Mozart's Requiem Program Book - Symphony New Hampshire

2022-23 season March 5 · 2023

CELEBRATING

AS 100 YEARS THE

SYMPHONIC SOUND OF THE

GRANITE STATE Office Location: 6 Church St. Nashua, NH Mail to: PO Box 1350 Nashua, NH 03061 Contact Us: E-mail: snh@symphonynh.org General Office: 603-595-9156 Website: symphonynh.org

Mozart’s Requiem

2022-23 season March 5 · 2023

In Memoriam / Dedication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Welcome from the Executive Director. . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Letter from the President of the Board . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Letter from Roger Kalia, Music Director . . . . . . . . . . . . . . . . . . . . . . . . . 4 Biography of Roger Kalia, Music Director. . . . . . . . . . . . . . . . . . . . . . . . 8 Mozart’s Requiem Program Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Meet the Soloists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Musicians. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Annual Fund Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Business Sponsors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 100th Anniversary Collaborative Partners. . . . . . . . . . . . . . . . . . . . . . . 31 Symphony NH Board of Trustees and Staff . . . . . . . . . . . . . . . . . . . . . 32 Symphony NH Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 2022-23 Season Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Just Announced!

In Memoriam and In D

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 and providing learning opportunities to enrich diverse audiences.

Listed below are gifts made between July 1, 2021 and June 30, 2022.

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Dedication To

Richard McKenzie On behalf of Liz and Paul McKenzie Leonora LaDue and Mark Goldstein In memory of Marilyn LaDue Carol Houde and Stephen Gronberg In honor of Barb Young New Hampshire Imaging Services In honor of Robert Oot Anonymous In memory of Carol Austin Blodgett Sunshine Clark-Wilkins Elementary School Household In honor of David M. Wright 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 • Page 5 •

Welcome!

Deanna Hoying Headshot

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,

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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

Letter from the President of the Board of Directors

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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 • Page 9 •

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

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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

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

— THE REPUBLIC (IN)

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 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)

— p ro g ra m not e s —

Mozart’s Requiem Mozart’s Requiem 

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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

Carley DeFranco, soprano Kristin Lawler, alto Jonas Budris, tenor Thomas Warden, baritone Nashua Choral Society Nashoba Valley Chorale

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

This evening’s concert will run for approximately 60 minutes with no ntermission.

— p rogram not e s —

Ode to NH 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

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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. 

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Requiem in D Minor, K. 626 (1791) Wolfgang Amadeus Mozart (1756–1791) 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.

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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.

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.

Movie poster for Amadeus (1984)

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.

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

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. 

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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.

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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.

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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.

— Sym phony NH Musicians —

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

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

TRUMPETS Richard Watson Principal Andrew Sorg

TROMBONES John Faieta Principal Wes Hopper Charles Morris

TIMPANI & PERCUSSION Jeffrey Bluhm Principal

ORGAN

VIOLA

BASSOONS

Dani Rimoni Principal Elaine Leisinger Assistant Principal Seeun Oh Nissim Tseytlin

Michael Mechanic Principal Donna Taub

Emily Adams

— N a s hu a C h o ra l S o c i e t y Rost e r —

Reagan Paras, Music Director

ALTOS

SOPRANOS

TENORS

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

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

Daniel Bettencourt Veronica-Anne Kaminski Reagan Paras Abby Warren

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BASSES Mike Bishop George Gardner Pat Heffernan Mike Mertinooke Walter Noyalis Robert Rosentel Walter Schier

— Na s hob a Va l l e y C h o rale Rost e r —

Anne Watson Born, Music Director

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

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

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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

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.

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

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

• Page 27 •

LOCAL. GLOBAL. DEEPLY NEW HAMPSHIRE. News from New Hampshire and

ON-AIR | ONLINE | ON-DEMAND

89.1 Concord/Manchester | nhpr.org

Sponsors and Collaborative Music Director Sponsor Patricia Thurber

ConcertMaster Sponsor Bob Oot and Carol Robey

Presenting Sponsors

Maestro Sponsor

• Page 30 •

Community Partner

Thank

Partners With additional support from:

k 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

• Page 31 •

Symphony NH 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

Cello

Oboes

Horns

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

Harel Gietheim Principal Cello Nathaniel Lathrop Alexander Badalov Young Sook Lee Priscilla Hayes Taylor

Cheryl Bishkoff Principal Ronald Kaye Kyoko Battaglia English horn

Steven Harmon Principal Kristin Olsen Michael H. Weinstein Ellen Michaud Martins

Clarinets

Trumpets

Mackenzie Austin Principal

Richard Watson Principal Richard Kelley

Viola Dani Rimoni Principal Viola Elaine Leisinger Assistant Principal Viola Elisabeth Westner Kathleen Kalogeras Seeun Oh Nissim Tseytlin

Bass Volker Nahrmann Principal Bass Robert F. Hoffman

Flutes Kathleen Boyd Principal Nina Barwell

Bassoons Michael Mechanic Principal Sally Merriman

Trombones John Faieta Principal Wes Hopper

Timpani & Percussion Jeffrey Bluhm Principal

Harp Katie Lyon-Pingree Principal

• Page 33 •

Symphony NH 2022-23 Season

Calendar of Events Oct 2 Concord

Dec 10 NASHUA

Apr 1 NASHUA

Apr 29 Manchester

100 Year Anniversary Concert!

NASHUA

Dec 11 Concord

Mar 5 NASHUA

Apr Post-Concert Centennial Anniversary 29 Fanfare gala

Oct 1

Sep 17 NASHUA

May 13 NASHUA

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.

us for our Centennial Concert We are turning 100! Join 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.

follow our social media all off-season for news & updates

Office Location: 6 Church St. Nashua, NH • Mail to: PO Box 1350, Nashua, NH 03061 E-mail: snh@symphonynh.org • General Office: 603-595-9156 • Website: symphonynh.org