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Fairfax Symphony Orchestra Christopher Zimmerman, Music Director

Mischief in Music

2012-2013 1

Season


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Fairfax Symphony Orchestra Christopher Zimmerman | Music Director

Chairman’s Message In 2012-2013, the Fairfax Symphony Orchestra will embark on a new three-year focus in programming called Mischief in Music: Wit, Insolence and Insurrection. Maestro Christopher Zimmerman says, “There are so many pieces that speak to the playfulness of music, and also to its ability to rouse complex emotions. I’m looking forward to exploring the theme over the next three years.” Welcome to our performance, and thank you for your patronage. We are delighted you are here! The FSO will continue its tradition of strong and diverse programming as it explores this theme throughout the season. Highlights will include an all-Beethoven concert featuring the violin concerto, an all-Strauss concert contrasting the music of Johann and Richard Strauss, and a celebration of the anniversary years of both Giuseppe Verdi and Richard Wagner, with an evening of opera arias and overtures to end the season. The FSO will present the East Coast premiere of a co-commissioned piece to begin the season, Ellen Taaffe Zwilich’s “Shadows” for piano and orchestra, and the Virginia premiere of Jonathan Leshnoff ’s Flute Concerto in January. We hope that you will join us for many of these spectacular performances. We welcome you to attend our pre-concert lectures prior to each performance at 7:00 p.m. The Fairfax Symphony is pleased to introduce its new Symphony Society this season! Your contributions help sustain the FSO’s high quality programming and community outreach in the Northern Virginia region. A donation of $50 or more will make you eligible for an assortment of membership benefits, including reserved seating at our pre-concert lectures, free beverage coupons, free parking, and more. Every pledge makes a difference, whether $50 or $5,000. See the FSO staff in the lobby or contact them in the office to make a contribution. Your support is crucial to our success. Once again, welcome to the FSO. We hope you enjoy the concert!

Thomas M. Brownell, Board Chairman

Table of Contents

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7 2012-2013 Season Calendar

12 Concert Program

9 FSO Board and Staff

18 2012–2013 Annual Fund

11 Meet Maestro Christopher Zimmerman

22 Fairfax Symphony Orchestra Roster


2012-2013 Concert Season Featuring Works by Wagner, Tchaikovsky, Copland, Gershwin, Respighi, Sibelius, and much more!

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Fairfax Symphony Orchestra Christopher Zimmerman | Music Director

2012–2013 Season September 22, 2012 Jeffrey Biegel, piano

January 19, 2013 Christina Jennings, flute

ADAMS: The Chairman Dances ZWILICH: Shadows for Piano and Orchestra (East Coast Premiere) BERNSTEIN: Three Dance Episodes from “On the Town” GERSHWIN: Piano Concerto in F Major

MOZART: Overture to The Magic Flute LESHNOFF: Flute Concerto (Virginia Premiere) IVES: The Unanswered Question BRAHMS: Symphony No. 1 in C minor, Op. 68

November 17, 2012 Kenneth Woods, guest conductor Benjamin Beilman, violin

March 16, 2013

BEETHOVEN: Overture to Coriolan, Op. 62 BEETHOVEN: Symphony No. 2 BEETHOVEN: Violin Concerto December 8, 2012 James Dick, piano ROSSINI: Overture to La Gazza Ladra TCHAIKOVSKY: Piano Concerto No. 1 TCHAIKOVSKY: Symphony No. 6, “Pathétique”

J. STRAUSS: Emperor Waltz J. STRAUSS: Tick Tack, Pizzicato and TrischTratsch Polkas R. STRAUSS: Suite from Der Rosenkavalier J. STRAUSS: Overture to Die Fledermaus R. STRAUSS: Till Eulenspiegel’s Merry Pranks R. STRAUSS: Salomé’s Dance May 11, 2013 A Night at the Opera – Verdi and Wagner Favorites Joni Henson, soprano Brennen Guillory, tenor

All Masterworks performances are at 8:00 p.m. at George Mason University’s Center for the Arts in Fairfax with a pre-concert lecture at 7:00 p.m. Program and artists subject to change. Subscription Packages available – call 703-563-1990

FSO Special Events October 19, 2012 Special Embassy Series Chamber Concert Edvinas Minkstimas, piano Embassy of Austria

February 15, 2013 Valentine Pops Gala Hilton McLean Tysons Corner

June 20, 2013 6th Annual FSO Golf Tournament Westfields Golf Club

To purchase tickets: 888-945-2468 • For information: 703-563-1990, info@fairfaxsymphony.org

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Fairfax Symphony Orchestra Christopher Zimmerman | Music Director

Board of Directors Thomas Brownell, Chairman David Conley Jose “Pepe” Figueroa Jennifer Gitner Karen Hepworth Paul Johnson* Stephen Kenny Gregory Llinas John Lockhart, Vice-Chairman

Brian Lubkeman, Secretary Warren Martin, Immediate Past Chairman Michael L. Privitera Karen Wallis Ervin Walter, Treasurer Galen Wixson, ex officio Christopher Zimmerman, ex officio Thomas Murphy, General Counsel *Musician Member

HONORARY BOARD The Honorable Sharon Bulova The Honorable Thomas M. Davis Sidney O. Dewberry The Honorable James W. Dyke Dr. Gerald L. Gordon

John T. “Til” Hazel Julien Patterson William Reeder Earle Williams

ARTISTIC AND ADMINISTRATIVE STAFF Galen Wixson, Interim Executive Director Ann M. Morrison, Development Director Tara L. Nadel, Patron Services and Education Director Shannon Kingett, Operations Manager Nora Reilly, Administrative Assistant

Christopher Zimmerman, Music Director Glenn Quader, SCORE Conductor George Etheridge, SCORE Conductor Cynthia Crumb, Personnel Manager Wendi Hatton, Librarian Timothy Wade, Stage Manager

This project is supported in part by the Virginia Commission for the Arts and the National Endowment for the Arts

Fairfax Symphony Orchestra • 3905 Railroad Ave, Suite 202 North • Fairfax, VA 22030 703-563-1990 Telephone • 703-293-9349 Fax www.fairfaxsymphony.org • info@fairfaxsymphony.org

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Christopher Zimmerman, Music Director Reviewing Christopher Zimmerman’s debut concert with the Fairfax Symphony Orchestra in May 2009, Mark Estren of the Washington Post writes, “Zimmerman pushed the strings and they delivered beautifully... He paid close attention not only to sarcasm and grotesquerie but also to soft passages – this orchestra can handle quietude, but few conductors ask it to.” Zimmerman’s direction of the orchestra led to his immediate appointment as its new Music Director. In July, 2011, he was announced as the first-prize winner of the “American Conducting Prize” in the professional orchestra category. Mr. 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. Committed to, and passionate about, the standard repertoire of the 18th and 19th centuries, Zimmerman is also a champion of contemporary music, having conducted to date more than 25 premieres (local and world) by such eminent

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composers as William Bolcom, Martin Bresnick, Michael Colgrass, Avner Dorman, Christopher Rouse, Bright Sheng, Judith Weir and Nebojse Zivkovic. Mr. Zimmerman’s conducting career began with the Royal Philharmonic Orchestra and was followed by engagements with the London Symphony and the Royal Liverpool Philharmonic. He has since guest-conducted orchestras in most areas of the world including Western and Eastern Europe, China, South Korea, Canada, Mexico, and South America. In 1989, he was appointed Music Director of the City of London Chamber Orchestra and in 1993 he was appointed to the Faculty of the Cincinnati College-Conservatory of Music as Music Director, Cincinnati Concert Orchestra. He has previously held Music Director positions with the Symphony of Southeast Texas and the Bangor Symphony Orchestra, and has maintained his commitment to teaching by co-leading the Rose City Conductors’ Workshop in Portland, Oregon, every summer since its inception in 2005. Mr. Zimmerman returns regularly to the Wintergreen Performing Arts Festival in Virginia where he is a favored guest conductor of the Festival Orchestra and its audiences. Prior to his appointment at the FSO, Zimmerman held the Primrose Fuller Chair of Orchestral Studies at the Hartt School from 1999-2009. He debuts this season as guest conductor with the New Haven Symphony and Illinois Philharmonic.


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Notes in Brief In his early career John Adams was influenced by the trend called “Minimalism” (exemplified by the work of Philip Glass and Steve Reich), but his artistic growth took him in different directions. His mature work synthesizes a wide variety of influences including jazz, pop music, Far Eastern and Latin American cultural elements, as well as the legacy of the familiar European symphonic tradition. Pulitzer-Prize winning composer, Ellen Taaffe Zwilich, is notable for her remarkable facility and the consistent personality exhibited in her works. Her commissions have come from many of the world’s eminent institutions and ensembles, including the Chamber Music Society of Lincoln Center, National Endowment for the Arts, New York Philharmonic, Juilliard School, Carnegie Hall, Chicago Symphony, and dozens of others. If one person were to be named “Renaissance Man of American Music,” it would most likely be Leonard Bernstein. His enormous influence on musical life and composition in this country derived from his success in the roles of conductor, composer, teacher, author, lecturer, pianist, and tv personality. George Gershwin arose from the same RussianJewish-immigrant-raisedin-New-York background that also produced Irving Berlin, Aaron Copland, and Leonard Bernstein, among others. He was a child prodigy who began playing piano professionally at 15, published his first song at 16, and had his first original show on Broadway at 22.


Fairfax Symphony Orchestra Christopher Zimmerman | Music Director

September 22, 2012 – 8:00 p.m. George Mason University’s Center for the Arts Christopher Zimmerman, conductor Jeffrey Biegel, piano

ADAMS The Chairman Dances (Foxtrot for Orchestra) ZWILICH

Shadows, for piano and orchestra – East Coast Premiere

Jeffrey Biegel

--- Intermission ---

BERNSTEIN

Three Dance Episodes from On the Town 1. The Great Lover 2. Lonely Town (Pas de deux) 3. Times Square, 1944

GERSHWIN

Piano Concerto in F Major 1. Allegro 2. Adagio 3. Allegro agitato

Jeffrey Biegel

This program is funded in part with generous support from the County of Fairfax. Additional funding for this concert is provided by the Virginia Commission for the Arts and the National Endowment for the Arts.

Be sure to silence all signal watches, cell phones and any other item that may beep or buzz before entering the concert hall. Taking photographs or using recording equipment of any kind is not allowed in the auditorium. This includes cell phones, iPods, and any other device with photo or recording capability. We appreciate your assistance in helping to make the performance enjoyable to all concert patrons and musicians.

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Program Notes JOHN ADAMS (b. 1947) The Chairman Dances The name John Adams may be familiar to local audiences for three reasons: The FSO performance of his Violin Concerto in November 2010; his acclaimed Kennedy Center residency and guest conducting appearances with the National Symphony; and his general reputation as a gifted, imaginative, and highly respected contemporary composer. In 1985 he interrupted work on his first opera, Nixon in China, to fulfill a commission from the American Composers Orchestra and the National Endowment for the Arts. Indulging in the time-honored practice of self-borrowing, he took ideas from the opera (which went on to become one of the most acclaimed and influential stage works of the past century) and elaborated them into a 12-minute concert piece he subtitled “Foxtrot for Orchestra.” The formal title echoes a stage direction: In the opera a portrait of Chairman Mao comes to life, and the character steps onto the stage to dance a somewhat bizarre foxtrot with his wife. The composer intends this music as a kind of “cabaret number,” by turns nostalgic, humorous, and satirical (especially with its implied comparison of Chairman and Madame Mao to Fred Astaire and Ginger Rogers). ELLEN TAAFFE ZWILICH (b. 1939) Shadows Trying to do justice to the career of Ellen Taaffe Zwilich would take far more space than is available here. Suffice it to say that she is one of the most honored of living composers, with a list of prestigious commissions and premieres that would flatter anyone. She gained widespread attention as the first woman awarded the Pulitzer Prize in music (1983, for her Symphony No. 1), and was chosen as the first person to occupy the new Composer Chair at Carnegie Hall. Like most composers she had piano training from childhood, and played both violin and jazz trumpet as well. When she moved to New York City for advanced study in composition she sup-

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ported herself as a free-lance violinist, notably in the American Symphony Orchestra under Leopold Stokowski; that alone testifies to her accomplishments as a performing musician. Thanks to her own significant experience in orchestras, Zwilich’s music is idiomatic and highly effective for all instruments and ensembles. Thus she has frequently been commissioned to write concertos, and her catalogue features showpieces for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, bass trombone, violin, and violin plus cello. According to her publisher: “Shadows is Ellen Zwilich’s fifth piano concerto – the second… composed for pianist Jeffrey Biegel… The composer describes Shadows as a work evoking the recollection of ancestral, religious, and cultural roots in people’s constant migration. The final movement reflects the triumph of the human spirit over natural and man-made disasters.” The Fairfax Symphony is proud to be a member of the international consortium that commissioned Shadows; its world premiere was given in October 2011 by the Louisiana Philharmonic and the dedicatee, Jeffrey Biegel. The work is scored for small orchestra with one percussionist. This restriction on the amount of tonal color and special effects keeps the focus on thematic development and the rhythmic interplay between soloist and orchestra. A high degree of unity results from the consistent use of a small set of readily recognizable motifs, the most prominent of which is the very first chord (containing both major and minor thirds, it is closely related to jazz harmony in ways that quickly become explicit). Movement I is marked “tranquillo” (quiet, peaceful) but from the beginning there is an underlying element of tension and unease. The tempo is extremely slow, almost funereal, as the melodic phrases build to an anguished climax. Percussive sounds begin as reinforcement and punctuation, but as the music progresses the percussionist assumes a prominent role, almost that of a secondary soloist. This becomes evident at the start of the second movement, where – although the tempo marking is exactly the same as in


the first – the rhythmic figures in the drums suggest a tempo twice as fast. The composer’s fascination with jazz is quickly made clear with a strutting ostinato figure for low strings and a bluesy duet for horn and English horn. Melodically the movement is concerned mostly with a working-out of the intervals and figures heard at the very beginning of Movement I, and like the first it ends very quietly. The finale is marked to be played twice as fast as its predecessors, with a high level of energy established by drums and a double-time version for the piano of the low strings’ strutting ostinato, combined with the major-minor chord that has become a fingerprint of this music. A free-wheeling, almost raucous mood develops as wind instruments contribute jazzy licks and a two-chord punctuation figure appears, one that will be immediately recognized by listeners familiar with the Gershwin concerto to be heard later. The soloist has ample opportunities to show off his finger speed, while the very busy percussionist adds exotic color with three pitched hand-drums. The tempo slackens briefly for a reminiscence of the work’s opening sounds and mood, then resumes and presses forward to an exuberant finish. LEONARD BERNSTEIN (1918-1990) Three Dance Episodes from On the Town In April 1944, just months before his sensational conducting debut with the New York Philharmonic (substituting at the last moment for an indisposed Bruno Walter), Leonard Bernstein was making his mark on Broadway. Working with choreographer Jerome Robbins, Bernstein had composed Fancy Free, a highly successful ballet about three sailors on shore leave in New York City. While it was still running, they decided that the concept could be adapted for a musical, and with the help of Betty Comden and Adolph Green (who provided a libretto and song lyrics) they expanded the story line to create a full-length Broadway show. On the Town opened on December 28 of the same year; remarkably, Bernstein had composed all new music for the score. It was a genuine hit, running for 463 performances. Early in the show, one of the sailors

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falls hopelessly in love when he sees a poster of “Miss Turnstiles,” the subway girl of the month. The first movement is a comic number in which he dreams of seducing her with his personal charms, including his vigorous dancing. “Lonely Town” is a musical evocation of solitude in the big city. For its finale, the suite returns to the brash sounds that capture the sights and moods of Times Square. GEORGE GERSHWIN (1898-1937) Piano Concerto in F Major The wildly successful 1924 introduction of Rhapsody in Blue was more a matter of public enthusiasm and notoriety than of critical accolades, for indeed most of the published reviews were skeptical or cautiously optimistic about this “marriage of jazz and classical music.” But one professional in attendance who took careful note of the audience’s reaction was Walter Damrosch, conductor of the New York Symphony Orchestra (a forerunner of the Philharmonic). He saw the potential for a crowd-pleasing novelty and commissioned a full-scale concerto that the composer himself would premiere on December 3, 1925. Both Gershwin’s naïveté and his self-confidence are reflected in the fact that he agreed to a lead-time of only seven months (the contract was signed in late April of that year) and the documented fact that, once he realized how little he knew about large-scale forms, he went out and purchased a text to learn how to construct a concerto. Liszt and Tchaikovsky are often cited as influences on the Concerto in F, but an equally strong claim can be made for Rachmaninoff, who reportedly attended the first performance of the Rhapsody and whose piano concertos were already much admired. Certainly the lush textures, gorgeous romantic themes, and kinetic energy found here owe some of their inspiration to the Russian’s second and third concertos; but there are distinctively American touches throughout, including all that percussion in the fanfare-like introduction and especially the catchy rhythms of the outer movements. To his credit, although he had not yet learned the arts of development of themes and transition


between them, Gershwin proved a remarkably quick study in orchestration – for where the Rhapsody had been orchestrated for him by Ferde Grofé, the colorful scoring of the Concerto was his own work, and is full of distinctive touches. The concerto announces its populist stance with an introduction that immediately juxtaposes portentous timpani strokes with jazzy phrases in the winds. The soloist enters with a relaxed, ruminative tune that forms the actual main theme; when the tempo quickens we hear the livelier second theme, featuring syncopated rhythms derived from a “dance craze” of the period, the Charleston. These materials are manipulated according to a rough sonata plan, leading to the expected fortissimo restatement of the main theme and an emphatic close. A brief, quiet phrase for solo horn begins the Adagio, setting the stage for the trumpet to sing the first theme of what amounts to a blues nocturne. (This passage is marked to be played muted, but with a velvet cloth or bag over the bell of the instrument

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instead of the familiar straight mute or cup mute, so as to produce a softer, more veiled tone.) A jaunty, more animated tune emerges, with sardonic touches along the way (little asides by muted brass, and trombone glissandos), reminding us again of the composer’s allegiance to Tin Pan Alley. The impetuous, driving spirit of the finale’s main theme is spelled out in its rapidfire repeated notes. It may well have been this display of virtuosity that motivated the compliments Gershwin told friends he received after the concert from two of the world’s alltime great pianists, Rachmaninoff and Josef Hoffman. Revisiting themes and motifs from the previous movements gives the concerto a unified quality, showing that Gershwin had absorbed the necessity for balancing unity with variety. The work comes to a powerful close with some impressive passage-work for the soloist and new twists on the bouncy dance rhythms previously introduced. © 2012 Frank M. Hudson


Meet the Artist Jeffery Biegel, piano Jeffrey Biegel is one of today’s most respected artists, with a multi-faceted career as a pianist, recording artist, composer and arranger. His electrifying technique and mesmerizing touch has received critical acclaim and praise worldwide. Born a secondgeneration American, Mr. Biegel’s roots are of Russian and Austrian heritage. Until the age of three, Mr. Biegel could neither hear nor speak, until corrected by surgery. The ‘reverse Beethoven’ phenomenon can explain Mr. Biegel’s life in music, having heard only vibrations in his formative years. Known for his standard-setting performances of the traditional repertoire, Mr. Biegel’s recent performances include a global webcast with the Detroit Symphony Orchestra, Leonard Slatkin conducting, in Beethoven’s Choral Fantasy and William Bolcom’s Prometheus. Tonight’s performance of Shadows for piano and orchestra by Ellen Taaffe Zwilich is a co-commission with eight orchestras across the United States, which received its world premiere with the Louisiana Philharmonic Orchestra last season. His recent recordings include ‘A Steinway Christmas Album’ and ‘Bach On A Steinway’ for the Steinway label, Leroy Anderson’s ‘Concerto in C’, conducted by Leonard Slatkin with the BBC Concert Orchestra, Ellen Taaffe Zwilich’s ‘Millennium Fantasy’ and ‘Peanuts Gallery,’ a solo cd of Vivaldi’s ‘Four Seasons’ for Naxos, ‘Classical Carols’ for Koch and the Complete Sonatas by Mozart on the E1 label. Jeffrey Biegel’s career has been marked by bold, creative achievements. In the late 1990’s, he initiated the first live internet recitals in New York and Amsterdam, and assembled a consortium of more than 25 orchestras to celebrate the millennium with the premiere of Ellen Taaffe Zwilich’s

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Millennium Fantasy for piano and orchestra. In 2006, Mr. Biegel joined 18 co-commissioning orchestras for Lowell Liebermann’s Concerto No. 3 for piano and orchestra, which was composed exclusively for him. He has played premieres of new works and arrangements with the Boston Pops, New York Pops, the American Symphony Orchestra, the Eastern Music Festival Orchestra, as well as the symphony orchestras of Minnesota, Indianapolis, and Harrisburg, among others. Mr. Biegel’s published works include The World In Our Hands (Hal Leonard), Christmas In A Minute (Hal Leonard), The Twelve Days of Christmas (Hal Leonard), Hey Ho, the Wind and the Rain (Hal Leonard), Hanukah Fantasy (Hal Leonard), Different Kind of Hero (Carl Fischer), and Elegy of Anne Boleyn (Carl Fischer). His most recent composition is There Shines a Light Ahead for SATB chorus, soprano soloist and piano, which received its world premiere in 2011 by the Mt. Sinai High School Choir in New York.

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Fairfax Symphony Orchestra Christopher Zimmerman | Music Director

2012-13 Annual Fund The following listing comprises all those who have donated to the current FSO season as of September 1, 2012. Every effort is made to ensure the accuracy and completeness of the list. Please contact us immediately if you find a discrepancy or error. Government County of Fairfax Virginia Commission for the Arts Arts Council of Fairfax County City of Fairfax Commission on the Arts Foundations and Charitable Funds Combined Federal Campaign of the National Capital Area Freddie Mac Foundation Matching Gifts Ann & Gordon Getty Foundation Philip L. Graham Fund Charles Schwab Charitable Fund United Way of the National Capital Area Verizon Foundation Matching Incentive Program Wells Fargo Foundation Corporations Capital One Cox Communications Ernst & Young LLP GSBB Associates, LLC HSBC

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Target The Potter Violin Company and VASTA – Master Class support SYMPHONY SOCIETY Concerto Club Platinum Fran and Jerry Kieffer Gold Mr. and Mrs. Thomas M. Brownell David and Somer Conley Jennifer Gitner Mr. and Mrs. Glenn A. Hemer Ms. Karen Hepworth Stephen and Tina Kenny Mr. Gregory Llinas John Lockhart Brian and Suzanne Lubkeman Warren and Judy Martin Mr. and Mrs. R. Dennis McArver Michael L. Privitera Mrs. Karen Wallis Erv and Laura Walter Jacquie and Sid Wallace Sally and Rucj Uffelman

Silver Anonymous Carl and Judy Azzara Ruth Crumb Dr. and Mrs. Charles Emich Mr. and Mrs. C. David Hartmann Anne and Til Hazel Robert and Maryanne Jones The Honorable and Mrs. John Mason David and Bridget Ralston James and Miriam Ross Rhapsody Circle Anonymous Pamela Charin, in memory of Helen Charin Mr. Walter Geisinger Dr. Per and Mrs. Stella Kullstam Dr. Edward L. Menning Sonata Circle Bill and Dorothy Brandel Donald and Ruth Drees Mr. and Mrs. John A. Farris Harry and Barbara Gerber Robert and Whitney Henry Mr. Keith Highfill Mr. and Mrs. Wade Hinkle Mr. Kurt P. Jaeger Anne E. Lamar


Mr. and Mrs. Timothy J. McCarthy Dr. & Mrs. Eugene Overton Mr. Justice Percell William A. and Lenore H. Plissner Samuel and Phyllis Talley Fred and Carolyn Tarpley Michael Wendt Serenade Circle Dr. Charles Allen Merline and Tim Andrews Ms. Jane Arabian Ms. Gay B. Baker Mr. and Mrs. Ronald Baker Ms. Esther Beaumont Doug and Helen Baumgardt Mr. and Mrs. James Bland Mr. and Mrs. James Boone Judith A. Braham Mary L. Burns

John T. Correll Virginia Crea Mr. and Mrs. David Cross Mr. and Mrs. Ronald M. Cross Mike and Sarah Daniel Jean Mitchell Duggan In memory of Dr. Warren J. Eitler Peggy & Arye Ephrath Mr. and Mrs. Robert Fall Anne Farr Frank & Lynn Gayer Edward and Janice Gerry William I. Goewey Anthony and Lucy Griffin Mr. Gareth Habel Mr. and Mrs. Eric Hanson Dr. Mu Hong and Mrs. Won Kim Sarah Hover

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Barbara A. Moore Margaret A. Murphy Mr. and Mrs. Richard K. Newhall Mr. Mark R. O’Brien COL and Mrs. Tommy T. Osborne Mr. James Painter Mr. and Mrs. Ron Petrie Mr. and Mrs. Istvan Pribilovics Richard Renfield, in memory of Michelle Renfield Ms. C. Carole Richard Mr. and Mrs. William R. Richardson, Jr. Ms. Margaret Rivenburg

Ms. Sharon E. Rosendhal Ms. Barbara Ryland In honor of Aaron Weston Sansbury Mr. and Mrs. Robert E. Schaub David Seida Mr. and Mrs. Peter Shaulis Mr. and Mrs. Stanley C. Shelton Hilary Smith Dorothy Staebler Mr. and Mrs. F. M. Stuhrke, Jr. Mr. and Mrs. George D. Summers Robert and Valerie Sutter

Carolyn and Mitchell Sutterfield Ms. Jane Sweet Marjorie S. Turner Jack and Jane Underhill Roy and Margaret Wagner Andy Wahlquist Mr. Robert E. Ward Mr. and Mrs. Egon Weck Mr. and Mrs. Larry N. Wellman Polly and Jack Woodard Woodbridge Flute Choir Mr. and Mrs. Gene Wunderlich Mr. and Mrs. Craig K. Zane Mr. and Mrs. Jared Zurn

Join the Symphony Society For more information, contact Ann Morrison, Development Director, 703-563-1990 or amorrison@fairfaxsymphony.org 2012-2013 MEMBERSHIP BENEFITS Prelude Circle: $50 - $99 (100% tax-deductible) Priority processing of season ticket order and reserved seating section at pre-concert lectures Serenade Circle: $100 - $299 (100% tax-deductible) Prelude Circle benefits plus two tickets to season sneak preview event and acknowledgment in program book for the entire season Sonata Circle: $300 - $499 (100% tax-deductible) Serenade Circle benefits plus two beverage coupons to be used at any Masterworks concert Rhapsody Circle: $500 - $999 ($40 non-deductible) Sonata Circle benefits plus complimentary indoor parking for all Masterworks concerts CONCERTO CLUB Silver: $1,000 - $2,499 ($300 non-deductible) Rhapsody Circle benefits plus invitation for 2 for Green Room receptions Gold: $2,500 - $4,999 ($300 non-deductible) Silver benefits plus two “Flex Pass” vouchers for complimentary Masterworks tickets and ability to “Sponsor a Musician” – select a musician to sponsor for the season Platinum: $5,000 and above ($400 non-deductible) Gold benefits plus invitation for 2 to the exclusive Season Preview Luncheon with Maestro Zimmerman (March 2013)

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In-Kind Cabot Creamery The Connection Newspapers Fairfax City Self Storage Foxes Music, Inc. Total Wine and More Trophy World Media Sponsors WETA WAMU Valentine Pops Gala 2012 Argy, Wiltse & Robinson, P.C. Balfour Beatty Construction BB&T The Carlyle Group/Curt Buser Cameron/McEvoy PLLC CGI Ernst & Young (3 tables) Fried, Frank, Harris, Shriver & Jacobson FSO Board of Directors Alumni Jennifer & Geoff Gitner Dr. Gerald L. Gordon Hilton Worldwide Holland & Knight, LLP Kip Laughlin

Dr. Kyung-Shin Lee and Friend John Lockhart and Friends McGuireWoods LLP Morrison & Foerster, LLP The Peterson Family Foundation Protiviti Jimmy Rhee and Friends The Reinsch-Pierce Family Foundation Stout Risius Ross Smith-Martin Family Foundation Mr. & Mrs. George Stratman and Friends Sutherland Asbill & Brennan George Swygert & Lori Jenkins The Washington Group Walsh, Colucci, Lubeley, Emrich & Walsh, P.C Erv & Laura Walter FSO Golf Tournament 2012 Adjuvant Global Advisors, LLC Mr. Jeff Ahn BB&T Burgess Group LLC Mr. David Cheon

Cooley Godward Kronish, LLP Mr. Brad Doss Ernst & Young LLP Executive Healthcare Services Fairfax County Economic Development Authority Mr. Paul Feeko First Virginia Community Bank Mr. & Mrs. Michael L. Herrinton Mr. Michael Johnson The Honorable Mark L. Keam Mr. Matthew Kim Landmark Atlantic Mr. & Mrs. Brian J. Lubkeman McGladrey McGuire Woods, LLP Newmark Grubb Knight Frank Mrs. Hekyung Park-Barr Mr. & Mrs. Stephen Polo Seabrook Advisors, LLC Stewart Title & Escrow, Inc. Tetrad Digital Integrity Mr. & Mrs. Ervin Walter Mr. Del Wilber Mr. Suon Gu Yoon

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Fairfax Symphony Orchestra Christopher Zimmerman | Music Director William Hudson | Music Director Emeritus VIOLIN

Karan Wright, Assistant Principal

Sarah Castrillon

David Salness, Concertmaster Allison Bailey, Associate Concertmaster

Nancy Bovill

Helen Fall

Adrienne Caravan

Stephanie Knutsen

Cristina Constantinescu, Assistant Concertmaster

Cynthia Crumb

Kimberly Mitchell

Jeanne Dalton

Susan Bower

Patti Reid

Saskia Guitjens

Yevgeniy Dovgalyuk

Priscilla Howard

Christopher Franke

Inchong Kim

Timothy Kidder

Paul Kim

Mia Lee

Susan Manus

Sharon Like

Halina McAlpine

Kristopher Miller

Timothy Owens

Jonathan Richards

Elena Smirnova

Matthew Richardson

Emily Sullivan

Ae-Young Sun Natalie Trainer Timothy Wade, Principal Jennifer Lee, Associate Principal

Mary Dausch

VIOLONCELLO Marion Baker, Principal Christopher Moehlenkamp, Associate Principal Karen Chisholm Jihea Choi Kristin Gilbert Andrew Hesse MaryAnn Perkel

VIOLA

Anne Rupert

Gregory Rupert, Principal William Hudson Chair (Fran & Jerry Kieffer)

Kathy Thompson Barbara Van Patten Gozde Yasar

Gene Pohl, Associate Principal

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DOUBLE BASS

Jeanine Reinier

TROMBONE

Aaron Clay, Principal

CLARINET

James Armstrong, CoPrincipal

Julie Wagner, Associate Principal Kyle Augustine

Adam Ebert, Principal

David Miller, Co-Principal

Wendi Hatton

BASS TROMBONE

Barbara Haney

John Barger

Victor Rohr, Principal

Mark Bergman

BASS CLARINET

Stiliana Christof

Barbara Haney

Erik Cohen

BASSOON

James Donahue

Dean Woods, Principal

HARP

Sandra Sisk

Douglas Day, Principal

Katherine Hazzard Rogers, Principal

Tia Wortham

PERCUSSION

CONTRA BASSOON

Shari Clark Rak, Principal

FLUTE

Tia Wortham

Michael Gatti, Associate Principal

Lawrence Ink, Principal Cheryl Hall

TUBA Michael Bunn, Principal TIMPANI

FRENCH HORN

Joe Connell

Eric Moore, Principal

Sharon Lee PICCOLO

Nathaniel Willson, Associate Principal and Utility

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Jim Gollmer

KEYBOARD Laurie Bunn, Principal

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PERSONNEL MANAGER

Greta Richard

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ENGLISH HORN

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The mission of the Fairfax Symphony Orchestra is to explore and present the symphonic repertoire, both traditional and modern, for the diverse audiences of the Northern Virginia region while building the musicians and audiences of the future through education and outreach programs. Follow us on Facebook!


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WHAT MAKES FAIRFAX COUNTY SPECIAL

EXCELLENT HOUSING OPTIONS

CREATIVITY

HIGHLY EDUCATED PEOPLE

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The quality of life we enjoy here in Fairfax County can’t be shown on a graph. There is simply no way to quantify the experience of being in one of the most creative, vibrant and diverse environments in the world. Institutions such as the FSO provide the cultural richness we want for our families, and abundant employment opportunities provide the challenges we want for ourselves. We are proud of the balance we are able to achieve between our work lives and our home lives. We are proud of our home. We are proud of Fairfax County. The power of ideas

The Fairfax County Economic Development Authority offers a wide range of services and resources to help companies grow and succeed in Fairfax County. To find out more about how the FCEDA can support your business, visit powerofideas.org.

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Fairfax Symphony present All-American concert - Saturday, September 22, 2012  

The Fairfax Symphony opens its three-year exploration of “Mischief in Music” on Saturday, September 22, 2012, with a concert of all-American...