Ode toNH 2022-23 season Volume 1 • September 17
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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”.
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. Hoying Executive Director
Connection
DeannaSincerely,R.
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.
Welcome!
Letter from the President of the Board of Directors
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MarySincerely,Jordan
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.
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!
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.
Meet Our Music Director Roger Kalia
Symphony
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.
Dear WelcomeFriends,toour
Sincerely,RogerKaliaMusicDirector, NH
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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!
AS THE CELEBRATING 100YEARS SYMPHONICSOUND OF THE GRANITE S T A TE
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
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 2022-23 season Volume 1 • September 17 • Page 7 •
Ode to NH
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 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,
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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
Roger Kalia Music Director, Symphony NH
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.
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 brings a fresh view to the classical music.”
“Kalia led with passionate intensity and a clear beat ... he’s one to watch.”
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.
— THE REPUBLIC (IN)
“... what a “Scottish”theperformanceremarkable[ofMendelssohnSymphony]...Mendelssohn’spaeantotheruggedbeautyofthatnorthernnation came alive in this fine performance, with the EPO under the extraordinary leadership of Kalia.”
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.
— THE GLENS FALLS CHRONICLE (NY)
— 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.”
— LONG BEACH GAZETTE (CA)
Ode to NH
Ode to NH
Lunastella Fuga Oliver Caplan (b. 1982)
— program notes —
Roger Kalia, Conductor
This evening’s concert will run for approximately 50 minutes with no intermission.
“Shaking and Trembling” from Shaker Loops John Adams (b. 1947)
Suite from The Firebird Igor Stravinsky (1882-1971), arr. Paul Leonard Schäffer
Bal Masque, Op. 22 (1894) Amy Beach (1867–1944)
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:
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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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
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
“Shaking and Trembling” from Shaker Loops (1982)
John Adams (b. 1947)
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.
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
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.
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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.
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.
Bal Masque, Op. 22 (1894)
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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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
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.
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
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Suite from The Firebird (1909-1910; rev. 1919 and 1945, arr. 2018)
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
Igor Stravinsky (1882-1971), arr. Paul Leonard Schäffer
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 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
christine wisch Program Annotator
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.
CELLO
— Roster — Ode
BASS
VIOLA
PIANO
Kyoko Battaglia Acting Principal Ronald Kaye CLARINETS
VIOLIN 1
VIOLIN 2
Dani Rimoni Principal Elaine Leisinger Assistant Principal Elisabeth Westner
John Faieta Principal
Steven Harmon Principal Sophie Flood
Mackenzie Austin Principal Margo McGowan
Richard Watson Principal TROMBONE
TIMPANI PERCUSSION&
Michael Mechanic Principal Sally Merriman
TRUMPET
OBOES
Kathleen Boyd Principal Nina Barwell
Elliott Markow Concertmaster Lynn LeonoraAna-MariaBasilaLaPointeLaDue
Volker Nahrmann Principal Robert F. Hoffmann FLUTES
Jeffrey Bluhm Principal Dylan WilliamBarberManley
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Nathaniel Lathrop Acting Principal Young Sook Lee Cameron Sawzin
BASSOONS
HORNS
Amy Lee to NH
Kun Shao Principal Second Sargis Karapetyan Jane AmeliaDimitryPerron
Paul DebMarkDonnaJoshuaRivenburghRosenRosenstockandLindsaySternStone
Ardath MarshallBlauveltandElena Jespersen James and Ann Conway Bob Oot and Carol Robey
MaestroCircleConductors$10,000+
Virtuoso $3,000-4,999
In honor of Blue Elmo Mary Winiecki
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In honor of Dr. Robert Oot Peter Toumanoff
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Walter
Up to $99
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Anonymous (2)
On behalf of celebrating your wedding day!
Carola Beasley-Topliffe
Roger and Adelaide Saunders
Congratulations to Paul and Liz McKenzie on your wedding. May the music be with you always!
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Listed below are gifts made between July 1, 2021 and June 30, 2022.
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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.
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DaveBruceKirkeTheWilliamKentPaulBethKenAlexandraSchierShaplykoandSharonWallSheehanS.SpivackandDonnaSwansonandFrancesUphamWestnerfamilyandMichelleWheelerWilburnandBarbYoung
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• Page 26 • Thank
Maestro Sponsor Community Partner
Patricia Thurber
100th
Samuel P. Hunt Foundation
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Thank you! Partners
• Page 27 •
The Demoulas Foundation
RBC
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With additional support from:
Foundations
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Robert Oot John Rein Ashwini Saxena GalinaAmirSzakacsToosi WilbertoDrewOlgaTorresUsykWilson
David Bahi Geraldine Boisvert Ann N. Conway Donald BettejeanMcDonahNeveux
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
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Symphony NH
OFFICERS
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Young Sook Lee
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Harel Gietheim Principal Cello Nathaniel Lathrop Alexander Badalov
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Viola
Flutes
Cheryl Bishkoff Principal Ronald Kaye Kyoko Battaglia English horn
Musicians
Jeffrey Bluhm Principal Harp Katie Lyon-Pingree Principal
Trombones
Elliott Markow Concertmaster Emma Kondo Powell Assistant Concertmaster Kun Shao Principal Second Amy Ripka Assistant Principal Second Jane Dimitry Lynn AleksandraAna-MariaSargisLeonoraNancyBasilaGoodwinLaDueKarapetyanLaPointeLabinska
Violins
Dani Rimoni Principal Viola Elaine Leisinger Assistant Principal Viola Elisabeth Westner Kathleen Kalogeras Seeun NissimOhTseytlin
Clarinets
Kathleen Boyd Principal Nina Barwell
Priscilla Hayes Taylor Bass Volker Nahrmann Principal Bass
Horns
Mackenzie Austin Principal Bassoons Michael Mechanic Principal Sally Merriman
Symphony NH 2022-23 Season Calendar of Events Oct 2 Dec 10 Apr 1 Apr 29 Concord NASHUA NASHUA Manchester
Sep 17 Oct 1 Dec 11 Mar 5 Apr 29 May 13FanfareCentennialPost-ConcertAnniversarygala NASHUA NASHUA Concord NASHUANASHUA
Oct 1 | Nashua 7:30 PM / Keefe Center for the Arts Oct 2 | Concord 3:00 PM / Concord City Auditorium Next Concert Post-ConcertCentennialAnniversarygala April 29 | Manchester following the concert/ St. Anselm’s College Seating limited. Reserve your tickets early! Mark your calendars!
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
