Fairfax Symphony with Rachel Barton Pine

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 More than 50 years later, in 2009, a large collection of scores and unpublished works by Price were discovered in a house in rural Illinois.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

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 Dvo řák 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 T he 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.

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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 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.

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.

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.

Breonna Proctor, violin

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.

Joshua Rhodes, double bass

Cristian Contreras, viola

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

READY FOR HAPPY HOUR?

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FAIRFAX SYMPHONY BOARD OF DIRECTORS

Jose “Pepe” Figueroa, Chairman

Priority One Services

John Lockhart, Treasurer

PNC Bank

Thomas Murphy, General Counsel

Jackson Lewis P.C.

Kyle Augustine Players Committee Member

Thomas Brownell, Secretary

Holland & Knight LLP

Eric Moore

American University

Susan Manus Players Committee Member

Leland Schwartz Journalist

HONORARY BOARD

The Honorable Sharon Bulova

The Honorable Thomas M. Davis

Dr. Gerald L. Gordon

Julien Patterson

FSO ARTISTIC AND ADMINISTRATIVE STAFF

Christopher Zimmerman, Music Director

Jonathan Kerr, Executive Director

Lisa LaCamera, Chief Operating Officer

Susan Petroff, Director of Development

John Murton, Assistant Conductor and Fellowship Program Coordinator

Celeste Duplaa, Link Up Program Manager

Suzy Dawson, Accountant

Cynthia Crumb, Personnel Manager

Wendi Hatton, Librarian

Timothy Wade, Stage Manager

Heather Rhine, Graphic Designer

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!