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Christopher Zimmerman will celebrate 15 years as the Fairfax Symphony Orchestra’s music and artistic director with a May 31 concert that connects his 2009 debut to the orchestra’s continuing embrace of new music.

The 8 p.m. performance at George Mason University’s Center for the Arts in Fairfax will feature two pieces Zimmerman conducted at his first FSO concert: Edward Elgar’s “Introduction and Allegro for Strings” and Dmitri Shostakovich’s “Symphony No. 10.”

The program will also include the East Coast premiere of Baltimore composer Jonathan Leshnoff’s “Concertante for Two Violins and Orchestra.” Violinists Chee-Yun, a longtime Zimmerman collaborator, and Kit Zimmerman, the conductor’s son, will appear as soloists. Kit Zimmerman plays in the first-violin section of Switzerland’s Orchestre de la Suisse Romande.

Chee-Yun said she was inspired by Zimmerman’s kind, witty and perceptive leadership from the first time they worked together roughly two decades ago.

Zimmerman has built his Fairfax tenure around connections among musicians, composers and audiences. His British-accented remarks, pre-concert talks and historical explanations have become a familiar part of the orchestra’s performances.

Providing context, he said, draws listeners more deeply into the music and strengthens their connection with the musicians. His goal has been to welcome people into symphonic music through curiosity and an understanding that extends beyond entertainment.

Pairing classics with new voices

During Zimmerman’s years with the orchestra, he has commissioned and premiered seven new works while conducting 22 premieres by a broad range of composers.

This season alone, the FSO has presented the U.S. premiere of Elena Kats-Chernin’s piano concerto “Force Majeure,” the regional premiere of Quinn Mason’s “She Dreams of Flying” and the Virginia premiere of Clarice Assad’s guitar-and-cello concerto “Anahata.”

Those newer pieces shared programs with established works by Ludwig van Beethoven, Sergei Rachmaninoff, Gustav Mahler and Leonard Bernstein—a balance that has become central to Zimmerman’s programming.

Concertmaster David Salness said Zimmerman brings energy and enthusiasm to the orchestra while encouraging its musicians to tackle ambitious projects. That approach, Salness said, reflects the conductor’s trust in the ensemble’s abilities.

One of the orchestra’s most prominent recent projects came in March 2024, when Zimmerman conducted the world premiere of Syrian-American composer Malek Jandali’s “Concerto for Clarinet and Orchestra.” Anthony McGill, the New York Philharmonic’s principal clarinetist, was the soloist.

The performance received a 10-minute standing ovation at the Center for the Arts. It was later carried nationally on American Public Media’s “Performance Today” and made available online.

Classical music critic Michael Brodeur wrote that the FSO regularly attempts more than most regional orchestras are willing to undertake. Jandali praised Zimmerman’s commitment to living composers, saying his leadership expands the symphonic repertoire and inspires performers and listeners.

Zimmerman believes the orchestra’s varied programming has helped it attract audiences that are increasingly diverse in age and ethnicity. Its offerings range from major historical works performed with renowned soloists to contemporary compositions and appearances by emerging artists.

Trust inside the orchestra

Zimmerman said adventurous programming depends on a strong relationship between a conductor and the musicians. Just as performers must develop a deep understanding of the music, he said, a director must build knowledge of and trust with the people being led.

He described the FSO as a mix of veteran professionals, including musicians who have served for decades, and younger performers beginning their careers. Members from both generations hold leadership roles.

Principal double bassist Aaron Clay recently retired after a distinguished career in the same position with The President’s Own Marine Band. Principal cellist Natalia Vilchis, meanwhile, is a recent graduate of the Peabody Conservatory, where she studied with cellist Amit Peled.

Vilchis said Zimmerman challenges the orchestra to improve technically and emotionally while maintaining a supportive rehearsal environment. She credited that atmosphere as an important part of the ensemble’s consistency.

The orchestra also operates a fellowship program for college students and recent graduates from backgrounds underrepresented in orchestras. String players are selected through competitive auditions and perform with the FSO throughout one concert season.

Zimmerman said the combination of performance experience, coaching and mentoring can serve as a pathway into professional careers.

After 15 years, his most rewarding moments still come when the orchestra, conductor and audience feel fully connected. Hearing the final note and realizing that listeners shared in the performance, he said, remains deeply satisfying.