fairfax symphony presents an all-beethoven concert

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FairFax Symphony orcheStraChristopher Zimmerman, Music Director

Mischief in Music

2012-2013SeaSon

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FairFax Symphony orcheStraChristopher Zimmerman | Music Director

Chairman’s Message

table oF contentS

7 2012-2013 Season Calendar

9 FSO Board and Staff

11 Meet Maestro Christopher Zimmerman

12 Concert Program

18 2012–2013 Annual Fund

22 Fairfax Symphony Orchestra Roster

In 2012-2013, the Fairfax Symphony Orchestra will embark on a new three-year focus in programming called Mischief in Music: Wit, Insolence and Insurrection. Maestro Christopher Zimmerman says, “There are so many pieces that speak to the playfulness of music, and also to its ability to rouse complex emotions. I’m looking forward to exploring the theme over the next three years.” Welcome to our performance, and thank you for your patronage. We are delighted you are here!

The FSO will continue its tradition of strong and diverse programming as it explores this theme throughout the season. Highlights will include an all-Beethoven concert featuring the violin concerto, an all-Strauss concert contrasting the music of Johann and Richard Strauss, and a celebration of the anniversary years of both Giuseppe Verdi and Richard Wagner, with an evening of opera arias and overtures to end the season. The FSO will present the East Coast premiere of a co-commissioned piece to begin the season, Ellen Taaffe Zwilich’s “Shadows” for piano and orchestra, and the Virginia premiere of Jonathan Leshnoff ’s Flute Concerto in January.

We hope that you will join us for many of these spectacular performances. We welcome you to attend our pre-concert lectures prior to each performance at 7:00 p.m.

The Fairfax Symphony is pleased to introduce its new Symphony Society this season! Your contributions help sustain the FSO’s high quality programming and community outreach in the Northern Virginia region. A donation of $50 or more will make you eligible for an assortment of membership benefits, including reserved seating at our pre-concert lectures, free beverage coupons, free parking, and more. Every pledge makes a difference, whether $50 or $5,000. See the FSO staff in the lobby or contact them in the office to make a contribution. Your support is crucial to our success.

Once again, welcome to the FSO. We hope you enjoy the concert!

Thomas M. Brownell, Board Chairman

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Tickets Only $10-$15For complete concert schedule:

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2012-2013 Concert Season

Featuring Works by Wagner,Tchaikovsky, Copland,Gershwin, Respighi, Sibelius,and much more!

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2012–2013 SeasonSeptember 22, 2012Jeffrey Biegel, piano

ADAMS: The Chairman DancesZWILICH: Shadows for Piano and Orchestra (East Coast Premiere)BERNSTEIN: Three Dance Episodes from

“On the Town”GERSHWIN: Piano Concerto in F Major

november 17, 2012Kenneth Woods, guest conductorBenjamin Beilman, violin

BEETHOVEN: Overture to Coriolan, Op. 62

BEETHOVEN: Symphony No. 2BEETHOVEN: Violin Concerto

December 8, 2012James Dick, piano

ROSSINI: Overture to La Gazza LadraTCHAIKOVSKY: Piano Concerto No. 1TCHAIKOVSKY: Symphony No. 6,

“Pathétique”

January 19, 2013Christina Jennings, flute

MOZART: Overture to The Magic FluteLESHNOFF: Flute Concerto (Virginia Premiere)IVES: The Unanswered QuestionBRAHMS: Symphony No. 1 in C minor,

Op. 68

march 16, 2013

J. STRAUSS: Emperor WaltzJ. STRAUSS: Tick Tack, Pizzicato and Trisch-

Tratsch PolkasR. STRAUSS: Suite from Der RosenkavalierJ. STRAUSS: Overture to Die FledermausR. STRAUSS: Till Eulenspiegel’s Merry PranksR. STRAUSS: Salomé’s Dance

may 11, 2013A Night at the Opera – Verdi and Wagner

FavoritesJoni Henson, soprano Brennen Guillory, tenor

october 19, 2012 Special Embassy Series

Chamber ConcertEdvinas Minkstimas, pianoEmbassy of Austria

February 15, 2013 “Jeans ‘N Classics” Motown

Gala & Silent AuctionHilton McLean Tysons

Corner

June 20, 20136th Annual FSO Golf

TournamentWestfields Golf Club

FSO Special Events

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

To purchase tickets: 888-945-2468 • For information: 703-563-1990, [email protected]

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BOARD OF DIRECTORS

Thomas Brownell, ChairmanRichard Basehore*

David ConleyJose “Pepe” Figueroa

Jennifer GitnerKaren Hepworth

Paul Johnson*Stephen KennyGregory Llinas

John Lockhart, Vice-ChairmanBrian Lubkeman, Secretary

Warren Martin, Immediate Past ChairmanEric Moore

Michael L. PriviteraKaren Wallis

Ervin Walter, TreasurerMartha WilsonMaria Winters

Galen Wixson, ex officioChristopher Zimmerman, ex officioThomas Murphy, General Counsel

*Musician Member

The Honorable Sharon BulovaThe Honorable Thomas M. Davis

Sidney O. DewberryThe Honorable James W. Dyke

Dr. Gerald L. Gordon

John T. “Til” HazelJulien PattersonWilliam ReederEarle Williams

HONORARY BOARD

Galen Wixson, Interim Executive DirectorAnn M. Morrison, Development Director

Tara L. Nadel, Patron Services and Education Director

Shannon Kingett, Operations ManagerNora Reilly, Administrative Assistant

Christopher Zimmerman, Music DirectorGlenn Quader, SCORE Conductor

George Etheridge, SCORE ConductorCynthia Crumb, Personnel Manager

Wendi Hatton, LibrarianTimothy Wade, Stage Manager

ARTISTIC AND ADMINISTRATIVE STAFF

Fairfax Symphony Orchestra • 3905 Railroad Ave, Suite 202 North • Fairfax, VA 22030 703-563-1990 Telephone • 703-293-9349 Fax

www.fairfaxsymphony.org • [email protected]

THIS PROJECT IS SUPPORTED IN PART BY THE VIRGINIA COMMISSION FOR THE ARTS AND THE NATIONAL ENDOWMENT FOR THE ARTS

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George Mason University’s Center for the ArtsTICKETS: 888-945-2468 or CFA.GMU.EDU

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Enjoy all 5 concerts for as little as $112Series Price: $112, $191, $223

Academy of St. Martin in the Fields Chamber EnsembleBrahms Shostakovich MendelssohnSunday, October 21 at 4 p.m.$25, $42, $50

American Symphony OrchestraBrahms BeethovenLeon Botstein, conductorFriday, November 2 at 8 p.m.$30, $52, $60

ChanticleerA Chanticleer ChristmasSaturday, November 24 at 8 p.m.$24, $40, $48

China National Symphony OrchestraGuan Xia Sibelius RachmaninoffEn Shao, conductorXi Chen, violinSaturday, February 2 at 8 p.m.$30, $52, $60

Beethoven Orchestra BonnAll Beethoven ProgramStefan Blunier, music directorLouis Lortie, pianoSaturday, March 9 at 8 p.m.$30, $52, $60

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Reviewing Chris-topher Zimmer-man’s debut concert with the Fairfax Symphony Orches-tra 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 im-mediate 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 Tangle-wood, and at the Pierre Monteux School in Maine with Charles Bruck. Zimmer-man 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 pre-mieres (local and world) by such eminent

composers as William Bolcom, Martin Bresnick, Michael Colgrass, Avner Dor-man, Christopher Rouse, Bright Sheng, Judith Weir and Nebojse Zivkovic. Mr. Zimmerman’s conducting career began with the Royal Philharmonic Or-chestra 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 Orches-tra and in 1993 he was appointed to the Faculty of the Cincinnati College-Con-servatory 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 incep-tion 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, Zimmer-man 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.

Christopher Zimmerman, Music Director

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Notes in Brief

Few persons in any era have revolutionized an art form as dramatically as Beethoven changed the progress of Western music.

Tonight’s program juxtaposes three works that demonstrate his impact. The Second Symphony, when understood in the context of even the greatest works of earlier composers, illustrates the larger-than-life dynamism of Beethoven’s personality, which he succeeded in expressing musically to a remarkable degree even within the framework of the “Classical” forms he inherited from Haydn and Mozart. Indeed, this was a large part of his legacy: the idea that an individual’s volatile temperament could be an integral part of his musical conceptions.

The Violin Concerto and Coriolanus Overture were both created just a few years after the Second, but they show how quickly and radically his musical language had grown. The overture was composed alongside the famous Fifth Symphony and shares its vehemence and expressive power. But the Violin Concerto exemplifies a completely different aspect of the composer: the tender, introspective, vulnerable man hidden behind the gruff façade.

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BEETHOVEN Overture to Coriolanus, op. 62

BEETHOVEN Symphony No. 2 in D Major, op. 36

1. Adagio molto; Allegro con brio 2. Larghetto 3. Scherzo: Allegro 4. Allegro molto

--- Intermission ---

BEETHOVEN Violin Concerto in D Major, op. 61 1. Allegro ma non troppo 2. Larghetto 3. Rondo: Allegro Benjamin Beilman

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.

NOVEMBER 17, 2012 – 8:00 P.M.

George Mason University’s Center for the Arts

Kenneth Woods, guest conductorBenjamin Beilman, violin

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.

Visit the FSO table in the lobby to purchase a CD featuring tonight’s guest artist -Benjamin Beilman, violin

ONLY $20!Mr. Beilman will autograph CDs in the lobby following the performance.

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Program NotesLUDWIG VAN BEETHOVEN (1770-1827) Overture to Coriolanus, op. 62

Like many musicians, Beethoven often derived inspiration from literary sources. For a man of little formal education he was exceed-ingly well-read, and his letters reveal him to be informed on political and social developments and a serious thinker on moral issues. Among his friends was Heinrich Josef von Collin, a poet who had authored a play on the subject of the Roman general Coriolanus (and who was apparently unaware that Shakespeare had beaten him to this subject about 200 years earlier). The story concerns the predicament and emotional turmoil of a military officer whose tragic flaw of pride leads to multiple betrayals, banishment from the city of Rome, conflict with his family and allies, and death at the hands of his former comrades. Taking his cue from these factors, Beethoven fashioned one of his most potent smaller works, a kind

of musical psychodrama in overture form, and dedicated it to the playwright. Set in the composer’s most dramatic key of C minor, the work opens with stern long notes punctuated by hammer-like blows & pauses. The first theme is a quiet, nervous one for strings, marked again by cryptic silences; it works up to an extended passage of tense harmonies and strenuous syncopa-tions. Like sunlight breaking through clouds, the appearance of the major key marks the second theme, which leads directly into a lengthy, turbulent development. The long syncopated passage returns and forms a bridge to the Recapitulation – but the proper beginning, the “first theme,” is missing, so that the relaxation of the development’s air of conflict comes with the return of the major-key second theme. A bit of further development brings a recurrence of the stern introductory gestures and then the barest hint of the first theme, before the music dis-solves gradually into the silence of the grave.

Symphony No. 2 in D Major, op. 36

Those who relegate Beethoven’s Second Symphony to the category of “works com-posed under the influence of Haydn” are more to be pitied than despised, as the saying goes. There is no doubt that the epoch-making Eroica of just two years later makes a bigger splash in almost every regard, but even a casual acquaintance shows that the Second goes far beyond mere charm, technical assur-ance, obeisance to received traditions, and the expression of a vivid personality in music: it is full of surprises, innovations, and portents of things to come. The work really has a double significance, for it also shows something remarkable about Beethoven’s character. From his late 20’s he began to have trouble with his hearing, but his pride was such that it wasn’t until three years later that he first revealed his worries to a friend. By this time it was becoming clear that the problem was nothing transient but a permanent and worsening condition. Late in 1802, while visiting the small village of Heiligenstadt, Beethoven wrote a letter to his brothers that is partly a will, partly an

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anguished confessional about the torments of a musician going deaf. This “Heiligenstadt Testament” was not discovered until after his death (apparently he never mailed it) but it clearly shows his faith in his own talent and his granitic determination to explore that talent to the fullest. In that way he hoped to overcome this devastating personal and professional misfortune. It was at exactly this same time that he wrote the joyous, supremely life-affirming music of the Second Symphony. It’s no wonder that so many of his other works also imply or spell out an emotional scenario of triumph over adversity. This is the work in which Beethoven announces himself unmistakably, with its unprecedented energy, frequent surprises of all kinds, sudden silences for dramatic effect, wide-ranging harmonic trips away from the home keys, and especially for its display of his gruff sense of humor (for instance, in the comically animated, almost frantic main theme of the finale). One unmistakable innovation is his prominent use of the clarinet, which begins to rival the oboe as the leading voice in the woodwind choir. (It should be remembered that it was his consistent use of this instrument that helped establish it as a permanent member of the symphony orchestra, for up to that time it had been used only infrequently). Another interesting fact is that three of the four movements of this work are in sonata form (I, II, and IV) – something quite rare in symphonies of that time. This may have been the composer’s conscious attempt to make an impression by doing something unusual and doing it surpassingly well. A particular feature of this symphony that drew critical ire and public incomprehen-sion is Beethoven’s massive expansion of the length and importance of the coda section of many movements. Normally the coda was just a short passage following the final restate-ment of the main themes, sometimes quite brief and sometimes of moderate length. But in Beethoven’s hands it became lengthy and elaborate, often dashing off into unex-pected directions and repeatedly delaying the conclusion. Such frustrating of the audience’s expectations was again one of his expres-

sions of humor, a form of teasing that could sometimes backfire. It is certainly one of the factors that led to an early newspaper review that has gone down in history for its vitupera-tive excess: “Beethoven’s Second Symphony is a crass monster, a hideously writhing wounded dragon that refuses to expire, and though bleeding in the Finale, furiously beats about with its tail erect” (Zeitung for die Elegante Welt, Vienna, May 1804). A final note: Those who love chamber music might be interested to hear a version of this work that the composer himself ar-ranged for piano trio (violin, cello, and piano). Hearing familiar music from a different angle often provokes new insights and reveals aspects previously hidden. There is a recent recording (Archiv 474224) that includes that version of the Second Symphony along with a similar reduction for soloist and string quintet of the Fourth Piano Concerto. The noted per-former and musicologist Robert Levin plays a fortepiano similar to one Beethoven would have used, and the string players also perform on “historically appropriate” instruments with gut strings and old-style bows.

Violin Concerto in D Major, op. 61

The history of Beethoven’s only violin con-certo is the source of not one but three of the most provocative anecdotes in the world of music. The first two concern its premiere, on December 23, 1806. The composer had not quite finished scoring the work, which obliged the soloist and dedicatee, Franz Clement, to play it “at sight” since there was no time for a rehearsal with the orchestra. Even assum-ing he may have had a day or two to practice, this would still be an astonishing feat. But the story goes further: Legend has it that during the same concert Clement played a sonata he had written in which he held the violin upside down! – and some even said he played this between the first two movements of the Beethoven concerto. Neither of these anecdotes has ever been conclusively proved or disproved, but the third is indisputably true and has a logical connection to the others: At its premiere the concerto made little impres-sion on the public and was widely criticized

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in the press (probably due to its unprepared presentation); it thus went almost completely ignored for more than 35 years. It was in the spring of 1844 that Joseph Joachim, then not quite 13 years old, gave such a remarkable performance of it in London that the work was recognized as a landmark in the history of music. As he so often did when turning his attention to a certain genre, Beethoven expanded both the size of the violin concerto and its emotional scope. With the exception of Mozart’s mature essays in this form, violin concertos had previously been essentially showpieces full of dazzling acrobatics and mostly lacking in significant content. In this work, Beethoven invented the symphonically-scaled violin concerto and showed that it could convey ideas of true profundity, as well as entertaining the public. He must surely have been inspired by the task and by Clement’s musicianship, as he produced for it some themes of extraordinary expressive-ness. Indeed, much of the music in the first two movements is of such simplicity, such

exquisite purity, that they both might well have been marked religioso – a perfect example of the sublime in music. The concerto’s unprecedentedly long opening movement makes great demands on both concentration and stamina. Beethoven uses the initial four solo notes for timpani as a motif that recurs throughout the movement, marking yet another innovation by giving such prominence to an instrument usually consigned to the background. The integra-tion of this rather mundane figure into the overall fabric of the work, and the expressive weight it acquires, provide yet another proof (as if any were needed) of this composer’s consummate mastery. The plainness of the thematic material gives him much scope for development, and allows the soloist consid-erable freedom of interpretation. Just as he does in several other works from this period (Fifth Symphony, Fourth Piano Concerto, “Emperor” Concerto, and “Archduke” Trio), Beethoven joins the middle movement to the finale (indicated by the marking attacca subito). And once it is launched, this buoyant rondo

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perfectly complements the preceding heartfelt utterances with exuberance and brio. To the layman’s ear, the Beethoven may sound less demanding than some other solo vehicles, at least compared to the technical fireworks found in the works of Paganini, Tchaikovsky, Sibelius, Wieniawski, et al. But the truth is otherwise. David Kim, concertmaster of the Philadelphia Orchestra and a recent soloist with the FSO, observes: “The difficulty of the Beethoven is that it is so transparent, the soloist is so exposed. Everything must be perfect! To mar this piece with a blemish of tone or intonation would be like desecrating the Sistine Chapel.”

© 2012 Frank M. Hudson

Meet the ArtistBENJAMIN BEILMAN, VIOLINIST

Violinist Benjamin Beilman’s “handsome technique, burnished sound and quiet confi-dence showed why he has come so far so fast.” (The New York Times) He is the recipient of both a

2012 Avery Fisher Career Grant and a 2012 London Music Masters Award. His numerous accolades have thrust him onto stages across North America and Europe. In addition to his Wigmore Hall solo recital debut this season, Mr. Beilman appears in recitals at the Mostly Mozart Festival, Merkin Concert Hall, at the Candlelight Concert Society, The Friends of Music Concerts, at the Festspiele Mecklenburg-Vorpmmern in Germany, and as part of the Rising Stars Series in Basel, Switzerland. First Prize Winner in the 2010 Young Concert Artists International Auditions and the recipient of the Helen Armstrong Violin Fellowship, Mr. Beilman performed debut recitals to rave reviews in the 2011-12 Young Concert Artist Series in New York and in Washington, DC at the Kennedy Center. Recital appearances include the Philadelphia Chamber Music Society as

recipient of Philadelphia’s 2010 Musical Fund Society Career Award, the Buffalo Chamber Music Society, the Isabella Stewart Gardner Museum, MusicFest Vancouver and the Krannert Center for the Performing Arts, among others. Mr. Beilman made his Philadelphia Orchestra debut with conductor Rossen Milanov in June 2009 and has appeared as soloist with L’Orchestre Symphonique de Québec under Yannick Nézet-Séguin, the Tonahlle Orchestra in Switzerland under Sir Neville Marriner, and the Malaysia Philharmonic, among others.An avid chamber musician, Mr. Beilman is a new member of the Chamber Music Society of Lincoln Center’s CMS Two roster. Additional chamber music performances this season include the Seattle Chamber Music Festival, Music@Menlo, Caramoor, and the Bridgehampton Chamber Music Festival, as well as the Kronberg Academy in Germany. He has participated in the Marlboro Music Festival, Music from Angel Fire Festival, the Verbier Festival, and on Ravinia’s “Rising Stars” series. Mr. Beilman won First Prize and the People’s Choice Award at the 2010 Montréal International Musical; the Bronze Medal at the 2010 International Violin Competition of Indianapolis, where he was awarded the prize for the best Bach performance and best performance of the Mozart sonata; First Prize in the 2009 Schmidbauer and Corpus Christi International Competitions in Texas, where he was awarded the special Bach prize; the Gold Medal at the Stulberg International String Competition; the Grand Prize of the American String Teachers Association Competition in 2007 and Third Prize in the 2006 Johansen International Competition for Young String Players. Mr. Beilman was a winner of the Astral Artists’ 2009 National Auditions and the Milka/Astral Violin Prize.Mr. Beilman graduated from the Curtis Institute of Music in May 2012 where he worked with Ida Kavafian (YCA Alumna) and Pamela Frank. He worked previously with Almita and Roland Vamos at the Music Institute of Chicago.

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2012-13 Annual Fund

GovernmentCounty of FairfaxVirginia Commission for

the ArtsArts Council of Fairfax

CountyCity of Fairfax Commission

on the Arts

Foundations and Charitable Funds

Combined Federal Campaign of the National Capital Area

Freddie Mac Foundation Matching Gifts

Ann & Gordon Getty Foundation

Philip L. Graham FundMary & Daniel Loughran

FoundationCharles Schwab Charitable

FundUnited Way of the National

Capital AreaVerizon Foundation

Matching Incentive Program

Washington Forrest Foundation

Wells Fargo Foundation

CorporationsBB&T Capital OneCardinal Bank

Cox CommunicationsErnst & Young LLPGSBB Associates, LLCHSBCTargetWegmansThe Potter Violin Company,

VASTA and the Flute Society of Washington – Master Class support

SYMPHONY SOCIETY

concerto club

PlatinumFran and Jerry Kieffer

GoldMr. and Mrs. Thomas M.

BrownellDavid and Somer ConleyPepe FigueroaJennifer GitnerMr. and Mrs. Glenn A.

HemerMs. Karen Hepworth Stephen and Tina KennyMr. Gregory LlinasJohn LockhartBrian and Suzanne

LubkemanWarren and Judy MartinMr. and Mrs. R. Dennis

McArverMichael L. Privitera

Erv and Laura WalterJacquie and Sid WallaceMartha S. WilsonDermot and Maria WintersSally and Rucj Uffelman

SilverAnonymousCarl and Judy AzzaraRuth CrumbDr. and Mrs. Charles EmichMr. and Mrs. C. David

HartmannAnne and Til HazelRobert and Maryanne JonesThe Honorable and Mrs.

John MasonDavid and Bridget RalstonJames and Miriam Ross

rhapSoDy circle

AnonymousPamela Charin, in memory

of Helen CharinMr. Walter GeisingerDr. Per and Mrs. Stella

KullstamDr. Edward L. Menning

Sonata circle

Bill and Dorothy Brandel Donald and Ruth DreesMr. and Mrs. John A. FarrisHarry and Barbara GerberRobert and Whitney Henry

The following listing comprises all those who have donated to the current FSO season as of September 1, 2012. Every effort is made to ensure the accuracy and completeness of the list.

Please contact us immediately if you find a discrepancy or error.

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Mr. Keith HighfillMr. and Mrs. Wade HinkleMr. Kurt P. JaegerAnne E. LamarMr. and Mrs. Timothy J.

McCarthyDr. & Mrs. Eugene OvertonMr. Justice PercellWilliam A. and Lenore H.

PlissnerSamuel and Phyllis TalleyFred and Carolyn TarpleyMichael Wendt

SerenaDe circle

Dr. Charles AllenMerline and Tim AndrewsMs. Jane ArabianMs. Gay B. BakerMr. and Mrs. Ronald BakerMs. Esther BeaumontDoug and Helen Baumgardt

Mr. and Mrs. James BlandMr. and Mrs. James BooneJudith A. BrahamMarvin and Libby BurgeMary L. BurnsJohn T. CorrellVirginia CreaMr. and Mrs. David CrossMr. and Mrs. Ronald M.

CrossMike and Sarah DanielJean Mitchell DugganIn memory of Dr. Warren J.

EitlerPeggy & Arye EphrathMr. and Mrs. Robert FallAnne FarrFrank & Lynn GayerEdward and Janice GerryWilliam I. GoeweyAnthony and Lucy Griffin

Mr. Gareth HabelMr. and Mrs. Eric HansonDr. Mu Hong and Mrs.

Won KimSarah HoverDorothy E. HunterMr. Edward JarettMr. and Mrs. Christopher

JehnMr. Barry KerneFrank and Kelly KingettDr. and Mrs. Frederick KuhlJohn A. Kunkel & Anna M.

SwensonMs. Anne LoughlinMr. and Mrs. Robert LowryMr. and Mrs. David J. LynchJane MacDuffIn Honor of Steve A.

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Jim and Lesley McKeeverCharles and Kathleen MeyerBob and Donna MillerJoetta MillerBarbara A. MooreVirginia and Marion MoserMargaret A. MurphyMr. and Mrs. Richard K.

NewhallMr. Mark R. O’BrienCOL and Mrs. Tommy T.

OsborneElizabeth Benchoff PageMr. James PainterMr. and Mrs. Ron PetrieMr. and Mrs. Istvan

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Richard Renfield, in memory of Michelle Renfield

Ms. C. Carole RichardMr. and Mrs. William R.

Richardson, Jr.Ms. Margaret RivenburgMs. Sharon E. RosendhalMs. Barbara RylandIn honor of Aaron Weston

SansburyMr. and Mrs. Robert E.

SchaubDavid SeidaMr. and Mrs. Peter ShaulisMr. and Mrs. Stanley C.

SheltonHilary Smith

Dorothy Staebler Mr. and Mrs. F. M. Stuhrke, Jr.Mr. and Mrs. George D.

SummersRobert and Valerie SutterCarolyn and Mitchell

SutterfieldMs. Jane SweetMarjorie S. TurnerJack and Jane UnderhillRoy and Margaret WagnerAndy WahlquistMr. Robert E. WardMr. and Mrs. Egon WeckMr. and Mrs. Larry N.

WellmanPolly and Jack Woodard

2012-2013 MEMBERSHIP BENEFITS

preluDe circle: $50 - $99 (100% tax-deductible) Priority processing of season ticket order and reserved seating section at pre-concert lectures

SerenaDe circle: $100 - $299 (100% tax-deductible) Prelude Circle benefits plus two tickets to season sneak preview event and acknowledgment in program

book for the entire season

Sonata circle: $300 - $499 (100% tax-deductible) Serenade Circle benefits plus two beverage coupons to be used at any Masterworks concert

rhapSoDy circle: $500 - $999 ($40 non-deductible) Sonata Circle benefits plus complimentary indoor parking for all Masterworks concerts

CONCERTO CLUB

Silver: $1,000 - $2,499 ($300 non-deductible) Rhapsody Circle benefits plus invitation for 2 for Green Room receptions

GolD: $2,500 - $4,999 ($300 non-deductible) Silver benefits plus two “Flex Pass” vouchers for complimentary Masterworks tickets and ability to

“Sponsor a Musician” – select a musician to sponsor for the season

platinum: $5,000 and above ($400 non-deductible) Gold benefits plus invitation for 2 to the exclusive Season Preview Luncheon with Maestro

Zimmerman (March 2013)

Join the Symphony SocietyFor more information, contact Ann Morrison, Development

Director, 703-563-1990 or [email protected]

21

Woodbridge Flute Choir Mr. and Mrs. Gene

WunderlichMr. and Mrs. Craig K. ZaneMr. Emile L. ZimmermannMr. and Mrs. Jared Zurn

IN-KINDCabot CreameryFairfax City Self StorageFoxes Music, Inc.Total Wine and MoreTrophy World

MEDIA SPONSORSWETAWAMU

VALENTINE POPS GALA 2012Argy, Wiltse & Robinson,

P.C.Balfour Beatty ConstructionBB&TThe Carlyle Group/Curt

BuserCameron/McEvoy PLLCCGIErnst & Young (3 tables)Fried, Frank, Harris, Shriver

& JacobsonFSO Board of Directors

AlumniJennifer & Geoff GitnerDr. Gerald L. Gordon

Hilton WorldwideHolland & Knight, LLPKip LaughlinDr. Kyung-Shin Lee and

FriendJohn Lockhart and FriendsMcGuireWoods LLPMorrison & Foerster, LLP The Peterson Family

FoundationProtivitiJimmy Rhee and FriendsThe Reinsch-Pierce Family

FoundationStout Risius Ross Smith-Martin Family

FoundationMr. & Mrs. George

Stratman and FriendsSutherland Asbill &

BrennanGeorge Swygert & Lori

JenkinsThe Washington GroupWalsh, Colucci, Lubeley,

Emrich & Walsh, P.CErv & Laura Walter

FSO GOLF TOURNAMENT 2012Adjuvant Global Advisors,

LLCMr. Jeff AhnBB&TBurgess Group LLC

Mr. David CheonCooley Godward Kronish,

LLPMr. Brad DossErnst & Young LLPExecutive Healthcare

ServicesFairfax County Economic

Development AuthorityMr. Paul FeekoFirst Virginia Community

BankMr. & Mrs. Michael L.

HerrintonMr. Michael JohnsonThe Honorable Mark L.

KeamMr. Matthew KimLandmark AtlanticMr. & Mrs. Brian J.

LubkemanMcGladreyMcGuire Woods, LLPNewmark Grubb Knight

FrankMrs. Hekyung Park-BarrMr. & Mrs. Stephen PoloSeabrook Advisors, LLCStewart Title & Escrow, Inc.Tetrad Digital IntegrityMr. & Mrs. Ervin WalterMr. Del WilberMr. Suon Gu Yoon

#84030 #9628

Donate to the FSO through workplace giving!The Fairfax Symphony Orchestra mourns the

passing of Albin Treciokas, a long-time board member and supporter. His family has graciously requested

donations in his memory be made to the FSO.

22

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William Hudson | Music Director Emeritus

VIOLINDavid Salness, ConcertmasterAllison Bailey, Associate

ConcertmasterCristina Constantinescu,

Assistant ConcertmasterSusan BowerYevgeniy DovgalyukChristopher FrankeTimothy KidderMia LeeSharon LikeKristopher MillerJonathan RichardsMatthew RichardsonAe-Young SunNatalie Trainer

Timothy Wade, PrincipalJennifer Lee, Associate

PrincipalKaran Wright, Assistant

Principal

Nancy BovillAdrienne CaravanCynthia CrumbJeanne DaltonSaskia GuitjensPriscilla HowardInchong KimPaul KimSusan ManusHalina McAlpineTimothy OwensElena SmirnovaEmily Sullivan

VIOLAGregory Rupert, Principal

William Hudson Chair (Fran & Jerry Kieffer)

Gene Pohl, Associate PrincipalMiranda Blakeslee Sarah CastrillonMary Dausch

Helen FallStephanie KnutsenKimberly MitchellMichael PolonchakPatti Reid

VIOLONCELLOMarion Baker, PrincipalChristopher Moehlenkamp,

Associate PrincipalKaren ChisholmJihea ChoiKristin GilbertAndrew HesseKen LawMaryAnn PerkelAnne RupertKathy ThompsonBarbara Van Patten

Martha S. Wilson*Gozde Yasar

23

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DOUBLE BASSAaron Clay, Principal

Alan & Mary Beth Hemer*Julie Wagner, Associate

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HARPKatherine Hazzard Rogers,

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FLUTELawrence Ink, PrincipalCheryl HallSharon Lee

PICCOLOSharon Lee

OBOERick Basehore, Principal

USI/Jennifer Gitner*Jeanine Reinier, Associate

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ENGLISH HORNMeredeth Rouse, PrincipalJeanine Reinier

CLARINETAdam Ebert, PrincipalWendi HattonBarbara Haney

BASS CLARINETBarbara Haney

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BASSOONDean Woods, PrincipalSandra Sisk

Karen M. Hepworth*Tia Wortham

CONTRA BASSOONTia Wortham

FRENCH HORNEric Moore, PrincipalNathaniel Willson, Associate

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TRUMPETPaul Johnson, PrincipalChristian FerrariNeil Brown

TROMBONEJames Armstrong,

Co-PrincipalDavid Miller, Co-Principal

BASS TROMBONEVictor Rohr, Principal

TUBAMichael Bunn, Principal

TIMPANIDouglas Day, Principal

PERCUSSIONShari Clark Rak, Principal

Brian and Suzanne Lubkeman*

Michael Gatti, Associate Principal

Joe Connell

KEYBOARDLaurie Bunn, Principal

PERSONNEL MANAGERCynthia Crumb

LIBRARIANWendi Hatton

STAGE MANAGERTimothy Wade

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The mission of the Fairfax Symphony Orchestra is to explore and present the symphonic repertoire, both traditional and modern, for the diverse audiences of the Northern Virginia region while building the musicians and audiences of the future through education and

outreach programs.

FOLLOW US ON FACEBOOK!

25

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

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

WHAT MAKES FAIRFAX COUNTY SPECIAL

EXCELLENT HOUSING OPTIONS

CREATIVITY HIGHLY EDUCATED PEOPLE

UNIQUE CULTURE

THRIVING ECONOMY

WORK/HOME BALANCE

274 ART GALLERY fso 5.5x8.5.indd 1 7/30/12 12:29 PM

fairfax symphony presents an all-beethoven concert

Documents