Fairfax Symphony_Jandali Premiere_March 9_2024

23 SEASON / 24

Christopher Zimmerman, music director and conductor

Saturday, March 9, 2024 at 8pm

Center for the Arts at George Mason University

MALEK JANDALI (1972-)

Selected Movements from Symphony No. 6 , “The Desert Rose”

II. “Praise”

V. “Ardah”

VII. “Fete”

MALEK JANDALI

Concerto for Clarinet and Orchestra (WORLD PREMIERE PERFORMANCE)

I. Andantino misterioso

II. Nocturne

III. Allegro moderato

Anthony McGill, clarinet

—Intermission—

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No.3 in E flat major “Eroica”, op.55

I. Allegro con brio

II. Marcia funebre—adagio assai

III. Scherzo—allegro vivace

IV. Finale—allegro molto

The FSO’s 2023/24 Season is made possible with generous support from

MEET THE ARTIST

ANTHONY MCGILL

Hailed for his “trademark brilliance, penetrating sound and rich character” (New York Times), clarinetist Anthony McGill enjoys a dynamic international solo and chamber music career and is principal clarinet of the New York Philharmonic — the first African-American principal player in the organization’s history. He is the recipient of the 2020 Avery Fisher Prize, one of classical music’s most significant awards.

McGill appears as a soloist with top orchestras, including the New York and Los Angeles Philharmonics, the Metropolitan Opera, and the Baltimore, Boston, Chicago, and Detroit Symphony Orchestras. He performed alongside Itzhak Perlman, Yo-Yo Ma, and Gabriela Montero at the inauguration of President Barack Obama, premiering a piece by John Williams. As a chamber musician, McGill is a collaborator of the Brentano, Daedalus, Guarneri, JACK, Miró, Pacifica, Shanghai, Takács, and Tokyo Quartets, and performs with leading artists including Emanuel Ax, Inon Barnatan, Gloria Chien, Yefim Bronfman, Gil Shaham, Midori, Mitsuko Uchida, and Lang Lang.

He serves on the faculty of The Juilliard School and is the Artistic Director for Juilliard’s Music Advancement Program. He holds the William R. and Hyunah Yu Brody Distinguished Chair at the Curtis Institute of Music.

In 2020, McGill’s #TakeTwoKnees campaign protesting the death of George Floyd and historic racial injustice went viral. In 2023, he partnered with Bryan Stevenson and the Equal Justice Initiative to organize a classical music industry convening at EJI’s Legacy Museum in Montgomery, Alabama, in which leaders and artists in classical music examined America’s history of racial inequality and how this legacy continues to impact their work. He is a Backun Artist and performs exclusively on Backun Clarinets.

Learn more at www.anthonymcgill.com

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.

MALEK JANDALI

Malek Jandali is one of the most important composers of his generation in America. His music has been hailed as “a major new addition to the 21st century’s symphonic literature” by Fanfare magazine. Critically acclaimed for his unique musical voice that has been described as “deeply enigmatic” (Gramophone) and rich with “heart-rending melodies, lush orchestration, and creative textures” (American Record Guide), his prolific work includes eight symphonies, seven concertos, four string quartets, other orchestral and chamber music works, as well as an upcoming premiere of his full opera, The Square.

A dedicated peace activist, Malek Jandali is the recipient of the 2014 Global Music Humanitarian Award, and in 2015 the Carnegie Corporation of New York honored him as a Great Immigrant, a Pride of America. His large-scale orchestral works engage major philosophical themes and integrate Arabic maqams (modes) with persuasive craft and a marked seriousness of purpose that echo UNESCO’s call to preserve and protect the rich cultural heritage of his homeland Syria.

Prominent advocates of Jandali’s instrumental music include distinguished conductors Marin Alsop, Sergey Kondrashev, David Firman, Christopher Zimmerman, Alastair Willis, Pavle Dešpalj, Robert Franz, Delta David Gier, and Lina González-Granados. His music consistently makes a profound impact on listeners throughout the world. Maestro Alsop states, “Jandali belongs among the superb composer poets of our time—a meaningful voice of quite astonishing, almost unearthly beauty.”

Malek Jandali’s most recent premieres include his Viola Concerto for Roberto Diaz, his Clarinet Concerto for Grammy-nominated clarinetist Anthony McGill, and his Violin Concerto with Rachel Barton Pine. His 2023 album Concertos on the Cedille Records label received four stars from the BBC Music Magazine.

Jandali’s compositions have been commissioned, performed, and recorded by leading orchestras including the Royal Philharmonic, ORF Vienna Radio Symphony, Russian Philharmonic, Baltimore Symphony, Zagreb Philharmonic,

Stockholm Solister, Norrlandsoperan Symphony Orchestra, Cairo Symphony, and Qatar Philharmonic Orchestra. His music has been performed, at major venues around the world including Carnegie Hall, the Kennedy Center, the Wiener Konzerthaus, Madrid’s National Auditorium with the Queen of Spain in attendance, Cadogan Hall, Konserthuset Stockholm, Cairo Opera House, Nidaros Cathedral, Sydney Opera House, United Nations Headquarters, the National Museum of Qatar, and the Museum of the Future in Dubai.

Jandali has produced ten albums of lauded performances of more than forty of his compositions. He is the first Arab musician to have arranged the oldest music notation in the world, which was featured on his 2008 album Echoes from Ugarit. His albums Syrian Symphony, SoHo, Hiraeth, and The Jasmine Tree were released at Carnegie Hall. His 2021 album contains Piano Concerto No. 1, recorded in Moscow with the composer at the piano and the Russian Philharmonic Orchestra led by Sergey Kondrashev; and Elegy, recorded in London with the Royal Philharmonic Orchestra. His 2022 album The Desert Rose features his Symphony No. 4 for string orchestra and Symphony No. 6, commissioned by Qatar Museums and recorded by the ORF Vienna Radio Symphony Orchestra led by Marin Alsop. The symphonic poem Silent Ocean (2017) was commissioned by the Baltimore Symphony Orchestra. The plight of Syrian children was the inspiration for his second symphony, Luminosity, commissioned and premiered by the Zagreb Philharmonic Orchestra (ZPO) at Carnegie Hall. The ZPO premiered his third symphony, Hiraeth, at Lisinski Hall under the baton of Pavle Dešpalj.

Malek Jandali is passionate about making the arts accessible to all. He is the founder and CEO of Pianos for Peace, a nonprofit organization dedicated to building peace through music and education. He embraces young talent from all over the world through the annual Malek Jandali International Youth Piano Competition. Jandali enjoys a worldwide career as an acclaimed pianist noted for his combination of passion, imagination and authenticity (BBC WorldNews).

Malek Jandali was born in Germany and raised in Syria. He is composer-inresidence at both Queens University of Charlotte and at Qatar Museums. Jandali now makes his home in both Manhattan and Atlanta. His recordings are available on Cedille Records, Naxos, Apple Music, Spotify, and Virgin Megastores worldwide.

PROGRAM NOTES

MALEK JANDALI

Symphony No. 6 “The Desert Rose”

Composer: born December 25, 1972, Waldbröl, West Germany

The desert rose, with its intricate crystalline petal clusters, forms over millennia through the interaction of minerals, sand, and water in regions such as Qatar—a land of desert and sea. This “architectural” wonder of nature inspired the design of Jean Nouvel’s masterpiece, the National Museum of Qatar, a stunning structure of interlocking discs that tells the story of Qatar from the natural history of its origins through its cultural developments to the cutting-edge technologies of today.

Springing from the idea that architecture is frozen music, Malek Jandali’s Symphony No. 6 takes its inspiration from both “desert roses,” transforming them into a consummate orchestral work that preserves and extends the rich heritage of the region. The Desert Rose Symphony depicts their complexity and contrasts in form and scale, juxtaposing the traditional and the modern—rapid progress intertwined with the arid golden sand dunes and the abundance of the sea. The nine-movement symphony also takes inspiration from the nine-point serrated line in the flag of Qatar indicating the ninth member of the “Reconciled Emirates” of the Persian Gulf in the wake of concluding the Qatari-British treaty in 1916. The white color reflects the internationally recognized symbol of peace. This work is commissioned by Her Excellency Sheikha Al-Mayassa bint Hamad bin Khalifa Al Thani, chairperson of Qatar Museums.

Like its inspirations, Symphony No. 6 harbors an elaborate interlocking structure. Bookmarked in A-flat major, in which key the first and last movements end, the Symphony comprises three interlaced musical forms—a symphonic suite and two symphonies. One is a Qatari symphonic suite based on traditional folk music and dances using the principal of contrast: Movements II, III, V and VII. Second is a traditional “old-fashioned” symphony of four Movements I, IV, VI and IX. The third combines the first two “symphonies” with Movement VIII, which brings about the grandiose conclusion of the Desert Rose Symphony.

The Desert Rose Symphony amazes on so many levels, just like its models. Driving rhythmic ostinatos contrast with poetic beauty, old interlocks with new, Qatari folk with Western classical, natural with manmade. Through it all runs the voice of hope for peace and unity.

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

structure and integrating them, opens up a whole new form. Jandali belongs among the superb composer poets of our time. A meaningful voice of quite astonishing, almost unearthly beauty.”

As to nature’s desert rose, an example of which she was able to touch leading up to the recording sessions, she was struck by its sturdiness. “Seeing the actual desert rose today,” she reported, “made me feel much more connected to our heritage as human beings on the planet. And maybe that’s the goal... to find that fundamental connection among all of us as human beings instead of all these superficial things that we have to fight about. So... we can aspire.”

Selected Movements for tonight’s performance:

II. Praise: Con moto

The first of the interlocking movements of the Qatari suite is based on ancient devotional chants that still welcome people of faith to praise and worship. A misahharātī (wake-up drummer and caller), often accompanied by someone playing a mizmār (reed instrument), rouses people before dawn during the holy month of Ramadan so they can eat sahūr before prayer and fasting. The tradition reaches throughout the Arab world, though it is disappearing due to technology. The chants feature a free melodic accompanied by a precise rhythmic pattern

V. Ardah: Moderato

Jandali draws on the unique rhythm and melody of the Qatari Ardah, which men with swords danced to the accompaniment of drums and poetry. Formerly the Ardah displayed the power and unity of a tribe, whereas today celebrations feature this dance as a symbol of Qatari kinship and solidarity. Says Jandali, “I had in mind replacing the swords with the bows of the stringed instruments, which are often made from the tail hair of the finest Arabian horses. Thus, in a symphony for peace the power of music rather than that of the sword makes a plea for unity.”

VII. Fete: Vivace

In the finale of the Qatari “suite” movements, a traditional children’s song, “Al Aydo,” celebrates the unity of a bride and groom’s family using a charming rhythmical pattern. This song inspired the second of the minor-key themes in this movement.

MALEK JANDALI

Concerto for Clarinet and Orchestra (World Premiere)

As with Mozart writing clarinet works for Anton Stadler or Brahms for Richard Mühlfeld, Jandali (MalekJandali.com) wrote this work specifically for Anthony McGill, principal clarinetist of the New York Philharmonic, artistic director of Juiliard’s Music Advancement Program; and professor at both the Juilliard School and Curtis Institute. Says Jandali, ‘ Anthony for the first time on June 15, 2018, at the League of American Orchestras’ 73rd National Conference in

Chicago and asked him if he would be interested in having a clarinet concerto written for him, and he said yes!” Written primarily in 2019 in New York City and Atlanta and completed in February 2021, the work is dedicated to McGill “in memory of all victims of injustice” and, like all of Jandali’s works, is infused with ancient themes from Jandali’s homeland as a means of preservation. This work is commissioned by Her Excellency Sheikha Al-Mayassa bint Hamad bin Khalifa Al Thani, chairperson of Qatar Museums.

Reflecting on that dedication during the recording sessions in Vienna in May 2022, McGill said, “In the midst of the pain and the violence and injustice in the world al we are left with is the ability to pour our hearts and our souls into something more beautiful, into something more powerful, so it can communicate throughout all time and live on” He also reflected on how deeply the work affected him: “There are so many moments in this piece that really, really spoke to me deeply. And when I’m playing them, it makes me connected to something that maybe I wasn’t familiar with before. And that’s an amazing feeling to try to step inside the hearts of the Syrian people.”

Marin Alsop, who has worked with Jandali for many years on many different projects, emphasizes the moral thread that runs through Jandali’s music.

“Malek composes in some ways very traditionally because he uses notation and techniques that the instrumentalists are familiar with; but like Bartók did, like Dvorák did, he uses his cultural folk music as a real underpinning for developing these themes, developing these ideas. But the most important part of the story always is the moral. My job is to find the moral to the story and get that across, and Malek’s music is very, very strong in its intentionality and its desire to really stand up for those who don’t have a voice.”

Melodic fragments emerge out of the mysterious orchestral introduction. colored by “ticking” xylophone interjections and rustling flutter-tonguing and tremolos, al coalescing into the solo clarinet’s entrance. A judicious pause brings on the first main theme, which comes from a wasla (cycle of instrumental and vocal pieces) in the Hiiaz Kar madam - a traditional muwashshah called “Zarani al Mahboub” (My beloved visited me), specifically in the Masmoudi rhythm. After a sprightly continuation, another pause brings on the second main theme- an ancient Syrian sama’i- also in the clarinet. McGill singles out this soft theme as particularly moving, saying “It has this rhythm that makes me feel as though I’ve stepped back in time, that l’m connecting into something much, much greater than myself.” The clarinet part becomes incredibly virtuosic, often landing on a flutter-tongued note representing the pleas of the victims of injustice. The ternary form comes full circle with a return to the first theme.

The second movement, Nocturne (literally “night piece”) consists of six short continuous variations on a theme from an old Syrian muwashshah titled “Ya ghazali” (My beloved, how did they take you from me) in the Hijaz maqam. The theme is subject to variation at the outset, hence the movement’s opening is already designated “Variation 1.” The furtive rustlings, tremolos, and darting interjections throughout bring to mind Bartok’s famous “night music” passages.

The finale grows out of the quiet of the preceding movement with steady periodic splashes of struck suspended cymbals. The energetic first theme is based on an old Syrian bashraf in 4/4 meter, which soon becomes dazzlingly

virtuosic for the clarinetist. The quieter second theme, also introduced by the clarinet, stems from a traditional Syrian wasla in the Bayati maqam, namely the muwashshah “Ya hilou al lama”(roughly “Oh sweet one and smiling”). Striking orchestral effects, ranging in pitch from extremely low to extremely high, lead to an acrobatic cadenza that shows of the clarinet in all its registers. The work concludes with a vigorous, festive dance for all that offers a suggestion of light and hope in the midst of darkness.

© Malek Jandali

LUDWIG VAN BEETHOVEN

Symphony No. 3 in E-flat major, Op. 55, “Eroica”

Composer: born December 16, 1770, Bonn; died March 26, 1827, Vienna

Work composed: 1802-04. Dedicated to Beethoven’s patron, Prince Franz Joseph Maximilian Lobkowitz

World premiere: Beethoven conducted the premiere on April 7, 1805, Ludwig van Beethoven admired Napoleon Bonaparte, whose early exploits as First Consul of France reaffirmed the motto of the French Revolution: “Liberty, Equality, Fraternity.” It had been Beethoven’s intention to dedicate his third symphony to Napoleon, but when the composer heard Napoleon had declared himself Emperor in May 1804, Beethoven was outraged. So vehement was his desire to rid his third symphony of any association with the French general that Beethoven erased the words “intitulata Bonaparte” from the title page with a knife, leaving a hole in the paper. When the score was first printed in 1806, the title page read only, “A heroic symphony… composed to celebrate the memory of a great man.”

Today, the “Eroica” is considered one of the groundbreaking musical events of the 19th century, but in Beethoven’s time it received a great deal of criticism. Its length alone challenged the audience (depending on the conductor’s tempos and observations of marked repetitions in the score, the “Eroica” runs 45 –60 minutes, much longer than a typical symphony of the time). Beethoven acknowledged this, noting in the 1806 edition of the score, “This symphony being purposely written much longer than is usual, should be performed nearer the beginning rather than at the end of a concert … if it is heard too late it will lose for the listener, already tired by previous performances, its own proposed effect …”

One reviewer, using words that today we would consider praiseworthy, criticized Beethoven’s “undesirable originality,” and went on to say, “Genius proclaims itself not in the unusual and fantastic but in the beautiful and sublime” and further, that the symphony as a whole was “unendurable to the mere musiclover.”

Beginning with the one-two punch of “Eroica’s” opening chords, Beethoven obliterated the concept of the Classical-style symphony and earned for himself the adjective “revolutionary.” Everything about this lengthy first movement confounds expectation: its unexpected and continuous development of melodic

fragments, its “wrong key” tonalities, and Beethoven’s idiosyncratic use of rhythm, which at times verged on the eccentric. Certainly this was shocking to audiences accustomed to the more predictable pace of Mozart and Haydn. Of particular note is the notoriously “early” entrance of the horn towards the end of the first movement. Beethoven’s student and biographer Ferdinand Ries recalled, “At the first rehearsal of the Symphony, which was terrible – but at which the horn player made his entry correctly – I stood beside Beethoven and, thinking that a blunder had been made I said: ‘Can’t the damned hornist count? –it sounds horribly false!’ I think I came pretty close to getting a box on the ear. Beethoven did not forgive that little slip for a long time.”

The solemn, majestic Marcia funebre (funeral march) can be heard as Beethoven mourning his disappointment in Napoleon, and his vanished dreams of heroism.

The buoyant Scherzo departs from the intensity of the previous two movements. Here is Beethoven’s mocking sense of humor at play, as when the strings return with their signature theme and stomp all over their previously playful rhythm. The insistent pulse of the strings and the incessant bounce of this movement suggest a puppy chasing its own tail.

The final movement, a set of themes and variations, uses music from the Beethoven’s own Overture to The Creatures of Prometheus from 1801, as well as an 1802 solo piano work, known today as the “Eroica” Variations. A virtuoso blast from the horn section signals the symphony’s conclusion, a glorious reaffirmation of Beethoven’s heroic ideals. © Elizabeth Schwartz

Remembering John Mason

Fairfax Symphony Chairman of the Board

2004-2006

Former Fairfax City Mayor, John Mason, passed away on February 7 at the age of 89. The FSO honors his commitment, leadership, and significant contributions to the Fairfax Symphony and the Fairfax County arts community at large. We express our gratitude for his dedication and belief in the vital role the arts play in our community. His legacy lives on through each note we play.

MEET OUR 2023/24 FELLOWS

Fairfax Symphony Diversity Fellowship Program

This season, we strengthen our commitment to serving students through high-quality education and mentorship programs, with the FSO Diversity, 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.

ASA DAWSON, double bass

Asa Dawson is a recent graduate of the University of Maryland School of Music’s undergraduate program, receiving a Bachelor of Music degree in Double Bass Performance while studying under Anthony Manzo. Asa has also studied under Paul DeNola, a member of the National Symphony’s powerful Double Bass section. The summer festivals Asa Dawson has participated in include the National Symphony’s Summer Music Institute, Eastern Music Festival, and National Orchestral Institute + Festival. Asa Dawson has also performed with the National Philharmonic and other local orchestras in the Washington, D.C. metropolitan area. Asa Dawson will be spending the next year studying with Paul DeNola while taking orchestral auditions and freelancing. In his spare time, Asa enjoys composing, film scoring, and woodworking

MARGE (ASHA) BAYLOR, viola

My name is Asha Baylor, but I also go by the name Margie (after my late grandmother). I started playing the viola in 6th grade as an elective for school, and it quickly grew into one of my greatest passions. I started auditioning for local orchestra events in the area and getting private lessons by the next year, and even went to an arts high school (Appomattox Regional Governor’s School for the Arts and Technology). When I was accepted into Victoria Chiang’s studio at Peabody, it was like a dream come true! I’m so grateful for every teacher and program that’s gotten me to where I am now, and I’m excited to see where else my viola will take me

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.

ANGELA RAMIREZ, violin

Angela Ramirez is a violinist from Miami, Florida. She is a senior at the Johns Hopkins University Peabody Institute where she studies violin with Rebecca Henry. Angela has participated in local and national orchestra festivals, including New World Symphony Side-by-Side Ensemble, Music for All National Festival, Florida All-State, and the Honors Performance Series at Carnegie Hall. In the summer and fall of 2019, she attended the Youth Orchestra of Los Angeles National Festival and Institute, where she performed alongside the Los Angeles Philharmonic and the National Youth Orchestra of Great Britain for performances at the Hollywood Bowl and Edinburgh International Festival. In more recent summers, Angela returned to Los Angeles as a YOLA alumni/Encuentros Orchestra member and performed alongside the LA Phil for three different performances across California.

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).

The FSO Diversity Fellowship is made possible in part by Virginia Commission for the Arts, Fairfax County Government, and TD Bank.

2023-2024 PHILANTHROPIC SUPPORT

The Fairfax Symphony gratefully acknowledges the generosity of the following contributions received within the past twelve months as of March 1, 2024.

Thank you for dedicating these vital gifts to the music and education programs we work so passionately to create and share with our community.

GOVERNMENT ARTSFAIRFAX

City of Fairfax Commission on the Arts

County of Fairfax

National Endowment for the Arts

Virginia Commission for the Arts

FOUNDATIONS AND CHARITABLE FUNDS

Anonymous

Paul M. Angell Family Foundation

Charles Delmar Foundation

Nelson J. & Katherine Friant-Post Foundation

Richard & Caroline T. Gwathemy Memorial Trust

Mary & Daniel Loughran Foundation

TD BANK Foundation

The Rea Charitable Trust

CORPORATIONS

Hilton Fairfax

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The Mather

Dominion Energy

NOVEC

Priority One Services, Inc.

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In honor of Ms. Sarah Daniel

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In memory of

R. Dennis McArver

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In Memory of Joseph G. Marshall, M.D.

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FAIRFAX SYMPHONY ORCHESTRA

VIOLIN 1

David Salness, Concertmaster

Doris F. Dakin Chair

Cristina Constantinescu

Chris Franke

Carolina Pedroza, FSO Fellow

Mia Lee

Sharon Like

Natalie Trainer

Amelia Bailey

Gersh Chervinsky

Greta Radovani

VIOLIN 2

Sarah Berger, Principal

The Timothy Evan Owens Memorial Chair

Andrew Juola, Assistant Principal

Sue Bower Memorial Chair

Angela Ramirez, FSO Fellow

Jessica Mun

Sue Manus

Elena Smirnova

Cindy Crumb

Karan Wright

Savannah Kari

Makiko Taguchi

VIOLA

Caroline Castleton, Principal

Cristian Contreras, FSO Fellow

Patti Reid

Asha Baylor, FSO Fellow

Amelia Eckloff

Lillian Green

Tim Zenobia

Andy Sprinkle

CELLO

Rachel Sexton, Principal

Syneva Colle

Kathy Thompson

Anne Rupert

Barbara Van Patten

Brent Davis

Christopher Fiore

Emily Doveala

DOUBLE BASS

Aaron Clay, Principal

Kyle Augustine, Associate Principal

Erik Cohen

Asa Dawson, FSO Fellow

John Barger

FLUTE

Lawrence Ink, Principal

Cheryl Hall

Sharon Lee, Piccolo

OBOE

Emily Foster, Principal

Trevor Mowry

CLARINET

Patrick Morgan, Principal

Wendi Hatton

Barbara Haney, Bass Clarinet

BASSOON

Dean Woods, Principal

Sandy Johnson

Chris McFarlane, Contra-Bassoon

FRENCH HORN

Eric Moore, Principal

Greta Richard

Neil Chidester

Alex Kovling

TRUMPET

Chris Larios, Principal

Neil Brown

TROMBONE

Dave Miller, Principal

David Sisk

TUBA

Joseph Guimaraes, Principal

PERCUSSION

Alex Garde, Principal

Mike Gatti, Associate Principal

Mark Carson

Joe McIntyre

TIMPANI

Jonathan Milke, Principal

HARP

Madeline Jarzemback, Principal

CELESTE/PIANO

Jane Kaye

Christopher Zimmerman | Music Director

FAIRFAX SYMPHONY BOARD OF DIRECTORS

Jose “Pepe” Figueroa, Chairman

Priority One Services

John Lockhart, Treasurer

Thomas Murphy, General Counsel

Jackson Lewis P.C.

Thomas Brownell, Secretary Holland & Knight LLP

Eric Moore

American University

Leland Schwartz

Author and Publisher

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

READY FOR HAPPY HOUR?

Visit Hilton Fairfax!

Enjoy a quiet stay and lush locale in Fairfax. Just off I-66 in the tree-lined Fair Lakes and a short walk from retail and dining. Centrally located near George Mason University’s Center for the Arts, offering plenty to do in Fairfax and the option to explore DC, Northern Virginia, and Maryland… just minutes away!

Plus, parking is free for all hotel guests.

Hilton Fairfax

12777 Fair Lakes Circle

Fairfax, VA 22033 703.653.6000