Mozart's Requiem Program Book - Symphony New Hampshire

In Memoriam and In

Symphony NH acknowledges the following dedications and is grateful to those who have shared in our passion for the arts and contributed in donations and spirit to our mission of making great music accessible

Dedication To

Richard McKenzie On behalf of Liz and Paul McKenzie

Leonora LaDue and Mark Goldstein

Carol Houde and Stephen Gronberg

New Hampshire Imaging Services In honor of Robert Oot

Anonymous In memory of Carol Austin Blodgett

Sunshine Clark-Wilkins Elementary School Household

Mary Winiecki In memory of Kenneth

Erika and Jeffery MacDonald In honor of David Bahi

Donald and Brenda Smith-Weiss In honor of Blue Elmo

William and Karen Bolin In memory of Mr. Roy Shoults

Jolie Blauvelt In memory of Nancy PN Wilbur

Tanya Prather In memory of Mirella Szakacs

Gabor and Galina Szakacs In memory of Malvina Kupchik

In Memoriam and In Dedication To

Welcome!

Connection

As humans, we crave connection; it’s in our DNA In late March 2020, in the earliest stages of the pandemic, authors Michelle Langley and Leah Coutts wrote an article for the World Economic Forum “Why do we turn to music in times of crisis?” Their conclusion was that “Music creates a sense of belonging and participation It is an antidote to the growing sense of alienation and isolation in society in general – even more so now we are being asked to actively practice social distancing and isolation . Social distancing and geographical isolation do not have to result in social isolation In the face of uncertainty and panic, music is a social balm for soothing anxiety, enhancing community connections, and acting in defiance of a threat to community spirit” .

As Symphony NH approaches our 100th anniversary in April 2023, I have been thinking about 100 years of this connection through music; of the generations of New Hampshire and northern Massachusetts residents who have shared the experience of live orchestral music together And of the generations of audiences sitting in the dark concert hall and having that visceral feeling of the orchestra as the sound washes over and through you – it’s thrilling! No live concert can ever be repeated exactly as it was the night before as each time is unique . And those experiences are shared for that one performance with the musicians, conductor, and audience It creates a bond between the music makers and the audience that is special

And while we are excited to celebrate this momentous anniversary, we are also looking to the future of Symphony NH and the next 100 years of musical connections

Sincerely,

Deanna R . Hoying Executive Director

We’ve been patient; we’ve been missing live music, and missing hearing it together . I’m thrilled to experience it once again as Symphony NH begins its 100th year of musical gifts to our state.

In celebrating this extraordinary milestone, we are also celebrating the communities and people of New Hampshire with performances throughout the state – Nashua, Concord, Manchester, Berlin, Lebanon – in an auditorium, garden, opera house, theater, church, and college . From our opening “Tribute to New Hampshire” with the stunning Firebird Suite by Stravinsky, to “Momemtum” with Schubert’s elegant Unfinished Symphony, we invite all audiences to experience the power of music

I’m honored to serve as president of the board of directors of New Hampshire’s oldest professional orchestra . I’m proud of the trustees, patrons, donors, and sponsors who are committed to ensuring that we are around for the next 100 years! I’m proud of the musicians who have persevered through one of the most tumultuous times in our history, and I’m proud of our Music Director, Roger Kalia, who brings talent, energy, innovation, and inspiration to our orchestra

Music is the antidote to isolation and stress; it has the power to transcend walls and boundaries with its language . I’m pleased to join our executive director, Deanna Hoying, in our goal of connecting communities made up of diverse audiences Thank you for joining us!

Sincerely,

Mary Jordan

Directors

Letter from the President of the Board of

Meet Our Music Director Roger Kalia

Dear Friends,

Welcome to our 100th anniversary season! I am excited to share with you a truly meaningful and special season for the historic occasion of Symphony New Hampshire’s 100th anniversary. The music reflects the orchestra’s past and present, highlighting our connection to New Hampshire in multiple ways while also focusing on our incredible musicians . Be sure to say hello to our new orchestra members as well! The exciting works we will perform have been carefully chosen as we mean to inspire and connect with all of you throughout the season .

I am honored to be the music director of New Hampshire’s oldest professional orchestra From World War I to the Pandemic, Symphony NH has endured and shared the joy of music with communities throughout the Granite State It is a true privilege to be a part of this organization’s history and its future .

Our upcoming season will be one of our most ambitious yet, with blockbuster works such as Stravinsky’s The Firebird Suite and Mahler’s First Symphony in thrilling chamber orchestra arrangements; a collaboration with the Nashua Choral Arts Society and Nashoba Valley Chorale in Mozart’s Requiem; hidden gems by Astor Piazzolla and Amy Beach; not to mention works by TJ Cole, Oliver Caplan, and John Adams . Our 100th anniversary concert - celebrated to the day of our first concert one hundred years ago - promises to be an event you won’t want to miss with the return of renowned cellist Amit Peled in Dvorak’s iconic Cello Concerto . As our anniversary falls towards the end of this season, our celebration is actually two seasons long . 2022-23 is just the beginning!

All of us at Symphony New Hampshire look forward to seeing you in the concert halls around the state . We are so glad that you are here to celebrate this milestone with us . See you soon!

Sincerely,

Roger Kalia Music Director, Symphony NH

Roger Kalia

Music Director, Symphony NH

With a dynamic podium presence and noted passionate interpretations, Indian American conductor Roger Kalia has been celebrated by audiences and industry professionals alike, with Symphony Magazine recently recognizing him nationally as one of five first-year music directors for his innovative programming during the pandemic . Praised for bringing a “fresh view to classical music” (The Republic, IN), Kalia is now in his fourth season as Music Director of the 100-year-old Symphony New Hampshire, and of Orchestra Santa Monica, and in his third season as Music Director of the Evansville Philharmonic Orchestra . He is also Co-Founder and Music Director of the 12-year-old celebrated Lake George Music Festival in upstate New York The recipient of an Elizabeth Buccheri Opera Residency with Lyric Opera of Chicago and five Career Assistance Awards from the Solti Foundation U .S ., Kalia has been praised for his “extraordinary leadership” (Courier & Press)

A versatile communicator and frequent guest conductor, in recent seasons, Kalia has appeared with the National Symphony Orchestra at the Kennedy Center, Chicago Sinfonietta, Louisiana Philharmonic Orchestra, Szczecin Philharmonic (Poland), Boise Philharmonic Orchestra, Spartanburg Philharmonic Orchestra, and the symphony orchestras of Redlands, Lima, Adrian, Bakersfield, Great Falls, Owensboro, Spokane, and Wheeling .

Kalia leads Symphony NH this 2022-23 as it celebrates its 100th anniversary Amongst the notable events are the season opening concert featuring works written about or in New Hampshire; a collaborative performance of Mozart’s Requiem with the Nashua Choral Society and Nashoba Valley Chorale; and the 100th anniversary concert of Symphony NH’s in April 2023 that marks their first concert to the day one

hundred years later in a program featuring cellist Amit Peled performing Dvorak’s Cello Concerto . In addition to conerts with his Lake George Music Festival and the Evansville Philharmonoc, Kalia also debuts with the Columbus Indiana Philharmonic, Boston’s Longy Conservatory Orchestra Flex, and returns to the Redlands Bowl with the Hollywood Chamber Orchestra .

In his various music director positions, Kalia has focused on innovative artistic partnerships highlighting a variety of community partners In November 2021, Kalia collaborated with composer Derrick Skye, historian Robbie Jones, and painter Kevin McCants to commission and premiere Orchestra Santa Monica’s first-ever art film titled We Gather: Black Life in Santa Monica told through music, visuals, and narrative, which has since received screenings at the California African American Museum, Santa Monica History Museum, and KUSC In February 2023, We Gather will receive its first-ever live performance as part of OSM’s ten-year anniversary season. Kalia’s first two seasons as music director of the EPO have seen fruitful artistic collaborations with community organizations such as Historic Bosse Field, the Tri-State Hindu Temple, Evansville Civic Theatre, and the Evansville Wartime Museum Kalia’s visionary programming has been featured on PBS’ “On the Road with Brick Briscoe” and “Regional Voices,” and in publications such as Evansville Living Magazine and Symphony Magazine . In 2011, Kalia and two of his colleagues co-founded the Lake George Music Festival, which has been described as “an unparalleled classical music experience in the Adirondacks” (Chronogram) As one of the nation’s foremost classical music artist retreats, the festival presents cutting-edge artists and composers performing classical and new music, traditional and experimental concerts and recitals of various sizes, open rehearsals, informational talks, and a variety of community

outreach programs Kalia has collaborated with a wide range of artists including singers Angela Brown, Reginald Smith Jr, and Shayna Steele; guitarist Meng Su; Cirque de la Symphonie; Electronic Dance Music

(EDM) duo MAKO; Project TRIO; singer/songwriters

Randy Newman and Randy Jackson; Philadelphia Orchestra concertmaster David Kim; violinists Nathan Cole, Glenn Dicterow and Sphinx Competition winner

Annelle Gregory; dancers of the Charlotte Ballet and Ballet Indiana; pianists Fei-Fei Dong, Sean Chen, and Misha Dichter; rock musicians Johnny Rzeznik of the Goo Goo Dolls and Nancy Wilson of Heart; the B-52s; sitar player Anoushka Shankar; actor Jack Black; and visual artist/astronomer Dr . José Francisco Salgado . A native of New York State, Kalia holds degrees from Indiana University, the University of Houston, and SUNY Potsdam’s Crane School of Music His primary mentors include David Effron, Arthur Fagen, and Franz Anton Krager with additional mentoring from David Zinman, Marin Alsop, Robert Spano, and the late Kurt Masur Previous posts include Associate Conductor of California’s Pacific Symphony, Assistant Conductor of the Charlotte Symphony Orchestra, Conducting Fellow with the Chicago Sinfonietta, and Music Director of the Pacific Symphony Youth Orchestra, Young Musicians Foundation (YMF) Debut Orchestra, and the Columbus Symphony Orchestra (IN) Kalia attended the Aspen Music Festival where he was a Conducting Fellow in 2010, and in 2011, Kalia won Second Prize in the Memphis Symphony International Conducting Competition, which led to his debut with the orchestra the following season and launched his professional career Kalia is married to musicologist / violinist Christine Wisch

“Kalia brings a fresh view to the classical music.”

— THE REPUBLIC (IN)

“Kalia led with passionate intensity and a clear beat ... he’s one to watch.”

— LONG BEACH GAZETTE (CA)

“... what a remarkable performance [of the Mendelssohn “Scottish” Symphony]... Mendelssohn’s paean to the rugged beauty of that northern nation came alive in this fine performance, with the EPO under the extraordinary leadership of Kalia.”

— COURIER & PRESS (IN)

“Kalia emerges to my ear as the [Lake George Music] festival’s secret weapon. His enthusiasm and positivism ... is unbounded. His leadership, impressive.”

— THE GLENS FALLS CHRONICLE (NY)

Mozart’s Requiem

Mozart’s Requiem

Roger Kalia, Conductor

Reagan Paras, Music Director of Nashua Choral Society

Anne Watson Born, Music Director of Nashoba Valley Chorale

TJ Cole / Death of the Poet

Mozart / Requiem, K. 626

Completed by Franz Xavier Süssmayr

I. Introitus

a. Requiem aeternam

II. Kyrie

III. Sequentia

a. Dies irae

b. Tuba mirum

c. Rex tremendae

d. Recordare

e. Confutatis

f. Lacrimosa

IV. Offertorium

a. Domine Jesu

b. Hostias

V. Sanctus

a. Hosanna

VI. Benedictus

a. Hosanna

VII. Agnus Dei

VIII. Communio

a. Lux aeterna

b. Cum sanctis tuis

Carley DeFranco, soprano

Kristin Lawler, alto

Jonas Budris, tenor

Thomas Warden, baritone

Nashua Choral Society

Nashoba Valley Chorale

Death of the Poet (2014)

TJ

Cole (b. 1993)

Hanging on the walls of the Art Institute of Chicago in a bright yellow frame is a large painting that captures a most curious scene: A young, well-dressed man perilously dangles from a high-rise window, holding an empty syringe in his free hand while his right arm appears to clench the only thing keeping him suspended in the air, a green velveteen curtain . The unusual posturing and ambiguous facial expression of the man make it unclear if this is a fever dream of a man in flight or a view of the man’s final moments on earth—or perhaps it can be both? German expressionist artist Conrad Felixmüller painted this work in 1925 to honor a deceased friend, the poet and author Walter Rheiner who tragically overdosed on June 12, 1925, after years of substance abuse. With its striking colors and unsettling depiction, the painting, which is appropriately titled Death of a Poet, Walter Rheiner, has left its mark on many who have set their eyes upon it

American composer TJ Cole (they/she) is one of the many viewers who has been moved by this painting As the composer explains, the vibrant colors prompted an emotional response that served as the inspiration for Death of the Poet, which Cole composed two years after first seeing the painting . Lasting just under eleven minutes, this composition for large string ensemble is a type of musical elegy that pays tribute to Felixmüller’s painting and the troubled writer who inspired it Cole stretches the ensemble to its emotional and sonic limits, utilizing both the highest and lowest registers of the string family and frequently relying on divisi writing (dividing a single string section into multiple parts) to

“Death of the Poet Walter Rheiner (Der Tod des Dichters Walter Rheiner)” oil on Canvas

create poignant harmonic and timbral nuances

With its lush texture, slow-moving harmonies, smooth melodies, and expansive phrases, Cole’s Death of the Poet invites comparison with Barber’s iconic Adagio for Strings The piece was written when Cole was a student at Curtis and was premiered March 31, 2014, by the Curtis Symphony Orchestra

An accomplished composer and synthesizer performer, Cole primarily writes for various ensembles and mediums Their works have been performed by major symphony orchestras across the country, and they have also collaborated with many of the country’s foremost ensembles, including the Dover Quartet, Time for Three, and

the Nebula ensemble, among others . Cole is a twotime recipient of the ASCAP Morton Gould Young Composer Award (2014 and 2020) Many of Cole’s musical projects are designed to engage with local communities . They are currently completing a yearlong residency with the Louisville Orchestra, a position made possible by the Louisville Orchestra Creators Corps that will result in new orchestral works and includes a collaboration with Louisville Free Public Libraries .

For more information about TJ Cole, visit www tjcolemusic com

Requiem in D Minor, K. 626 (1791)

Few pieces are so enshrouded in myth, legend, and hyperbole as Mozart’s beloved Requiem . The topic of countless studies and stories, the Requiem has been hailed as one of the greatest and most sublime compositions of all time and sensationalized as a swan song for a genius lost too soon who knowingly wrote the piece for himself and tragically never finished.

The 1984 biographical drama Amadeus may have brought the legend of the Requiem to a level of popular common knowledge, but the dramatic narrative of the work’s composition began only mere weeks after the composer’s untimely death. Mozart died December 5, 1791, and before the year was over, newspapers and journals across Germany had begun publishing anecdotes detailing Mozart’s final days and claiming that Mozart sat at his desk composing with tears in his eyes because he believed he was writing his own Requiem

Over the next few years, a consistent narrative would emerge: a messenger delivered an unsigned letter to Mozart that requested a Requiem, and the composer would be handsomely rewarded should he never inquire about the identity of the patron commissioning the piece. The unidentified messenger would repeatedly return to check on Mozart’s progress As Mozart grew more and more ill, he became convinced that the messenger was otherworldly and was summoning Mozart to finish his own death piece . The origins of these reports remain somewhat contested, but most scholars suggest that Constanze, Mozart’s widow, fashioned this story and its melodramatic details to build intrigue that would serve her financially. Over the next few decades, facts and rumors continued to build. One popular rumor identified the Italian composer Antonio Salieri as the patron behind the commission because he was jealous of Mozart and sought to kill the young composer so he could pass the Requiem off as his own. This story was developed in Alexander Pushkin’s short play Mozart and Salieri (1832), which served as the inspiration for the screenplay for Amadeus

Wolfgang Amadeus Mozart (1756–1791)

1857 lithograph by Franz Schramm, titled Ein Moment aus den letzten Tagen Mozarts (“Moment from the Last Days of Mozart”) Mozart, with the score of the Requiem on his lap, gives Süssmayr lastminute instructions Constanze is to the side and the messenger is leaving through the main door

Musicologists have spent significant time sorting through the many accounts of Mozart’s final weeks, and while questions remain, they have been able to separate most fact from fiction. Scholarly sleuthing has revealed that the Requiem was commissioned by Count Franz von Walsegg, a German aristocrat who had recently lost his wife and was likely planning to take credit for the Requiem as he had done with previous commissions from other composers Scholars have likewise concluded that Mozart completed only the first two movements of the Requiem, the Introit and Kyrie The work was finished by a friend and student of Mozart’s, the Austrian composer Franz Xaver Süssmayr, after also passing through the hands of Joseph von Eybler Eybler was a friend of the Mozart family, and following her husband’s death, Constanze asked Eybler to finish the Requiem using the surviving sketches . For reasons that remain unclear, Eybler was unable to finish the task and recommended that Constanze approach Süssmayer, who claimed to know how Mozart wanted to finish his piece. Süssmayer would also later state that he wrote the Sanctus, Benedictus, and Agnus Dei, a claim that scholars have substantiated through comparisons of musical techniques and materials used in those movements

Today, although other composers have offered alternative completions, the version most heard and performed is the Süssmayer version, which includes eight sections that are common among

nearly all Requiem Masses: Introit, Kyrie, Sequence, Offertory, Sanctus, Benedictus, Agnus Dei, and Communion The Introit notably references George Frideric Handel’s Funeral Anthem for Queen Caroline, perhaps suggesting that Mozart believed the commission was for a noble figure. The Handelian references continue in the Kyrie, too, this time with Mozart borrowing one melody from the Messiah and another from Handel’s Dettingen Te Deum The movement is a compositional tour de force whose setting of a double fugue is perhaps another tribute to the Baroque master . This music returns at the very end of the Requiem in the final Cum sanctis tuis, a highly unusual tactic for Mozart,which has led many scholars to question the extent to which Sussmäyer actually knew how his teacher planned to finish this work.

The doubts over authorship have not hindered the reception of this piece among audiences Rather, the Requiem is a staple of the choralorchestral repertoire, and its popularity is such that well-known sections, such as the opening of the Lacrimosa, even appear frequently in advertising The connection of the piece to Mozart’s final days may add an aura of intrigue and drama to the piece, but it is the emotional power and profundity of the music itself that has rendered the Requiem a seemingly timeless piece that audiences and performers both love and enjoy

Movie poster for Amadeus (1984)

Left to right: Franz Xaver Süssmayr, Constanze Mozart, Antonio Salieri

christine wisch

Program Annotator

Christine Wisch holds a PhD in musicology with a minor in ethnomusicology Her work as a musicologist focuses on early nineteenth-century Spanish classical music and issues of nationalism, patronage, and identity She is the recipient of a 2019 Dissertation Fellowship from the Honor Society of Phi Kappa Phi for her in-progress dissertation, “Politics, Patronage, and Music in 1830s Spain .” Her research has been presented at both national and international conferences and has been supported by a number of awards and grants, including a 2017 Mellon Pre-Dissertation grant from Indiana University’s Russian and Eastern European Institute (REEI) and the A . Peter Brown Research Travel Award . Recently, she worked as a research consultant on Hispanic topics for the tenth edition of the History of Western Music and its corresponding anthologies, and she continues to work for Indiana University’s Latin American Music Center (LAMC) Additionally, she has written program notes for orchestras across the country and remains an active violinist .

Meet the Soloists

Carley DeFranco, soprano

Carley DeFranco is a Boston-based soprano known for her committed dramatic portrayals Carley was the 2018-19 Lorraine Hunt Lieberson Fellow with Emmanuel Music, a 2019 Fellow with American Bach Soloists, and a third place winner of the American Prize (Professional Division) in Oratorio/Art song She is a current soprano scholar with VOCES 8 and will join the group for one performance on their American tour next year She received her Master’s in Music (Vocal Performance) from The Longy School of Music at Bard College

An avid concert soloist, Carley has appeared with the Eastern Connecticut Symphony Orchestra (Mozart’s Requiem), North Carolina Master Chorale (Handel’s Alexander’s Feast), Harvard Radcliffe Collegium Musicum (Monteverdi Vespers), Boston Cecilia (Rudoi Our Transcendental Passion), American Bach Soloists Academy (Laß, Fürstin, laß noch einen Strahl, BWV 198), and Arlington Philharmonic Orchestra (Gounod’s Messe Solenelle, Saint Saëns’ Oratorio de Noël, Schubert’s Mass in Eb Major)

Kristin Lawler, alto

Named the “Nancy P Marriott Scholar” Kristin received her Masters in Voice Performance from the Longy School of Music of Bard College in Cambridge, MA and her Bachelor of Music in Voice Performance with emphasis in Opera and Musical Theatre from Capital University in Columbus, Ohio

Kristin has served as a Teaching Artist Fellow with the Classical Music Institute in San Antonio, Texas Additionally she returned for her second season with the Prague Summer Nights Young Artist Music Festival (Washington D C residency) as Marcellina in their production of Le Nozze di Figaro Her stage and solo work was showcased to directors of Washington National Opera’s Young Artist Program, Glimmerglass Festival, and the Castleton Festival Recent noteworthy roles have included Ruggiero (Alcina, Händel), as well as Dritte Dame (Die Zauberflöte, Mozart).

In addition to performing with Symphony NH for Mozart’s Requiem, Kristin has held roles with esteemed professional companies such as Emmanuel Music (The Beggar’s Opera), Opera del West (Cendrillon), and Boston Opera Collaborative (Annual Opera Bites Event)

Meet the Soloists

Jonas Budris, tenor

Tenor Jonas Budris is a versatile soloist and ensemble musician, engaging new works and early music with equal passion

He performs and tours frequently with Cut Circle, and can be heard in their new recording, Johannes Ockeghem: The Songs . He also appears with Cut Circle in the short documentary, Sounds of Renaissance Florence In addition to performing with Symphony NH, he has also enjoyed performing, touring, and recording with such groups as the Handel and Haydn Society, Blue Heron, Boston Baroque, The Thirteen, and the Skylark Vocal Ensemble

Mr. Budris is a featured soloist in Boston Baroque’s Grammy-nominated recording of Monteverdi’s opera Il ritorno d’Ulisse in patria, and sang in Blue Heron’s album “Music from the Peterhouse Partbooks, Vol. 5” which received the 2018 Gramophone Award for Early Music.

Thomas Warden, baritone

Thomas Edward Warden is currently attaining their Masters in Vocal Studies from Longy School of Music of Bard College in Cambridge, MA and completed their Bachelor of Music with a focus of Classical and Early Music at Luther College in Decorah, Iowa .

Thomas recently performed their role as Phoebus in a staged production of Bach’s BWV . 201 conducted by Ryan Turner and directed by R Lee Kratzer at Longy School of Music Thomas has had the opportunity to perform roles such as Top (The Tenderland, Copland), as well as had the honor of playing Aeneas (Dido & Aeneas, Purcell), in a production that won first place in the National Opera Association (NOA) Opera Production Competition Thomas earned an honorable mention from the 2022 Calliope Call’s Young Artist Competition and was a 2021 finalist for the “Allan & Sally Brudos Prize” for Opera Performance at Luther College

This is Thomas’ debut with Symphony NH as the Bass soloist for Mozart’s Requiem Thomas has upcoming performances with Longy School of Music for their La Voce Totale concert as Don Alfonso (Cosi fan tutte, Mozart) and a featured recital focusing on the Salon setting with a Queer Perspective later this Spring

Roger Kalia, conductor

VIOLIN 1

Elliott Markow

Concertmaster

Emma Kondo Powell

Assistant Concertmaster

Lynn Basila

Leonora LaDue

Jane Dimitry

VIOLIN 2

Kun Shao Principal Second

Amy Ripka

Assistant Principal Second

Sargis Karapetyan

Amelia Perron

VIOLA

Dani Rimoni Principal

Elaine Leisinger

Assistant Principal

Seeun Oh

Nissim Tseytlin

CELLO

Harel Gietheim Principal

Young Sook Lee

Alexander Badalov

Priscilla Hayes Taylor

BASS

Volker Nahrmann Principal

Robert F. Hoffman

BASSET HORNS

Alexis Lanz Guest Principal

Linda Poland

BASSOONS

Michael Mechanic Principal

Donna Taub

TRUMPETS

Richard Watson Principal

Andrew Sorg

TROMBONES

John Faieta Principal

Wes Hopper

Charles Morris

TIMPANI & PERCUSSION

Jeffrey Bluhm Principal

ORGAN

Emily Adams

— Nashua Choral Society Roster —

Reagan Paras, Music Director

ALTOS

Gail Amsler

Barbara Bishop

Sandra Cole

Tiffany Costa

Jennifer Farquhar

Diane Gaucher

Deb Kneeland

Karen Lackey

Carolyn Leach

Linnie McAllister

Carol Miller

Danielle Neil

Tosin Oluleye

Amy Quimby

Amy Rumson

Julie Rutkowski

Annmarie Silveri

Shari Stokes

Estelle Studer

Diane Terry

Maureen Trimper

Marilyn Wehrle

Sue West

SOPRANOS

Kathy Andrle

Vivian Cardinal

Kathy Crouse

Diane Ellis

Patricia John

Christine Kann

Yoko King

Tineke Mertinooke

Stephanie Richter

Colleen Roller

Penny Sandstrom

Grace Schroeder

Betty Scofield

Katie Shrieves

Darlene Skene

Rosalind Therrien

Kitty Viek

Suzanne Willard

TENORS

Daniel Bettencourt

Veronica-Anne Kaminski

Reagan Paras

Abby Warren

BASSES

Mike Bishop

George Gardner

Pat Heffernan

Mike Mertinooke

Walter Noyalis

Robert Rosentel

Walter Schier

— Nashoba Valley Chorale Roster —

ALTOS

Wendy Cowen

Chris Grzonka

Claire Hilsinger

Ruth Lyddy

Anna Mayor

Kimberly Parker

Karen Pokross

Kathie Renzhofer

Pamela Resor

Kathy Romberg

Nancy Stephens

Michele Stiller

Debra Strick

Sharla Tracy

Natasha Westland

Charlotte Whatley

SOPRANOS

Judi Adamyk

Sarah Browne

Pamela Colt

Julie Corenzwit

Tamasin Foote

Susan Hill

Kendra Kratkiewicz

Alida Lupsiewicz

Joy Curtis Madden

Lora Madonia

Sally Merrill

Fredrica Phillips

Sherry Ryder

Pamela Schweppe

Melinda Stewart

Brenda Troup

Chen Yan

TENORS

Larry Barney

Robert Barney

Paul Garver

Mick Grzonka

Jim Kay

Sam Pilato

Ernie Preisig

Tom Ryder

Arthur Schintzel, Jr

Todd Shilhanek

Tony Simollardes

BASSES

Ira Alkalay

Chip Bliss

Tim Butler

Jeffrey Caruso

Doug Clowes

Douglas Dalrymple

David Grubbs

Yigal Hochberg

William Hoermann

Richard Hussong

Dane Krampitz

Griff Resor

Kenneth Troup

David Wolf

Anne Watson Born, Music Director

Annual Fund Contributors

Conductors Circle

Maestro $10,000+

Ardath Blauvelt

Marshall and Elena Jespersen

James and Ann Conway

Bob Oot and Carol Robey

Benefactor $5,000-9999

Anonymous (1)

Hal Clark and Karen Hays

Calann and Robin Hertel

Mark Tremallo and Wellner Poppe-Tremallo

Virtuoso $3,000-4,999

Robert and Geri Boisvert

Peter and Barbara Letvinchuk

Patron $1,000-2,499

Anonymous (1)

Semra and David Bahi

Stella Bloom

Glenn Burkhardt

Robert and Judy Carlson

John Daniels

Garry N. Henkel

Carol Houde and Stephen Gronberg

In honor of Barb Young

Mary Jordan and Henry Quinlan

Cecile Juneau

Karen and Joseph Kenny

Carl and Pamela Mattaliano

Donald and Catherine McDonah

Cam McGurk

Sandra Meinz

Peggy and Peter Proko

John A. Rein

Linda Robinson

Gabor and Galina Szakacs

Barb Young, Dave Young

Sustainer $500-999

Anonymous (1)

Janet Brown

Marcia Donaldson

Catherine Eames

Jean and Frank Holt

Annette and Anthony Immorlica

Donald and Carol Lyon

Martha O’Neill

Gerard and Rachel Paquette

Barbara Dee Pringle

Ashwini Saxena

New Hampshire Imaging Services

In honor of Dr. Robert Oot

Peter Toumanoff

Mrs. Robert Wanger

Donald and Brenda Smith-Weiss

In honor of Blue Elmo

Mary Winiecki

In memory of Kenneth Gabriele and Eitan Zeira

Associate $250-499

Anonymous (2)

Carol Ace

Anne and John Baier

Pamela Baker

James and Barbara Battis

Lee Bory

Paul Farrell

Edward and Monique Fisichelli

Eleanor Goldthwait

Stephen Ziedman

Paul Kenney and Deborah Jelley

Allan and Ruth Kabel

Bettina Peyton and Matthew Levine

Hannah McCarthy

Lawrence Morgan

Jim and Lynda Petropulos

Paul Rivenburgh

Joshua Rosen

Donna Rosenstock

Mark and Lindsay Stern

Deb Stone

Friend $100-249

Anonymous Anonymous in honor of Carol Austin Blodgett

Michele Baltus and Rick Davis Family Fund

Bobbye Bartels

Arteca Bellavance

Lolli Bonte

Roger and Carol Brooks

Ken and Patricia Brunini

Leonard and Eileen Brunk

Dick and Jill Cane

Douglas Chamberlain

Robert and Mary Davies

Jay and Antonia Dinkel

Candace Dochstader

Sherry and Jack Dutzy

Marie Falzone

Armig Ferris

Noel and Dora Friedman

David and Peggy Gilmour

Leonora LaDue and Mark Goldstein

In memory of Marilyn LaDue

Lois Grant

Mr. and Mrs. Gual

Sarah, David, Ian and Sean Hall

Don and Mary Hayes

Benjamin and Jean Horne

Lindsey Humes

Kathy Theophilos

Jane Jones

Sia Juris

Sheila Kabat

Robert E Lash

Bette and Elliot Lasky

Mike and Betty Lenehan

Rebecca Kadish and Robert Levine

Mary Licking

Nancy Linsley

Sylvia Lundberg

Erika Cross MacDonald

In honor of David Bahi

Gene and Jan Madigan

Christy Houpis and Dawn McGuire

Paul and Liz McKenzie

On behalf of celebrating your wedding day!

Richard McKenzie

On behalf of celebrating Paul and Liz McKenzie’s wedding

Jackson and Patricia McLaughlin

Mary McLaughlin

David and Mary Murphy

Judith Murray

Chris Nevins

Roy and Patricia Hugenberger

Anne-Marie Pelkey

Rita Ralston

Doreen Ramirez

Sandy Rodgers

Michael Rosenblum and Stephanie Wolf-Rosenblum

Mark and Cynthia Rouvalis

Roger and Adelaide Saunders

Walter Schier

Alexandra Shaplyko

Ken and Sharon Wall

Beth Sheehan

Paul S. Spivack

Kent and Donna Swanson

William and Frances Upham

The Westner family

Kirke and Michelle Wheeler

Bruce Wilburn

Dave and Barb Young

Congratulations to Paul and Liz McKenzie on your wedding. May the music be with you always!

Up to $99

Anonymous (2)

Rocio Alexander

Rosemary and Dave Audette

Symphony NH gratefully acknowledges the following donors who have contributed to our mission of making great music accessible and providing learning opportunities to enrich diverse audiences Listed below are gifts made between July 1, 2021 and June 30, 2022.

Jeanne Bausha

Carola Beasley-Topliffe

Daniel Blazej

Kathryn Borenstein

Roberta Brayer

Christina Brown

Louis and Maria Candito

John and Elizabeth Cepaitis

Ruth Chevion

Caren Citagliano

Rosemary Clough

Tracy Danziger

Ryan DeLosa

Dave and Sherry Diamond

Lois Dixon

Eric and Antoinette Drouart

Carol Engholm

Richard Erausquin

Glenda and Ed Fischer

Liz and Garth Fletcher

Wayland Foote

Gail Forthoffer

Edith Frank

Laura Fraser

Charles Friou

John and Barbara Furlong

Jeff Gendron

Robert and Linda Gerlach

Robert Goff

Wayne and Laura Goldner

Janice and James Harrison

Rebecca Hecking

Laurel Horne

Walter Jackson

Sally Jasper

Leslie Johnson

Rosemary Johnson

Marilyn Jonas

Michael Joseph

Pamela and Alan Kirby

Donna Kraus

Carol LaChance

Judy Lange

Madeleine LaRose

Charlotte Leto

James Lynch

Elizabeth MacDonald

Elizabeth MacMillan

Pamela Magrath

Debra Manseau

Fernand and Janice Martin

Thomas and Irene McManus

Mary Mechling

Katherine Messner

Ann Miles

Anne Moulton

Shahriar and Mona Movafaghi

Patricia Mullin

Virginia Nedved-Cook

Jacqui O’Shea

William Pariser

Alyssa Partridge

Denise Perry

Brian Pierce

Karen Price

Xiaofei Pu

Craig and Debra Putnam

Mona and Malcolm Roberts

Tim Roukey

James Sama

Victoria Sandin

Robert Scarponi

Maria Sehovich

Katherine Staveley

Sunshine Clark-Wilkins Elementary in honor of David M. Wright

David Thirkill

Kathleen Thurston

Trina Toups

Barbara Travis

Richard Tripp

Philip Trowbridge

Nita and James Vandt

Mary Walker

Thom Walters

Jane E. Washburn

Craig Webb

Deb and Andrew Westwood

Anne Wilbur

Leslie and Stephen Woodard

Sponsors and Collaborative

Music Director Sponsor

Patricia Thurber

ConcertMaster Sponsor

Bob Oot and Carol Robey

Presenting Sponsors

Maestro Sponsor Community Partner

Partners

With additional support from:

Thank you!

100th Anniversary Collaborative Partners

Foundations

Ella F . Anderson Trust

The Bagan Foundation

Citizens Bank Trusts/Ayer Trust

Conway Arena Ice Commission

The Demoulas Foundation

Samuel P. Hunt Foundation

The McIninch Foundation

RBC Foundation

Rotary Club West

Frederick Smyth Institute of Music

Madelaine G . Von Weber Trust

Board of Trustees

OFFICERS

Mary Jordan, President

Harold Clark, Vice President

Joseph Kenny, Treasurer

Pam Baker, Secretary

TRUSTEES

David Bahi

Geraldine Boisvert

Ann N. Conway

Donald McDonah

Bettejean Neveux

Robert Oot

John Rein

Ashwini Saxena

Galina Szakacs

Amir Toosi

Wilberto Torres

Olga Usyk

Drew Wilson

EX-OFFICIO MEMBERS

Deanna Hoying, Executive Director

Roger Kalia, Music Director

Rosemary Johnson, President, Friends of Symphony NH

Ron Kaye, Chair, Symphony NH Players’ Committee Representative

Cheryl Bishkoff, Vice-Chair, Symphony NH Players’ Committee Representative

Staff

Deanna Hoying Executive Director

Joseph DuBose Orchestra Librarian | Personnel Manager

Paul LaFlamme Production Manager

Kate Merges Patron Systems and Marketing Manager | Graphic Design

Laura Grant Interim Director of Marketing and Communications /

Press Contact - (917) 359-7319 | laura@grant-communications.com

Sophie Nahrmann Assistant Personnel Manager

Musicians

Violins

Elliott Markow

Concertmaster

Emma Kondo Powell

Assistant Concertmaster

Kun Shao

Principal Second

Amy Ripka

Assistant Principal Second

Jane Dimitry

Lynn Basila

Nancy Goodwin

Leonora LaDue

Sargis Karapetyan

Ana-Maria LaPointe

Aleksandra Labinska

Viola

Dani Rimoni Principal Viola

Elaine Leisinger

Assistant Principal Viola

Elisabeth Westner

Kathleen Kalogeras

Seeun Oh

Nissim Tseytlin

Cello

Harel Gietheim Principal Cello

Nathaniel Lathrop

Alexander Badalov

Young Sook Lee

Priscilla Hayes Taylor

Bass

Volker Nahrmann Principal Bass

Robert F. Hoffman

Flutes

Kathleen Boyd Principal

Nina Barwell

Oboes

Cheryl Bishkoff Principal

Ronald Kaye

Kyoko Battaglia English horn

Clarinets

Mackenzie Austin Principal

Bassoons

Michael Mechanic Principal

Sally Merriman

Horns

Steven Harmon Principal

Kristin Olsen

Michael H . Weinstein

Ellen Michaud Martins

Trumpets

Richard Watson Principal

Richard Kelley

Trombones

John Faieta Principal

Wes Hopper

Timpani & Percussion

Jeffrey Bluhm Principal

Harp

Katie Lyon-Pingree Principal

Next Concerts

April 1 | Nashua

7:30 PM

Keefe Center for the Arts

Tickets starting at $18 / Senior Rates / $10 Tickets for FT Students and Youth 13+ / Children 12 & under attend FREE with purchase of Adult or Senior ticket Tap here for more info

Spring is in the air – and so is passion! The evening begins with the modern, beautiful and poignant Suite from Maria de Buenos Aires - Ástor Piazzolla’s “little tango opera”. Next, experience Mahler like you never have before in an intimate arrangement of Titan for chamber ensemble. A joyous celebration of life in its final movement welcomes the end of the cold weather like no other concert can.

We are turning 100!

Join us for our Centennial Concert and post-concert gala celebration

April 29 |

Nashua

4:00 PM Concert at the NEW Nashua Performing Arts Center

6:30 PM Post-Concert Gala at the Courtyard Marriot of Nashua

100 years concert and Post-Concert Centennial Anniversary gala

Seating limited. Reserve your tickets early! Tap here for more info

Symphony NH marks the anniversary of its very first concert TO THE DAY at the new Nashua Center for the Arts! Join us for a concert featuring acclaimed cellist Amit Peled, who performed Dvořák’s Cello Concerto with SNH in 2001, followed by two works played on Symphony NH’s very first concert on April 29, 1923: a movement from Schubert’s “Unfinished” Symphony – and Strauss’s On the Beautiful Blue Danube, a piece that has stood the test of time. A special gala celebration and dinner follow. We hope you will join us for this fun-filled evening as we celebrate our 100th year and reveal insights into our much-anticipated 2023-24 season.