Fairfax Symphony Program Book_March 2025

24/25 SEASON

Christopher Zimmerman, music director and conductor Saturday, March 9, 2024 at 8pm Center for the Arts at George Mason University Christopher Zimmerman, music director and conductor Saturday, March 8, 2025 at 8pm Center for the Arts at George Mason University

MALEK JANDALI (1972-) Selected Movements from Symphony No. 6 , “The Desert Rose”

ANTONÍN DVOŘÁK (1841–1904)

II. “Praise” Selections from Slavonic Dances, Op. 72 V. “Ardah” No. 1 Odzemek.

Molto Vivace VII. “Fete” No. 2 Dumka. Allegretto grazioso JANDALI No. MALEK 7 Kolo. Allegro vivace Concerto for Clarinet and Orchestra (WORLD PREMIERE PERFORMANCE) EDWARD ELGAR (1857–1934) I. Andantino misterioso Cello Concerto in E minor, Op. 85 II. Nocturne Sergey Antonov, cello III. Allegro moderato

Anthony McGill, clarinet Intermission —Intermission—

MODEST MUSSORGSKY (1839–1881) LUDWIG VAN BEETHOVEN (1770-1827) /ORCH. RAVEL

Symphony No.3 in E flat major “Eroica”, op.55 Pictures at an Exhibition I. Allegro con brio II. Marcia funebre—adagio assai III. Scherzo—allegro vivace IV. Finale—allegro molto

The FSO’s 2024/25 Season is made possible with generous support from

Partnering to Enhance Learning Through Music for Over 40 Years ARTS INTEGRATION SHOWCASE Arts Integration inspires students through concert repertoire to support Math, Science, English, History, and Social Studies, as well Music and Art. We are delighted to showcase artwork created by students from Woodburn School for the Fine and Communicative Arts and Westlawn Elementary inspired by tonight’s program.

WOODBURN ELEMENTARY, Jonathan Kettler, Art Teacher Fifth Grade students created a mixed media piece using pen, drawing chalk, oil pastel, and watercolor paint, inspired by the theme of unity found in cultural celebrations, such as circle dances (influenced by Dvořák’s 3 Slavonic Dances, particularly the “Kolo” in Opus 72.) Students explored unity, regardless of cultural differences, celebrating uniqueness and diversity. Third Grade students created artwork exploring circular forms. Some students also wrote poetry inspired by the theme of unity in Dvořák’s music. The Fourth Grade created a “Wire Sculpture Orchestra” to represent the musicians in the FSO.

WESTLAWN ELEMENTARY, Sean Stuebner & Brett Terrell, Art Teachers Fourth and Fifth Grade students studied the music of “Juba” by African American composer, Florence Price for FSO Link Up and Mussorgsky’s “Pictures at an Exhibition” on this evening’s program. They then created representational abstract works around a piece of music that they have a connection to, using the work of DC artist Alma Thomas as a basis, the first fine art graduate from Howard University and a DCPS art teacher for 35 years. Students found their favorite rhythm in the music to inspire their artwork, sketching and creating monotype prints over their sketches.

Made possible in part with support from

MEET THE ARTIST SERGEY ANTONOV, ANTHONY MCGILLcello Cellist Sergey enjoys a versatile career Hailed forAntonov his “trademark brilliance, as apenetrating soloist and chamber musician.

Critics sound and rich character” (New throughout the world have hailed him asMcGill “destined York Times), clarinetist Anthony for cello superstardom” (The Washington Post) enjoys a dynamic international solo and and chamber “combining formidable technique and an clarinet music career and is principal incredibly and vibrant to of thewarm, New penetrating York Philharmonic — tone the first a romantic musical sensibility to create music— African-American principal player in the making of a highest history. caliber” (Budapest After of organization’s He is the Sun). recipient a Newport Festival concert in RI, a critic wrote “... a the 2020 Avery Fisher Prize, one of classical performance with soaring phrasesmusic’s and a tone to die for.”

Sergey’s performance of most significant awards. the Elgar concerto drew the critic of the Moscow’s Daily Telegraph to write: “[he] is a musician who has his own inner space,appears where heassubmerges himself from the McGill a soloist with top very first sound…who turns each orchestras, phrase, everyincluding deeply feltthe sound into an event of New York and Los his ownPhilharmonics, inner monologue.

The theme of this Opera, monologue existential suffering; Angeles the Metropolitan andisthe Baltimore, Boston, a changeand of intricately noted emotions, directly related to the unexplainable Chicago, Detroit Symphony Orchestras.

He performed alongside Itzhak condition known as Spiritual Life.”

A Canadian critic wrote: “Antonovof conveyed Perlman, Yo-Yo Ma, and Gabriela Montero at the inauguration President ...a world of expression from plaintive hope to existential pathos.”

Another Barack Obama, premiering a piece by John Williams. As a chamber recent reviewer McGill wrote, “No challenge is more than hisDaedalus, equal.” musician, is a virtuosic collaborator of the Brentano, Guarneri,

JACK, Pacifica, Takács, and Tokyo Quartets, performs After Miró, winning the goldShanghai, medal in the 2007 International Tchaikovskyand Competition with leading artists including Emanuel Ax, Inon Barnatan, Gloria Chien, in Moscow, Russia, Sergey has been touring extensively throughout Europe, Yefim Bronfman, Shaham, Midori, Mitsuko Uchida, andranging Lang Lang.

Asia, and Gil North and South America performing in halls from the Great of Moscow Conservatory to Suntory Hall in Tokyo.

HeHall serves on the faculty of The Juilliard School and is the Artistic Director for Juilliard’s Advancement Program. holds theatWilliam Hyunah Born intoMusic a family of cellists, Sergey startedHe playing cello the ageR. of and five with Yuhis Brody Distinguished Chairasathis the CurtisShe Institute of the Music. mother, Maria Zhuravleva, teacher. received national 2014 Teacher of the Year Award of Russia. He studied at the Central Music School and

In graduated 2020, McGill’s #TakeTwoKnees campaign protesting the death of George from the Moscow Conservatory where studied under the renowned Floyd and historic racial injustice went viral.

In 2023, he partnered with professor Natalia Shakhovskaya. He holds an artist diploma from Longy School Bryan Stevenson and the Equal Justice Initiative to organize a classical music of Music in Boston where he worked with Grammy-nominated cellist Terry King. industry convening at EJI’s Legacy Museum in Montgomery, Alabama, in While a student at the Moscow Conservatory, Sergey was under the tutelage of which leaders and artists in classical music examined America’s history of M. Rostropovich. racial inequality and how this legacy continues to impact their work. He is a SergeyArtist has appeared on Russian National on Television performances with Backun and performs exclusively BackuninClarinets. the Moscow Philharmonic in their Stars of the 21st Century series, and in live concerts NPR radio station WGBH. His performances were also Learn moreonatBoston’s www.anthonymcgill.com broadcast by NHK Japan.

He lives in New York with his wife Nika and son Noah.

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CHRISTOPHER ZIMMERMAN, Music Director Named Music Director of the Fairfax Symphony Orchestra (FSO) in 2009, Christopher Zimmerman celebrates his 15th season with the FSO. Former Washington Post classical music critic, Anne Midgette, wrote: “the Bernstein was a note-perfect end to a very refreshing evening that spoke well for the programming vision of Zimmerman.” Former Washington Post reporter, Stephen Brookes, commented: “Zimmerman has been injecting adrenalin into this determined ensemble… (and has) made the Fairfax players a serious force to be reckoned with.”

Christopher Zimmerman graduated from Yale with a B.A. in Music and received his Master’s from the University of Michigan. He also studied with Seiji Ozawa and Gunther Schuller at Tanglewood, and at the Pierre Monteux School in Maine with Charles Bruck.

Zimmerman served as an apprentice to Andrew Davis and the Toronto Symphony and in Prague, as assistant conductor to Vaclav Neumann and the Czech Philharmonic Orchestra.

Zimmerman’s debut with the Royal Philharmonic Orchestra was followed by engagements with the London Symphony Orchestra and the Royal Liverpool Philharmonic.

Prior to his appointment to the FSO, Christopher Zimmerman was Music Director of the Symphony of Southeast Texas, the Bangor Symphony Orchestra and the City of London Chamber Orchestra. His career has also embraced teaching and working with student orchestras and conductors; in 1993 he joined the conducting faculty at the College-Conservatory of Music in Cincinnati where he was Music Director of their concert orchestra, and in 1999 he was appointed as Fuller Professor of Orchestral Studies at the Hartt School as well as Music Director of the Hartt Symphony.

A champion of contemporary music and commissioning new work, during his leadership with the FSO, Zimmerman has commissioned seven new works and presented 22 premieres. This season, the FSO presents the U.S. premiere piano concerto by composer Elena Kats-Chernin with pianist, Lisa Moore, the Regional premiere of “She Dreams of Flying” by composer Quinn Mason, the Virginia premiere of Clarice Assad’s concerto for Guitar and Cello “Anahata,” and the commission and East Coast premiere by Jonathan Leshnoff “Concertante for Two Violins and Orchestra.” In 2023-24, Zimmerman conducted the World Premiere Clarinet Concerto by Syrian-American composer Malek Jandali with clarinetist, Anthony McGuill, the Regional premiere of Anna Clyne’s “Dance” with cellist Inbal Segev, and the co-commission and Virginia premiere of “Rhapsody in Red, White, and Blue” with pianist Jeffrey Biegel in honor of the 150th Anniversary of Gershwin’s “Rhapsody in Blue.” In 2023, Zimmerman and the FSO presented the U.S. premiere of “Bruromano,” a concerto for guitar, double bass, and string orchestra by Czech composer Sylvie Bodorova featuring renowned guitarist, Jason Vieaux. In 2022, the FSO presented the regional premiere of composer Robert Carl’s “White Heron” and composer Jonathan Leshnoff’s Symphony No. 4 “Heichalos.” The FSO brought “Dances of the Yogurt Maker” by Turkish composer, Erberk Eryilmaz to Virginia for the first time in 2019, along with the 2018 Virginia premiere of Philip Glass’ “Piano Concerto No. 3,” with pianist Simone Dinnerstein, who commissioned the work and for whom it was written. In 2017, the Fairfax Symphony in celebration of its 60th season commissioned “Resolutions” by composer Mark Camphouse in honor of the 275th Anniversary of Fairfax County. In 2016, the FSO presented the regional premiere of Martin Bresnick’s “The Way it Goes.”

Zimmerman has also established four artistic collaborations while leading the FSO—its annual co-presentation with George Mason University’s Center for the Arts featuring renowned artists including acclaimed soprano Renée Fleming, and pianists Jeremy Denk and Simone Dinnerstein, the annual production of Tchaikovsky’s The Nutcracker with the Fairfax Ballet, and a collaboration with Bown-McCauley Dance Company.

Christopher Zimmerman was recognized as the winner of the American Conducting Prize in 2011, an award given for nationwide performances by orchestral conductors, choral conductors, and a host of other categories. Such recognition of his abilities has been born out in appointments to the Music Directorship of the Fargo-Moorhead Symphony (2013-) and Artistic Directorship of the American Youth Philharmonic Orchestras (2014-2017).

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PROGRAM NOTES ANTONÍN DVOŘÁK MALEK JANDALI Selections from Slavonic Dances, Symphony No. 6 “The Desert Rose” Op. 72

No. 1 Molto Vivace No. 2 Dumka. grazioso Composer: bornAllegretto December 25, 1972, Waldbröl, West Germany No. 7 Kolo. Allegro vivace

The desert rose, with its intricate crystalline petal clusters, forms over millennia Composer: born September 8, 1841, Nelahozeves, near Kralupy in Bohemia; died May through the interaction of minerals, sand, and water in regions such as Qatar—a 1, 1904, Prague land of desert and sea. This “architectural” wonder of nature inspired the Work composed: Dvořák began working on Op. 72 on June 4, 1886, and completed design of Jean Nouvel’s masterpiece, the National Museum of Qatar, a stunning a version for piano duet on July 7. At the insistence of publisher Fritz Simrock, Dvořák structure of interlocking discs the that tells the storyonofJanuary Qatar5,from orchestrated them, completing orchestra version 1887.the natural history of its origins through its cultural developments to the cutting-edge technologies World premiere: Dvořák conducted three of the Slavonic Dances on January 6, 1887—just of today.

24 hours after he finished orchestrating them—at the Czech National Theatre in Prague.

Springing from the idea that architecture is frozen music, Malek Jandali’s Music publisher Friedrich Simrock, known Fritz,“desert had a keen sense of what Symphony No. 6 takes August its inspiration from as both roses,” transforming music his a customers would buy.

When Johannes Hungarianand Dances becamethe a rich them into consummate orchestral work Brahms’ that preserves extends bestseller for Simrock in 1869, the publisher realized regional and ethnic music was a sure heritage of the region. The Desert Rose Symphony depicts their complexity and moneymaker. Sets of dances for piano were also especially popular, since people could contrasts play theminatform home.and scale, juxtaposing the traditional and the modern—rapid progress intertwined with the arid golden sand dunes and the abundance of the Antonín Dvořák first came to Simrock’s attention via Brahms, who had introduced the sea.

The nine-movement symphony also takes inspiration from the nine-point two men by correspondence. In his letter to Simrock, written in December 1877, Brahms serrated lineDvořák’s in the talent flag of Qatar indicating ninth note member of theof“Reconciled mentioned and versatility, and tookthe particular of “a volume Emirates” of the Persian in thewhich wake of concluding the Qatari-British duets for two sopranos with Gulf pianoforte, seem to me all too pretty, and practical treaty for publication.”

Later in that same letter, wrote, “The value of the duets will be in 1916.

The white color reflects the Brahms internationally recognized symbol of peace. obvious and they might by become a ‘good commodity’ … please know … that This worktoisyou, commissioned Her Excellency Sheikha Al-Mayassa bintI Hamad don’t make recommendations hastily.” bin Khalifa Al Thani, chairperson of Qatar Museums.

In 1878, Simrock shrewdly gambled on the young and then largely unknown Bohemian

Like its inspirations, Symphony No. 6 harbors elaborate composer when he published Dvořák’s Moravian Duets,an which sold well.interlocking To capitalize on Dvořák’s popularity, Simrock Czech in composer and movements Dvořák structure.

Bookmarked in asked A-flatthe major, which for keysomething the firstsimilar, and last quickly with comprises his first set of three Slavonic Dances, Op. 46, for piano.

Later that year, end, the complied Symphony interlaced musical forms—a symphonic at Simrock’s urging, Dvořák created a version for orchestra. Both versions of Op. 46 sold suite and two symphonies. One is a Qatari symphonic suite based on traditional extremely well, and made Dvořák into an international composer-celebrity. folk music and dances using the principal of contrast: Movements II, III, V and years is later, when Simrock asked Dvořák for another set of Slavonic the VII.Some Second a traditional “old-fashioned” symphony of four Dances, Movements I, IV, demurred. “You will forgive me but I simply have not the slightest inclination VI composer and IX. The third combines the first two “symphonies” with Movement VIII, now to think of such light music,” he wrote on January 1, 1886. “I must tell you that it will which brings thesimple grandiose of the Desert Rose not be by anyabout means so a matterconclusion with the Slavonic Dances as it was theSymphony. first time.

To do the same thing twice is devilishly difficult. As long as I am not in the right mood for

The Desert Rose Symphony amazes on so many levels, just like its models. it, I cannot do anything. It’s something that cannot be forced.”

Driving rhythmic ostinatos contrast with poetic beauty, old interlocks with new, Simrock have takenclassical, what authornatural Madeleine L’Engle once described as the Qatari folkseems withtoWestern with manmade.

Through it “you’ve all runs the done it in pink, dear; now do it in blue” approach; that is, assuming that Dvořák could simply voice of hope for peace and unity. replicate the Slavonic Dances without much effort. More to the point, by 1886, Dvořák was far more interested in large musical formats, particularly symphonies, and he wanted Simrock The symphony was recorded by the ORF Vienna Radio Symphony Orchestra, to publish and promote them as enthusiastically as the Slavonic Dances. Simrock, however, ledwas byless Marin Alsopin at the ORF-Funkhaus 2021, just days interested Dvořák’s other music, since itWien, did noton sellMay nearly15, as well.

By making after its completion.

Alsop and Jandali stemmed Simrock wait a full eightThis yearscollaboration for a second set between of Slavonic Dances, Dvořák leveraged the publisher’s interest to convince Simrock to Silent publish his other for orchestral music. Dvořák also from Alsop’s commissioning of The Ocean her contemporary festival demanded—and higher Op. 72. in Baltimore aftergot—a beingsubstantially impressed by fee theforcomposer’s Syrian Symphony. Says Alsop, “I don’t know of another composer who so successfully weaves in the Arabic, particularly the folk elements... and by bringing that into the symphonic

As Simrock hoped, Dvořák’s second set of Slavonic Dances proved as popular and lucrative as the first. They feature a broad cross-section of Slavic dance rhythms from different countries, set to Dvořák’s original folk-inspired melodies. No. 1, a Slovak dance known as an odzemek, features a gentle central episode bracketed by lively interludes.

No. 2 is a dumka, a waltz-like dance originating in Ukraine, with a wistful primary theme that lends a gentle hint of melancholy to an otherwise high-spirited collection of dances.

No. 7, a Serbian circle dance called a kolo, features a rousing tempo and infectious energy.

EDWARD ELGAR Concerto for Cello and Orchestra in E minor, Op. 85 Composer: born June 2, 1857, Broadheath, near Worcester, England; died February 23, 1934, Worcester Work composed: 1919. Dedicated to Sir Sidney and Lady Frances Colvin.

World premiere: Elgar led the London Symphony with cellist Felix Salmond on October 27, 1919, at Queen’s Hall in London.

Hailed by critics and audiences as Edward Elgar’s “final masterpiece,” the Cello Concerto in E minor, Op. 85 is a haunting work, very different in mood and style from Elgar’s previous music. Written as a response to the devastation and loss of World War I, Op. 85 is also Elgar’s last original work completed before death of his wife, Lady Alice Elgar. The youthful, brilliant pomp, along with the optimistic, idealistic quality of Elgar’s earlier music is replaced here by profound expressions of maturity and grief. With the benefit of hindsight we can also hear this concerto as an elegy for Alice, who died five months after its completion.

The memorable opening theme of the first movement had its genesis in pain: Elgar wrote it on March 23, 1919, while recovering from a tonsillectomy at home. He continued working on the rest of the concerto in July and finished it in August 1919. The concerto fared poorly at its premiere two months later, due to lack of adequate rehearsal time. But in subsequent performances, the Cello Concerto quickly became a core part of the cello repertoire, and critics likened it to Dvořák’s iconic Cello Concerto in B minor. This comparison pleased Elgar, who had performed under Dvořák’s baton when the Czech composer conducted local orchestras in Worcester and Birmingham in the late 1880s.

Beginning with its opening notes, Elgar defies convention by having the soloist open the Adagio – moderato alone. The cellist plays four dark rich chords that establish the key of E minor, followed by a brief passage. The violas enter with the lilting, poignant main theme, later taken up by the cellos, which Elgar indicated was to played nobilmente (nobly). This first theme is complimented by a second for woodwinds, which continues the lyrical melancholy.

The cellist’s opening four chords are played pizzicato (plucked) at beginning of the Scherzo, which takes off into the relative major key of G. This lighter companion to the first movement showcases the full range of the cello’s technical capacities, with dazzling runs of repeated sixteenth notes juxtaposed with strong legato phrases. The orchestral accompaniment in this movement is sparse in places, and the restrained orchestration keeps the solo part from getting buried in the full orchestral texture.

In the Adagio, Elgar maintains this quasi-chamber orchestration by eliminating the brasses.

The solo cello weaves yet another expressive, reflective melody over supporting strings and a few woodwinds throughout this slow and relatively short movement.

The final Allegro reprises the opening E minor tonality and alternates solo cello passages with orchestral replies in rondo style. Both soloist and orchestra reiterate the initial four chords in a triumphal conclusion.

MODEST MUSSORGSKY/orch. RAVEL Pictures at an Exhibition Composer: born March 21, 1839, Karevo, Pskov district; died March 28, 1881, St. Petersburg Work composed: June 2 – June 22, 1874. Maurice Ravel orchestrated it in the summer of 1922.

World premiere: Serge Koussevitzky led the Boston Symphony Orchestra in the first performance of Ravel’s version on October 22, 1922, in Paris.

Modest Mussorgsky’s most popular composition owes its reputation to its orchestrator, Maurice Ravel. Before Ravel arranged this obscure piano suite for orchestra in 1922, it was virtually unknown.

Pictures at an Exhibition is Mussorgsky’s musical portrayal of a memorial exhibit of artwork

by Victor Hartmann, an artist, designer, architect, and close friend. In the spring of 1874, Russian critic Vladimir Stasov organized an exhibition of Hartmann’s work in St. Petersburg, which Mussorgsky attended. By June 22, Mussorgsky transformed ten of Hartmann’s works into music as a further tribute to his friend. Mussorgsky also inserted his own presence into Pictures through the music of the Promenade, which recurs periodically throughout.

The Promenade’s irregular rhythm captures Mussorgsky, a man of considerable size, ambling through the exhibit, sometimes pausing before a particular picture that caught his interest.

It leads directly to the first picture, Gnomus (Gnome), Hartmann’s design for a nutcracker.

Unlike the princely Nutcracker from Tchaikovsky’s ballet, Hartmann’s nutcracker is a macabre, wizened creature. The return of the Promenade, in shortened form, brings us to Il vecchio castello (The Old Castle), which Stasov says depicts a troubadour singing and strumming a guitar in front of a medieval castle. Ravel’s mournful saxophone sounds the troubadour’s song. The Promenade returns with the majestic brasses and winds of the opening, but stops abruptly in front of the next picture, Tuileries (Dispute d’enfants après jeux) (Tuileries-Dispute between children at play). Here in the famous Tuileries Gardens in Paris, children attended by nannies sing out the universal childhood taunt, “Nyah-nyah.”

Bydlo (Cattle) portrays plodding oxen drawing a heavy cart. A brief Promenade leads us to the oddly named Balet nevylupivshikhsya ptentsov (Ballet of the Unhatched Chicks).

Hartmann’s costume designs for a ballet called Trilby inspired this whimsical music, in which child dancers wear egg costumes with their legs sticking out. In “Samuel” Goldenberg und “Schmuÿle,” Mussorgsky combined two of Hartmann’s pictures of Jews in the Sandomierz ghetto of Poland. Samuel Goldenberg is a rich, self-important man (represented by strings’ measured phrases), while Schmuÿle, (characterized by insistent bleatings of a muted trumpet) is portrayed as a whining, cowering beggar. However, Mussorgsky’s title suggests the two men are actually the same person (Samuel is the Germanized form of the Yiddish Schmuÿle); this music is understood as a problematic anti-Semitic stereotype. In Limoges le marchè (La grande nouvelle) (The Market: The Big News), market-women share the latest gossip. Abruptly we are plunged into the Catacombae (Sepulcrum romanum) (Catacombs: Roman sepulcher). This watercolor shows Hartmann and several others inspecting the Parisian catacombs by lantern light, which illuminates a cage full of skulls. Mussorgsky wrote of this piece, “The creative genius of Hartmann leads me to the skulls and invokes them; the skulls begin to glow.” Con mortuis in lingua morta (With the Dead in a Dead Language) follows, a mournful, eerie reworking of the Promenade. The ominous music of The Hut on Fowls’ Legs depicts the witch Baba Yaga of Russian folklore, whose house stood on chicken’s feet. In the final movement, Ravel and Mussorgsky capture the grandeur of The Great Gate of Kiev, Hartmann’s design for the reconstruction of the ancient stone gates of Kiev. Although the actual gates were never built, The Great Gate of Kiev remains a permanent musical tribute to the city and its epic history. © Elizabeth Schwartz. All rights reserved.

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2024–25 FAIRFAX SYMPHONY FELLOWS EDWIN BARRENO CASTILLO, violin Born in Guatemala City, Guatemala, Edwin pursued his musical studies at Universidad San Carlos de Guatemala, the University of Costa Rica, and Escuela de Música Vida y Movimiento, Ollin Yoliztli in Mexico City. He is currently working toward an Artist Diploma at the Catholic University of America under the guidance of Professor Oleg Rylatko. His orchestral experience spans multiple countries, including Guatemala, Costa Rica, Mexico, Ecuador, Chile, and the United States. Notably, he has served as Principal Second Violin with Orquesta Juvenil Universitaria Eduardo Mata (OJUEM), concertmaster of Orquesta Filarmónica Mexiquense (OFM), and concertmaster of the Catholic University of America Symphony Orchestra.

ASA DAWSON, double bass A second-year FSO Fellow, Asa is a recent graduate of the University of Maryland School of Music’s undergraduate program, receiving a Bachelor of Music degree in Double Bass Performance while studying under Anthony Manzo. Asa has also studied under Paul DeNola, a member of the National Symphony’s powerful Double Bass section. The summer festivals Asa Dawson has participated in include the National Symphony’s Summer Music Institute, Eastern Music Festival, and National Orchestral Institute + Festival.

RIZWAN JAGANI, viola An American violist of Indian and Pakistani heritage, Jagani was Runner-Up in the 2024 Catholic University Concerto Competition.

He has appeared with Apollo Orchestra, Northern Neck Orchestra and is currently the Principal Violist of the Classical Music Festival in Eisenstadt, Austria. Jagani has an affinity to contemporary viola repertoire and is known for reimagining the idea of what the viola can do by combining his formal training in Western Classical performance with other musical genres.

He has collaborated with musical theatre artists from shows including Hamilton and The Lion King and performed with Grammy Award winners Burna Boy and Dwight Yoakam.

CAROLINA PEDROZA, violin A third-year FSO Fellow, Carolina began studying violin in her hometown Villavicencio, Colombia and is studying for her DMA at Catholic University of America. She has worked in music education programs in Colombia, Venezuela, and the US, and served as Teaching Assistant at Duquesne University and Penn State University. She was a permanent member of the Sinfónica Municipal de Caracas (Venezuela) and has been concertmaster of the Catholic University of America Symphony Orchestra, Penn State Philharmonic, and Colour of Music Virtuosi Chamber Orchestra. She has participated in festivals including FEMUSC (Brazil), A Tempo (Colombia), Sewanee Summer Music Festival (TN), and Colour of Music Festival (SC and CA).

This program is made possible in part with support from

2023-2024PHILANTHROPIC PHILANTHROPICSUPPORT SUPPORT 2024–2025

The TheFairfax FairfaxSymphony Symphonygratefully gratefullyacknowledges acknowledgesthe thegenerosity generosityofofthe thefollowing following contributions received within the past twelve months as of May 1, 2024. contributions received within the past twelve months as of March 1, 2025.

Thank Thankyou youfor fordedicating dedicatingthese thesevital vitalgifts giftstotothe themusic musicand andeducation educationprograms programs we work so passionately to create and share with our community. we work so passionately to create and share with our community.

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Stephen and Mary Preston Pepe Figueroa, Memory Laura and Ervin In Walter of the Figueroa Quintet

Eric Moore GOLD Valarie Ney Evan Owens The Timothy Martin Poretsky Memorial Chair Stephen Mary Cohen Preston Steve andand Debbie Mr. Sean Foohey GOLD John Lockhart The Timothy Evan Owens Eric Moore Chair Memorial In of Debbie Cohen Dr.memory Steve and Richard Benedict Mr. Sean Foohey Sherman & John Lockhart Mae of Thomas InEtta memory Sherman Richard Benedict Sherman andand EttaRucj MaeUffelman Thomas Sally Sherman Sally and

SILVER Rucj Uffelman Anonymous SILVER Ms. Esther Beaumont Anonymous (2) Nina and David Breen Ms. Esther Beaumont Janine and Curt Buser Nina and David Breen Mr. and Mrs. Edward Caress Janine and Curt Buser Daniel and Carol Graifer Mr. and Mrs. Edward Caress Mr. and Mrs. C. David Frank and Carolyn Gayer Hartmann Daniel and Carol Graifer Mr. Glenn A. A. Hemer Mr. and and Mrs. Mrs. Glenn Hemer Robert and Maryanne Jones Robert andMiller Maryanne Jones Ms. Joetta David & Lenka Lundsten Mr. William A. Nerenberg Ms. Joetta Miller David and Bridget Ralston Mr. William A. Nerenberg James and Miriam Ross David and Bridget Mr. and Mrs. DavidRalston Seida James and Miriam Ross RHAPSODY Mr. and Mrs. CIRCLE David Seida Anonymous

William Bell CIRCLE RHAPSODY Bill and Dorothy Brandel Anonymous Dr. Karen Detweiler William Bell Donaldand andJane Ruth Bangarra Drees James Ericand andMrs. Joyce Hanson Mr. James Mrs. and Mrs. Bongarra, Jr.C. David BillHartmann and Dorothy Brandel Dr. Karen Detweiler

Donald and Ruth Drees

Robert W. Henry Frank and Lynn Gayer Mr. JaegerHanson EricKurt andP.Joyce Mr. and Mrs. Eugene Kaye Robert W. Henry Mr. and Mrs. Anthony Kerr Mr. Kurt P. Jaeger Anje Kim Mr. and Mrs. Eugene Kaye Dr. and Mrs. Per Kullstam Mr. and Mrs. Anthony Kerr David and Lenka Lundsten Anje Kim John and Jeanette Mason Dr. and Mrs. Per Kullstam Mr. and Mrs. Matt Mattice John and Jeanette Mason Joetta Miller Mr. and Mrs. Matt Mattice Judith Nitsche Joetta Miller Dr. and Mrs. Eugene Overton JudithVitello Nitsche Linda Dr. and Mrs. Eugene Michael Wendt Overton David and Deborah Winston, Sandra Lee Stoddard In Memory of May Winston

Linda Vitello

SONATA CIRCLE Michael Wendt Mr. andand Mrs.Deborah James David Bongarra, Winston, Jr. In Memory of Ms.May Pamela Charin Winston Christopher Forsberg Anthony Lucy Griffin SONATAand CIRCLE Christopher Ms. PamelaGohrband Charin Gareth and Tân Habel Christopher Forsberg Spencer AnthonyHowell and Lucy Griffin Mr. and Mrs. Keith Highfill Christopher Gohrband Mr. and Mrs. Wade Hinkle Gareth and Tân Habel Mr. Mrs.Eric David J. Lynch Mr.and & Mrs. Hanson Kolleen Martin Spencer Howell Helen Noyes Mr. and Mrs. Keith Highfill Mr. Justice Percell Mr. and Mrs. Wade Hinkle Ms. C. Carole Richard Mr. and Mrs. David J. Lynch Kathleen Schultz Helen Noyes Mary Jane Spiro Mr. Justice Percell Sandra Lee Stoddard Ms.Michael C. Carole Richard Mr. W. Stoltz Deborah Roudebush Dr. Jack and Mrs. Jane Mary Jane Spiro Underhill Mr. Michael W. Stoltz Timothy N. Wade Dr. Jack and Mrs.Wagner Jane Roy and Margaret Mr.Underhill William Walderman

Timothy N. Wade Roy and Margaret Wagner Mr. William Walderman

SERENADE CIRCLE Dr. Charles Allen Ms. Gay B. Baker Mr. and Mrs. Ronald Baker Sarah Barnett Mr. and Mrs. James Bland Donald Bieniewicz Ms. Patricia Boots Beverly and Terry Boschert Kathryn and Tony Bovill Patricia G. Brady Judith and Peter Braham, In Memory of Rolland Roup Bill and Dorothy Brandel Louis and Monika Brenner David W. Briggs and John F. Benton Mr. Eric Brissman Mr. Robert Brown Judith Buchino Mary L. Burns Marvin Burge Mr. W. Carlson Cedric Chang Ms.Tzu-yi Chen Mr. and Mrs. Brian H. Chollar Douglas Cobb Ms. Helen M. Conlon Robert Creekmore Ms. Sandy Cromp Mr. and Mrs. David Cross Isabelle Cummings Karin and Michael Custy Ms. Barbara d’Andrade In honor of Ms. Sarah Daniel Ms. Alice DeKany Catherine Dettmer Dr. and Mrs. John S. Dillon Judy Donnelly Marilyn Dorn Jean Mitchell Duggan Colleen Dutson Karen Eaton Peggy and Arye Ephrath Jean Esswein Brian and Mary Ewell Mr. John A. Farris Ms. Jenifer Fisch Wilford Forbush Ken and Helen Fussell Ms. Dorien Garman Jennifer Gitner Allen S. Greenspan Mr. and Mrs. Hardy Hargreaves

Frederic Harwood In memory of R. Dennis McArver Joan Lisante Hood and James Hood Mr. and Mrs.Ted Hudson Mr. and Mrs. Fredrick G. Hutchison Geraldine Inge Mr. Edward Jarett Mr. and Mrs. Christopher Jehn Theda and Huascar Jessen, In Memory of Rolland Roup Christine Jordan Nelson Joyner Benjamin Justesen Ms. Carol Kearns Mr. and Mrs. Philip Kieffer Bill and Priscilla Kirby Frank and Susan Kohn Greta Kreuz Charles Kuehn Dr. and Mrs. Frederick Kuhl James Langmesser Dara and William Laughlin Anne Loughlin Mr. and Mrs. David J. Lynch Catherine Lyon and Stuart Kantor Susan Manus Barrie March Alison Marr Mr. Scott Marschall In Memory of Joseph G. Marshall, M.D. Mr. and Mrs.Timothy J. McCarthy Joel Meyerson Mr. Robert L. Miller Mr. and Mrs. Kenneth P. Mittelholtz Virginia and Marion Moser Jean Murphy Anthony Nassar Peggy Newhall Diane Nolin Col. and Mrs. Tommy T. Osborne Anne and Jim Painter Frank and Norizan Paterra Catherine Pauls Mr. and Mrs. Ron Petrie Mitzi and Dan Rak Mr. Richard L. Renfield

Jane Rosenthal Deborah Roudebush Karla Roup, In Memory of Rolland Roup Stephen Sanborn Mr. and Mrs. Robert E. Schaub Catherine Schifferli Gayle Schlenker Ms. Roslyn Schmidt Mr. and Mrs. Karl W. Schornagel Michael Schwartz Ms. Doris Seaton Neil and Beverly Seiden Mr. and Mrs. Robert Seraphin Mr. and Mrs. James Simpson Sydney Smith Nigel Smyth Dorothy Staebler John and Pamela Stark Kristina Stewart Agnes D. Stoertz Mr. John Strong Frederick and Marjorie Stuhrke Mr. and Mrs. David Sukites Reede and Jane Taylor William Tompkins Alton P. and Alice W. Tripp Ms. Barbara Tuset Mr. and Mrs. Michael Twedt Jane Underhill Ms. Shelley Vance Janet Vanderveer Mr. and Mrs. Stephen Vandivere Roy and Margaret Wagner Andrew and Myrna Wahlquist Ms. Diane Wakely-Park Robert and Charlene Ward Mr. and Mrs. Egon Weck Mr. and Mrs. Larry N. Wellman Harry and Sandra Wilbur Ms. Jane Woods Mr. Emile L. Zimmermann IN-KIND Fairfax City Self Storage

FAIRFAX SYMPHONY BOARD OF DIRECTORS Jose “Pepe” Figueroa, Chairman Priority One Services

Eric Moore The Catholic University of America

Thomas Murphy, General Counsel Jackson Lewis P.C.

Valarie Ney Hunton Andrews Kurth LLP

David Black Holland & Knight LLP

Leland Schwartz Author and Publisher

Thomas Brownell, Secretary Holland & Knight LLP

FSO ARTISTIC AND ADMINISTRATIVE STAFF Christopher Zimmerman, Music Director

Suzy Dawson, Accountant

Jonathan Kerr, Executive Director

Cynthia Crumb, Personnel Manager

Lisa LaCamera, Chief Operating Officer

Wendi Hatton, Librarian

Susan Petroff, Director of Development

Timothy Wade, Stage Manager

John Murton, Assistant Conductor and Fellowship Program Coordinator

Olivia Hinebaugh, Artistic Programming and Production Coordinator

Celeste Duplaa, Link Up Program Manager

YOUR SUPPORT MAKES THE MUSIC POSSIBLE! Support the music you enjoy this evening with a donation to the FSO.

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FAIRFAX SYMPHONY ORCHESTRA Christopher Zimmerman | Music Director

VIOLIN 1 David Salness, Concertmaster The Doris F. Dakin Chair Allison Bailey, Associate Concertmaster Cristina Constantinescu, Assistant Concertmaster Glen Kuenzi Mia Lee Miriam Koby Natalie Jankowski Trainer Sharon Like Liya Ma Shu-Ting Yao Greta Radovani Sonia Garcia Lee VIOLIN 2 Sarah Berger, Principal The Timothy Evan Owens Memorial Chair Melanie Kuperstein, Associate Principal The Sue Bower Memorial Chair Andrew Juola, Assistant Principal Rachel Zimmerman Cindy Crumb Edwin Barreno Castillo, FSO Fellow Jessica Mun Elena Smirnova Susan Manus Makiko Taguchi Chloe Kim Milena Aradski VIOLA Adelya Shagidullina, Principal Amelia Eckloff Nicholas Bobbs Raggie Cover Patti Reid Helen Fall Rizwan Jagani, FSO Fellow

CELLO Natalia Vilchis, Principal Brent Davis Ryan Donohue Kathy Thompson Anne Rupert Mea Cook Chiara Pappalardo Carlos Figueroa David Agia Katie McCarthy DOUBLE BASS Aaron Clay, Principal Kyle Augustine, Associate Principal Erik Cohen Mark Stephenson Paul Hunt Jim Donahue FLUTE Larry Ink, Principal Cherri Hall Sharon Lee PICCOLO Sharon Lee Cherri Hall OBOE Emily Snyder, Principal Trevor Mowry Meredeth Rouse CLARINET Barbara Haney

FRENCH HORN Nat Willson, Principal, The Keith and Barbara Moore Family Chair Eric Moore Greta Richard Tom Wheeler Neil Chidester TRUMPET Chris Larios, Principal Christian Ferrari Neil Brown TROMBONE David Sisk, Principal Todd Stubbs BASS TROMBONE Kaz Kruszewski EUPHONIUM Bryce Edwards TUBA Joseph Guimaraes TIMPANI Jonathan Milke, Principal PERCUSSION Alex Garde, Principal Mike Gatti Joseph Connell Aubrey Adams

ALTO SAXOPHONE Adrienne Welker

HARP Madeline Jarzembak, Principal

BASSOON Dean Woods, Principal Sandy Johnson

PIANO Sophia Kim Cook, Principal

CONTRABASSOON Jeff Ward

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