2024|2025 Season
Anna Binneweg, Music Director/Conductor
October 6, 2024 at 3 pm
George Washington Masonic National Memorial
A MESSAGE FROM ANNA . . .
Dear Friends & Patrons,
Greetings and welcome to the Washington Metropolitan Philharmonic’s 53rd Season! It is with honor and excitement that we demonstrate this season, our commitment to the power of unity through the spirit of connection and collaboration within our surrounding communities.
Today’s concert “Fantastical Explorations,” marks the opening of our 2024|2025 Season where we will embark on a musical journey together through the whimsical realms of imagination and marvel As we lead you through a musical landscape of wonder, the program features compositions that vividly paint fantastical landscapes. Female composer, Dai Wei, sets the stage in her new work The Dancing Moonlight with its rich orchestral color, inviting listeners into a world of boundless thought and creativity. Continuing the exploration, Leoš Janáček's Symphonic Fantasy from his opera Jenůfa, delves into the emotional depths of conflict and fantasy. By contrast, Josef Suk's Scherzo Fantastique evokes a sense of playful enchantment through his innovative use of sonic parameters and expressive melodies. The mesmerizing finale Concerto Fantasy for Two Timpanists and Orchestra by Philip Glass showcases the virtuosity of timpanists Glenn Paulson and Scott Christian in a dazzling display of rhythmic intensity and prowess
We are thrilled by your presence today! Enjoy the concert, and don’t forget to join me for our post-concert AfterChats with Anna!
See you then,
PROGRAM
DAIWEI
TheDancingMoonlight
LEOŠJANÁČEK
SymphonicFantasyfromJenůfa
JOSEFSUK
ScherzoFantastique
—Intermission—
PHILIPGLASS
ConcertoFantasyforTwoTimpanistsandOrchestra
PROGRAM NOTES
TheDancingMoonlight
–DaiWei
Bornin1989inChina
ThisworkwaspremieredonApril29,2022,atOrchestra HallinDetroit,Michigan,bytheDetroitSymphonyYouth OrchestraconductedbyOriolSans.Itwascommissioned bytheDetroitSymphonyOrchestratocelebratethe50th AnniversaryoftheirCivicYouthEnsembles.
Dai Wei is originally from China, but her compositions represent a merging of eastern and western cultures. According to her official biography,
“Her music often challenges the practice of labeling and delves into the untold narratives of social issues and obscured historical events from various communities, creating works with contemporary resonance and reflecting an introspection on how these multidimensional conflicts and tensions can create and inhabit worlds of their own. Being an experimental vocalist, she performs in the manner of Khoomei throat singing in her recent compositions, through which are filtered by different experiences and backgrounds as a calling that transcends genres, races, and labels ”
PROGRAM NOTES (cont'd)
“Dai Wei is currently pursuing her doctorate in Music Composition at Princeton University, where she holds a 2024-25 Procter Honorific Fellowship. She holds an Artist Diploma at the Curtis Institute of Music After she finished her B A in Music Composition at the Xinghai Conservatory of Music in China, she came to the United States and earned an M.M. in Music Composition at the University of North Carolina at Greensboro.
“Recently featured in The Washington Post’s “22 for 22’: Composers and Performers to Watch this Year,” Chinese-born Dai Wei is currently working on her doctorate in Music Composition at Princeton University. To date, Wei has written music for orchestra, chamber ensemble, voice, solo instrument, and electronics, much of which explores themes such as time, consciousness and perception. Titles such as The Lotus Told Me, Samsāric Dance, and World in a Grain of Sand speak to the spiritual and philosophical undergirding of her artistic vision Hers is an intersectional aesthetic engaged in culture, race and the malleability of generic expectations.”
The Dancing Moonlight was composed for the Chinese New Year in 2017 and is a fusion of jazz, rock and classical music Dai Wei describes the work as originating from her “infatuation with a type of traditional dance music that originated from an ethnic group called Yi in Yunnan, China. I wanted this piece to carry a celebratory and energetic vibe while one is being nostalgic at the same time.…we are always looking at the same moon regardless of where we are.”
SymphonicFantasyfromJenůfa
–LeošJanáček/arrangedbyIšaKrejčí
Born July 3, 1854, in Hukvaldy, Moravia (now Czech Republic)
Died August 12, 1928, in Moravská Ostrava, Moravia (nowCzechRepublic)
Thisoperauponwhichthisworkisbasedreceiveditspremiereon November14,1906,atasymphonicconcertinPrague,conducted by František Neumann. It is scored for piccolo, two flutes, two oboes,twoclarinets,twobassoons,fourhorns,twotrumpets,three trombones,tuba,timpani,percussion,harp,andstrings
Moravian by birth, the Czech composer Leos Janáček received his initial training as a chorister at the Augustinian Monastery in Brno. After rising through the ranks and eventually leading the choir, he left Brno to study at the Prague, Leipzig, and Vienna conservatories. Returning to Brno in 1881, he founded music schools, orchestras, and most of the institutions that continue to provide the city with a vibrant musical atmosphere. A student of Moravia’s musical heritage, he collected folk music. Janáček’s impact on his native district of Hukvaldy cannot be overestimated, and it was these contributions that occupied most of his time in these years. Consequently, his great works came in later years To honor the composer, the flag of his home district bears the image of a red fox – an animal that is the subject of his folk opera The Cunning Little Vixen
The opera Jenůfa, his first major success, was the result of a long compositional effort spanning many years The first act is in an earlier musical style than the last two However, the passage of time in the opera’s plot makes this unevenness barely noticeable.
Jenůfa’s synopsis is convoluted and emotionally harrowing – a tragic story of jealousy, social expectations, parental responsibility, and infanticide in a small Czech village. Janáček completed the score on February 26, 1903, after nearly a decade of concentrated effort He was nearly fifty years of age.
Such an extended period of composition caused the composer to make many changes and adjustments along the way. To streamline the final product, he dropped much music from the opera and replaced it with newly composed material Enter the conductor-arranger Iša Krejčí, who was known for creating suites of music from larger works. He compiled the Symphonic Fantasy on Jenůfa The work begins with the ominous introduction to the second act and transitions seamlessly to the final scene. Although the work ends with a large climax, Krejčí presents a microcosm of the opera in just 15 minutes.
ScherzoFantastique
–JOSEFSUK
BornJanuary4,1874,inKrecovice,Czechoslovakia
DiedMay29,1935,inBenesov,Czechoslovakia
TThisworkwaspremieredonApril18,1905,intheRudolfin Prague, Czechoslovakia It is scored for piccolo, two flute oboes,Englishhorn,twoclarinets,bassclarinet,twobassoon horns,two,trumpets,threetrombones,tuba,timpani,percu harp,andstrings.
In addition to being Dvorak’s son-in-law, Josef Suk had every right to be remembered on his own merits He was trained as a violinist as a child and had wonderful teachers every step of the way, including Dvorak. Brahms and Berg admired his music, and he was one of the first Czech modernists.
His musical style first drew much from Dvorak, but he developed a unique voice that is as relevant today as it was in his lifetime There is also a strong sense of nationalism in his works Suk wrote, “I do not bow to anyone, except to my own conscience and to our noble Lady Music… and yet at the same time I know that thereby I serve my country and praise the great people from the period of our wakening who taught us to love our country ”
Suk’s Scherzo Fantastique excels at reflecting the original meaning of “scherzo” – a work with a joking quality. In another sense, the “fantastique” is reflected in the mercurial aspect of the changing musical textures and orchestration. In fact, the primary attraction for many listeners is the constant development of the musical material, akin to putting together a jigsaw puzzle and eventually revealing the assembled picture. Listen for woodwind interjections and lush string writing
PROGRAM NOTES (cont'd)
ConcertoFantasyforTwoTimpanists andOrchestra
–PhilipGlass
BornJanuary31,1937,inBaltimore,Maryland
ThisworkreceiveditspremiereonNovember19,2000,by timpanistsJonathanHaasandSvetoslavStoyanovbywith theAmericanSymphonyOrchestraconductedbyLeon Botstein
Composer Philip Glass is usually categorized as a minimalist composer. He belongs to the group including LaMonte Young, Terry Riley, and Steve Reich who attempted in the 1960s and 1970s to reduce music to its most basic form. Based to some degree upon the principles of Zen Buddhism, their meditative music is usually constructed around a repeated pattern, but each composer has a highly individualized style in the way the repetition is treated Young and Riley tend to layer other repetitions atop the first pattern. Reich sometimes uses recorded speech patterns to attract the listener Glass, although moving toward a more romantic approach in recent years, began with simple arpeggios played on electronic keyboards over which he added similar patterns played by a small group of acoustic instruments. The effect is simultaneously simple and thrilling. Of course, by adopting a style that is so remote from common practice, Glass’s music has been reviled by the musical establishment, only gaining acceptance in the past few decades
Born in Baltimore, Philip Glass had the usual music lessons of childhood, but excelled to the point that he was allowed to graduate high school at age fifteen to begin studies at the University of Chicago By age nineteen he had earned his B A and was accepted by the Juilliard School for graduate studies. After earning his tuition as a crane operator at a Baltimore steel mill, Glass moved to New York. It was during his studies there that he became acquainted with the art galleries and dance studios that would play such an important role in his later works After a short stint in Pittsburgh, Glass moved to Paris to study with Nadia Boulanger, the illustrious teacher who had taught many generations of American composers, most notably Aaron Copland and Leonard Bernstein. It was there that he first heard the music of India’s classical tradition and became an assistant to the sitarist Ravi Shankar It was from this experience that the techniques of Glass’s brand of minimalism began to form.
The composer founded the Philip Glass Ensemble in the late 1960s to perform his unique works These pieces are as direct in their descriptive titles as they are in their musical language, including Music in Contrary Motion, Music in Similar Motion, Music for Voices, and Music in Twelve Parts. The Ensemble performed in art galleries, museums, and lofts throughout New York In 1976 Glass expanded his scope to include opera, the first work being Einstein on the Beach, a dream-like series of vignettes about the physicist’s life and work. Several other operas have followed, as well as film scores for the Candyman films, The Hours, Notes on a Scandal, Kundun, and the trio of Godfrey Reggio’s visionary masterpieces entitled Powaqqatsi, Koyaanisqatsi, and Naqoyqatsi. Glass’s orchestral music is extensive, including eight symphonies, numerous concerti, and works for chorus and orchestra
Glass described the origin of his Concerto Fantasy for Two Timpanists and Orchestra on the occasion of its 2000 premiere
“Jonathan Haas approached me almost ten years ago [1990] with an invitation to write a Timpani Concerto for him. It seemed we were in agreement to begin our project when a series of operas and symphonic commissions led to a series of postponements. Now, almost ten years later, the work is finally completed–a three movement concerto with cadenza. It has also grown into a “double” concerto requiring two timpanists playing a total of [fourteen] timpani between them with half a dozen orchestras ready to perform it in its first year Jonathan and their resident timpanist will be the dual soloists I am delighted to be able to present the completed work and I commend Jonathan for his patience and undiminished enthusiasm ”
Haas gives a detailed description of the work from the performer’s standpoint.
“This work is divided into three movements: Fast, Slower, and Very Fast, with a cadenza between the second and third movements. In the greatest tradition of cadenza-composing, this one comes with an alternative–even before the piece has been performed! The first was composed by Glass and the second written by xylophonist Ian Finkel Any timpanists performing the Concerto may choose for themselves which one to perform
“Thematically this Concerto sounds to me purely American, heroic in nature and derivation. From the opening bars, one is quite sure that a new sound has been created by combining the incredibly large sonorities of the fourteen timpani with the full orchestra. As is the case with all of Glass’s work, the repeating figures actually move along at a pace. Keys are established but moved through at an astonishingly fast rate, which also makes for some very quick tuning changes in the timpani parts. The underlying rhythm is always motoric and grooving.
“The second movement contains recognizable Glass harmonies and illusions to masses of people moving in slow and colorful lines The movement of minor to major key centers allows the timpani to at one time sound very dark and foreboding, and in the major keys, very bright and hopeful. Ian Finkel, in his editing of the solo parts, has cleverly woven into the fabric of the piece obbligato passages in one timpani part, while using the other to sustain the melody with the various grouping of instruments from within the orchestra. The slow moment is brought to its conclusion with a beautiful reiteration of the theme subject, played only by the duo timpanists.
“The Finale is a mixed meter, dance-like from, shifting between 4/4 and 7/8 time signatures This kind of shifting certainly comes from the many influences of world music that permeates Glass’s recent works. To me it sounds like a wild dervish that might accompany a shaman in some far-off fantasized nation. The thematic material, alluding again to the first movement, has a wit about it which when heard coming from the timpani, is paradoxically charming and compelling at the same time. The closing moments of the piece emphasize the sheer athleticism and power of two timpanists double stroking in sixteenth notes as they reach a wonderful zenith and conclusion.”
MEET OUR MUSIC DIRECTOR
"Collaborative... Engaging... Audience-ingra
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, ANNA 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
THE PHILHARMONIC
VIOLIN I
Timothy Kidder, Concertmaster
Sophie Bouwsma
Rosan Choi
Perry Francis
Sophia Hoagland
Joseph Keum
Claire Gron Randall
Cheryl Stickley
VIOLIN II
Slavica Ilic, Principal
Anne Anderson
Rebecca Edelstein
Lynn Mueller
Hannah Villa
Kelley Williams
Marisa Wright
VIOLAS
Kimia Hesabi, Principal
Sharon Bingham Wolfolk, Asst Principal
Claire Bradfuhrer
Dennis Murphy
Isaiah Reed
CELLOS
Samuel Runolfson, Principal
David Bates
Alex Cooper
Alix Gates
John Matzner
Amy Medearis
Melinda Ward
BASSES
Robyn Ambrose, Principal
Scott Freeman
Greg Ondo
FLUTES
Crystal Lee, Principal
Julia Amadee
Eric Abalahin
OBOES
Laurel Kuxhaus, Principal
Leslie Jewell
Alicia McMahan, English horn
CLARINETS
Brittany Pemberton, Principal
Chris Epinger
Julie Pangelinan, bass clarinet
BASSOONS
Walter Wynn III, Principal
Hillary Burchuk
Robert Goler, contrabassoon
HORNS
Bernard Baiden, Principal
Kevin Frear
Jon Ohmart
Kat Robinson
TRUMPETS
Andy Schuller, Acting Principal
Quinton Mashler
Lane Myers
TROMBONES
Chris Thackery, Acting Principal
Lukas Helsel
Robb McDonald
TUBA
Karl Hovey
TIMPANI
Bruce Davies
PERCUSSION
Randy Eyles, Principal
Jim Bartelt
Julie Choi
Emily Curran
HARP
Vanessa Young
KEYBOARD
John Sutherland Earle
MEET OUR SOLOISTS
SCOTT CHRISTIAN is assistant principal timpanistandsectionpercussionistwiththe National Symphony Orchestra. He was appointedbyGianandreaNosedain2019after previously serving as an acting member. Additionally,Christianistheprincipaltimpanist attheCabrilloFestivalofContemporaryMusic inSantaCruz,California.Hehasheldtimpani positionswiththeCharlotte,Huntsvilleand West Virginia Symphony Orchestras, Des MoinesMetroOperaandEriePhilharmonic.He has been a guest musician with Atlanta, Baltimore,FortWorth,Hawaii,Milwaukeeand
SanDiegoSymphonyOrchestras,TheClevelandOrchestra,MalaysianandBuffaloPhilharmonic OrchestrasandSt PaulChamberOrchestra ChristianhasappearedasasoloistonPhilip Glass’sConcertoFantasyforTwoTimpanistsandOrchestraandontheworldpremiereof GregoryVajda’sDrumsDrumsDrumsAnadvocateoflivingcomposers,hewasartisticdirector from2012-2016oftheCharlotte-basednewmusicchamberseriesFreshInk,workedwiththe PittsburghNewMusicensembleandperformednewchamberworkswithChamberFest Cleveland,amongotherprojects.Hehasperformedon17premiererecordingsofchamber worksincludingJosephSchwantner’strio,"TakingCharge"Asaneducator,Christianisa memberofthepercussionfacultyattheUniversityofMarylandSchoolofMusic.Previouslyhe hasbeenvisitingprofessorofmusicatWestVirginiaStateUniversity,adjunctprofessorat ConcordUniversity,instructorforthepreparatorydepartmentattheClevelandInstituteof MusicandaguestattheBrevardMusicCenter.HeearnedBachelorandMasterofMusic degreesfromtheClevelandInstituteofMusic.HisprimaryteacherswerePaulYancich,Richard WeinerandPeterKogan.
MEET OUR SOLOISTS
GLENN PAULSON is the former timpanist of the Barcelona Symphony Orchestra, has been a member of The American Symphony and the Bard Summer Music Festival He has also performed with The EOS Chamber Orchestra, The New York Philharmonic, The Orpheus Chamber Orchestra, and in many Broadway shows including As The World Goes ‘Round, The King And I, and The Music of Andrew Lloyd Weber. In 1997, he won a position with “The President’s Own” United States Marine Band in Washington DC He also performs with the Washington Ballet Orchestra, The Lyric Opera
Orchestra of Maryland and is the owner of Drumhome Rentals. He can be heard on over twenty five recordings with The United States Marine Band, The Barcelona Symphony Orchestra, The Bronx Arts Ensemble, The Eastman Wind Ensemble, The Juilliard Orchestra, and The New Jersey Symphony. He also recently soloed with the Los Angeles Philharmonic as part of the PBS Great Performances Series honoring composer John Williams He has served three terms on The Percussive Arts Society Symphonic Committee and helped create an exhibit featuring various military percussion sections in the PAS museum in Indianapolis. He also presents master classes at Colleges, Universities and Music Conservatories throughout the country on How the Marine Band Percussion Section Interprets and Plays the Marches of John Phillip Sousa. Mr. Paulson has been composing since 2010 and has had numerous compositions premiered at the Percussive Arts Society International Convention, The College Band Directors National Convention, the New York City Day of Percussion at New York University, the Texas Band Masters Convention and John Phillip Sousa Hall in Washington DC All the works are published by Bachovich Publications He received his Bachelor’s degree from The Eastman School of Music and his Master’s degree from The Juilliard School
WE OUR DONORS!
* Local Business Partner
** Washington Metropolitan Philharmonic musician
^ The Ulysses James Legacy Fund
WMPAwouldliketoexpressitswarmestgratitudetoourgrowingfamilyofdonorswhohavehave demonstratedacommitmenttotheperformingartsandimprovingourcommunity.Thefollowingreflects giftsreceivedfromSeptember1,2023throughSeptember26,2024.FriendlevelshonorAmerican composerswhoseworksfeatureinourconcerts.
SAMUEL BARBER $10,000+
Gordon & Sheila Soper
FLORENCE PRICE $5,000-$9,999
Margaret M. Ballard
Galena-Yorktown Foundation
Gary & Phoebe Mallard
Ries Family
JENNIFER HIGDON $2,500-$4,999
Helenmarie Anderson Corcoran
Edward Farren
Donna J. Reuss
Nancy West In honor of John C West and
Alan B Prosise, Jr
Warren Zwicky
AARON COPLAND $1,000-$2,499
Angela Stover Anderson
Samuel & Patricia Boglio
Gary Bravy
Bruce Davies**
Karl Hovey, DMA** In honor of Ul James
John Kean^
Jennifer Ngai Lavallee
Robb McDonald and Brittany
Pemberton
Pediatric Associates of Alexandria* In honor of WMPA Youth Orchestras
Deidre Pistochini
Carole A. Pyle^
Margaret Ann Roddy
Mr David C Schwark & Mrs Suzanne C Schwark
WILLIAM GRANT STILL $500-$999 Anonymous
Anna Binneweg**
Thomas Boudreau
Rachel Colombana
Michael & Liz Davis^
Sarah & Michael Fredell
Inés Garcia
June Hajjar^
Jane Hughes** & William Jokela
Cathy and Will Kunz
Dennis Murphy**
Julie Pangelinan**
Ralph & Nancy Schuetz
Phillip & Eileen Thompson
LIBBY LARSEN $250-$499
Grazina Blekaitis
Margie Chadwick
Julie Geshunskaya
Phyllis Gron
Saruhan & Kavita Hatipoglu
Kirby Family
David Labovitz
Amy Medearis**
William McDaniel
John Reiser
Nancy Sage
Stephen Salyer
Cheryl Stickley**
REBECCA CLARKE $100-$249
Susan Bairstow
Sanja Basaric
Suzana Basaric-Ilić In honor of Slavica
Ilić**
Vanja Basaric
David Bell
Stephanie Bisson
Mason Botts
Carter Bryan, II
Lorrie Brown
Hillary Burchuk**
Carol Burke
Jessica Burmester^
Joseph H. Coleman, Jr.
Marcia Crockett In honor of Ulysses
James
Richard Darilek
Kristin Dillon
Kevin & Sharon Dooley^
Shannon M. Dubicki^
John Sutherland Earle In honor of
Ulysses James
Rebecca Edelstein**
Christopher Epinger** In honor of
Frank Joseph Epinger
Richard & Kathleen Fonda
Sallie Forman
Gay Gardner^
Alix Gates***
Carol Goodloe
Kay & David Green
Julia Greenway
Stanley Gryskiewicz
Margaret Harrison
Gary & Christel Hignett^
Ann Houpt
Anthony Iannaccone In honor of
Ulysses James
David Jourdan In memory of
Kathleen Jourdan
Ken & Barbara Kauke
Carol Anne Kelly
Joseph Keum**
Elizabeth Kluegel In memory of
Daena Kluegel
Crystal Lee**
Barbara R. Lowrey
John Matzner**
Laura Maynard
Carol & Robert McGinnis
Marlene McHugh
Michelle Mellgren
Martin Menez
Laura Miller
H Paul Moon
Lisa Motley
Thomas Nichols & Virginia Keeley
Ruth O'Connell^
Sean O'Keefe
George H. Parks
Gail Richmond
Ross Family Fund
Melissa Roy
Elsy Salas In honor of Caroline
Mousset
Krishna Sarma^
William K. Schultz
Henry Sgrecci & Susan Hertzler
Greg & Chelsey Simpson
Joan & Irwin Singer
Lee Smith
Virginia Thackery In honor of Chris Thackery**
Jane Thell**
Stu & Ruth Tucker
Edward P Walker & Brenda L Kurlansik
Melinda Ward**
Gayle & Joe White^
Sheri & Raymond Wolfe
Walter Wynn III**
SPECIAL THANKS
(cont'd.)
Make a gift to WMPA today! wmpamusic.org/donate
Program funding provided by our donors, and in part by:
WHAT IS WMPA?
Washington Metropolitan Philharmonic: an adult orchestra for local professional, semi professional, and dedicated amateur musicians
Washington Metropolitan Youth Orchestra: an inclusive youth orchestra for grades 9-12
Washington Metropolitan Concert Orchestra: a beginner’s orchestra for grades 6-9 Lyceum Chamber Series: a summer series of weekly chamber music concerts at the Alexandria History Museum at the Lyceum
Bilingual Family Concerts: Bilingual narration concert programs presented in underserved communities featuring members of the Washington Metropolitan Philharmonic
PURPOSE, VISION, AND MISSION
WMPA’s purpose is to unite and uplift our community through classical music. Our vision is to create the audience of the future for classical music.
Our mission is to provide programs to:
Educate and engage students through our Youth Orchestras
Perform and promote orchestral music through the Washington Metropolitan Philharmonic
Connect and communicate chamber music through our summer Lyceum Series
Expand and enlighten newcomers to classical music through our Bilingual Family Concerts
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
JOIN US IN THE CONFERENCE ROOM AFTER THE CONCERT!
AfterChats with Anna are relaxed, post-concert conversations with Music Director Anna Binneweg, moderated by Executive and Artistic Planning Director Caroline Mousset, and featuring our guest artists. Grab a glass of bubbly, bring your questions, and join us for these engaging sessions! You'll gain insight into the music you've just experienced and have the chance to meet the artists. Best of all, AfterChats are free for all ticket holders.
WMPA STAFF
ANNABINNEWEG,MUSICDIRECTOR/CONDUCTOR
ANGELAANDERSON, PHOTOGRAPHER
MARTINGARFIELD-LEVINE, WMCO MUSIC DIRECTOR
JOHNKEAN, SOUND ENGINEER
CAROLINEMOUSSET, EXECUTIVE AND ARTISTIC
PLANNING DIRECTOR
ALBERTORODRIGUEZ, WMYO MUSIC DIRECTOR
JOSHUASILVA, ORCHESTRA LIBRARIAN
KELLEYWILLIAMS, WMP PERSONNEL MANAGER
JOSHUAVILLA, WMP STAGE MANAGER
BOARD OF DIRECTORS
HELENMARIEA.CORCORAN, PRESIDENT
MARGARETBALLARD, VICE PRESIDENT
LAWRENCERIES, TREASURER
ANNABINNEWEG, MUSIC DIRECTOR/CONDUCTOR
MARTINGARFIELD-LEVINE, WMCO MUSIC DIRECTOR
KARLHOVEY, ORCHESTRA REPRESENTATIVE
ULYSSESJAMES, MUSIC DIRECTOR LAUREATE
DONNAREUSS, VOLUNTEER COORDINATOR
ALBERTORODRIGUEZ, WMYO MUSIC DIRECTOR
WARRENC.ZWICKY