Ovations-Serenade of the Winds

Symphony NH

March 8,2025

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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

Program Notes 2024/25 Season Schedule Annual Fund Contributors

14-16 18 20-21

Corporate and Foundation Support

23

Symphony NH Board of Trustees and Staff

24

2024/25 Season Symphony NH Musicians

25

2024 Fanfare Sponsors Thank you

26

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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Serenade of the Winds 

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Roger Kalia, Conductor Overture for Winds in C Major, Op. 22 Felix Mendelssohn

Serenade No.10 in B-flat Major “Gran Partita”, K.361 (370a) Wolfgang Amadeus Mozart

I. Largo - Allegro molto II. Menuetto III. Adagio IV. Rondo: Allegro moderato Serenade for Winds in D minor, Op. 44 Antonín Dvořák

I. Moderato, Quasi marcia II. Minuetto, Tempo di minuetto III. Adante con moto IV. Finale, Allegro molto

Our musicians for Tonight FLUTES

HORNS

Peggy Friedland Guest Principal Nina Barwell

Ho-yin Li Guest Principal Kristin Olsen

OBOES

Michael Weinstein Ellen Martins

Cheryl Bishkoff Principal Ronald Kaye

TRUMPETS

CLARINETS

Richard Watson Principal Peter Everson

Mackenzie Austin Principal Hyunwoo Chun Aleksis Martin Kelly Hurrell

BASSET HORNS Taylor Isberg Guest Principal Steven Zhang

TROMBONES Wes Hopper Acting Principal Alexis Smith Sean McCarty

TUBA Takatsugu Hagiwara Principal

BASSOONS

TIMPANI & PERCUSSION

Michael Mechanic Principal

Jeffrey Bluhm Principal Lucas Vogelan Jakob Schoenfelt

Sally Merriman

CONTRABASSOON Gabe Ramey

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.

Program Notes - Serenade of the Winds

Although less common in concert halls than full symphonic orchestras with winds, today’s concert wind ensemble has a lengthy and esteemed history, rooting itself in the European tradition of Harmoniemusik. Emerging in the late 18th century, Harmoniemusik was a form of chamber music written specifically for wind instruments. These ensembles, typically composed of pairs of oboes, clarinets, horns, and bassoons—the common instrumentation of the wind section for court and theater orchestras—were initially associated with the courts of European aristocracy. They provided lively outdoor entertainment or underscored formal banquets, serving as a sonic emblem of both elegance and status. Composers like Mozart and Haydn were among the first to elevate

the genre, recognizing its potential beyond mere functional music.

The growing prominence of the wind ensemble coincided with a broader interest in exploring the unique tonal palette of wind instruments. While strings dominated the symphonic repertoire, winds offered a range of colors—from the playful chirping of flutes and clarinets to the noble warmth of horns.

By the early 19th century, advancements in instrument design allowed for greater technical and dynamic capabilities, inspiring composers to craft more ambitious works for winds. The wind ensemble transformed from a courtly entertainment medium to a standalone artistic force, paving the way for masterpieces such as those featured in this program.

Felix Mendelssohn (1809–1847) • Overture for Winds, Op. 24 in C Major (1824, rev. 1838) Felix Mendelssohn, a prodigious talent whose brilliance was evident from an early age, composed his Overture for Winds at just 15 years old. Written during the summer of 1824 while traveling with his father to the spa town of Bad Doberan, the piece was originally intended for the town’s Harmonie, an ensemble dedicated to performing Harmoniemusik. This group comprised one flute, two oboes, two clarinets, two bassoons, two horns, one trumpet, and one English bass horn—a relative of the serpent and predecessor of the ophicleide. Perhaps to reflect its role as evening entertaining, Mendelssohn titled this work Nocturno.

In 1838, Mendelssohn revisited the work, refining transitions, making subtle harmonic and rhythmic adjustments, and expanding the instrumentation to suit the larger German military bands of the time. The revised version features a richer palette, adding one piccolo, one flute, two clarinets in F, two clarinets in C, two oboes, two bassoons, one contrabassoon, one English bass horn, two horns in C, two horns in F, two trumpets in C, two tenor

trombones, one bass trombone, side drum, bass drum, triangle, and cymbals. Renamed Ouverture für Harmoniemusik and known in English mostly as his Overture for Winds, this expanded version for 23 instruments plus percussion was sent to Mendelssohn’s publisher, N. Simrock, and remains the standard version performed today.

Despite his youth when the work was first conceived, Mendelssohn’s compositional maturity and mastery of form and texture are strikingly evident. The piece reflects

the influence of his Classical predecessors passages throughout the work highlight while offering hints of the Romantic the expressive capabilities of the ensemble, sensibility that would shape his later works. hinting at the Romantic era’s growing The overture unfolds in a single movement, emphasis on emotional depth. With its beginning with a dignified and ceremonial combination of youthful exuberance, refined introduction. This leads into a vibrant Allegro craftsmanship, and innovative use of wind section, bursting with energetic themes and textures, Mendelssohn’s Overture for Winds intricate counterpoint. The interplay between remains a testament to his prodigious talent instruments is both playful and sophisticated, and a cornerstone of the Harmoniemusik demonstrating Mendelssohn’s exceptional tradition understanding of wind textures. Lyrical

Wolfgang Amadeus Mozart (1856–1891) • Serenade No. 10 in B-flat Major, K. 361, “Gran Partita” (1781) Mozart’s Gran Partita stands as a pinnacle of Harmoniemusik, highlighting the composer’s unmatched talent for blending melody, harmony, and drama. Completed in 1781, this serenade for 13 instruments (2 oboes, 2 clarinets, 2 basset horns, 2 bassoons, 4 horns, and a double bass) is one of his most expansive and ambitious works for winds. At a time when wind serenades were often lightweight entertainment— once a form of musical courtship, serenades took their name from the word “serenity,” as they were typically performed during tranquil evening gatherings. Mozart’s wind serenades, frequently written for the common Harmonie instrumentation of highlights the lyrical interplay of clarinets the time, transcended this tradition. While and basset horns, while the second gives much of the era’s wind music catered to the prominence to the oboe, bassoons, and horns, commercial market with simple, functional revealing Mozart’s nuanced orchestration and compositions, Mozart elevated the genre. playful wit. The third movement, “Adagio,” is His Gran Partita redefined the serenade, one of Mozart’s most celebrated creations, imbuing it with symphonic scope, emotional renowned for its beauty and emotional depth, and unparalleled artistry, making it resonance. Its operatic oboe line, soaring a quintessential work of late eighteenthabove a gently throbbing accompaniment, century Harmoniemusik. embodies lyrical grace and dramatic flair.

The genesis and early performance history of This movement has found a place not only in concert halls but also in popular culture, this work remain somewhat unclear. Many scholars believe that the work was composed appearing in numerous modern films and in two stages, with the first complete version television shows. The serenade concludes with a jubilant Finale, marked by intricate from 1781 comprising only four movements counterpoint and joyous themes inspired and the expansion to seven movements by the conventions of opera buffa (comic occurring for a 1784 performance. Tonight’s program features the first three movements opera). This exuberant ending captures the celebratory spirit of the serenade while and finale, which together approximate the structure of a four-movement symphony and reaffirming Mozart’s mastery of form and likely constituted the original four-movement texture. version.

Much like the work’s compositional history, The opening movement begins with a solemn the origins of the title “Gran Partita” remain “Largo,” creating an air of anticipation before uncertain, too. Scholars have noted that the transitioning into a spirited “Allegro.” Bold and term, misspelled on the surviving autograph dynamic themes blend grandeur with charm, score, does not appear to be in Mozart’s handwriting. Historically, “partita” referred emphasizing Mozart’s skill in crafting music that is both accessible and sophisticated. The to a Baroque suite of dance movements “Menuetto” that follows is a graceful minuet, for small ensembles, but regardless of its provenance, the title has endured, resonating featuring two contrasting trios. The first trio

with modern audiences and reflecting the grandeur and refinement Mozart achieved in this extraordinary work. Among his many compositions for wind ensembles, the “Gran Partita” stands out as a profound exploration of the ensemble’s expressive range,

demonstrating Mozart’s remarkable ability to make winds sing as eloquently as strings or voices. It is both a testament to his genius and a transformative milestone in the evolution of wind music.

Antonín Dvořák (1841–1904) • Serenade in D minor, Op. 44, B. 77 (1878) Born in a small village near Prague, Antonín Dvořák, was deeply rooted in his Czech heritage and brought a distinctly folk-inspired voice to the European classical tradition. His Serenade for Winds, Cello, and Double Bass in D minor, Op. 44, written in 1878, reflects his signature blend of heartfelt lyricism and vibrant dance rhythms inspired by his heritage. Composed during a particularly fruitful period in his career, the Serenade came at a time when Dvořák was gaining international recognition, thanks in part to the advocacy of Johannes Brahms.

The Serenade exemplifies Dvořák’s ability to honor the classical tradition of introspection. Expressive melodies from Harmoniemusik while infusing it with his nationalistic flair and elements of Czech folk the oboe and clarinet unfold over subtle syncopations articulated by the horns, music. Dvořák also adapted the traditional creating a mood of gentle nostalgia and Harmoniemusik instrumentation to suit lyricism. The finale, “Allegro molto,” bursts his own artistic needs, utilizing pairs of with energy, evoking the lively spirit of a oboes, clarinets, and bassoons, along with village band. Its dance-like themes bring three horns, a cello, and a double bass. This distinctive instrumentation produces a warm, exuberance to the movement, briefly recalling the opening march theme before concluding resonant sound that draws on Bohemia’s with a rousing coda. centuries-long tradition of excellence in wind playing and Dvořák’s own appreciation The Serenade was premiered in Prague in for and exploration of rich, lower-pitched 1878, with Dvořák himself conducting. He instruments. Inspired by a desire to create dedicated the work to the German music something both joyful and accessible, Dvořák critic Louis Ehlert, whose early praise for reportedly composed the Serenade in just Dvořák’s compositions had also helped two weeks. establish the composer’s reputation in Structured in four movements, the Serenade Germany and beyond. Though Brahms did not attend the premiere, he eagerly obtained pays homage to the symphonic tradition, a copy of the published work and praised signaling its stature as a substantial artistic it in a letter to his friend, the violinist and statement. The first movement, “Moderato, composer Joseph Joachim. Brahms described quasi marcia,” opens with a dignified march the Serenade as “a more lovely, refreshing that transitions into a flowing and lyrical impression of real, rich, and charming creative middle section. This introduction balances talent you can’t easily have… I think it must be courtly elegance with folk-like simplicity, a pleasure for the wind players!” highlighting Dvořák’s melodic gifts. The second movement, “Minuetto,” nods to Indeed, Dvořák’s Serenade for Winds the classical minuet form but incorporates continues to captivate performers and syncopated Czech dance rhythms. The trio audiences alike. Its joyful character, inventive section features a lively furiant, a traditional folk-inspired elements, and elegant Czech dance that adds an unmistakably craftsmanship are a testament to Dvořák’s nationalistic character. The third movement, talents and fulfill his desire to delight “Andante con moto,” offers a moment of listeners.

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

Hollywood Hits

Saturday, March 29 7:30pm Stockbridge Theatre, 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

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

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

For tickets, call: Nashua Center for the Arts (800) 657-8774 Capitol Center for the Arts (603) 225-1111 Stockbridge Theatre (603) 437-5210

Learn more at Sy ymp phony ynh.org g

Goodbye Roger And Thanks!

Goodbye Roger - And Thanks!

As we approach the conclusion of Roger Kalia’s As we approach the conclusion of Roger Kalia’s remarkable tenure as Symphony NH Music remarkable tenure as Symphony NH Music Director, we want to give you the opportunity to Director, we want to give you the opportunity to express your 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 well wishes at symphonynh.org/goodbyeroger

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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 Dr. Robert Oot, Secretary, Treasurer

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 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