I saw Mr Tilson conduct the Buffalo Philharmonic many times when I was a kid, and recently had a customer who is also a conductor and a good friend of Tilson's who told some stories of their friendship.
buffalonews.com
Michael Tilson Thomas was with the BPO from 1971-79. Invision
Tilson Thomas had surgery for a brain tumor in 2021 and resumed his career, then said in February 2025 that the tumor had returned. He conducted his final concert with the San Francisco Symphony in April 2025 and died at his home in San Francisco, according to spokesperson Connie Shuman.
Tilson Thomas received 39 Grammy Award nominations, winning 12, and was among the Kennedy Center Honors recipients in 2019.
“It’s meant to have various intriguing and alluring, questioning things that you hear on first hearing,” he said of classical music during a 2004 interview with the Associated Press. “But by its very nature it’s holding a lot of other secrets or a lot of other perspectives much closer to its chest, which only with repeated hearing you start realizing are there.”
Tilson Thomas was born in Los Angeles on Dec. 21, 1944, to a family steeped in the arts. His father, Ted, was a producer at New York’s Mercury Theater Company, and then worked in Los Angeles in the movie and television industry. His mother, Roberta, headed research for Columbia Pictures. His grandparents, Bessie and Boris Thomashefsky, were pioneers in American Yiddish theater.
He played piano at a young age and attended the University of Southern California. By the time he received a degree in 1967, he had worked with Pierre Boulez, Aaron Copland, Igor Stravinsky, and Karlheinz Stockhausen.
“I don’t fling the word genius around lightly, but I fling it around about Michael. He reminds me of me at that age, except that he knows more than I did,” conductor Leonard Bernstein told the New York Times Magazine for a 1971 profile. “Not only music, but things like the functions of the brain, cerebrology, physics, biochemistry.”
Tilson Thomas was the co-music director and then music director of California’s Ojai Festival in the late 1960s and early 1970s. He was an assistant at Germany’s Bayreuth Festival in 1966, won the Koussevitzky Prize at the Tanglewood Music Center in 1968 and became a Boston Symphony Orchestra assistant conductor in 1969.
Tilson Thomas made his New York debut at Lincoln Center’s Philharmonic Hall on Oct. 22, 1969, as a mid-concert replacement for an ailing William Steinberg. Tilson Thomas led Robert Starer’s Concerto for Violin, Cello and Orchestra, and Strauss’ “Till Eulenspiegel.”
“A tall, thin young man, he came on stage with an air of immense confidence and authority, and showed that his confidence was not misplaced,” critic Harold C. Schonberg wrote in the Times. “He takes naturally to this music, as might be expected of a Tanglewood graduate and a pupil of Pierre Boulez.”
Tilson Thomas became the BSO’s principal guest conductor from 1972-1974 and was music director of the Buffalo Philharmonic from 1971-79 and a principal guest conductor of the Los Angeles Philharmonic from 1981-85.
In a 2017 article on his planned 2020 retirement from the San Francisco Symphony, Buffalo News music critic Mary Kunz Goldman noted that during his time in Buffalo, "he enjoyed an unparalleled reputation for youthful hipness."
The article quoted a 1980 People magazine piece about his time here.
"He had a rope swing rigged in his living room and padded around the downtown streets in his tennis whites. Neither his players nor his patrons ever knew for sure what music really struck the young man’s fancy ... He played backup piano for Sarah Vaughan, wrote songs with Art Garfunkel, savored the Rolling Stones, and danced until dawn on visits to Manhattan’s Studio 54. All of which kept that clergyman-sized moniker of his appearing in places where the Buffalo board of directors wished it would not."
Tilson Thomas left the BPO to concentrate on a conducting job with the Los Angeles Symphony, but his legacy in Buffalo endured. He conducted the BPO on the 1977 vinyl album "Gershwin on Broadway," heard in the Woody Allen classic "Manhattan." He and the BPO also made two critically acclaimed records on the Columbia label, of the music of American composers Carl Ruggles and Charles Ives.
He last appeared with the Buffalo Philharmonic Orchestra as a guest conductor in 2001.
He helped found Miami’s New World Symphony in 1987 and served as artistic director until 2021. He was principal conductor of the London Symphony Orchestra from 1988-95 and music director of the San Francisco Symphony from 1995-2020.
Tilson Thomas’ compositions include “Grace” (1988), “Four Preludes on Playthings of the Wind” (2015-16), and “Meditations on Rilke” (2019).
His husband, Joshua Robison, died Feb. 22 while recovering from a fall suffered last August. They met while playing in the orchestra of North Hollywood Junior High School (since renamed Walter Reed Middle School), became partners in 1976, and married in 2014.
In announcing his final concert would take place in San Francisco on April 26, 2025, in a belated 80th birthday celebration, Thomas issued a statement acknowledging his mortality.
“At that point, we all get to say the old show business expression, ‘It’s a wrap,’” he said. “A coda is a musical element at the end of a composition that brings the whole piece to a conclusion. A coda can vary greatly in length. My life’s coda is generous and rich.”
Michael Tilson Thomas, renowned conductor and composer who led the BPO in the 1970s, dies at 81
Thomas left the Buffalo Philharmonic Orchestra to concentrate on a conducting job with the Los Angeles Symphony, but his legacy in Buffalo endured.
Michael Tilson Thomas was with the BPO from 1971-79. Invision
Tilson Thomas had surgery for a brain tumor in 2021 and resumed his career, then said in February 2025 that the tumor had returned. He conducted his final concert with the San Francisco Symphony in April 2025 and died at his home in San Francisco, according to spokesperson Connie Shuman.
Tilson Thomas received 39 Grammy Award nominations, winning 12, and was among the Kennedy Center Honors recipients in 2019.
“It’s meant to have various intriguing and alluring, questioning things that you hear on first hearing,” he said of classical music during a 2004 interview with the Associated Press. “But by its very nature it’s holding a lot of other secrets or a lot of other perspectives much closer to its chest, which only with repeated hearing you start realizing are there.”
Tilson Thomas was born in Los Angeles on Dec. 21, 1944, to a family steeped in the arts. His father, Ted, was a producer at New York’s Mercury Theater Company, and then worked in Los Angeles in the movie and television industry. His mother, Roberta, headed research for Columbia Pictures. His grandparents, Bessie and Boris Thomashefsky, were pioneers in American Yiddish theater.
He played piano at a young age and attended the University of Southern California. By the time he received a degree in 1967, he had worked with Pierre Boulez, Aaron Copland, Igor Stravinsky, and Karlheinz Stockhausen.
“I don’t fling the word genius around lightly, but I fling it around about Michael. He reminds me of me at that age, except that he knows more than I did,” conductor Leonard Bernstein told the New York Times Magazine for a 1971 profile. “Not only music, but things like the functions of the brain, cerebrology, physics, biochemistry.”
Tilson Thomas was the co-music director and then music director of California’s Ojai Festival in the late 1960s and early 1970s. He was an assistant at Germany’s Bayreuth Festival in 1966, won the Koussevitzky Prize at the Tanglewood Music Center in 1968 and became a Boston Symphony Orchestra assistant conductor in 1969.
Tilson Thomas made his New York debut at Lincoln Center’s Philharmonic Hall on Oct. 22, 1969, as a mid-concert replacement for an ailing William Steinberg. Tilson Thomas led Robert Starer’s Concerto for Violin, Cello and Orchestra, and Strauss’ “Till Eulenspiegel.”
“A tall, thin young man, he came on stage with an air of immense confidence and authority, and showed that his confidence was not misplaced,” critic Harold C. Schonberg wrote in the Times. “He takes naturally to this music, as might be expected of a Tanglewood graduate and a pupil of Pierre Boulez.”
Tilson Thomas became the BSO’s principal guest conductor from 1972-1974 and was music director of the Buffalo Philharmonic from 1971-79 and a principal guest conductor of the Los Angeles Philharmonic from 1981-85.
In a 2017 article on his planned 2020 retirement from the San Francisco Symphony, Buffalo News music critic Mary Kunz Goldman noted that during his time in Buffalo, "he enjoyed an unparalleled reputation for youthful hipness."
The article quoted a 1980 People magazine piece about his time here.
"He had a rope swing rigged in his living room and padded around the downtown streets in his tennis whites. Neither his players nor his patrons ever knew for sure what music really struck the young man’s fancy ... He played backup piano for Sarah Vaughan, wrote songs with Art Garfunkel, savored the Rolling Stones, and danced until dawn on visits to Manhattan’s Studio 54. All of which kept that clergyman-sized moniker of his appearing in places where the Buffalo board of directors wished it would not."
Tilson Thomas left the BPO to concentrate on a conducting job with the Los Angeles Symphony, but his legacy in Buffalo endured. He conducted the BPO on the 1977 vinyl album "Gershwin on Broadway," heard in the Woody Allen classic "Manhattan." He and the BPO also made two critically acclaimed records on the Columbia label, of the music of American composers Carl Ruggles and Charles Ives.
He last appeared with the Buffalo Philharmonic Orchestra as a guest conductor in 2001.
He helped found Miami’s New World Symphony in 1987 and served as artistic director until 2021. He was principal conductor of the London Symphony Orchestra from 1988-95 and music director of the San Francisco Symphony from 1995-2020.
Tilson Thomas’ compositions include “Grace” (1988), “Four Preludes on Playthings of the Wind” (2015-16), and “Meditations on Rilke” (2019).
His husband, Joshua Robison, died Feb. 22 while recovering from a fall suffered last August. They met while playing in the orchestra of North Hollywood Junior High School (since renamed Walter Reed Middle School), became partners in 1976, and married in 2014.
In announcing his final concert would take place in San Francisco on April 26, 2025, in a belated 80th birthday celebration, Thomas issued a statement acknowledging his mortality.
“At that point, we all get to say the old show business expression, ‘It’s a wrap,’” he said. “A coda is a musical element at the end of a composition that brings the whole piece to a conclusion. A coda can vary greatly in length. My life’s coda is generous and rich.”