Ovations-Rhapsody in Blue

Symphony NH

May 10, 2025

Capitol Center for the Arts

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

5

Today’s Program

7

Our Musicians for Today

8

A letter from our Music Director

10

Biography of Roger Kalia, Music Director

11

Biography of Fei-Fei, Guest Pianist

12

Program Notes: Rhapsody in Blue

14

2024/25 Season Schedule

18

Annual Fund Contributors

20-21

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

28

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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Rhapsody in Blue 

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Roger Kalia, Conductor Fei-Fei, Guest Pianist Piano Concerto in One Movement Florence Price

Rhapsody in Blue George Gershwin

-IntermissionSymphony No. 3 Aaron Copland I. Molto moderato II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato - (Fanfare) Allegro risoluto

Our musicians for Tonight VIOLIN 1 Jiuri Yu Acting Concertmaster Emma Powell Assistant Concertmaster Leonora LaDue Elliott Markow Emil Altschuler Amelia Perron Dana Ianculovici

VIOLIN 2 Kun Shao Principal Lynn Basila Jane Dimitry Olga Patramanskaya-Bell Jessica Helie Jessica Amidon

FLUTE

TRUMPET

Kathleen Boyd Principal Nina Barwell

Richard Watson Principal Kathryn Driscoll

Ceora Jaffe

PICCOLO Krysia Tripp

OBOE Kyoko Battaglia Acting Principal Ronald Kaye Donna Cobert

CLARINET Mackenzie Austin Principal Kelly Hurrell

VIOLA

E-FLAT CLARINET

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

Aleksis Martin

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

CONTRABASS Volker Nahrmann Principal Reginald Lamb Bronislaw Suchanek

BASS CLARINET Alexis Lanz

BASSOON Michael Mechanic Principal Sally Merriman

CONTRABASSOON

Jerry Mak Peter Everson

TROMBONE Jude Morris Principal Wes Hopper

BASS TROMBONE Sean McCarty

TUBA Zack Grass Guest Principal

TIMPANI & PERCUSSION Jeffrey Bluhm Principal Dylan Barber Mike Ambroszewski Jeff Sagurton Timur Rubenstyn

HARP Maria Ren Guest Principal Emily Lewis

Vincent LaMonica

PIANO

HORN

Amy Lee Guest Principal

Ho-yin Li Guest Principal Stephanie Ferguson Michael Weinstein

SAXOPHONES

Sage Silé

Andy Wilds Guest Prinicpal Sean Mix Megan Dillon

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.

Fei-Fei Guest Pianist

Infusing “intoxicating grace” with “exceptional musicality” and “inconceivable virtuosity,” pianist Fei-Fei conjures a special and undeniable connectivity with her audiences that brings joy, passion, and deep understanding of the music (Badische Neueste Nachrichten). Her engaging and endearing personality shines through in each note, each word, and each expression— whether performing as a soloist, recitalist, chamber musician on world stages, or as a community outreach advocate.

“Sporting a naturally gracious charm and stage presence,” Fei-Fei has “shared her musical passions unstintingly” around the globe (Peninsula Review). Recent projects include her role artist-in-residence with the Baden-Baden Philharmonic touring in Germany, a Carnegie Hall performance and tour of Spain with the New York Youth Symphony, a cross-disciplinary collaboration with Ballet Arkansas, a performance of Rachmaninoff’s Piano Concerto No. 3 at Lincoln Center with the Pegasus Symphony, a 19-city tour of China with her Aletheia Piano Trio (Fei-Fei is a founding member of the 10-year-old ensemble), and performances of lesser-represented repertoire, including concertos by Leroy Anderson, Florence Price, Clara Schumann, and Xiaogang Ye. Additional concerto highlights include performances with the Fort Worth Symphony, Kansas City Symphony, Buffalo Philharmonic, Aspen Music Festival Orchestra, Illinois Philharmonic, Spokane Symphony, Corpus Christi Symphony, Austin Symphony, Denver Philharmonic, Anchorage Symphony, and the Juilliard Orchestra.

Internationally, she has performed with Canada’s Calgary Philharmonic, Germany’s Rostock and Baden-Baden Philharmonic Orchestras, and in China with the Shenzhen Symphony, Hong Kong Philharmonic, and China National Symphony Orchestras.

Fei-Fei was featured prominently as a Cliburn finalist in the documentary film, Virtuosity, about the 2013 Cliburn Competition, which premiered on PBS in August 2015. Deeply committed to sharing her joy for music and connecting with communities, Fei-Fei frequently engages students and community audiences through school and outreach concerts and masterclasses.

Born in Shenzhen, Fei-Fei began piano lessons at the age of 5. She is a graduate of The Juilliard School where she studied with Dr. Yoheved Kaplinsky, and is currently pursing Doctoral of Musical Arts degree with pianist Yefim Bronfman at Manhattan School of Music. Fei-Fei is also a member of the piano faculty at John J. Cali School of Music at Montclair State University and teaching associate to pianist Yefim Bronfman at Manhattan School of Music beginning in Fall 2023.

Program Notes - Rhapsody in Blue

The three works on this program showcase the nation’s musical identity and innovative spirit, each blending diverse genres with classical tradition. From the African American folk roots of Florence Price’s Piano Concerto in One Movement to the jazz-infused exuberance of George

Gershwin’s Rhapsody in Blue, and finally, the grand symphonic optimism of Aaron Copland’s Symphony No. 3, these pieces collectively celebrate American creativity.

Though distinct in style, all three composers embraced new influences to forge a uniquely American sound in the concert hall.

Florence Price (1887–1953) Piano Concerto in One Movement (1934) Florence Price’s Piano Concerto in One Movement is a trailblazing work that reflects both her personal heritage and the broader American experience. In 1933, she became the first African American woman to have a symphonic composition performed by a major U.S. orchestra (her Symphony in E minor, presented by the Chicago Symphony Orchestra), and she continued to break barriers with this concerto the following year. The premiere took place in 1934 at Chicago’s Orchestra Hall, though not with the Chicago Symphony, but with a student orchestra from the Chicago Musical College, where Price herself served as soloist. The performance was part of a commencement ceremony, making the concerto’s early public life somewhat informal despite its musical sophistication.

At a time when white European male composers overwhelmingly dominated classical music, Price asserted her artistic voice with conviction. Her work blends African American musical idioms with European classical forms, creating a unique sound that is both personal and unmistakably American. As its title suggests, the concerto condenses the traditional three-movement structure into a single continuous span, unfolding in distinct sections without pause. It opens with a bold orchestral introduction followed by a virtuosic cadenza, after which the piano launches into a rhythmically energized Allegro. The themes are infused with syncopated vitality, full of bold gestures and harmonic turns that evoke both Romantic grandeur and blues-inflected expressiveness. The middle section offers a lyrical contrast, with melodies shaped by the expressive contours of African American

spirituals. Here, Price’s skill as a melodist is on full display, as she crafts music that sings with dignity and warmth, featuring a poignant dialogue between the oboe and orchestra that echoes the call-andresponse tradition of spirituals. The finale bursts forth with a jubilant juba, a folk-dance form known colloquially as “hambone” that originated among enslaved African Americans in the South and is marked by rhythmic clapping, foot stomping, and body percussion. The use of the juba, which Price had also incorporated in her symphonies, gives the concerto a culturally rooted, celebratory close, blending virtuosic display with folk energy.

Despite positive critical responses to its early performances, the concerto, like much of Price’s orchestral output, quickly disappeared from public view.

Its disappearance mirrored the broader marginalization of Price’s legacy, driven by the intersecting barriers of race, gender, and institutional neglect. For decades, only a two-piano version of the concerto was known to exist, and it was rarely performed. A turning point came in 2009, when a trove of Price’s manuscripts was discovered in an abandoned house in

Illinois. Among these was a long-lost full orchestral score of the concerto, which had been presumed missing for over 80 years.

The rediscovery of this score, along with dozens of other previously unknown pieces, not only confirmed the breadth of Price’s orchestral imagination but also prompted a reevaluation of her entire body of work, much of which had been dismissed or forgotten despite its known existence.

More than just a virtuosic showpiece,

the concerto is a cultural statement—an assertion of belonging and identity through sound. In its bold synthesis of traditions, it exemplifies Price’s belief that American classical music must reflect the full diversity of its people. Today, her concerto stands not only as a thrilling concert work but also as a vital chapter in the broader story of American music.

George Gershwin (1898–1937) Rhapsody in Blue (1924) George Gershwin’s Rhapsody in Blue, which premiered on February 12, 1924, at New York’s Aeolian Hall, stands as a landmark fusion of classical music and jazz.

Bandleader Paul Whiteman commissioned the work for a concert ambitiously titled “An Experiment in Modern Music,” intended to showcase the evolution of American music.

Whiteman sought to demonstrate how jazz could be elevated into a refined art form, and Gershwin’s composition became the centerpiece of this vision. Remarkably, Gershwin only learned of his involvement after reading a newspaper article on January 4, 1924, announcing he would compose a “jazz concerto” for the event! With just five weeks to prepare, Gershwin began work in earnest. He later recalled that the thematic essence of the piece came to him during a train ride to Boston, where he envisioned “a sort of musical kaleidoscope of America.”

The premiere featured Gershwin himself as the piano soloist, with Whiteman’s orchestra providing accompaniment. The now-famous opening clarinet glissando, performed by Ross Gorman, was a playful warm-up that Gershwin chose to keep in the final score. This spontaneous gesture became one of the most iconic sounds in all of American music. Evocative of traditional Jewish klezmer music, the glissando sets the tone for a work that delights in stylistic contrasts and surprises.

Structurally, Rhapsody in Blue is a singlemovement work that encapsulates the fast-slow-fast form of a classical concerto. It introduces multiple themes characterized by syncopated rhythms, blue notes, and influences ranging from Latin dance to ragtime and stride piano. Gershwin’s orchestration, executed by Ferde Grofé, incorporated instruments like the banjo and saxophones, further blurring the lines between classical and popular music traditions.

The reception of Rhapsody in Blue was overwhelmingly positive, cementing Gershwin’s reputation as a composer who could transcend musical boundaries.

Audiences were captivated by its bold fusion of classical structure and jazz idioms, and the piece quickly became a touchstone for American music. Its success propelled Gershwin to further explore the synthesis of these genres in later works like his Concerto in F and the groundbreaking opera Porgy and Bess. Over the century since its premiere, Rhapsody in Blue has remained an iconic work, one that not only innovated musically but also captured the spirit of its time. Often described as a sonic portrait of early 20th-century New York City, the piece brims with the energy, diversity, and ambition of a city and nation still defining their cultural and musical identities.

Aaron Copland (1900–1990) Symphony No. 3 (1946) Aaron Copland’s Symphony No. 3 crowns the program with a sweeping vision of American triumph and optimism. Written in the aftermath of World War II (between 1944 and 1946), this symphony was Copland’s grand effort to capture the nation’s spirit in a form long dominated by European tradition. It was premiered by conductor Serge Koussevitzky and the Boston Symphony Orchestra in October 1946, and, echoing a phrase used by Beethoven to describe his own works, the maestro famously hailed it as “the greatest American symphony— it goes from the heart to the heart.” Copland dedicated the work to the memory of Koussevitzky’s wife, lending a personal poignancy to its heroic scope.

In his Third Symphony, Copland merges his accessible “Americana” style with the formal breadth of the traditional four-movement symphony. Broad, sweeping gestures introduce the work, with noble, hymnlike themes in the woodwinds and strings evoking both the American landscape and a sense of quiet resilience. Energy surges in the following scherzo, which is rhythmically sharp, propulsive, and punctuated by angular brass fanfares. A brief pastoral interlude offers contrast, gently pulling

the listener into more reflective terrain. At the emotional center of the symphony, however, lies the poignant third movement, which opens with a wistful flute solo that blossoms into a lyrical meditation that is colored by subtle dissonance and harmonic nuance. The final movement brings a powerful sense of culmination through the introduction of Fanfare for the Common Man, which Copland had composed earlier in 1942.

Rather than quoting it outright, he weaves the fanfare seamlessly into the symphonic texture, allowing it to emerge gradually before soaring to a full-orchestra statement of strength and optimism.

Copland’s Symphony No. 3 quickly earned a place in the repertoire as a monumental statement of American art music. Its premiere garnered the New York Music Critics’ Circle Prize for the finest new orchestral work of the season, cementing Copland’s reputation as the leading voice of American classical music of his generation. Decades later, the Third Symphony remains a powerful musical portrait of its era. It is at once a celebration of hard-won victory, a memorial for those who sacrificed, and an affirmation of hope for the future.

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

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

For tickets, call: Capitol Center for the Arts (603) 225-1111

Learn more at Sy ymp phony ynh.org g

Goodbye Roger And Thanks!

Goodbye Roger - And Thanks!

As we have concluded Roger Kalia’s remarkable As we approach the conclusion of Roger Kalia’s tenure as Symphony NH Music Director, we remarkable tenure as Symphony NH Music want to give you the opportunity to express your Director, we want to give you the opportunity to appreciation to him personally. express your appreciation to him personally.

Whether it’s a favorite performance or a note of Whether it’s a favorite performance or a note of thanks for his inspiring leadership, your words thanks for his inspiring leadership, your words will mean the world to him. will mean the world to him.

Share your memories, gratitude and wellmore wishes Learn at at sy ymp phony ynh.org g / goodby y erog g er Sy ymp phony ynh.org g

Get Ready for Next Season!

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Fanfare of Hope and Solidarity Augusta Read Thomas Violin Concerto with violinist Jiuri Yu Samuel Barber Symphony No. 2 Jean Sibelius

Piano Concerto No. 2 with pianist Nathan Ben-Yehuda Sergei Rachmaninoff Enigma Variations Edward Elgar

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Annual Fund Contributors Conductor’s Circle Maestro $10,000+ Blaisdell Family Trust Bob Oot and Carol Robey Marshall and Elena Jespersen Patricia Thurber Prashanth and Anuradha Palakurthi

Benefactor $5,000 - 9,999 Calann and Robin Hertel Hal Clark and Karen Hays James and Ann Conway

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Patron $1,000 - 2,999 Ashwini Saxena Bettejean and Edward Neveux Carol Kreick Gabor and Galina Szakacs Jane Harrington Jean and Frank Holt Jeff and Kathy Gendron John Daniels Jolie Blauvelt In memory of Nancy P N Wilbur Karen and Joseph Kenny Marcia Donaldson Mark Tremallo and Wellner Poppe-Tremallo Mary Jordan and Henry Quinlan Robert and Judy Carlsoni

Sustainer $500 - 999 Barry and Nancy Palmer Cecile Juneau Diane Wanger Don Sommese Olga Usyk Peter and Susanna Toumanoff Rebecca Kadish and Robert Levine

Associate $250 - 499 David Heath Deborah Stone Diane Keyes Dr. Roger C. and Carol D. Brooks Emile Tetu James and Barbara Battis Jim and Lynda Petropulos John Schulte Larry and Cheryl Morgan Lindsey Humes Nancy M Linsley Pat Turcotte Paul Farrell Rachel Paquette Shahriar and Mona Movafaghi Sylvia Lundberg

Friend $100 - 249 Alexandra Shaplyko Allan and Ruth Kabel Anne Wilbur Arthea Bellavance August and Joyce Westner Bette and Elliot Lasky Bobbye Bartels Bruce Wilburn Candace Dochstader Carl and Tina Andrade Carol Ace Chris Nevins Cynthia Ross Daniel Blazej Dee Pringle Don and Mary Hayes Donna Kraus Edward and Monique Fisichelli Elizabeth Sheehan Household Jane and David Sodders Jean and Benjamin Horne Jeanne Bausha Jeffrey Hsu Jill Hardin Joe and Elaine Marshall In memory of Pete Temporino Judith Murray

Kathy Theophilos Keith Wilk Leo and Eileen Brunk Leonora LaDue and Mark Goldstein In memory of Marilyn LaDue Linda Morabito Lois Grant Marion Renk Marisol McKee Mark and Cynthia Rouvalis Mary and David Murphy Mary Ann Melizzi-Golja and Bogdan Golja Mary Licking Mary McLaughlin Mary Mechling Mary Winiecki Michael and Betty Lenehan Mr. and Mrs. St. Lawrence Pamela Baker Pamela Mattaliano Patricia McLaughlin Paul Rivenburgh Rita Kirk Rita M. Ralston Roberta Cherkaski Sharon Osborne Sia Juris Jack and Sherry Dutzy Susan Siberine Walter Schier

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

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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 Ryan Correia, Esq. Vice President Dr. Robert Oot Treasurer/Secretary

Trustees Harold “Hal” Clark Joe Kenny, Esq. Jasmine Pandit

Dr. Ashwini Saxena Alka Sen Olga Usyk

Ex-Officio Members Deanna Hoying, Executive Director Roger Kalia, Music Director 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

HORN

Jiuri Yu Associate Concertmaster Emma Powell Assistant Concertmaster Kun Shao Principal Second Amy Ripka Assistant Principal Second Lynn Basila Jane Dimitry 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

TROMBONE

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

FLUTE Kathleen Boyd Principal Nina Barwell

TRUMPET

Jude Morris Principal Wes Hopper Sean McCarty

TUBA

OBOE

Takatsugu Hagiwara Principal

Cheryl Bishkoff Principal Ronald Kaye Kyoko Battaglia

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