FSO Program Book_October 15_2022

Christopher Zimmerman, music director and conductor

Palchik, guest conductor Saturday, October 15, 2022 at 8pm

One Hall

JOHANNES BRAHMS

Piano Concerto No. 2 in B-flat major, Op. 83

I. Allegro non troppo

II. Allegro appassionato

III. Andante

IV. Allegretto grazioso

Jeremy Denk, piano* —Intermission—

JEAN SIBELIUS

Symphony No.1 in E minor, Op. 39

I. Andante, ma non tropp - Allegro energico

II. Andante, ma non troppo lento

III. Scherzo: Allegro

IV. Finale (quasi una fantasia)

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

*Jeremy Denk is represented exclusively by Opus 3 Artists

The FSO mourns the loss of former Music Director William Hudson, who passed away on July 12. Maestro Hudson served as Music Director and Conductor of the Fairfax Symphony from 1971 to 2007 and was instrumental in the organization’s significant growth.

“As I look back on the significant contributions of Maestro Hudson to the FSO, I hope to honor his legacy by continuing the example he set; looking to the future, nurturing both the audiences we serve and the students we inspire, and bringing the highest quality we can to each and every performance. As Bill often said, ‘a conductor’s work is never finished.’”

— Christopher Zimmerman, Music Director

“Bill was a giant in the arts industry, and we are truly standing on his shoulders of greatness to advance the artistic merits of the FSO.” — Jonathan Kerr, Executive Director

The Maestro Hudson Legacy Fund

Honoring Decades of Inspired Leadership

The FSO honors William Hudson’s service and dedication with the creation of the Maestro Hudson Legacy Fund. The Fund will help further advance Bill’s vision of the FSO’s high-level artistry and expand its innovative education programs, while strengthening the FSO’s role as an invaluable cultural resource and artistic ambassador for our region.

Maestro Hudson Legacy Fund

Photo courtesy of Dennis Whitehead

PROGRAM NOTES

JOHANNES BRAHMS

Piano Concerto No. 2 in B-flat major, Op. 83

Composer: born May 7, 1833, Hamburg, Germany; died April 3, 1897, Vienna

Work composed: 1881. Dedicated to Brahms’ boyhood “dear friend and teacher Eduard Marxsen.”

World premiere: Brahms played the solo with Alexander Erkel leading the orchestra of the National Theater of Budapest at the Redoutensaal in Budapest, Hungary, on November 9, 1881.

Johannes Brahms completed his second piano concerto twenty years after his first. The long pause in between can be attributed in part to the public’s overwhelmingly negative reaction to Brahms’ first piano concerto, which was a spectacular failure at its premiere. One critic called it “this product of truly desperate tedium.” Another explanation for this 20-year gap lies in Brahms’ progression from a youthful composer still finding his orchestral voice to a critically acclaimed master of orchestral forms and styles. Brahms’ piano concertos reflect these changes; the uneven and somewhat tentative symphonic writing of the first concerto is transformed, in the second, into a brilliant treatment of the orchestra, and a reinvention of the relationship between soloist and ensemble.

During those 20 years, Brahms gained the confidence to innovate. A traditional piano concerto has three movements. Brahms added a fourth to his B-flat concerto, blurring the lines between concerto and symphony. Most 19th century piano concertos were mere vehicles to display the soloist’s virtuosity, but Brahms redefined the soloist’s role as a full collaborator with the ensemble. Instead focusing primarily on the piano, the soloist and orchestra share the spotlight equally. Both piano and ensemble present and develop musical themes, and the separation between the role of soloist and that of the orchestra is removed. Together they create what could be called the first “piano symphony.”

Unlike the premiere of the First Piano Concerto, both Brahms and his Piano Concerto No. 2 were greeted with popular and critical approval. Franz Liszt’s review congratulated Brahms for a “distinguished work of art, in which thought and feeling move in noble harmony.” The Duke of Meiningen awarded Brahms the Commander’s Cross of the Order of the House of Meiningen, an impressive honor for Brahms, who came from a modest, working-class family.

This concerto has the breadth and scope of a symphony combined with the masterful technical demands of a piano concerto. Many pianists consider it

PROGRAM NOTES

one of the most difficult concertos in the repertoire (no doubt many would also agree with Alfred Brendel’s description of its “unsurpassable pianistic perversions.”) The solo part is dense, orchestral and athletic, featuring large chords and many octave passages. One of the greatest technical challenges comes in the fourth movement, when the soloist executes right-hand scales in thirds up and down the keyboard.

One example of Brahms’ elevation of the orchestra as an equal partner in the development of musical themes happens at the very beginning of the Allegro non troppo, which begins with a two-measure horn solo. Brahms uses this brief melody as the thematic basis for the entire first movement. Another aspect of Brahms’ hybrid piano-symphony is heard in the stormy passion of the second movement scherzo. Scherzos, standard in 19th century symphonies, were rare in concertos. When Brahms’ friend and fellow musician Theodor Billroth asked Brahms why he had included a scherzo, Brahms replied that the first movement was “zu simpel,” (literally, “too simple,” although Brahms may have meant “too unsophisticated” or “too plain”). Brahms added, “[I] needed something strong and passionate before the equally simple Andante.”

JEAN SIBELIUS

Symphony No. 1 in E minor, Op. 39

Composer: December 8, 1865, Hämeenlinna, Finland; died September 20, 1957, Järvenpää

Work composed: Sibelius began sketching the First Symphony in April 1898 and completed it in early 1899. He made changes to the orchestration in 1900.

World premiere: Sibelius led the Helsinki Philharmonic Society on April 26, 1899 in Helsinki. The revised and final version premiered on July 4, 1900, in Stockholm, with Robert Kajanus conducting the Helsinki Philharmonic.

On February 15, 1899, in response to Finland’s increasing agitation for independence from Russia, Czar Nicholas II unveiled the “February Manifesto,” which gave Russia the right to set policies in Finland without consent from the Finnish Senate. The following year, Nicholas announced that Russian would become the official state language of Finland. These and other oppressive decrees were part of a larger Russian governmental strategy known as the “Russification of Finland.”

The importance of Jean Sibelius’ music to the people of Finland, particularly at the beginning of the 20th century, cannot be overstated. Sibelius was an ardent Finnish nationalist, and his music, particularly Finlandia and his

PROGRAM NOTES

symphonic poems, became a central rallying cry for the Finnish people in their fight to preserve their linguistic, cultural, and political independence. However, Sibelius also clearly stated that his symphonies should not be viewed through the lens of an extra-musical program. “[My symphonies] … [are] worked out as musical expression without the slightest literary basis,” he explained. “I’m not a literary musician. For me, music begins where words leave off … A symphony should be music first and last.” But, as musicologist James Hepokoski points out, Sibelius’ insistence that his symphonies were purely musical did not prevent Sibelius from employing the First Symphony for non-musical ends. In the summer of 1900, the Helsinki Philharmonic toured Europe with it, using it to garner support for the Finnish cause against Russia. Not incidentally, this tour also brought Sibelius his first international recognition.

When some of Sibelius’ contemporaries pointed out the Tchaikovskian influences in the First Symphony, Sibelius concurred, replying, “There is much in that man that I recognize in myself.” Sibelius borrowed specific musical elements from Tchaikovsky’s Fifth Symphony, including the key of E minor and the idea of a clarinet solo beginning the first movement. More generally, Sibelius evokes Tchaikovsky in his use of recurring themes as unifying devices, as well as his affinity for drama and atmospheric orchestrations. There is also no denying the heroic nature of several themes in this symphony, particularly the primary melody of the opening Andante, which returns at the end of the Finale.

Inspired by Tchaikovsky he may have been, but Sibelius’ Symphony No. 1 is still an original work. Within the structure of a four-movement symphony, which by 1900 many composers had dismissed as moribund, Sibelius explores color and a wide spectrum of moods using rhythmic and melodic currents that ebb and flow like ocean tides. Within its meticulously crafted structure, Op. 39 is both passionate and enigmatic. It demonstrates Sibelius’ affinity for and facility with the symphonic format, and hints at the innovations and styles he would develop in his later symphonies.

In 1905, six years after Op. 39’s premiere in Helsinki, English critic Ernest Newman wrote, “I have never listened to any music that took me away so completely from our usual Western life, and transported me into a quite new civilization. Every page of [the First Symphony] breathes of another manner of thought, another way of living, even another landscape and seascape of ours.”

© Elizabeth Schwartz 2022

HAPPY

a quiet stay

locale

Fairfax. Just off I-66 in the tree-lined Fair Lakes

short walk from retail and dining.

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!

MEET THE ARTIST

Jeremy Denk, piano

Jeremy Denk is one of America’s foremost pianists, proclaimed by the New York Times ‘a pianist you want to hear no matter what he performs’. Denk is also a New York Times bestselling author, winner of both the MacArthur “Genius” Fellowship and the Avery Fisher Prize, and is a member of the American Academy of Arts and Sciences.

In the 2022-23 season, Denk will continue his multi-season exploration of Book 1 of Bach’s Well Tempered Clavier, and will also perform with orchestras and in recitals across UK, Europe, and the United States, including a return to Carnegie Hall play-directing Bach concerti with Orchestra St. Luke’s, and multi-concert residency at the Lammermuir Festival in Scotland. An avid chamber musician, Denk will also embark on a US tour with the renowned Takács Quartet.

His New York Times Bestselling memoir Every Good Boy Does Fine was published to universal acclaim by Random House in 2022, with features on CBS Sunday Morning, NPR’s Fresh Air, New York Times Review of Books, and more, with The Guardian heralding it as “an elegant, frank and well-structured memoir that entirely resists cliche. A rare feat... it makes the reader care about Denk beyond his talent for playing the piano.”

Denk’s latest album of Mozart piano concertos was released in 2021 on Nonesuch Records. The album, deemed “urgent and essential” by BBC Radio 3, was featured as Album of the Week’ on Classic FM, and ‘Record of the Week’ on BBC Radio’s Record Review.

Denk has performed multiple times at Carnegie Hall and in recent years has worked with such orchestras as Chicago Symphony, Philadelphia Orchestra, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, and Cleveland Orchestra. Further afield, he has performed multiple times at the BBC Proms and Klavierfestival Ruhr, and appeared in such halls as the Köln Philharmonie, Concertgebouw in Amsterdam, and Boulez Saal in Berlin. He has also performed extensively across the UK, including recently with the London Philharmonic, Bournemouth Symphony, City of Birmingham Symphony, Royal Liverpool Philharmonic, BBC Symphony, Scottish Chamber Orchestra, and playdirecting the Britten Sinfonia. Last season’s highlights include his performance of the Well-Tempered Klavier Book 1 at the Barbican in London, and performances of John Adams’ “Must the Devil Have All The Great Tunes?” with the Cleveland Orchestra, St. Louis Symphony, and Seattle Symphony, as well as a return to the San Francisco Symphony to perform Messiaen under Esa Pekka Salonen.

Denk is also known for his original and insightful writing on music, which Alex Ross praises for its “arresting sensitivity and wit.” He wrote the libretto for a comic opera presented by Carnegie Hall, Cal Performances, and the Aspen Festival, and his writing has appeared in the New Yorker, the New Republic, The Guardian, and on the front page of the New York Times Book Review. His book Every Good Boy Does Fine was published in 2022 by Random House in the US and Pan Macmillan in the UK.

Denk’s recording of the Goldberg Variations for Nonesuch Records reached No. 1 on the Billboard Classical Charts. His recording of Beethoven’s Piano Sonata No. 32 in C Minor, Op. 111 paired with Ligeti’s Études was named one of the best discs of the year by the New Yorker, NPR, and the Washington Post, and his account of the Beethoven sonata was selected by BBC Radio 3’s Building a Library as the best available version recorded on modern piano. Denk has a long-standing attachment to the music of American visionary Charles Ives, and his recording of Ives’s two piano sonatas also featured in many “best of the year” lists. His recording c.1300-c.2000 was released in 2018 with music ranging from Guillaume de Machaut, Gilles Binchois and Carlo Gesualdo, to Stockhausen, Ligeti and Glass. His latest album of Mozart piano concertos, performed with the Saint Paul Chamber Orchestra, was released in 2021 on Nonesuch Records.

Jeremy Denk is a graduate of Oberlin College, Indiana University, and the Juilliard School. He lives in New York City.

GOODWIN, GREAT ENCORE!

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applauds the success and the new season of the Fairfax Symphony Orchestra.

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Join us on a journey of aging well. Contact us today to learn more.

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.

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

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Proctor, violin

Ms. Proctor graduated from James Madison University with a Bachelor of Music degree concentrating in Music Industry. At the age of six, she began playing violin and has accumulated over 17 years of performance experience and nine years of teaching experience. She served as concertmaster and section leader of the James Madison University Symphony and Opera Orchestras during her college career. 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.

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 (UMD) where he studies under Anthony Manzo and Richard Barber. Mr. Rhodes also holds an artistic planning graduate assistantship position with the Clarice Smith Performing Arts Center in 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. Mr. Rhodes has an affinity for playing symphonic, chamber, contemporary, and early music. The bass’s ability to play in a wide array of musical settings inspires him to imagine what can be done that has yet to be done.

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Cristian Contreras, viola

Cristian Contreras is a young and 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 under the tutelage of Professor Choon-Jin Chang. Cristian holds a Bachelor’s Degree in Viola Performance from the Bob Cole Conservatory of Music at California State University Long Beach in which he studied under Violist Jason Bonham. He also sat as Principal Viola with the Bob Cole Conservatory Symphony. Cristian is also a very active teacher and managed a large studio at the Irvine Art and Music Center in Irvine, CA in which he prepared his students for auditions and recitals.

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

Joshua Rhodes, double bass

SUPPORT

The Fairfax Symphony gratefully acknowledges the generosity of the following contributions received within the past twelve months as of September 30, 2022. Thank you for dedicating these vital gifts to the music and education programs we work so passionately to create and share with our community.

GOVERNMENT

ARTSFAIRFAX

City of Fairfax Commission on the Arts

County of Fairfax National Endowment for the Arts Virginia Commission for the Arts

FOUNDATIONS AND CHARITABLE FUNDS

Paul M. Angell Family Foundation

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 James and Jane Arabian

William Bell

James and Jane Bongarra Bill and Dorothy Brandel

Dr. Karen Detweiler

Donald and Ruth Drees

Frank and Lynn Gayer

Mr. and Mrs. Ronald Geiger Eric and Joyce Hanson

Robert W. Henry

Mr. Kurt P. Jaeger

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 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 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 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 Mr. and Mrs. Eugene Kaye 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 Mrs. 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 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

Zimmerman | Music Director

VIOLIN 1

David Salness, Concertmaster

Allison Bailey, Associate Concertmaster

Cristina Constantinescu, Assistant Concertmaster Celaya Kirchner

Timothy Kidder

Natalie Trainer

Sharon Like Mia Lee

Shu-Ting Yao Amelia Bailey

VIOLIN 2

Melanie Kuperstein, Interim Principal, Timothy Evan Owens Memorial Chair

Andrew Juola, Assistant Principal, Sue Bower Memorial Chair Timothy Wade Nancy Bovill Cynthia Crumb Susan Manus Karan Wright Breonna Proctor

Milena Aradski Sarah Berger Savannah Kari

VIOLA

Gregory Rupert, Principal Paul Bagley

Michael Polonchak

Helen Fall

Adelya Shagidullina Cristian Contreras Amelia Eckloff

Shearom Chung Lillian Green

CELLO

Marion Baker, Principal Rachel Sexton, Associate Principal Anne Rupert Syneva Colle Kathy Thompson Carlos Figueroa Kris Gilbert Chen Chen Emily Doveala

DOUBLE BASS

John Barger, Principal Erik Cohen Joshua Rhodes Mark Stephenson Jacqueline Robertson Erin Zurbuchen

HARP Madeline Jarzembak

FLUTE

Lawrence Ink, Principal Cheryl Hall

OBOE

Fatma Daglar, Principal Michael Homme

CLARINET

Giancarlo Bazzano, Principal Wendi Hatton

BASSOON

Dean Woods, Principal Sean Gordon

FRENCH HORN

Eric Moore, Principal Greta Richard Neil Chidester Nathaniel Willson

TRUMPET

Tim McCarthy, Principal Neil Brown Kevin Businsky

TROMBONE

David Miller, Principal David Sisk

BASS TROMBONE

Kaz Kruszewski

TUBA

Joseph Guimaraes

TIMPANI

Jonathan Milke

PERCUSSION

Shari Clark Rak, Principal Michael Gatti

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.

Nancy Bovill

Players Committee Member

Thomas Brownell, Secretary

Holland & Knight LLP

Eric Moore

American University

Dean Woods

Players Committee Member

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

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

Fairfax Symphony Orchestra • 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!