2023/24 Season
Christopher Zimmerman, music director and conductor Saturday, November 18, 2023 at 8pm Center for the Arts at George Mason University RICHARD WAGNER “Prelude and Liebestod” from Tristan and Isolde RICHARD STRAUSS Vier letzte Lieder, Op. posth. (Four Last Songs) I. Frühling (Spring) II. September III. Beim Schlafengehen (Upon Going to Sleep) IV. Im Abendrot (At Sunset) Renée Fleming, soprano* —Intermission— RICHARD STRAUSS Don Juan, Op. 20 RUGGERO LEONCAVALLO* “Musette svaria sulla bocca viva” from La bohème GIACOMO PUCCINI* “O mio babbino caro” from Gianni Schicchi MEREDITH WILLSON* “Till There Was You” from The Music Man ALAN JAY LERNER/ FREDERICK LOEWE* “I could have danced all night” from My Fair Lady This performance is made possible with generous support from
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MEET THE ARTIST RENÉE FLEMING Renée Fleming is one of the most highly acclaimed singers of our time, performing on the stages of the world’s great opera houses and concert halls. Honored with five GRAMMY Awards and the US National Medal of Arts, she has sung for momentous occasions from the Nobel Peace Prize ceremony to the Super Bowl. In May, Fleming was named a Goodwill Ambassador for Arts and Health for the World Health Organization, and this December she will receive the prestigious 2023 Kennedy Center Honor. Fleming’s current concert calendar includes appearances in Paris, Milan, Vienna, Tokyo, and at Carnegie Hall. Recent opera performances include starring in the world premiere staging of The Hours, a new opera based on the Pulitzer Prize-winning novel and awardwinning film, at the Metropolitan Opera, and a role debut as Pat Nixon in a new production of Nixon in China at the Opéra de Paris. Her recording Voice of Nature: The Anthropocene, won the 2023 GRAMMY Award for Best Classical Solo Vocal Album. In January, Decca released a special double-length album of live recordings from Renée’s iconic performances at the Metropolitan Opera, Renée Fleming: Greatest Moments at the Met. Renée earned a Tony Award nomination for her performance in Carousel on Broadway, and her voice is featured in two Best Picture Oscar-winning films. A leading advocate for research at the intersection of arts, health, and neuroscience, Fleming launched the first ongoing collaboration between The Kennedy Center for the Performing Arts and the US National Institutes of Health. She has presented her program Music and the Mind in more than 50 cities around the world. Fleming directs SongStudio (Carnegie Hall’s art song program for young artists), is Co-Director of the Aspen Opera Theater and VocalARTS at the Aspen Music Festival, and Advisor for Special Projects at the Los Angeles Opera. Other awards include the 2023 Crystal Award from the World Economic Forum, the Fulbright Lifetime Achievement Medal, the Order of Merit from Germany, and the French Ordre national de la Légion d’honneur. She holds honorary doctorates from eight leading universities. www.reneefleming.com
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PROGRAM NOTES RICHARD WAGNER “Prelude and Liebestod” from Tristan and Isolde Composer: born May 22, 1813, Leipzig; died February 13, 1883, Venice Work composed: 1857 – August 6, 1859 World premiere: Wagner conducted the first performance of the Prelude and Liebestod in St. Petersburg, Russia, on March 10, 1863. Happy love stories inspire few works of art; it is the tragic tale that draws us in. Richard Wagner understood this lure, and saw the legend of Tristan and Isolde as the perfect vehicle to explore the nature of an all-consuming passion. As he researched the story, Wagner wrote, “This Tristan is turning into something terrifying!” At its root, passion is, despite the romance commonly attached to the notion, unbearable (think of the Passion of Christ). The blazing intensity it creates cannot last; those afflicted burn up like moths driven to selfimmolation in an irresistible flame. “The world, power, fame, splendor, honor, chivalry, friendship, all are dissipated like an empty dream,” wrote Wagner in an 1860 program note for a Paris performance of the Prelude. “One thing only remains: longing, longing, insatiable longing … Death … perishing, never awakening, their only deliverance.” The Prelude opens with Wagner’s famously unresolved “Tristan chord,” which has generated much debate among music scholars regarding its meaning and function. In his book, My Life with Wagner, Christian Thielemann, who served as music director of the Bayreuth Festival from 2015-20, writes: “[the chord] is the password, the cipher for all modern music. It is a chord that does not conform to any key, a chord on the verge of dissonance,” and “The Tristan chord does not seek to be resolved in the closest consonance, as the classic theory of harmony requires; [it] is sufficient unto itself, just as Tristan and Isolde are sufficient unto themselves and know only their love.” In the context of the opera, the chord’s lack of harmonic stability foreshadows the lovers’ futile search for happiness. Throughout the Prelude, Wagner’s phrases soar and yearn for a resolution just beyond reach. Isolde’s famous Liebestod (Love-Death) aria was originally titled Verklärung (Transfiguration). Isolde, already dying from the potion she and Tristan ingested, embraces Tristan’s body. The music of their earlier love duet envelops her. Only in death can Isolde and Tristan finally achieve the ecstatic union that eluded them in life.
FSO at Capital One Hall in Tysons
These concerts are brought to you through a partnership of the Fairfax Symphony and
RICHARD STRAUSS Vier letzte Lieder, Op. posth. (Four Last Songs) Composer: born June 11, 1864, Munich; died September 8, 1949, Garmisch-Partenkirchen, Germany Work composed: 1848 World premiere: Wilhelm Furtwängler led the Philharmonia Orchestra and soprano Kirsten Flagstad at the Albert Hall in London on May 22, 1950 “If I could only sing one composer for the rest of my life, it would definitely be him” – Renée Fleming, speaking of Richard Strauss Richard Strauss married soprano Pauline de Anha in 1894; she remained Strauss’ muse for the rest of his life, even long after Pauline had retired from the stage. Strauss loved writing for the voice, particularly for sopranos. His operas feature indelible soprano roles: the Marschallin from Der Rosenkavalier; Ariadne in Ariadne auf Naxos; and the title role in Elektra, among others. Strauss also composed more than 200 lieder; the most famous of these, the Four Last Songs, are among the last works he completed. Lieder are usually written for voice and piano, but Strauss expanded the lieder’s expressive capabilities with rich, timbre-specific symphonic accompaniments. The poems Strauss chose, by Hermann Hesse and Joseph von Eichendorff, reveal hidden layers of emotion and meaning when paired with his masterful orchestrations. Ms. Fleming first recorded these songs in 1995, and they remain the most performed music in her recital repertoire. In the liner notes for her 2008 Decca recording, Ms. Fleming mentions the collaborative nature of these songs. “When I started learning the epic Four Last Songs, it soon became clear to me that, no matter how well the songs were sung, it was the overall pacing of the piece, combined with the quality of the orchestral playing, that really shaped it.” In 1947, a year before his death, Strauss read Joseph von Eichendorff’s poem “Im Abendrot” (At Sunset), which describes an elderly couple looking back on their long life together. Strauss immediately connected with the poem’s imagery and how it reflected his time with Pauline. Not long afterwards, Strauss was introduced to the poetry of Hermann Hesse. Hesse had won the Nobel Prize for literature in 1946, but at that time his work was not yet widely known. Strauss set three of Hesse’s poems, “Frühling” (Spring); “Beim Schlafengehen” (Upon Going to Sleep); and “September,” whose themes echo Eichendorff’s in their acknowledgement of death’s imminence, as one bids farewell to a beloved life.
PROGRAM NOTES These poems, and Strauss’ settings, create a musical framework for contemplating one’s own mortality. They explore memory, nostalgia, resignation, and acceptance as they also celebrate life’s joys, the satisfaction of work well done, and the enduring support of a long, close marriage. The songs abound with exquisite examples of word painting. Some examples: the ethereal violin solo in “Beim Schlafengehen” (Upon Going to Sleep), followed by the soprano’s soaring echo on the word “seele,” (soul); the flutes’ fluttering birdsong conjuring up a pair of larks in “Im Abendrot,” and the Strauss’ musical answer to the final line of the same poem, “Ist dies etwa der Tod?” (Can this perhaps be death?), with a quotation from his tone poem Death and Transfiguration. Strauss did not specify an order for these songs, nor did he give them their title. Both were bestowed by Ernst Roth at Boosey & Hawkes, which first published the songs after their 1950 premiere. Since they were first published, singers have tended to follow the “established” published order, as Ms. Fleming does tonight.
RICHARD STRAUSS Don Juan, Op. 20 Composer: born June 11, 1864, Munich; died September 8, 1949, Garmisch-Partenkirchen, Germany Work composed: 1888 World premiere: Strauss led the Grand Ducal Court Orchestra of Weimar on November 11, 1889 When Don Juan premiered in 1889, it confirmed Richard Strauss’ reputation as the preeminent composer of his generation. Strauss’s matchless orchestrations are showcased throughout this bold, provocative work, and his challenging brass parts are especially noteworthy. During rehearsals, one horn player asked sarcastically, “Good God, in what way have we sinned that you should have sent us this scourge?!” Strauss sympathized; in a letter to his father, also a horn player, Strauss wrote, “I felt really sorry for the poor horns and trumpets. They blew till they were blue in the face, it’s such a strenuous business for them … [but] the sound was wonderful, with an immense glow and sumptuousness; the whole affair will make an incredible impression here.” He was right. From the moment of its premiere, Don Juan simultaneously thrilled and confounded audiences with its groundbreaking use of colors and vibrant, musically articulate character portraits.
The Don’s theme explodes in our ears just after the opening introductory flourish, a swashbuckling ascending line in the violins. Immediately we perceive the Don as an impulsive adventurer, forever looking for his next escapade or conquest; this theme recurs several times. But Strauss’ Don Juan is more than a roguish libertine; he also embodies a nobility of spirit embodied in a heroic counter-theme for four unison horns. Strauss is equally adept at depicting the Don’s seductive virtuosity. A solo violin drips with tender intimacies, and later an oboe soars with a melody of serene gentility. The character of Don Juan has fascinated writers and artists since it first appeared in Tirso de Molina’s 17th century play, The Trickster of Seville and the Stone Guest. Strauss’ Don Juan retains many of the original character’s traits, most notably his unbridled libertinism. Strauss’ literary source for the Don comes from Nikolaus Lenau’s 1844 version, Don Juan, A Dramatic Poem. In Lenau’s poem, the Don is a multifaceted Romantic figure, full of psychological complexity, whose true quest for the ideal woman echoes Goethe’s notion of the elusive and unattainable “eternal feminine.” Each seduction takes its toll on the Don, and he becomes filled with existential ennui. He begins to long for death, and eventually commits a passive form of suicide by allowing himself to be killed by the son of a man he murdered. © Elizabeth Schwartz
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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.
2023-24 Season Fairfax Symphony Orchestra Saturday, November 18, 2023 | 8pm
Center for the Arts at George Mason University Strauss Prelude and Liebestod from “Tristan and Isolde” Strauss Four Last Songs Renée Fleming, soprano Strauss Don Juan
Tchaikovsky’s The Nutcracker
Center for the Arts at George Mason University
Featuring the Fairfax Ballet Saturday, December 16, 2023 | 4pm Sunday, December 17, 2023 | 4pm
Saturday, February 3, 2024 | 8pm GMU Harris Theatre Vivaldi Four Seasons Piazzolla Four Seasons of Buenos Aires Chee-Yun, violin
Saturday, March 9, 2024 | 8pm Center for the Arts at George Mason University
Jandali Clarinet Concerto (World Premiere) Anthony McGill, clarinet Beethoven Symphony No. 3 “Eroica”
Saturday, May 18, 2024 | 8pm GMU Harris Theatre Prokofiev Overture on Hebrew Themes Clyne “Dance” for cello and orchestra Inbal Segev, cello Stravinsky Orchestral Suite Pulcinella Suite
Sunday, June 9, 2024 | 4pm
Center for the Arts at George Mason University Gershwin Rhapsody in Blue
Boyer Rhapsody in Red, White, and Blue (Regional Premiere) Jeffrey Biegel, piano Beach “Gaelic” Symphony Tickets and more information at www.FAIRFAXSYMPHONY.org
2023-2024 PHILANTHROPIC SUPPORT The Fairfax Symphony gratefully acknowledges the generosity of the following contributions received within the past twelve months as of November 1, 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 Charles Delmar Foundation Clark-Winchcole 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 Goodwin Living McKeever Services The Mather Dominion Energy NOVEC 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 Laura and Ervin Walter 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 SILVER Anonymous Ms. Esther Beaumont Nina and David Breen Janine and Curt Buser Mr. and Mrs. Edward Caress Daniel and Carol Graifer 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 James and Miriam Ross Mr. and Mrs. David Seida RHAPSODY CIRCLE Anonymous William Bell Mr. and Mrs. James Bongarra, Jr. Bill and Dorothy Brandel Dr. Karen Detweiler
Donald and Ruth Drees Frank and Lynn Gayer 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 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 Marvin Burge 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
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 In Memory of Joseph G. Marshall, M.D. 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 Madalyn Navis Celaya Kirchner Maribeth Frank Mia Lee Sonia Garcia Lee Gersh Chervinsky Greta Radovani Jean-baptiste Courtin Emily Konkle Savannah Kari VIOLIN 2 Sarah Berger, Principal, The Timothy Evan Owens Memorial Chair Melanie Kuperstein, Associate Principal Sue Bower, Memorial Chair Andrew Juola, Assistant Principal Karan Wright Cindy Crumb Elena Smirnova Sue Manus Angela Ramirez, FSO Fellow Henry Tyszler Milena Aradski Makiko Taguchi Saki Kurose VIOLA Adelya Shagidullina, Principal Paul Bagley, Associate Principal Imelda Tecson Patti Reid Helen Fall Cristian Contreras, FSO Fellow
Asha Baylor, FSO Fellow Kim Mitchell Greg Rupert CELLO Natalia Vilchis, Principal Rachel Sexton, Associate Principal Syneva Colle Brent Davis Anne Rupert Kathy Thompson Emily Doveala Zach Whitaker Sophie Chang David Agia DOUBLE BASS Aaron Clay, Principal Kyle Augustine, Associate Principal John Barger Asa Dawson, FSO Fellow Erik Cohen Jim Donahue FLUTE Stacy Ascione, Acting Principal Cheryl Hall Sharon Lee, Piccolo OBOE Emily Foster, Principal Trevor Mowry ENGLISH HORN Meredith Rouse CLARINET Patrick Morgan, Principal Wendi Hatton Barbara Haney, Bass Clarinet BASSOON Jimmy Ren, Principal Sandy Johnson Jeff Ward, Contrabassoon
FRENCH HORN Eric Moore, Principal Greta Richard Neil Chidester Nat Willson, Associate Principal TRUMPET Chris Larios, Principal Chris Ferrari Neil Brown TROMBONE Dave Miller, Principal David Sisk Kaz Kruzsewksi, Principal, Bass Trombone TUBA Joseph Guimaraes, Principal PERCUSSION Alex Garde, Principal Mike Gatti, Associate Principal Joe Connell TIMPANI Matthew Mitchener, Acting Principal HARP Madeline Jarzemback, Principal CELESTE/PIANO Sophie Kim Cook
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.
Leland Schwartz Journalist
David Black Holland & Knight LLP
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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