Fairfax Symphony_Jeremy Denk_November 2024

Page 1


24/25 SEASON

FAIRFAX SYMPHONY

Saturday, October 19 | 8pm

Harris Theatre at GMU

Bernstein: “Candide Overture”

Elena Kats-Chernin: “Force Majeure” for piano and orchestra (US Premiere)

Lisa Moore, piano

Copland: Appalachian Spring

Bernstein: 3 Dance Episodes from “On the Town”

Saturday, November 23 | 8pm

Center for the Arts at GMU

Quinn Mason: “She Dreams of Flying” (Regional Premiere)

Beethoven: Piano Concerto No. 4

Jeremy Denk, piano

Rachmaninoff: Symphonic Dances

Saturday, December 21 & Sunday, December 22 | 4pm Center for the Arts at GMU

Tchaikovsky: The Nutcracker with the Fairfax Ballet and New York City Ballet soloists

Visit www.FairfaxSymphony.org

24/25 SEASON

Saturday, February 8 | 8pm

Harris Theatre at GMU

Maurice Jarre: Dr. Zhivago orchestral suite

Clarice Assad: “Anahata” (Regional Premiere)

Boyd Meets Girl, guitar and cello

Mascagni: Intermezzo from Cavalleria Rusticana

Puccini: Intermezzo from Suor Angelica

Mahler: “Love letter to Alma” Adagietto from Symphony No. 5

Bizet: Selections from Carmen Suites

Saturday, March 8 | 8pm

Center for the Arts at GMU

Dvořák: Three Slavonic Dances from Op. 72

Elgar: Cello Concerto Sergey Antonov, cello

Mussorgsky/Ravel: Pictures at an Exhibition

Saturday, May 31 | 8pm

Center for the Arts at GMU

Elgar: Introduction and Allegro for Strings

Leshnoff: Concertante for 2 violins (Regional Premiere)

Chee-Yun and Kit Zimmerman, violin

Shostakovich: Symphony No. 10

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, November 23, 2024 at 8 pm

Center for the Arts at George Mason University

MALEK JANDALI (1972-)

QUINN MASON (b. 1996)

Selected Movements from Symphony No. 6 , “The Desert Rose”

“She Dreams of Flying” (Regional Premiere)

II.“Praise”

V.“Ardah”

LUDWIG VAN BEETHOVEN (1770–1827)

VII.“Fete”

Piano Concerto No. 4 in G major, Op. 58

1. Allegro moderato

MALEK

2. Andante con moto

3. Rondo (Vivace)

Concerto for Clarinet and Orchestra (WORLD PREMIERE PERFORMANCE)

I.Andantino misterioso

Jeremy Denk, piano

II.Nocturne

III.Allegro moderato

Intermission

Anthony McGill, clarinet

SERGEI RACHMANINOFF

(1873–1943)

Symphonic Dances, Op. 45

1. Non allegro

JANDALI LUDWIG VAN BEETHOVEN (1770-1827)

2. Andante con moto

Symphony No.3 in E flat major “Eroica”, op.55

3. Lento assai—Allegro vivace—Lento assai come prima—Allegro vivace

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 —Intermission—

PROGRAM NOTES

QUINN MASON

MALEK JANDALI

She Dreams of Flying

Symphony No. 6 “The Desert Rose”

Composer: born December 25, 1972, Waldbröl, West Germany

Composer: born 1996, Shreveport, LA

Work composed: January – May 2023. Commissioned by the Hartford Symphony Orchestra (CT). Dedicated “with admiration and gratitude” to Carolyn Kuan

The desert rose, with its intricate crystalline petal clusters, forms over millennia through the interaction of minerals, sand, and water in regions such as Qatar—a land of desert and sea. This “architectural” wonder of nature inspired the design of Jean Nouvel’s masterpiece, the National Museum of Qatar, a stunning structure of interlocking discs that tells the story of Qatar from the natural history of its origins through its cultural developments to the cutting-edge technologies of today.

World premiere: Carolyn Kuan led the Hartford Symphony Orchestra on June 9, 2023, at the Belding Theater in Hartford.

When he was 10 years old, Quinn Mason went on a school field trip to hear the Dallas Symphony perform Sergei Prokofiev’s Peter and the Wolf. “It was a great introduction to the sound of the orchestra,” he remembers. “It made me fall in love with the orchestra, a love affair that continues to this day.”

In She Dreams of Flying, that love affair is on full display. The music, as Mason points out in his own program notes, “builds [from the beginning], along the way showcasing the strengths and virtuosity of the orchestra. As the music becomes more inspired, the ideas get more complex.” The music evokes a feeling of infinite possibilities as it expands upward and outward, like the gradual revelation of a sunrise.

Springing from the idea that architecture is frozen music, Malek Jandali’s Symphony No. 6 takes its inspiration from both “desert roses,” transforming them into a consummate orchestral work that preserves and extends the rich heritage of the region. The Desert Rose Symphony depicts their complexity and contrasts in form and scale, juxtaposing the traditional and the modern—rapid progress intertwined with the arid golden sand dunes and the abundance of the sea. The nine-movement symphony also takes inspiration from the nine-point serrated line in the flag of Qatar indicating the ninth member of the “Reconciled Emirates” of the Persian Gulf in the wake of concluding the Qatari-British treaty in 1916. The white color reflects the internationally recognized symbol of peace. This work is commissioned by Her Excellency Sheikha Al-Mayassa bint Hamad bin Khalifa Al Thani, chairperson of Qatar Museums.

Another factor clearly discernable in Mason’s writing is the fondness he has for the Hartford Symphony Orchestra and its music director, Carolyn Kuan. During the 2022-23 season, Mason was the orchestra’s Artist-in-Residence and came to know individual musicians. That knowledge factored into Mason’s writing, as in the way the opening trumpet solo embodies the musicality of John Charles Thomas, the Hartford Symphony’s assistant principal trumpet.

Like its inspirations, Symphony No. 6 harbors an elaborate interlocking structure. Bookmarked in A-flat major, in which key the first and last movements end, the Symphony comprises three interlaced musical forms—a symphonic suite and two symphonies. One is a Qatari symphonic suite based on traditional folk music and dances using the principal of contrast: Movements II, III, V and VII. Second is a traditional “old-fashioned” symphony of four Movements I, IV, VI and IX. The third combines the first two “symphonies” with Movement VIII, which brings about the grandiose conclusion of the Desert Rose Symphony.

The Desert Rose Symphony amazes on so many levels, just like its models. Driving rhythmic ostinatos contrast with poetic beauty, old interlocks with new, Qatari folk with Western classical, natural with manmade. Through it all runs the voice of hope for peace and unity.

Christopher Arnott reviewed the premiere of She Dreams of Flying for the Hartford Courant, and noted, “Mason was not just attuned to the individual members of the orchestra, he even considered the spatial specifics of the Belding Theater venue … What’s remarkable about She Dreams of Flying, in both its composition and in how the Hartford Symphony Orchestra performs it, is that the piece has an element beyond notes on paper. It vibrates. A sonic reverberation, a natural humming, emanates from the orchestra, which sustains this sound and utilizes it, right up to its righteous concluding crescendo.”

The symphony was recorded by the ORF Vienna Radio Symphony Orchestra, led by Marin Alsop at the ORF-Funkhaus Wien, on May 15, 2021, just days after its completion. This collaboration between Alsop and Jandali stemmed from Alsop’s commissioning of The Silent Ocean for her contemporary festival in Baltimore after being impressed by the composer’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

“She Dreams of Flying is my tribute to the inspirational and amazing women in my life,” writes Mason, “many of whom have played a significant part in my musical and personal development, and is dedicated to the phenomenal Maestra Carolyn Kuan, with whom I had a very successful and fruitful musical partnership for a season at the Hartford Symphony Orchestra.”

LUDWIG VAN BEETHOVEN

Piano Concerto No. 4 in G major, Op. 58

Composer: born December 16, 1770, Bonn; died March 26, 1827, Vienna

Work composed: 1805-06. Dedicated to Beethoven’s patron, friend, and pupil, Archduke Rudolph of Austria

Imagine settling into your seat in the Theater an der Wien on a cold December night in 1808. You are there for the premiere of Ludwig van Beethoven’s latest piano concerto, and although you have come to expect the unexpected from Beethoven, you are fairly certain of what you will hear: a standard piano concerto format, consisting of three movements with clearly defined key relationships. The soloist will play brilliantly, especially in the cadences, and the concerto will end triumphantly.

When Beethoven takes his seat at the piano, all your preconceptions are shattered. He begins to play. Unaccompanied. At first you wonder if he is simply warming up (the hall is miserably chilly), but when the orchestra enters, in a completely unexpected key, you realize you are witnessing something unprecedented: a total reinvention of the piano concerto as a genre.

So begins Beethoven’s Fourth Piano Concerto, arguably the most innovative of the five he wrote. With this work, Beethoven challenged himself to re-imagine all of the piano concerto’s standard conventions, from harmony to form to the role of the soloist. “With Beethoven … there is a sense of striving for diverse solutions to each problem,” notes biographer Maynard Solomon. “Each of Beethoven’s works from circa 1802 onward has a strikingly individual character.” Beethoven’s self-confidence reveals itself in surprisingly intimate writing, particularly for the piano. The Allegro moderato begins softly, and Beethoven maintains the calm, resolute quality of the solo part throughout most of the Andante as well; there is none of the bold, brash “Look at me!” quality of the Third and Fifth Symphonies. The Andante slides into the Rondo without pause, blurring the usually clearly delineated three-movement structure. Expectations are further confounded when the Rondo begins with the orchestra, rather than the soloist, and in the “wrong” key besides. Eventually, Beethoven gives us a bravura energetic finale.

The Fourth Piano Concerto premiered with several other works, including both Beethoven’s Fifth and Sixth Symphonies, and the Choral Fantasy. In addition, listeners heard the concert aria “Ah, perfido,” and the “Gloria” and “Sanctus” from the Mass in C major. The four-hour concert challenged the endurance of even the most ardent Beethoven fans. To make matters worse, the orchestra was badly under-rehearsed and the hall poorly heated.

Composer Johann Friedrich Reichardt, who attended the premiere, later wrote, “There we sat from 6:30 till 10:30, in the most bitter cold, and found by experience that one might have too much even of a good thing.”

SERGEI RACHMANINOFF

Symphonic Dances, Op. 45

Composer: born April 1, 1873, Oneg, Russia; died March 28, 1943, Beverly Hills, CA

Work composed: the summer and autumn of 1940. The published score bears the inscription: “Dedicated to Eugene Ormandy and The Philadelphia Orchestra.”

World premiere: Eugene Ormandy led the Philadelphia Orchestra on January 3, 1941.

Sergei Rachmaninoff had great regard for the Philadelphia Orchestra and its music director, Eugene Ormandy. As a pianist, he had performed with them on several occasions, and as a composer, he appreciated the full, rich sound Ormandy and his musicians produced. Sometime during the 1930s, Rachmaninoff remarked that he always had the unique sound of this ensemble in his head while he was composing orchestral music: “[I would] rather perform with the Philadelphia Orchestra than any other of the world.” When Rachmaninoff began working on the Symphonic Dances, he wrote with Ormandy and the orchestra in mind. Several of Rachmaninoff’s other orchestral works, including the Rhapsody on a Theme of Paganini and the Piano Concerto No. 4, were also either written for or first performed by Ormandy and the Philadelphia Orchestra.

The Symphonic Dances turned out to be Rachmaninoff’s final composition. Although not as well-known as the piano concertos or the Rhapsody on a Theme of Paganini, Rachmaninoff himself and many others regard the Symphonic Dances as his greatest orchestral work. “I don’t know how it happened,” the composer remarked. “It must have been my last spark.”

Nervous pulsing violins open the Allegro, over which the winds mutter a descending minor triad (three-note chord). The strings set a quickstep tempo, while the opening triad becomes both the melodic and harmonic foundation of the movement as it is repeated, reversed and otherwise developed. The introspective middle section features the first substantial melody, sounded by a distinctively melancholy alto saxophone. The Allegro concludes with a return of the agitated quickstep and fluttering triad.

Muted trumpets and pizzicato strings open the Andante con moto with a lopsided stuttering waltz, followed by a subdued violin solo. This main theme has none of the Viennese lightness of a Strauss waltz; its haunting, ghostly quality borders on the macabre suggestive of Sibelius’ Valse triste or Ravel’s eerie La valse. Rachmaninoff’s waltz is periodically interrupted by sinister blasts from the brasses.

In the Lento assai: Allegro vivace, Rachmaninoff borrows the melody of the Dies irae (Day of Wrath) from the requiem mass. Rachmaninoff had used this iconic melody many times before, most notably in Isle of the Dead and the Rhapsody on a Theme of Paganini. In the Symphonic Dances, the distinctive descending line has even more suggestive power; we can hear it as Rachmaninoff’s final statement about the end of his compositional career. This movement is the most sweeping and symphonic of the three and employs all the orchestra’s sounds, moods, and colors. In addition to the Dies irae, Rachmaninoff also incorporates other melodies from the Russian Orthodox liturgy, including the song “Blagosloven Yesi, Gospodi,” describing Christ’s resurrection, from Rachmaninoff’s choral masterpiece All-Night Vigil.

On the final page of the Symphonic Dances manuscript, Rachmaninoff wrote, “I thank Thee, Lord!”

MEET THE ARTIST

JEREMY DENK

ANTHONY MCGILL

Jeremy Denk is one of America’s foremost pianists, proclaimed by The New York Times as “a pianist you want to hear no matter what he performs.” Also a New York Times bestselling author, Jeremy is the recipient of both the MacArthur Genius Fellowship and the Avery Fisher Prize, and is a member of the American Academy of Arts and Sciences.

In the 2024–25 season, Jeremy continues his collaboration with longtime musical partners Joshua Bell and Steven Isserlis, with performances at the Tsindali Festival and Wigmore Hall, following on from his multi-concert artist residency at the Wigmore in 2023–24. He also returns to the Lammermuir Festival in multiple performances, including the complete Ives violin sonatas with Maria Wloszczowska, and a solo recital featuring female composers from the past to the present day. He performs this same solo program on tour across the U.S., as well as continuing his exploration of Bach in ongoing performances of the complete Partitas. Jeremy is known for his interpretations of the music of American visionary Charles Ives, and in celebration of the 150 th anniversary of the composer’s birth, Nonesuch Records will release a collection of his Ives recordings later this year.

Hailed for his “trademark brilliance, penetrating sound and rich character” (New York Times), clarinetist Anthony McGill enjoys a dynamic international solo and chamber music career and is principal clarinet of the New York Philharmonic — the first African-American principal player in the organization’s history. He is the recipient of the 2020 Avery Fisher Prize, one of classical music’s most significant awards.

McGill appears as a soloist with top orchestras, including the New York and Los Angeles Philharmonics, the Metropolitan Opera, and the Baltimore, Boston, Chicago, and Detroit Symphony Orchestras. He performed alongside Itzhak Perlman, Yo-Yo Ma, and Gabriela Montero at the inauguration of President Barack Obama, premiering a piece by John Williams. As a chamber musician, McGill is a collaborator of the Brentano, Daedalus, Guarneri, JACK, Miró, Pacifica, Shanghai, Takács, and Tokyo Quartets, and performs with leading artists including Emanuel Ax, Inon Barnatan, Gloria Chien, Yefim Bronfman, Gil Shaham, Midori, Mitsuko Uchida, and Lang Lang.

He serves on the faculty of The Juilliard School and is the Artistic Director for Juilliard’s Music Advancement Program. He holds the William R. and Hyunah Yu Brody Distinguished Chair at the Curtis Institute of Music.

Highlights of Jeremy’s 2023–24 season included premiering a new concerto written for him by Anna Clyne, co-commissioned and performed by the Dallas Symphony led by Fabio Luisi, the City of Birmingham Symphony led by Kazuki Yamada, and the New Jersey Symphony led by Markus Stenz. He also reunited with Krzysztof Urbański to perform with the Antwerp Symphony, and with the Danish String Quartet for their festival Series of Four. Jeremy has performed frequently at Carnegie Hall, and in recent years has worked with such orchestras as Chicago Symphony, Cleveland Orchestra, New York Philharmonic, and San Francisco Symphony. Meanwhile, he has performed multiple times at the BBC Proms and Klavierfestival Ruhr, and appeared in such halls as the Köln Philharmonie, Concertgebouw in Amsterdam, and Boulez Saal in Berlin. He has also performed extensively across the UK, including recently with the London Philharmonic, Bournemouth Symphony, City of Birmingham Symphony, Royal Liverpool Philharmonic, BBC Symphony, and Scottish Chamber Orchestra.

In 2020, McGill’s #TakeTwoKnees campaign protesting the death of George Floyd and historic racial injustice went viral. In 2023, he partnered with Bryan Stevenson and the Equal Justice Initiative to organize a classical music industry convening at EJI’s Legacy Museum in Montgomery, Alabama, in which leaders and artists in classical music examined America’s history of racial inequality and how this legacy continues to impact their work. He is a Backun Artist and performs exclusively on Backun Clarinets.

Learn more at www.anthonymcgill.com

Denk is also known for his original and insightful writing on music, which Alex Ross praises for its “arresting sensitivity and wit.” His New York Times Bestselling memoir, Every Good Boy Does Fine, was published to universal acclaim by Random House in 2022, with features on CBS Sunday Morning, NPR’s Fresh Air, The New York Times, and The Guardian. Denk also wrote the libretto for a comic opera presented by Carnegie Hall, Cal Performances, and the Aspen Festival, and his writing has appeared in The New Yorker, the New Republic, The Guardian, Süddeutsche Zeitung, and on the front page of The New York Times Book Review

Denk’s latest album of Mozart piano concertos was released in 2021 on Nonesuch Records. The album was deemed “urgent and essential” by BBC Radio 3. His recording of the Goldberg Variations for Nonesuch Records reached No. 1 on the Billboard Classical Charts, and his recording of Beethoven’s Piano Sonata, Op. 111 paired with Ligeti’s Études was named one of the best discs of the year by The New Yorker, NPR, and The Washington Post, while his account of the Beethoven sonata was selected by BBC Radio 3’s Building a Library as the best available version recorded on modern piano.

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).

2024–2025 PHILANTHROPIC SUPPORT

2023-2024 PHILANTHROPIC SUPPORT

The Fairfax Symphony gratefully acknowledges the generosity of the following contributions received within the past twelve months as of May 1, 2024. Thank you for dedicating these vital gifts to the music and education programs we work so passionately to create and share with our community.

The Fairfax Symphony gratefully acknowledges the generosity of the following contributions received within the past twelve months as of November 1, 2024.

Thank you for dedicating these vital gifts to the music and education programs we work so passionately to create and share with our community.

GOVERNMENT ARTSFAIRFAX

GOVERNMENT

ARTSFAIRFAX

City of Fairfax Commission on the Arts

City of Fairfax Commission on the Arts

County of Fairfax

County of Fairfax

National Endowment for the Arts

National Endowment for the Arts

Virginia Commission for the Arts

Virginia Commission for the Arts

Stephen and Mary Preston

Laura and Ervin Walter

Pepe Figueroa, In Memory of the Figueroa Quintet

Donald and Ruth Drees

Robert W. Henry

Frank and Lynn Gayer

Mr. Kurt P. Jaeger

Eric and Joyce Hanson

GOLD

Eric Moore

Valarie Ney

Mr. and Mrs. Eugene Kaye

Robert W. Henry

Mr. and Mrs. Anthony Kerr

Mr. Kurt P. Jaeger

FOUNDATIONS AND CHARITABLE FUNDS

FOUNDATIONS AND CHARITABLE FUNDS

Anonymous

Anonymous

Paul M. Angell Family Foundation

Paul M. Angell Family Foundation

Charles Delmar Foundation

Charles Delmar Foundation

Nelson J. & Katherine Friant-Post Foundation

Community Foundation of Northern Virginia

Richard & Caroline T.

Gwathemy Memorial Trust

Nelson J. & Katherine Friant-Post Foundation

Richard & Caroline T.

Mary & Daniel Loughran Foundation

Gwathemy Memorial Trust

TD BANK Foundation

The Rea Charitable Trust

Mary & Daniel Loughran Foundation

TD BANK Foundation

CORPORATIONS

The Rea Charitable Trust

Hilton Fairfax

CORPORATIONS

Goodwin Living

John Marshall Bank

McKeever Services

Hilton Fairfax

The Mather

Goodwin Living

Dominion Energy

McKeever Services

NOVEC

The Mather

Dominion Energy

Priority One Services, Inc.

NOVEC

SYMPHONY SOCIETY CONCERTO CLUB

Priority One Services, Inc.

Transurban

PLATINUM

Mr. and Mrs. Thomas M. Brownell

CONDUCTOR’S CIRCLE

PLATINUM

Pepe Figueroa

Mr. and Mrs. David Black

Joyce L. Hanson

Dr. Mark Head

Mr. and Mrs. Thomas M. Brownell

Martin Poretsky

Martin Poretsky

The Timothy Evan Owens Memorial Chair

Anje Kim

Mr. and Mrs. Eugene Kaye

Dr. and Mrs. Per Kullstam

Steve and Debbie Cohen

Stephen and Mary Preston

Mr. and Mrs. Anthony Kerr

David and Lenka Lundsten

GOLD

Mr. Sean Foohey

John Lockhart

Anje Kim

John and Jeanette Mason

Dr. and Mrs. Per Kullstam

Mr. and Mrs. Matt Mattice

Eric Moore

The Timothy Evan Owens Memorial Chair

John and Jeanette Mason

Joetta Miller

Dr. Steve and Debbie Cohen

Mr. Sean Foohey

In memory of Richard Benedict

John Lockhart

Sherman & Etta Mae Thomas Sherman

Mr. and Mrs. Matt Mattice

Judith Nitsche

Joetta Miller

Dr. and Mrs. Eugene Overton

Linda Vitello

Judith Nitsche

Michael Wendt

Dr. and Mrs. Eugene Overton

Sally and Rucj Uffelman

In memory of Richard Benedict Sherman and Etta Mae Thomas

David and Deborah Winston, In Memory of May Winston

Sandra Lee Stoddard

Linda Vitello

SILVER

Sherman Sally and 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 Hartmann

Frank and Carolyn Gayer

Daniel and Carol Graifer

Mr. and Mrs. Glenn A. Hemer

Mr. and Mrs. Glenn A. Hemer

Robert and Maryanne Jones

Ms. Joetta Miller

Robert and Maryanne Jones

David & Lenka Lundsten

Mr. William A. Nerenberg

Ms. Joetta Miller

David and Bridget Ralston

James and Miriam Ross

Mr. William A. Nerenberg

David and Bridget Ralston

Mr. and Mrs. David Seida

James and Miriam Ross

Mr. and Mrs. David Seida

RHAPSODY CIRCLE

Anonymous

RHAPSODY CIRCLE

William Bell

Bill and Dorothy Brandel

Anonymous

Dr. Karen Detweiler

William Bell

Donald and Ruth Drees

James and Jane Bangarra

Eric and Joyce Hanson

Mr. and Mrs. James

Bongarra, Jr.

Mrs. and Mrs. C. David Hartmann

Bill and Dorothy Brandel

Dr. Karen Detweiler

SONATA CIRCLE

Michael Wendt

Mr. and Mrs. James Bongarra, Jr.

David and Deborah

Ms. Pamela Charin

Winston, In Memory of May Winston

Christopher Forsberg

Anthony and Lucy Griffin

SONATA CIRCLE

Christopher Gohrband

Ms. Pamela Charin

Gareth and Tân Habel

Christopher Forsberg

Spencer Howell

Anthony and Lucy Griffin

Mr. and Mrs. Keith Highfill

Christopher Gohrband

Mr. and Mrs. Wade Hinkle

Gareth and Tân Habel

Mr. and Mrs. David J. Lynch

Mr. & Mrs. Eric Hanson

Kolleen Martin

Spencer Howell

Helen Noyes

Mr. and Mrs. Keith Highfill

Mr. Justice Percell

Mr. and Mrs. Wade Hinkle

Ms. C. Carole Richard

Kathleen Schultz

Mr. and Mrs. David J. Lynch

Helen Noyes

Mary Jane Spiro

Mr. Justice Percell

Sandra Lee Stoddard

Ms. C. Carole Richard

Mr. Michael W. Stoltz

Deborah Roudebush

Dr. Jack and Mrs. Jane Underhill

Mary Jane Spiro

Timothy N. Wade

Mr. Michael W. Stoltz

Roy and Margaret Wagner

Mr. William Walderman

Dr. Jack and Mrs. Jane Underhill

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

Thomas Murphy, General Counsel

Jackson Lewis P.C.

David Black

Holland & Knight LLP

Thomas Brownell, Secretary

Holland & Knight LLP

Eric Moore

The Catholic University of America

Valarie Ney

Hunton Andrews Kurth LLP

Leland Schwartz

Author and Publisher

HONORARY

BOARD

The Honorable Sharon Bulova

The Honorable Thomas M. Davis

Dr. Gerald L. Gordon

Julien Patterson

FSO ARTISTIC AND ADMINISTRATIVE STAFF

Christopher Zimmerman, Music Director

Jonathan Kerr, Executive Director

Lisa LaCamera, Chief Operating Officer

Susan Petroff, Director of Development

John Murton, Assistant Conductor and Fellowship Program Coordinator

Celeste Duplaa, Link Up Program Manager

Suzy Dawson, Accountant

Cynthia Crumb, Personnel Manager

Wendi Hatton, Librarian

Timothy Wade, Stage Manager

Olivia Hinebaugh, Artistic Programming and Production Coordinator

FAIRFAX SYMPHONY ORCHESTRA

VIOLIN 1

Allison Bailey, Concertmaster

The Doris F. Dakin Chair

Miriam Koby

Natalie Jankowski Trainer

Chris Franke

Sharon Like

Mia Lee

George Pekarsky

Shu-Ting Yao

Greta Radovani

Liya Ma

Sonia Garcia-Lee

VIOLIN 2

Sarah Berger, Principal

The Timothy Evan Owens Memorial Chair

Andrew Juola, Assistant Principal

The Sue Bower Memorial Chair

Cynthia Crumb

Karan Wright

Elena Smirnova

Rachel Zimmerman

Susan Manus

Jessica Mun

Edwin Barreno Castillo, FSO Fellow

Peter Dreux

Makiko Taguchi

VIOLA

Adelya Shagidullina, Principal

Paul Bagley, Associate Principal

Raggie Cover

Helen Fall

Amelia Eckloff

Erik Whitesides

Nicholas Bobbs

Greg Rupert

Rizwan Jagani, FSO Fellow

VIOLINCELLO

Natalia Vilchis, Principal

Rachel Sexton, Associate Principal

Kathy Thompson

Michelle Choi

Anne Rupert

Ryan Donohue

Brent Davis

Ozge Serceler

Mea Cook

Emily Doveala

DOUBLE BASS

Aaron Clay, Principal

Kyle Augustine, Associate Principal

John Barger

Jim Donahue

Mark Stephenson

Millie Martin

FLUTE

Lawrence Ink, Principal

Cherrie Hall

PICCOLO

Sharon Lee

OBOE

Emily Snyder, Principal

Trevor Mowry

ENGLISH HORN

Meredeth Rouse

CLARINET

Patrick Morgan, Principal

Wendi Hatton

BASS CLARINET

Barbara Haney

ALTO SAXOPHONE

Adrienne Welker

BASSOON

Dean Woods, Principal

Sandy Johnson

CONTRA BASSOON

Jeff Ward

FRENCH HORN

Nat Willson, Principal

The Keith and Barbara

Moore Family Chair

Greta Richard

Eric Moore

Neil Chidester

TRUMPET

Chris Larios, Principal

Christian Ferrari

Robert Singer

TROMBONE

David Miller, Principal

David Sisk

Kaz Kruszewski, Principal

TUBA

Joseph Guimaraes, Principal

TIMPANI

Jonathan Milke, Principal

PERCUSSION

Alex Garde, Principal

Mike Gatti

Joseph Connell

Joseph Gonzalez

Emma Stewart

HARP

Madeline Jarzembak, Principal

PIANO

Sophia Kim Cook, Principal

Visit Hilton Fairfax!

Enjoy a quiet stay and lush locale in Fairfax. Just off I-66 in the tree-lined Fair Lakes and a short walk from retail and dining. Centrally located near George Mason University’s Center for the Arts, offering plenty to do in Fairfax and the option to explore DC, Northern Virginia, and Maryland… just minutes away!

Plus, parking is free for all hotel guests.

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.