The BPO has released over 65 recordings, including on their own label, Beau Fleuve, and on the international classical music label, Naxos. BPO recordings are now available to stream on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora, Deezer, and more!
Explore the BPO's discography at bpo.org/recordings.
About the BPO's Recording History:
The Buffalo Philharmonic Orchestra takes pride in its rich history of musical exploration and innovation. Its partnership with Naxos Records stands as a testament to a shared dedication to bringing lesser-known works to the forefront. Guided by the wisdom and encouragement of Klaus Heymann, the orchestra has delved deep into the symphonies of artists such as Vítězslav Novák, Joseph Suk, Marcel Tyberg, Reinhold Glière, Zoltán Kodály, and many other talented composers.
In their commitment to diversifying offerings and reaching a broader audience, the BPO established the Beau Fleuve Records label in 1999. Drawing its name from the moniker given to the Western NY region by early French missionaries, it celebrates the beauty and majesty of Niagara and its cascading falls. This homegrown label has enabled the BPO to curate a varied selection of musical narratives, from pieces commissioned by the orchestra, solo endeavors by principal players, recollections of tours, to the melodies that have resonated deeply with audiences. The Beau Fleuve label has become a platform to showcase the best performances from JoAnn Falletta's International Guitar Concerto Competition, to embrace classical compositions, to honor living composers, and to feature soloists who have shared a special bond with the BPO.
By William Ford of Atlanta Music Critic Conversations with...
In Repertoire as Leadership: What JoAnn Falletta’s Recordings Reveal, William Ford writes, "JoAnn Falletta has built one of the most extensive and distinctive recorded legacies of any active conductor, yet her discography has rarely been examined as a coherent body of work. Drawing on a consolidated list of her commercial recordings, this analysis identifies long-term repertoire patterns that depart sharply from twentieth-century recording orthodoxy. Rather than reinforcing a narrow canonical core, Falletta’s recorded output emphasizes underperformed and contemporary composers alongside selective engagement with standard repertoire. Situating these findings within the changing economics of classical recording—and the catalog philosophy of the Naxos label—this article argues that Falletta’s discography represents a sustained form of artistic leadership in an era when recording decisions are increasingly shaped by market caution."
Click here to read the full article on Substack.