WashMetPhil Dec 10, 2023 Concert program booklet

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2023/2024 SEASON Anna Binneweg, Music Director December 10, 2023 at 3 pm George Washington Masonic National Memorial Theater

A MESSAGE FROM ANNA BINNEWEG... This season marks an incredibly exciting time for WMP as we begin a new musical chapter of this wonderful organization! This moment is possible because of all of you – our audience members, our patrons, our donors, our board of directors, and the continued support and camaraderie of the great city of Alexandria. Today’s concert “The Rhythm of Christylez Bacon” features a program inspired by rhythm, dance, spirit, and unity. The three works performed today feature American composers that have embraced the point of musical intersection between diverse cultures throughout our country. Valerie Coleman’s Umoja (Swahili for "unity") represents the first day in the African American celebration of Kwanzaa and first intended to be a simple family sing-along song. Her fusion of modern orchestral techniques and traditional characters of tribal dance create an enriching experience for performers and listeners alike. Migrations in Rhythm: A Concerto for Beatbox and Rhyme composed for Christylez Bacon by Evan Meier is a showstopper! It remarkably illustrates diverse rhythmic styles (such as Afro-Cuban, New Orleans swing, Latin American, Funk and Go-Go) influenced by musicians of the African diaspora in North America. The concert concludes with Florence Price’s Symphony No. 1 – the first symphony composed by a Black woman to be performed by a major American orchestra in 1933. This work is inspired by both the Western classical tradition and Black musical idioms such as the Juba dance and spirituals. We are delighted that you are here with us today – from all of us here at WMPA, we wish you and your families a joyous and peaceful Holiday Season!


Valerie Coleman Umoja, Anthem of Unity Evan Meier and Christylez Bacon Migrations in Rhythm: a Concerto for Beatbox and Rhyme Christylez Bacon, Progressive Hip-Hop Artist —Intermission— Florence Price Symphony No. 1 Allegro ma non troppo Largo, maestoso Juba Dance: Allegro Finale: Presto

AfterChats with Anna Keep your seat in the Theater for AfterChats with Anna, our new postconcert open session with Music Director Anna Binneweg moderated by Executive and Artistic Planning Director Caroline Mousset featuring CHRISTYLEZ BACON and EVAN MEIER. Bring your questions, and join us for these conversations that offer insight into the music you just heard!

PROGRAM NOTES Umoja, Anthem for Unity Valerie Coleman Born 1970 in Louisville, Kentucky This work was premiered September 19, 2019, at Philadelphia’s Verizon Hall by the Philadelphia Orchestra conducted by Yannick Nézet-Séguin. It is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, two horns, two trumpets, one trombone, bass trombone, tuba, timpani, percussion, harp, piano, and strings.

Valerie Coleman is regarded by many as an iconic artist who continues to pave her own unique path as a composer, GRAMMY®-nominated flutist, and entrepreneur. Highlighted as one of the “Top 35 Women Composers” by The Washington Post, she was named Performance Today’s 2020 Classical Woman of the Year, an honor bestowed to an "individual who has made a significant contribution to classical music as a performer, composer, or educator. Umoja, Anthem for Unity was chosen by Chamber Music America as one of the “Top 101 Great American Ensemble Works” and is now a staple of woodwind literature. Former flutist of the Imani Winds, Coleman is the creator and founder of this acclaimed ensemble whose 24-year legacy is documented and featured in a dedicated exhibit at the Smithsonian National Museum of African American History and Culture in Washington DC. Along with composer-harpist Hannah Lash, and composer-violist Nokuthula Ngwenyama, she co-founded and currently performs as flutist of the performer-composer trio Umama Womama. Committed to arts education, entrepreneurship and chamber music advocacy, Coleman created the Imani Winds Chamber Music Festival in 2011, a summer mentorship program in New York City welcoming young leaders from over 100 international institutions. She has held flute and chamber music masterclasses at institutions in 49 states and over five continents. As a part of Imani Winds, she has been artist-inresidence at Mannes College of Music, Banff Chamber Music Intensive and Visiting Faculty at the University of Chicago. Coleman recently joined the Mannes School of Music Flute and Composition faculty in Fall 2021 as the Clara Mannes Fellow for Music Leadership. Prior to that she served on the faculty at The Frost School of Music at the University of Miami as Assistant Professor of Performance, Chamber Music, and Entrepreneurship. In 2021/22, she leads a year-long residency at The Juilliard School in their Music Advancement Program through American Composers Forum.

Coleman’s Umoja is best described using her own words. “In its original form, Umoja, the Swahili word for Unity and the first principle of the African Diaspora holiday Kwanzaa, was composed as a simple song for women's choir. It embodied a sense of 'tribal unity', through the feel of a drum circle, the sharing of history through traditional “call and response” form and the repetition of a memorable sing-song melody. It was rearranged into woodwind quintet form during the genesis of Coleman’s chamber music ensemble, Imani Winds, with the intent of providing an anthem that celebrated the diverse heritages of the ensemble itself. “Almost two decades later from the original, the orchestral version brings an expansion and sophistication to the short and sweet melody, beginning with sustained ethereal passages that float and shift from a bowed vibraphone, supporting the introduction of the melody by solo violin. Here the melody is a sweetly singing in its simplest form with an earnest reminiscent of Appalachian style music. From there, the melody dances and weaves throughout the instrument families, interrupted by dissonant viewpoints led by the brass and percussion sections, which represent the clash of injustices, racism and hate that threatens to gain a foothold in the world today. Spiky textures turn into an aggressive exchange between upper woodwinds and percussion before a return to the "melody as a gentle reminder of kindness and humanity. Through the brass-led ensemble tutti, the journey ends with a bold call of unity that harkens back to the original anthem. “Umoja has seen the creation of many versions, that are like siblings to one another, similar in many ways, but each with a unique voice that is informed by Coleman’s ever evolving creativity and perspective. “This version honors the simple melody that ever was but is now a full exploration into the meaning of freedom and unity. Now more than ever, Umoja has to ring as a strong and beautiful anthem for the world we live in today.”

Migrations in Rhythm: a Concerto for Beatbox and Rhyme – Evan Meier and Christylez Bacon With music by Evan Meier, lyrics and beats by Christylez Bacon, this work was premiered on September 29, 2022, in Wheeling, West Virginia, by the Wheeling Symphony Orchestra with Christylez Bacon as soloist and John Devlin conducting. Today marks this works DC area premiere.

PROGRAM NOTES (cont'd) Evan Meier grew up in Long Beach, California, but is currently based in the Washington, DC area. His music has been performed by ensembles throughout the United States, including the Minnesota Orchestra, New York City Opera, the Aspen Contemporary Ensemble, the University of Maryland Percussion Ensemble, the Youth Orchestra of Prince William County, the McLean Youth Orchestra, and the Chapman University Wind Ensemble. Meier’s Fire Music was selected for the Minnesota Orchestra’s 2015 Composers Institute, and performed for the Future Classics program, with Osmo Vänskä conducting. Opera has been a major focus of Meier’s compositional output. His one-act chamber opera, The Last Act of Revolution, was presented by New York City Opera’s VOX Festival in the fall of 2012; it was premiered earlier that year by the University of Maryland Opera Studio. Meier and librettist E. M. Lewis completed their first full-length opera collaboration, Sherlock Holmes and the Case of the Fallen Giant in 2020. The concert version of the opera was premiered at the American Lyric Theater Insight ALT Festival, conducted by Andrew Bisantz at Alvin Ailey Hall in NYC. This family-friendly opera combines the world of fairy tales with the storytelling device of a Sherlock Holmes mystery. In 2022, Meier collaborated with Hip-hop artist Christylez Bacon to create Migrations in Rhythm, a Concerto for Beatbox and Rhyme, heard on this program. The work was commissioned by John Devlin, music director of the Wheeling Symphony Orchestra. Meier writes, “Migrations combines elements of beatboxing and both prewritten and freestyle rap verses within the context of an orchestral concerto. The concerto provides a musical setting for Christylez’s storytelling and virtuosic rhythmic explorations in the styles of Hip-hop, Agbadza, ring shout, rumba, New Orleans jazz, funk, and Go-go. In this work, the concept of different rhythmic streams occurring at once serves as a metaphor for the diversity of musical experiences in America. Migrations traces the evolution of these rhythmic concepts in the interaction between different peoples in past and present-day America.”

Symphony No. 1 in E minor – Florence Price Born April 9, 1887, in Little Rock, Arkansas Died June 3, 1953, in Chicago, Illinois This work was premiered on June 15, 1933, by the Chicago





Frederick Stock. It is scored for two piccolos, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings.

Born in 1887 in a racially integrated neighborhood in Little Rock, Florence Price (born Florence Smith) was the daughter of a dentist who enjoyed a happy childhood. She was precocious as a musician and had her first piece published at age 12. She was valedictorian of her senior class at Capitol Hill School at age 16. It was a big step for a young African American teenager to move to Boston and study at the New England Conservatory, one of the few prestigious music schools in the country to accept students without regard to race, but she jumped at the opportunity. In Boston she studied with the illustrious composer George Whitefield Chadwick and earned her degree in 1907. A few years after returning home, she was offered the directorship of the music department of Clark University in Atlanta where she stayed until 1912. She returned to Little Rock and married the attorney Thomas Jewell Price, but found that the racial climate was becoming unbearable with lynchings becoming commonplace. In 1927 the Prices moved to Chicago where Florence would spend the rest of her life. Almost immediately after moving, she filed for divorce from Thomas—an especially independent and bold action for the time. This was a period of great musical growth for Price, as she enrolled in the American Conservatory of Music and Chicago Musical College. She signed a publishing contract with G. Schirmer. To make ends meet, she composed radio jingles and played organ to accompany silent movies. She wrote orchestrations for WGN Radio and even composed popular songs under the pen name Vee Jay. Her big break came in 1939 when soprano Marian Anderson, who mounted an historic Lincoln Memorial concert after she had been denied the use of Washington’s Constitution Hall by the Daughters of the American Revolution because of her race, performed Price’s setting of the spiritual, “My Soul’s Been Anchored in the Lord.” The gravity of that appearance is celebrated to this day. Price lived the rest of her life in Chicago and was well known in her time as the first black female composer to garner national attention, but after her death in 1953, her music faded from memory. A recent development has led to a resurgence in interest in and performances of her music. In 2009 Vicki and Darrell Gatwood purchased a long-vacant home in St. Anne, Illinois, just north of Chicago. During renovations, they found several abandoned papers. Upon closer inspection, it became clear that these were music manuscripts bearing the name of Florence Price. They did an internet search and learned of Price’s importance and that her manuscripts are housed in the archives of the University of Arkansas. Feeling duty-bound to preserve the papers, they contacted the archives and arranged for them to be examined. They had no way of knowing that they had discovered a wealth of musicological treasure, including the manuscripts of Price’s two violin concertos and her Symphony No. 4. Price’s orchestral music was ignored by many important conductors. She composed four symphonies of which three survive, two of which were only recently published.

PROGRAM NOTES (cont'd) She wrote in a letter to Serge Koussevitzky, “To begin with I have two handicaps—those of sex and race. I am a woman, and I have some Negro blood in my veins … I would like to be judged on merit alone.” Just like the others, Koussevitzky, famed conductor of the Boston Symphony, did not program her works. However, one conductor was pleased to showcase her talent—Frederick Stock of the Chicago Symphony Orchestra. In 1932 Price submitted a handful of works to Chicago’s Wanamaker Music Contest. All of them received accolades, but her First Symphony took top honors. In the 1890s, composer Antonín Dvořák declared that the United States had all the makings of a great national musical tradition in the songs of Native and African Americans. Price’s style, although somewhat conservative, is always inventive. Her orchestration is interesting and new. Her symphony is modeled after Dvořák’s famous Symphony No. 9 in E minor, “From the New World.” No doubt the prize committee recognized these features, which also appealed to Stock. He programmed the work on the Chicago Symphony Orchestra’s June 15, 1933, program at the Chicago World’s Fair Century of Progress Exhibition entitled “The Negro in Music.” Works by John Alden Carpenter, Roland Hayes, Samuel Coleridge-Taylor, and Harry T. Burleigh also appeared on this historic program. Price’s Symphony No. 1 opens with a murmur in the strings with a soft bassoon melody that passes throughout the woodwind section and is developed at length. Dvořák’s influence is pervasive, but the result is undoubtedly American and firmly in traditional form. A gentler second section unfolds as a bucolic interlude before the exposition repeats. Price provides a masterfully development section using all the thematic material of the exposition. The recapitulation is nothing short of triumphant. A brief coda begins with percussion and ends with a brilliant flourish. The second movement features creative brass ensemble writing at the opening. Price features woodwinds and strings in music that is suggestive of, but not derivative of Dvořák’s second movement. Like the Czech master, she uses an original hymn tune. Price’s third movement is a lively dance reminiscent of the West African Juba with its syncopations and repeated patterns. She provides several delightful surprises, including an imitation of the banjo by the brass section. The finale is even more raucous with hemiola patterns between the brass and strings. It opens with a delightful fiddle tune. Contrasting sections come and go, and many instruments are given solo turns. However, different versions of the main theme are heard throughout. While the finale is in a bright major key, Price reminds us at the end that this work is in E minor. ©2023 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

Your end-of-year gift goes directly to WMPA’s operating fund where its impact is great -- directly supporting the Washington Metropolitan Philharmonic, the two Youth Orchestras, and keeping both the summer Chamber Music Series and Childrens Bilingual Concerts FREE. Consider giving the gift of music all year long with a recurring monthly gift! Visit wmpamusic.org/donate today!

JOIN WMPA TRAVELING FRIENDS’ NEXT ADVENTURE! An Exclusive Cultural Adventure to Spoleto Festival USA June 4—9, 2024 Registration deadline: December 31 Visit wmpamusic.org/travel for details Join Washington Metropolitan Music Director Anna Binneweg as you experience the magnificent Spoleto Festival with a small group (limited to 24 WMPA members), on an exclusive musical adventure in Charleston, SC.

THE PHILHARMONIC VIOLIN I Tim Kidder, Concertmaster Anne Anderson Sophie Bouwsma Rosan Choi Joseph Keum Claire Gron Randall Lynn Rovelli Cheryl Stickley

OBOE Josh Faison, Acting Principal Alice McMahan Jane Hughes, English Horn

VIOLIN II Slavica Ilic, Principal Rebecca Edelstein Hannah Leckner Alex Lew Tasha Pulverman Amy Rose Elena Spadaccino Marisa Wright

BASSOONS Walter Wynn III, Principal Hillary Burchuk

VIOLAS Sharon Wolfolk, Principal Kevin Kirby Ann Levy Dennis Murphy Kelley Williams CELLOS Samuel Runolfson, Principal Alix Gates John "Jack" D. Hall V John Matzner Andrew Nixon Melinda Ward BASSES Kim Johnson, Principal Scott Freeman David Lowe Greg Ondo FLUTES Crystal Lee, Principal Julia Amadee Rachel Minto, piccolo

CLARINETS Brittany Pemberton, Principal Chris Epinger Julie Pangelinan, bass clarinet

HORNS Bernard Baiden, Principal Matthew Fonda Elijah Kee TRUMPETS Joshua Silva, Principal Lane Myers Michael Rosie TROMBONES Chris Thackery, Acting Principal Robb McDonald Austin Farley, Bass trombone TUBA Karl Hovey HARP Heidi Sturniolo TIMPANI Bruce Davies PERCUSSION Randy Eyles, Principal Emily Curran Jim Bartelt KEYBOARD Tzuyi Chen

MEET OUR MUSIC DIRECTOR "Collaborative... Engaging... Audience-ingratiating..." - Baltimore Sun As Music Director of the Washington Metropolitan Philharmonic, Music Director/ Conductor of the Londontowne Symphony Orchestra, the AACC Symphony Orchestra at Anne Arundel Community College, and a frequent guest conductor on the national and international scene, Binneweg repeatedly captures audiences with her enthusiasm and passion for music. Putting her musicians, not herself, in the spotlight, Binneweg brings out the best in them. Her orchestras’ shared focus and energy makes orchestral music sound new, fresh and exciting. Her programs and performances are alluring, engaging and attract diverse audiences of all ages, particularly making classical repertoire more appealing to younger generations. Over the course of her career, Binneweg has performed in some of the nation’s most reputable concert venues including the Kennedy Center’s Concert Hall, Meyerhoff Symphony Hall, and the Walt Disney Concert Hall. Her international conducting experiences include tours to Austria, Spain and debut appearances with the Chernihiv Philharmonic (Ukraine), Lviv Virtuosi (Ukraine) and the Minsk Conservatory Orchestra (Belarus). ​A committed music educator, Binneweg’s youth orchestra experience includes appointments with the Houston Youth Symphony (Houston, TX) and the San Luis Obispo Youth Symphony, in addition to her guest conducting appearances with colleges and universities throughout the United States. She is in frequent demand as an orchestra clinician and adjudicator throughout the Mid-Atlantic region and served on the national executive board of directors for the College Orchestra Directors Association (CODA) from 2014-2018. Binneweg has worked with conductors such as Leonard Slatkin, Daniel Barenboim, Robert Spano, James Paul, Michael Morgan, Duaine Wolfe, Nurhan Arman and David Effron through various engagements sponsored by the League of American Orchestras, the Conductors Institute of New York and the Royal Conservatory of Music in Toronto. Most recently, she was elected to the board of directors of the International Conductors Guild (2021). Earning a doctorate degree of music in orchestral conducting from Northwestern University where she studied with Victor Yampolsky, Binneweg has also served on the conducting faculties at Loyola University, the Sherwood Conservatory of Music, and American University.​Like all conductors, Binneweg is the most visible part of the orchestra, the advocate and face of the ensembles she leads. As an active conductor of the 2022-2023 season, she remains committed to reigniting her community’s passion for live music and collaboration during these pandemic times.Binneweg is the recipient of the 2015 Annie Award for the Performing Arts awarded by the Arts Council of Anne Arundel County. www.annabinneweg.com

MEET OUR SOLOIST CHRISTYLEZ BACON (pronounced: chrisstyles) is a Grammy Nominated Progressive Hip-Hop artist and multi-instrumentalist from Southeast, Washington, DC. As a performer, Christylez multi-tasks between various instruments such as the West African djembe drum, acoustic guitar, and the human beatbox (oral percussion), all while continuing the oral tradition of storytelling through his lyrics. With a mission towards cultural acceptance

and unification through music, Christylez is constantly pushing the envelope – from performances at the National Cathedral, to becoming the first Hip-Hop artist to be featured at the Smithsonian Folklife Festival, composing and performing with the National Symphony Orchestra and Princeton Symphony Orchestra on multiple occasions, collaborating with cellist Yo-Yo Ma, and creating an intentional culture exchange project and subsequent documentary between Washington DC and Brasilía, Brazil. In Washington DC Christylez began a cross-cultural collaborative concert series, “Washington Sound Museum” (WSM). WSM is a monthly intimate celebration of music featuring guest artists from diverse musical genres with Christylez Bacon and his progressive hip-hop orchestra. Since WSM’s inception, Christylez has collaborated with artists from various cultural backgrounds, ranging from the Hindustani & Carnatic music of India, the contemporary Arabic music of Egypt, and the music of Brazil. At the beginning for the pandemic, Christylez saw this socially-distant period as an opportunity to bring international artists and audiences together in an online video series titled, Beatbox Remix Series, which can be seen on Instagram, YouTube, and Facebook Watch.

Bilingual Children’s Concerts

¡Musicales bilingües para niños!​ BACK BY POPULAR DEMAND!

Featuring musicians from the Washington Metropolitan Philharmonic, with Maestro Laureate Ul James

FREE admission / No tickets required Program in BOTH English (4pm) and Spanish (5pm). Come for one or both! English narration: Patricia Washington / Spanish narration: Sohamy Marquina

Multi-Purpose Room @ Patrick Henry Recreation Center 4652 Taney Avenue, Alexandria VA

December 16, 2023 Richard Maltz’s

Aesop's Fables Fábulas de Esopo

4 pm Music with English Narration



* Local Business Partner ** Washington Metropolitan Philharmonic musician ^ The Ulysses James Legacy Fund

WMPA would like to express its warmest gratitude to our growing family of Friends who have have demonstrated a commitment to the performing arts and improving our community. The following reflects gifts received from September 1, 2022 through November 16, 2023. Friend levels honor American composers whose works feature in our concerts. SAMUEL BARBER $10,000+ Galena-Yorktown Foundation Gordon & Sheila Soper^ May this donation help keep alive the absolutely outstanding contributions Ul James has made to WMPA throughout his tenure as

Gunja Quigg Lynn Ries Mr. David C. Schwark & Mrs. Suzanne C. Schwark​ Nancy West In honor of John Charles West III

"The Maestro" Warren C. Zwicky

WILLIAM GRANT STILL $500-$999 Anonymous Jerry Andersen FLORENCE PRICE $5,000-$9,999 Mary Ballard ​Anonymous Mary Ann Berry In memory Margaret M. Ballard WMPA has risen of Dave Berry to its high level talent & community Grazina Blekaitis In honor involvement through the continued of Ul James tireless efforts of Maestro James. Thomas Boudreau Thank you, Ul!!! Gary Bravy Gary & Phoebe Mallard In honor Cedar Knoll* of Virginia Elizabeth Storm Farmer Carol Coose In honor of Ul James; WMPA is the best! JENNIFER HIGDON $2,500-$4,999 Helenmarie Corcoran In honor Edward Farren of Ul James Donna Reuss Michael & Liz Davis Sallie Forman AARON COPLAND $1,000-$2,499 Inéz Garcia Anonymous ​Kay & David Green Angela Stover Anderson June Hajjar Samuel & Patricia Boglio Jennifer Lavallee ​Dr. Boyd Burris Brittany Pemberton** Marguerite Chadwick In memory David & Lynn Riggs of George A. Chadwick III Nancy Sage In honor of Ul James, ​Rachel Colombana conductor extraordinaire! Bruce Davies** Toward the Ralph & Nancy Schuetz In honor continuation of Washington of the incredible Maestro Ul Metropolitan Philharmonic James. May you and Nancy have ​Sarah Fredell a long & happy retirement Jocelyn E. Hodges Phillip & Eileen Thompson Karl Hovey** In honor of Ul James Dr. Irene Trowell-Harris Jane Hughes** & William Jokela Jaqueline Zins Ulysses S. James**

Dennis Murphy** Pediatric Associates of Alexandria* Carole A. Pyle

LIBBY LARSEN $250-$499 Anonymous Sue Bairstow

Barre3 - 14th Street* John & Jouette Bassler Anna Binneweg** The Bodeens Judith Borisky-Metzger In honor of Ulysses James Charles Carron Shannon M. Dubicki Phyllis Gron Saruhan & Kavita Hatipoglu Ann Houpt In honor of Amy Medearis Hai Jin** David Jourdan​With love, in memory of Kathleen Jourdan Kevin** & Eileen Kirby David Labovitz Crystal Lee** In memory of Helen Shields, my late sweet mother who supported & championed my musical talent Amy Medearis** James Moody Thomas Nichols & Virginia Keeley Claire Gron Randall** John Reiser Pamela & Richard Shafto Cheryl Stickley** REBECCA CLARKE $100-$249 Anonymous Annemarie Anderson Reinaldo Luis Andujar Sanja Basaric Suzana Basaric-Ilic Vanja Basaric David Bell Tanya Bodzin Rebecca Brown Carter Bryan, II** Betty Bullock In honor of Ulysses James Hillary Burchuk**

REBECCA CLARKE $100-$249 (cont'd.) Kathleen Burns Adrienne G. Cannon Bruce Carlson Marie Carr William & Peggy Chadwick Marcia Crockett Gale Curcio Richard Darilek Robert Dickinson, Sr. Scott & Susan Dickinson Myris Dierlich Ed Downs & James Andrews Vesna Durkovic John Sutherland Earle In honor of and with thanks to Ul James for his many years of service in outstanding music-making! Alan Edelstein Rebecca Edelstein** Christopher Epinger** In honor of Frank Joseph Epinger David Fields Melissa Franger Marc Aurel Fritz In appreciation for Philharmonic Audio loudspeakers Gay Gardner Geoffrey Gee Julia Gershunskaya Becky Gladstone In memory of Bill Houpt, who loved to hear Amy play Carol Goodloe Julia Greenway Greenwold Family Foundation


Barbara Haley Margaret Harrison In memory of Joan Liebman Sal Hosfelt Slavica Ilic** Carol Anne Kelly Joseph Keum** Gloria Kim** Elizabeth Kluegel In memory of Ken Kluegel, lifelong supporter of the arts Meg Knemeyer John & Vivian Lieb Barbara R. Lowrey John Matzner** Patsy McGovern Marlene McHugh Michelle Mellgren Martin Menez Robert Metzger Laura Dickinson Miller Jasmine & Stephen Milone James Moody Lisa Motley Joan Banks Mulcahy In honor of Caroline Mousset! Sean O’Keefe Charles Pemberton In honor of Mrs. Vivian Pemberton Annejanette Pickens Deidre Pistochini Barbara Polhemus Victoria Prescott Ron & Beverly Raphael Nick & Jean Rees David Richmond

Dan & Nancy Ries Dana Greene & Richard Roesel Jennifer Roy Elsy Salas In honor of Caroline Mousset William K. Schultz Glenn Scimonelli** Henry Sgrecci & Susan Hertzler Richard Shea^ Angela Simmons In honor of Amy Medearis John Simpson Joan Singer Ul James is amazing! He took a local chamber orchestra & developed it into a major cultural player in NoVa. WMPA provides Alexandria with a first-rate chamber music series, filling an enormous gap in our cultural life. Bravo, WMPA! Lee Smith Heidi Sturniolo** In honor of Maestro James Robert Sutter Jane Thell** Bettina Tucker Ruth Tucker Mladena & Vlado Vučetić Edward P. Walker & Brenda L. Kurlansik Melinda Ward** Jeanne & Bill Washburn Patricia Washington Stephen Weigert & Susan Weigert Gayle & Joe White Jamie White Thank you, Ul, for a long friendship & music made together over the years! Sharon Bingham Wolfolk** Walter Wynn III**

Program funding provided by our donors, and in part by:

Join us in honoring our friend Ul by making a charter gift today

LOCAL BUSINESS PARTNER OPPORTUNITIES Sponsoring the Washington Metropolitan Philharmonic will help put your company in the spotlight. We will work with your firm to provide you with the benefits that matter the most to you. Through your sponsorship you can: ENHANCE brand image and awareness BUILD business relationships SHOW your commitment to arts and culture in our community HELP the orchestra strengthen its connection with our community COMMUNICATE with a passionate audience of over 3K patrons, plus 30K+ reached through social media, email and website SHOWCASE musicians of from WashMetPhil at your events. To explore partnership opportunities, contact Executive and Artistic Planning Director Caroline Mousset at carolinemousset@wmpamusic.org




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