Washington Metropolitan Philharmonic
Anna Binneweg, Music Director 54th Season Opening Concert
WILD, WILD WEST
George Washington Masonic National Memorial Sunday, October 5, 2025
John Williams composer
A MESSAGE FROM ANNA . . .
Welcome to the Washington Metropolitan Philharmonic’s 54th Season! We open our new season with a renewed sense of commitment to our community through the power of live music.
Today’s concert takes us on a musical journey across bold frontiers, faraway places, and breathtaking landscapes We begin with Elmer Bernstein’s The Magnificent Seven, a thrilling and heroic piece originally written for the classic Western film. Its powerful themes and galloping rhythms bring the Wild West to life.
William Grant Still’s The American Scene “The Far East” is a beautiful piece that blends Eastern sounds with American musical style, showing how music can connect cultures from near and far while telling stories from different parts of our nation and beyond
Elinor Remick Warren’s Along the Western Shore is inspired by the peaceful beauty of California’s coastline. Her music paints a picture of ocean waves, sunsets, and the natural wonder of the West.
The second half opens with John Williams’ The Cowboys Overture a lively and bold piece filled with excitement, heart, and classic Western charm. Originally written for the 1972 film The Cowboys, this overture is full of galloping rhythms, sweeping melodies, and the unmistakable storytelling style that makes Williams one of the most beloved composers of our time
Finally, we’ll dive into Aaron Copland’s “Four Dance Episodes” from Rodeo, a true American classic Full of fun, rhythm, and character, this suite brings to life scenes of cowboy life from lively hoedowns to quiet moments on the range. Copland’s music is colorful and memorable, painting vivid musical pictures that audiences of all ages enjoy
Whether this is your first concert with WashMetPhil, or your hundredth (!), we’re excited to bring you music that captures the spirit, energy, and wide-open adventure of the American West. Sit back, relax, and enjoy the ride!
Please join us for our post-concert reception AfterChats with Anna!
JOIN US IN THE CONFERENCE ROOM AFTER THE CONCERT!
AfterChats with Anna are relaxed, post-concert conversations with Music Director/Conductor Anna Binneweg, moderated by Executive & Artistic Planning Director Caroline Mousset. 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.
PROGRAM
ELMERBERNSTEIN
TheMagnificentSeven
WILLIAMGRANTSTILL
TheAmericanScene“TheFarWest”
I.ThePlaza
II.SundownLand
III.NavajoCountry
ELINORREMICKWARREN
AlongtheWesternShore
I.Adagio;confuoco
II.Slowlyandtranquilly
III.Allegrospiritoso
JOHNWILLIAMS
TheCowboysOverture
AARONCOPLAND
“FourDanceEpisodes”fromRodeo
BuckarooHoliday CorralNocturne
SaturdayNightWaltz
Hoe-Down
Noflashphotographyorvideorecordingpermittedduringperformance.Thankyou.
PROGRAM NOTES
The Magnificent Seven – Elmer Bernstein
Born April 4, 1922, in New York City, New York
Died August 18, 2004, in Ojai, California
This work was premiered with the release of the film on October 12, 1960. It is scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, four trumpets (4th is optional), four trombones (4th is optional), tuba, timpani, percussion, guitar (optional), harp, piano, and strings.
Elmer Bernstein composed some of the most important scores of the second half of the 20th century. With over two hundred credits in all, his work spans from Saturday’s Hero (1951) to Far from Heaven (2002). Among his most celebrated scores are those for The Ten Commandments (1956), Birdman of Alcatraz (1962), A Patch of Blue (1965), True Grit (1969), The Shootist (1976), and Airplane! (1980) He only won one Oscar Thoroughly Modern Millie but had 14 nominations
PROGRAM NOTES (cont'd)
Educated at the Walden School in Manhattan, Bernstein was a dancer and actor in his childhood but soon became noted as a pianist. During World War II, he composed for Armed Forces Radio. After the war, he settled in the Los Angeles area, and his career was off and running. Along the way, he found time to compose two Broadway musicals – How Now, Dow Jones (1967) and Merlin (1983) His career took a nosedive in the early ‘50s when he was called before the House Unamerican Activities Committee because he had once, as a struggling composer, penned a few reviews for a Communist Party newspaper. Although he had never been sympathetic to their cause, he was still blacklisted and had to compose for B-movies for a few years. While he was known for dramas and westerns, the 1980s brought fame for scoring comedies, beginning with National Lampoon’s Animal House (1978)
Bernstein’s most popular score is likely The Magnificent Seven. Based of Akira Kurosawa’s The Seven Samurai, the story focuses on a small Mexican village that is being oppressed and hires seven gunfighters to defend its people Starring Yul Brynner, Steve McQueen, and Charles Bronson, it is a thrilling drama that is well worth viewing The composer discussed the writing of this theme as follows:
“Every once in a while it doesn’t happen often you hit on something quite thrilling I remember being very excited when I found that opening rhythm. It was like a surge of energy.”
The American Scene: Five Suites for Young Americans
Suite No. 4, “The Far
– William Grant Still
West”
Born May 11, 1895, in Woodville, Mississippi
Died December 3, 1978, Los Angeles, California
This work was first performed in 1931 by the Rochester Philharmonic Orchestra, conducted by Howard Hanson. It is scored for piccolo, three flutes, two oboes, English horn, three clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, celesta, and strings
Often called “the Dean of American Negro Composers,” William Grant Still enjoyed a career that was unparalleled As a child in Little Rock, he studied the violin and listened to his mother’s opera records After attending college at Wilberforce University and the Oberlin Conservatory of Music, both in Ohio, he moved to New York and became active in popular music. There he worked with the leading performers of the day and, because of the multi-cultural diversity of the business, encountered very little in the way of racial oppression Among those utilizing Still’s arranging talents were Benny Goodman and W C Handy, known as “Father of the Blues ”
He soon enrolled in Boston’s New England Conservatory to study with illustrious composers George Chadwick and Edgard Varese His meteoric rise as a composer led him from the east coast in the 1920s to Hollywood in the 1930s While in Los Angeles, he composed for films (Lost Horizon, Pennies from Heaven, and Stormy Weather, among others) and, later, television (among his credits was music for the series Gunsmoke) However, most of his music for these media was considered as “stock music” and was uncredited. In 1930 he completed what many believe to be his crowning achievement in instrumental music – the Afro-American Symphony. After this work was premiered, Still’s career began to flourish, eventually producing eight operas from 1934 to 1955 His music lost much of its popularity in the 1950s and 1960s, but the 1970s saw a resurgence of interest in the work of this musical giant
Still’s 1957 work The American Scene consists of five orchestral suites composed for The Standard Oil Broadcast, a radio show that celebrated the American experience Separately entitled “The East,” “The South,” “The Old West,” “The Far West,” and “A Mountain, a Memorial, and a Song,” each suite celebrates an area of the country in considerable detail This concert includes “The Far West ” Still’s daughter, Judith Anne, who operates his publishing house and website, wrote:
“I have to say that the far west was my father’s dream when he was in New York when he worked in L.A. with Paul Whiteman, he immediately loved California It was still full of open country and Olvera Street, and it was not as clannish and racist as New York In 1934 there was integration among many artists and musicians there were wonderful intellectual discussions As soon as WGS got his Guggenheim Fellowship, he put what he could in his ‘34 Ford and drove all the way down Route 66 to live in L.A. On weekends my father could drive right out on the Santa Monica pier to enjoy the ocean, or he could drive to the old Spanish missions to pray, or to the museum in the hills, or to the places where the Afro-Spanish settlers established Los Angeles in the ancient days. When he and my mother worked together, they had intellectual gatherings at a cabin in Big Bear, priceless scenery and peace of mind I daresay the Far West was in the soul of William Grant Still ”
The fourth suite of The American Scene, “The Far West,” is in three movements The first of these is entitled “The Plaza (Los Angeles),” and is distinctly Mexican in nature with melodies in thirds and repeated eighth-note patterns. Next, “Sundown Land” represents a crepuscular scene with colorful orchestration that unfolds like the hues of the setting sun. “Navaho [sic] Country” uses repeated patterns to represent the music of NativeAmerican people while maintaining respect and striving for authenticity
AlongtheWesternShore –ElinorRemickWarren
Born February 23, 1900, in Los Angeles, California
Died April 27, 1990, in Los Angeles, California
This work dates from 1954
Elinor Remick Warren was born to a musical family Her mother had studied with a student of Liszt but did not pursue a career in music. Mr. Warren had given much thought to a career as a tenor but chose a more profitable occupation in business. Elinor’s parents engaged in home music making and the young girl benefited greatly from this experience She started piano lessons at age 5 but soon started making up melodies of her own Several biographical articles mention her 1912 trip to Europe and England as a landmark in her musical development. The family was there for seven months, and Elinor was able to hear the music of Wagner for the first time. Four years later, she sent her piece A Song of June to G. Schirmer, and they agreed to publish it
After high school, Elinor enrolled in Mills College where she studied piano with Leopold Godowsky and composition with Nadia Boulanger. After just a year, she went to New York and soon established herself as a new voice in the Big Apple When just 21 years old, Elinor performed at Carnegie Hall as the accompanist to the leading alto of the Metropolitan Opera, Margaret Matzenauer, on a program where she sang Warren’s Heart of a Rose. For the next two decades, Warren toured as a piano soloist with orchestras across the United States. During that time, she had already begun to have successes as a composer of large works for orchestra, often with chorus and vocal soloists
It has often been stated that Elinor Remick Warren was the only woman included in the group of American Neo-Romantic composers that included Howard Hanson and Samuel Barber. When asked if she would rather be known as a composer or a woman composer, Warren answered:
PROGRAM NOTES (cont'd)
“I don’t like to be pigeon-holed You’re a composer or you’re not a composer, and I prefer to be known as a composer although I’m very proud to be a woman composer I like being a woman very much, and I like all the joy and fullness of life that has brought me having my family and children, and my wonderful husband of so many years. In a way I think it’s unfortunate if too many people are just classified as ‘Women Composers’ … This puts you off in a little niche ”
Along the Western Shore, completed in 1954, started life as a set of piano pieces. Settling in Los Angeles for college, Warren married a movie producer, but she never wrote for film. However, her music is quite cinematic in approach The first movement, “Dark Hills,” is a weighty piece that captures the mysterious majesty of the hillsides in Southern California Somber and evocative, this section is almost impressionistic in nature “Nocturne” is the title of the Hitchcockian second movement, which is complete with soaring strings and complex rhythms both of which are reminiscent of early tonal Schoenberg, another denizen of L.A. while Warren lived there The finale, “Sea Rhapsody,” is quick and mercurial with an adept touch for evoking the unique nature of ocean waves along the California coast
The Cowboys Overture
– John Williams
Born February 8, 1932, in Floral Park, Long Island, New York
This work was premiered with the release of the movie on January 13, 1972 It is scored for piccolo, three flutes, two oboes, E-flat clarinet, two B-flat clarinets, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, percussion, harp, piano, celesta, and strings.
On January 13, 1972, Warner Brothers released one of the last of their classic western films, The Cowboys This $6 million spectacle (an extremely high budget for the day) starred John Wayne in one of his last roles – he would make only six more appearances for a total of 180 screen roles – and was directed by Mark Rydell.
Rydell chose a young veteran composer named John Williams to score the film Williams had made a name for himself in the 1960s by scoring several television series, including Wagon Train, Lost in Space, and Gilligan’s Island He would become legendary in the decade ahead by composing the music for Star Wars, Close Encounters of the Third Kind, and Jaws The Cowboys was his highest-profile project to date
The film is about a cattleman whose drivers leave to seek their fortune panning for gold. He hires a group of young boys and trains them to become cowboys. Williams’ score is in the tradition of the great scores from the Golden Age of cinema He described the project as follows:
“The Cowboys was a film directed by the very talented Mark Rydel and featured John Wayne, probably Hollywood's quintessential cowboy.
“The movie required a vigorous musical score to accompany virtuoso horseback riding and calf roping, and when my friend Andre Previn heard fragments of the score, he suggested that a concert overture lay hidden within the film's music Several years slipped by, and each time I saw the indefatigable Previn he would ask, ‘Have you made an overture of Cowboys yet?’ He kept this up until 1980, when I finally worked out the piece and played it at a Boston Pops concert Both the orchestra and the audience seemed to enjoy the music to such an extent that it has been part of our repertoire ever since. I am especially delighted that this edition has finally been made available, and I hope that interested people will find genuine pleasure in this music.”
“FourDanceEpisodes”fromRodeo –AaronCopland
BornNovember14,1900inBrooklyn,NewYork
DiedDecember2,1990inNorthTarrytown,NewYork
This work was first performed in its original version as a on October 16, 1942, at New York’s Metropolitan Opera conducted by Franz Allers Three of the “Four Dance Epis were premiered by conductor Arthur Fiedler and the B Pops Orchestra on May 28, 1943 The first com performanceofthe“FourDanceEpisodes”wasbytheNew New York Philharmonic at the Stadium Concerts on June 22, 1943, with Alexander Smallens conducting It is scored for piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, piano, harp, celesta, and strings
Described by Leonard Bernstein as the “Dean of American Music,” Aaron Copland delighted in his role as its elder statesman in the later years of his life Perhaps this is due to the seventy years he was involved in various musical endeavors Before launching his compositional career with the resounding flourish of his Organ Symphony in a 1925 New York concert, he had studied at the American Conservatory at Fontainebleau in Paris since 1921 Among the distinguished faculty, noted pedagogue Nadia Boulanger’s reputation stood out above all others, teaching generations of American composers from Copland to Philip Glass. Copland enjoyed a reputation as a renegade among composers, using harmonies that were often dissonant and abrasive
In the late 1930s, the composer began to face the reality of shrinking audiences at orchestral concerts. He knew there must be a way to draw people back into the concert hall and to energize orchestral music Copland’s new “simple” style, which often quoted folk music, uses an approachable musical language in an effort to remedy the problem He often incorporated jazz-inspired rhythms and elements of popular music to express his ideas, while drawing listeners closer to his music Having composed several works for the stage and screen in the 1930s, among them his captivating scores for the film versions of Steinbeck’s Of Mice and Men, and Wilder’s Our Town, Copland became well established in those circles. In 1939, Copland composed the incidental music for Irwin Shaw’s Quiet City – an opportunity directly related to his growing popularity.
On the heels of his enormously popular 1938 ballet Billy the Kid, written for Lincoln Kirstein’s Ballet Caravan, Copland was ready to compose more works for the dance. In 1942 dancer/choreographer Agnes DeMille asked the composer to provide music for a “cowboy ballet” she had been hired to choreograph for the Ballet Russe de Monte Carlo, an offshoot of the Ballets Russes – the legendary ensemble for which Stravinsky composed The Rite of Spring She explained that the Ballet Russe had been stranded in New York during World War II and wanted to explore the works of American composers and choreographers. DeMille described the stage action in which her character, a young cowgirl, tries to attract a mate on a Southwestern ranch by demonstrating her roping skills. She is spurned repeatedly in favor of well-dressed city girls, until she finally appears in a frilly dress and becomes the object of the cowboys’ affections Copland demurred, saying that he had already composed his “cowboy ballet” and would rather write on a different subject However, DeMille’s argument was convincing and Copland agreed to write the score for $1000 As in Billy the Kid, his use of traditional western ballads and fiddle tunes is extensive, drawn here from musicologist Alan Lomax’s songbook Our Singing Country..
Originally entitled The Courting at Burnt Ranch, its name was shortened to Rodeo (pronounced as in Spanish with emphasis on the second syllable, as in Rodeo Drive). Premiering at New York’s Metropolitan Opera House, the ballet was a rousing success. As is often the case, the composer decided to extract a ballet suite for performance on orchestra programs, thereby gaining a much more widespread audience for his music
Copland’s editing was quite sparing, as only six minutes, mainly interludes, were trimmed from the original twenty-fourminuteballet Theresultisthe“FourDanceEpisodes”heardonthisprogram
Thefirstmovement, Buckaroo Holiday,isboisterousandenergetic,andfeaturesanextensivetrombonesolo that is both comical and delightful. Representing the opening action of the ballet, it sets the tone for the remainder of the work. Corral Nocturne follows with its quiet stillness reminiscent of the Western night sky. SaturdayNightWaltzreflectstheclumsyattemptsoftheranchdancers(andfiddlers)ataweekendparty.Itis here that the cowgirl appears in her feminine finery. She leads the entire ranch in the final Hoedown to celebratehercourtshipwiththecowboyofherchoice
©2025OrpheusMusicProse&CraigDoolin wwworpheusnotescom
MEET OUR MUSIC DIRECTOR
"Collaborative... Engaging... Audienceingratiating..." - Baltimore Sun
As Music Director/Conductor of the Washington Metropolitan Philharmonic, the Naptown Philharmonic Orchestra (Annapolis MD), the AACC Symphony Orchestra at Anne Arundel Community College (Arnold MD) and a frequent guest conductor on the national and international scene, ANNA BINNEWEG repeatedly captures audiences with her enthusiasm and passion for music Her orchestras’ shared focus and energy makes orchestral music sound new, fresh, and exciting. Her programs and performances are alluring, engaging and attract audiences of all ages, particularly making classical music 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, the Meyerhoff Symphony Hall (Baltimore MD) and the Walt Disney Concert Hall (Los Angeles CA). Her international conducting experiences include tours to Austria and Spain and guest 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 (San Luis Obispo CA) In addition to her guest conducting appearances with colleges and universities throughout the United States, she has served as guest conductor for prestigious AllState festivals such as Maryland and Vermont in recent seasons. 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. She has worked with conducting mentors 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, Binneweg was elected to the board of directors of the International Conductors Guild (2021) where she advocates for women conductors in the field.
Earning a doctorate degree of music in orchestral conducting from Northwestern University where she studied with Victor Yampolsky, she has also served on the conducting faculties at Loyola University (Chicago, IL), the Sherwood Conservatory of Music (Chicago IL), and American University (Washington DC) Binneweg is the recipient of the 2015 Annie Award for the Performing Arts awarded by the Arts Council of Anne Arundel County. As an active conductor,, she remains committed to igniting passion and unity in her community through live performance. Learn more about Anna at annabinneweg.com
THE PHILHARMONIC
VIOLIN I
Sonya Hayes, Concertmaster
Howard van der Sluis, Assoc Concertmaster
Sophie Bouwsma
Rosan Choi
Sophia Hoagland
Joe Keum
Timothy Kidder
James Ling
Lynn Rovelli
Cheryl Stickley
VIOLIN II
Slavica Ilic, Principal
Eugene Liu, Assistant Principal
Anne Anderson
Rebecca Edelstein
Claire Randall
Jane Thell
Hannah Villa
Marisa Wright
VIOLAS
Laura Ibrahim, Acting Principal
JR Jeerakul, Assistant Principal
Claire Bradfuhrer
Kevin Kirby
Sanaa Lucas
Gabriella Wheeler
Kelley Williams
CELLOS
Samuel Runolfson, Principal
Eddie Adams, Assistant Principal
David Bates
Alex Cooper
Alix Gates
Soren Johnson
John Matzner
Amy Medearis
BASSES
Robyn Ambrose, Principal
Scott Freeman
Greg Ondo
FLUTES
Crystal Lee, Principal
Julia Amadee
Chris Kowalewski
OBOES
Kelly Klomparens, Acting Principal
Leslie Jewell
Alicia McMahan, English horn
CLARINETS
Brittany Pemberton, Principal
Chris Epinger
Julie Pangelinan, bass clarinet
BASSOONS
Walter Wynn III, Principal
Jonathan Compton
Robert Goler, contrabassoon
HORNS
Aaron Meitz, Principal
Amy Statz Dolan
Eric Moore
Jon Ohmart
TRUMPETS
Joshua Silva, Principal
Chieko Reaves
Andy Schuller
TROMBONES
Christopher Reaves, Principal
Robb McDonald, bass trombone
Chris Thackery
TUBA
Karl Hovey, Principal
TIMPANI
Bruce Davies, Principal
PERCUSSION
Randy Eyles, Principal
Aubrey Adams
Julie Choi
KEYBOARD
Mary Voutsas
HARP
Vanessa Young
Local Business Partner ** Washington Metropolitan Philharmonic musician ^ The Ulysses James Legacy Fund
WMPAwouldliketoexpressitswarmestgratitudetoourgrowingfamilyofdonorswhohavehave demonstratedacommitmenttotheperformingartsandimprovingourcommunity.Thefollowing reflectsgiftsreceivedfromSeptember1,2024throughSeptember19,2025Friendlevelshonor Americancomposerswhoseworksfeatureinourconcerts
SAMUEL BARBER
$10,000+
Anonymous In honor of pianist and piano
instructor Stella Terrill Stover
FLORENCE PRICE
$5,000-$9,999
Margaret M Ballard
Galena Yorktown Foundation
Gordon and Sheila Soper
The Ries Family
Warren Zwicky
JENNIFER HIGDON $2,500-$4,999
John Kean^
Gary and Phoebe Mallard
Donna J. Reuss
AARON COPLAND $1,000-$2,499
Samuel and Patricia Boglio
Helenmarie Anderson Corcoran
Inés Garcia
Karl Hovey**
Ulysses James
Joseph Keum**
Robb McDonald** and Brittany
Pemberton**
Pediatric Associates of Alexandria* In honor of WMPA Youth Orchestras
Deidre Pistochini In honor of Sandra Hall
Carole A. Pyle
Mr David C Schwark and Mrs Suzanne
C Schwark
Nancy West
WILLIAM GRANT STILL $500-$999
Anna Binneweg**
Anonymous
Gary Bravy
Philip Corcoran
Bruce Davies**
Thomas Helinski In honor of Robert W.
Miller
Joan Leonard
Mick and Brooks McCorcle^
William McDaniel
Dennis Murphy**
Mary Reed
Lynn Ries
Ralph and Nancy Schuetz
Phillip Thompson
Amy Vilela
Patricia Williamson
LIBBY LARSEN $250-$499
Reinaldo Luis Andujar
Grazina Blekaitis
Charles Carron
Richard and Kathleen Fonda
Sallie Forman
Julie Gershunskaya
Kay and David Green In honor of Caroline Mousset
Phyllis Gron
David Jourdan In memory of my dear
wife, Kathy
Kevin Kirby** and Eileen Monnin-
Kirby
David Labovitz
Jennifer Ngai Lavallee
Amy Medearis**
Mark Whitmire
REBECCA CLARKE $100-$249
Annemarie Anderson**
Anonymous (x3)
Anonymous In honor of Ann Houpt
Kacey Baker In honor of the WMPA
Musicians
Richard Baker
Susan Bardenhagen
Kacy Barker
David Bates**
Stephanie Bisson
Grazina Blekaitis
Bernadette Borja
Thomas Boudreau
Susan Brook
Richard Brook
Lorrie Brown
Carter Bryan, II
Hillary Burchuk
Kathleen Burns
Marie Carr
Margie Chadwick
Adrienne G. Cannon
Bryan Cook
Kristin Dillon
Shannon M Dubicki
John Sutherland Earle In honor of Ulysses James
Maravene Edelstein
Christopher Epinger**
Randall Eyles**
Kathleen Farrell In honor of the dedication of all young musicians
Rita Frank
Melissa Franger
Gay Gardner
Eliot Girsang
Robert Goler^**
Carol Goodloe
Roger Gram
Julia Greenway
Gregg Grisa
June Hajjar
Barbara Haley
Gregory Hammond
Robert Hay, Jr
Gary and Christel Hignett
Joshua Heit
Anthony Iannaccone
Charles and Gail Irish
Noel Kaupinen
Carol Anne Kelly
The Kisthardt Shinkle Family In honor of WMYO
Linda Kosich
Cathy and Will Kunz
John and Vivian Lieb
Kathleen Litchfield
Barbara R Lowrey
John Matzner**
Carol and Robert McGinnis
Robert Mikulak
James Moody^
H Paul Moon^
Lisa Motley
Lynn Mueller**
George and Jean Parks
Joanne Parker-Braxton
Barbara Polhemus
Kristen Race
Gail Richmond In honor of Ulysses
James
Bill Rojas
Nancy Sage
Marilyn Schimpf
Lee and Deena Smith In honor of Caroline
Mousset
Sherri Stephan
Gregory Stolp
Jane Thell** In Honor/Memory of Shirley McNeely
Stu and Ruth Tucker
Amy Vilela
Patricia Washington
Jaimie White In honor of Ulysses James
Gayle and Joe White
Sheri and Raymond Wolfe
Jeannette Wong
Katherine Wood
Jaqueline Zins
SPECIAL THANKS
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
Community Concerts: 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
WMPA STAFF
ANNABINNEWEG, MUSIC DIRECTOR/CONDUCTOR
ANGELA ANDERSON, PHOTOGRAPHER
ZOË BOCKMAN, DEVELOPMENT & COMMUNICATIONS INTERN
MARTIN GARFIELD-LEVINE, WMCO MUSIC DIRECTOR
JOHN KEAN, SOUND ENGINEER
CAROLINE MOUSSET, EXECUTIVE & ARTISTIC PLANNING DIRECTOR
ALBERTO RODRIGUEZ, WMYO MUSIC DIRECTOR
JOSHUA SILVA, ORCHESTRA LIBRARIAN
KELLEY WILLIAMS, WMP PERSONNEL MANAGER
JOSHUA VILLA, WMP STAGE MANAGER
BOARD OF DIRECTORS
MARGARET BALLARD, PRESIDENT
LAWRENCE RIES, TREASURER
DONNA REUSS, SECRETARY/VOLUNTEER COORDINATOR
ANNA BINNEWEG, MUSIC DIRECTOR/CONDUCTOR
MARTIN GARFIELD-LEVINE, WMCO MUSIC DIRECTOR
BRITTANY PEMBERTON, ORCHESTRA REPRESENTATIVE ULYSSES JAMES, MUSIC DIRECTOR LAUREATE ALBERTO RODRIGUEZ, WMYO MUSIC DIRECTOR WARREN ZWICKY
