with the São Paulo State Symphony under Yan
Pascal Tortelier and play his second recital at Kennedy Center in Washington, D.C. New concertos that he will be performing include
the Adès concerto with Chautauqua Symphony, the Britten concerto with Alabama Symphony, and the Ligeti concerto with the St.
Paul Chamber Orchestra.
In the United States, Augustin Hadelich has also performed with the symphonies of Alabama, Columbus, Florida, Fort Worth,
Houston, Indianapolis, Jacksonville, Kansas City, Louisville, New Orleans and Syracuse, as well as the Cleveland Orchestra, Los
Angeles Philharmonic, Pacifc Symphony, Rochester Philharmonic and the IRIS Chamber Orchestra (Memphis), among others. Festival
appearances include Blossom, Bravo! Vail Valley, Chautauqua (where he made his American debut in
2001), and the Hollywood Bowl.
Worldwide, Augustin Hadelich has performed with the Badisches Staatstheater Orchestra/Karlsruhe, Deutsche Radio
Philharmonie/Saarbrücken-­‐-­‐Kaiserslautern, Dresden Philharmonic, Helsinki Philharmonic, Orchestre Philharmonique de Monte-­‐-­‐
Carlo, Nürnberg Philharmonic, Orquesta Sinfónica Nacional de México, Orquestra Sinfônica do Estado de São Paulo, Staatsorchester
Stuttgart, Tokyo Symphony, and the chamber orchestras of Budapest, Cologne, Hamburg and Lucerne, among others. He has
collaborated with such renowned conductors as Kazuyoshi Akiyama, Lionel Bringuier, Justin Brown, Alan Gilbert, Hans Graf,
Giancarlo Guerrero, Miguel Harth-­‐-­‐ Bedoya, Günther Herbig, Yakov Kreizberg, Hannu Lintu, Fabio Mechetti, Juanjo Mena, Kazushi
Ono, Peter Oundjian, Christof Perick, Christoph Poppen, Carlos Miguel Prieto, Larry Rachleff, Stefan Sanderling, Michael Stern and
Mario Venzag
Recently awarded a Borletti-­‐-­‐Buitoni Trust Fellowship in the UK, Mr. Hadelich is the
2006 Gold medalist of the International Violin Competition of Indianapolis and winner of an Avery Fisher Career Grant in 2009. He
made three Carnegie Hall appearances in 2008, including a highly-­‐-­‐acclaimed recital debut and his orchestral debut, performing the
Brahms Double Concerto under Miguel Harth-­‐-­‐Bedoya with cellist Alban Gerhardt and the Fort Worth Symphony.
Mr. Hadelich has recorded two CDs for Naxos: Haydn’s complete violin concerti with the Cologne Chamber Orchestra, and
Telemann’s complete Fantasies for Solo Violin. For AVIE, a CD of masterworks for solo violin (including the Bartók solo sonata) was
released in October 2009. A second disc for AVIE, Echoes of Paris, was released in March 2011.
Also an enthusiastic recitalist, Mr. Hadelich has appeared at The Frick Collection (New York), Kennedy Center, the Chamber Music
Society of Detroit, Clark Memorial Library (Los Angeles), La Jolla Music Society, Kioi Hall (Tokyo), the Louvre, Philadelphia Chamber
Music Society and the Vancouver Recital Society, to name a few. As chamber musician, he has been a participant at the Marlboro,
Ravinia, and Seattle festivals, and has collaborated with Midori at Lincoln Center’s RoseTheater.

Born in Italy in 1984, the son of German parents, Augustin Hadelich holds a graduate diploma andartist diploma from The Juilliard
School, where he was a student of Joel Smirnoff. He plays on the 1723 “Ex-­‐-­‐Kiesewetter” Stradivari violin, on loan from Clement and
Karen Arrison through the generous efforts of the Stradivari Society.

Rachmaninoff 3
Fri, April 5, 10:30am
Sat, April 6, 8pm
Christoph-­‐Mathias Mueller, conductor
Carol Wincenc, flute
CHABRIER Suite Pastoral
GEOFFREY GORDON Flute Concerto (World Premiere)
RACHMANINOFF Symphony No.3
Andrea Hample
hample@konzertdirektion.de
(+49) (0) 304782699
http://www.konzertdirektion.de/index.php?id=275&L=1
http://www.christoph-­‐mathias-­‐mueller.com/
Christoph-­‐Mathias Mueller was born in Switzerland. He studied violin at the Musikhochschule Basel and then conducting at the
University of Cincinnati (USA). In 1995, he went as a Conducting Fellow to Tanglewood, Massachusetts, and worked there with Seiji
Ozawa, Robert Spano, and Leon Fleisher. In 1996, he was appointed Assistant of Vladimir Ashkenazy at the Deutsches Symphonie-­‐
Orchester Berlin with whom he also debuted as a professional conductor.
From 2001 until Easter 2005, Christoph-­‐Mathias Mueller was the Assistant Conductor of Claudio Abbado at the Gustav Mahler
Jugendorchester which he also conducted in concerts at the Lucerne Easter Festival and at the Olympic Committee in Lausanne.
Moreover, Claudio Abbado appointed Christoph-­‐Mathias Mueller as Assistant Conductor of the Lucerne Festival Or¬ches¬tra. He
has been holding this position since the orchestra was founded in summer 2003.
In 2000, Christoph-­‐Mathias Mueller won the International Conducting Competition in Cadaqués/ Spain. Since than, he guest
conducted the Czech Philharmonic Orchestra, the Orchestre National de Lyon, the Tonhalle-­‐Orchester Zurich, the Rundfunk-­‐
Sinfonieorchester Berlin, the Radio-­‐Sinfonie-­‐Orchester Frankfurt, the Münchner Rundfunkorchester, the Jenaer Philharmonie, the
Slovenian Philharmonic Orchestra, the Orchestre de Chambre de Lausanne, the Orchestre Philharmonique de Luxembourg, the
Wiener Kammerorchester, the Scottish Chamber Orchestra, the Scharoun Ensemble of the Berliner Philharmoniker, and the
Ensemble Modern.
Recently, Christoph-­‐Mathias Mueller conducted amongst others the Russian National Orchestra in Moscow, the Orchestre
Symphonique de Mulhouse, the BBC Welsh National Symphony Orchestra, the SWR Sinfonieorchester Baden-­‐Baden and Freiburg,
the Orchestra della Svizzera Italiana, the Stavanger Symfoniorkester as well as the Staatskapelle Weimar. He gave guest
performances in the Tonhalle Düsseldorf, the Staatsphilharmonie in Brno, the Philharmonie in Cologne, the Liederhalle Stuttgart,
Konzerthaus Dortmund and Musikverein Vienna, in Danzig and Seoul and again returned to conduct the Russian National
Orchestra. He directed the Bremen Philharmonic, the orchestra of the Bolshoi Theater in Moscow in the new production of the
“Fledermas” and the Norwegian Radio Orchestra.
Christoph-­‐Mathias Mueller works closely together with soloist as Frank-­‐Peter Zimmermann, Sol Gabetta, Emmanuel Pahud,
Reinhold Friedrich, Simone Kermes, Renaud and Gautier Capuçon, Lauma Skride, Nina Corti, Christian Quadflieg, and Wen-­‐Sin Yang.
Since the season 2005/2006, Christoph-­‐Mathias Mueller has been the Chief Conductor and Artistic Director of the Göttinger
Symphony Orchestra.
Among the CDs which were produced under the direction of Christoph-­‐Mathias Mueller the recording with Renaud and Gautier
Capuçon may be pointed out especially. Recently a recording of Giovanni Bottesini’s concerto for doublebass with the Orchestra
della Svizzera Italiana and a CD with the complete works for violin and orchestra by Max Reger, including the concerto ochestrated
by Adolf Busch, have been released. Soon, he will record a CD with Reinhold Friedrich and release a recording including
Beethoven’s E

Rachmaninoff 3
Fri, April 5, 10:30am
Sat, April 6, 8pm
Christoph-­‐Mathias Mueller, conductor
Carol Wincenc, flute
CHABRIER Suite Pastoral
GEOFFREY GORDON Flute Concerto (World Premiere)
RACHMANINOFF Symphony No.3
Diane Saldick
diane.saldick@verizon.net
http://www.dianesaldick.com/ainstr/cw/cw.html
Carol Wincenc is one of the most respected and acclaimed flutists performing today. She appears with orchestras worldwide and
has premiered works written for her by numerous prominent composers. In the 2009-­‐2010 season, she celebrated her 40th
anniversary as a performer with the Carol Wincenc Ruby Anniversary Series, a three-­‐concert series in New York taking place at
Merkin Concert Hall, The Morgan Library & Museum, and The Juilliard School featuring the premieres of six newly-­‐commissioned
works by Joan Tower, Jake Heggie, Thea Musgrave, Shih-­‐Hui Chen, Andrea Clearfield, and Jonathan Berger.
Ms. Wincenc's musicianship is matched by a deep commitment to expanding the flute repertoire. With the Detroit Symphony, she
gave the world premiere of a flute concerto written for her by Pulitzer-­‐Prize winner Christopher Rouse. Ms. Wincenc also gave the
world premiere of Henryk Gorecki's Concerto-­‐Cantata at Amsterdam's Concertgebouw and the U.S. premiere with the Chicago
Symphony. She is in demand for her interpretation Lukas Foss's Renaissance Concerto for Flute and Orchestra -­‐ a work written for
her, and has premiered concerti by Peter Schickele, Joan Tower, Paul Schoenfield and Tobias Picker, who composed The Rain In the
Trees, a double concerto for her and soprano Barbara Hendricks inspired by the rainforest poems of W.S. Merwin.
Recent appearances have included performances of Christopher Rouse's Flute Concerto with the Rockford Symphony (IL), the
Santa Rosa Symphony (CA), and ProMusica Columbus. In the past two seasons, she has performed with the Chamber Music Society
of Lincoln Center. In the summer of 2007, Ms. Wincenc received the Distinguished Alumni Award from the Brevard Music Center
and inaugurated the new Barrere Flute Studio at the Chautauqua Institution with a solo recital.
Ms. Wincenc has appeared with the St. Louis, Atlanta, and Seattle Symphonies; the Los Angeles and St. Paul Chamber Orchestras;
and at the Mostly Mozart, Santa Fe, Spoleto, Caramoor, Marlboro, Sarasota, and Music @ Menlo festivals. Overseas, Ms. Wincenc
has given acclaimed performances with the London Symphony Orchestra, the English Chamber Orchestra, and at the Aldeburgh,
Budapest, Tivoli, and Frankfurt international music festivals. Equally sought after as a chamber musician, Ms. Wincenc has
collaborated with the Guarneri, Emerson, and Tokyo string quartets; performed with sopranos Jessye Norman and Elly Ameling;
pianist Emanuel Ax; and cellist Yo-­‐Yo Ma. Carol Wincenc is flutist with the New York Woodwind Quintet. Carol Wincenc is a prolific
recording artist; she was nominated for a Grammy Award for the 2005 Naxos recording of works by Yehudi Wyner with Richard
Stoltzman and other renowned colleagues. Her recording of Christopher Rouse's Flute Concerto for Telarc with Christoph
Eschenbach and the Houston Symphony won the highly coveted Diapason d'Or.
Ms. Wincenc is a professor of flute at both the Juilliard School of Music and Stony Brook University. She often serves as a judge for
prestigious competitions, including, in 2009, the Walter W. Naumburg Chamber Music Competition and the Kobe International
Flute Competition. Lauren Keiser Music Publishers are releasing The Carol Wincenc 21st Century Series for Flute, which features
the artist's favorite flute repertoire. The Carol Wincenc Signature Editions compilations are published by Carl Fischer.
Carol Wincenc is a native of Buffalo, New York. She began studies on the violin at four and the flute at age nine. As a teenager she
studied with Italian virtuoso Severino Gazzelloni and then with Robert Willoughby at Oberlin. She also studied with legendary
French flute master Marcel Moyse at the Marlboro Music Festival. Post-­‐graduate studies were at the Manhattan School of Music
and at Juilliard under Arthur Lora. Ms. Wincenc was First Prize Winner of the Walter W. Naumburg Solo Flute Competition in 1978.

Mozart’s Requiem
Sat, April 20, 8pm
Sun, April 21, 2:30pm
JoAnn Falletta, conductor
Sari Gruber, soprano
Stacey Rishoi, mezzo soprano
Jonathan Boyd, tenor
Darren Stokes, bass
Buffalo Philharmonic Chorus
MAHLER Adagio from Symphony No. 10
MOZART Requiem
Represented by:
Herbert Barrett Management, Inc.
505 Eighth Avenue, Suite 601
New York, NY 10018
(212) 245-­‐3530
(212) 397-­‐5860 FAX
www.herbertbarrett.com
To contact Sari directly:
SariGruber@aol.com
http://www.sarigruber.com
Hailed as “nothing short of sensational” by Opera magazine and “a real creature of the stage” by Opera News, soprano Sari
Gruber’s exciting and moving performances of a diverse operatic and concert repertoire have firmly established her as one of
today’s most sought-­‐after artists on the international stage. In opera, she has garnered praise for her “shining soprano and vibrant
presence” (Opera News), her “direct musicality” (NY Times), as well as her “detailed, charming, resourceful and sympathetic”
characterizations (Boston Herald). For her artistry as a recitalist, she was awarded the first prize of the 2005 Walter W. Naumburg
Foundation International Vocal Competition.
Sari Gruber’s engagements in 2009-­‐10 include her return to Austin Lyric Opera as Musetta in La Bohème and Susanna in Le nozze di
Figaro with Pittsburgh Opera. Her 2008-­‐09 featured her debut with Arizona Opera as Zerlina in Don Giovanni; a return to New York
Festival of Song in ”A Bernstein and Bolcom Celebration;” performances of Messiah with the ProMusica Chamber Orchestra; a
concert of Bernstein music at the Gaelen Center for the Performing Arts; an appearance as featured soloist with the Grand Tour
Orchestra in a scene from Telemann’s dramatic cantata, Ino, and the North American premiere of two works for soprano and
strings by Baldassare Galuppi. In summer of 2009 she sang Musetta in La Bohème with Opera East Texas.
In the 2007-­‐2008 season, Ms. Gruber performed Susanna in Le nozze di Figaro with the North Carolina Symphony under the baton
of Grant Llewellyn, followed by Juliette in Roméo et Juliette with Opera Carolina, and her role debut as the title character in The
Cunning Little Vixen with Chautauqua Opera. She will sing her first Haydn Creation with Boston Baroque, Stravinsky’s Les Noces
with New York City Ballet’s Jerome Robbins Festival, Barber’s Knoxville: Summer of 1915 with Skaneateles Chamber Orchestra, as
well as concerts with New York Festival of Song and Sun Valley Opera, and recitals for the Skaneateles Festival and at the Krannert
Center for the Performing Arts in Urbana, IL.
Ms. Gruber’s operatic credits include appearances with Lyric Opera of Chicago, New York City Opera, Los Angeles Opera,
Netherlands Opera, Maggio Musicale di Firenze, Saito Kinen Festival, Seiji Ozawa’s Ongaku-­‐Juku Opera Project, Opera Company of
Philadelphia, Pittsburgh Opera, Opera Pacific, Opera Theatre of St. Louis, Boston Lyric Opera, Lyric Opera of Kansas City, Portland
Opera, Connecticut Opera, Austin Lyric Opera, Chautauqua Opera, Berkshire Opera, Madison Opera, among others, where she has
performed leading roles including Susanna in Le nozze di Figaro, Pamina in Die Zauberflöte, Norina in Don Pasquale, Adina in L’elisir
d’amore, Gretel in Hänsel und Gretel, Gilda in Rigoletto, Juliette in Roméo et Juliette, Anne Trulove in The Rake’s Progress, Rose in
Street Scene, Alexandra in Regina, Anna in Weill’s Seven Deadly Sins, Musetta in La Bohème, Nannetta in Falstaff, Aricie in
Hippolyte et Aricie, Poppea in Agrippina, Carolina in Il Matrimonio Segreto, Marzelline in Fidelio, Despina in Così fan tutte, Zerlina in
Don Giovanni, Adele in Die Fledermaus, Beth in Little Women, Lisette in La Rondine , and Helena in A Midsummer Night’s Dream.
Audiences nationwide saw her perform Gretel as a member of the prestigious Juilliard Opera Center in a 1997 live Great
Performances telecast of Hänsel und Gretel on PBS.

On the concert stage, Ms. Gruber has sung with St. Louis Symphony, Cincinnati Symphony Orchestra, Philharmonia Baroque
Orchestra, Boston Baroque Orchestra, Portland Baroque Orchestra, Columbus Symphony, Aspen Music Festival Orchestra, Florida
Philharmonic, Berkshire Choral Festival, Jacksonville Symphony, Omaha Symphony, and San Jose Symphony in repertoire ranging
from Handel’s Messiah to Mahler’s Symphony No. 4 to Bernstein’s West Side Story.
An accomplished recitalist whose song repertoire spans nine languages, Sari Gruber has appeared in recital at Lincoln Center’s Alice
Tully Hall and Weill Hall at Carnegie Hall, in addition to other noted recital venues, including New York’s 92nd Street Y and Miller
Theater, San Francisco Performances at the Herbst Theatre, Chicago Humanities Festival, and New York Festival of Song. She has
given recitals throughout the United States under the auspices of the Naumburg Foundation and the Marilyn Horne Foundation.
Other notable recital credits include a pre-­‐concert recital of Copland’s Poems of Emily Dickinson for New York Philharmonic’s
Copland Festival, appearing as the featured recitalist for the MTNA/NATS national convention in Salt Lake City, and solo recitals at
Skidmore College and with San Francisco Opera Center’s Schwabacher Debut Recital Series.
Ms. Gruber holds a B.A. from Yale University, and a Master of Music in Voice from The Juilliard School. She pursued further
training at the Juilliard Opera Center, and San Francisco Opera’s Merola Program. Her love of recital brought her to study song
literature at both the Tanglewood Music Center and the Ravinia Festival’s Steans Institute. A semi-­‐finalist in the 1996 Metropolitan
Opera National Council Auditions, Ms. Gruber has also been awarded the Sara Tucker Grant from the Tucker Foundation, the
William Sullivan Grant, a study grant from the Licia Albanese Foundation, two Richard F. Gold Career Grants, the DeRosa Prize from
The Juilliard School, and the prestigious Louis Sudler Prize for Excellence in the Arts given to one graduating senior from Yale
College each year at Commencement. Having grown up in Germany and the United States, she now resides in Pittsburgh with her
husband, opera administrator William J. Powers and their daughter.

Mozart’s Requiem
Sat, April 20, 8pm
Sun, April 21, 2:30pm
JoAnn Falletta, conductor
Sari Gruber, soprano
Stacey Rishoi, mezzo soprano
Jonathan Boyd, tenor
Darren Stokes, bass
Buffalo Philharmonic Chorus
MAHLER Adagio from Symphony No. 10
MOZART Requiem
http://www.barrettvantage.com/artist.php?id=srishoi
Barrett Vantage Artists
505 8th Ave.
Suite 12A00
New York, NY 10018
Phone: 212-­‐245-­‐3530
Fax: 212-­‐397-­‐5860
Mezzo-­‐soprano Stacey Rishoi has garnered an international reputation for the beauty and power of her instrument. Following her
debut as Adalgisa in Norma the Washington Post stated, "It was Rishoi's Adalgisa, however, who nearly stole the show with a
performance that was convincing and unwavering from start to finish... Rishoi commanded the stage with a lustrous voice graced
with natural expression and a surprising clarion projection."
In the 2011-­‐12 season Stacey Rishoi sings as Amneris in Aida with Opera Tampa, joins the roster of Lyric Opera of Chicago for its
production of Aida, and sings as soloist in Beethoven's Choral Fantasy and Symphony No. 9, both in a return to Jacksonville
Symphony. She also returns to Opera Omaha in "This is Opera", to Cincinnati Opera as La Ciesca in Gianni Schicchi and as Flora in La
traviata, to Kentucky Symphony Orchestra as Dalila in a semi-­‐staged performance of Samson et Dalila, and to Bel Canto Chorus as
soloist in Dvorák's Stabat Mater. In 2010-­‐11 she returned to Calgary Opera to sing Amneris and to Cincinnati Opera to sing
Maddalena in Rigoletto and Madama Larina in Eugene Onegin. She also performed the role of Komponist in Ariadne auf Naxos with
Toledo Opera, and appeared as soloist with both the Alexandria Symphony Orchestra and Kalamazoo Symphony Orchestra in
Verdi's Requiem, and the Toledo Symphony Orchestra in Beethoven's Symphony No. 9.
Recent highlights include her return to the Virginia Symphony Orchestra to sing Messiah, JoAnn Falletta conducting; singing as
soloist in Beethoven's Symphony No. 9 with both the Fresno Philharmonic and Springfield Symphony orchestras; in Verdi's
Requiem with Bel Canto Chorus; in Mendelssohn's Elijah with the Florida Orchestra; in an evening of opera highlights with
Kentucky Symphony Orchestra; as soloist in Cincinnati Opera's 90th Anniversary Gala concert; in Messiah with the Pacific and
Jacksonville symphony orchestras; as Komponist in Ariadne auf Naxos with Calgary Opera; De Falla's El Amor Brujo with Cincinnati
Chamber Orchestra; Mozart's Requiem with Jacksonville and Atlanta symphony orchestras; Verdi's Requiem with Choral Arts
Society of Washington, DC; Mahler's Symphony No. 2 with Buffalo Philharmonic; Mahler's Symphony No. 3 with West Virginia
Symphony; and an appearance with South Dakota Chamber Orchestra in a vocal showcase concert, which included Berlioz' Les
Nuits d'ete, through Sounds of South Dakota.
Other highlights of Ms. Rishoi's recent seasons include two successful role debuts -­‐ Dalila in Samson et Dalila with Nashville Opera
and Donna Elvira in Don Giovanni with Orlando Opera; her return to Washington National Opera as Waltraute in Die Walküre;
Beethoven's Symphony No. 9 with North Carolina Symphony Orchestra, conducted by Grant Llewellyn; Dvorák's Stabat Mater and
Beethoven's Missa Solemnis with Choral Arts Society of Washington, DC; de Falla's The Three Cornered Hat with Columbus
Symphony; joining the roster of the Metropolitan Opera for the world premiere of Tan Dun's The First Emperor; Mozart's Requiem
with the Mormon Tabernacle Choir; performances of Vaughan Williams' Five Tudor Portraits and Serenade to Music at the
Washington National Cathedral; Adalgisa with Virginia Opera; Waltraute in Die Walküre with both Seattle Opera and Canadian
Opera Company; Amneris in Aida with Orlando Opera; and Magdalene in Die Meistersinger with the Cincinnati May Festival,
conducted by James Conlon. Ms. Rishoi also added the role of Waltraute in Götterdämmerung to her repertoire at Seattle Opera,
as well as Fricka in Die Walküre with the Canadian Opera Company. She has performed both Sesto in La clemenza di Tito and
Arsamene in Xerxes with Wolf Trap Opera; Jo in Little Women with both Central City Opera and Opera Omaha; Orlovsky in Die
Fledermaus with Utah Opera; Mercedes in Carmen with Kentucky Opera, Meg Page in Falstaff with Opera Festival of New Jersey;

Flora in La traviata with New Orleans Opera; and Second Lady in Die Zauberflöte with both Lyric Opera of Kansas City and the 2003
Macau International Music Festival.
Ms. Rishoi has met with critical acclaim on concert stages across the U.S. and has garnered an extensive list of symphonic credits.
Among her many successes are Mahler's Symphony No. 8 with Leonard Slatkin and the National Symphony Orchestra; Mahler's
Symphony No. 2 with the Pittsburgh, Virginia, and Syracuse symphony orchestras; Beethoven's Symphony No. 9 with Virginia
Symphony Orchestra, National Symphony Orchestra, and Santa Rosa Symphony; her engagement by Kurt Masur and the New York
Philharmonic to sing the world premiere of Michael Torke's Four Seasons and Aaron Kernis' Garden of Light, which was followed by
an immediate re-­‐engagement to sing the world premiere of Ades' America: A Prophesy; and Mozart's Requiem with the Phoenix
Symphony Orchestra, Orlando Philharmonic Orchestra, and Portugal's Festival dos 100 Dias. She has performed Bach's Magnificat
with the Cincinnati Symphony Orchestra; B Minor Mass with the Bach Festival Society (FL); and St. Matthew Passion with the
Choral Arts Society of Washington, D.C.; Handel's Messiah with both the Phoenix and San Diego symphony orchestras; and Vivaldi's
Gloria with the Columbus Symphony Orchestra. Ms. Rishoi can be heard on the world premiere recording of Liszt's St. Stanislaus,
conducted by James Conlon, on the Telarc label. The Liszt also marked her debut performance at the Cincinnati May Festival.
Committed to the performance of song literature, Ms. Rishoi was singled out for her participation in the "Christa Ludwig Song
Workshop: Brahms and Mahler," sponsored by Carnegie Hall. She also gave the world premiere of John Musto's song cycle for
vocal quartet and piano titled The Book of Uncommon Prayer at Miller Theater, Colombia University.
Ms. Rishoi is a winner of the 1999 Metropolitan Opera National Council Auditions and the Norman Treigle Award from New York
City Opera. She has served as artist in residence at Festival Dos 100 Dias in Portugal and at the Beaumaris Festival in Wales. She is
married to bass Gustav Andreassen.

Mozart’s Requiem
Sat, April 20, 8pm
Sun, April 21, 2:30pm
JoAnn Falletta, conductor
Sari Gruber, soprano
Stacey Rishoi, mezzo soprano
Jonathan Boyd, tenor
Darren Stokes, bass
Buffalo Philharmonic Chorus
MAHLER Adagio from Symphony No. 10
MOZART Requiem
Uzan International Artists
Dana O'Connell
212-­‐969-­‐1797
http://www.jonathanboyd-­‐tenor.com/
Tenor Jonathan Boyd continually performs throughout Europe, North America and South America. Upcoming engagements include
his Seattle Opera debut as Tamino in Die Zauberflöte, his San Diego Opera debut in Jake Heggie’s Moby Dick as Ishmael, his Atlanta
Opera debut as Edgardo in Lucia Di Lammermoor, the title role of Candide at the Portland Opera, Belmonte in Die Entführung aus
dem Serail at the Arizona Opera, Tamino in a concert version of Die Zauberflöte with Baltimore Symphony and Sam in Susannah
with Florentine Opera.
Noted European engagements over the past few seasons include debuts at Opéra de Nice and Opéra de Toulon as Lysander in A
Midsummer Night’s Dream; Teatro Colón in a live television broadcast as Werther; Opera Royal de Wallonie in Belgium as Don
Ottavio in Don Giovanni; Le Grand Théâtre de Limoges as Belmonte in Die Entführung aus dem Serail and Fenton in Falstaff; Malta
National Theater and Festival Lyrique-­‐en-­‐mer de Belle Île as Tamino in Die Zauberflöte, Opera Faber in Portugal, Théâtre de
l’Athénée and St-­‐Quentin en Yvelines in France as Tom Rakewell in The Rake’s Progress, and his role debut as Alfredo in La
Traviata with Akouna, Opéra en plein air in France.
Most recent North American engagements from the past few seasons include Narraboth in Salome and a return as Don Ottavio in
Don Giovanni at the Dallas Opera; Alfredo in La Traviata at Opera Carolina; Roméo in Roméo et Juliette at the Utah Symphony &
Opera, Nashville Opera and Michigan Opera Theater; Tamino in Die Zauberflöte at the Portland Opera and Lyric Opera of Kansas
City; Don Ottavio in Don Giovanni at Opera Cleveland and Arizona Opera; Don Ottavio and Rodolfo in La Bohème at the Nashville
Opera; and his role debut as Edgardo in Lucia di Lammermoor at Opera New Jersey. In concert, most recent performances are
Rachmaninoff’s Vespers with the Choral Arts Society (DC), Handel’s Messiah with the Virginia Symphony, Haydn's Creation with
the Flint Symphony and Beethoven’s 9th Symphony with the Princeton Symphony.
The Corning, New York native has previously performed in San Francisco Opera’s productions of Falstaff, Turandot, The Merry
Widow (released on DVD), and Mother of Us All. Since his apprenticeship with Florentine Opera of Milwaukee, Mr. Boyd has
returned in numerous roles such as Don Ottavio in Don Giovanni and Camille in The Merry Widow. In addition, Mr. Boyd made his
role debuts as Sam in Street Scene with Portland Opera, Sam in Susannah with Opera Columbus and L’Opéra de Montréal, and
several roles with the Sarasota Opera Nadir in Les Pêcheurs des Perles, Fenton in Falstaff, and Ferrando in Così Fan Tutte.
Mr. Boyd has an extensive repertoire in 20th century operas including Michigan Opera Theatre’s world premiere of Margaret
Garner as George Hancock, and New York City Opera’s productions of Mother of Us All and Central Park. Composer Lee Hoiby
personally chose Mr. Boyd for the role of Romeo in his opera Romeo and Juliet, which he subsequently sang in the semi-­‐staged
performances at the Opera America convention in Vancouver, as well as with New York City Opera, Stamford Symphony in
Connecticut, and the National Symphony at the Kennedy Center.
Mr. Boyd has appeared in concert with the New York Philharmonic in Bach’s St. Matthew Passion conducted by Maestro Kurt
Masur, the Philadelphia Orchestra in a recording of I Pagliacci with Maestro Riccardo Muti, the Choral Arts Society as Tenor Soloist
in Haydn’s Creation at the Kennedy Center, at Carnegie Hall in Mozart’s Requiem, the Baltimore Symphony in Handel’s Messiah, as
well as with Maestro Nicholas McGegan and Philharmonia Baroque, and returned for a Bach’s E flat Magnificat and Cantata 110.
Additionally, Mr. Boyd was the tenor soloist for Dvorak’s Stabat Mater with Orchestre Métropolitain du Grand Montréal, tenor
soloist in Finzi’s Dies Natalis and Britten’s Les Illuminations with with I Musici de Montréal, and made his debut with Virginia
Symphony in the live television broadcast of Rimsky Korsakov’s Mozart and Salieri in the role of Mozart.

Mozart’s Requiem
Sat, April 20, 8pm
Sun, April 21, 2:30pm
JoAnn Falletta, conductor
Sari Gruber, soprano
Stacey Rishoi, mezzo soprano
Jonathan Boyd, tenor
Darren Stokes, bass
Buffalo Philharmonic Chorus
MAHLER Adagio from Symphony No. 10
MOZART Requiem
Wolverton Artists Mgmt
Donna Wolverton
dwolverton@wolvertonartists.com
703-­‐757-­‐9477
http://www.wolvertonartists.com/artists/stokes/stokes_intro.php
American Bass-­‐Baritone Darren K. Stokes is a young artist of exceptional vocal ability and promise. He possesses a voice of
extraordinary richness with a broad vocal range, and he sings with a singular ease. Mr. Stokes has added 43 roles to his repertoire
since embarking on a singing career in 2002 and he has been in very high demand since having completed two seasons with the
distinguished Ryan Opera Center of the Lyric Opera of Chicago.
Mr. Stokes has had the pleasure of performing with prominent companies throughout the US. He has sung with Grant Park Music
Festival, Nashville Symphony Orchestra, Cincinnati May Festival, Boston Lyric Opera, Chicago Opera Theater, Washington National
Opera, Opera Theater of St. Louis, San Francisco Opera, the Ravinia Festival, Opera Memphis, San Antonio Opera, Indianapolis
Opera, Glimmerglass Opera, San Francisco Opera, Opera Saratoga (Lake George Opera), Eugene Opera, and the Lyric Opera of
Chicago. Mr. Stokes makes mainstage debuts with The Dallas Opera, Seattle Opera and the Cleveland Orchestra both in Cleveland
and NYC at Carnegie Hall and Buffalo Symphony Orchestra in upcoming seasons. On the operatic mainstage, he has performed
Figaro (Le Nozze di Figaro), Calkas (Troilus and Cressida), Ferrando (Il Trovatore), Zuniga (Carmen), Commendatore (Don Giovanni),
Imperial Commissioner (Madame Butterfly), General Groves (Dr. Atomic), Mèphistophélès ( Faust), Escamillo (Carmen and Le
Tragedie de Carmen), Jake/The Undertaker (Porgy and Bess), Theseus (A Midsummer Night’s Dream), Neptune (The Return of
Ulysses), and Parson Alltalk, (Treemonisha) among many others. Important additions by way of principal role covers include
Queequeg in the World Premiere of Jake Heggie’s Moby Dick for Dallas Opera and Crown (Porgy and Bess) for Seattle Opera.
The 2011-­‐2012 season offers several role and mainstage company debuts as Banquo (Macbeth) for Boston Lyric Opera, 2nd
Armored Man for The Dallas Opera, and the 5th Jew and Cappadocian for the Cleveland Orchestra in a debut with the orchestra in
Cleveland and at Carnegie Hall. Also in the season, Mr. Stokes returns to Indianapolis Opera and records Parson Alltalk
(Treemonisha). He looks forward to a debut with The Buffalo Symphony in 2013. Prior seasons have been equally full for Mr.
Stokes. Projects in 2010 and 2011 for Mr. Stokes comprise a company debut with the Washington National Opera singing the role
of Jake (Porgy and Bess) along with a company debut with Lake George Opera in a reprise of Escamillo (Carmen), a debut with The
Dallas Opera where he adds the role of Queequeg to his repertoire as a cover to Jonathan Lemalu in the World Premiere of Jake
Heggie's Moby Dick, a return to the Ravinia Festival to sing Distant Worlds/Final Fantasy with the Chicago Symphony Orchestra,
and role debuts as Figaro (Le Nozze di Figaro) for San Antonio Opera and Theseus (A Midsummer Night's Dream) in a return to
Boston Lyric Opera. Mr. Stokes also looks forward to singing Parson Alltalk in an upcoming recording of Treemonisha and a return
to Indianapolis Opera for Escamillo in performances of Le Tragedie de Carmen. Important assignments in 2009 included a reprise of
Rachmaninoff's The Bells in debut performances with the Nashville Symphony, a company debut with Boston Lyric Opera as Zuniga
(Carmen), debut performances as Mèphistophélès in Faust and Parson Alltalk and Producer #2 in Treemonisha for Opera Memphis
and a company debut with the San Francisco Opera in Porgy and Bess. Other mainstage performances in recent seasons include
Neptune in Monteverdi's The Return of Ulysses for Chicago Opera Theater, the Imperial Commissioner (Madama Butterfly) for the
Ravinia Festival and the Father (La Forza del Destino) in a performances with Cincinnati May Festival under the direction of the
distinguished Mo. James Conlon.
A highlight in Mr. Stokes's 2nd season at the Ryan Opera Center was his Lyric Opera main stage debut in the lead role of General
Groves which he performed as replacement for an indisposed principal. Highlights in his first season with the company included
Iphigénie en Tauride, Dialogues des Carmélites, and Salome with covers of Ferrando (Il Trovatore), the Duke of Verona (Roméo et
Juliette), Mandarin (Turandot), and the Marquis (Dialogues des Carmélites). In addition to the replacement performance of General

Groves, 2007-­‐2008 season roles include Basilio (Il Barbiere di Siviglia) on the main stage for a Student Matinee, with Zaretsky
(Eugene Onegin)and Curio (Giulio Cesare) which he performs in all main stage performances. Cover assignments for the Lyric
include Grenvil (La Traviata), Colline (La Bohème) which he previously performed for Sarasota Opera, and Achilla (Giulio Cesare).
Mr. Stokes trained with distinguished young artists’ programs in addition to the Ryan Opera Center including Glimmerglass Opera
and Sarasota Opera -­‐ where he was awarded the 2005 Leo M. Rogers Scholarship for Outstanding Apprentice. He has also toured
with Rick Benjamin’s Paragon Ragtime Orchestra – the world’s only year-­‐round, professional organization performing ragtime-­‐era
music – and toured in New York State with various gospel groups. Mr. Stokes is an award recipient from the prestigious William
Matheus Sullivan Musical Foundation.

Tutti Italiani
Sat, June 1, 8pm
Sun, June 2, 2:30pm
JoAnn Falletta, conductor
Chloë Hanslip, violin
Kevin Maynor, bass
Buffalo Philharmonic Chorus
GABRIELI Canzonas for Brass Choirs
PAGANINI Violin Concerto No.1
PIZZETTI Venetian Rondo
BOITO Prologue in Heaven from Mefistofele
Schmidt Artists International
Michael Schmidt
212-­‐421-­‐8500
http://www.chloehanslip.com/
At the age of 22, Chloë is already an established international artist of distinction. Her recent recording for Naxos of the John
Adams Violin Concerto with the RPO under Leonard Slatkin entered the UK Classical Charts at number 2, and Philip Clark, writing in
Gramophone, concluded that "Playing like this should secure Chloë Hanslip's reputation for life". Her two earlier CDs with the
London Symphony Orchestra for Warner Classics, won her, respectively, the German 'Echo Klassik Award for Best Newcomer' in
2002, and 'Young British Classical Performer' at the Classical BRITS 2003. She released her 4th CD -­‐ Romantic Concerti by Benjamin
Godard-­‐ to critical acclaim. Her recital disc of works by Bazzini was released in Sept 2008 and her 6th CD -­‐ Hubay Concerti with the
Bournemouth Symphony Orchestra -­‐ was released in Sept 2009.
In the 2005/2006 season Chloë made an impressive debut with Mariss Jansons and the Symphonieorchester des Bayerische
Rundfunk in the Munich Gasteig. She made her BBC Proms debut in 2002, her US concerto debut in 2003, and has performed in
major venues in the UK (Barbican, Royal Festival Hall, Royal Albert Hall, Wigmore Hall), Europe (Vienna Musikverein, Louvre and
Salle Gaveau-­‐Paris, The Hermitage-­‐St.Petersburg) as well as Carnegie Hall, Metropolitan Arts Space-­‐Tokyo and the Seoul Arts
Centre.
Orchestras she has performed with include the Philharmonia, London Symphony Orchestra, Royal Philharmonic, English Chamber
Orchestra, Hallé, BBC Philharmonic, Royal Liverpool Philharmonic, Royal Scottish National, Bournemouth Symphony, Academy of
St.Martin-­‐in-­‐the-­‐Fields, London Mozart Players, Seattle Symphony, Malaysian Philharmonic, Moscow State Symphony, Czech
National Symphony, Lithuanian National Symphony, Belgrade Philharmonic, and the Tokyo Symphony.
Conductors she has worked with include Mariss Jansons, Sir Andrew Davis, Leonard Slatkin, Paul Daniel, Pavel Kogan, Richard
Hickox, Gianandrea Noseda, Gerard Schwarz, Barry Wordsworth, Claus Peter Flor, Martyn Brabbins, Paul Freeman, Petr Altrichter &
Christopher Warren-­‐Green. In the 2008/2009 Season she made her debut with Mikhail Jurowski and the Tonkunstler Orchestra in
the Musikverein and debuted with Paavo Jarvi and the Cincinnati Symphony Orchestra in Cincinnati.
Chloë’s mentor for 10 years was the Russian pedagogue Zakhar Bron. She has also worked with Ida Haendel, Salvatore Accardo,
and Gerhard Schulz . Bryn Terfel, winner of Hamburg’s 2006 Alfred Töpfer Shakespeare Prize for outstanding contribution to the
Anglo-­‐Saxon cultural heritage of Europe chose Chloë as the 2007 young artist to receive a scholarship for further studies.
At ten, Chloë appeared as the 'infant prodigy violinist' in Ralph Fiennes’ film adaptation of Pushkin`s 'Evgeny Onegin', and made a
significant contribution to Maxim Vengerov’s Master Class, shown on Channel 4 and throughout Europe, as part of the
documentary ‘Playing by Heart’. She was the first instrumentalist invited by Bryn Terfel to play in the Opera Night at his Faenol
Festival, and has performed for the Duke of Edinburgh in Windsor. Greenwich and Buckingham Palace, given the European
Premiere of Sir John Tavener’s 'Ikon of Eros', and the World Premiere of the first extract of Andrew Lloyd-­‐Webbers 'Phantasia on
Phantom of the Opera’.
Chamber Music has become an integral part of Chloë`s life. She is a regular participant in Open Chamber Music at Prussia Cove,
working with Steven Isserlis and Gerhard Schulz, and is a regular performer at the Kuhmo Chamber Music Festival in Finland being
invited to perform in the 40th Anniversary celebration in 2009. In 2005 she received a personal invitation from Seiji Ozawa to
attend his inaugural Chamber Music Festival in Blonay, Switzerland, which was subsequently extended to 2006 and 2007.
Chloe was invited by Gidon Kremer to attend his Festival in Lockenhaus in July 2008 and this invitation was extended to 2009

Chloë is actively pursuing new and unusual repertoire to add to her extensive concerti, recital and recording programmes.
"I am converted -­‐ she (Chloë Hanslip) is likely to become the greatest violinist of her generation." Christopher Latham -­‐ Limelight
Chloë plays a 1737 Guarneri del Gesu insured with Lark Insurance Broking Group

Tutti Italiani
Sat, June 1, 8pm
Sun, June 2, 2:30pm
JoAnn Falletta, conductor
Chloë Hanslip, violin
Kevin Maynor, bass
Buffalo Philharmonic Chorus
GABRIELI Canzonas for Brass Choirs
PAGANINI Violin Concerto No.1
PIZZETTI Venetian Rondo
BOITO Prologue in Heaven from Mefistofele
Pinnacle Arts Mgmt
John J. Miller
jmiller@pinnaclearts.com
212-­‐397-­‐7911
http://kevinmaynor.com/
Reviewing Kevin Maynor's CD Paul Robeson Remembered, Fanfare magazine exclaimed. "This is a super voice, a voice to compare
not only to Robeson but also to Alexander Kipnis, to Boris Christoff, even to Ezio Pinza-­‐in other words to the very greatest bass
voices of the century."
Mr. Maynor has scored success in over 50 operatic roles in five different languages. The first apprentice artist from the West to
study at the Bolshoi in Moscow, Mr. Maynor is a Fulbright Award winner and a recipient of the George London Award as well as a
Richard Tucker Career Grant winner. Critics have praised his charismatic stage presence as well as his superb voice and powerful,
resonant tone" and the jewel in his dark bass voice."
Kevin Maynor's 2011 -­‐ 2012 season includes The Four Serious Songs, by Johannes Brahms and the Ruckert Lieder of Gustav Mahler,
followed by the The Songs and Dances of Death by Modeste Mousorgsky in Long Island , New York. The Bass appeared in Nat
Turner by Michael Raphael, Frederick Douglass by Dorothy Rudd Moore and Treemonisha by Scott Jpplin with Newark's Trilogy: An
Opera Company. Kevin Maynor will perform five (5) recitals for Creative Arts Healthcare at UMDNJ from December to April,
performing Schubert, Mahler, Still, Kaye, as well as art songs from young American composers and arrangers. . Maynor's 2010-­‐2011
season included Franz Schubert's Schwanengesang in New York, with appearances in Texas singing the bass solos in the Rossini
STABAT MATER with the San Antonio Symphony followed by Arigo Boito's MEFISTOFELE , performing the Prologue scene in Virginia
Beach, Newport News, and Norfolk, Virginia with Maestra Joann Falletta and the Virginia Symphony, to be repeated with the
Buffalo Philharmonic. Kevin Maynor returns to New York's Avery Fisher Hall for Balthazaar in AMAHL AND THE NIGHT VISITORS,
with The Little Orchestra Society. Mr. Maynor was recently named Cultural Envoy to the Pacific Islands and Eastern Asia as ordered
by the United States Congress. Mr. Maynor performed excerpts from Jerome Kern's " SHOWBOAT" and Scott Joplin's
"TREEMONISHA" in Taiwan with the Kaohsiung Symphony Orchestra.While in Taiwan, Maynor travels to Taipei, Tainai, and New
Taipei for recitals on American Historical figures. The American Bass performed King Mark in Richard Wagner's TRISTAN UND
ISOLDE at the Festival Amazonas De Opera in Manaus ,Brazil. He will Also record Carlos Gomez's CONDOR in SOUTH AMERICA as
well. In New Yorks Alice Tully Hall , Maynor will sing the bass solos in Arthur Honneger's JEAN OF ARC. Recent performances also
include Schubert's Die Winterreise in NEW YORK and the role of NED in Scott Joplin's TREEMONISHA at Newark New Jersey's
Trilogy:aoc. The American bass performed an all english program for Seton Hall University at THE SOUTH ORANGE PERFORMING
ARTS CENTER, with the great violinist Joshua Bell for the Prestigious S.Rose Thering Endowment. Maynor continues recording,
adding three new cd's "ME AND VERDI", OLD MAN RIVER, and THE SPIRITUAL: AN UNDERGROUND RAILROAD, as a Barnes and
Noble artist. Highlights of Mr. Maynor's past season are a CARNEGIE HALL RECITAL appearance, "Honor the Voice", with Jessye
Norman, a nine state and 14 cities concert tour in America, followed by the VERDI REQUIEM and BRAHMS REQUIEM in Santa Fe
with the SANTA FE SYMPHONY AND ROANOKE SYMPHONY in VIRGINIA. In 2007 -­‐ 2008, Mr. maynor performed recitals in New York
at Adelphi University and St. Francis college. He Traveled over seas to perform a United States State Department Recital Tour in
Europe, including Paris, Strasburg, Berlin, Munich, and Nuremberg, among other cities. The celebrated basso performed the role of
Grabeau in Anthony Davis' opera "AMISTAD" during the SPOLETO ,U.S.A. festival. Kevin Maynor, was once again with The Little
Orchestra Society in Gian Carlo Menotti's "Amahl and The Night Visitor" at Avery Fisher Hall in New York City. In the previous
season, Kevin Maynor's performances included Anchorage Opera (Viva Verdi)[ Bass arias and duets from Don Carlo, Macbeth,
Simon Boccanegra, and La Forza del Destino] , the WQXR broadcast for the MLK Jr. holiday, Opera Birmingham, and The Midland
Symphony ,with recitals in Freeport, NY and Newark NJ. as well as a concert performance of Turandot singing the role of TIMUR
with the New York City Opera and the Westfield Symphony. Recently ,Kevin Maynor joined soprano Jessye Norman in a fund raiser

for the homeless in NYC with Partnership For The Homeless. Mr. Maynor was also the winner of an Audelco Award for excellence in
theatre for his performance as Paul Robeson with the New Federal Theatre in NYC and Producer Woodie King Jr. In 2005-­‐2006 Mr.
Maynor sang the roles of Sarastro in Mozart's The Magic Flute and Sparafucile in Verdi's Rigoletto with The Des Moines Metro
Opera. He performed in Recital at Winston Salem University , a concert at The Schomburg in New York City, Phillip Hayes Dean's
one man show PAUL ROBESON, with The New Federal Theatre in New York City at the Henry Street Settlement Theatre, followed
by the Beethoven Ninth in West Virginia with The Wheeling Symphony. Mr. Maynor then performed a Mozart concert at Avery
Fisher Hall with The Little Orchestra Society, performing excerpts from Le Nozze di Figaro and Bastien und Bastienne of Mozart. He
then performed the featured recital in the Lincoln Booth Theatre in Washington D.C. during The Here I stand Awards honoring DICK
GREGORY.
During 2004-­‐2005 Kevin Maynor performed Tom with nFlorida Grand Oera in Verdi's Un Ballo in Maschera, and sang three multi-­‐
media thematic concerts at the prestigioug AUCKLAND FESTIVAL. Mr. Maynor's 2003 -­‐ 2004 season included performances at the
Kravis Center of WestPalm Beach. Florida, where he performed his thematic MULTIMEDIA recital, The Repertoire of Paul Robeson
and the Verdi Requiem in Eugene Oregon with the Eugene Concert Choir and gave a recital at the University of Oregon with master
classes.The American Bass sang at the Vivaldi Festival at Lincoln Center's Alice Tully Hall in New York. . Returning to Avery Fisher
Hall with The Little Orchestra Society singing the role of Balthazaar in Menotti's Amahl and The Night Visitors and performing a
Dvorak Centenial Concert for the Dvorak Society of New York. Kevin Maynor performed the World Premiere of new songs by Jack
Beeson and the Pulitzer prize winner George Walker , at Smith College in North Hampton, Massachusetts. .Mr. Maynor's
engagements for the 2002-­‐2003 season included performances of Samuel in Un Ballo in Maschera with the Pittsburgh Opera,
Verdi's Requiem with the Canton Symphony Orchestra , the Prologue to Mephistopheles with the Virginia Symphony and Julius
Rudel, King Balthazaar in Amahl and the Night Visitors with the Little Orchestra Society of New York at Avery Fisher Hall, Dumar's
American Requiem with the Phoenix Symphony, and recitals in New York , New Jersey and The U.S. State Department for the Kala
Ghoda Festival in India. Mr. Maynor's engagements for the 2001-­‐2002 season included performances as Joe in Showboat with
Opera National du Rhin in Strasbourg,France,and as Sparafucile in Rigoletto with the Sacramento Opera, recitals in Chicago at
Northwestern University, in Boston at The Afro-­‐American History Museum,and Long Island ; and a special concert of spirituals with
The New World Symphony . During July of 2001, he performed at the Grant Park Music Festival.
Mr. Maynor's 2000-­‐2001 season included performances as Timur in Turandot with Minnesota Opera; as Sparafucile in Rigoletto
with Knoxville Opera: as Hunding in Die Walkeure with Austin Lyric Opera; and as Zaccaria in Nabucco with Pacific Opera Victoria.
During this season, Mr. Maynor also appeared in recital throughout the United States,and he hosted 17 different shows for the
New York City PBS stations Metro Arts/ Thirteen/WNET. In May of 2000, he sang at The Supreme Court of the United States of
America.
Most Recently, Mr. Maynor gave performances as Don Basilo in IL Barbiere di Siviglia with the New York City Opera, both Fafner in
Das Rheingoldand Colline in La Boheme with Dallas Opera, Daland in Der Fliegende Hollander with Sacramento Opera, Sparafucile
in Rigoletto with Mississippi Opera, Shostakovich's Song of the Forest with the Kalamazoo Symphony, a centenary tribute to Paul
Robeson in Ocean Grove, New Jersey, and appeared in recital in Beijing , China sponsored by Arts America. Highlights of his 1997-­‐
98 season include Pimen in Boris Goudonov with the Milwaukee Symphony Orchestra, the cook in the world premiere of Anthony
Davis Amistad with Lyric Opera of Chicago, and a series of recitals and master classes in China sponsored by the Rockefeller
foundation and the Pew Charitable Trust Foundation. In the summer of 1997 he had great success in South Africa with The Biko
Project a recital program he designed and performed at both the Grahamstown Festival and the Market Theatre in Johannesburg.
In the 1999-­‐2000 season he appeared at the Sobinov Festival in Russia where he sang the King in Aida and did a tribute recital to
Paul Robeson. Mr. Maynor sang in Akhnaten with Boston Lyric Opera, performed the King in Aida with Austin Lyric Opera ,the title
roles in Boris Gudonov and Mephistofele with the Erie Philharmonic, Fafner in Das Rheingold with L'Opera de Montreal ; the
Berlioz Romeo et Juliette with the Flint Symphony , Raimondo in Lucia di Lammemoor with Mobile Opera and returned to China to
sing a series of Recitals.
Mr. Maynor has sung Hunding in Die Walkeure with both Scottish Opera and Opera Pacific,Fafner in Das Rheingold with the Opera
del Teatro Municipal in Santiago, Chile, and has sung Sarastro in Die Zauberflote in many theaters. Mr. Maynor made his New York
City Opera debut in Philip Glass' Akhnaten, and later appeared at the Metropolitan Opera House, where he sang the roles of both
the Armchair and the Tree in Ravel's L 'Enfant et Les Sortileges with the Netherlands Dance Theater. His impressive list of opera
credits also include the San Francisco, Boston ,Seattle ,and Santa Fe Operas. His festival credits include Wolf Trap, Spoleto, the
American Opera Festival in Cincinnati and the Music Under the Stars Festival in Milwaukee. He performed in the world premieres
of Ulyssess Kay's Frederick Douglass with New Jersey State Opera (in which he sang the title role) and Anthony Davis' X with the
America Music Theater Festival in Philadelphia.

Mr. Maynor is also a gifted recitalist and has performed a wide variety of programs throughout North America as well as France,
England and Spain. He has appeared as soloist with orchestras across the country including the Buffalo Philharmonic, Fort Worth
Symphony, New Orleans Symphony, Milwaukee Symphony , the Long Island Philharmonic as well as the Quebec Symphonie in
Canada, The Santa Fe Symphony, The Virginia Symphony, and The San Antonio Symphony. He has worked with such conductors as
Dennis Russell Davies, Sarah Caldwell,Roberto Manfredini, Christopher Keene,Klaus Donath, Gabor Otvos, Ferdinand Leitner, John
Maucieri, Alberto Veronese, Richard Woitach, Eve Queler,Robert Shaw and Julius Rudel. Stage directors include Patrice Courier,
Moshe Leiser, Bliss Hebert, Colin Graham, Mary Zimmerman, Gian Carlo Menotti, Roberto Oswald, Mark Lamos, Nathaniel Merrill,
Bodo Igesz, George C. Wolfe and many more.
Kevin Maynor has recorded for Telarc , Fleur de Son Classics,Guild, Legato Records, and Sony Music (Beijing). Mr. Maynor has a
diploma from the Manhattan School of Music, a Bachelor of Music Education degree from Bradley University, a Masters degree
from Northwestern University and an Honarary Degree from the Moscow Conservatory. While in Bologna, Italy he studied with
Paula Molinari at the Teatro Communale di Bologna. He is currently a Doctoral Candidate at Indiana University in Bloomington.