fairfax symphony presents rossini and tchaikovsky - december 8, 2012

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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, depending on the size of your donation, including reserved seating at our pre-concert lectures, free beverage coupons, free parking, and more. Every pledge makes a difference, whether $50 or $5,000. See the FSO staff in the lobby or contact them in the office to make a contribution. Your support is crucial to our success.

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

Thomas M. Brownell, Board Chairman

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

www.aypo.org

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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MUS

IC S

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S GREAT PERFORMANCES AT MASON

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

SAVE 20% Order the series: 703-993-2787 or cfa.gmu.edu

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 BriefRossini was not the usual kind of child prodigy. He showed strong aptitude for playing and composing as a youngster, but didn’t really hit his stride until his teenage

years. His first opera was staged when he was 18, and within three years he had produced nine more (!) and was internationally famous. His enormous success allowed him to retire at age 37, after his final opera, William Tell. Although he lived another 39 years, he produced little of consequence.

For most audiences, the name Tchaikovsky is synonymous with Russian music. But the fact is that there was a strong division, aesthetically, between him and the

“Mighty Five” – the other leading Russian composers of his time (Balakirev, Borodin, Cui, Mussorgsky, and Rimsky-Korsakov). The latter were all self-tutored, whereas Tchaikovsky was the first of his country’s composers to obtain a thorough, European-style conservatory training (he was enrolled in the first class of Russia’s first fully-organized music school, the St. Petersburg Conservatory). The Mighty Five consistently built their works around Russian folk songs, legends, and literature, feeling that using such nationalistic principles was the only way to remain true to their cultural heritage. Tchaikovsky, on the other hand, made use of his nation’s folk music heritage but leavened it with his own distinctive brand of melody and harmony. It turned out to be a winning formula, as he eventually became one of the most popular composers of all time.

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ROSSINI Overture to La Gazza Ladra

TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, op. 23

1. Allegro non troppo e molto maestoso; Allegro con spirito 2. Andante semplice; Prestissimo; Tempo I 3. Allegro con fuoco James Dick

--- Intermission ---

TCHAIKOVSKY Symphony No. 6 in B Minor, op. 74, “Pathetique” 1. Adagio; Allegro non troppo; Andante 2. Allegro con grazia 3. Allegro molto vivace 4. Finale: Adagio lamentoso; Andante

Pre-Concert Lecture Sponsored by Gregory Llinas

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.

DECEMBER 8, 2012 – 8:00 P.M.

George Mason University’s Center for the Arts

Christopher Zimmerman, conductorJames Dick, piano

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 CDs featuring tonight’s guest artistJames Dick, piano

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

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Program NotesGIOACCHINO ROSSINI (1792-1868) Overture to La Gazza Ladra

Not long ago, opera overtures were often played as the opener on symphony concerts. With the recent trend to include more pieces by living Americans, those “warhorses” have been squeezed over to the margins, so that we hear far less of the well-loved curtain-raisers by Mozart, Verdi, Rossini, Wagner, Weber, and Johann Strauss II, not to mention such lesser lights as Hérold, Thomas, Bellini, Donizetti, Offenbach, Lalo, Kabalevsky, and a double handful of others. Rossini’s overture to La Gazza Ladra (The Thieving Magpie) begins with drum-rolls and a swaggering martial tune that hint at some of the plot points to come, but without giving anything away. (The story concerns the plight of a peasant serving-girl falsely accused of theft; the true culprit is finally revealed to be a mischievous bird.) Some may recognize it for its inclusion in the soundtrack of a rather bizarre film classic, Stanley Kubrick’s A Clockwork Orange.

PETER ILYICH TCHAIKVOSKY (1840-1893) Piano Concerto No. 1 in B-flat Minor, op. 23

As a young man, Tchaikovsky swore he would never write a concerto. But in the au-tumn of 1874 something changed his mind, and in a letter he told his younger brother Modest that he wanted to write a piano con-certo. Rather suddenly he became obsessed with the idea and worked in a kind of frenzy, completing the sketches in only six weeks so that during the Christmas season he could show them to his friend and slightly older colleague, Nikolai Rubinstein. Nikolai was a noted pianist and from the first Tchaikovsky had intended that his friend should introduce the work. But he had a rude awakening in store: In one of the most famous incidents in Russian music history, Rubinstein verbally ripped the piece to shreds, claiming it was hackneyed, vulgar, and worthless. Thus it came about that instead of being premiered in Russia by one of the composer’s friends or colleagues, the work was first performed in Boston on October 25 of the following

year by the eminent German pianist and composer Hans von Bulow. Modest Tchaikovsky’s memoirs and letters are a major source of our knowledge about the composer (he also wrote a biography of his brother that was published in 1902, but that three-volume work is unreliable in many respects). They disclose that it was at precisely the time he began working on the Piano Concerto No. 1, in October 1874, that Peter Ilyich began to suffer from bouts of depres-sion, an affliction that remained with him the rest of his life and strongly affected his work – or at least his mental outlook. The follow-ing four years led to a genuine emotional crisis, the kind of thing from which many people cannot recover. One manifestation of that awful period is the fate-obsessed Fourth Symphony, and the same feelings of profound pessimism surface again in even more potent form in his final work, the “Pathetique” Symphony (No. 6) of 1893. But it must be noted that Tchaikovsky chose to bare his soul in some works and not in others. There are many pieces large and small that show little if any trace of his internal strife – compare the Sixth Symphony with the Nutcracker score, composed only a year previously. He thus provides evidence both for and against the idea that composers express their own mental states in their music. For someone who originally resisted the idea of concerto writing, Tchaikovsky had remarkable success with his first two efforts. Although they were initially reviled by critics, both his First Piano Concerto and the Violin Concerto (1878) gained acceptance and be-came two of the most frequently programmed works in the repertoire. There is something else that the two works share, something that has incensed scholars from the beginning and that still remains something of a puzzle: Both works begin with a strong theme that is never reprised. In the Violin Concerto this is a lyrical tune stated quietly in strings at the beginning, while in the First Piano Concerto it is the commanding call to attention of the horns, which is followed by a full-scale melodic idea that sounds like it must be the first theme but is not (and it’s in the “wrong” key, the relative major). This all turns out to be just an introductory flourish, though a rather extended one. Such anomalies help explain

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why Tchaikovsky has always been considered weak in the crucial area of musical form, but they don’t seem to have affected the public’s affection for his works. Among the notable features of the First Piano Concerto (aside from the oddity of that opening theme) is the combination of slow movement and scherzo found in the Andante semplice. The outer movements also contain borrowed material – in each, the first theme is based on a Ukrainian folk song. Tchaikovsky’s treatment of these folk tunes is one of the things distinguishing him from his colleagues, the “Mighty Five” (Balakirev, Borodin, Mussorgsky, Cui, and Rimsky-Korsakov). Their intent was to build all their music around Russian themes, and because he declined to go quite that far they considered him something of a traitor to their cause. But unlike them, Tchaikovsky had benefited from thorough conservatory-style training in European musical practice, and this shaped the way he used such indigenous melodies. In the end, he was a bit too polished for their taste; but his music still sounds “Russian” through and through, particularly in its vigor-ous dance-like passages and in its emotional directness.

Symphony No. 6 in B Minor, op. 74, “Pathétique”

For much of his career, Tchaikovsky feared that his creative juices might dry up. His letters frequently contain references to an apprehension that he was “written out,” that he had nothing left to say. Considering the mixed public reaction to many of his major efforts, not to mention the critical abuse heaped upon some of them, his lack of self-confidence is understandable. It is entirely possible that he may have equated lack of inspiration with death, another of his preoccupations for much of his adulthood. Toward the end, Tchaikovsky’s worldwide fame only aggravated his feelings of uncertainty and insecurity. He toured frequently, conducting a new but minor piece at the opening of Carnegie Hall in 1891, and being treated everywhere – England, Poland, Germany, France, America – as a celebrity of the first order. Always prone to homesickness, he was nearly incapacitated during some of these trips. His many letters to friends

and family reveal mood swings worthy of a manic-depressive. If indeed the specter of creative exhaustion had revived his obsession with death, the irony is that it inspired his greatest music. He claimed that the ideas in the Sixth possessed him to such an extent that the first movement was fully sketched in only four days; the entire work was finished in August 1893. It was his unexpected demise just nine days after conducting its October 28, 1893 premiere that helped build the mystique for which the work has become noted. Given its predominantly tragic tone, and the Russian-language connotations of the subtitle “Pathétique,” which strongly implies suffering, many people thought the symphony was a premonition.

I. Adagio; Allegro non troppo. The first movement opens with bleak low strings and weary, disconsolate phrases from bassoon that hint at the main theme, which is soon stated in quicker tempo. This nervously animated section contains a wealth of subsidiary mate-rial and is shaped like a small, coherent piece with a clear-cut beginning, middle and end –

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thus registering as a theme-group rather than a single theme. It fades away, to be succeeded by a sublimely tranquil second theme-group that duly builds to its own climax before also receding to nothingness, setting the stage for one of the most celebrated shocks in all of music: the brutally forceful beginning of the Development. Tchaikovsky manipulates his various themes and motifs to build to a level of violence equaled in his work only by the corresponding section of the Fourth. After a brief, quietly anxious “idling” passage, the music swells again to a ferocious restatement of the first material (i.e., the Recapitulation), this time fortissimo and scored for the full orchestra. This culminates in a broadly tragic passage, played extremely loudly with low brass laments that gradually collapse into an exhausted silence. Then, after a reprise of the lyrical second theme-group, the movement is rounded off with a kind of quiet processional that marks not so much a resolution of the conflict as a simple cessation.

II. Allegro con grazia. The atmosphere of tragedy is dispelled for a while in the second movement, a kind of intermezzo that opens

with a flowing, waltz-like tune in D major. But there is still an underlying air of unease brought on by the fact that this waltz seems to limp, written as it is in the relatively unusual meter of 5/4. In the middle portion of the movement Tchaikovsky returns to the minor mode and adds a different unsettling ingredi-ent: an underlying pulsation on one note in double basses and timpani. No matter what the melody does, this note persists, suggest-ing an obsession that has been temporarily pushed to the background (something like the composer’s own state of mind). With the return of the main section the mood lightens somewhat, but never seems truly relaxed.

III. Allegro molto vivace. For the scherzo of the symphony, Tchaikovsky wrote a brilliant march movement evoking enthusiasm raised to a feverish, almost hysterical pitch. A rapid 12/8 background is established, over which are presented a series of march themes in 4/4 time. This technique both adds extra energy and amplifies the sense of ambiguity that plays so prominent a role in the two middle move-ments. The music rises to a bracing climax that, for its sheer virtuosity and high spirits,

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often evokes a burst of applause from listeners who don’t realize that giving in to this tempta-tion undermines the emotional jolt that lies just ahead.

IV. Adagio lamentoso. The finale’s opening comes as a shock, following the frenetic pace and tumult of the preceding march/scherzo. It introduces a new intensity, for where the first movement expressed gloom and anxiety, and the waltz evoked a kind of wistful melancholy, the finale depicts heart-rending grief. This fully lives up to the adjective “lamentoso,” and is surely unsurpassed as a musical expres-sion of despair. The conclusion returns to the murky depths of the orchestra, dying away on a pulsation that suggests a failing heartbeat.

© 2012 Frank M. Hudson

Meet the ArtistJAMES DICK, PIANIST

Recognized as one of the truly important pianists of his generation, internationally renowned concert pianist and Steinway artist James Dick brings keyboard sonorities of captivation, opulence and brilliance

to performances that radiate intellectual insight and emotional authenticity. Raised in Hutchinson Kansas, his talent moved him from the farm to the University of Texas Music Building and out to the world’s great concert halls. He received a scholarship to the University of Texas in Austin, studying with Dalies Frantz. Later, he was a Fulbright Scholar and studied with Sir Clifford Curzon in England. Dick’s early triumphs as a major prizewinner in the Tchaikovsky, Busoni and Leventritt International Competitions were a mere prelude to an eminent career highlighted by acclaimed recitals and concerto performances in the world’s premier concert halls, including New York’s Carnegie Hall, Alice Tully Hall, Town Hall and 92nd Street “Y”; London’s Queen Elizabeth Hall, Wigmore Hall and Purcell Room; Le Theatre du Chatelet and Salle Gaveau in Paris; the

Academy of Music in Philadelphia; the Kennedy Center and the National Gallery of Art in Washington D.C.; and Orchestra Hall in Chicago. Dick has performed with the Chicago Symphony, the Philadelphia Orchestra, the National Symphony and many major orchestras, with such conductors as Ormandy, Barbirolli, Levin, Maazel, Kondrashin, Spano, Oue, Sanderling, Hogwood, de Preist and Verrot. In chamber music, he has been guest soloist with the Cleveland, Tokyo, Parisii, Ravel, Debussy and Cassatt quartets and the Dorian and Moragues wind quintets, concertizing as well with Yo-Yo Ma, Regis Pasquier, Young Uck Kim, Raphael Hillyer, Rostislav Dubinsky, Martin Lovett, Andrew Marriner, Guy Deplus and Carol Wincenc. James Dick has received numerous honors and commendations, including the Texas Medal of Arts, the Chevalier des Arts et Lettres from the French Ministry of Culture, and Honorary Associate of London’s Royal Academy of Music. He is a fervent supporter of new music, having commissioned Benjamin Lees, Dan Welcher, Malcolm Hawkins and Chinary Ung to write, respectively, “Etudes”, “Shiva’s Drum”, “Rasmandala” and “Rising Light” for piano and orchestra. On February 1998, James Dick premiered “Flight of Passage: From Silent Sun to Starry Night” by Claude Baker. This piece is inspired by poems by Walt Whitman. It was performed in New York (Alice Tully Hall), Paris (Salle Gaveau) and London (Purcell Room). In addition to his schedule as a world-renowned guest artist, James Dick in 1971 established the Round Top Festival Institute in Round Top, Texas to nurture and incubate aspiring young musicians. The institute (today operated under The James Dick Foundation for the Performing Arts) has grown from a handful of gifted young pianists in rented space on the town square of Round Top to a 210-acre European-styled campus where distinguished faculty each year teach nearly 100 young artists and the Festival Institute provides year-round education and performance programs for audiences. Today James Dick is well-known to music lovers as a man of great talent, vision and class.

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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

Claude Moore Charitable Foundation

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 One

Cardinal BankCox 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 KiefferJohn LockhartEric Moore

GoldMr. and Mrs. Thomas M.

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

HemerMs. Karen Hepworth Stephen and Tina KennyMr. Gregory LlinasBrian and Suzanne

LubkemanWarren and Judy MartinMr. and Mrs. R. Dennis

McArver

Michael L. PriviteraErv 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. MenningKatherine and Steven Webb

Sonata circle

Bill and Dorothy Brandel Donald and Ruth DreesMr. and Mrs. John A. FarrisHarry and Barbara Gerber

The following listing comprises all those who have donated to the current FSO season as of December 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. and Mrs. Eric HansonRobert and Whitney HenryMr. 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.

PlissnerBob ReidMs. Jane SweetSamuel and Phyllis TalleyFred and Carolyn TarpleyMichael Wendt

SerenaDe circle

Dr. Charles AllenMerline and Tim AndrewsMs. Jane ArabianMs. Gay B. Baker

Mr. and Mrs. Ronald BakerDoug and Helen BaumgardtMs. Esther BeaumontMr. and Mrs. James BlandMr. and Mrs. James BooneAndrew and Nancy BovillJudith 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 FarrMegan Gallagher

Frank & Lynn GayerEdward and Janice GerryWilliam I. GoeweyJoseph G. GofusAllen S. GreenspanAnthony and Lucy GriffinMr. Gareth HabelDr. Mu Hong and Mrs.

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

JehnBarbara and Harry

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Mr. and Mrs. David J. LynchJane MacDuffIn Honor of Steve A.

MandellDr. and Mrs. Joseph MarshallAlan and Grace MayerJim and Lesley McKeeverCharles and Kathleen MeyerBob and Donna MillerJoetta MillerBarbara A. MooreVirginia and Marion MoserMargaret A. MurphyAlan S. NadelMr. and Mrs. Richard K.

NewhallHelen Noah

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

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

PribilovicsRichard Renfield, in memory

of Michelle RenfieldMs. C. Carole RichardMr. and Mrs. William R.

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

Sansbury

Mr. and Mrs. Robert E. Schaub

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

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

SummersRobert and Valerie SutterCarolyn and Mitchell

SutterfieldReede and Jane TaylorMarjorie S. TurnerJack and Jane UnderhillRoy and Margaret Wagner

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

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

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

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

21

Andy WahlquistMr. Robert E. WardMr. and Mrs. Egon WeckMr. and Mrs. Larry N.

WellmanBarry and Ann WickershamPolly and Jack WoodardWoodbridge 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

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Jennifer & Geoff GitnerDr. Gerald L. GordonHilton WorldwideHolland & Knight, LLPKip LaughlinDr. Kyung-Shin Lee and

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Mr. Jeff AhnBB&TBurgess Group LLCMr. David CheonCooley Godward Kronish,

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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

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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

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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 rossini and tchaikovsky - december 8, 2012

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