Fairfax Symphony_October 19_24_Lisa Moore, piano

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

Reserve Your Tickets Now!

Visit www.FairfaxSymphony.org for more information.

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

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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, October 19, 2024 at 8 pm Harris Theatre at George Mason University

MALEK JANDALI (1972-) Selected Movements from Symphony No. 6 , LEONARD BERNSTEIN “The Desert Rose” (1918-1990) “Candide Overture” II. “Praise” V. “Ardah” VII. “Fete” ELENA KATS-CHERNIN (b. 1957)

“Force Majeure” for Piano and Orchestra (U.S. Premiere) MALEK JANDALI Concerto for Clarinet and Orchestra Lisa Moore, piano (WORLD PREMIERE PERFORMANCE) I. Andantino misterioso Intermission II. Nocturne III. Allegro moderato

AARON COPLAND (1900-1990)

Anthony McGill, clarinet Suite from “Appalachian Spring” —Intermission—

LEONARD BERNSTEIN (1918-1990)

LUDWIG VAN BEETHOVEN (1770-1827) Three Dance Episodes from “On the Town” Symphony No.3 in E flat major “Eroica”, op.55 I. The Great Lover I. Allegro condeux) brio II. Lonely Town (Pas de II. Marcia funebre—adagio assai III. Times Square: 1944 III. Scherzo—allegro vivace IV. Finale—allegro molto

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PROGRAM NOTES MALEK JANDALI LEONARD BERNSTEIN Symphony No. 6 “The Desert Rose” Overture to Candide Composer: born December 25, 1972, Waldbröl, West Germany Composer: born August 24, 1918, Lawrence, MA; died October 14, 1990, New Yorkrose, City with its intricate crystalline petal clusters, forms over millennia The desert through the interaction of minerals, sand, and water in regions such as Qatar—a Work composed: 1956 land of desert and sea. This “architectural” wonder of nature inspired the World Candide premiered New York’s MartinofBeck Theater design of premiere: Jean Nouvel’s masterpiece, theatNational Museum Qatar, a stunning structure of interlocking on December 1, 1956.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.

In 1954, Leonard Bernstein teamed up with playwright Lillian Hellman and

Springing fromWilbur the idea architecture is frozen music, Jandali’s lyricist Richard to that adapt Voltaire’s 18th-century satire,Malek Candide, the Symphony No. 6 takes its inspiration from both “desert roses,” transforming story of a naïve innocent who believes wholeheartedly in the teachings of his them intoDr.a Pangloss, consummate extends the rich mentor, who orchestral proclaims, work “This that is thepreserves best of alland possible worlds.” heritage of the region.

The Desert Rose Symphony depicts their complexity and Determined to prove his teacher right, Candide embarks on a worldwide contrasts in form and scale, juxtaposing the traditional and the modern—rapid journey of discovery with Pangloss and Candide’s sweetheart, Conegonde. progress with the arid golden sandand dunes and the abundance Together intertwined they visit Lisbon, Paris, Buenos Aires, the mythical land of El of the sea.

The nine-movement symphony also takes inspiration from Dorado, where they witness the terrible realities of life in the formsthe of nine-point crime, serrated line in the flag of Qatar indicating the ninth member of the atrocity, and suffering. Utterly disillusioned, Candide returns to Venice“Reconciled with Emirates” of the Persian Gulf in the wake of concluding the Qatari-British treaty Conegonde, stripped of his idealism. in 1916. The white color reflects the internationally recognized symbol of peace.

Bernstein’s treatment Voltaire amounts toAl-Mayassa a brilliant and This work ishigh-voltage commissioned

by HerofExcellency Sheikha bint Hamad bin Khalifa Al Thani, of Qatar Museums. sophisticated parodychairperson of opera itself.

However, in its original version, which premiered at New York’s Martin Beck Theater on December 1, 1956, Candide

Like its inspirations, Symphony No. 6 harbors an elaborate interlocking failed to appeal to either audiences or critics. In 1973, Bernstein worked with structure. Bookmarked in A-flat major, in which key the first and last movements Hugh Wheeler on a revised book with some added lyrics by Steven Sondheim. end, the Symphony comprises three interlaced musical forms—a symphonic This revival version quickly became hit, both on Broadway and at the suite and two symphonies.

One is aa Qatari symphonic suite based onNew traditional York City Opera. folk music and dances using the principal of contrast: Movements II, III, V and VII. a traditional “old-fashioned” symphony of four Movements TheSecond music ofisthe Overture captures the frenzied hither-and-thither action of I, IV, VI IX. with The its third combines theand firstequally two “symphonies” with Movement theand story, relentless travel relentless optimism.

Candide’sVIII, which brings about the character grandioseemerges conclusion of the Desert orchestral Rose Symphony. straightforward, simple in fresh, sparkling colors and Desert sunny harmonies.

The 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.

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

ELENA KATS-CHERNIN Force Majeure for Piano and Orchestra Composer: born November 4, 1957, Tashkent, Uzbekistan (USSR) Work composed: 2022. Commissioned by pianist Lisa Moore World premiere: Roger Benedict led the Sydney Symphony Orchestra Fellows and Conservatorium students with pianist Lisa Moore at Verbrugghen Hall in Sydney, Australia, on November 13, 2022.

One of Australia’s leading composers, Elena Kats-Chernin has created works in nearly every genre.

Through her prolific catalogue of works for theater, ballet, orchestra, and chamber ensemble, Kats-Chernin’s music has achieved a global audience. Her vivid style communicates a mixture of lightheartedness and heavy melancholy, combining strong rhythmic figures with elements of cabaret, tango, ragtime, and klezmer.

Born in 1957 in Uzbekistan, then part of the Soviet Union, Kats-Chernin received training at the Gnessin Musical College before immigrating to Australia in 1975. Her music was heard at the 2000 Sydney Olympic Games, and has been featured in many film and television scores.

Kats-Chernin and pianist Lisa Moore are long-time collaborators, and each is very familiar with the other’s style and musical strengths. “Lisa doesn’t do anything by halves,” Kats-Chernin remarked in a 2022 radio interview for the Australian Broadcasting Corporation. “So I said, ‘If it’s fast, very fast, if it’s loud, very loud.’ That’s what I wanted to write. But where it’s soft and lyrical and atmospheric and elusive, I knew that would be just right for her as well.”

Kats-Chernin writes, “The initial compositional impetus of this concerto coincided with creating an orchestra score for the silent film Varieté for German TV Channel ZDF/arte. I found myself watching and “inhaling” the scenes of the world of trapeze artists at the Showgrounds, working and living through all kinds of emotions – both highs and lows. The circus atmosphere, along with some darker undertones, subconsciously flowed into the piano concerto.

“To me, [the term ‘force majeure’] means force of nature,” Kats-Chernin continues. “Lisa suggested this title. To me, she is the force of nature, and this music is forceful, full-on.

“The four movements of Force Majeure are as follows: 1) Rotor has at its base the rhythmic, motoric and harmonic drive. It’s a movement of high pulsating energy, is a real workout for Lisa, and has a glimpse of the occasional Bach reference.

2) Broken Barcarolle is trance-like, mysteriously atmospheric, elusive at times. There is emphasis on harp and plucked sounds, delicate vibraphone and an occasional gong. There are 4 main harmonic sections, with a scale-like melody appearing in horn and other brass at certain point, just before the harmony makes a shift. There are hints of Debussy here and there.

3) Twisted Rag is an edgy, “in your face” dance, ending with a kind of a Jahrmarkt Waltz after a slowish solo piano moment.

4) Czardas Noir. I have always liked czardas [Hungarian dances]. This finale starts, as often with a czardas, with a slow unfolding of accented materials.

There are more heavy, low registers used in this movement. While it is in 4/4, an occasional 3/4 throws it off balance. Many semiquaver passages are being passed around between soloist and ensemble. Towards the end some of the first movement ‘Bachian’ chord progressions return.”

AARON COPLAND Suite from Appalachian Spring Composer: born November 14, 1900, Brooklyn, NY; died December 2, 1990, North Tarrytown, NY Work composed: 1943-4. Copland won a Pulitzer Prize for the ballet score in 1945. Copland conducted the premiere of the ballet at the Library of Congress in Washington, D.C. on October 30, 1944, the birthday of arts patron Elizabeth Sprague Coolidge, to celebrate 25 years of her musical philanthropy.

World premiere: Artur Rodziński premiered the orchestral suite with the New York Philharmonic on October 4, 1945.

Shortly before the debut of Ballet for Martha, Aaron Copland’s working title for the ballet Martha Graham had commissioned from him, the choreographer announced she had decided on the name Appalachian Spring. Graham, who borrowed the words from Hart Crane’s poem, The Dance, admitted she had chosen it simply because she liked the sound of the words together, and that it had no connection with either the location or scenario of the ballet. “Over and over again,” Copland recalled in 1981, “people come up to me after seeing the ballet on stage and say, ‘Mr. Copland, when I see that ballet and when I hear your music I can just see the Appalachians and I just feel spring.’ Well, I’m willing if they are!”

In Appalachian Spring, Copland’s affinity for folk melodies and idioms reaches its zenith. The Shaker hymn “Simple Gifts,” which Copland discovered in a 1940

book on Shaker culture, and the celebratory variations of its melody, form the climax of Appalachian Spring. When Copland arranged Appalachian Spring as an orchestral suite, he emphasized the song’s centrality by cutting several episodes from the ballet and changing the order of the variations. As scholar William Brooks notes, “In this context the Shaker melody came to serve as a kind of paradigm for the simplicity and authenticity of frontier America: mythical music for a mythical past.” In similar fashion Copland’s music, particularly Appalachian Spring, became the paradigm for the “American” sound of the mid-20th century.

Copland explained his musical conception: “When I wrote Appalachian Spring, I was thinking primarily about Martha and her unique choreographic style, which I knew well. Nobody else seems quite like Martha: she’s so proud, so very much herself. And she’s unquestionably very American: there something prim and restrained, simple yet strong about her, which one tends to think of as American.”

Edwin Denby, a noted dance critic, provided program notes for the premiere of the Appalachian Spring orchestral suite in 1945: “A pioneer celebration in spring around a newly-built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, that their new domestic partnership invites.

An older neighbor suggests now and then the rocky confidence of experience.

A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house.”

LEONARD BERNSTEIN Three Dance Episodes from On the Town Work composed: Bernstein spent the months between June and December 1944 composing On the Town. The following year he transcribed three dance episodes from the show for concert band.

World premiere: On the Town premiered on December 28, 1944, at the Adelphi Theatre in New York City. Bernstein conducted the Three Dance Episodes with the San Francisco Symphony on February 3, 1946, at the Civic Auditorium.

On the Town, a collaboration of composer Leonard Bernstein, director/ choreographer Jerome Robbins and writers Betty Comden and Adolph Green, was the perfect anodyne for a nation weary of war. Written during the last year of World War II, it tells the simple story of three sailors and their adventures while on a 24-hour leave in New York City. “We wanted [the sailors] to possess the quality and attitudes of the servicemen we had seen coming into the city

for the first time, and at least touch on the frantic search for gaiety and love, and the terrific pressure of time that war brings,” said Comden.

Dance is central to the show, both as a means of forwarding the narrative, and also as an end in itself. Bernstein explained, “It seems only natural that dance should play a leading role in the show On the Town, since the idea of writing it arose from the success of the ballet Fancy Free. I believe this is the first Broadway show ever to have as many as seven or eight dance episodes in the space of two acts … that these are, in their way, symphonic pieces rarely occurs to the audience actually attending the show, so well- integrated are all the elements.”

Not long after On the Town’s Broadway premiere, Bernstein arranged three of its dance interludes for concert band. In Dance of the Great Lover, Gabey, one of the sailors (played in the 1949 film by Gene Kelly), falls in love with Miss Turnstiles, whose poster he sees in the subway. In a dream Gabey imagines meeting and wooing her. The music captures the hustle and bustle of New York traffic and Gabey’s hopeful optimism. The Pas de Deux features one of Bernstein’s indelible tunes, “Lonely Town.” Gabey watches a callous sailor entice a young high school girl into a romantic tryst in Central Park and then abandon her. The final episode, Times Square Ballet, captures the sailors’ frantic attempts to see everything in New York “in just one day,” to the tune of the show’s most recognizable number, “New York, New York, It’s A Helluva Town.” © Elizabeth Schwartz

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MEET THE ARTIST ANTHONY MCGILL LISA MOORE Hailed for his “trademark brilliance, New York-based Australian musician Lisa penetrating sound and rich character” (New Moore is a multifaceted pianist, recording York and Times), clarinetist Anthony McGill artist, collaborator.

Named “la leggenda” enjoys a dynamic international solo and by La Repubblica (Italy), The New York Times chamber is “life principal has singled music out hercareer playingand for its and clarinet of the New Philharmonic — the The first freshness” andYork “fragility and tenderness,” African-American player inand the New Yorker describesprincipal her as “visionary” organization’s history. is the recipient “New York’s queen of the He avant-garde piano” of while Pitchfork claims “she’s the best kind of contemporary musician, the 2020 Avery Fisherclassical Prize, one of classical one so fearsomely game that she inspires composers to offer her their most wildly music’s most significant awards. unplayable ideas.” Given a special passion for the music of our time, Moore McGill Hall appears as a soloist withMusic top won the silver medal in the 1981 Carnegie International American orchestras, the New York and Los Competition and has since performed hundreds including of commissioned works and Angeles Philharmonics,worked the Metropolitan Opera, and the Baltimore, Boston, world premieres—having with more than two hundred living composers Chicago, andinDetroit Symphony Orchestras.

HeYork performed Itzhak while residing the vibrant new music scene of New City sincealongside 1985. Moore has performed throughout USA, UK, Europe,at Australia, and Asia in of festivals Perlman, Yo-Yo Ma, and the Gabriela Montero the inauguration President includingObama, Tanglewood, Aspen, Adelaide, Warsaw, Paris, HongAs Kong, and Vienna as Barack premiering a piece by John Williams. a chamber well as on the world’s stages: New Carnegie Hall (Stern, Zankel, Weill) musician, McGill is agreat collaborator of York’s the Brentano, Daedalus, Guarneri, and Alice Tully Hall at Lincoln Center, Sydney Opera House, Melbourne Recital JACK, Miró, Pacifica, Shanghai, Takács, and Tokyo Quartets, and performs Centre, La Scala in Milan, Amsterdam’s Royal Concertgebouw, London’s with leading artists including Emanuel Ax, Inon Barnatan, Gloria Royal Chien, Yefim Albert Hall and Royal Festival Hall, and Vienna’s Musikverein.

She released Bronfman, Gil Shaham, Midori, Mitsuko Uchida, and Lang has Lang.

12 solo albums and more than 30 collaborative discs. Gramophone writes about her serves Mad Rush Glass disc: “what becomes abundantly Moore’s He onPhilip the faculty of The Juilliard School and isclear the is Artistic Director for highly developed, intuitive, and nuanced approach to this music.”

Moore’s album Juilliard’s Music Advancement Program.

He holds the William R. and Hyunah TheBrody Stone Distinguished People was selected the The New York Top Classical Yu Chairasatone theofCurtis Institute ofTimes Music.

Albums 2016 and as a Naxos Critics’ Choice 2017. For 16 years (1992–2008) In 2020, McGill’s #TakeTwoKnees protesting the death of George Moore was the founding pianist for thecampaign award-winning electro-acoustic sextet Floyd and historic racialShe injustice went viral.

2023,artists, he partnered with Bang On A Can All-Stars. has performed withIn leading ensembles, Bryan Stevenson andcompanies the Equalincluding Justice Philip Initiative toMeredith organizeMonk, a classical orchestras, and dance Glass, Ornettemusic Coleman,convening Frederic Rzewski, Don Byron,Museum Pamela Z,in Thurston Moore, Iva Bittova, in industry at EJI’s Legacy Montgomery, Alabama, Bryce Dessner, Sinfonietta, Stevemusic Reich Ensemble, York City Ballet,of which leadersLondon and artists in classical examinedNew America’s history American Composers The continues Chamber Music Societytheir of Lincoln racial inequality andOrchestra, how this and legacy to impact work. He is a Center. Moore the orchestral batons of Leonard Bernstein, Backun Artist has andperformed performsunder exclusively on Backun Clarinets.

Pierre Boulez, David Robertson, Roger Benedict, Brett Dean, Brad Lubman, Steven Learn at www.anthonymcgill.com Schick,more Benjamin Northey, Richard Mills, Reinbert de Leeuw, Jorge Mester, Leonard Dommett, Dobbs Franks, and Angel Gil-Ordóñez.

Lisa Moore is a Steinway artist. Please visit www.lisamoore.org.

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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).

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 October 1, 2024.

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.

GOVERNMENT GOVERNMENT ARTSFAIRFAX ARTSFAIRFAX City of Fairfax Commission City of Fairfax on the Arts Commission on the Arts County of Fairfax County of Fairfax National Endowment for National Endowment for the Arts the Arts Virginia Commission for Virginia Commission for the Arts the Arts

FOUNDATIONS FOUNDATIONSAND AND CHARITABLE CHARITABLE FUNDS FUNDS Anonymous Anonymous Paul PaulM. M.Angell AngellFamily Family Foundation Foundation CharlesDelmar DelmarFoundation Foundation Charles Community Foundation of Nelson J. & Katherine Northern Virginia Friant-Post Foundation Nelson&J.Caroline & Katherine Richard T. Friant-PostMemorial Foundation Gwathemy Trust Richard & Caroline T. Mary & Daniel Loughran Gwathemy Memorial Trust Foundation Mary & Daniel Loughran TD BANK Foundation TheFoundation Rea Charitable Trust TD BANK Foundation

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SYMPHONY SOCIETY Priority One Services, Inc. CONCERTO Transurban CLUB PLATINUM CONDUCTOR’S CIRCLE Mr. and Mrs. Thomas M. Brownell PLATINUM Pepe Figueroa Mr. and Mrs. David Black Joyce L. Hanson Mr. and Mrs. Thomas M. Dr. Mark Head Brownell Martin Poretsky

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 memory of Steve and Debbie Cohen 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 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

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

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.

DONATE NOW

FAIRFAX SYMPHONY ORCHESTRA Christopher Zimmerman | Music Director

VIOLIN 1 David Salness, Concertmaster Allison Bailey, Associate Concertmaster Cristina Constantinescu, Assistant Concertmaster Chris Franke Mia Lee Natalie Trainer Carolina Pedroza, FSO Fellow Glen Kuenzi Sarah Berger, Principal Andrew Juola, Assistant Principal Jessica Mun Elena Smirnova Cindy Crumb Susan Manus Karan Wright Edwin Barreno Castillo, FSO Fellow

DOUBLE BASS Aaron Clay, Principal Kyle Augustine, Associate Principal Asa Dawson, FSO Fellow FLUTE Lawrence Ink, Principal Sharon Lee PICCOLO Sharon Lee OBOE Trevor Mowry, Principal CLARINET Giancarlo Bazzano, Principal Wendi Hatton BASS CLARINET Barbara Haney

VIOLA Adelya Shagidullina, Principal Paul Bagley, Associate Principal Erik Whitesides Greg Rupert Helen Fall Patti Reid

ALTO SAXOPHONE Adrienne Welker

VIOLINCELLO Natalia Vilchis, Principal Rachel Sexton, Associate Principal Brent Davis Anne Rupert Kathy Thompson Ozge Serceler

TRUMPET Chris Larios, Principal Neil Brown Billy Berue

BASSOON Jimmy Ren, Principal FRENCH HORN Eric Moore, Principal Nat Willson

TROMBONE David Miller, Principal David Sisk Kaz Kruszewski, Principal

TIMPANI Jonathan Milke, Principal PERCUSSION Mike Gatti, Principal Joe Connell Sam Goecke HARP Madeline Jarzembak, Principal PIANO Josephine Riggs, Principal

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