Fairfax Symphony_Carl_Mozart_Rachmaninoff

2021 - 2022 SEASON

Welcome to the FSO! We are delighted to be together performing for you live back at the George Mason University Center for the Arts.

The past year has been challenging for all, and I want to thank each and every one of our subscribers, donors, and sponsors for your continued support, even when our venues were closed. We also express our sincerest appreciation to our newest patrons and supporters!

Our music plays on only through your generosity to the FSO. Thank you for enabling us to bring the transformative power of classical music and arts education to our community.

It is only with your support that the FSO continues to serve our community as an invaluable cultural resource for our Greater Washington DC region.

We deepen our commitment to “One Fairfax” by growing our music and education programs serving people of all ages in diverse communities in Fairfax County and beyond. We continue to expand our partnership with Fairfax County Public Schools and to serve more Title 1 schools across our region through our innovative “Link Up” program in collaboration with Carnegie Hall’s Weill Music Institute.

As we celebrate our 64th Season this year, the FSO’s commitment is stronger than ever to be a leading artistic voice on the concert stage and to take its knowledge, artistry, and commitment to the great art of classical music into our community and to the young people of Fairfax county.

Under the inspired direction of music director Christopher Zimmerman, the FSO maintains its reputation as one of the finest regional orchestras in the country.

On behalf of the Fairfax Symphony Board of Directors, orchestra members, and administrative team, we join you in celebrating the arts and the quality of life in Fairfax County!

Jonathan Kerr Executive Director

Christopher Zimmerman, music director and conductor Saturday, April 23 at 8pm Center for the Arts at George Mason University

ROBERT CARL (1954) White Heron (Regional Premiere) WOLFGANG AMADEUS MOZART (1756-1791) Piano Concerto No. 23 in A major, K. 488 I. Allegro II. Adagio III. Allegro assai Simone Dinnerstein, piano —Intermission— SERGEI RACHMANINOFF (1873-1943) Symphony No. 2 in E minor, Op. 27 I. Largo - Allegro moderato II. Allegro molto III. Adagio IV. Allegro vivace

The Fairfax Symphony’s 64th Season is made possible with generous support by

PROGRAM NOTES ROBERT CARL White Heron (Regional premiere) Composer: born July 12, 1954, Bethesda, MD Work composed: 2012. “Dedicated to Gustav Meier and the Greater Bridgeport Symphony Orchestra. Inspired by birds of the Florida Keys.”

World premiere: Edward Cumming led the Greater Bridgeport Symphony Orchestra at Klein Hall in Bridgeport, CT, on March 17, 2012 Award-winning composer Robert Carl’s music, in his words, “strives to create a sense of spaciousness.” Carl studied composition with Iannis Xenakis, Betsy Jolas, George Rochberg, Jonathan Kramer, and George Crumb, among others. He teaches composition at the Hartt School of Music at the University of Hartford, and writes about new music for Fanfare. In 2020 Carl’s book, Music in the 21st Century: A Practical Guide for the New Common Practice, was published by Scarecrow Press. That same year, the Boston Modern Orchestra Project released White Heron, an album of Carl’s works for orchestra. In the liner notes, Carl provided the following comments: “For the past two decades I’ve been exploring a personalized harmony in all my pieces, one that is modeled on the overtone series … sounds have room to breathe, and even dense and complex textures do not feel cloudy and self-cancelling. Instead, they vibrate. I’ve never wanted to sacrifice complexity for too narrow a definition of ‘clarity;’ rather, the music can be as dense as it needs to be, so long as the notes create a larger emergent whole.”

In a recent email, Carl adds, “In January 2012, [sculptor and creative collaborative partner] Karen McCoy and I traveled to the Florida Keys, where we rented a home in Marathon, whose back yard was the Gulf of Mexico. One of the best things was that about a quarter mile away was an uninhabited island which served as a rookery for hundreds of birds. As a result, we saw a constant parade of fowl, in particular cormorants, ibises, and pelicans. And most striking was a single white heron that staked out the house’s little swimming pool as its private domain, for drinking and long still moments of reflection. The intersection of the paths of all these birds began to suggest a musical form to me. When I wrote the piece, it was though I was taking dictation from them.

The individual birds are represented quite explicitly (their first entrances are marked in the score). As a backdrop, a series of overtone-based “harmonic waves” moves through a 13-chord progression over the entire course of

PROGRAM NOTES the piece, suggesting to me the presence of the ocean in its vast, neutral grandeur. Periodic moments of lyricism and gentle ecstasy suggest the reactions of the human observer.”

WOLFGANG AMADEUS MOZART Piano Concerto No. 23 in A major, K. 488 Composer: born January 27, 1756, Salzburg; died December 5, 1791, Vienna Work composed: Mozart may have begun composing this concerto in 1784. In the catalog of works he began keeping that year, Mozart noted that he completed it on March 2, 1786, in Vienna World premiere: Most likely in March 1786 at a Lenten concert in Vienna, although the exact date and other details of the premiere performance are undocumented. As with most of his concertos, Mozart wrote this one for a subscription concert to generate income; whenever it premiered, Mozart would have conducted from the keyboard and performed the solo part.

Wolfgang Amadeus Mozart wrote the majority of his piano concertos during the 1780s, and, as was his habit, he often worked on several compositions simultaneously. Such is the case with the Piano Concerto No. 23 in A major, K. 488, one of three piano concertos (along with the E flat, K. 482 and the C minor, K. 491) Mozart wrote at the same time as his opera, The Marriage of Figaro.

On first inspection, there seems little similarity between K. 488, a lyrical, reflective work, and the exuberant silliness that embodies Figaro. However, a closer look reveals some interesting parallels between concerto and opera. There are moments in Figaro, particularly the Countess’ poignant aria, “Porgi amor,” in which she laments her loveless marriage, and in the finale, when the Count begs forgiveness, which echo the emotional depth and tenderness of the concerto. Correspondingly, passages in the concerto, particularly in the Adagio, are clearly vocal – if not operatic – in both construction and conception.

When performing, Mozart improvised cadenzas for all his concertos, although many do not survive in written form. Other composers, most notably Ludwig van Beethoven, composed and notated cadenzas for several of Mozart’s piano concertos. Mozart’s original cadenza for K. 488 not only survives, but also was notated directly into the score.

K. 488 stands out for other reasons. Although oboes were standard

PROGRAM NOTES instruments in 18th century orchestras, Mozart uses clarinets in K. 488 instead. Mozart loved the sound of this instrument, and its dark round tone adds a pensive, melancholy quality to the orchestration, particularly the Adagio. Mozart also abandoned typical piano concerto conventions by writing the Adagio in a minor key. Mozart’s choice of a minor tonality, and the particular key itself, F-sharp minor, were rare departures from his usual practice, and lend poignancy to this music.

K. 488 was published in 1800; throughout most of the 19th century, it was one of only a few of Mozart’s concertos to be performed. It became, and remains, one of Mozart’s most popular and beloved works.

SERGEI RACHMANINOFF Symphony No. 2 in E minor, Op. 27 Composer: born April 1, 1873, Oneg, Russia; died March 28, 1943, Beverly Hills, CA Work composed: 1906-07. Rachmaninoff dedicated it to his composing teacher, Sergei Taneyev World premiere: February 7, 1908, in St. Petersburg, with Rachmaninoff conducting Artists of all types have a love-hate relationship with critics: they need the exposure criticism brings to their work, but often scorn the critiques themselves. Other artists take criticism too much to heart and let it affect them to a sometimes debilitating degree, which was the case with Sergei Rachmaninoff. After the premiere of Rachmaninoff’s first symphony, he was so savaged by critics that he did not dare compose a note for three years. Eventually Rachmaninoff consulted a doctor, Nicolai Dahl, who used hypnotism to bolster Rachmaninoff’s flagging confidence. Rachmaninoff’s Second Piano Concerto was dedicated to Dahl, and it vindicated Rachmaninoff as a composer by becoming one of his most popular works.

After the success of the Second Piano Concerto, Rachmaninoff felt ready to tackle another symphony, and in 1906 he began work on his second. The writing was difficult for him, as he reported in a letter to a friend, and the work proceeded slowly, although Rachmaninoff toiled at it constantly. The final version lasted over an hour, although Rachmaninoff later suggested a number of performance cuts that shorten it by as much as 20 minutes; these cuts have become standard when programming this symphony today. Although Rachmaninoff, out of necessity, agreed to the cuts, which amounted to some 300 measures of music, he later confided

PROGRAM NOTES to conductor Eugene Ormandy, “You don’t know what cuts do to me. It is like cutting a piece out of my heart.” Rachmaninoff might have appreciated the words of one critic, who wrote at the symphony’s premiere, “After listening with unflagging attention to its four movements, one notes with surprise that the hands of the watch have moved sixty-five minutes forward. This may be slightly overlong for the general audience, but how fresh, how beautiful it is!”

The symphony opens with a darkly murmuring theme played by the cellos and basses, a theme that forms the basis for the remainder of the first movement, as well as much of the rest of the symphony. The violins contrast with a lyrical melody, which is followed by a plaintive solo for English horn. Throughout this movement Rachmaninoff uses solo instruments as structural signposts, indicating changes of mood or harmonic underpinning.

The horns launch the Scherzo with a bold, energetic theme, and the strings continue with a bouncier, skipping melody. These are contrasted by a series of interludes, one unabashedly romantic, and others feverishly intense. As was his wont in many of his orchestral works, including the Rhapsody on a Theme of Paganini, Rachmaninoff includes the Dies irae melody (Day of Wrath) from the Requiem Mass; it appears here in the coda to the trio.

In the Adagio, Rachmaninoff’s signature romanticism is heard in the violins’ opening melody, which could easily serve as the love song in a cinematic romance. In fact, 1970s pop singer Eric Carmen wrote a hit song based on this theme, “Never Gonna Fall in Love Again.”

For the Finale, Rachmaninoff unleashes a whirlwind of vibrancy and joy. The buoyant strings recall the Scherzo, but this music is abruptly interrupted by the stark call of muted horns. We then hear snatches of music from previous movements, especially the Scherzo and the Adagio.

The strings, playing in the style of the Italian tarantella, are the foundation for this movement, and its energy drives the symphony forward to its triumphant conclusion. © Elizabeth Schwartz

McKeever Services congratulates the FSO on 64 years of great performances.

A jewel in the cultural life of Fairfax County!

Bravo to Maestro Zimmerman for 12 years of directing the FSO to new heights of excellence!

APRIL 23, 2022 MEET THE ARTIST Simone Dinnerstein is an American pianist. She lives in Brooklyn, New York with her husband and dog, less than a mile from the hospital in which she was born.

Simone has a distinctive musical voice.

The Washington Post has called her “an artist of strikingly original ideas and irrefutable integrity.” She first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Since that recording, she has had a busy performing career. She has played with orchestras ranging from the New York Philharmonic and the Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, the Seoul Arts Center and the Sydney Opera House. She has made thirteen albums, all of which topped the Billboard classical charts, with repertoire ranging from Couperin to Glass.

This season, Simone takes on a number of new artistic challenges. She gives the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she has conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2 (Concord). In addition, she premieres Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos placed throughout Brooklyn’s Green-Wood Cemetery. She also joins Renée Fleming, the Emerson String Quartet, and Uma Thurman for performances of André Previn and Tom Stoppard’s Penelope at both Carnegie Hall and the Kennedy Center in Washington, D.C. From 2020 to 2022, Simone releases a trilogy of albums recorded at her home in Brooklyn during the pandemic. A Character of Quiet (Orange Mountain Music, 2020), featuring the music of Philip Glass and Schubert, was described by NPR as, “music that speaks to a sense of the world slowing down,” and by The New Yorker as, “a reminder that quiet can contain multitudes.” Richard Danielpour’s An American Mosaic (Supertrain Records,

2021), surpassed two million streams on Apple Music and was nominated for a 2021 Grammy Award in the category of Best Classical Instrumental Solo.

The final installment in the trilogy, Undersong, was released in January 2022 on Orange Mountain Music.

In recent years, Simone has created projects that express her broad musical interests. Following her recording of Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the United States for the very first time, raising the funding, booking the concerts, and organizing their housing and transport. Together, Simone and the orchestra played eleven concerts from Miami to Boston. Philip Glass composed his Piano Concerto No. 3 for Simone, co-commissioned by twelve American and Canadian orchestras.

She collaborated with choreographer Pam Tanowitz to create New Work for Goldberg Variations, which was met with widespread critical acclaim.

Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals. Most recently, she created her own string ensemble, Baroklyn, which she directs from the keyboard. Their performance of Bach’s cantata Ich Habe Genug in March 2020 was the last concert she gave before New York City shut down.

Simone is committed to giving concerts in non-traditional venues and to audiences who don’t often hear classical music. For the last three decades, she has played concerts throughout the United States for the Piatigorsky Foundation, an organization dedicated to the widespread dissemination of classical music. It was for the Piatigorsky Foundation that she gave the first piano recital in the Louisiana state prison system at the Avoyelles Correctional Center. She has also performed at the Maryland Correctional Institution for Women in a concert organized by the Baltimore Symphony Orchestra.

Simone founded Neighborhood Classics in 2009, a concert series open to the public and hosted by New York City Public Schools to raise funds for their music education programs. She also created a program called Bachpacking during which she takes a digital keyboard to elementary school classrooms, helping young children get close to the music she loves. She is a committed supporter and proud alumna of Philadelphia’s Astral Artists, which supports young performers.

Simone counts herself fortunate to have studied with three unique artists: Solomon Mikowsky, Maria Curcio and Peter Serkin, very different musicians who shared the belief that playing the piano is a means to something greater.

The Washington Post comments that “ultimately, it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative.

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CHRISTOPHER ZIMMERMAN, Music Director Named Music Director of the Fairfax Symphony Orchestra in 2009, Christopher Zimmerman celebrates his thirteenth season with the FSO. Under his leadership, the FSO has received consistent praise from the media. Former Washington Post arts 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.” 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. He has since conducted orchestras all over the world–the Prague Symphony, the Slovak Philharmonic, the Turku Philharmonic, the Seoul Philharmonic, the Mexico City Philharmonic, the Caracas Philharmonic, National Orchestra of Rio de Janeiro, the Shenzhen Symphony, the Xiamen Symphony–to name a few. In opera, he has worked as the assistant conductor for “Carmen” at the Nimes Festival and as assistant conductor for “Salome” at the Mexico City Opera where he was re-invited to conduct a full production of “Gianni Schicchi” the following season. His U.S. operatic debut conducting Carlisle Floyd’s “Susannah” won the National Opera Association’s First prize as did Bright Sheng’s “Song of Majnun”, which he also led. Zimmerman’s operatic repertoire is as diverse as it has proven successful, from Handel’s “Julius Caesar” through Verdi, Puccini, Strauss and Sheng.

Prior to his appointment to the Fairfax Symphony Orchestra, 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 much sought-after clinician and pedagogue, Mr. Zimmerman continues to teach at workshops and festivals around the world.

Christopher Zimmerman is committed to performing music by living composers and he has premiered over 35 works for orchestra by names such as William Bolcom, Martin Bresnick, Avner Dorman, Bright Sheng, Christopher Rouse, Ellen Taafe Zwilich and Judith Weir. On July 4, 2012, Mr. Zimmerman gave the world premiere of “Lingua Angelorum” by Czech composer Sylvie Bodorova, a song cycle with the internationally renowned baritone Thomas Hampson and the Prague Symphony Orchestra.

A champion of contemporary music and commissioning new work, during his leadership with the FSO, Zimmerman has commissioned three new works and presented nine premieres. In 2023, Zimmerman and the FSO will present 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 presents 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.” In 2013 premiered “Virtue” by composer Chris Theofanidis for soprano, actor, three voices and orchestra that it co-commissioned with the New Haven Symphony Orchestra, and in 2011, the FSO commissioned Concerto of “The Andes” for Guitar, Charango and orchestra by composer Javier Farias.

Zimmerman also established three artistic collaborations while leading the FSO including its annual presentation of Tchaikovsky’s The Nutcracker with the Fairfax Ballet Company, a concert and dance in collaboration with Bowen-McCauley Dance Company, and the 2022 co-presentation with the Center for the Arts at George Mason University to present pianist Simone Dinnerstein.

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).

2021-2022 PHILANTHROPIC SUPPORT The Fairfax Symphony gratefully acknowledges the generosity of the following contributions received within the past twelve months as of April 1, 2022.

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 City of Fairfax Commission on the Arts County of Fairfax National Endowment for the Arts Virginia Commission for the Arts FOUNDATIONS AND CHARITABLE FUNDS Paul M. Angell Family Foundation Charles Delmar Foundation Clark-Winchcole Foundation Nelson J. & Katherine Friant-Post Foundation Mary & Daniel Loughran Foundation CORPORATIONS Hilton Fairfax GEICO McKeever Services The Mather Dominion Energy NOVEC PNC Bank Priority One Services, Inc. SYMPHONY SOCIETY CONCERTO CLUB PLATINUM Mr. and Mrs. Thomas M. Brownell Pepe Figueroa Joyce L. Hanson

GOLD Steve and Debbie Cohen Mr. Sean Foohey John Lockhart Eric Moore In memory of Richard Benedict Sherman & Etta Mae Thomas Sherman Sally and Rucj Uffelman Laura and Ervin Walter SILVER Nina and David Breen Janine and Curt Buser Mr. and Mrs. Edward Caress Mr. and Mrs. C. David Hartmann Mr. and Mrs. Glenn A. Hemer Robert and Maryanne Jones David & Lenka Lundsten Mrs. R. Dennis McArver Ms. Joetta Miller Mr. William A. Nerenberg David and Bridget Ralston Mr. and Mrs. Robert Reid James and Miriam Ross Mr. and Mrs. David Seida Mr. and Mrs. David Siegel RHAPSODY CIRCLE Bill and Dorothy Brandel Lisa Baltzer Donald and Ruth Drees Carolyn Gayer Eric and Joyce Hanson Mr. Kurt P. Jaeger Mr. and Mrs. Anthony Kerr

Dr. and Mrs. Per Kullstam John and Jeanette Mason Mr. and Mrs. Matt Mattice Joetta Miller Judith Nitsche Dr. and Mrs. Eugene Overton Stephen and Mary Preston Michael Wendt SONATA CIRCLE William Bell Ms. Pamela Charin Donald Drees Christopher Forsberg Frank and Lynn Gayer Anthony and Lucy Griffin Christopher Gohrband Gareth and Tân Habel Mr. & Mrs. Eric Hanson Robert W. Henry Spencer Howell Mr. and Mrs. Keith Highfill Mr. and Mrs. Wade Hinkle Anje Kim Mr. and Mrs. David J. Lynch Helen Noyes Mr. Justice Percell Ms. C. Carole Richard Mary Jane Spiro Mr. Michael W. Stoltz Dr. Jack and Mrs. Jane Underhill Mr. William Walderman David and Deborah Winston

SERENADE CIRCLE Dr. Charles Allen Ms. Gay B. Baker Mr. and Mrs. Ronald Baker Ms. Esther Beaumont Mr. and Mrs. James Bland Donald Bieniewicz Ms. Patricia Boots Beverly Boschert Kathryn and Tony Bovill Patricia G. Brady Judith and Peter Braham Bill and Dorothy Brandel Louis and Monika Brenner David W. Briggs and John F. Benton Mr. Eric Brissman Mr. Robert Brown Judith Buchino Ms. Jane Arabian and Mr. James Bongarra Mary L. Burns Mr. and Mrs. Edward Caress Mr. W. Carlson Cedric Chang Ms.Tzu-yi Chen Mr. and Mrs. Brian H. Chollar Douglas Cobb Ms. Helen M. Conlon Ms. Sandy Cromp Mr. and Mrs. David Cross Karin and Michael Custy Ms. Barbara d’Andrade In honor of Ms. Sarah Daniel Ms. Alice DeKany Catherine Dettmer Dr. Karen Detweiler Ivan and Nancy Dietrich Dr. and Mrs. John S. Dillon Judy Donnelly Marilyn Dorn Jean Mitchell Duggan Karen Eaton Peggy and Arye Ephrath Jean Esswein Brian and Marian Ewell Mr. John A. Farris Ms. Jenifer Fisch Wilford Forbush Ms. Dorien Garman Carolyn Gayer Jennifer Gitner Allen S. Greenspan

Mr. and Mrs. Hardy Hargreaves Frederic Harwood In memory of R. Dennis McArver Robert and Whitney Henry 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 Nelson Joyner Benjamin Justesen Mr. and Mrs. Eugene Kaye Ms. Carol Kearns Mr. and Mrs. Philip Kieffer Anje Kim Bill and Priscilla Kirby Frank and Susan Kohn Greta Kreuz Dr. and Mrs. Frederick Kuhl 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 Dr. and Mrs. Joseph Marshall Mr. and Mrs.Timothy J. McCarthy Joel Meyerson Mr. Robert L. Miller Mr. and Mrs. Kenneth P. Mittelholtz Bob and Judy Molseed Virginia and Marion Moser Jean Murphy Margaret A. Murphy Ms. Mary Murphy Peggy Newhall Ms. Judith A. Nitsche Diane Nolin Col. and Mrs.Tommy T. Osborne Anne and Jim Painter

Catherine Pauls Mr. and Mrs. Ron Petrie Mitzi and Dan Rak Mr. Richard L. Renfield Deborah Roudebush Rolland Roup Stephen Sanborn Mr. and Mrs. Robert E. Schaub Catherine Schifferli Ms. Roslyn Schmidt Mr. and Mrs. Karl W. Schornagel Michael Schwartz Ms. Doris Seaton Neil and Beverly Seiden Mr. and Mrs. Robert Seraphin Kathleen Shultz Mr. and Mrs. James Simpson Sydney Smith Nigel Smyth Mary Jane Spiro Dorothy Staebler John and Pamela Stark Kristina Stewart Sandra Lee Stoddard Agnes D. Stoertz Mr. John Strong Frederick and Marjorie Stuhrke 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 Mr. and Mrs. David Sukites Timothy N. Wade 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 Gene and Gooloo Wunderlich Mr. Emile L. Zimmermann In-Kind Fairfax City Self Storage

MEET OUR 2021/22 FELLOWS Fairfax Symphony Fellowship Program This season, we strengthen our commitment to serving students through high-quality education and mentorship programs, as we launch the FSO Fellowship program to help accelerate the careers of talented, student musicians from backgrounds that are underrepresented in orchestras today. The program is designed to enhance opportunities for pre-professional musicians, encourage greater diversity in the field, and increase diverse representation in orchestras across the United States.

Carlos Figueroa, cello “I can’t fathom the thought that I have been selected as one of the fellow musicians to join the wonderful Fairfax Symphony Orchestra. I can’t wait to be performing with such great musicians and keep fulfilling my professional career as a cellist. I know this program will benefit me in every way possible, and I am eager to share my passion with such an amazing orchestra. I am certainly looking forward to the performances, the master classes that this fellowship will be providing for my professional growth, and for the mentorship.”

Mr. Figueroa is an emerging cellist from the beautiful country Venezuela. Music has been a part of him since an early age. His passion for music never stopped and he was always striving to one day share the stage with famous musicians and to be a concert soloist. He is currently pursuing his master’s degree in cello performance at George Mason University under the guidance of Dr. Dorotea Racz after successfully earning his bachelor’s degree at Shenandoah University as summa cum laude. Over the years, Mr. Figueroa has collaborated with renowned conductors, musicians, and composers for classical and contemporary music alike. He played a symphony under the baton of Gustavo Dudamel, worked tirelessly for the release of Winton Marsalis’ Symphony in Blue,

participated in a film festival with Marco Beltrami, and performed with composer Jenifer Higdon.

Mr. Figueroa believes music is more than just notes. He feels music is about connection and that connection is what will bring people together. He plays with the purpose of sharing the gift of music with every person that listens to his music.

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Breonna Proctor, violin “I am very grateful to be selected for the Diversity Fellowship program with the Fairfax Symphony Orchestra. Being able to learn from and perform with world-class musicians in a professional setting is something that I have always aspired to do. I look forward to finally performing my favorite symphony, Symphony No. 3 by Brahms, in March.”

Ms. Proctor graduated from James Madison University with a Bachelor of Music degree concentrating in Music Industry. At the age of six, she began playing violin and has accumulated over 17 years of performance experience and nine years of teaching experience. She served as concertmaster and section leader of the James Madison University Symphony and Opera Orchestras during her college career. Locally, she has performed at various venues, including the Kennedy Center, the United States Capitol, Maryland Hall, and the Meyerhoff Symphony Hall. Her international performances have taken place in the cities of Montreal, Vienna, Salzburg, and Prague. Breonna is currently in pursuit of a law degree with an intellectual property concentration. With this degree, she hopes to become an advocate for the protection of artists and their creations.

The FSO Fellowship is made possible in part by the Community Foundation of Northern Virginia, Virginia Commission for the Arts, Fairfax County Government, and GEICO.

REMEMBERING JIM MCKEEVER The FSO mourns the loss of its Chairman, James C. McKeever, Jr., who passed away Saturday, October 30, 2021. Mr. McKeever served as Chairman of the Fairfax Symphony Board of Directors since 2016 and had a long history of involvement with the organization.

“We are deeply saddened by the loss of our dear friend,” said Jonathan Kerr, Executive Director of the Fairfax Symphony Orchestra. “We are forever grateful for Jim’s leadership and support of the FSO. His unwavering commitment and dedication helped the FSO expand its programs to better serve our community. His love of the FSO was resounding, and his legacy lives on through the music and service of the Fairfax Symphony Orchestra to our region.”

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The McKeever Legacy Fund Honoring Decades of Inspired Leadership The FSO honors Jim McKeever’s service and dedication with the creation of the McKeever Legacy Fund. The Fund will support Jim’s vision to further the FSO’s high-level artistry and expand its innovative education programs, while strengthening the FSO’s role as an invaluable cultural resource and artistic ambassador for our region.

Learn more and Support the McKeever Legacy Fund at www.FAIRFAXSYMPHONY.ORG

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

Thomas Brownell, Secretary Holland & Knight LLP

John Lockhart, Treasurer PNC Bank

Eric Moore American University

Thomas Murphy, General Counsel Jackson Lewis P.C.

Dean Woods Players Committee Member

Nancy Bovill Players Committee Member

HONORARY BOARD The Honorable Sharon Bulova

The Honorable James W. Dyke

The Honorable Thomas M. Davis

Dr. Gerald L. Gordon

Sidney O. Dewberry

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

Celeste Duplaa, Link Up Program Manager

Heather Rhine, Graphic Designer

The FSO is supported in part by the Virginia Commission for the Arts, the National Endowment for the Arts, ArtsFairfax and the County of Fairfax.

Fairfax Symphony Orchestra • 2667 Prosperity Avenue • Fairfax, VA 22031 703-563-1990 • www.fairfaxsymphony.org info@fairfaxsymphony.org

FAIRFAX SYMPHONY ORCHESTRA Christopher Zimmerman | Music Director VIOLIN 1 David Salness, Concertmaster Madalyn Navis Sharon Like Ae-Young Sun Tim Kidder Chris Franke Shu-Ting Yao Yuna Kim Eugene Liu Avner Finberg Shaundra Culatta Sonia Garcia VIOLIN 2 Katelyn Lyons-Peaden, Principal, The Timothy Evan Owens Memorial Chair Andrew Juola, Assistant Principal Cindy Crumb Nancy Bovill Tim Wade Breonna Proctor Susan Manus Elena Smirnova Karan Wright Milena Aradski Maribeth Frank Becky Fulton VIOLA Greg Rupert, Principal Patti Reid Kim Mitchell Tim Zenobia Shearom Chung Michael Sinni Asli Ozek

Ruben McFarlane Hyejin Kim Ben Freedman CELLO Marion Baker, Principal Brent Davis Barbara Van Patten Rachel Sexton Anne Rupert Kathy Thompson Kris Gilbert Carlos Figueroa BASS Aaron Clay, Principal John Barger Erik Cohen Jim Donahue Erin Zerbuchen Frank Pappajohn FLUTE Larry Ink, Principal Cherri Hall Sharon Lee OBOE Emily Foster, Principal Janice Shin Kim Meredeth Rouse CLARINET Patrick Morgan, Principal Wendi Hatton Barbara Haney BASSOON Chris McFarlane, Principal Sandy Johnson Tia Wortham

FRENCH HORN Eric Moore, Principal Greta Richard Neil Chidester Cecilia Kozlowski TRUMPET Chris Larios, Principal Chris Ferrari Neil Brown TROMBONE David Sisk, Principal Hiram Diaz Victor Rohr TUBA Joseph Guimaraes TIMPANI Douglas Day PERCUSSION Joe Connell Jeff Gilliam Greg Akagi HARP Alyson Kanne

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