2021 - 2022 SEASON
Welcome to the FSO! We are delighted to be together performing for you live in our debut concert in this stunning new venue Capital One Hall! Congratulations to Capital One, the Fairfax County Board of Supervisors, and ArtsFairfax for making this cultural asset possible for our community; we look forward to many more FSO concerts here in the future! We are committed to your safety. You will notice that capacity has been limited for this concert to allow for socially-distanced seating. And, through our partnership with Fairfax County TV16, we are thrilled to announce that tonight’s live performance is also being recorded for re-broadcast at a later date. Thank you Fairfax County TV16 for allowing thousands more people beyond this hall to experience this evening’s concert. The past year and a half has been challenging for all, and I want to thank each and every one of our subscribers, donors, and sponsors for your continued support, even when our venues were closed. We also express our sincerest appreciation to our newest patrons and supporters! Our music plays on only through your generosity to the FSO. Thank you for enabling us to bring the transformative power of classical music and arts education to our community. It is only with your support that the FSO continues to serve millions more in our community as an invaluable cultural resource for our Greater Washington DC region. We deepen our commitment to “One Fairfax” by growing our music and education programs serving people of all ages in diverse communities in Fairfax County and beyond. Tonight, our first FSO Diversity Fellows, Breonna Proctor and Carlos Figueroa, make their FSO debut! And, we continue to expand our partnership with Fairfax County Public Schools and to serve more Title 1 schools across our region through our innovative “Link Up” program in collaboration with Carnegie Hall’s Weill Music Institute. On behalf of the Fairfax Symphony Board of Directors, orchestra members, and administrative team, we join you in celebrating the arts and the quality of life in Fairfax County! Jonathan Kerr Executive Director
Christopher Zimmerman, music director and conductor Saturday, October 9, 2021 at 8pm Capital One Hall MANUEL DE FALLA El sombrero de tres picos (Three-Cornered Hat): Suite No.1 I. Introduction - Afternoon II. Dance of the Miller’s Wife (Fandango) III. The Corregidor IV. The Miller’s Wife V. The Grapes CAMILLE SAINT-SAËNS Cello Concerto No. 1, op.33, A minor II. Allegro non troppo’ II. Allegretto con moto III. Allegro non troppo Amit Peled, cello —Intermission— LUDWIG VAN BEETHOVEN Symphony No.7, op.92, A major I. Poco sostenuto - Vivace II. Allegretto III. Presto IV. Allegro con brio
This performance is made possible with generous support from
CHRISTOPHER ZIMMERMAN, Music Director Named music Director of the Fairfax Symphony Orchestra in 2009, Christopher Zimmerman celebrates his twelth 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.” In the summer of 2013, Zimmerman accepted two additional appointments: Music Director of the Fargo-Moorhead Symphony and Principal Conductor of the American Youth Philharmonic Orchestras. He has also been the Music Director of the Eleazar de Carvalho Festival in Brazil, and, closer to home, a regular guest conductor at the Summer Performing Arts Festival in Wintergreen, Virginia. He has also been engaged as a guest conductor all over the world, with the Royal Philharmonic, the London Symphony, the Royal Liverpool Philharmonic, the Prague Symphony, the Slovak Philharmonic, the Turku Philharmonic, the Seoul
Philharmonic, the Mexico City Philharmonic, the Caracas Philharmonic, National Orchestra of Rio de Janeiro to name a few, and, more recently, he has been on two guest tours of orchestras in China. A recipient of numerous awards, the FSO under Zimmerman’s direction was honored as the 2013 winner of Washington Area Music Award (WAMMIE) for the best classical orchestra. In 2011, Zimmerman was selected as the first place winner in the professional orchestra category of “The American Prize in Conducting,” a new award for nationwide performances for conductors of all genres and categories. His U.S. operatic conducting debut, Carlisle Floyd’s Susannah, won first place in the National Opera Association competition. A champion of contemporary music, Zimmerman has conducted more than 25 premieres for orchestra by recognized composers such as William Bolcom, Susan Botti, Martin Bresnick, Avner Dorman, Bright Sheng, Christopher Rouse, Chris Theofanidis, Ellen Taafe Zwilich and Judith Weir. On July 4, 2012, Mr. Zimmerman gave the world premiere of “Lingua Angelorum” by Czech composer Sylvie Bodorova, a 50 minute song-cycle with the internationally renowned baritone Thomas Hampson and the Prague Symphony Orchestra. In 2015, Maestro Zimmerman and the FSO also gave the U.S. premiere of her first symphony. 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.
OCTOBER 9, 2021 MEET THE ARTIST Praised by The Strad magazine and The New York Times, internationally renowned cellist Amit Peled is acclaimed as one of the most exciting and virtuosic instrumentalists on the concert stage today. Having performed in many of the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall at the Lincoln Center in New York, the John F. Kennedy Center for the Performing Arts in Washington D.C., Salle Gaveau in Paris, Wigmore Hall in London, and the Konzerthaus Berlin, Peled has released over a dozen recordings on the Naxos, Centaur, Delos, and CTM Classics labels. Musical America named Peled one of the Top 30 Influencers of 2015. Recent career highlights include Bach Suite cycles in the United States, Europe, and Israel; performances of the Saint-Saëns Cello Concerto at the Kennedy Center; a debut collaboration with the Peabody Chamber Orchestra
led by Maestra Marin Alsop; a return to the Ravinia Festival in celebration of Peled’s recording of the Brahms Cello Sonatas on the Goffriller cello (1733) once owned by the legendary cellist Pablo Casals; a return visit as a soloist to the Casals Festival in Puerto Rico; performances of the Shostakovich Cello Concerto and Penderecki’s Second Cello Concerto conducted by the legendary Krzysztof Penderecki himself; Schubert’s Arpeggione Sonata recorded on the Casals cello; and a worldwide musical celebration of Beethoven’s Sonatas for Cello and Piano to commemorate the composer’s 250th anniversary. An enthusiastic chamber music artist, Peled is a member of the acclaimed Tempest Trio with violinist Ilya Kaler and pianist Alon Goldstein. Peled also performs with Goldstein and clarinetist Alexander Fiterstein as a member of the Goldstein-Peled-Fiterstein Trio. One of the most sought-after cello professors in the world, Peled is a professor at the Peabody Institute at Johns Hopkins University where he has taught since 2003 and was one of the youngest professors ever hired by a major conservatory. He has instructed students who have gone on to garner top prizes at international competitions such as the Carlos Prieto International Competition in Mexico, the Schoenefeld International Competition in China, and Young Concert Artists Guild in New York. Embracing the new era of the pandemic, Peled recently established the Amit Peled Online Cello Academy in order to reach cellists all over the world with private lessons and in-depth courses on his First Hour technique method. Passing on the tradition in which he performed with his mentors Bernard Greenhouse and Boris Pergamenschikow, Peled regularly performs with the Amit Peled Cello Gang. Composed of students from Peled’s studio at the Peabody Institute, members of the Cello Gang range in age from undergraduate freshmen to second year master’s students. Peled and the Cello Gang tour regularly around the country with recent performances at the Cape Cod Chamber Music Festival, the Society of Four Arts in Palm Beach, the Fairfax Symphony Orchestra, as a resident ensemble in San Miguel de Allende, Mexico, and all across Maryland, the gang’s home state. Peled is also the founder, conductor, and artistic director of the Mount Vernon Virtuosi, a chamber orchestra dedicated to nurturing the careers of recently graduated music students, which annually performs a five-program season in Baltimore, Silver Spring, and Rockville, Maryland. Raised on a kibbutz in Israel, Amit Peled began playing the cello at age 10. From 2012 through 2018, Peled performed on the Pablo Casals 1733 Goffriller cello, which was loaned to him personally by Casals’ widow, Marta Casals Istomin. Today, he performs on a cello made by the Italian master Giovanni Grancino, ca. 1695, on generous loan from the Roux Family Foundation. Amit Peled is represented worldwide by CTM Classics. For more information, visit www.amitpeled.com.
PROGRAM NOTES CAMILLE SAINT-SAENS Cello Concerto No. 1 in A minor, Op. 33 Composer: born October 9, 1835, Paris; died December 16, 1921, Algiers Work composed: 1872. Dedicated to and written for Belgian cellist, gambist, luthier, and music educator Auguste Tolbecque World premiere: Édouard Deldevez conducted the Paris Conservatoire orchestra on January 19, 1873, in Paris, with Tolbecque as soloist.
Camille Saint-Saëns’ career spanned seven decades; during that time, he was both vilified by conservatives for his endorsement of Richard Wagner’s music in the late 1850s, and dismissed by Claude Debussy as “the musician of tradition” in 1903. Although Debussy’s words were meant as disparagement, many of Saint-Saëns’ contemporaries, including the notoriously opinionated Hector Berlioz, held him in high esteem. Saint-Saëns favored established (and, to his French detractors, foreign) genres: symphonies, concertos, sonatas, and chamber music. During his childhood and teen years, Saint-Saëns immersed himself in the music of Beethoven, Mozart, Mendelssohn, and Schumann. Throughout his lifetime, Saint-Saëns’ most popular and successful works adhered to these Germanic influences. The A minor Cello Concerto both reflects and departs from tradition: Saint-Saëns compresses the standard three-movement concerto form into one continuous movement with three contrasting sections. The solo part simultaneously showcases the cellist’s skill and incorporates the solo line into the orchestra, resulting in a deft musical collaboration. The premiere of Op. 33, in the winter of 1873, helped establish SaintSaëns as a rising young composer, but the conductor, Édouard Deldevez did not think much of it. He told Saint-Saëns that if acclaimed cellist Auguste Tolbecque were not giving the premiere, Deldevez would not have included it in the concert at all. Deldevez’ opinion notwithstanding, the concerto entered the repertoire immediately, and has been a favorite of cellists and audiences ever since; Pablo Casals featured it in his London debut in 1905. Biographer Brian Rees writes, “The Revue et Gazette Musicale declared that, if he continued in this vein, [Saint-Saëns] would recover much of the prestige he had lost with ‘his all too obvious divergence from classicism and the tendencies in a number of recent works.”
PROGRAM NOTES LUDWIG VAN BEETHOVEN Symphony No. 7 in A major, Op. 92 Composer: born December 16, 1770, Bonn; died March 26, 1827, Vienna Work composed: begun in the fall of 1811; completed in April 1812 World premiere: Beethoven conducted the premiere on December 8, 1813, at the University of Vienna, in a benefit concert for Bavarian soldiers injured in the Napoleonic wars.
Beethoven’s Seventh Symphony, like his Eroica (No. 3), is associated with Napoleon. Unlike the Eroica, however, which Beethoven originally conceived as a tribute to the French emperor, the Seventh can be heard, among other things, as a celebration of Napoleon’s defeat. Beethoven’s hearing had been fading since the early 1800s, and by 1813 he was almost completely deaf. To compensate, Beethoven adopted an idiosyncratic conducting style, described by colleague Louis Spohr: “Whenever a sforzando occurred, he tore his arms, previously crossed upon his breast, asunder with great vehemence. At piano he crouched down lower and lower according to the degree of softness he desired. If a crescendo then entered he gradually rose again and at the entrance to the forte he jumped into the air. Sometimes, too, he unconsciously shouted to strengthen the forte … It was evident that the poor deaf master was no longer able to hear the pianos in his music … ” Beethoven’s deafness apparently had no effect on the audience or critics, who received the Seventh Symphony with great enthusiasm. At its premiere, one newspaper reported, the “applause rose to the point of ecstasy.” Writing about a subsequent performance, a Leipzig critic noted, “the new symphony (A major) was received with so much applause, again. The reception was as animated as at the first time; the Andante [sic – the writer is actually referring to the Allegretto] (A minor), the crown of modern instrumental music, as at the first performance, had to be repeated.” The introduction to the Seventh Symphony was the longest ever written in the history of the symphony up to that time. At 64 measures, it remains one of the most extensive. The Poco sostenuto’s carefully constructed foundation of anticipatory energy leads gently into the joyful Vivace, which builds into an ebullient shout. The Allegretto has enjoyed fame separate from the Seventh Symphony
as a whole. It quickly became an audience favorite, so much so that 19th century, conductors would often insert it into less popular Beethoven symphonies during concerts. Beethoven’s preference scherzos rather than minuets as symphonic third movements expanded the creative and expressive possibilities of the symphony as a whole. A scherzo (“joke” in Italian) as Beethoven uses it defies expectation, often in a tongue-in-cheek manner. The first section, the scherzo itself, brims with mirthful humor; the joke becomes sharper when paired with the brass-heavy “trio,” which Beethoven indicated should be “very much less fast” than the scherzo. In 1848, Richard Wagner wrote that Beethoven’s Seventh Symphony was “the apotheosis of the dance; it is dance in her highest aspect, as it were the loftiest deed of bodily motion incorporated in an ideal mould of tone.” The whirling energy of the closing Allegro con brio, for example, suggests a ballet dancer performing a series of dazzling fouettes, whipping one leg around and around with effortless skill. Critics and scholars have likened this movement to a Bacchic revel, and Beethoven himself wrote, “Music is the wine which inspires us to new generative processes, and I am the Bacchus who presses out this glorious wine to make mankind spiritually drunken … ” © Elizabeth Schwartz
MEET OUR 2021/22 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 “I can’t fathom the thought that I have been selected as one of the fellow musicians to join the wonderful Fairfax Symphony Orchestra. I can’t wait to be performing with such great musicians and keep fulfilling my professional career as a cellist. I know this program will benefit me in every way possible, and I am eager to share my passion with such an amazing orchestra. I am certainly looking forward to the performances, the master classes that this fellowship will be providing for my professional growth, and for the mentorship.”
Mr. Figueroa is an emerging cellist from the beautiful country Venezuela. Music has been a part of him since an early age. 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. Over the years, Mr. Figueroa has collaborated with renowned conductors, musicians, and composers for classical and contemporary music alike. He played a symphony under the baton of Gustavo Dudamel, worked tirelessly for the release of Winton Marsalis’ Symphony in Blue,
participated in a film festival with Marco Beltrami, and performed with composer Jenifer Higdon. 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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Breonna Proctor, violin “I am very grateful to be selected for the Diversity Fellowship program with the Fairfax Symphony Orchestra. Being able to learn from and perform with world-class musicians in a professional setting is something that I have always aspired to do. I look forward to finally performing my favorite symphony, Symphony No. 3 by Brahms, in March.”
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. Locally, she has performed at various venues, including the Kennedy Center, the United States Capitol, Maryland Hall, and the Meyerhoff Symphony Hall. Her international performances have taken place in the cities of Montreal, Vienna, Salzburg, and Prague. Breonna is currently in pursuit of a law degree with an intellectual property concentration. With this degree, she hopes to become an advocate for the protection of artists and their creations. The FSO Diversity Fellowship is made possible in part by the Community Foundation of Northern Virginia, Virginia Commission for the Arts, Fairfax County Government, and GEICO.
2021-2022 PHILANTHROPIC SUPPORT The Fairfax Symphony gratefully acknowledges the generosity of the following contributions received within the past twelve months as of September 1, 2021. 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 Philip L. Graham Fund Nelson J. & Katherine Friant-Post Foundation Mary & Daniel Loughran Foundation Claude Moore Charitable Foundation Wells Fargo Foundation CORPORATIONS Hyatt Regency Fairfax GEICO McKeever Services The Mathers Basis Independent School McLean BB&T Brobst Violins Dominion Energy EagleBank Jordan Kitts Music NOVEC PNC Bank Priority One Services, Inc. Total Document Solutions, Inc. Visit Fairfax
SYMPHONY SOCIETY CONCERTO CLUB PLATINUM Mr. and Mrs. Thomas M. Brownell Pepe Figueroa Joyce L. Hanson Anne and Til Hazel Lesley and Jim McKeever GOLD Steve and Debbie Cohen Mr. Sean Foohey Anne and Til Hazel 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 Mr. and Mrs. C. David Hartmann Mr. and Mrs. Glenn A. Hemer Robert and Maryanne Jones David & Lenka Lundsten Mrs. R. Dennis McArver 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
RHAPSODY CIRCLE Anonymous (2) Bill and Dorothy Brandel Lisa Baltzer Donald and Ruth Drees Carolyn Gayer Eric and Joyce Hanson Mr. Kurt P. Jaeger Mr. and Mrs. Anthony Kerr Dr. and Mrs. Per Kullstam John and Jeanette Mason Mr. and Mrs. Matt Mattice Dr. Edward L. Menning Joetta Miller Judith Nitsche Dr. and Mrs. Eugene Overton Stephen and Mary Preston Michael Wendt SONATA CIRCLE William Bell Ms. Pamela Charin Donald Drees Gareth and Tân Habel Frank and Lynn Gayer Anthony and Lucy Griffin Christopher Gohrband Mr. & Mrs. Eric Hanson Robert W. Henry Spencer Howell Mr. and Mrs. Keith Highfill Mr. and Mrs. Wade Hinkle Mr. and Mrs. David J. Lynch Mr. Justice Percell Ms. C. Carole Richard Mr. Michael W. Stoltz Dr. Jack and Mrs. Jane Underhill Mr. William Walderman
SERENADE CIRCLE Anonymous (2) Dr. Charles Allen Ms. Gay B. Baker Mr. and Mrs. Ronald Baker Ms. Esther Beaumont Mr. and Mrs. James Bland Donald Bieniewicz Ms. Patricia Boots Kathryn and Tony Bovill Patricia G. Brady Judith and Peter Braham Bill and Dorothy Brandel David W. Briggs and John F. Benton Mr. Eric Brissman Mr. Robert Brown Judith Buchino The Honorable Sharon Bulova in honor of the arts in Fairfax Ms. Jane Arabian and Mr. James Bongarra Mary L. Burns Mr. and Mrs. Edward Caress 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 Dr. Karen Detweiler Ivan and Nancy Dietrich 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 Carolyn Gayer
Jennifer Gitner Allen S. Greenspan Mr. and Mrs. Hardy Hargreaves Frederic Harwood In memory of R. Dennis McArver Robert and Whitney Henry Joan Lisante Hood and James Hood Mr. and Mrs.Ted Hudson Mr. and Mrs. Fredrick G. Hutchison Mr. Edward Jarett Mr. and Mrs. Christopher Jehn Nelson Joyner Mr. and Mrs. Eugene Kaye Ms. Carol Kearns Mr. and Mrs. Philip Kieffer Anje Kim Bill and Priscilla Kirby Frank and Susan Kohn Greta Kreuz Dr. and Mrs. Frederick Kuhl Dara and William Laughlin Anne Loughlin Mr. and Mrs. David J. Lynch Catherine Lyon and Stuart Kantor Barrie March Mr. Scott Marschall Dr. and Mrs. Joseph Marshall Mr. and Mrs.Timothy J. McCarthy Joel Meyerson Mr. Robert L. Miller Mr. and Mrs. Kenneth P. Mittelholtz Bob and Judy Molseed Virginia and Marion Moser Jean Murphy Margaret A. Murphy Ms. Mary Murphy Peggy Newhall Ms. Judith A. Nitsche 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 Ms. Roslyn Schmidt Mr. and Mrs. Karl W. Schornagel Michael Schwartz Ms. Doris Seaton Neil and Beverly Seiden Mr. and Mrs. Robert Seraphin Mr. and Mrs. James Simpson Sydney Smith Nigel Smyth Mary Jane Spiro Dorothy Staebler John and Pamela Stark Kristina Stewart Sandra Lee Stoddard Agnes D. Stoertz Mr. John Strong Frederick and Marjorie Stuhrke 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 Mr. and Mrs. David Sukites Timothy N. Wade Roy and Margaret Wagner Andrew F. 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 Gene and Gooloo Wunderlich Mr. Emile L. Zimmermann In-Kind Fairfax City Self Storage Jordan Kitt’s Music
McKeever Services congratulates the FSO on 64 years of great performances. A jewel in the cultural life of Fairfax County! Brave to Maestro Zimmerman for 12 years of directing the FSO to new heights of excellence!
FAIRFAX SYMPHONY ORCHESTRA Christopher Zimmerman | Music Director VIOLIN David Salness, Concertmaster Doris F. Dakin Chair Allison Bailey, Associate Concertmaster Cristina Constantinescu, Assistant Concertmaster Chris Franke Timothy Kidder Mia Lee Sharon Like Ae-Young Sun Natalie Trainer Katelyn Lyons Peaden, Principal Melanie Kuperstein, Associate Principal Nancy Bovill Cynthia Crumb Jessica Mun Susan Manus Elena Smirnova Timothy Wade Karan Wright Breonna Proctor VIOLA Gregory Rupert, Principal Helen Fall Kimberly Mitchell William Neri Michael Polonchak Patti Reid CELLO Marion Baker, Principal Jihea Choi, Associate Principal Kristin Gilbert
Andrew Rammon Anne Rupert Rachel Sexton Kathy Thompson Barbara Van Patten Carlos Figueroa DOUBLE BASS Aaron Clay, Principal Kyle Augustine, Associate Principal John Barger Erik Cohen James Donahue Andrew Gantzer HARP Nadia Pessoa, Principal FLUTE Lawrence Ink, Principal Cheryl Hall Sharon Lee PICCOLO Sharon Lee OBOE Rick Basehore, Principal Trevor Mowry ENGLISH HORN Meredeth Rouse CLARINET Adam Ebert, Principal Wendi Hatton Barbara Haney BASS CLARINET Barbara Haney, Principal
BASSOON Dean Woods, Principal Sandra Sisk Tia Wortham CONTRA BASSOON Tia Wortham FRENCH HORN Eric Moore, Principal Nathaniel Willson, Associate Principal and Utility Neil Chidester Greta Richard TRUMPET Paul Johnson, Principal Christian Ferrari Neil Brown
TROMBONE David Miller, Principal David Sisk BASS TROMBONE Victor Rohr, Principal TUBA TBA, Principal TIMPANI Douglas Day, Principal PERCUSSION Shari Clark Rak, Principal Michael Gatti, Associate Principal Joe Connell KEYBOARD Laurie Bunn, Principal
FAIRFAX SYMPHONY BOARD OF DIRECTORS James C. McKeever Jr., Chairman McKeever Services Corporation
John Lockhart, Treasurer PNC Bank
Jose “Pepe” Figueroa, Vice-Chairman Priority One Services
Thomas Brownell, Secretary Holland & Knight LLP
Mark McLeod, Immediate Past Chairman Eric Moore American University
Nancy Bovill Players Committee Member
Thomas Murphy, General Counsel Jackson Lewis P.C.
Dean Woods Players Committee Member
HONORARY BOARD The Honorable Sharon Bulova
Dr. Gerald L. Gordon
The Honorable Thomas M. Davis
John T. “Til” Hazel
Sidney O. Dewberry
Julien Patterson
The Honorable James W. Dyke
FSO ARTISTIC AND ADMINISTRATIVE STAFF Christopher Zimmerman, Music Director
Suzy Dawson, Accountant
Jonathan Kerr, Executive Director
Cynthia Crumb, Personnel Manager
Lisa LaCamera, Chief Operating Officer
Wendi Hatton, Librarian
Susan Petroff, Director of Development
Timothy Wade, Stage Manager
Celeste Duplaa, Link Up Program 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.
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