Tango & Titan · April 1, 2023

2022-23 season Apri l 1 · 2023

CELEBRATING

AS 100 YEARS THE

SYMPHONIC SOUND OF THE

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

Tango & Titan

2022-23 season A p r il · 2 0 2 3

Welcome from the Executive Director. . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Letter from the President of the Board . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Letter from Roger Kalia, Music Director . . . . . . . . . . . . . . . . . . . . . . . . . 6 Biography of Roger Kalia, Music Director. . . . . . . . . . . . . . . . . . . . . . . 10 Tango & Titan Program Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Musicians. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Annual Fund Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Business Sponsors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 100th Anniversary Collaborative Partners. . . . . . . . . . . . . . . . . . . . . . 25 Symphony NH Board of Trustees and Staff . . . . . . . . . . . . . . . . . . . . . 26 Symphony NH Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 2022-23 Season Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

On sale April 1st!

Welcome!

Deanna Hoying Headshot

Connection

As humans, we crave connection; it’s in our DNA. In late March 2020, in the earliest stages of the pandemic, authors Michelle Langley and Leah Coutts wrote an article for the World Economic Forum “Why do we turn to music in times of crisis?”. Their conclusion was that “Music creates a sense of belonging and participation. It is an antidote to the growing sense of alienation and isolation in society in general – even more so now we are being asked to actively practice social distancing and isolation. Social distancing and geographical isolation do not have to result in social isolation. In the face of uncertainty and panic, music is a social balm for soothing anxiety, enhancing community connections, and acting in defiance of a threat to community spirit”.

As Symphony NH approaches our 100th anniversary in April 2023, I have been thinking about 100 years of this connection through music; of the generations of New Hampshire and northern Massachusetts residents who have shared the experience of live orchestral music together. And of the generations of audiences sitting in the dark concert hall and having that visceral feeling of the orchestra as the sound washes over and through you – it’s thrilling! No live concert can ever be repeated exactly as it was the night before as each time is unique. And those experiences are shared for that one performance with the musicians, conductor, and audience. It creates a bond between the music makers and the audience that is special.

And while we are excited to celebrate this momentous anniversary, we are also looking to the future of Symphony NH and the next 100 years of musical connections.

Sincerely,

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Deanna R. Hoying Executive Director

We’ve been patient; we’ve been missing live music, and missing hearing it together. I’m thrilled to experience it once again as Symphony NH begins its 100th year of musical gifts to our state.

In celebrating this extraordinary milestone, we are also celebrating the communities and people of New Hampshire with performances throughout the state – Nashua, Concord, Manchester, Berlin, Lebanon – in an auditorium, garden, opera house, theater, church, and college. From our opening “Tribute to New Hampshire” with the stunning Firebird Suite by Stravinsky, to “Momemtum” with Schubert’s elegant Unfinished Symphony, we invite all audiences to experience the power of music.

I’m honored to serve as president of the board of directors of New Hampshire’s oldest professional orchestra. I’m proud of the trustees, patrons, donors, and sponsors who are committed to ensuring that we are around for the next 100 years! I’m proud of the musicians who have persevered through one of the most tumultuous times in our history, and I’m proud of our Music Director, Roger Kalia, who brings talent, energy, innovation, and inspiration to our orchestra.

Music is the antidote to isolation and stress; it has the power to transcend walls and boundaries with its language. I’m pleased to join our executive director, Deanna Hoying, in our goal of connecting communities made up of diverse audiences. Thank you for joining us!

Sincerely, Mary Jordan

Letter from the President of the Board of Directors

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Meet Our Music Director Roger Kalia

Dear Friends, Welcome to our 100th anniversary season! I am excited to share with you a truly meaningful and special season for the historic occasion of Symphony New Hampshire’s 100th anniversary. The music reflects the orchestra’s past and present, highlighting our connection to New Hampshire in multiple ways while also focusing on our incredible musicians. Be sure to say hello to our new orchestra members as well! The exciting works we will perform have been carefully chosen as we mean to inspire and connect with all of you throughout the season.

I am honored to be the music director of New Hampshire’s oldest professional orchestra. From World War I to the Pandemic, Symphony NH has endured and shared the joy of music with communities throughout the Granite State. It is a true privilege to be a part of this organization’s history and its future.

Our upcoming season will be one of our most ambitious yet, with blockbuster works such as Stravinsky’s The Firebird Suite and Mahler’s First Symphony in thrilling chamber orchestra arrangements; a collaboration with the Nashua Choral Arts Society and Nashoba Valley Chorale in Mozart’s Requiem; hidden gems by Astor Piazzolla and Amy Beach; not to mention works by TJ Cole, Oliver Caplan, and John Adams. Our 100th anniversary concert - celebrated to the day of our first concert one hundred years ago - promises to be an event you won’t want to miss with the return of renowned cellist Amit Peled in Dvorak’s iconic Cello Concerto. As our anniversary falls towards the end of this season, our celebration is actually two seasons long. 2022-23 is just the beginning!

All of us at Symphony New Hampshire look forward to seeing you in the concert halls around the state. We are so glad that you are here to celebrate this milestone with us. See you soon!

Sincerely,

Roger Kalia Music Director, Symphony NH • Page 7 •

Roger Kalia Music Director, Symphony NH With a dynamic podium presence and noted passionate interpretations, Indian American conductor Roger Kalia has been celebrated by audiences and industry professionals alike, with Symphony Magazine recently recognizing him nationally as one of five first-year music directors for his innovative programming during the pandemic.

Praised for bringing a “fresh view to classical music” (The Republic, IN), Kalia is now in his fourth season as Music Director of the 100-year-old Symphony New Hampshire, and of Orchestra Santa Monica, and in his third season as Music Director of the Evansville Philharmonic Orchestra. He is also Co-Founder and Music Director of the 12-year-old celebrated Lake George Music Festival in upstate New York. The recipient of an Elizabeth Buccheri Opera Residency with Lyric Opera of Chicago and five Career Assistance Awards from the Solti Foundation U.S., Kalia has been praised for his “extraordinary leadership” (Courier & Press).

A versatile communicator and frequent guest conductor, in recent seasons, Kalia has appeared with the National Symphony Orchestra at the Kennedy Center, Chicago Sinfonietta, Louisiana Philharmonic Orchestra, Szczecin Philharmonic (Poland), Boise Philharmonic Orchestra, Spartanburg Philharmonic Orchestra, and the symphony orchestras of Redlands, Lima, Adrian, Bakersfield, Great Falls, Owensboro, Spokane, and Wheeling.

Kalia leads Symphony NH this 2022-23 as it celebrates its 100th anniversary. Amongst the notable events are the season opening concert featuring works written about or in New Hampshire; a collaborative performance of Mozart’s Requiem with the Nashua Choral Society and Nashoba Valley Chorale; and the 100th anniversary concert of Symphony NH’s in April 2023 that marks their first concert to the day one

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hundred years later in a program featuring cellist Amit Peled performing Dvorak’s Cello Concerto.

In addition to conerts with his Lake George Music Festival and the Evansville Philharmonoc, Kalia also debuts with the Columbus Indiana Philharmonic, Boston’s Longy Conservatory Orchestra Flex, and returns to the Redlands Bowl with the Hollywood Chamber Orchestra.

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 ten-year 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, and a variety of community

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

— THE REPUBLIC (IN)

outreach programs. Kalia has collaborated with a wide range of artists including singers Angela Brown, Reginald Smith Jr, and Shayna Steele; guitarist Meng Su; Cirque de la Symphonie; Electronic Dance Music (EDM) duo MAKO; Project TRIO; singer/songwriters Randy Newman and Randy Jackson; Philadelphia Orchestra concertmaster David Kim; violinists Nathan Cole, Glenn Dicterow and Sphinx Competition winner Annelle Gregory; dancers of the Charlotte Ballet and Ballet Indiana; pianists Fei-Fei Dong, Sean Chen, and Misha Dichter; rock musicians Johnny Rzeznik of the Goo Goo Dolls and Nancy Wilson of Heart; the B-52s; sitar player Anoushka Shankar; actor Jack Black; and visual artist/astronomer Dr. José Francisco Salgado.

A native of New York State, Kalia holds degrees from Indiana University, the University of Houston, and SUNY Potsdam’s Crane School of Music. His primary mentors include David Effron, Arthur Fagen, and Franz Anton Krager with additional mentoring from David Zinman, Marin Alsop, Robert Spano, and the late Kurt Masur. Previous posts include Associate Conductor of California’s Pacific Symphony, Assistant Conductor of the Charlotte Symphony Orchestra, Conducting Fellow with the Chicago Sinfonietta, and Music Director of the Pacific Symphony Youth Orchestra, Young Musicians Foundation (YMF) Debut Orchestra, and the Columbus Symphony Orchestra (IN). Kalia attended the Aspen Music Festival where he was a Conducting Fellow in 2010, and in 2011, Kalia won Second Prize in the Memphis Symphony International Conducting Competition, which led to his debut with the orchestra the following season and launched his professional career. Kalia is married to musicologist / violinist Christine Wisch.

“Kalia led with passionate intensity and a clear beat ... he’s one to watch.”

— LONG BEACH GAZETTE (CA) “... what a remarkable performance [of the Mendelssohn “Scottish” Symphony]...

Mendelssohn’s paean to the rugged beauty of that northern nation came alive in this fine performance, with the EPO under the extraordinary leadership of Kalia.”

— COURIER & PRESS (IN) “Kalia emerges to my ear as the [Lake George Music] festival’s secret weapon. His enthusiasm and positivism ... is unbounded. His leadership, impressive.”

— THE GLENS FALLS CHRONICLE (NY)

— p ro g ra m not e s —

Tango & Titan Tango & Titan 

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Roger Kalia, Conductor

Piazzolla/arr. Verhelst Suite from Maria de Buenos Aires Mahler/arr. Farrington Symphony No. 1, “Titan” ~

1. Langsam, schleppend - Immer sehr gemächlich Slowly, dragging - Very restrained throughout 2. Kräftig bewegt, doch nicht zu schnell - Recht gemächlich Moving strongly, but not too quickly - Restrained 3. Feierlich und gemessen, ohne zu schleppen Solemnly and measured, without dragging 4. Stürmisch bewegt – Energisch Stormily agitated – Energetic

This evening’s concert will run for approximately 60 minutes with no intermission.

— p rogram not e s —

Ode to NH Suite from María de Buenos Aires (1968) Ástor Piazzolla (1921–1992), Arr. Steven Verhelst (b. 1981) “You can say my music isn’t the tango, but you can’t say it isn’t Argentina.”

Such was the response of Ástor Piazzolla to those who accused him of “destroying” or “killing” Argentina’s beloved popular music. From our perspective today, it is hard to imagine a time in which there were vocal anti-piazzollistas who denounced the musician, but indeed, in mid-twentieth-century Argentina, the musical innovations Piazzolla brought to tango music caused both controversy and delight.

Born in Mar del Plata Argentina, Piazzolla was the only child of Italian immigrant parents. After spending some of his childhood in New York, he and his family returned to his hometown in Argentina where the teenage Piazzolla began performing with local tango orchestras. Piazzolla soon moved to Buenos Aires and joined the famed tango ensemble run by Aníbal Troilo. Although his primary instrument was the bandoneon, a type of concertina that was common to tango ensembles, Piazzolla also studied classical piano and composition, with the eminent figures of Alberto Ginastera and Nadia Boulanger being his most prominent teachers.

incorporated classical techniques such as fugal writing and extended counterpoint into his tango compositions. In 1966, Piazzolla began collaborating with Uruguayan-Argentine poet Horacio Ferrer. One of their first joint endeavors was the tango “operita” (little opera) titled María de Buenos Aires, for which Ferrer wrote the lyrics.

The operita opened to mixed reviews on May 8, 1968, at the Sala Planeta in Buenos Aires. Those who criticized the operita did so largely on the basis of its generic distinction and its libretto, while Piazzolla’s music, which was scored for an orchestra of ten instrumentalists (including Piazzolla on bandoneon) to accompany the three lead vocalists, was generally praised.

Although María de Buenos Aires is only rarely performed in its entirety as a staged work, many arrangements of the music have been made and are found more frequently on concert programs, including arrangements by Piazzolla himself and his famed pianist, Pablo Ziegler. The suite for brass ensemble, arranged by composer Steven Verhelst, was written specifically for the brass players of the Royal Concertgebouw Orchestra in 2010 and has quickly become one of the more popular arrangements of this music.

The suite features four beloved numbers from the operita: Yo soi María (I am María), Balada (Ballad), Habanera, and Fuga y Misterio (Fugue and Mystery). 

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Throughout the 1950s and 1960s, Piazzolla developed a unique style that came to be known as nuevo tango—literally, “new tango.” Piazzolla’s musical approach infused classic tango with extended harmonies borrowed from jazz, added additional instruments such as saxophone and electric guitar to tango ensembles, and

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Symphony No. 1 in D Major, “Titan” (1889) Gustav Mahler (1860–1911), Arr. Iain Farrington (b. 1977) By the nineteenth century and in the wake of Beethoven, the symphony became the pinnacle of musical expression for composers who used the form to demonstrate their technical prowess and communicate their most profound thoughts. Some composers also began writing symphonies that carried extramusical meanings or followed specific narratives. Such works, which became known as program or programmatic music, stood in contrast to absolute music, which was music written for music’s own sake and did not carry any extramusical associations. As program music became ever more popular and composers progressively used the symphony to express sentiments for which words were deemed inadequate, audiences increasingly expected composers to address what their music meant, even if there was no explicit program.

When Mahler’s First Symphony premiered on November 20, 1889, the accompanying program titled the work, “A Symphonic Poem in Two Parts.”

The two parts were further divided by tempo markings, and the only hint of a possible program was the title of the fourth movement, which simply indicated that the movement should be performed in the style of funeral obsequies (“a la pompes funèbres”). Four years later, Mahler updated the music and the titles for a performance in Hamburg, calling the entire work “Titan: A Tone Poem in Symphonic Form.” The five movements— still divided according to the original two parts— all carried descriptions, beginning with an introduction that depicted the “awakening of nature from a long winter’s sleep” and ending with “Dall’ Inferno” and the “sudden outburst of despair from a deeply wounded heart.” By the 1894 performance in Weimar, Mahler had further tweaked the

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descriptions within his “Titan” Symphony, which he gave the subtitle “From the Days of Youth, Music of Flowers, Fruit, and Thorns.” The opening depiction of awakening nature remained largely unchanged, as did the final movement, which carried the name “Dall’ Inferno al Paradiso,” a title that made any connection to Dante’s Divine Comedy unmistakable. The title of “Titan” itself referred to the four-volume Romantic novel written by Jean Paul Richter between 1800–1803 in which the protagonist strives to lead a passionate and heroic life. The inner three movements likewise carried brief descriptions ranging from a general floral scene to the specific “Hunter’s Funeral Procession: Funeral March in the Manner of Callot.” This latter title referenced an ironic woodcarving that was misattributed to the French Baroque printmaker Jacques Callot. The woodcarving, which was actually created by Austrian artist Moritz Von Schwind, depicts animals carrying the body of a hunter in a funeral procession, thus providing an unforgettable ironic image.

Despite the effort put into revising the music and program titles for these three early performances, Mahler ultimately decided to remove the programmatic elements of his first symphony and settled on restructuring the piece into a traditional format of four movements with tempo markings for titles. Of the decision to remove the titles, in 1896 Mahler remarked that the initial inclusion of descriptive titles was due to the insistence of his friends, but Mahler felt that the public had been misled and that the imposed narrative did not fit the music. Mahler explained that he found himself forced to identify how specific musical moments corresponded to the identified narratives and that the symphony was not conceived with any program in mind. Rather, for Mahler, as he famously explained a year earlier in 1895, “the symphony must be like the world. It must embrace everything.” The imposition of a program not only misdirected audience focus but also necessarily limited interpretive possibilities.

Today, it is the four-movement version without

programmatic references that is the standard version performed by orchestras. Although through the absence of descriptive titles Mahler encourages performers and audiences alike to experience the music without a specific program, it is impossible to hear the work without reference to any part of the outside world. In the opening movement, Mahler keeps the indication “Like the sound of nature,” (wie en Naturlaut), and if we listen closely, we may even hear a cuckoo. The second movement is the symphony’s dance movement, and while again there is no specific program, the melodic content recalls an earlier song “Hansel and Gretel” (Hans und Grethe), which Mahler first published in 1880.

Mahler follows the standard ABA formula for this movement, beginning with a lively Austrian ländler, a triple-meter folk dance. The ländler contrasts with a more lyrical trio section that resembles— if not parodies—a Viennese waltz. The third movement, which was previously identified as the hunter’s funeral procession, presents the popular children’s song “Frère Jacques.” Even without a specific narrative, Mahler creates a deep sense of musical irony by presenting the well-known tune in the minor mode and juxtaposing it with jaunty percussion. The theme of nature returns with the tempo indication and title of the symphony’s fourth movement, “Stürmisch bewegt” (moving like a storm). With this title in mind, it is difficult to hear the opening moments as anything but the crashes of thunder and lightning. Musical fragments from the preceding three movements return throughout the finale, which takes listeners on a journey from the turbulent to the triumphant, ultimately encompassing a world within itself.

The chamber arrangement of Mahler’s first symphony heard tonight was published in 2011

by British composer, pianist, and arranger Iain Farrington. In making this arrangement for small ensemble with single woodwinds, Farrington participates in a century-old tradition of adapting Mahler’s symphonies for reduced forces.

Composer Arnold Schoenberg first made chamber arrangements of Mahler’s symphonies to present at his Society for Private Musical Performances in

Vienna in 1918. Farrington’s arrangement preserves the musical material of the symphony in its entirety with minimal reorchestration that allows appropriate balance with the significantly reduced string section and solo winds. 

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christine wisch Program Annotator Christine Wisch holds a PhD in musicology with a minor in ethnomusicology. Her work as a musicologist focuses on early nineteenth-century Spanish classical music and issues of nationalism, patronage, and identity. She is the recipient of a 2019 Dissertation Fellowship from the Honor Society of Phi Kappa Phi for her in-progress dissertation, “Politics, Patronage, and Music in 1830s Spain.” Her research has been presented at both national and international conferences and has been supported by a number of awards and grants, including a 2017 Mellon Pre-Dissertation grant from Indiana University’s Russian and Eastern European Institute (REEI) and the A. Peter Brown Research Travel Award. Recently, she worked as a research consultant on Hispanic topics for the tenth edition of the History of Western Music and its corresponding anthologies, and she continues to work for Indiana University’s Latin American Music Center (LAMC). Additionally, she has written program notes for orchestras across the country and remains an active violinist. 

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• Page 17 •

— Sym phony NH Musicians —

Roger Kalia, conductor

VIOLIN 1

CELLO

TRUMPETS

Elliott Markow

Harel Gietheim Principal Nathaniel Lathrop Young Sook Lee

Richard Watson Principal Richard Kelley

Concertmaster

Emma Kondo Powell Assistant Concertmaster

Aleksandra Labinska Sargis Karapetyan

BASS

TROMBONES

Volker Nahrmann Principal

John Faieta Principal Wes Hopper

VIOLIN 2

FLUTE

TUBA

Kun Shao Principal Second Amy Ripka Assistant Principal Second Leonora LaDue Katharina Radlberger

Kathleen Boyd Principal

Takatsugu Hagiwara Principal

VIOLA Dani Rimoni Principal Seeun Oh Kathleen Kalogeras

OBOE Cheryl Bishkoff Principal

CLARINET Alexis Lanz Guest Principal

BASSOONS Michael Mechanic Principal

HORNS Steven Harmon Principal Kristin Olsen

• Page 18 •

TIMPANI & PERCUSSION Jeffrey Bluhm Principal Dylan Barber

HARP Katie Lyon-Pingree Principal

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Next Concerts us for our Centennial Concert We are turning 100! Join and post-concert gala celebration

April 29 | Nashua 4:00 PM Concert at the NEW Nashua Performing Arts Center 6:30 PM Post-Concert Gala at the Courtyard Marriot of Nashua

100 years concert and Post-Concert Centennial Anniversary gala

Seating limited. Reserve your tickets early!

Tap here for more info

Symphony NH marks the anniversary of its very first concert TO THE DAY at the new Nashua Center for the Arts! Join us for a concert featuring acclaimed cellist Amit Peled, who performed Dvořák’s Cello Concerto with SNH in 2001, followed by two works played on Symphony NH’s very first concert on April 29, 1923: a movement from Schubert’s “Unfinished” Symphony – and Strauss’s On the Beautiful Blue Danube, a piece that has stood the test of time. A special gala celebration and dinner follow. We hope you will join us for this fun-filled evening as we celebrate our 100th year and reveal insights into our much-anticipated 2023-24 season.

Family Concert May 13 | Nashua 11:00 AM Keefe Center for the Arts

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follow our social media all off-season for news & updates

Annual Fund Contributors Conductors Circle Maestro $10,000+ Ardath Blauvelt Marshall and Elena Jespersen James and Ann Conway Bob Oot and Carol Robey

Benefactor $5,000-9999 Anonymous (1) Hal Clark and Karen Hays Calann and Robin Hertel Mark Tremallo and Wellner Poppe-Tremallo

Virtuoso $3,000-4,999 Robert and Geri Boisvert Peter and Barbara Letvinchuk

Patron $1,000-2,499 Anonymous (1) Semra and David Bahi Stella Bloom Glenn Burkhardt Robert and Judy Carlson John Daniels Garry N. Henkel Carol Houde and Stephen Gronberg In honor of Barb Young Mary Jordan and Henry Quinlan Cecile Juneau Karen and Joseph Kenny Carl and Pamela Mattaliano Donald and Catherine McDonah Cam McGurk Sandra Meinz Peggy and Peter Proko

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John A. Rein Linda Robinson Gabor and Galina Szakacs Barb Young, Dave Young

Sustainer $500-999 Anonymous (1) Janet Brown Marcia Donaldson Catherine Eames Jean and Frank Holt Annette and Anthony Immorlica Donald and Carol Lyon Martha O’Neill Gerard and Rachel Paquette Barbara Dee Pringle Ashwini Saxena New Hampshire Imaging Services In honor of Dr. Robert Oot Peter Toumanoff Mrs. Robert Wanger Donald and Brenda Smith-Weiss In honor of Blue Elmo Mary Winiecki In memory of Kenneth Gabriele and Eitan Zeira

Associate $250-499 Anonymous (2) Carol Ace Anne and John Baier Pamela Baker James and Barbara Battis Lee Bory Paul Farrell Edward and Monique Fisichelli Eleanor Goldthwait Stephen Ziedman Paul Kenney and Deborah Jelley Allan and Ruth Kabel Bettina Peyton and Matthew Levine Hannah McCarthy Lawrence Morgan Jim and Lynda Petropulos

Paul Rivenburgh Joshua Rosen Donna Rosenstock Mark and Lindsay Stern Deb Stone

Friend $100-249 Anonymous Anonymous in honor of Carol Austin Blodgett Michele Baltus and Rick Davis Family Fund Bobbye Bartels Arteca Bellavance Lolli Bonte Roger and Carol Brooks Ken and Patricia Brunini Leonard and Eileen Brunk Dick and Jill Cane Douglas Chamberlain Robert and Mary Davies Jay and Antonia Dinkel Candace Dochstader Sherry and Jack Dutzy Marie Falzone Armig Ferris Noel and Dora Friedman David and Peggy Gilmour Leonora LaDue and Mark Goldstein In memory of Marilyn LaDue Lois Grant Mr. and Mrs. Gual Sarah, David, Ian and Sean Hall Don and Mary Hayes Benjamin and Jean Horne Lindsey Humes Kathy Theophilos Jane Jones Sia Juris Sheila Kabat Robert E Lash Bette and Elliot Lasky Mike and Betty Lenehan Rebecca Kadish and Robert Levine Mary Licking

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

Listed below are gifts made between July 1, 2021 and June 30, 2022.

Nancy Linsley Sylvia Lundberg Erika Cross MacDonald In honor of David Bahi Gene and Jan Madigan Christy Houpis and Dawn McGuire Paul and Liz McKenzie On behalf of celebrating your wedding day!

Richard McKenzie On behalf of celebrating Paul and Liz McKenzie’s wedding Jackson and Patricia McLaughlin Mary McLaughlin David and Mary Murphy Judith Murray Chris Nevins Roy and Patricia Hugenberger Anne-Marie Pelkey Rita Ralston Doreen Ramirez Sandy Rodgers Michael Rosenblum and Stephanie Wolf-Rosenblum Mark and Cynthia Rouvalis Roger and Adelaide Saunders Walter Schier Alexandra Shaplyko Ken and Sharon Wall Beth Sheehan Paul S. Spivack Kent and Donna Swanson William and Frances Upham The Westner family Kirke and Michelle Wheeler Bruce Wilburn Dave and Barb Young Congratulations to Paul and Liz McKenzie on your wedding. May the music be with you always!

Up to $99 Anonymous (2) Rocio Alexander Rosemary and Dave Audette

Jeanne Bausha Carola Beasley-Topliffe Daniel Blazej Kathryn Borenstein Roberta Brayer Christina Brown Louis and Maria Candito John and Elizabeth Cepaitis Ruth Chevion Caren Citagliano Rosemary Clough Tracy Danziger Ryan DeLosa Dave and Sherry Diamond Lois Dixon Eric and Antoinette Drouart Carol Engholm Richard Erausquin Glenda and Ed Fischer Liz and Garth Fletcher Wayland Foote Gail Forthoffer Edith Frank Laura Fraser Charles Friou John and Barbara Furlong Jeff Gendron Robert and Linda Gerlach Robert Goff Wayne and Laura Goldner Janice and James Harrison Rebecca Hecking Laurel Horne Walter Jackson Sally Jasper Leslie Johnson Rosemary Johnson Marilyn Jonas Michael Joseph Pamela and Alan Kirby Donna Kraus Carol LaChance Judy Lange Madeleine LaRose Charlotte Leto James Lynch Elizabeth MacDonald

Elizabeth MacMillan Pamela Magrath Debra Manseau Fernand and Janice Martin Thomas and Irene McManus Mary Mechling Katherine Messner Ann Miles Anne Moulton Shahriar and Mona Movafaghi Patricia Mullin Virginia Nedved-Cook Jacqui O’Shea William Pariser Alyssa Partridge Denise Perry Brian Pierce Karen Price Xiaofei Pu Craig and Debra Putnam Mona and Malcolm Roberts Tim Roukey James Sama Victoria Sandin Robert Scarponi Maria Sehovich Katherine Staveley Sunshine Clark-Wilkins Elementary in honor of David M. Wright David Thirkill Kathleen Thurston Trina Toups Barbara Travis Richard Tripp Philip Trowbridge Nita and James Vandt Mary Walker Thom Walters Jane E. Washburn Craig Webb Deb and Andrew Westwood Anne Wilbur Leslie and Stephen Woodard

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

ON-AIR | ONLINE | ON-DEMAND

89.1 Concord/Manchester | nhpr.org

Sponsors and Collaborative Music Director Sponsor Patricia Thurber

ConcertMaster Sponsor Bob Oot and Carol Robey

Presenting Sponsors

Maestro Sponsor

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Community Partner

Thank

Partners With additional support from:

k you!

100th Anniversary Collaborative Partners

Foundations Ella F. Anderson Trust The Bagan Foundation Citizens Bank Trusts/Ayer Trust Conway Arena Ice Commission The Demoulas Foundation Samuel P. Hunt Foundation The McIninch Foundation RBC Foundation Rotary Club West Frederick Smyth Institute of Music Madelaine G. Von Weber Trust

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Symphony NH Board of Trustees OFFICERS Mary Jordan, President Harold Clark, Vice President Joseph Kenny, Treasurer Pam Baker, Secretary

TRUSTEES David Bahi Geraldine Boisvert Ann N. Conway Donald McDonah Bettejean Neveux

Robert Oot John Rein Ashwini Saxena Galina Szakacs Amir Toosi

Wilberto Torres Olga Usyk Drew Wilson

EX-OFFICIO MEMBERS Deanna Hoying, Executive Director Roger Kalia, Music Director Rosemary Johnson, President, Friends of Symphony NH Ron Kaye, Chair, Symphony NH Players’ Committee Representative Cheryl Bishkoff, Vice-Chair, Symphony NH Players’ Committee Representative

Staff Deanna Hoying Executive Director Joseph DuBose Orchestra Librarian | Personnel Manager Paul LaFlamme Production Manager Kate Merges Patron Systems and Marketing Manager | Graphic Design Laura Grant Interim Director of Marketing and Communications / Press Contact - (917) 359-7319 | laura@grant-communications.com Sophie Nahrmann Assistant Personnel Manager

Musicians Violins

Cello

Oboes

Horns

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

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

Cheryl Bishkoff Principal Ronald Kaye Kyoko Battaglia English horn

Steven Harmon Principal Kristin Olsen Michael H. Weinstein Ellen Michaud Martins

Clarinets

Trumpets

Mackenzie Austin Principal

Richard Watson Principal Richard Kelley

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

Bass Volker Nahrmann Principal Bass Robert F. Hoffman

Flutes Kathleen Boyd Principal Nina Barwell

Bassoons Michael Mechanic Principal Sally Merriman

Trombones John Faieta Principal Wes Hopper

Tuba Takatsugu Hagiwara Principal

Timpani & Percussion Jeffrey Bluhm Principal

Harp Katie Lyon-Pingree Principal

• Page 27 •

Symphony NH 2022-23 Season

Calendar of Events Oct 2 Concord

Apr 1 NASHUA

Dec 10 NASHUA

100 Year Apr Anniversary Concert at the 29 NEw Nashua Center for the Arts Manchester

NASHUA

Dec 11 Concord

Mar 5 NASHUA

Apr Post-Concert Centennial Anniversary 29 Fanfare gala

Oct 1

Sep 17 NASHUA

May 13 NASHUA

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