Fairfax Symphony with Rachel Barton Pine

65

TH

ANNIVERSARY

2022/23 Season

Christopher Zimmerman, music director and conductor Saturday, February 11, 2023 at 8pm Center for the Arts at George Mason University

FLORENCE PRICE Violin Concerto No. 2 In One Movement PABLO DE SARASATE Fantasy on Bizet’s “Carmen,” Op. 25 Rachel Barton Pine, violin —Intermission— ANTONÍN DVOŘÁK Symphony No.7, Op. 70, D minor I. Allegro maestoso II. Poco adagio III. Scherzo: Vivace IV. Finale: Allegro The FSO’s 65th Anniversary Season is dedicated to the memory of William Hudson, FSO Music Director from 1971-2007.

This performance is made possible with generous support from

PROGRAM NOTES FLORENCE PRICE VIOLIN CONCERTO NO. 2 Composer: born April 9, 1887, Little Rock, AR; died June 3, 1953, Chicago Work composed: Price wrote this concerto in 1952 for violinist Minnie Cedargreen Jernberg, who soloed often with the Chicago Symphony Orchestra in the early 20th century.

World premiere: Jernberg first publicly played Price’s Violin Concerto No. 2 in a piano reduction at a Musician’s Club of Chicago recital in 1955.

As the first Black female American composer to have a symphony performed by a major orchestra, Florence Price enjoyed considerable renown during her lifetime. Her compositional skill and fame notwithstanding, however, the entrenched institutional racism and sexism of the white male classical music establishment effectively erased Price and her music from general awareness for decades after her death in 1953. More than 50 years later, in 2009, a large collection of scores and unpublished works by Price were discovered in a house in rural Illinois. Since then, many ensembles and individual musicians have begun including Price’s music in concerts, so that audiences can discover her rich, distinctive, and polished body of work for the first time.

The daughter of a musical mother, Price was a prodigy, giving her first recital at age four and publishing her first composition at 11. During her childhood and teens in Little Rock, Arkansas, Price’s mother was the guiding force behind her piano and composition studies. In 1903, at age 16, Price won admittance to New England Conservatory (she had to “pass” as Mexican and listed her hometown as Pueblo, Mexico, to circumvent prevailing racial bias against Blacks), where she double majored in organ performance and piano pedagogy. While at NEC, Price also studied composition with George Whitefield Chadwick. Chadwick was an early advocate for women as composers, which was highly unusual at the time, and he believed that American composers generally should incorporate the rich traditions of American vernacular sounds into their own music, rather than trying to imitate European styles. Price, already inclined in this direction, was encouraged by Chadwick, and many of her works reflect the expressive, distinctive idioms of what were then referred to as “Negro” traditions: spirituals, ragtime, and folkdance rhythms whose origins trace back to Africa.

Throughout her career, Price wrote several works featuring solo violin, including two violin concertos. The first, completed in 1939, adheres to the typical concerto format: three movements (fast-slow-fast), using a musical

PROGRAM NOTES language that juxtaposes White European classical traditions with the styles of Black American vernacular music. The second violin concerto, Price’s last completed orchestral work, reflects the evolution of her musical voice.

In one movement with four sections, this episodic music features several interludes of different character: drama, lyricism, pensive reflection, and bold pronouncements. The orchestra and soloist work together, rather than vying for prominence. The freer form evokes a fantasia rather than a typical concerto, and reveals Price’s confident mastery of a mid-20th-century tonal language all her own.

PABLO DE SARASATE Concert fantasies on Carmen, Op. 25 Composer: born March 10, 1844, Pamplona, Spain; died September 20, 1908, Biarritz, France Work composed: 1883. Dedicated to Joseph Hellmesberger, Sr., director of the Vienna Conservatory.

World premiere: undocumented During his lifetime, violinist Pablo de Sarasate dazzled audiences around the world with his eye-popping technique and laser-like precision. Composers including Camille Saint-Saëns, Max Bruch, and Édouard Lalo all wrote and dedicated compositions to Sarasate, which have entered the standard violin orchestral repertoire.

Along with other 19th century violin virtuosos, most notably Nicolò Paganini and Joseph Joachim, Sarasate also wrote music. His compositions, quite naturally, were designed to showcase his particular strengths. In performance, Sarasate gave the impression of total ease, no matter how complicated, fast, or intricate the music. Although he did not possess a particularly large or full tone, Sarasate did excel at playing in the violin’s highest register; he also executed harmonics and portamento (sliding passages) with deft, meticulous flare.

The Carmen Fantasy, probably Sarasate’s most famous work, showcases these effects to great advantage. Sarasate links five well-known passages from Georges Bizet’s opera together, beginning with the Aragonaise from Act IV. Even those unfamiliar with Carmen will recognize other favorite moments, as the soloist flirts in the Habañera, teases in the Seguidilla, and expresses the vivacious joy of the Gypsy Dance.

PROGRAM NOTES ANTONÍN DVOŘÁK

Symphony No. 7 Composer: born September 8, 1841, Nelahozeves, near Kralupy (now the Czech Republic); died May 1, 1904, Prague.

Work composed: December 13, 1884 – March 17, 1885 in Prague; commissioned by the Royal Philharmonic Society in London. Dvořák revised the second movement, shortening it, after the premiere. The revised version, heard today, was first performed on November 29, 1885, in Prague’s Rudolfinum Concert Hall.

World premiere: Dvořák conducted the London Philharmonic Society at St. James’ Hall in London on April 22, 1885.

Some artists create their best works under stress. In 1884, Antonín Dvořák, feeling pressure on both personal and professional fronts, managed to write what many have called his greatest symphony, outshining even the “New World.”

Late in 1882, Dvořák’s mother Anna died. Dvořák, who had been devoted to her, was devastated by the loss. In addition, he was also saddened by the plight of his countryman and colleague Bedřich Smetana, whose increasingly erratic behavior, caused by an advanced case of untreated syphilis, led to a mental collapse in 1884; Smetana subsequently died in a lunatic asylum. Professionally, Dvořák was under pressure of a happier, though no less stressful, kind. The Royal Philharmonic Society of London bestowed an honorary membership on Dvořák, which included a commission to write and conduct a new symphony.

“Now I am occupied by my new symphony for London, and wherever I go I have nothing else in mind but my work, which must be such as to make a stir in the world and God grant that it may!” wrote Dvořák to his friend, Judge Antonín Rus. The expectations Dvořák laid on his own shoulders, to write a symphony that would “make a stir,” were specifically inspired by Johannes Brahms’ Third Symphony. Dvořák had recently heard it performed in Berlin, and wanted to write a symphony of his own that would measure up to Brahms’. Brahms was both friend and mentor to Dvořák, and the Czech composer wanted to match, if not exceed, Brahms’ expectations of him as a symphonist. In an 1885 letter to his publisher Fritz Simrock, Dvořák wrote, “I want to justify Brahms’ words to me when he said, ‘I imagine your symphony will be quite unlike this one [the Symphony No. 6].’ There shall be no grounds for thinking he was wrong.”

The public eagerly awaited Dvořák’s latest symphony, as did the musicians of the London Philharmonic; in fact, the orchestra began rehearsing the first

PROGRAM NOTES movement before Dvořák had finished writing the last. Dvořák was gratified by the enthusiasm that greeted him and his symphony when he conducted the premiere in London. George Bernard Shaw praised the work, writing “The quick transitions from liveliness to mourning, the variety of rhythm and figure, the spirited movement, the occasional abrupt and melancholy pauses, and the characteristic harmonic progressions of Bohemian music are all coordinated … by Herr Dvořák with rare success.” However, Dvořák was even more pleased by the reception the symphony received when Hans von Bülow conducted it with the Berlin Philharmonic in 1889. Dvořák attached von Bülow’s picture to the title page of his manuscript and wrote beneath it, “Glory be to you! You brought this work to life!”

The late music critic and scholar Michael Steinberg described the opening theme as “dark, undercover, and determined,” and notes that the idea for it came to Dvořák, a lifelong train-spotter, on a train platform at the Prague Railroad Station. For the scherzo, Dvořák incorporated the rhythms of the Czech furiant, a fast-tempo dance. Overall, the music of Dvořák’s Symphony No. 7 displays a cohesion of theme and harmony that pays direct homage to Brahms. While there are no surviving documents indicating Brahms’ opinion of Dvořák’s Symphony No. 7, it is hard to imagine he would not have been pleased and impressed by this masterful opus. © Elizabeth Schwartz 2023

MEET THE ARTIST Rachel Barton Pine, violin In both art and life, violinist Rachel Barton Pine has an extraordinary ability to connect with people.

Celebrated as a leading interpreter of great classic and contemporary works, her performances combine her innate gift for emotional communication and her scholarly fascination with historical research. She plays with passion and conviction, thrilling audiences worldwide with her dazzling technique, lustrous tone, and infectious joy in music-making.

Pine performs with the world’s leading orchestras including the Philadelphia Orchestra, the Royal Philharmonic Orchestra, Camerata Salzburg, and the Chicago, Vienna and Detroit Symphony Orchestras. She has worked with renowned conductors, including Teddy Abrams, Marin Alsop, Semyon Bychkov, Neeme Järvi, Erich Leinsdorf, Sir Neville Marriner, Nicholas McGegan, Zubin Mehta, Tito Muñoz, and John Nelson, and has collaborated with artists such as Daniel Barenboim, Christoph Eschenbach, and William Warfield.

Pine frequently performs music by contemporary composers, including major works written for her by Billy Childs, Mohammed Fairouz, Marcus Goddard, Earl Maneein, Shawn E. Okpebholo, Daniel Bernard Roumain, José Serebrier, and Augusta Read Thomas. She has premiered concertos written for her by Fairouz, Goddard, and Maneein.

Pine’s prolific discography of 39 recordings includes Dvořák and Khachaturian Violin Concertos (Teddy Abrams and the Royal Scottish National Orchestra); Brahms & Joachim Violin Concertos (Carlos Kalmar and the Chicago Symphony Orchestra), and Elgar & Bruch Violin Concertos (Andrew Litton and the BBC Symphony Orchestra). Pine and Sir Neville Marriner’s Mozart: Complete Violin Concertos with the Academy of St Martin in the Fields and her Bel Canto Paganini both charted at number three on the classical charts. Pine’s Testament: Complete Sonatas and Partitas for Solo Violin by Johann Sebastian Bach and Violin Lullabies debuted at number one. Her Violin Concertos by Black Composers of the 18th and 19th Centuries was nominated for a 1997 NPR heritage award. Her recent Blues Dialogues is an album of blues-influenced classical works by 20th- and 21st-century Black composers.

Pine writes her own cadenzas and performs many of her own arrangements. With the publication of The Rachel Barton Pine Collection, she became the only living artist and first woman in Carl Fischer’s Masters Collection. She has appeared on The Today Show, CBS Sunday Morning, PBS NewsHour, Prairie Home Companion, NPR’s Tiny Desk, NPR’s All Things Considered, and Performance Today, and in the Wall Street Journal, Los Angeles Times, and the New York

Times. She holds prizes from several of the world’s leading competitions, including a gold medal at the 1992 J.S. Bach International Violin Competition.

An active philanthropist, Pine has led the Rachel Barton Pine (RBP) Foundation for over two decades. Early in her career, she noticed that young people learning classical music seldom have the opportunity to study and perform music written

by Black composers. Over the last 20 years, Pine and her RBP Foundation’s Music by Black Composers (MBC) project have collected more than 900 works by 450+ Black composers from the 18th–21st centuries. MBC curates free repertoire directories on its website and publishes print resources, including pedagogical books of music exclusively by global Black classical composers and the Rachel Barton Pine Foundation Coloring Book of Black Composers. Additionally, the RBP Foundation assists young artists through its Instrument Loan Program and Grants for Education and Career. Pine also serves on the board of the Sphinx Organization and other not-for-profits.

She performs on the “ex-Bazzini, ex-Soldat” Joseph Guarnerius “del Gesù” (Cremona 1742), on lifetime loan from her anonymous patron.

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CHRISTOPHER ZIMMERMAN, Music Director Named Music Director of the Fairfax Symphony Orchestra in 2009, Christopher Zimmerman celebrates his fourteenth 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.

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 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.” In 2013 premiered “Virtue” by composer Chris Theofanidis for soprano, actor, three voices and orchestra that it cocommissioned 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.

MEET OUR 2022/23 FELLOWS Fairfax Symphony Diversity Fellowship Program This season, we strengthen our commitment to serving students through high-quality education and mentorship programs, as we launch the FSO Diversity 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 Mr. Figueroa is an emerging cellist from Venezuela.

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.

l l l Carolina Pedroza, violin She was a permanent member of the Sinfónica Municipal de Caracas (Venezuela) and has been concertmaster of the Catholic University Symphony Orchestra, Penn State Philharmonic, and Colour of Music Virtuosi Chamber Orchestra. She has also been a section member of the West Virginia Symphony and Baton Rouge Symphony, among others. She has participated in festivals including FEMUSC (Brazil), A Tempo (Colombia), Sewanee Summer Music Festival (TN), Academia Internacional Teatro del Lago (Chile), Northern Lights Music Festival (MN), and Colour of Music Festival (SC and CA).

Joshua Rhodes, double bass Joshua Rhodes is a double bassist from Fayetteville, North Carolina. He is currently in his first year of pursuing a Master’s of Music degree in Double Bass Performance at the University of Maryland. Prior to his enrollment at UMD, he procured his Bachelor’s Degree from the Oberlin Conservatory of Music.

Mr. Rhodes has a severe passion for understanding others and contributing positively to the environment around him. As a musician, this drives him to explore music and new ways of sharing art.

l l l Cristian Contreras, viola Cristian Contreras is an accomplished Violist from Los Angeles, CA. At the age of 19, he won a three-year tenure with the American Youth Symphony and also attended the National Orchestral Institute. He is currently pursuing a Master’s Degree in Viola Performance at the Peabody Institute of the Johns Hopkins University.

Cristian holds a Bachelor’s Degree in Viola Performance from the Bob Cole Conservatory of Music at California State University Long Beach.

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Breonna Proctor, violin Ms. Proctor graduated from James Madison University with a Bachelor of Music degree concentrating in Music Industry. 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 Diversity Fellowship is made possible in part by the Community Foundation of Northern Virginia, Virginia Commission for the Arts, Fairfax County Government, TD Bank, and GEICO.

2022-2023 PHILANTHROPIC SUPPORT The Fairfax Symphony gratefully acknowledges the generosity of the following contributions received within the past twelve months as of January 31, 2023.

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 Jack Kent Cooke Foundation Charles Delmar Foundation Clark-Winchcole Foundation Nelson J. & Katherine Friant-Post Foundation Mary & Daniel Loughran Foundation Northern Virginia Community Foundation Rea Charitable Trust CORPORATIONS Hilton Fairfax GEICO Goodwin Living 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 Dr. Mark Head Martin Poretsky Stephen and Mary Preston GOLD The Timothy Evan Owens Memorial Chair 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 Ronald Geiger Mr. and Mrs. C. David Hartmann Mr. and Mrs. Glenn A. Hemer Robert and Maryanne Jones David & Lenka Lundsten 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 Anonymous William Bell James and Jane Bangarra Bill and Dorothy Brandel Dr. Karen Detweiler Donald and Ruth Drees Frank and Lynn Gayer Daniel Graifer Eric and Joyce Hanson Robert W. Henry Mr. Kurt P. Jaeger Mr. and Mrs. Eugene Kaye Mr. and Mrs. Anthony Kerr Anje Kim Dr. and Mrs. Per Kullstam John and Jeanette Mason Mr. and Mrs. Matt Mattice Joetta Miller Judith Nitsche Dr. and Mrs. Eugene Overton Sandra Lee Stoddard Linda Vitello Michael Wendt David and Deborah Winston, In Memory of May Winston SONATA CIRCLE Ms. Pamela Charin Christopher Forsberg Anthony and Lucy Griffin Christopher Gohrband Gareth and Tân Habel Mr. & Mrs. Eric Hanson Spencer Howell Mr. and Mrs. Keith Highfill Mr. and Mrs. Wade Hinkle Mr. and Mrs. David J. Lynch Helen Noyes Mr. Justice Percell Ms. C. Carole Richard Deborah Roudebush

Mary Jane Spiro Mr. Michael W. Stoltz Dr. Jack and Mrs. Jane Underhill Timothy N. Wade Roy and Margaret Wagner Mr. William Walderman SERENADE CIRCLE Dr. Charles Allen Ms. Gay B. Baker Mr. and Mrs. Ronald Baker Ms. Esther Beaumont David Black 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 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 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 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 Marian Ewell Mr. John A. Farris

Ms. Jenifer Fisch Wilford Forbush 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 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 Dr. and Mrs. Joseph and Linda Marshall Kolleen Martin Mr. and Mrs.Timothy J. McCarthy Joel Meyerson Mr. Robert L. Miller Mr. and Mrs. Kenneth P. Mittelholtz Virginia and Marion Moser Jean Murphy Peggy Newhall 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 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 Kathleen Shultz 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 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 ORCHESTRA Christopher Zimmerman | Music Director VIOLIN 1 David Salness, Concertmaster Doris F. Dakin Chair Allison Bailey, Associate Concertmaster Cristina Constantinescu, Assistant Concertmaster Chris Franke Celaya Kirchner Mia Lee Sharon Like Amelia Bailey Sarah Berger Shu-ting Yao Carolina Pedroza VIOLIN 2 Melanie Kuperstein, Interim Principal, Timothy Evan Owens Memorial Chair Andrew Juola, Assistant Principal, Sue Bower Memorial Chair Elena Smirnova Breonna Proctor Timothy Wade Susan Manus Karan Wright Nancy Bovill Savannah Kari Erynn Hangen Cynthia Crumb VIOLA Adelya Shagidullina, Acting Principal Cristian Contreras Patti Reid Helen Fall Amelia Eckloff Shearom Chung Lillian Green Tim Zenobia Andrew Crane

CELLO Rachel Sexton, Interim Principal Anne Rupert Kathy Thompson Brent Davis Barbara Van Patten Carlos Figueroa Syneva Colle Chen Chen Nick Pascucci DOUBLE BASS Aaron Clay, Principal Kyle Augustine, Assistant Principal Erik Cohen John Barger Jim Donahue Joshua Rhodes HARP Madeline Jarzembak, Principal FLUTE Lawrence Ink, Principal Cheryl Hall OBOE Emily Foster, Principal Janice Shin Kim ENGLISH HORN Meredith Rouse CLARINET Patrick Morgan, Principal Wendi Hatton BASSOON Chris McFarlane, Acting Principal Matthew Gregoire FRENCH HORN Eric Moore, Principal Greta Richard Neil Chidester Doug Quinzi

TRUMPET Chris Larios, Principal Neil Brown TROMBONE David Miller, Principal David Sisk BASS TROMBONE Kaz Kruszewski, Principal TUBA Joseph Guimaraes, Principal TIMPANI Jonathan Milke, Principal PERCUSSION Shari Clark Rak, Principal Michael Gatti, Associate Principal Joe Connell KEYBOARD Sophie Kim Cook

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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.

Susan Manus Players Committee Member

Kyle Augustine Players Committee Member

Leland Schwartz Journalist

HONORARY BOARD The Honorable Sharon Bulova

Dr. Gerald L. Gordon

The Honorable Thomas M. Davis

Julien Patterson

FSO ARTISTIC AND ADMINISTRATIVE STAFF Jonathan Kerr, Executive Director

Celeste Duplaa, Link Up Program Manager

Lisa LaCamera, Chief Operating Officer

Suzy Dawson, Accountant

Susan Petroff, Director of Development

Cynthia Crumb, Personnel Manager

John Murton, Assistant Conductor and Fellowship Program Coordinator

Wendi Hatton, Librarian

Christopher Zimmerman, Music Director

Timothy Wade, Stage Manager Heather Rhine, Graphic Designer

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

Fairfax Symphony Orchestra • P.O. Box 2019, Merrifield, VA 22116 703-563-1990 • www.fairfaxsymphony.org info@fairfaxsymphony.org

MAKING A DIFFERENCE THROUGH MUSIC Beyond the concert stage, the Fairfax Symphony partners with teachers in classrooms across Fairfax County to enhance learning through music. Your support is essential to help bring vital education programs to thousands of students in our community each year.

Over 3,000 students in Grades 3-5 from across the DC metro region perform in our collaborative, Carnegie Hall Link Up concert.

CONNECTING THE CLASSROOM WITH THE CONCERT HALL In partnership with Carnegie Hall, the FSO joins orchestras across the globe to implement Link Up—a semester-long, music-learning program that engages young minds and connects over 500,000 students with the concert hall experience. Through our Link Up program, the FSO works together with teachers in schools across Fairfax County to implement evidence-based curriculum that builds creativity, communication, collaboration, and confidence. The students then join us in a culminating, collaborative performance at the GMU Center for the Arts!

Learn more at www.FAIRFAXSYMPHONY.org

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