Fairfax Symphony

Minds Wide Open:Virginia Celebrates Women in the Arts

2010-07-14T11:57:00.000-07:00

From Executive Director Elizabeth Murphy:

Yesterday I attended a press conference in Richmond to mark the end of the first statewide arts endeavor of its kind: Minds Wide Open:Virginia Celebrates Women in the Arts. First Lady Maureen McDonnell, along with four former Virginia first ladies, were on hand to help us announce the success of this creation.
MINDS WIDE OPEN: Virginia Celebrates Women in the Arts. Below are some comments from Peggy Baggett, Executive Director of the Virginia Commission for the Arts..

Thanks to those who joined us yesterday in Richmond to commemorate the successful conclusion of our inaugural MINDS WIDE OPEN effort, hear First Lady Maureen McDonnell announce the commissioning of portraits of her living predecessors, and proclaim the theme for our next statewide collaboration: Children and the Arts. Former first lady Anne Holton announced the final statistics, as follows:

“What started out as an idea among fewer than two dozen major arts groups became a massive statewide celebration that involved some 324 different organizations. Collectively, they produced 10,123 individual performances or exhibitions for residents of Virginia and visitors to our state. Almost 700 plays, musicals, concerts, exhibits, readings, and screenings took place in every corner of the Commonwealth and we have documented over 400 locations which hosted at least one Women in the Arts event. The goal of the Women in the Arts Celebration was to increase visibility of the arts in our state, promote the breath and diversity of our programs, and encourage partnerships throughout the entire cultural sector. By any measure, we have succeeded in this endeavor. The positive media coverage for MINDS WIDE OPEN was read by nearly 30,000,000 people with internet and broadcast coverage reaching even more audience members.”

Stay tuned for the 2012 statewide celebration: Minds Wide Open: Virginia Celebrates Children and the Arts, chaired by Gus Stuhlreyer (of Virginia Opera) and me! We are excited to make the next festival even more successful, and raise the profile of the arts in Virginia!

Barber's Violin Concerto - Augustin Hadelich with the FSO, January 23, 2010

2010-01-04T06:45:00.000-08:00

The Curtis Institute of Music in Philadelphia, Pennsylvania is one of the most prestigious music institutions in the country. At the most, the student body consists of two hundred pupils, enough to fill an orchestra, all with merit scholarships.

It was at this well-respected establishment in the late 1930s, a decade after the institution opened, where composition student Samuel Barber and violinist Iso Briselli collaborated to create what would become Barber’s Violin Concerto. The Fairfax Symphony looks forward to performing this work again on January 23, 2010, on the 29th anniversary of Barber’s death, with world-renowned violinist Augustin Hadelich.

Both Barber and Briselli exhibited musical talents from a young age, although their backgrounds were vastly different. Barber was a Pennsylvania native from West Chester and Briselli immigrated was a Russian immigrant. A fellow Curtis student, Gama Gilbert, recognized the incredible talents of Barber and Briselli, and convinced them to work together to create a concerto for violin and orchestra.

The two friends decided it would be an interesting and challenging task. Samuel Fels, a businessman and philanthropist, commissioned the work, offering Barber $1000.

Barber would compose the piece one movement at a time, and Briselli would realize it on violin, influencing the composition with his performance style. Barber finished the first two movements for Briselli, but trouble began to arise once he presented the third movement. Sources dispute the exact problem revolving around this movement. Was the piece lacking in Briselli’s standards or did he find the piece to be too challenging?

Either way, Briselli was unsatisfied with Barber’s work. Fels and Briselli both tried to persuade Barber to alter the third movement to make it more “playable,” but by that time, Barber was tired of their complaints. He was pleased with his arrangements, and he was also busy with other commissions. Barber left the Violin Concerto as it was, even when Fels threatened to take back his $1000 payment.

Barber neither let this dispute discourage him nor let it dissuade him from finding a way to present his composition to the world. He held onto his work, and that same year, in 1939, he found a violinist competent and able to play the concerto. Herbert Baumel helped Barber bring life to the work. He premiered and performed the piece during multiple live performances that year.

For more information on the Fairfax Symphony’s performance of Barber’s Violin Concerto and to purchase tickets, click here.

Give the Gift of Music!

2009-12-11T12:41:00.000-08:00

The Fairfax Symphony Orchestra invites you to give the gift of music this holiday season!

Concert tickets are a dynamic gift to receive! Even though the tangible ticket itself is small enough to fit alongside all your other stocking stuffers or inside of a gift envelope, the actual experience of live music will be one to remember.

For a limited time, the Fairfax Symphony Orchestra offers a bundled subscription package of the season’s final three concerts at a discounted price. Prices vary with seating arrangements.

This upcoming year will include three guest artists of high caliber. Violinist Augustin Hadelich will solo during Barber’s Violin Concerto in January. Then, In March, Alon Goldstein will present the East Coast premiere of Avner Dorman’s Piano Concerto, Lost Souls, composed specifically for Goldstein himself. The last concert of the season in May features Julie Albers on cello, performing Elgar’s Concerto in E Minor.

Order this subscription now and give the gift of music for the holidays! If you would like to have a personal message included with your gift, please call (703) 563-1990 or email Tara Nadel.

An American composer in France, a French composer in America!

2009-11-19T08:31:00.000-08:00

George Gershwin and Maurice Ravel both had the opportunity to explore and experience each other’s home countries in the early twentieth century. By doing so, these composers expanded and altered their musical knowledge, which became greatly influenced by the exchange in cultures. Ravel toured America and became fascinated by jazz and improvisational styles, leaving the country with a fresh outlook on his musical gatherings. Although Gershwin felt homesick in Paris, the impact of his stay was felt profoundly through his compositions.

The Fairfax Symphony Orchestra will feature Chinese pianist Chu-Fang Huang, performing works by both composers in its performance on Saturday, November 21^st, at George Mason University’s Center for the Arts at 8:00 p.m.

In 1920, E. Robert Schmitz, a Franco-American pianist, founded the Pro-Musica Society to support North American appearances of rising European composers and performers. Schmitz kept trying to convince Ravel to take on an American tour, funded by Pro-Musica. It took some time, and a $10,000 grant, but in 1928, Ravel kicked off his first American premiere. His tour started and ended in New York, and lasted for four months, covering cities across the United States and even venturing into Canada. He spent quite a great deal of time in New York, either performing or visiting the city, and traveled mostly by train to various towns.

His tour was a very memorable one. In between stops, Ravel visited towns like Omaha, and absorbed the jazz scenes. One time in Chicago, Ravel’s performance started late, but this was only because he could not find his shoes. Some nights he produced stellar performances, only to lack energy in a performance the next day. As a French man, Ravel laughed at the idea of the prohibition, and was happy enough that there were no laws against smoking cigarettes. What Ravel saw developing in the American music scene was jazz. Jazz music excited him, and he thought it would be best for Americans to continue to pursue this style of music.

During Ravel’s travels, he met Gershwin while in New York, where the two exchanged dialogue. Gershwin played for Ravel and apparently overwhelmed Ravel with his style and ability. Interestingly enough, when Gershwin visited Paris and asked to study from Ravel, Ravel turned him away. Ravel’s experience in the United States obviously impacted his appreciation for Gershwin’s style and musicality, and he felt he had nothing more to teach him.

Gershwin left France with one impactful thing, his legendary composition, An American in Paris. As he created this piece, he fed off of the energy of the Parisian streets, struck by sensory overload. Gershwin used this method of responding to his environmental surroundings while creating Rhapsody in Blue. He traveled by train as well and heard music through noise, whether it was in the rhythm of the train’s movement or the atmosphere of a city. Through these experiences, and with his musical knowledge, Gershwin produced Rhapsody in Blue, a classic, well-loved jazz piece.

Join the Fairfax Symphony Orchestra and Chu-Fang Huang at George Mason University’s Center for the Arts this Saturday at 8:00 p.m. to hear the works by these composers for yourself.

Information source: http://www.maurice-ravel.net

Fair Melusines...a sidenote for the October 3rd Concert

2009-10-01T10:11:00.000-07:00

This Saturday, October 3rd, 2009, Fairfax Symphony Orchestra will be featuring an event.

One of the featured pieces will be Mendelssohn's Oveture to The Fair Melusine.

Melusines are half-women, half-serpent characters from European folklore, resembling mermaids.

There are different stories that depict melusines; in one story, there is an actual character named Melusine. She was the love-child of a king and a fairy, and as many of these star-crossed, cross-breeded love affairs go, there ends up being dilemmas. The king ended up upsetting the fairy somehow, and Melusine, along with her two sisters, decided to seek revenge. Their actions, however, upsetted their mother more. She punished her daughters...Melusine's punishment turned her into a serpent waist-down.

Stories inspired more stories....German writer Johann Wolfgang von Goethe, famously known for his work Fauste, wrote the novel Wilhelm Meisters Wanderjahre. This novel featured the story Die neue Melusine (the New Melusine).

Franz Seraphicus Grillparzer, an Austrian playwright and poet, took part in the theatrical version of Goethe's story by creating a libretto for Conradin Kreutzer's opera Melusina. In turn, Mendelssohn wrote an overture for the piece.

______________________________________________________________

information found through internet research :

wikipedia.org
http://www.baltic-youth-philharmonic.org/ (courtesy of Dr. Jan Brachmann)

______________________________________________________________

Event information:

October 3rd, 2009, 8:00 p.m.

Center for the Arts

George Mason University

4400 University Dr., MS 2F5

Fairfax, VA 22030

MENDELSSOHN: Overture to The Fair Melusine
MOZART: Clarinet Concerto in A MajorJon Manasse, clarinet
BEETHOVEN: Symphony No. 4

The Center for the Arts is six miles west of the Beltway, at Braddock Road and Route 123 in Fairfax, Virginia.

Congratulations to the Catalogue for Philanthropy Greater Washington’s 2009-2010 Class!

2009-06-19T07:01:00.000-07:00

As previously announced, The FSO has been selected to be featured in the 2009/10 Catalogue for Philanthropy: Greater Washington! This year's Catalogue includes 36 nonprofits that were chosen both for their intrinsic excellence and because they are examples of the impact that the Catalogue has had on area nonprofits.

Here's the the excellent company from Northern Virginia we'll be keeping in the new Catalogue:

VA: Arlington County

1. A-SPAN (Arlington Street People's Assistance Network) - A low-barrier homeless services provider serving street homeless people
2. Doorways for Women and Families - Shelter and services for homeless families and domestic violence survivors
3. The Reading Connection - Homeless and transitional literacy programs for local children and families

VA: City Of Alexandria

1. Alexandria Seaport Foundation - Providing contextual, job-based GED program to at-risk youths
2. Alexandria Symphony Orchestra - Vibrant, innovative performing arts group engaging under-served audiences
3. Carpenter's Shelter - Services, education, and advocacy to end and prevent homelessness
4. Computer CORE - Job-readiness training in computer and lifeskills for low-income adults

VA: City Of Fairfax

1. Fairfax Area Christian Emergency and Transitional Services (FACETS) - Supportive housing, counseling, and emergency and transitional services for homeless, low-income people

VA: Fairfax County

1. Annandale Christian Community for Action - Faith-based collaborative meeting the needs of vulnerable neighbors, regardless of religious affiliation
2. Earth Sangha - Buddhist environmental group focused on ecological restoration
3. Our Daily Bread - Emergency assistance to struggling families in the Fairfax County area
4. Shelter House - Providing shelter and services to homeless families
5. Tahirih Justice Center - Protecting immigrant women and girls who are fleeing gender-based violence
6. Western Fairfax Christian Ministries - Premier provider of homelessnes prevention services in western Fairfax County

The Fairfax Symphony Orchestra Chosen for New 2009/10 Catalogue for Philanthropy: Greater Washington

2009-06-05T07:37:00.000-07:00

The Fairfax Symphony Orchestra has been selected to be featured in the 2009/10 Catalogue for Philanthropy: Greater Washington. This is the Catalogue's seventh year in the Washington, DC region. Supported by individuals, foundations (Harman, Meyer, Cafritz, Marriott, Graham, Fowler), and corporations (CGI, Booz Allen Hamilton, TTR Sotheby's International Realty) as a service to the community, the Catalogue profiles environmental, cultural, educational, human services, and international organizations with budgets below $3 million. Sixty-eight exceptional nonprofits were chosen this year from a field of over 250 applicants. A committee of ninety professionals from area foundations, corporate giving programs, family foundations, nonprofit organizations, and the DC government participated in the review process -- leveraging the region's knowledge about philanthropy for the benefit of the entire community.

This year's Catalogue includes 36 nonprofits that were first featured in earlier Catalogues; they were chosen both for their intrinsic excellence and because they are examples of the impact that the Catalogue has had on area nonprofits.

After an inaugural year in the District of Columbia, the Catalogue expanded to the Greater Washington region—adding nonprofits in Northern Virginia and nearby Maryland counties. 20-30,000 individuals and hundreds of foundations will receive copies of the Catalogue in mid-November. To date, the Catalogue has helped to raise over $8.5 million in donations for local nonprofits.

According to Barbara Harman, Executive Director of the Harman Family Foundation and President of the Catalogue for Philanthropy: Greater Washington, "The Catalogue is designed to be a showcase for high impact, DC-region non-profits, and an inviting way for individuals and families to participate in charitable giving. In the midst of the worst economic downturn we have seen in decades, supporting these organizations -- which make a big difference in the lives of people throughout our community -- is more important than ever. And the Catalogue makes informed, targeted giving truly possible."

"Charities were selected for excellence, innovation, cost-effectiveness, and financial transparency--and for what they can teach us about the extraordinary ways that philanthropy works," Harman said. "These are certainly among the best small charities in the Washington, DC region."

----------------------------------------------------
Catalogue for Philanthropy: Greater Washington
catalogueforphilanthropy-dc.org

FSO Chooses Christopher Zimmerman

2009-05-22T10:40:00.001-07:00

In an unusual and bold move, the Fairfax Symphony Orchestra announced its 2009-2010 season in March prior to completing its search for a new music director. Today, the Orchestra announced that it now knows who that music director will be.

The Orchestra’s Search Committee reviewed the 249 applications of men and women from around the world, and narrowed the field to six finalists. After the audience and the orchestra had the opportunity to see him conduct one of the six Masterworks concert in the FSO’s 2008-2009 season, Christopher Zimmerman was chosen as the 3rd music director in the FSO’s 53-year history.

Marian Egge, Search Committee Chair, described the two-year process that led to the selection of Zimmerman. “First, the committee was looking for Artistic Leadership to take the FSO to the next musical level. Beyond that, we evaluated the ability of the person to take a creative approach to building deep and broad relationships within the community. We wanted someone who could help the FSO….and be a rich source of creative energy and inspiration. Finally, we were looking for a person to be an integral part of our educational programs and committed to their continuous development. The committee felt that Chris not only has all of these skills, but also an enthusiasm for Fairfax County, and demonstrated a real passion for building this orchestra.”

Zimmerman emerged as the Orchestra’s choice because of his extensive knowledge of musical repertoire, enthusiasm and energy, and the overwhelmingly positive responses from the musicians and audience alike. “The selection of Chris Zimmerman ensures that the Fairfax Symphony will continue to explore and achieve artistic excellence for years to come,” said Jose “Pepe” Figueroa, president of the FSO Board of Directors.

“I am so excited about working with Chris,” said Elizabeth Murphy, Executive Director of the Fairfax Symphony. “He has a real vision for this orchestra and its place in our community, and he brings a tremendous amount of energy and enthusiasm to our organization. The next few years will be thrilling ones for the FSO under his leadership.”

Zimmerman reacted to the news saying he is, “honored, happy, relieved, excited and energized.”

Zimmerman will begin a three-year contract with the FSO starting in the upcoming 2009-2010 season. He will continue to be Music Director of the Hartt Symphony and professor of the Mary Primrose Fuller Chair of Orchestral Conducting at the Hartt School in Hartford, CT. This past

March, the Orchestra announced the guest artists’ repertoire for the season, and Zimmerman will complete the repertoire selection in June. (One of the pieces already chosen, Dorman’s Piano Concerto will be played by pianist Alon Goldstein in March 2010 and is an east coast premiere.)

Christopher Zimmerman: Classical Music, and the FSO

2009-04-29T07:16:00.000-07:00

Ladies and Gents:

Perhaps you’ve heard the rumor I’m always hearing - the one about the demise of Classical Music. The rumor goes that the orchestra is a museum piece, a dinosaur - lumbering around, irrelevant, soon to become extinct.

Hmm….pretty resilient dinosaur, since there are more thriving orchestras in this country than there are soccer clubs in England.

The gloom merchants claim that symphonic music is no longer “relevant” to people’s lives and lifestyles. If they mean that there are numerous and diverse forms of entertainment available to people today which reflect their everyday lives more closely than a symphony concert does, sure, they are right. But that is exactly why the concert hall experience is special. This is a place to go to escape the myriad of activities, issues and concerns which consume our everyday life; a place to discover beauty and a wealth of emotional and intellectual experiences; a place to enrich our senses and inform our lives and, hopefully, to remind us of the truly important things in life. What could be more relevant than that?

At this Saturday’s concert, the Fairfax Symphony will perform three pieces of music of considerable diversity which give us three different insights into three great artists. An early-ish Haydn Symphony bursting with life, energy, exuberance, wit and some over the top drama; one of the things I love about this music is that you can feel that Haydn has somehow written into this piece his own sheer joy at being a virtuoso composer—a sort of mischievous arrogance!

Then a piece by Sylvie Bodorova, a Czech composer who lives in Prague. I am happy and honored to call her a dear friend and I have had the good fortune to present Sylvie’s music in this country several times over the years, as well as on her home turf. This piece is a one movement, violin concerto, 15 minutes of calm, serene, even spiritual music — the spinning out of an extraordinarily beautiful often wistful, melody. I think it truly reflects the character of the composer herself who, in all circumstances, manages to radiate a kind of grounded joy. Despite its overall serenity, this work does however build up to a kind of “cadenza diabolica” where the soloist can give free flight to her virtuosity—and Chee-Yun, our soloist, will certainly give you that, believe me.

Then, the mighty Shostakovich 10^th. This is an epic work by a composer who perhaps more than any other—yes, even Beethoven—expressed in his music the world that he lived in. His music is both a reflection of the repressive regime of Stalin’s Soviet Russia under which he lived and worked, and a response to it. Despite, or because of, the grim horrors that he lived through and witnessed, Shostakovich’s music has a raw emotion which is agonizingly beautiful as well as, at times, vehemently brutal. He had to write this music and was in many ways a voice for his people and thus I hope you will hear the compassion that underlies this predominantly dark and powerfully emotional work.

We hear a lot about music education these days - too often about it getting cut from schools. I know Fairfax County has a public school system that endorses and supports a comprehensive music education for its children, but I also want to encourage you to lead the way from home. Our children don’t always know when we’re giving them access to something wonderful and life-enhancing - my 13 year old daughter thinks classical music is so, like, “yesterday” - but keep bringing them and, in my heart, I believe they’ll thank us later. Music education doesn’t always mean being told what to listen to, or which instruments are playing. Sometimes it just means sitting in a darkened hall and being enveloped by great sound.

In most businesses when you apply for a job you go through an interview process and find out pretty quickly whether you’ve been successful or not. For conductors it’s usually different, more protracted, a bit more like a courtship, which one hopes will end in a strong marriage. And now this week is the first time I get to meet the whole family, so as you can imagine I am excited to be here!

During the last two years I’ve tried to learn about Fairfax, both the Symphony and the area. What I see is a proud orchestra, supported by an enthusiastic community in a dynamic and fast-changing region. More importantly, I see a potentially limitless future where the reach of the Symphony is extended and the orchestra performs with ever more quality and impact.

I am sure that you are as excited by the possibilities open to your Symphony’s future as I am to have the chance to be the one helping make them happen.

See you on Saturday,

Chris Zimmerman

FSO Search Committee Member Responds

2009-04-03T06:33:00.001-07:00

(in response to Anne Midgette's blog post, "Jackson to Reno - and Fairfax?")

This season in which 6 highly qualified and artistically individual Music Directors have visited and conducted in our Fairfax community with the Fairfax Symphony Orchestra has been in the words of audience members around me been 'Exciting! You are going to have a tough job choosing!, "Next season we are definitely going to be season subscribers - we love them all!", "They are all so talented and creative, how are you going to choose?", etc.,

As a member of the Search Committee, we have loved the audience reaction and participation both on paper and online! We have been excited to see the buzz that word of mouth has created in the community as ticket sales have increased with each performance; this despite a difficult and challenging economy!

We have spent the past 18 months or so on a global search for the perfect fit in conductor selection to lead our orchestra to a new level of excellence and a bold vision for the future!

More than 240 applicants from around the world were reviewed, and then narrowed down to the 6 finalists who have been our conductors for our past season.

Each conductor has spent a week with us : attending a Board reception, meeting with our education leaders with FCPS, meeting with locally elected officials, and of course rehearsing, meeting with our subscibers and members of the public, and culminating in what can only be described as 'exciting performances' for all involved!

Our 6 finalists include a woman, 3 of international background, and hail from communities across the nation. They are exceptional artists in their own right, are highly committed to educational programming, and have excellent public speaking and community relation skills. Each have impeccable references, and in the words of 2 experts in selecting new conductors whom we have consulted with through our search process, have been 'excellent choices'!

We are excited as we near the end of our search process with our last candidate, Chris Zimmerman who will conduct on May 2nd at George Mason University. We encourage the community to attend and join us in our search!

You can learn more about all of our candidates by visiting www.fairfaxsymphony.org.

Yes, this will be a very difficult decision in the end because each of them would be an amazing choice to lead our community symphony to the next level of excellence, and to bring our young people into an even greater understanding, passion and appreciation of symphony!

Hope to see you there!
Valerie Dale
Member of the FSO Search Committee
Chair of the FSO Education Committee

Gregory Vajda and the FSO

2009-03-13T11:12:00.000-07:00

Hello Everyone,

Believe it or not this is my first time ever writing a blog. I have many friends who do this on a regular basis (hello Charles! I just know that you’re going to find this no matter what so I thought I give you a HELLO. Btw, everyone, go and check out Charles Nobel’s blog. He is the Associate Principal Viola player of the Oregon Symphony and he writes about fascinating stuff almost every day and comments on every classical music related news. You can find his blog at http://www.nobleviola.com/wordpress/ )

Why don’t I blog myself? I think for most conductors it’s a lack of time rather than lack of inspiration which is exactly the case with me. I am happy if I get to update my website in a timely fashion. Apropos of my website; I put some new scores and photos there and you can read about my crazy busy schedule for this and the next season if you’re interested. Go to http://www.vajdag.com and check it out!

I’ve been to Baltimore twice and did the obligatory 24 hour tourist visit to Washington, DC, but this is my first time in Fairfax City and Fairfax County. Taking part in the Music Director Search of the FSO is a great opportunity to learn more about this region. It’s fascinating how Fairfax is growing and how it has changed (I was trying to catch up on its history, too). I believe that there are many opportunities for this organization to grow and to become #1 as the region’s largest musical organization. I hope I can be part of this exciting trip as the next MD!

I am glad that ticket sales are going well! I am sure that the buzz about the search helps it but I believe that the programming is a major part of it as well. After putting the concert program together for this Saturday (more than a year ago), I realized that the actual date is March 14. “By accident” it is just the day before the Hungarian “Independence Day” (March 15 marks the outbreak of the Hungarian revolution against the Habsburgs in 1848 and the birth of the First Hungarian Republic). I swear I was not thinking about this when making the entire first half of the program Hungarian! :) We’ll open with the popular tone-poem of Franz Liszt (who was born and lived as a Hungarian without actually speaking the language, which was common in the 19^th Century) called Les Preludes. Then Andrew Armstrong, an amazing, young American talent will join us to perform Bela Bartok’s Piano Concerto #3, his last completed composition ever. The second half will bring you one of the greatest German romantic symphonies, #2 by Robert Schumann.

Yes, this program does look like the “same old” overture-concerto-symphony set up. There are some interesting twists however. First, all three composers were piano players. Pianists are always having a ball with the Bartok because it has everything you need for a perfect concert piece. The first movement is unmistakably Hungarian in style with some fine chamber music mostly between the woodwinds, horns and the piano. The second movement is like a very personal confession, rather a prayer interrupted by happy bird songs. Apparently Bartok has incorporated actual bird songs he heard in the backyard (while staying at a friend’s house in upstate New York) into the piece while writing it. The third movement is a real virtuosic finale with a breath-taking fugue section in the middle. In Les Preludes, probably the most well-known composition of Liszt (after his piano concertos, of course) you’ll hear some original “piano writing” transformed for orchestra. The same thing happens with the Schumann. Just ask the second violin or the viola section if they feel like playing the perfect idioms of their instruments. The answer probably will be: not at all. You know, it is not easy to recreate on a string instrument what the left hand of Liszt or Schumann could do on the piano! FSO musicians are doing a great job with this as well and they seem to be really excited to play the Bartok which some of them have never played before.

To me Liszt’s so called “Hungarian style” (which is really the way that Gypsies played in the 19^th Century) connects Bartok’s unique, folkloristic language to the romantic music of Robert Schumann. This is one very important thing that connects these three masterpieces, but there is more. It is a real fun fact. Again, just after creating this program, I finally remembered what else was linking them together. Les Preludes was used in Germany, Austria and Hungary as the theme music for news casts in the first half of the 20^th Century when – way before TV existed – they showed the news before the feature film in movie theaters. The opening of Bartok’s Third Piano Concerto still is the signal of Hungarian Radio Channel #3 that is named after Bartok. For about twenty years, in the hero-times of Hungarian Television the Scherzo movement of Symphony #2 by Schumann was the music for the news program. (We only had Hungarian TV 1 and TV 2 for a long time and I remember from when I was a kid that Monday was a day off with no broadcast whatsoever. But hey, they played Schumann! :) )

I just realized how much I wrote… Blogging does not seem to be that difficult after all! Please, come to the concert this Saturday! You don’t want to miss Andrew Armstrong, the FSO and the music of Liszt, Bartok and Schumann! I am looking forward to seeing you all at the pre-concert talk and in your seats!

Best,

Gregory Vajda

Daniel Meyer conducts the FSO

2009-01-14T12:33:00.000-08:00

Greetings from the heart of Fairfax County, Virginia. My name is Daniel Meyer, and I am honored to be a finalist for the position of Music Director of the Fairfax Symphony Orchestra. My program this week includes the Three Dance Episodes from On the Town by Leonard Bernstein, the Bruch Violin Concerto in G minor with Jennifer Frautschi as soloist, and Brahms' First Symphony.

This program represents what I like in a good classical concert in many ways. As an American conductor and composer, I believe it is important for me to be a passionate exponent of music from my time and my culture. The good news is that I have so many great works from which to choose. Bernstein's music is brash, bold, filled with life, sparkling energy, and it really cooks! I wanted to see how well the FSO could swing, and after the first rehearsal with the fantastic solo players of the winds, brass, and percussion, I am happy to report that we are well on our way to bringing this score to life. It is striking to experience the high the level of collective talent in this orchestra...

The Bruch Concerto in many ways represents the finest in the Austro-German tradition of a beautifully-crafted solo concerto that is as tuneful as it is structurally and emotionally satisfying. I intentionally chose a "standard" concerto with Jennifer Frautschi so that we would spend the bulk of our time together shaping and interpreting the music rather than plowing through difficult, unfamiliar notes. I love this concerto, and it has the right blend of virtuosity and memorable melodies to complement the Bernstein on the first half.

After intermission, we will perform one of my favorite pieces in the repertoire. Brahms' First Symphony represents a watershed moment in Brahms' life and in all of music history. Here is a composer who was widely renowned to be the heir to Beethoven's throne, yet was admittedly overwhelmed by the prospect of following in those revolutionary footsteps. For me, Brahms' First Symphony is a masterful combination of soul-searching, celebration, exasperation, and ultimate joyful affirmation. Brahms somehow knew the weight of expectation that was heaped on his shoulders, and he delivered on what I think became the best first symphony ever written.

I have really enjoyed the exploration and the journey the musicians of the FSO and I have already taken, and I look forward to celebrating the fruit of our collaboration together with you on Saturday night at GMU. Thank you for inviting me to share in this special season, and I hope to have the honor of returning to Fairfax County and the FSO very soon.

Regards,

Daniel Meyer

Laura's Week with the FSO

2008-11-19T14:58:00.001-08:00

Hello! I am Laura Jackson, one of the candidates for Music Director, and I’m having a fabulous time in Fairfax this week. I’ve conducted two rehearsals with the orchestra so far, and they sound great. I’ve also met lots of wonderful people – staff, musicians, board members, and educators, and I am struck by their passionate dedication and loyalty to the community and to the Fairfax Symphony. It is genuinely inspiring to see a community that values arts and music so highly. So much can happen here! There’s enormous potential.

I am excited about the music we’ll be performing this weekend. The ‘Rainbow Body’ by Chris Theofanidis is a very beautiful piece inspired by 11^th century chant and also by concepts in Tibetan Buddhism. It gives one the sense of being in a great cathedral with music echoing all around them.

The Prokofiev is special to me because I grew up listening to it as a young violinist. I find the slow movement to be one of the most beautiful things ever written. The Beethoven Symphony we’re playing also has an exquisite slow movement as well as incredible energy and drive in its outer movements. Conducting it is a lot of fun.

I was looking forward to nice, warm weather this week! Perhaps these chilly temperatures followed me here from Ann Arbor, Michigan. Sorry about that.

I hope you will come to the concert this Saturday and find me afterwards to say hello.

Best wishes,

Laura

Marcelo Lehninger's week with the FSO

2008-10-22T14:23:00.000-07:00

Hello! I am Marcelo Lehninger, one of the six finalists hoping to become the Fairfax Symphony’s new music director. It is a pleasure to participate in this blog, and I hope you all will enjoy reading about my experience with the FSO so far.

Last Sunday, my wife Laura and I attended a welcome reception at the lovely home of Mr. and Mrs. Mason. It was a great opportunity to be able to speak one on one with some of the FSO musicians, board and staff members.

Since I live in the greater Washington DC area, I have been to some FSO concerts and was thoroughly impressed with the orchestra’s sound. Conducting the orchestra for the first time on Monday was quite exciting because I felt the connection with the musicians was terrific. We spent a significant amount of time on Scheherazade and the violin solo was beautifully played by David Salness. To summarize, great musicians and a very positive working environment!

It’s been a very busy and interesting week. I am having the pleasure of meeting many of the people who are dedicated to the FSO and obtaining a deeper understanding of the wonderful work that the Fairfax Symphony is doing for the community. The public education system in Fairfax is top notch and the FSO’s involvement in the system is inspiring.

On Tuesday, I had dinner with some of the musicians before the rehearsal. It was very important for us to get to know each other better. I could sense their excitement towards the idea of having a new music director and the conversation flowed as if I was among a group of close colleagues.

I am looking forward to the concert on Saturday at 8:00 p.m. at GMU’s Center for the Arts. I’ve selected a spectacular pianist, Angela Cheng, and a very exciting program for you. We will travel around the world taking the “Little Train of the Brazilian Countryman” to the beautiful “Gardens of Spain”. Also, for the 100 year anniversary of Rimsky-Korsakov’s death, I’ve chosen the beautiful “Scheherazade”.

To enhance your concert experience, please join me for the free ConcerTalk at 7:00 p.m. It will be an informal conversation about the pieces in the program.

See you Saturday!

Marcelo

Paul Haas's week with the FSO

2008-09-17T12:00:00.000-07:00

Good afternoon! It's a pleasure to be blogging here from Fairfax, where I've been preparing for this Saturday's concert since Monday night. I drove down from NYC, where I've lived since 1996, and largely avoided any traffic (which is quite a feat, they tell me!) - and the FSO hosted a fantastic welcome party for me on that evening.

Yesterday was spent getting to know the Fairfax County Public Schools a bit, speaking with members of the FCPS administration, and having the pleasure of attending one of the Fairfax Symphony Orchestra's "Classical Kids Club" concerts. I was very impressed by the professionalism, scope, and effectiveness of that concert, which was actually an ingenious blend of concert AND talk show, hosted by the FSO's associate conductor, Glenn Quader, with members of the FSO playing and speaking. I can't tell you how incredible it was to watch these young people (K-5), especially their faces, lighting up with surprise, recognition, and sheer joy again and again.

Last night was our first rehearsal for the concert, and it was very intense. The first rehearsal with a new orchestra (new to me, not to you!) is always a unique experience for me, with both orchestra and conductor getting to know one another, getting used to each other's styles and mannerisms. A week like this, working with the FSO, is really a journey. I'm fascinated by that journey, becoming closer with the musicians in the orchestra, making progressively better music together, and learning what makes them respond in a positive, intensely active way.

The rest of the week holds a lot of meetings and rehearsals for me, and I'm going to be putting all of my energy into a fantastic performance for YOU on Saturday. I want to let all of you know how much I appreciate your interest, your enthusiasm, and your coming to the concert this Saturday. Please know this program I'm conducting is tailor-made for you, filled with rousing, energetic, and unforgettable music. My goal for this - and every concert I conduct - is to leave the audience breathless, excited, and wanting more. I'm looking forward to sharing that with all of you.

For those of you who want to learn more about the pieces on the program in advance of the concert, please do come to the ConcerTalk (pre-concert lecture) I'll be giving at 7pm on Saturday night, just before the show.

Yours,

Paul Haas

Who Will It Be?

2008-09-05T11:25:00.000-07:00

The Fairfax Symphony Orchestra recently released details of its 2008-2009 Masterworks Season, along with the names of the six finalists for the position of music director. Since 1971 the orchestra has been led by William Hudson, whose retirement at the end of the 2007-2008 season has sparked an intensive two-year search for a successor. The new music director will assume that position beginning with the 2009-2010 season. In addition to conducting rehearsals and concerts, the duties of a music director include planning the repertoire and soloists for each season, auditioning new players, and serving as the public face of the FSO. He or she also shapes its education and outreach programs, and embodies the overall philosophy and artistic direction of the organization.

The process is a long and painstaking one, as befits a post so prestigious, responsible, and widely coveted. It is being managed by a search committee comprising members of the board of directors and musicians from the orchestra. The initial phase of the process involved screening and evaluating the credentials and recommendations of 241 applicants for the post. That number was reduced to 24, at which point personal interviews commenced. Six finalists were eventually chosen, one for each of the six scheduled Masterworks concerts of the 2008-2009 season. After each finalist has conducted, surveys will be taken to gather the reactions and opinions of players and search committee members. Reactions of audience members will also be taken via questionnaires handed out at performances.

Current plans call for the announcement of the new music director to be made in June, 2009.

Welcome!

2008-05-28T06:09:00.000-07:00

Welcome to the FSO's blog! Be the first to add a comment or idea...