24/25 SEASON

24/25 SEASON
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
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-)
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
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
Anthony McGill, clarinet
(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—
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.”
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.”
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!”
© Elizabeth Schwartz
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.
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).
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
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
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
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
Sherman Sally and Rucj Uffelman
Anonymous
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
Anonymous
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
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
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
Fairfax City Self Storage
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
The Honorable Sharon Bulova
The Honorable Thomas M. Davis
Dr. Gerald L. Gordon
Julien Patterson
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
Christopher Zimmerman | Music Director
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.