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Fairfax Symphony Orchestra Christopher Zimmerman, Music Director

Mischief in Music

2012-2013

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, depending on the size of your donation, 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 7 2012-2013 Season Calendar

13 Concert Program

9 FSO Board and Staff

20 Fairfax Symphony Orchestra Roster

11 Meet Maestro Christopher Zimmerman

22 FSO Education Programs 24 2012-2013 Annual Fund

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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 IVES: The Unanswered Question LESHNOFF: Flute Concerto (Virginia Premiere) 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 “Jeans ‘N Classics” Motown Gala & Silent Auction 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 Richard Basehore* 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 Eric Moore Michael L. Privitera Karen Wallis Ervin Walter, Treasurer Martha Wilson Maria Winters 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 Debra Harrison, President/CEO 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

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 Mozart’s Die Zauberflöte (The Magic Flute) belongs to a category of opera called singspiel, in which there is considerable spoken dialogue, alternating with arias and ensembles, with a plot usually romantic or comic in nature. The storylines often mixed strong elements of fantasy, magic, and very broad humor with ridiculous exaggerations, so that the end result was a lighthearted entertainment aimed at an unsophisticated audience. The work remains popular today because of the depth and beauty of its music, as well as its undercurrent of advocacy for Enlightenment ideals as espoused by the Masons.

The prolific and highlyregarded young American composer Jonathan Leshnoff has shown a strong affinity for the concerto form, and shown by his recent premieres and commissions for concertos for violin, cello, percussion, trombone, a double concerto for violin & viola, and his Flute Concerto, introduced less than two years ago by the Philadelphia Orchestra. His success in this genre is no accident, given his gift for listener-friendly melodic lines, colorful orchestration, and a compelling harmonic language. There is a well-known (and true) story telling how Brahms was so nervous about being compared to Beethoven that it took him over 20 years to finish his First Symphony. It must have been quite gratifying for him when it was rapturously received, with one critic going so far as to give it the nickname “Beethoven’s Tenth.”

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Charles Ives was a parttime composer, as his actual career was in the insurance industry, but he is thought

by many to have been one of this country’s most original musical thinkers. One of his innovations was the idea of layering different kinds of music to produce unusual and provocative effects. The Unanswered Question gives a clear illustration of this technique.

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Fairfax Symphony Orchestra Christopher Zimmerman | Music Director JANUARY 19, 2013 – 8:00 P.M. George Mason University’s Center for the Arts Christopher Zimmerman, conductor James Siranovich, assistant conductor Christina Jennings, flute MOZART

Overture to Die Zauberflöte

IVES The Unanswered Question Christopher Zimmerman and James Siranovich, conductors LESHNOFF

Flute Concerto (Virginia premiere performance) 1. Pensive 2. Allegro 3. Slow 4. Fast Christina Jennings, flute

--- Intermission ---

BRAHMS

Symphony No. 1 in C Minor, op. 68 1. Un poco sostenuto; Allegro 2. Andante sostenuto 3. Un poco allegretto e grazioso 4. Adagio; Allegro non troppo, ma con brio

Visit the FSO table in the lobby to purchase CDs featuring tonight’s guest artist Christina Jennnings, flute ONLY $20! She will autograph CDs in the lobby following the performance. Pre-Concert Lecture Sponsored by Stephen Kenny 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 WOLFGANG A. MOZART (1756-1791) Overture to Die Zauberflöte Mozart joined the Masons at the age of 28 as an ardent supporter of their Enlightenment-inspired ideals. Die Zauberflöte (The Magic Flute) was one of his last completed works and a huge success; it immediately entered the repertoire and has become one of the most frequentlyperformed operas of all time. The work was written for his brother Mason, the opera singer and impresario Emmanuel Schikaneder, and its plot is loaded with symbolism tied to Freemasonry. An example is the significance of the number three, reflected in the three chords that open the overture and are played three times, and even the fact that the overture is written in the key of E-flat major (three flats). CHARLES IVES (1874-1954) The Unanswered Question

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In 1906 Charles Ives wrote a short experimental piece for chamber ensemble, intending it to be part of a two-movement set. It was never performed, however, so about 25 years later he produced the orchestral version we hear tonight. The Unanswered Question consists of three layers of music, each in its own key, tempo, and scoring. The strings (specified to be offstage) play a quiet, slowly-moving background consisting mostly of simple chords; a solo trumpet seven times intones what Ives called “The Perennial Question of Existence;” and a quartet of woodwinds seem to answer the trumpet but become increasingly agitated, ending up confused and almost frantic. But the matter is never resolved, and the strings’ nearly static, noncommittal murmuring has the last word. In this brief, provocative piece Ives succeeded in posing a profound philo-


sophical issue in a musical statement that is both challenging and illuminating. JONATHAN LESHNOFF (b. 1973) Flute Concerto Having enjoyed a world premiere in March 2009 by the Philadelphia Orchestra and its principal flutist, Jeffrey Khaner (for whom it was written), Jonathan Leshnoff ’s Flute Concerto provides another demonstration that, in the hands of a creative artist, first-rate music can still be written using familiar harmonies, forms, and rhythms. Leshnoff, who currently teaches at Towson State University, is now riding a wave of commissions, premieres, and recordings commensurate with his music’s capacity to communicate with attentive audiences. His restrained use of the orchestra (pairs of woodwinds, trumpets, and trombones, with percussion, harp, piano, celeste, and strings)

helps keep the soloist to the forefront while still affording many options for lush, colorful scoring. The work is large-scale, and “symphonic” in the sense of having four movements that correspond to the usual layout of the classical symphony. Leshnoff ’s concern for balance is shown by the fact that, although much of the music is written in the flute’s attractively feathery low and middle registers, the accompaniment rarely threatens to cover it up. The concerto is unified by the use in every movement of a four-note motif; stated by the flute at the very beginning, it assumes different guises appropriate to the varying moods of the piece. Mr. Leshnoff remarks: “Sometimes it appears mysteriously, sometimes overtly, and in the end it appears as a superimposed melody over the triumphant final theme.” The quietly dramatic opening of the first movement immediately shows off the

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flute’s affinity for lyrical expression and limpid phrasing. This sweetly melodious music occasionally suggests the Ravel of Pavane for a Dead Princess, with beguiling musical gestures that are amplified and developed through a modest climax. A taste of the flute’s virtuosic agility is provided in the Allegro, a short, scherzolike movement that suggests a sort of manic waltz. Certainly the expressive heart of the work is its third movement, which seems like a meditation on the nature of song itself. Here the bittersweet harmonies and voluptuous sonorities hint at an underlying elegiac quality typical of a composer with whom Leshnoff is often compared, Samuel Barber. The vigorous finale features long stretches of “perpetual motion” that challenge both the soloist and the ensemble’s ability to keep up. Frequent references to the four-note motif are heard in both the solo voice and the orchestra throughout

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the movement, reminding us of the music’s substantial emotional journey. The music barrels along in headlong fashion, enlivened by rhythmic irregularities and piquant touches in the scoring that maintain interest and momentum right up to the abrupt, final high D-flat for the soloist. JOHANNES BRAHMS (1833-1897) Symphony No. 1 in C Minor, op. 68 By the early 1870’s Brahms was firmly established as one of the leading composers of the day. He had published a good deal of piano, vocal and choral music, a number of chamber works, the German Requiem, and his First Piano Concerto. But aside from that concerto, he had produced little for orchestra except two early, lightweight serenades for small orchestra and the Variations on a Theme of Haydn. People naturally wondered when Brahms would finally venture into the symphonic field. The curiosity was even more intense among professional musicians and critics. Brahms had become the de facto standardbearer for the conservatives of the day, those who opposed the “anything-goes” approach of the “New German School,” of which Richard Wagner was the idol and spiritual leader. Indeed, ten years before the First Symphony finally appeared, Brahms’ friend and colleague Max Bruch wrote to the conductor Herman Levi: “When you write to Brahms… urge him to write a great, splendid symphony, which will directly strike the hearts of the people, and shake and jolt the philistines so that they will not know what hit them!” Brahms was famously secretive about his work. This was partly due to the enormous sense of responsibility he had felt since the age of 20, when he was anointed as the “savior” of German music in a magazine article by the revered composer Robert Schumann. (It is said he drafted


and destroyed 20 string quartets before completing one that he would allow to be published.) Schumann’s widow Clara was one of the foremost pianists of the time, and after Robert’s death she became Brahms’ closest friend and confidante. She was one of only a handful of people who knew that Brahms had been struggling for years in an attempt to produce a symphony worthy of the expectations that had been laid on him. As he expressed it in a famous outburst: “I shall never write a symphony! You can’t have any idea what it’s like always to hear such a giant marching behind you!” He was referring, of course, to Beethoven, whose epoch-making accomplishments haunted every composer who followed him. But write one he did, finally. Audiences for the first performances were surprised, even shocked. From the very beginning, with the timpani pounding out the underlying 6-8 pulse and an upward-straining melody clashing with downward-pressing chromatic harmonies, it was clear that Brahms had infused the symphony with his own gravitas. A mood of almost grim determination seems to suffuse much of the Allegro, setting the quieter passages into relief; but after an agitated development section the movement ends in what feels like a temporary respite, postponing a resolution of the conflicts unleashed in the terse musical argument. The two inner movements are much lighter in character, providing a soothing lyricism to balance the vehemence that launched this symphonic epic. In the third movement Brahms manages to have his cake and eat it too: He pointedly does not write a scherzo, eschewing the expected rapid tempo and triple meter to produce instead a graceful intermezzo; but the first phrase for clarinet is immediately repeated upside down, as a kind of hidden joke for those who expected him to follow tradition. In another break with expectations, the

finale begins with a lengthy slow introduction that generates a good deal of suspense before the horn presents a broad, radiant tune of almost unearthly calm. This is immediately repeated by flute and then followed by a solemn chorale for low brass and bassoons. When the quicker tempo is finally reached, with its Beethovenian theme for strings, all tension is dispelled. Brahms’ genius is perfectly illustrated in his balancing and developing of the varied themes of this movement, which climaxes in a glorious full-throated restatement of the chorale-like passage from the introduction. Jubilant leaping rhythms then announce the exuberant closing pages and bring a subtle reminder of the opening movement, crowning a work that surely justified Bruch’s hopes and proved its composer’s right to be called one of the greatest who ever lived. © 2012 Frank M. Hudson

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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Meet the Artist CHRISTINA JENNINGS, FLUTE Flutist Christina Jennings is praised for virtuoso technique, rich tone, and command of a wide range of literature featuring works from Bach to Zwilich. The Houston Press declared: “Jennings has got what it takes: a distinctive voice, charisma, and a pyrotechnic style that works magic on the ears.” Ms. Jennings is the winner of numerous competitions including Concert Artists Guild, Houston Symphony’s Ima Hogg, and The National Flute Association Young Artists. Active as a concerto soloist, Ms Jennings has appeared with over fifty orchestras including the Utah and

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Houston Symphonies, Orchestra 2001, Park Avenue Chamber Orchestra, Flint Symphony, Spokane Symphony, Orchestra de Camera (Mexico), and Pro Musica (UK). In 2009 she premiered concertos written for her by Carter Pann and Laura Elise Schwendinger. Recent chamber music festivals include Strings in the Mountains (CO), Cascade Head (OR), OK Mozart (OK), Chamber Music Quad Cities (IA), and the Bowdoin International Festival (ME). As broad-­gauged in her musical pursuits as she is in her repertoire choices, Ms. Jennings is Principal Flute with the River Oaks Chamber Orchestra (Houston) and collaborates regularly with pianist Lura Johnson and guitarist Jonathan Leathwood. She has worked with such diverse artists such as Jethro Tull, David Parsons Dance Company, and members of the


Pilobolus. In addition, she is the founder of Oklahoma City’s Brightmusic Series. Chamber music partners have included So Percussion, the Brentano and Takács Quartets, soprano Lucy Shelton, pianist Simone Dinnerstein, and cellist Colin Carr. Christina Jennings can be heard in works by Alec Wilder alongside jazz great Marian McPartland in a shared CD for Albany Records. Also on Albany Records is a disc featuring Ms. Jennings as soloist in Shulamit Ran’s flute concerto Voices with the Bowling Green Philharmonia. Of the Jennings-­Johnson Duo CD, the American Record Guild declared: “Jennings is an extraordinary musician, with facile technique, a soaring tone, and a natural sense of phrasing that is often absent from flute playing.” In great demand as a teacher, Ms. Jennings is Assistant Professor of Flute at the University of Colorado at Boulder, and on the summer faculty of the Texas Music Festival. In 2008 she founded with Leone Buyse, The Panoramic Flutist Seminar, in Boulder. Trained in the Dalcroze Eurhythmics method, Christina’s teaching incorporated movement and dance. In recent seasons she has presented masterclasses at The Juilliard School, Rice University, University of Wisconsin Madison, the Peabody Institute, the Longy School of Music, and the flute associations of Seattle, Utah, and Texas. She received her Bachelor and Master’s degrees at The Juilliard School, and her principal teachers include Carol Wincenc, Leone Buyse, George Pope, and Jeanne Baxtresser. Ms. Jennings lives in Boulder with her husband, violist Matthew Dane, and their twin sons.

JAMES SIRANOVICH, CONDUCTOR Mr. Siranovich is a veteran of over 35 operatic productions, and has worked for Virginia Opera, Washington Savoyards, The Forgotten Opera Company, Regina Opera, and Opera Manhattan. In 2011, he was coconductor of the Bel Cantanti Summer Opera Festival in Washington, D.C. Born in Washington, D.C. , Mr. Siranovich was selected for the National Symphony Orchestra Youth Fellowship Program at age 15, and subsequently won a full scholarship to the University of Maryland, where he studied clarinet, piano, and conducting. His graduate work was completed at The Catholic University of America, where he continued his studies in piano and conducting while also studying organ, voice, sacred music, languages, and operatic coaching. He pursued further studies at the Mannes College of Music. From 1997-2001, Mr. Siranovich was the first assistant conductor in the Fairfax Symphony’s history. Mr. Siranovich studied conducting with William Hudson, Kate Tamarkin, Leo Nestor, and Ruben Vartanyan. He has worked in masterclasses with Jorma Panula, Gustav Meier, Leonid Korchmar (St. Petersburg Conservatory), and Sian Edwards. Under the aegis of these masterclasses, Mr. Siranovich has guest conducted the Southwest German Symphony Orchestra, the Macon Symphony, and the Congress Orchestra of St. Petersburg, Russia. Mr. Siranovich lives in Brooklyn and Washington, D.C.

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Fairfax Symphony Orchestra Christopher Zimmerman | Music Director William Hudson | Music Director Emeritus VIOLIN David Salness, Concertmaster Allison Bailey, Associate Concertmaster Cristina Constantinescu, Assistant Concertmaster Susan Bower Yevgeniy Dovgalyuk Christopher Franke Timothy Kidder Mia Lee Sharon Like Kristopher Miller Jonathan Richards Matthew Richardson Ae-Young Sun Natalie Trainer Timothy Wade, Principal Jennifer Lee, Associate Principal Karan Wright, Assistant Principal

Nancy Bovill Adrienne Caravan Cynthia Crumb Jeanne Dalton Saskia Guitjens Priscilla Howard Inchong Kim Paul Kim Susan Manus Halina McAlpine Timothy Owens Elena Smirnova Emily Sullivan

Helen Fall Stephanie Knutsen Kimberly Mitchell Michael Polonchak Patti Reid

VIOLA Gregory Rupert, Principal William Hudson Chair (Fran & Jerry Kieffer) Gene Pohl, Associate Principal Miranda Blakeslee Sarah Castrillon Mary Dausch

VIOLONCELLO Marion Baker, Principal Christopher Moehlenkamp, Associate Principal Karen Chisholm Jihea Choi Kristin Gilbert Andrew Hesse Ken Law MaryAnn Perkel Anne Rupert Kathy Thompson Barbara Van Patten Martha S. Wilson* Gozde Yasar

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DOUBLE BASS Aaron Clay, Principal Alan & Mary Beth Hemer* Julie Wagner, Associate Principal Kyle Augustine John Barger Mark Bergman Stiliana Christof Erik Cohen James Donahue HARP Katherine Hazzard Rogers, Principal FLUTE Lawrence Ink, Principal Cheryl Hall Sharon Lee PICCOLO Sharon Lee OBOE Rick Basehore, Principal USI/Jennifer Gitner* Jeanine Reinier, Associate Principal ENGLISH HORN Meredeth Rouse, Principal Jeanine Reinier

CLARINET Adam Ebert, Principal Wendi Hatton Barbara Haney

TROMBONE James Armstrong, Co-Principal David Miller, Co-Principal

BASS CLARINET Barbara Haney BB&T*

BASS TROMBONE Victor Rohr, Principal TUBA Michael Bunn, Principal

BASSOON Dean Woods, Principal Sandra Sisk Karen M. Hepworth* Tia Wortham

TIMPANI Douglas Day, Principal

CONTRA BASSOON Tia Wortham FRENCH HORN Eric Moore, Principal Nathaniel Willson, Associate Principal and Utility Jim Gollmer Neil Chidester Greta Richard TRUMPET Paul Johnson, Principal Christian Ferrari Neil Brown

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FSO Education and Community Outreach Programs The Fairfax Symphony Orchestra is committed to the musical education of all members of the community, from children to adults.

IN-SCHOOL PROGRAMS

In partnership with Fairfax County Public Schools’ Fine Arts office, the Fairfax Symphony has developed in-school programs for all students in grades K-12. Each involves professional FSO musicians working with or performing for students directly in their school. Each year, the FSO holds assemblies, workshops and side-by-side concerts in as many as 50 different schools in Farifax County at no charge to the schools.

SOUNDS OF SUMMER

Our summer concert series, held in cooperation with the Fairfax County Park Authority, consists of close to 30 free performances by FSO chamber ensembles in area parks and historical sites.

MASTER CLASSES

Every season, one or more of our world-renowned guest artists will present a master class for students of their instrument. During a master class, a small number of students perform for the master teacher and have a public lesson in which all members of the audience benefit from the expert advice offered to the performer. This season, violinist Benjamin Beilman and flutist Christina Jennings will present Master Classes.

PRE-CONCERT LECTURES Prior to each Masterworks concert, ticket holders are invited to a free lecture in which

musicologists discuss the fascinating and entertaining elements of the evening’s performance. These lectures begin at 7:00 p.m. in the concert hall.

STUDENT PASSPORT CLUB

For students ages 6-18! Students in the club enjoy special concert programs with activities and notes designed for them, receive free gifts from local merchants, meet FSO musicians, and attend a special reception during the season. Student tickets are $5, with accompanying adults starting at $25.

THE DOROTHY FARNHAM FEUER COMPETITION Established in 1963 as a tribute to Dorothy F. Feuer, founder of the Fairfax Symphony Orchestra, its purpose is to recognize and reward outstanding achievement in young string players grades 7-12 in the Northern Virginia area. The 2013 competition will be held February 9th and March 2nd.

For more information about the Fairfax Symphony’s community outreach programs, to schedule a performance at your school, or to support our endeavors to enrich the Northern Virginia community, please contact Tara Nadel, Education Director - (703) 563-1990; tnadel@fairfaxsymphony.org.

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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 January 1, 2013. 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 Claude Moore Charitable Foundation Clifton Community Woman’s Club Combined Federal Campaign of the National Capital Area Freddie Mac Foundation Matching Gifts Ann & Gordon Getty Foundation Philip L. Graham Fund Mary & Daniel Loughran Foundation Charles Schwab Charitable Fund United Way of the National Capital Area Verizon Foundation Matching Incentive Program Washington Forrest Foundation Wells Fargo Foundation

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Corporations BB&T Capital One Cardinal Bank Cox Communications Ernst & Young LLP GSBB Associates, LLC HSBC Target Wegmans The Potter Violin Company, VASTA and the Flute Society of Washington – Master Class support SYMPHONY SOCIETY Concerto Club Platinum Fran and Jerry Kieffer John Lockhart Eric Moore Gold Mr. and Mrs. Thomas M. Brownell Curt and Janine Buser Dr. and Mrs. David Charvonia David and Somer Conley Pepe Figueroa Jennifer Gitner Anne and Til Hazel Mr. and Mrs. Glenn A. Hemer

Ms. Karen Hepworth Stephen and Tina Kenny Mr. Gregory Llinas Brian and Suzanne Lubkeman Warren and Judy Martin Mr. and Mrs. R. Dennis McArver Michael L. Privitera Ms. Amy Smith, In Honor of Helen Fall and Shannon Smith Erv and Laura Walter Jacquie and Sid Wallace Martha S. Wilson Dermot and Maria Winters Sally and Rucj Uffelman Silver Anonymous Carl and Judy Azzara Nina and David Breen Ruth Crumb Dr. and Mrs. Charles Emich Mr. and Mrs. C. David Hartmann Sally Ann Hostetler Robert and Maryanne Jones The Honorable and Mrs. John Mason Peter and Nancy Nostrand Stephen and Mary Preston David and Bridget Ralston James and Miriam Ross


Rhapsody Circle Anonymous Pamela Charin, in memory of Helen Charin Randolph Church Brian and Marian Ewell Mr. and Mrs. John A. Farris Mr. Walter Geisinger Anthony and Lucy Griffin Kurt P. Jaeger Barry and Jane Clare Joyner Bill and Priscilla Kirby Dr. and Mrs. Frederick Kuhl Dr. Per and Mrs. Stella Kullstam Mr. and Mrs. Timothy J. McCarthy Dr. Edward L. Menning William A. and Lenore H. Plissner Katherine and Steven Webb

Sonata Circle Anonymous Mr. and Mrs. Giorgio Ascoli Ms. Gay B. Baker Doug and Helen Baumgardt Bill and Dorothy Brandel Donald and Ruth Drees Jean Mitchell Duggan Frank and Lynn Gayer Harry and Barbara Gerber Mr. and Mrs. Eric Hanson Robert and Whitney Henry Mr. Keith Highfill Mr. and Mrs. Wade Hinkle Anne E. Lamar Ms. Eileen Mandell, In Honor of Steve A. Mandell Alan and Grace Mayer Barbara A. Moore Margaret A. Murphy Dr. and Mrs. Eugene Overton

Mr. Justice Percell Bob Reid Frederick and Marjorie Stuhrke Robert and Valerie Sutter Ms. Jane Sweet Samuel and Phyllis Talley Fred and Carolyn Tarpley Dr. Jack and Mrs. Jane Underhill Andy Wahlquist Michael Wendt Serenade Circle Anonymous Dr. Charles Allen Merline and Tim Andrews Ms. Jane Arabian Mr. and Mrs. Ronald Baker Ms. Esther Beaumont David W. Briggs and John F. Benton Dr. Sonya Bethel

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Mr. and Mrs. James Bland Mr. and Mrs. James Boone Andrew and Nancy Bovill Kathryn J. Bovill Patricia G. Brady Judith A. Braham Marvin and Libby Burge Mary L. Burns Walter and Sigrid Carlson Cedric Chang John T. Correll Virginia Crea Mr. and Mrs. David Cross Mr. and Mrs. Ronald M. Cross Karin and Michael Custy Ms. Barbara Dandrade Mike and Sarah Daniel Mrs. Anita T. Eitler, In memory of Dr. Warren J. Eitler Peggy & Arye Ephrath Mr. and Mrs. Robert Fall

Anne Farr Megan Gallagher Edward and Janice Gerry William I. Goewey Joseph G. Gofus Anne L. Gorney Allen S. Greenspan Mr. Gareth Habel Mr. and Mrs. Arthur Hamerschlag Dr. Mu Hong and Mrs. Won Kim Sarah Hover Mr. and Mrs. Ted Hudson Dorothy E. Hunter Mr. and Mrs. Fredrick Hutchison Mr. Edward Jarett Mr. and Mrs. Christopher Jehn Mr. Harry M. Jones Barbara and Harry Kaplowitz Mr. Barry Kerne

Frank and Kelly Kingett Alexey Koptsevich and Yulia Gel John A. Kunkel & Anna M. Swenson Mr. and Mrs. Frank LaBelle Mr. Patrick Lefloch Stephen and Olga Levin Ms. Anne Loughlin Mr. and Mrs. Robert Lowry Mr. and Mrs. David J. Lynch Jane MacDuff Mr. John Madigan, In Memory of Catharine L. Smith Chuck Marginot Dr. and Mrs. Joseph Marshall Jim and Lesley McKeever Charles and Kathleen Meyer Bob and Donna Miller Joetta Miller Mr. and Mrs. Kenneth P. Mittelholtz

Cardinal Bank is proud to support the Fairfax Symphony Orchestra And we’re proud to serve you financially! Visit www.cardinalbank.com or call 703.584.3400 to find a Cardinal Bank office near you. Martha Wilson 703.584.3846

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Virginia and Marion Moser Mr. and Mrs. John D. S. Muhlenberg Alan S. Nadel Mr. and Mrs. Richard K. Newhall Helen Noah Mr. Mark R. O’Brien COL and Mrs. Tommy T. Osborne Elizabeth Benchoff Page 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. Mr. and Mrs. Albert J. Riedinger Ms. Margaret Rivenburg Ms. Sharon E. Rosendhal Patricia A. Ryan Ms. Barbara Ryland Ms. Anne Sansbury, In honor of Aaron Weston Sansbury Mr. and Mrs. Robert E. Schaub David Seida Mr. and Mrs. Robert Seraphin Mr. and Mrs. Peter Shaulis Mr. and Mrs. Stanley C. Shelton Mr. and Mrs. James Simpson Hilary Smith Nigel and Linda Smyth Dorothy Staebler Mr. and Mrs. George D. Summers Robert and Gloria Sussman Robert and Valerie Sutter Carolyn and Mitchell Sutterfield Alice Swalm

Reede and Jane Taylor Alton P. and Alice W. Tripp Marjorie S. Turner Roy and Margaret Wagner Ms. Diane Wakely-Park Mr. Robert E. Ward Mr. and Mrs. Egon Weck Ms. Peggy Weiss Mr. and Mrs. Larry N. Wellman Barry and Ann Wickersham Harry and Sandra Wilbur Polly and Jack Woodard Woodbridge Flute Choir Mr. and Mrs. Gene Wunderlich Mr. and Mrs. Craig K. Zane Mr. Emile L. Zimmermann Mr. and Mrs. Jared Zurn IN-KIND Cabot Creamery 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

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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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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 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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WHAT MAKES FAIRFAX COUNTY SPECIAL

EXCELLENT HOUSING OPTIONS

CREATIVITY

HIGHLY EDUCATED PEOPLE

UNIQUE CULTURE

THRIVING ECONOMY

WORK/HOME BALANCE

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 - January 19, 2013