Ovations! Mahler 4

Symphony NH

Mahler 4 October 24, 2024 Nashua Center for the Arts

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Table of Contents: Welcome from the Executive Director & our Board President

5

Today’s Program

6

Our Musicians for Today

8

A letter from our Music Director

10

Biography of Roger Kalia, Music Director

11

Carley DeFranco, Guest Soprano

12

Program Notes Samuel Barber

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Program Notes Gustav Mahler

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2024/25 Season Schedule

19

Annual Fund Contributors

21-22

Corporate and Foundation Support

24

Symphony NH Board of Trustees and Staff

25

2024/25 Season Symphony NH Musicians

26

2024 Fanfare Sponsors Thank you

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A LETTER FROM OUR EXECUTIVE DIRECTOR & BOARD CHAIR

As we embark on another exciting season of music, we are filled with gratitude and anticipation for the journey ahead. Whether you are a long-time supporter or new to our community, we extend our warmest welcome to you.

This season promises to be a remarkable one, with a lineup of performances that will showcase both timeless masterpieces and innovative new works. Our talented musicians, under the inspiring leadership of Roger Kalia, have been working tirelessly to bring you an unforgettable experience. Each concert will be a celebration of the artistry, passion, and dedication that define our orchestra.

We also want to share that this season will be particularly special as it marks Maestro Kalia’s final year with us as Music Director. Over the years, Roger has brought extraordinary vision, energy, and artistry to our orchestra, elevating our performances and leaving an indelible mark on our community. We invite you to join us in celebrating his remarkable tenure and to experience the musical journey we have planned for this farewell season.

At Symphony NH, we believe that music has the power to unite, heal, and inspire.

In a world that can sometimes feel divided, our mission is to create moments of connection through the universal language of music. We are committed to making our performances accessible to all, and we are proud of the diverse and inclusive community that we continue to build together.

We are continuing our educational programs, deepening our engagement with young audiences, and enhancing our relationships with other nonprofits and partner venues around the state. This allows us to reach more people than ever before. These efforts would not be possible without the generous support of our patrons, sponsors, and volunteers. Your contributions are the lifeblood of our organization, and we are profoundly thankful for your unwavering commitment.

As we look forward to the months ahead, we are reminded of the extraordinary privilege it is to be a part of this vibrant musical community. We are excited to share this journey with you and to create lasting memories together.

Thank you for your continued support, and we can’t wait to see you at the symphony!

With warm regards, Deanna R. Hoying Executive Director

Don McDonah, M.D. Board President

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Mahler 4

Visions of Heaven 

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Roger Kalia, Conductor Carley DeFranco, Soprano

Knoxville: Summer of 1915 Samuel Barber

Symphony No. 4 in G Major Gustav Mahler I. Bedächtig, nicht eilen II. In gemächlicher Bewegung, ohne Hast III. Ruhevoll, poco adagio IV. Sehr behaglich Arranged by Iain Farrington

Our musicians for today VIOLIN 1

BASS

HORN

Jiuri Yu Acting Concertmaster Katharina Radlberger

Volker Nahrmann Principal Greg Holt

Steven Harmon Principal Michael Weinstein

FLUTE

TRUMPET

Peggy Friedland Guest Principal

Richard Watson Principal

OBOE

TROMBONE

Cheryl Bishkoff Principal

Zachary Haas Guest Principal

CLARINET Marguerite Levin Guest Principal

TIMPANI & PERCUSSION

BASSOON

Jeffrey Bluhm Principal Jeff Sagurton

Ana-Maria LaPointe Jessica Helie

VIOLIN 2 Amy Ripka Assistant Principal Second Amelia Perron Leonora LaDue

VIOLA Dani Rimoni Principal Elaine Leisinger Assistant Principal Seeun Oh

CELLO Nathaniel Lathrop Assistant Principal Alexander Badalov Priscilla Taylor

Sally Merriman Acting Principal

HARP Maria Ren Guest Principal

A LETTER FROM OUR MUSIC DIRECTOR Dear Friends, Welcome to Symphony NH’s 2024-25 season! This year, we are thrilled to present a season rich in variety, spanning from Beethoven to Mahler to Hollywood Hits, and much more. Our repertoire is diverse, and we are excited to feature an eclectic lineup of guest artists, while continuing to showcase the extraordinary talents of the musicians of Symphony NH. As many of you may know, this will be my final season as your music director. The past six years have been a truly special chapter in my life, and I am deeply proud of what we have accomplished together. It has been an honor to lead the organization through its milestone 100th anniversary and to bring the orchestra to cities across the Granite State. The challenges of navigating the pandemic and re-imagining the concert experience—whether symphonic or chamber—have been profound, and I take pride in the fact that we continued to create opportunities for our musicians and bring music to so many people during that time. Most importantly, I will cherish the friendships and connections I’ve made with so many wonderful people over these years.

This season features some of my favorite works in the symphonic repertoire. Our opening concert includes Mahler’s breathtaking Symphony No. 4 in a unique chamber orchestra arrangement by Iain Farrington. Later, we will perform Beethoven’s Symphony No. 3, “Eroica,” along with Gershwin’s Rhapsody in Blue and Copland’s monumental Symphony No. 3. In a special concert, our remarkable woodwind and brass players will be highlighted in “Serenade for Winds,” which includes Mozart’s enchanting Gran Partita and Dvořák’s Serenade of the Winds—plus a surprise addition! I am also excited to present a program of beloved overtures, including Mozart’s Overture to The Marriage of Figaro and Bernstein’s Overture to West Side Story. Additionally, it will be a joy to share the stage with our outstanding guest artists this season, such as soprano Carley DeFranco and pianist Fei-Fei. While this season is bittersweet for me, I look forward to every moment we will share in what promises to be a series of thrilling performances and unforgettable memories as I conclude my time as music director. Thank you for your unwavering support and enthusiasm over these past six years. I look forward to this season of music making and am thrilled you are part of it!

Sincerely,

Roger Kalia Music Director, Symphony NH

Roger Kalia Music Director, Symphony NH

Praised for bringing a “fresh view to classical music” (The Republic), Indian American conductor Roger Kalia is a versatile communicator who brings unique and unmistakable energy to the podium. Recently profiled by Symphony Magazine in recognition of his innovative programming, Kalia has been hailed as “leading with passionate intensity and a clear beat” as well as being “one to watch” (Long Beach Gazette).

Kalia is now in his fifth season as Music Director of the Evansville Philharmonic, his sixth season as Music Director of Symphony New Hampshire, and in his seventh season with Orchestra Santa Monica. He was most recently appointed Artistic Director Designate of the Terre Haute Symphony Orchestra for the 2024-25 season, and he will assume the role of Artistic Director during the 2025-26 season. He is also Co-Founder and Music Director of the celebrated Lake George Music Festival in upstate New York which has been described as “an unparalleled classical music experience in the Adirondacks” (Chronogram). The recipient of several awards from The Solti Foundation U.S., including an Elizabeth Buccheri Opera Residency with Lyric Opera of Chicago and five Career Assistance Awards, Kalia has been praised for his “extraordinary leadership” (Courier & Press).

The 2024-25 season features Kalia’s debut with the Amarillo Symphony and a return to the Redlands Bowl to conduct the Grand Finals of the prestigious Young Artists Concerto Competition as part of the Redlands Bowl Summer Music Festival.

In recent seasons, he has appeared with the National Symphony Orchestra at the Kennedy Center, Chicago Sinfonietta, Louisiana Philharmonic, Baltimore Chamber

Orchestra, Szczecin Philharmonic (Poland), Hollywood Chamber Orchestra, Boise Philharmonic, Spartanburg Philharmonic, Columbus Indiana Philharmonic, and the symphony orchestras of Redlands, Lima, Adrian, Bakersfield, Great Falls, Owensboro, Spokane, and Wheeling.

In his various music director positions, Kalia has focused on innovative artistic partnerships highlighting a variety of community partners. In 2023, Kalia collaborated with acclaimed Bollywood singer Anuradha “Juju” Palakurthi and Symphony New Hampshire in a celebration of Indian culture via a history-spanning performance of Bollywood songs in their first-ever arrangement for Western instruments, Symphony Masala. He commissioned and premiered Orchestra Santa Monica’s inaugural art film in collaboration with composer Derrick Skye titled We Gather: Black Life in Santa Monica, and his early seasons leading the Evansville Philharmonic centered on collaborations with community organizations such as Historic Bosse Field, the Tri-State Hindu Temple, and the Evansville Wartime Museum. Kalia’s groundbreaking programming has been featured on PBS’s “On the Road with Brick Briscoe” and “Regional Voices.”

Kalia has collaborated with a wide range of artists including singers Angela Brown, Shayna Steele, Dan Domenech, and Jubilant Sykes; Grammy-winning trio Time for Three; Indian tabla virtuoso Sandeep Das; singer/ songwriters Randy Newman and Randy Jackson; rock musicians Johnny Rzeznik of the Goo Goo Dolls and Nancy Wilson of Heart; the B-52s; sitar player Anoushka Shankar; and actor Jack Black.

A native of New York State, Kalia holds degrees from Indiana University, the University of Houston, and SUNY Potsdam’s Crane School of Music. He currently resides in Indiana with his wife, musicologist and violinist Christine Wisch.

Carley DeFranco Soprano “Sunny,” “supple,” and “soaring,” Bostonbased soprano Carley DeFranco is committed to giving passionate performances that inspire her community.

Her upcoming projects include Knoxville: Summer of 1915 and Mahler 4 with Symphony NH, La Bonne Chanson with players from Emmanuel Music, appearances with Boston Lyric Opera in their Street Stage and Boston Public Library programming, and concerts of German baroque music with Musicians of the Old Post Road.

Carley’s favorite onstage moments have been those that push beyond the assumed classical music experience into something adventurous. Some of these notable moments include a fully staged Les Illuminations (Britten) with Emmanuel Music and Urbanity Dance choreographed

by Shura Baryshnikov, the Angel in a film version of La Resurrezione (Handel), singing and dancing onstage as a siren in Sirènes (Debussy) with Lorelei Ensemble and Boston Ballet, the premiere of Lost Birds (Christopher Tin) with VOCES 8, a site-specific staging of Frauenliebe und Leben with Boston Opera Collaborative and the premiere of Earth Symphony (Jake Runestad) with True Concord Voices & Orchestra Her 2023-24 season brought a variety of collaborations with chamber, choral and symphonic ensembles, including performances with Worcester Chorus (Handel Messiah), Lexington Symphony (Beethoven 9), Back Bay Chorale (Rossini Giunone), Falmouth Chorale (Mozart Requiem), Sarasa Ensemble (selections from the Bolivian Mission baroque), Monadnock Music (song recital with piano and cello), and her German debut at Bachfest Leipzig with Emmanuel Music. Carley also enjoys performing regularly as a chorister with Handel & Haydn Society, Upper Valley Baroque, True Concord Voices & Orchestra, Oregon Bach Festival Chorus, Boston Lyric Opera Chorus and Emmanuel Music.

Carley believes deeply in the power of community and has roared operatic hits at the Roslindale Holiday Wander promoting small businesses, sung from the back of a pick-up truck with Mass Opera (featured in

Opera America), led pre and post-concert panels with Boston Opera Collaborative, hosted private Zoom concerts with Emmanuel Music’s Musical Conversations initiative and given many tailored programs at birthday parties, wedding celebrations, memorial services and holiday affairs.

This year, Carley founded DeFranco Music LLC, a music studio with ten teachers that partners with local schools to provide afterschool music lessons. She is an Instructor of Voice with Harvard University’s Holden Voice Program and offers private lessons (inperson or online) from her home studio.

Samuel Barber (1910 –1981) Knoxville: Summer of 1915, op. 24 (1947)

Samuel Barber’s Knoxville: Summer of 1915 is a poignant expression of nostalgia and the fleeting nature of childhood in American vocal music. Composed in 1947 and set to James Agee’s prose poem of the same name, the work captures a summer evening in Knoxville, Tennessee, seen through the eyes of a child. Barber, who had no direct connection to Knoxville, found in Agee’s text a powerful reflection of his own memories of childhood. At the time, Barber was coping with his father’s illness, and he described his response to the poem as “immediate and intense.” The result is a “lyric rhapsody” that encapsulates the innocence of youth alongside an awareness of life’s fragility.

Commissioned by soprano Eleanor Steber, who premiered the work with the Boston Symphony Orchestra under Serge Koussevitzky, Knoxville: Summer of 1915 is a single-movement piece structured to mirror the stream-of-consciousness style of Agee’s writing. The prose poem, later included in Agee’s Pulitzer Prize-winning novel A Death in the Family (1957), begins: “We are talking now of summer evenings in Knoxville, Tennessee in the time that I lived there so successfully disguised to myself as a child.”

Agee’s words reflect both the simplicity and the complexity of childhood, where innocence coexists with a growing awareness of the world’s uncertainties.

Barber’s music closely follows the emotional contours of Agee’s text. The piece opens with a gentle orchestral introduction that evokes the image of sitting on a porch at dusk. The child narrator describes the peacefulness of the evening: “It has become that time of evening when people sit on their porches, rocking gently and talking gently.” Barber’s melodic lines float effortlessly over a rocking accompaniment, mimicking the gentle motion of a porch swing. The music

transitions to a more agitated mood as the child hears a streetcar passing: “A streetcar raising its iron moan,” Barber sets this passage with busier orchestration, full of tension and dissonance. Though subtly woven into the text, the passage of time and an awareness of mortality and loss are felt deeply in Barber’s settings: even in the most idyllic of moments, the music shifts between major and minor tonalities, creating an atmosphere that balances comfort with unease. The music likewise matches the spontaneity of the events in the text, frequently shifting in its texture and colors to match how the narrator’s thoughts wander from memory to memory. The final section of Knoxville: Summer of 1915 is particularly moving, as the child is brought inside to bed, and the music returns to the calm rocking motion of the opening. “After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her,” Agee writes, and Barber’s music fades gently, suggesting the child drifting off to sleep. The piece ends on a note of unresolved longing with the line: “But will not ever tell me who I am.” This closing hints at more profound questions of identity and belonging that remain unanswered, leaving a haunting impression and ultimately reminding us of life’s ephemeral nature.

Knoxville: Summer of 1915 op. 24 James Agee It has become the time of evening when people sit on their porches, rocking gently and talking gently and watching the street and the standing up into their sphere of possession of the trees, of birds’ hung havens, hangers.

People go by; things go by.

A horse, drawing a buggy, breaking his hollow iron music on the asphalt; a loud auto; a quiet auto; people in pairs, not in a hurry, scuffling, switching their weight of aestival body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard and starched milk, the image upon them of lovers and horsemen, squared with clowns in hueless amber.

A streetcar raising its iron moan: stopping, belling and starting; stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts; the faint stinging bell; rises again, still fainter, fainter, lifting, lifts, faints forgone: forgotten.

Now is the night one blue dew.

Now is the night one blue dew, my father has drained, now he has coiled the hose.

Low on the length of lawns, a frailing of fire who breathes …

Parents on porches: rock and rock.

From damp strings morning glories hang their ancient faces.

The dry and exalted noise of the locusts from all the air at once enchants my eardrums.

On the rough wet grass of the backyard my father and mother have spread quilts.

We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there …

They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all in particular, of nothing at all.

The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near.

All my people are larger bodies than mine, … with voices gentle and meaningless like the voice of sleeping birds.

One is an artist, he is living at home.

One is a musician, she is living at home.

One is my mother who is good to me.

One is my father who is good to me.

By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night.

May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away.

After a little I am taken in and put to bed.

Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, no ,will not, not now, not ever; but will not ever tell me who I am.

Gustav Mahler (1860 – 1911) Symphony No. 4 in G Major (1899–1901) Often regarded as his most accessible work, Gustav Mahler’s Symphony No. 4 in G Major (1899–1901) is deceptively complex, masking profound depth within a seemingly simple soundworld. Drawing from Des Knaben Wunderhorn “The Boy’s Magic Horn”—a collection of German folk poetry dating to 1805—the Fourth Symphony is a culmination of Mahler’s exploration of innocence, life, and death, which is presented through a childlike lens.

Contributing to the sense of simplicity is that the four-movement work lasts only an hour, a stark contrast from his eight other symphonies, which typically reach close to or exceed ninety minutes.

The first movement (Bedächtig, nicht eilen) begins with the iconic sound of sleigh bells, immediately setting a playful, innocent tone. Mahler once described the sleigh bells as a key symbol of childhood, evoking a world of simplicity and wonder. However, beneath this surface lies a more complex structure. Mark Evan Bonds points out how the symphony’s opening juxtaposes two contrasting musical ideas: the “functional” sound of the bells and a classical-style theme reminiscent of Haydn and Mozart, creating a deliberate disruption that Mahler carries throughout the work. The movement’s lightheartedness is tempered by the underlying ambivalence Mahler injects, a hallmark of his ability to convey multiple layers of emotion.

The second movement (In gemächlicher Bewegung) introduces a solo violin tuned to a higher tone (a practice called scordatura), creating an eerie, otherworldly effect. This is often interpreted as the presence of Freund Hein, a German folk figure representing death. The violin’s macabre dance mirrors Mahler’s fascination with death, portrayed here not as a terrifying force but as something playful, even whimsical. This movement provides a glimpse into Mahler’s philosophical musings on mortality and the afterlife, reflected in a musical dialogue that is both haunting and serene.

The third movement (Ruhevoll) is an expansive Adagio marked by its serene

beauty and hymn-like quality.

Mahler himself once described this movement as being constructed with “extreme, almost school-like regularity,” yet beneath its simplicity lies a richness that exemplifies Mahler’s ideal of a symphony having something “cosmic within itself.” The Adagio builds toward an ecstatic climax before slowly dissolving into calm, signaling a seamless transition to the next movement.

In the fourth and final movement (Sehr behaglich), the solo soprano enters for the first time in the symphony, singing a text from the Wunderhorn, “Das himmlische Leben” (The Heavenly Life), which offers a child’s vision of heaven. The song had been composed almost a decade earlier and was intended to conclude the Third Symphony before Mahler repurposed it as the culmination of the Fourth. In his letters, Mahler referred to this song as the “apex” of the symphony, explaining that it contained within it the seed from which the entire work grows. The surreal, almost naïve depiction of paradise is tempered by unsettling imagery of lambs being slaughtered and saints laughing at macabre scenes, embodying the tension between joy and suffering, life and death. This ambiguity, where the serene and the disturbing coexist, leaves the listener with a sense of unresolved paradox, reflecting Mahler’s own ambivalence toward the idea of heavenly peace.

Mahler’s symphonies have remained in the performing repertoire since their premieres and are frequently cited as favorites among musicians and audiences alike. Fans of Mahler’s symphonies included Arnold Schoenberg, who created chamber arrangements for his Society for Private Musical Performances. Tonight’s performance continues this tradition of chamber performances and utilizes an arrangement made by English musician Iain Farrington. The chamber version allows the intimacy of Mahler’s writing to shine through, highlighting the clarity of its textures while retaining the spirit of this beloved masterwork.

Das himmlische Leben The heavenly life Wir genießen die himmlischen Freuden, Drum tun wir das Irdische meiden, Kein weltlich Getümmel Hört man nicht im Himmel!

Lebt alles in sanftester Ruh’!

Wir führen ein englisches Leben!

Sind dennoch ganz lustig daneben!

Wir tanzen und springen, Wir hüpfen und singen!

Sankt Peter im Himmel sieht zu!

We enjoy the heavenly pleasures and avoid the earthly things.

No worldly tumult does one hear in Heaven!

Everything lives in the gentlest peace!

We lead an angelic life!

Nevertheless we are very merry: we dance and leap, hop and sing!

Meanwhile, Saint Peter in the sky looks on.

Johannes das Lämmlein auslasset, Der Metzger Herodes drauf passet!

Wir führen ein geduldig’s, Unschuldig’s, geduldig’s, Ein liebliches Lämmlein zu Tod! Sankt Lucas den Ochsen tät schlachten Ohn’ einig’s Bedenken und Achten, Der Wein kost’ kein Heller Im himmlischen Keller, Die Englein, die backen das Brot.

Saint John has let his little lamb go to the butcher Herod.

We lead a patient, innocent, patient, a dear little lamb to death!

Saint Luke slaughters oxen without giving it thought or attention.

Wine costs not a penny in Heaven’s cellar; and angels bake the bread.

Gut’ Kräuter von allerhand Arten, Die wachsen im himmlischen Garten!

Gut’ Spargel, Fisolen Und was wir nur wollen!

Ganze Schüsseln voll sind uns bereit!

Gut Äpfel, gut’ Birn’ und gut’ Trauben!

Die Gärtner, die alles erlauben!

Willst Rehbock, willst Hasen, Auf offener Straßen Sie laufen herbei!

Good vegetables of all sorts grow in Heaven’s garden!

Good asparagus, beans and whatever we wish!

Full bowls are ready for us!

Good apples, good pears and good grapes!

The gardener permits us everything!

Would you like roebuck, would you like hare?

In the very streets they run by!

Sollt’ ein Fasttag etwa kommen, Alle Fische gleich mit Freuden angeschwommen!

Dort läuft schon Sankt Peter Mit Netz und mit Köder Zum himmlischen Weiher hinein.

Sankt Martha die Köchin muß sein.

Should a fast-day arrive, all the fish swim up to us with joy!

Over there, Saint Peter is running already with his net and bait to the heavenly pond.

Saint Martha must be the cook!

Kein’ Musik ist ja nicht auf Erden, Die uns’rer verglichen kann werden.

Elftausend Jungfrauen Zu tanzen sich trauen!

Sankt Ursula selbst dazu lacht!

Cäcilia mit ihren Verwandten Sind treffliche Hofmusikanten!

Die englischen Stimmen Ermuntern die Sinnen, Daß alles für Freuden erwacht.

No music on earth can be compared to ours.

Eleven thousand maidens dare to dance!

Even Saint Ursula herself is laughing!

Cecilia and all her relatives are splendid court musicians!

The angelic voices rouse the senses so that everything awakens with joy.

Christine Wisch Program Annotator Christine Wisch is a staff member of the Latin American Music Center and adjunct lecturer at the Jacobs School of Music. She holds a bachelor’s degrees in music education and Spanish from the University of Houston as well as a master’s degree and doctorate in musicology from Indiana University.

Her work as a musicologist focuses on nineteenth-and early twentiethcentury Spanish classical music and issues of patronage, nationalism, and exoticism. She currently teaches a course on Women Musicians for the Music in General Studies Program and the Introduction to Latin American Art Music for the LAMC as part of the undergraduate minor curriculum.

24/25 S E A S O N

Mahler 4 - Visions of Heaven Sunday, October 27 4pm Nashua Center for the Arts, Nashua

Beethoven 3rd - Exploring Eroica Saturday, November 9 7:30pm Nashua Center for the Arts, Nashua

Illuminated Ensembles American Standards

Join us throughout the 2024-25 season as we prepare to say farewell to our esteemed Music Director, Roger Kalia.

Sunday, November 17 4pm Bank of NH Stage, Concord

Holiday Brass

Thursday, December 5 The Rex, Manchester

7:30pm

Friday, December 6 7:30pm St. Mary and Archangel Michael Coptic Orthodox Church, Nashua

Illuminated Ensembles Heartstrings Friday, February 14 7:30pm Bank of NH Stage, Concord

Serenade of the Winds Saturday, March 8 7:30pm Nashua Community College

Hollywood Hits

Saturday, March 29 7:30pm Stockbridge Theater, Derry Sunday, March 30 3pm Capitol Center for the Arts, Concord

It’s All Overtures

Saturday, April 19 7:30pm Nashua Center for the Arts, Nashua

With special guests: Carley DeFranco Soprano David Upham Conductor Herb Smith Conductor Fei-Fei Piano

Rhapsody in Blue

Saturday, May 10 7:30pm Capitol Center for the Arts, Concord

Illuminated Ensembles Chamber Favorites Sunday, May 18 4pm Bank of NH Stage, Concord

Learn more at Sy ymp phony ynh.org g

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Up to $99 Aileen Castillo Alethea Kehas Ali Flewelling-Kumar Alice Ann Robertson Alistair Macdonald Allen Dunn Amy Leone Ana Vega Andrew Bray Andrew Stylianos Angie Lane Anna Mayor Anne Carr Annette Phillips Art Ruszenas Belinda Houle Bernie Shapiro Bobbi Sinyard Brian George Brian Pierce Candi King Carol Fountain Catherine Gast

Catherine O’Brian Cherri Brewer Cheryl Quaine Cherylle Cano Christine Burke Christine Flot Claire Pagnotta Craig and Debra Putnam Cynthia Tavilla Daffodil Mumuli Daniel and Debra Rodd Daniel Viens Danielle St Hilaire David Gamache Diane Lynch Donald Ouellette Donna Cave Dvorit Cohen Edith Shimel Elizabeth Falcone Ellen Fisher Eric and Cynthia Ryherd Erin Osinski Frances Ferrari Francine Davis-Campano and Tony Campano Gabriele and Eitan Zeira Gail Battaglia George Devito George Perry Glynis Gordon In memory of Cornelia R. Gordon Gregory McMann Hilary Armstrong Jamie Springett Janice and James Harrison Janice Martin Jared Belinsky Jean M Davis Jennifer and William Farquhar Jennifer Bono Joe Fowler John and Allison Sjolund John and Barbara Furlong John and Elizabeth Cepaitis John Silbernagel Joy Su Judy Yovicich Julia Kaschak Karen Ellis Karen Grable Karin Berkeley Katherine White Kathleen Thurston Kathy Slosek Kelley Christie Ken and Sharon Wall Kerry King Kevin and Susan Hansen Kris Bjornbak Kris Jeffers Laurel Horne Leah Rothenberg Lilit Matnishyan Lillian and Charles Michaud Lily Keasler

Lisa Plotnik Lois Dixon Lynne Ford Maggie Powers Maria Burns Matthew Boulton Matthew Locker and Catherine Schneider Meghan Brady and Paul Bergeron Melissa DeLieto Michael Garneau Michelle Cloutier Monroe Kahn Myla Padden Nancy Bax Nancy Wood Neolani Conroy Nyssa Ackerley Pablo Casaverde Pamela Michael Patricia Brennan Patricia Mansfield Patricia Srite Pauline Vezina Philip Mason Rachel Backlund Richard Conti Richard Raymond Rob Zimmerman Robert LaMotte Robert O’Connell Robert Saltzberg Roger Williams Roland Guilbault Ronald Nadeau Rosemary T Clough Roy and Patricia Hugenberger Ruth Chevion Sarah Rocha Scott Apgar Shoshanna and David Kelly Sidney Tally Spencer Frasher SueEllen Sanborn Terry Gilmore Thomas and Irene McManus Thomas Roy Tim Calnan Timothy Cronin Todd Frampton Tom and Tanya Bollenbach Tracy Crews Victor Sabalauskas In memory of Gloria Sabalauskas Whitney Hall William and Frances Upham William Dean William Keating William McKinney William Politt Yoko Sekita Yuka Lugo Yuko Morizono Zivile Vail

Symphony NH gratefully acknowledges these donors who have contributed to our mission of making great music accessible and providing learning opportunities to enrich diverse audiences.

Gifts listed were made between July 1, 2023 and June 30, 2024.

Corporate and Foundation Support Season Sponsor

Presenting Sponsors

Maestro Sponsors

Community Partners Media Partners

Foundation Support

With Additional Support From: Ella F Anderson Trust The Demoulas Foundation Samuel P. Hunt Foundation The McIninch Foundation Frederick Smyth Institute of Music RBC Foundation Conway Arena Ice Commission

2024-25 Board of Trustees Officers Dr. Donald McDonah, President Open, Vice President Bob Blaisdell, Treasurer Dr. Robert Oot, Secretary

Trustees Harold Clarck Ryan Correia Joe Kenny, Esq.

Jasmine Pandit Dr. Ashwini Saxena Alka Sen Olga Usyk

Ex-Officio Members Deanna Hoying, Executive Director Roger Kalia, Music Director Rosemary Johnson, Co-President, Friends of Symphony NH Kathleen Kalogeras, Committee Representative Symphony NH Players Sally Merriman, Committee Representative Symphony NH Players

Staff Deanna Hoying

Executive Director

Joseph DuBose

Orchestra Librarian Personnel Manager

Paul LaFlamme

Production Manager

Timothy Pace

Senior Marketing Manager

Sophie Nahrmann

Assistant Personnel Manager

Kip Sheedy

Usher Coordinator

Meghan Brady

Grant Writer

Symphony NH Musicians 2024-25 VIOLIN

CELLO

HORNS

Jiuri Yu Associate Concertmaster Emma Powell Assistant Concertmaster Kun Shao Principal Second Amy Ripka Assistant Principal Second Lynn Basila Jane Dimitry Nancy Goodwin Sargis Karapetyan Aleksandra Labinska Leonora LaDue Ana-Maria LaPointe Elliott Markow Katharina Radlberger

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

Steven Harmon Principal Kristin Olsen Michael H. Weinstein Ellen Martins

BASS

Richard Watson Principal

Volker Nahrmann Principal Robert F. Hoffman

TROMBONES

VIOLA Dani Rimoni Principal Elaine Leisinger Assistant Principal Seeun Oh Elisabeth Westner Kathleen Kalogeras

FLUTE Kathleen Boyd Principal Nina Barwell

TRUMPETS

Jude Morris Principal Wes Hopper Sean McCarty

TUBA

OBOE

Takatsugu Hagiwara Principal

Cheryl Bishkoff Principal Ronald Kaye

TIMPANI & PERCUSSION

CLARINET Mackenzie Austin Principal Hyunwoo Chun

BASSOON Michael Mechanic Principal Sally Merriman

Jeffrey Bluhm Principal

Thank you to our Fanfare Sponsors We’d like to take a moment to thank our sponsors for our 2024 Fanfare Celebration Audi/Porsche of Stratham RBC Wealth Management Carol Kreick Splash! by Masi Tulley Auto Group Allen Mello Dodge Morneau Law Granite Bay Wealth Management Michael Timothy’s Dining Group

Thank you so much for your support!

Office Location: 6 Church St. Nashua, NH 03060 Mail to: PO Box 1350 Nashua, NH 03061 Contact Us: E-mail: snh@symphonynh.org General Office: 603-595-9156 Website: symphonynh.org