Ode to New Hampshire - September 17, 2022 | Symphony NH

Ode to NH 2022-23 season

Volume 1 • September 17

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 5 •

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

Ode to NH

2022-23 season Vo lum e 1 • Se p t e mbe r 17

Welcome from the Executive Director. . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Letter from the President of the Board . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Letter from Roger Kalia, Music Director . . . . . . . . . . . . . . . . . . . . . . . . . 4 Biography of Roger Kalia, Music Director. . . . . . . . . . . . . . . . . . . . . . . . 8 Ode to NH Program Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Musicians. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Annual Fund Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Business Sponsors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 100th Anniversary Collaborative Partners. . . . . . . . . . . . . . . . . . . . . . 27 Symphony NH Board of Trustees and Staff . . . . . . . . . . . . . . . . . . . . . 28 Symphony NH Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 2022-23 Season Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

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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.

Inhisvariousmusicdirectorpositions,Kaliahasfocused 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 tenyear 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,

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

— THE REPUBLIC (IN)

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 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 n ot e s —

Ode to NH Ode to NH 

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Roger Kalia, Conductor

Lunastella Fuga Oliver Caplan (b. 1982) “Shaking and Trembling” from Shaker Loops John Adams (b. 1947) Bal Masque, Op. 22 (1894) Amy Beach (1867–1944) Suite from The Firebird Igor Stravinsky (1882-1971), arr. Paul Leonard Schäffer This evening’s concert will run for approximately 50 minutes with no intermission.

— p rogram not e s —

Ode to NH Lunastella Fuga (2012) Oliver Caplan (b. 1982) Owing to its famous granite quarries, New Hampshire bears the official nickname of The Granite State, but it has also been called the Mother of Rivers, the White Mountain State, and the Switzerland of America—all of which pay homage to the state’s picturesque scenery comprised of lush forests, serene lakes, flowing streams and majestic mountains. These idyllic landscapes have served as not only inspiration for the traveling outdoorsman but also for artists across all forms of media.

American composer Oliver Caplan is one of many to find both solace and inspiration in New Hampshire’s natural beauty, and his Lunastella Fuga captures the wonder and beauty of the Granite State’s resplendent skies. Of the piece, which was commissioned by the Sinfonietta of Riverdale in 2012 Caplan provides the following program note: Lunastella Fuga was composed during the dog days of summer, nights spent gazing at the stars and wandering the New Hampshire woodland aglow in the otherworldly light of a blue moon. Large constellations catch the eye first – Orion, Ursa Major, Aquarius – but their constituent triangles and squares are echoed infinitely, a giant fractal, incessantly permeating the firmament.

We are drawn to the art of mimicry, and for composers, the fugue is its playground.

Fugue is a compositional technique built on a melodic theme, first introduced in a single voice (in this piece, the cellos) and

then spiraled throughout the other voices of the ensemble. The theme thrusts forward, transforming as it weaves amidst the voices – augmented, diminished, transposed to other pitches, and so on. The fugue theme seems to be heard everywhere, an astral echo of music in the air.

Although the work aimed to capture the majesty of New Hampshire’s sublime skies, in a recent interview, Caplan remarked on the changing significance of the piece. Caplan explained that typically the work has been understood simply as a reflection of New Hampshire’s evening wonders in which the fugue serves as a “metaphor for structural infinity.” In the wake of the pandemic, however, the piece has come to represent a type of togetherness and connection, as it recalls the friendship and memories shared during these annual cabin trips.

A recent winner of the American Prize (2020) and the Cum Laude Music Awards (2021), Caplan is already an established American composer with over 50 compositions for solo instruments, chamber ensembles, and orchestra. As heard in Lunastella Fuga, Caplan frequently takes inspiration from the world around him, celebrating nature and the human spirit. In addition to his compositional activities, Caplan serves as the director of the Juventas New Music Ensemble (Boston, MA), a group dedicated to performing the works of rising composers under age 35. For more information on Caplan and his works, visit www.olivercaplan.com. 

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“Shaking and Trembling” from Shaker Loops (1982) John Adams (b. 1947) Few composers are associated with such important stylistic movements as John Adams is with minimalism. With a focus on repetitive rhythmic or gestural patterns, slow-moving harmonies and drones, and subtle shifts of texture, color, and volume, minimalism affords performers and listeners opportunities to focus on the nuances of sound creation and effect.

Often seen as a reaction to esoteric and avantgarde works of the 1960s, in its early days, minimalism was pioneered by five American composers: Terry Riley, Steve Reich, Philip Glass, La Monte Young, and John Adams. It became and remains one of the most influential musical developments of recent history, constituting not only an aesthetic movement but also now a style frequently found in orchestral, film, and even video game music.

The techniques and processes associated with minimalism are on full display in Adams’s lauded work, Shaker Loops, which also draws from the composer’s interest in waveforms and a bit of historical imagination. Shaker Loops began its life as a string quartet titled Wavemaker, a piece intended to evoke rings or ripples on a water’s surface. The 1978 premiere at the Cabrillo Festival of Contemporary Music left much to be desired, so Adams began reworking the piece. The result was Shaker Loops, a four-movement composition for string septet that borrowed material from Wavemaker but which, in Adams’s own words, “used the fabric of continually repeating cells to forge large architectonic shapes, creating a web of activity that, even within the course of a single movement, was more detailed, more varied, and knew both light and dark, serenity and turbulence.” The “loop” part of the work’s title references the process of looping, which, at the time Adams composed the piece, referenced the

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physical act of “looping” one end of a recorded tape to another to create an endless repetition of musical material. The “Shaker” component of the work has a double meaning, as it references both the literal shaking effect performed by the string players and the millennial restorationist religious sect known as the Shakers.

Adams, who grew up near the Shaker colony of Canterbury, New Hampshire, described his vision of Shaker Loops as presenting “these otherwise pious and industrious souls caught up in the ecstatic frenzy of a dance that culminated in an epiphany of physical and spiritual transcendence.” The four movements flow together, building in dynamic and rhythmic intensity through the peak of the third movement, while the final movement offers a sort of afterglow. Despite its title, the work does not draw on any Shaker musical material, featuring only a musical interpretation of the purported fervor of their worshipping. In “Shaking and Trembling,” the first of the four movements comprising Shaker Loops, Adams aims to capture the first moments of this imagined ecstatic worship, evoking a literal “shaking” through repetition and oscillation of pitches in the upper strings. Bell-like interjections traverse the ensemble, taking on a slightly different rhythm or duration each time. Although the harmonic movement is slow, the tempo and notes move quickly, requiring an intense concentration on the part of the musicians that perhaps rivals the focus and intensity of Shaker worship.

Along with the renowned Phrygian Gates (1977), scholars have identified Shaker Loops as a pivotal work in Adams’s career, recognizing not only its internal structure and musical processes, but also its audience accessibility. Adams’s use of recognizable modes and keys stands in contrast to an earlier compositional period characterized by modernist techniques that largely eschewed references to tonality. Today, Shaker Loops remains one of Adams’s most popular works, being performed in both its original form as a

septet and in the version for string orchestra. The first movement has been successful on its own, featuring in the 1987 film Barfly and appearing in a popular adaptation with words by British singer Jon Anderson. 

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Bal Masque, Op. 22 (1894) Amy Marcy Cheney Beach (1867–1944) Born in West Henniker, Amy Marcy Beach is arguably New Hampshire’s most famous classical musician. Her life and compositions balance tradition with innovation while testifying to the complicated gender and class expectations that dominated the musical life of the Victorian era. A child prodigy who was already composing her own short pieces for piano by age three, Beach was largely self-taught, studying harmony and counterpoint formally for only a year. Her concert debut at age sixteen launched her into a successful performing career that included a concert with the Boston Symphony. Her marriage, however, curtailed both her performing and teaching career, for society deemed it inappropriate for a married woman to be anything other than a patron of the arts. In this capacity, she performed publicly only once a year—always for charity. During her marriage, from 1885–1910, she channeled her artistic creativity into composing, writing dozens of songs, chamber works, and even her revered Gaelic Symphony.

Bal Masque is one of the many works written during this compositionally rich period of Beach’s life. The piece was originally written as a miniature for solo piano. Short dance and character pieces for piano were especially popular during the time, as they provided entertainment and formed the core of domestic music making. In 1894, Beach arranged her popular piano piece for orchestra, an unusual move by a female but one that perhaps speaks

to the practice of masquerade balls themselves, as these events typically featured live orchestras or small ensembles charged with maintaining the festive atmosphere and providing the appropriate musical dance material.

When we hear the opening measures of the orchestral arrangement of Amy Beach’s Bal Masque, we are immediately transported into the surprise and splendor of a masquerade ball.

The piece itself is a delightful waltz that follows the standard form of the time. A brilliant, declamatory introduction announces the start of the dance, and the waltz proper begins with the characteristic “oom-pah-pah” and graceful melody. Typical of waltzes, the piece falls into a three-part ABA structure. Within these larger sections, there are repetitions of material, although each is slightly varied—in the orchestral arrangement, Beach utilizes the wealth of instruments to play with color and texture within these repetitions. The melodic material in both sections is borrowed from previous compositions: the opening melody quotes “Wouldn’t That Be Queer” from her opus 26, while the contrasting middle section draws from “Pierrot and Pierrette” of her Children’s Carnival, op. 25.

Bal masque is unique in Beach’s repertoire, for it is the only single-movement orchestral work that she composed. The piece was not published in its orchestral form during her lifetime. Rather, the work was finally engraved and edited by Chris A. Trotman in 2018 as part of the 150th Anniversary celebration of Amy Beach presented by the Women’s Philharmonic Advocacy, an outgrowth of the former San Francisco-based Women’s Philharmonic. Tonight’s performance marks the Symphony New Hampshire premiere of this work by the Granite State’s most famous classical daughter. 

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Suite from The Firebird

(1909-1910; rev. 1919 and 1945, arr. 2018)

Igor Stravinsky (1882-1971), arr. Paul Leonard Schäffer Slavic folklore tells of a large, majestic bird whose feathers glow brightly in shades of yellow, orange, and red. Typical tales of the bird often involve finding a single glowing feather whose discovery prompts a quest of the bird itself.

The magical qualities of the bird and its fiery plumage have inspired many artists to create their own versions of the legend. In 1909, Sergei Diaghilev, a Russian-born impresario looking to introduce Western audiences to modern Russian art and music, imagined turning the magical tale into a ballet for his Ballets Russes, a Russian dance company that he founded that year in Paris. Diaghilev approached his young compatriot Igor Stravinsky, who, at just 28 years old, was only beginning to make a name for himself following his formal studies with Nicolai Rimsky-Korsakov. (The infamous incident regarding The Rite of Spring, another Ballets Russes production, would happen the following year!)

Diaghilev’s decision to hire Stravinsky paid off well for both parties. Stravinsky’s score earned him great praise and even led some to consider him the successor to the previous generation of Russian nationalist composers known as “The Mighty Five.” Following the 1910 premiere of The Firebird, Stravinsky excerpted sections and arranged them into an orchestral suite, first in 1910, again in 1919, and a third time in 1945.

In 2018, German composer and pianist Paul Leonard Schäffer reorchestrated the complete

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suite from 1945 for chamber orchestra; tonight’s performance features the original seven movements that comprised the 1919 version but in this new chamber arrangement. The first three movements, “Introduction,” “The Firebird and its Dance,” and “The Firebird’s Variation” were drawn from the opening sections of the ballet in which the story’s protagonist, Prince Ivan, goes hunting and comes across the spectacular Firebird. During the Firebird’s dance, the magnificent creature convinces Ivan to spare her in exchange for one of her feathers. In the fourth movement, “The Princesses’ Khorovod,” Prince Ivan encounters a group of princesses.

As he watches the princesses perform a khorovod, a Slavic circle dance, Ivan falls in love with one of the princesses. For this movement, Stravinsky quotes a traditional folk song and features woodwinds prominently to give the scene a pastoral quality. Ivan soon finds himself in trouble with the powerful and immortal Kachtcheï, and after using the Firebird’s feather to protect himself, he summons her for help.

In the fifth movement, the famous “Infernal Dance of King Kachtcheï,” Kachtcheï’s monsters perform a frenzied, demonic dance under the spell of the Firebird. The sixth movement, “Berceuse,” is a lullaby in which the Firebird sings Kachtcheï to sleep. In the Finale, all is restored, as spells are broken, and the characters celebrate their victory over the evil Kachtcheï. Though the Firebird does not make an onstage appearance in the ballet’s last scene, her presence is suggested through the return of the Firebird theme. For the work’s conclusion, Stravinsky again incorporates folk music, first presented as a poignant horn solo and then transformed into a majestic and stirring orchestral finish.

christine wisch Program Annotator Christine Wisch is a PhD candidate 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.

— Rost e r —

Ode to NH

VIOLIN 1

BASS

HORNS

Elliott Markow

Volker Nahrmann Principal Robert F. Hoffmann

Steven Harmon Principal Sophie Flood

FLUTES

TRUMPET

Kathleen Boyd Principal Nina Barwell

Richard Watson Principal

Concertmaster

Lynn Basila Ana-Maria LaPointe Leonora LaDue

VIOLIN 2 Kun Shao Principal Second Sargis Karapetyan Jane Dimitry Amelia Perron

OBOES Kyoko Battaglia Acting Principal Ronald Kaye

VIOLA

CLARINETS

Dani Rimoni Principal Elaine Leisinger

Mackenzie Austin Principal Margo McGowan

Assistant Principal

Elisabeth Westner

BASSOONS

CELLO

Michael Mechanic Principal Sally Merriman

Nathaniel Lathrop Acting Principal

Young Sook Lee Cameron Sawzin

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TROMBONE John Faieta Principal

TIMPANI & PERCUSSION Jeffrey Bluhm Principal Dylan Barber William Manley

PIANO Amy Lee

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

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

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Sponsors and Collaborative Music Director Sponsor Patricia Thurber

Presenting Sponsors

Maestro Sponsor

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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 27 •

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. Hoffmann

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 29 •

Symphony NH 2022-23 Season

Calendar of Events Oct 2 Concord

Dec 10 NASHUA

Apr 1 NASHUA

Apr 29 Manchester

Post-Concert Centennial Anniversary Fanfare gala

Oct 1

Sep 17 NASHUA

NASHUA

Dec 11 Concord

Mar 5 NASHUA

Apr 29

May 13 NASHUA

Next Concert

Oct 1 | Nashua 7:30 PM / Keefe Center for the Arts Oct 2 | Concord 3:00 PM / Concord City Auditorium

Mark your calendars!

Post-Concert Centennial Anniversary gala April 29 | Manchester following the concert/ St. Anselm’s College Seating limited. Reserve your tickets early!

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