Issue No. 8 March 2022

Bruch and Beethoven — Nashua Saturday, March 5, 2022 I 7:30 PM Keefe Center for the Performing Arts, Nashua, NH

WELCOME! from Interim Executive Director Deanna Hoying Welcome to your Symphony NH’s 2021-22 season, Homecoming. It seems a fitting title for the season as we have not performed for a live audience at the Keefe Center for the Arts since March 2020. So much has happened since then and I want to take this opportunity to say thank you. Thank you to our musicians for allowing us to pivot to a digital format for livestreaming concerts for our 2020-21 season. Thank you to our board and staff who worked tirelessly to make sure that Symphony NH remained on solid financial ground. Thank you to our Music Director Roger Kalia for adapting the programming multiple times to accommodate pandemic restrictions.

Thank you to our sponsors who continued their support in the new digital format. And thank you to our audiences and donors who continue to inspire us every day to bring exceptional music to our communities.

Throughout the concert halls around the state, Symphony NH will be performing repertoire that showcases the depth and breadth of great orchestral music. Outside the concert hall, we will continue our education and community engagement programs that bring musical access and equity to communities throughout southern New Hampshire and northern Massachusetts.

Symphony New Hampshire is dedicated to performing great music with an exceptional orchestra to enrich and delight our diverse audiences, expand the musical and humanitarian contributions of our entire arts community, and provide learning opportunities with performances that spread beauty, empowerment and good will.

Thank you for joining us for this very special season as we return to stages around the state to share the beauty and power of live orchestral music.

Deanna R. Hoying Interim Executive Director/Development Manager

A letter from Board President Robert Oot On behalf of the musicians, staff, and board of trustees, it is my pleasure to welcome you to the 98th season of Symphony New Hampshire. It feels like ages since we were last able to play a full orchestral concert. Through the largess of foundations, sponsors, and audience members like you, SNH was able to stay active over the last 18 months in smaller formats. It is with great excitement that you are here to join us live.

We at SNH thank you for following the public health guidelines we currently have in place. We have made safety of all members of our community our highest priority during these challenging times. We look forward to the time when SNH will be able to perform without masks to an audience that includes people of all ages.

The 100th anniversary of the first performance of this symphony orchestra is nearing. For the first 88 years of our existence, we were known as the Nashua Symphony, before changing our name to Symphony New Hampshire in 2012. We are very excited at the prospect of performing the 100th Anniversary Concert on April 29, 2023, kicking of a year of celebration. Most orchestras don’t reach this landmark and we are grateful to our community for the support we have received over the last near century.

We are proud to be led by our extraordinary conductor Roger Kalia.

So sit back and relax and enjoy live music.

Robert Oot President, SNH Board of Trustees

A letter from Music Director Roger Kalia

Dear Friends, It gives me great joy to welcome all of you to our 2021-22 season titled “Homecoming”!

Symphony New Hampshire has been resilient during the pandemic, and throughout the past year we were able to share music and connect with our community virtually. This season we celebrate being back TOGETHER in the concert hall. We were unable to experience live music together last season, and we would like to welcome you back into the concert hall with music that is joyful, thrilling, and dynamic. Every concert will be an event where the experience begins the moment you walk through the door and continues long after the concert has ended.

In addition to performing works by Beethoven, Mozart, and Schubert, we will feature works by composers from a variety of backgrounds. In addition, we will continue our engaging Holiday Brass program with performances around the Granite State, and we are looking forward to performing an all-James Bond program in May. We look forward to featuring our musicians in unique chamber music performances in venues throughout the Granite State.

As the oldest professional orchestra in the state, we cannot wait to share our music with you. I invite you to join us for another great season of memorable music with your Symphony NH! Sincerely,

Roger Kalia Music Director, Symphony NH

Bruch and Beethoven Symphony NH Saturday, March 5, 2022 at 7:30 PM Doors open at 7:00 PM Keefe Center for the Arts 117 Elm Street, NH 03060

PROGRAM

ROSSINI Overture to The Barber of Seville BRUCH Violin Concerto No. 1 Timothy Chooi, violinist BEETHOVEN, Symphony No. 2 Roger Kalia, Conductor Timothy Chooi, violinist Reduced orchestra SAFETY Masks and proof of vaccination required for hall entry.

In accordance with our Health and Safety practices, tonight’s concert will have no intermission.

Food and drink will not be permitted in the venue.

See more on our safety practices at back of book.

PROGRAM NOTES

Overture to The Barber of Seville • Gioachino Rossini (1792–1868)

With appearances across many forms of popular culture ranging from Seinfeld to Looney Tunes and “The Rabbit of Seville,” the overture to Giachino Rossini’s The Barber of Seville has become one of classical music’s most instantly recognizable works. It may be surprising to learn that this overture, so beloved across the world, is not, however, the original overture to Rossini’s acclaimed opera buffa. The music for the original overture was lost after the opera’s premiere in 1816 at Rome’s Teatro Argentina as the opera moved on to a performance in Bologna. All we know of the original overture is that it supposedly incorporated Spanish themes—a reference to the titular city of Seville, where the famed barber, Figaro, makes his home and the action of the opera takes place. To resolve the issue, Rossini—both prolific and pragmatic—opted to reuse an overture written three years earlier for his opera Aureliano in Palmira. (One wonders if Rossini appreciated his overture as much as today’s audiences do, as he also reused it for his Elisabetta, regina d'Inghilterra in 1815!)

As a result of the reuse, there are no thematic or motivic connections between the overture and the music from the rest of The Barber of Seville. This was not, however, unusual for operas of the time. Instead, operatic overtures primarily served a practical function: to call attention to the start of the opera and create a general mood or ambiance. The “replacement” overture follows the archetypal form Rossini used for many of his opera overtures, as it begins with a slow introduction before moving on to a main section. The overture’s beginning—a musical “Tadah!” if ever there was one!—suggests the rising of a curtain, and we feel as though we are invited into an opening scene in which the oboe and strings engage in dialogue, passing a melody back and forth. The subsequent main section unfolds like the first movement of a symphony, with the presentation of two themes, a development, and a recapitulation. This portion begins with a noticeably faster tempo, which presents one of Rossini’s most famous melodies. The second theme, a contrasting and playful line, is first introduced by the oboe and then echoed by the horn. Typical of his overtures, Rossini builds excitement to the end with a tiered crescendo, a technique so common to his overtures that it became known as a “Rossini crescendo” or “Rossini rocket.”

Whether on the concert stage or small screen, this overture remains a fun and thrilling staple of the symphonic repertoire.

Violin Concerto No. 1 in G Minor, Op. 26 • Max Bruch (1838–1920) From an early age, Max Bruch demonstrated remarkable musical talent such that he earned the praise of piano virtuoso and composer Ignaz Moscheles and took lessons with the esteemed composer and pianist Ferdinand Hiller. By age twenty, Bruch had produced his first opera and went on to travel throughout Germany before settling in Mannheim, where he continued to work primarily on operatic and choral works. By all accounts, Bruch was on course to become an internationally recognized composer, but today, despite an oeuvre that includes dozens of choral and orchestral works and chamber pieces, he is associated primarily with only two works for violin and orchestra: his Scottish Fantasy (1880) and his first violin concerto (1866).

Although the first violin concerto can be traced to sketches from 1857 when Bruch was only eighteen years old, serious work on the concerto began in the summer of 1864, and a first draft was completed in early 1866. The concerto received its premiere on April 24, 1866, in Koblenz, where Bruch served as Court Music Director. The violinist Otto von Königslöw performed the solo part while Bruch conducted the orchestra. Although the concerto was reportedly received well, Bruch was unsatisfied and began to revise the work immediately.

That summer, he sent his revised version to the famed violin virtuoso Joseph Joachim, whom Bruch had befriended previously during a visit to Hanover. Joachim responded by suggesting additional changes and even included a written-out cadenza that has become a standard part of the concerto’s performance. Even with the revisions, however, Bruch must have debated the quality and genre of the work, for in his letter, Joachim encouraged Bruch to keep the title “Concerto,” pointing out that the composition was fully developed and worthy of the distinction. The version known today received its premiere by Joachim in 1868 and has since been a staple of the violin repertoire. Joachim would go on to call this piece one of four definitive German violin concertos—the other three being those by Beethoven, Brahms, and Mendelssohn.

Although the popularity of Bruch’s Violin Concerto No. 1 has perhaps taken recognition away from other works by the composer, its reputation is well deserved. The opening of the concerto is verily dramatic: announced by a rumbling timpani and short woodwind chorale, the soloist enters with an ascending passage that shows off the range and power of the instrument with a cadenza-like quality. The rhapsodic nature of the violin’s melody in this first movement betrays Bruch’s initial conception of this work as a fantasy, but indeed, the work fits the concerto mold. The first movement connects seamlessly to the second, which begins with a tender string melody that is echoed an octave higher by the violin. The third movement, a rousing finale tinged with Hungarian-inspired rhythms and motives—a possible nod to Joachim’s heritage—is a tour de force for the violinist, who must navigate extensive passages of double-stops, arpeggios, and octave leaps. Having followed the violinist on the journey from the brooding prelude of a first movement to this jocular display of virtuosity, audiences can easily appreciate Joachim’s appraisal of this piece as “the richest” and “most seductive” of the German violin concertos.

Symphony No. 2 in D Major, Opus. 36 • Ludwig van Beethoven (1770–1887) In 1953 the Russian-born American conductor, pianist, and writer Nicolas Slonimsky published the Lexicon of Musical Invective: Critical Assaults on Composers since Beethoven’s Time, a collection of the most biting and insipid critiques levied against classical composers and pieces from the past two centuries. The pages in Slonimsky’s book remind us that not all works hailed as genius or masterful today were understood or appreciated in their own time. This is especially true for many of Beethoven’s compositions, which pushed boundaries and upset audiences who did not always understand the composer’s innovations or aesthetic aims. Of the many criticisms levied against Beethoven’s music, few carry the colorful imagination of the review for his second symphony, which was published in 1804 in the Viennese Zeitung für die elegante Welt (Newspaper for the Elegant World). Of the piece, the disgruntled reviewer wrote: “Beethoven’s Second Symphony is a crass monster, a hideously writhing wounded dragon, that refuses to expire, and though bleeding into the Finale, furiously beats about with its tail erect.”

Today, it is hard to imagine how a symphony could have elicited such a pointed and imaginative response, but this review and others throughout the decade demonstrate the public’s frequent wrangling with Beethoven’s ingenuity. Though not as novel as his third symphony, Eroica, Beethoven’s second symphony is still significantly larger than his first—

both in terms of length and required forces—and is also more technically demanding of its performers. The introduction of the first movement is uncharacteristically long for a symphony and follows an unconventional tonal path that highlights movements by thirds (instead of fourths and fifths) and the minor mode—unusual practices for an early nineteenth -century symphony written in a major key. Similar harmonic motions occur in other movements, but these were far from the only innovations in the symphony. The second movement is the most traditional in nature, offering listeners some musical respite with its gentle, lyrical themes that seem to reflect the tranquility of the countryside where the symphony was written. The third movement eschews the convention of placing a minuet between the second and fourth movements; instead of an elegant and courtly dance, Beethoven presents his audience with a movement he titled “scherzo” (Italian for “joke”).

Extreme motivic fragmentation, shifting rhythmic and harmonic accents, and dynamic surprises indeed play a musical joke on audiences steeped in the expectation of a minuet.

The finale continues the jovial spirit, but, as the reviewer remarks, it was too much for some audiences. Its disproportionally large coda comprises one-third of the total movement and unloads a succession of cadential gestures and ornaments to signal the work’s end.

Writing half a century later, the French composer Hector Berlioz recognized Beethoven’s second symphony as a “masterpiece,” appreciating how “the most beautiful effects follow in quick succession.” Berlioz also remarked that it was a joyous piece with only “passing touches of melancholy,” a characterization that gravely contrasts with the circumstances surrounding the work’s creation. Beethoven composed his symphony between 1801–1802, completing the work during a stay in Heiligenstadt. The composer, who was actively confronting his hearing loss, sought refuge in this countryside town on the recommendation of his doctor who thought its quiet setting would help the ailing Beethoven rest his ears from the urban soundscape of Vienna. The contrast between the composer’s feelings of despair as expressed in the Heiligenstadt Testament—a unsent letter to his brothers dated October 6, 1802, in which Beethoven appears to have contemplated suicide—and the powerful joie de vivre expressed in the second symphony are proof of Beethoven’s fortitude and continue to intrigue both scholars and audiences.

CHRISTINE WISCH, program notes Christine Wisch is a PhD candidate in musicology with a minor in ethnomusicology. Her work as a musicologist focuses on early nineteenth-century Spanish classical music and issues of nationalism, patronage, and identity. She is the recipient of a 2019 Dissertation Fellowship from the Honor Society of Phi Kappa Phi for her in-progress dissertation, “Politics, Patronage, and Music in 1830s Spain.” Her research has been presented at both national and international conferences and has been supported by a number of awards and grants, including a 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.

SYMPHONY NH Musicians Performing March 5, 2022

First Violins Elliott Markow, Concertmaster Lynn Basila Sargis Karapetyan Leonora LaDue Jane Dimitry Anabelle Tirado Beth Welty Lisa Brooke Second Violins Kun Shao, Guest Principal Nancy Goodwin Kyra Davies Mina Lavcheva Amelia Perron Jessica Helie Viola Dani Rimoni, Principal Elaine Leisinger Kathy Kalogeras Elisabeth Westner Seeun Oh Nissim Tseytlin Cello Harel Gietheim, Principal Nathaniel Lathrop Young Sook Lee Alexander Badalov Priscilla Taylor Bass Volker Nahrmann, Principal Robert Hoffman Reginald Lamb Flute Kathleen Boyd, Principal Peggy Friedland

Oboe Cheryl Bishkoff, Principal Ronald Kaye Ronald Kaye Clarinet Nicholas Brown, Guest Principal Margo McGowan Bassoon Sally Merriman, Acting Principal Aura Trevino French Horn Clark Matthews, Guest Principal Ellen Martins Michael Weinstein Michael Bellafatto Trumpet Richard Watson, Principal Richard Kelley Percussion Jeffrey Bluhm, Principal Timpani and Percussion Dylan Barber

ROGER KALIA, Music Director

Innovation and dynamism are the hallmarks of Indian-American conductor Roger Kalia. A respected collaborator with orchestras and artists alike, and a compelling presence both on and off the podium, Kalia is known for his eloquent and passionate interpretations and for bringing a “fresh view to classical music” (The Republic). Music Director of the Evansville Philharmonic Orchestra, Symphony NH (Symphony New Hampshire), and Orchestra Santa Monica, he is also the Co-Founder and Music Director of the celebrated Lake George Music Festival in upstate New York, which celebrates its ten-year anniversary in August 2021 (postponed due to Covid-19 from August 2020).

The 2021-22 season sees Kalia leading his orchestras in live concerts. Of special note is the world premiere this fall of Orchestra Santa Monica’s commission by composer Derrick Skye for the art film “Santa Monica Black Life Expressed through Music, Visuals, and Narrative,” which combines musicians, artists, and local historians from the Santa Monica area. Maestro Kalia makes his subscription debut with the Louisiana Philharmonic Orchestra and Spartanburg Philharmonic this season, and returns for performances with Poland’s Szczecin Philharmonic, and the Hollywood Chamber Orchestra at the Redlands Bowl.

During the 2020-21 season, Kalia reimagined the Evansville Philharmonic Orchestra’s 202021 season around COVID-19 with great success, which featured the world premiere of Paul Dooley’s River City, celebrating both the Philharmonic and the city of Evansville. He also programmed works by living composers such as Jessie Montgomery, Jessica Meyer, T.J. Cole, and Reena Esmail, and curated unique collaborations with Evansville Civic Theatre, Historic Bosse Field, the Evansville Wartime Museum, Ballet Indiana, and tango dancers from the University of Evansville. With Symphony NH, Kalia celebrated the spirit of diversity in the arts with works by Sarah Kirkland Snider, George Walker, William Grant-Still, and Osvaldo Golijov, as well as introducing regional partnerships with Mayor Jim Donchess, classical musicians from the Indian community, and a new online series entitled “Granite State Conversations with Roger Kalia,” highlighting different New Hampshire artists, civic and business leaders.

A versatile communicator, amongst the orchestras that Roger Kalia has appeared with are the National Symphony Orchestra at Washington DC’s Kennedy Center for the Performing Arts, the Chicago Sinfonietta at Symphony Hall, the symphony orchestras of Lima, Long Beach, Adrian, Bakersfield, Great Falls, Owensboro, Redlands, Spokane, and Wheeling as well as the Boise Philharmonic, and Camarada Chamber Orchestra. Kalia has collaborated with a wide range of artists, including singers Shayna Steele and Steve Lippia, Electronic Dance Music (EDM) duo MAKO, singer/songwriter Randy Newman, Philadelphia Orchestra concertmaster David Kim, violinists Glenn Dicterow, Nikki and Timothy Chooi, and Sphinx Competition winner Annelle Gregory, percussionist Lisa Pegher, pianists Fei-Fei Dong and Misha Dichter, the B-52s, PROJECT Trio, the Brooklyn-based electronic Indie band Balún, actor Jack Black, and visual artist and astronomer Dr. José Francisco Salgado.

Equally at home with modern repertoire as he is with popular warhorses, Roger Kalia is a passionate advocate of contemporary music, and has commissioned and/or programmed numerous works by some of today’s most exciting living American composers including Paul Dooley, Reena Esmail, Brendan Faegre, T.J. Cole, Missy Mazzoli, Narong Prangcharoen,

Sarah Kirkland Snider, Harry Stafylakis, Jessica Meyer, Austin Wintory, Michael Daugherty, and Paul Chihara. Kalia has led the U.S. premieres of Michael Murray’s Pilgrims and King David’s Dance with musicians of Pacific Symphony and has commissioned and led several world and state premieres at Lake George Music Festival which are frequently broadcast on NPR’s Performance Today. They include Chris Rogerson’s Four Meditations for Orchestra, Sheridan Seyfried’s Double Concerto for Two Violins and Orchestra, and the New York premiere of Paul Dooley’s Northern Nights.

A staunch supporter of music education, Kalia’s tenure as Music Director of the Pacific Symphony Youth Orchestra (2015-2020) was highly praised and included numerous commissioned works and a three-city tour of China in June 2016, marking the orchestra’s second international tour and its first to Asia. Kalia has conducted numerous youth and collegiate orchestras, including the 2021 Georgia All-State Symphony Orchestra, the 2018 Missouri All-State Symphony Orchestra, The Colburn Orchestra, California State University Fullerton Symphony Orchestra, Charlotte Symphony Youth Orchestra, and the Irvine Seraphim Symphony. He has created family and educational concerts in a variety of concert formats, and has collaborated on the education platform with such renowned artists and ensembles as Cirque de la Symphony, Orange County’s Festival Ballet Theater, speed painter Dan Dunn, and the Magic Circle Mime Co. Furthermore, Kalia has also served as an instructor of conducting atUSC’s Thornton School of Music.

In 2011, Kalia and two of his colleagues co-founded the Lake George Music Festival, an original, ground-breaking, two-week nationally recognized music festival that 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 outreach programs. As Music Director, Kalia programs and conducts all orchestral and large ensemble concerts, including the popular “Sounds of Our Time, ” series (which he created and curates) highlighting connections between popular and orchestral music though multimedia concert formats, as well as the festival’s Family Concert Series. He also programs and conducts the “Uncorked” concert series, creating an immersive experience for the audience by performing chamber operas in unique settings. In 2018, Kalia introduced Symphony Happy Hours, informal, informative chats about music that take place in local breweries and bars.

A native of New York State, Roger 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. Among his honors and awards are five Solti Foundation U.S. Career Assistance Awards (2013, 2017, 2018, 2020, 2021), a 2019 Solti Foundation Elizabeth Buccheri Opera Residency with Lyric Opera of Chicago (where he assisted Sir Andrew Davis for Rossini’s The Barber of Seville), a Project Inclusion Conducting Freeman Fellowship with Chicago Sinfonietta, and an American Academy of Conducting Fellowship at the Aspen Music Festival with Robert Spano. Recently, Kalia was recognized in the League of American Orchestras’ Symphony Magazine as one of five firstyear music directors for his innovative work during the pandemic.

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. Earlier posts include serving as Associate Conductor of California’s Pacific Symphony, Assistant Conductor of the Charlotte Symphony Orchestra, and Music Director of the Pacific Symphony Youth Orchestra, Young Musicians Foundation (YMF) Debut Orchestra, and the Columbus Symphony Orchestra (IN). Kalia is married to musicologist / violinist Christine Wisch.

TIMOTHY CHOOI, violinist Powerful and finely nuanced interpretations, sumptuous sonorities, and a compelling stage presence are just a few of the hallmarks of internationally acclaimed violinist Timothy Chooi. A popular soloist and recitalist, he is sought after as much for his passionate performances as for his wide-ranging repertoire. Recent honors include Second Prize, Belgium’s world-renowned 2019 Queen Elisabeth Competition, First Prize, the 2018 Joseph Joachim International Violin Competition in Germany, and the First Prize, the 2018 Schadt Violin Competition in the USA, In 2018 Chooi also won the ‘Prix Yves Paternot’ of Switzerland's Verbier Festival, a prize which recognizes the most promising and accomplished musician of the annual Academy for young professional musicians, earning Chooi his future debut as a solo artist in the 2022 Verbier Festival.

Future engagements include returns to the Toronto Symphony Orchestra with Peter Oundjian, Montreal Symphony Orchestra, National Arts Centre Orchestra Ottawa, and the Belgian National Orchestra, as well as his debuts with the Chicago Symphony Orchestra, Russian National Orchestra and Mikhail Pletnev, DSO Berlin, Brandenburgisches Staatsorchester Frankfurt, Saarländisches Staatsorchester, and the Sichuan Symphony Orchestra. Upcoming recitals see Chooi performing in cities worldwide, including a European tour with Anne-Sophie Mutter.

Recent performances include engagement with The Belgian National Orchestra, Luxembourg Chamber Orchestra, and l'Orchestre Symphonique de Montréal; a live on-air recital on New York City’s WQXR classical radio station; and recital tours of Belgium and the United States. In addition to having already performed with every major orchestra in his home country of Canada, Timothy Chooi has also played with the Brussels Philharmonic under Stéphane Denève, with Santa Barbara Symphony, Orchestre Philharmonique de Liége, Auckland Philharmonia Orchestra, and the Malaysian Philharmonic Orchestra. He has also made an extensive recital tour with Jeunesses Musicales du Canada, appeared at the Ravinia Festival, and made his Carnegie Hall debut.

In addition to his 2019 and 2018 awards, Timothy Chooi’s numerous honors include the third prize at the 2015 Michael Hill Violin Competition in New Zealand and Grand Prize at the 2010 Montreal Symphony Manulife Competition in Canada. He also won the EMCY Prize at the 2014 Yehudi Menuhin International Competition. and the Vadim Repin Scholarship Award in New York.

As a founding member of The VISION Collective, a three-year-old ensemble of musicians and composers that utilizes music to highlight refugee and immigrant voices and stories, raising awareness for the global refugee crisis, and brings together individuals from all walks of life together to create diverse and meaningful art, he is also a recipient of the 2020 Harold W. McGraw Family Foundation's The Robert Sherman Award for Music Education and Community Outreach.

Chooi studied at the Juilliard School under the tutelage of Catherine Cho. His mentors include Ida Kavafian, Pamela Frank, Pinchas Zukerman, and Patinka Kopec. He currently is enrolled in Juilliard’s prestigious Artist Diploma program studying with Catherine Cho and a Professional Studies candidate at the Kronberg Academy with Christian Tetzlaff and lives in Philadelphia, USA. Timothy Chooi is a Professor of Violin at the University of Ottawa. He performs on the 1717 Windsor-Weinstein Stradivarius on a generous loan from the Canada Council for the Arts and is a recipient of the Nippon Music Foundation Rare Instrument Project from the Government of Japan

Mr. Chooi is represented by Colbert Artists Management 478 Washington Street, #302,Newark, NJ 07102 www.colbertartists.com

Learn about our complete season at https://www.symphonynh.org/symphonynh-2021-22-season

SYMPHONY NH EDUCATION PROGRAMS As a committed member of the Southern New Hampshire community, Symphony New Hampshire (SNH) seeks to engage and educate local youth through live music, developing educational opportunities and promoting an appreciation for symphonic music.

Symphony NH and Carnegie Hall's Weill Music Institute partner to present Link Up in the Nashua Public Schools, teaching students to play recorder throughout the year in the classroom.

Link UpSNH, in partnership with Carnegie Hall’s Weill Music Institute’s national Link Up program, supplies music instruction resources free of charge to local elementary school students in grade 3. Students: • Learn to sing and play the recorder in the classroom.

• Explore orchestral repertoire through a hands- on music curriculum.

• Interact with professional musicians.

This highly participatory program culminates in an exciting spring performance at the Keefe Center for the Arts in which the students perform with Symphony NH musicians and play the music they’ve been learning in the classroom.

To learn more about Link Up, visit the Carnegie Hall website: https://www.carnegiehall.org/Education/Educators/Link-Up Adopt-a-school: Symphony NH is committed to providing music education programs that introduce students to instruments and live performances as well as helping to enrich existing music programs across the state of New Hampshire. Adopt-A-SchoolSNH gives back to the community by coaching the next generation of great musicians.

Through our Adopt-A-School Program, a service that is provided at no cost to participating students and schools, we offer: • Free, hour-long group coaching sessions to instrumental students • Coaching in a variety of strings, woodwinds, and brass instruments by Symphony NH musicians • After school group sessions • Schools the option of scheduling these coaching sessions on a weekly or monthly basis.

The Adopt-a-School Program is a weekly after-school program, engaging band students in third and fourth grade with classes and coachings with Symphony NH musicians. Symphony NH collaborates with teachers to plan and implement interactive and engaging sessions with an emphasis on creating and exploring music while gaining technical skills on their

FRIENDS OF SNH

Friends of SNH support the Granite State’s premiere professional symphony orchestra.

Founded in 1984, the passionate group of volunteers holds various events to raise funds for Symphony New Hampshire’s various programs and initiatives.

Music lovers interested in joining may contact the group by sending an email to snh@symphonynh.org/

About the Venue Keefe Center for the Arts, Nashua

Keefe Center for the Arts 117 Elm Street, Nashua, NH

Constructed in 1936 as part of the grand building of the new Nashua High School and Civic Complex, the Keefe Center for the Arts is Nashua’s largest indoor performance venue. The Auditorium of Classical-Revival architecture and seating some 1,200 patrons is located on the south-end of the large School-Civic Building (today’s Elm Street Jr. High School) fronting on Elm Street.

The auditorium is named after Nashua superintendent and educator Edmund Keefe, who died in February 2010 at the age of 101. Mr. Keefe served as superintendent of schools in Nashua for 15 years, from 1958-73. Prior to that, he was the principal of Nashua High School for 13 years. He began his teaching career in Nashua in 1929, teaching U.S. and ancient history.

Symphony NH contributed funding to the acoustic renovation back in in the early to –mid 2000’s.

SYMPHONY NH STAFF

Deanna Hoying Interim Executive Director / Development Manager Joseph DuBose Orchestra Librarian Paul LaFlamme Production Manager Grace Finlay Usher Coordinator Kate Merges

Marketing & Content Coordinator Laura Grant Interim Director of Marketing and Communications / Press Contact

DUE TO COVID-19, OFFICE HOURS ARE BY APPOINTMENT ONLY Please call ahead if you are needing to speak with one of our staff in person.

6 Church St Nashua, NH 03060 (Located behind the Court St.Theater, just past Liquid Therapy on the lower level next to the parking lot) E-mail: snh@symphonynh.org Phone: 603-595-9156

BOARD OF TRUSTEES, FY2022

OFFICERS Dr. Robert “Bob” Oot – President

Radiologist, SNH Medical Center, Retired

Harold “Hal” Clark – Vice President Retired from International Marketing

Mary Jordan – Secretary

Educator & Non-profit Executive, Retired

Joe Kenny, Esq. – Treasurer TRUSTEES David Bahi IT consultant Pamela Baker NH Lodging and Restaurant Assoc.

Geraldine Boisvert Splash! By Masi, Retired Ann Conway LICSW, Divorce Coach Marshall Jespersen Owner, International Cars Ltd. Dr. Donald McDonah St. Joseph Hospital

Galina Szakacs Pfizer, Retired; Leadership Coach, Nashua Chamber of Commerce Dr. Amir Toosi, DMA Dean, Division of Business, Rivier University Wilberto Torres Exec. Dir., Belltower Home Health Care Mark Tremallo Lawyer, Retired Dr. Drew Wilson, DMD Family Dental Care of Milford

John Rein Owner, Audio Video Therapy Dr. Ashwini Saxena Catholic Medical Center

EX-OFFICIO MEMBERS Deanna Hoying – Interim Executive Director Rosemary Johnson – Co-President, Friends of Symphony NH Roger Kalia - Symphony NH Music Director Cheryl Bishkoff – Principal Oboe, SNH Players’ Committee Representative Sally Merriman – Acting Principal Bassoon, SNH Players’ Committee Representative

SPONSORS

SEASON SPONSORS Presenting Sponsors Audi/Porsche of Stratham

Northeast Delta Dental RBC Wealth Management Maestro Sponsors Audi Nashua Audio/Video Therapy Community Friends Enterprise Bank Hamblett & Kerrigan, PA

Morgan Stanley Foundation and Government Grants Ella F. Anderson Trust Waldo and Alice Ayer Trust Demoulas Market Basket Samuel P. Hunt Foundation The McIninch Foundation Nashua Arts Commission

New Hampshire Charitable Foundation New Hampshire State Council on the Arts The Nordson Foundation RBC Foundation Frederick Smyth Institute of Music Media Sponsors NHPR The Hippo

UPCOMING CONCERTS Learn more about our upcoming concerts at www.symphonynh.org SYMPHONY NH A celebrated source of innovation, inspiration, education and entertainment since 1923, Symphony New Hampshire is “the symphonic sound of the Granite State.” New Hampshire’s premiere symphony orchestra , the organization has grown since its humble beginnings over 98 years ago as a mainly all-Nashua musician group that performed two concerts each season in the City of Nashua, and is now a vibrant jewel in the cultural crown of New Hampshire. Today, concerts are offered not only in Nashua, but throughout Southern New Hampshire and in special performances around the region.

Celebrating its 100th anniversary beginning this 2022-23 season, the organization heads towards its centennial milestone on April 29, 2023, and looks to its second century of music making, presenting masterworks, choral extravaganzas, contemporary pieces and rare jewels of the orchestral repertoire. Today, the symphony comprises top musicians throughout New England. It is acclaimed for its memorable performances, including premieres by composers Kevin Siegfried, and Randall Thompson; wide-ranging repertoire from Bach to Bartok, including New Hampshire native Amy Beach, and from Bernstein to the Beatles and more.

Among the notable guest artists that have graced the orchestra’s stage are pianists Emanuel Ax, Herbert Stessin, Max Levinson, and Victor Borge; violinists Caroline Goulding, Jennifer Koh, Irina Muresanu, and Mark O’Connor; cellist Sergey Antonov, The Irish Tenors; and conductor Eiji Oue, as well as collaborations with such local organizations as the Boston Ballet, Nashua Choral Society, Granite State Chorale, Nashoba Valley Chorale, Lowell State Chorus, Chelmsford Choral Society, Worcester Chorus, Concord Chorus, and Merrimack Lyric Opera Company, to name a few. Symphony NH has also been presented in recent seasons by Music Worcester (MA) and the Jorgensen Center at UConn Storrs.

Founded as the Nashua Symphony Orchestra by Clayton A. Eaton, the organization has gone through several incarnations as the community experienced the Roaring Twenties, the Great Depression, World War II and other events in its history. At one time also called the Nashua Symphony Association, the organization changed its name June 19, 2012 to Symphony NH to reflect its expanded mission “to inspire and enlighten through exceptional live music” serving the entire state, not just the city of Nashua.

Symphony NH is committed to its community beyond its popular concert series. Through its Community Partnership program, the organization offers music education programs that introduce students to instruments and live performances as well as helping to enrich existing music programs across Southern New Hampshire. Having served Nashua students for years, in 2016 the orchestra’s educational scope expanded to Manchester, Concord and the Upper Valley. That same year Symphony NH also began community concerts in Nashua and Concord. In 2018 Adopt-a-School was introduced in Nashua and Carnegie Hall’s Link Up program was added in 2019.

SYMPHONY NH SPONSORSHIP OPPORTUNITIES

Business Partners

SEASON UNDERWRITER -- $20,000 In addition to Presenting Sponsor benefits: Logo placement on op of website homepage Printed Marketing Materials Marketing Emails Social media post at beginning of season announcing sponsorship Logo placement (Season Sponsored by……) Season Press release announcements on every ticket printed at home 10 Season subscriptions 6 Tickets to Maestro Dinner 2022 PRESENTING SPONSOR -- $10,000 In addition to Concert Sponsor benefits: Standing Banner in the lobby of the Keefe 4 Tickets to Maestro Dinner 2022 Center during the 2021/22 season 8 Season subscriptions (provided by the sponsor) CONCERT SPONSOR -- $7,500 In addition to Maestro Sponsor benefits: At sponsored concert Full Slide Ad on the pre-concert Slideshow Opportunity to speak from stage Logo placement on one concert postcard Boosted social media recognition 4 Tickets to Maestro Dinner 2022 6 Season subscriptions MAESTRO PARTNER -- $5,000 In addition to Community Partner benefits: Logo placement on (provided by the sponsor) Concert poster for one concert eblast2021/22 season Concert eblast Website event page and homepage Stage Acknowledgment Standing Banner in the lobby of the Keefe 2 Tickets to Maestro Dinner 2022 4 Season subscriptions

BUSINESS SPONSORSHIPS continued

COMMUNITY PARTNER -- $3,000 Logo placement on homepage footer of website Logo placement on sponsor recognition lobby run poster and pre-concert slide show 2 Season subscriptions Dinner 2022

Linked listing on website Ad placement on SNH Facebook page twice during 2021/22 season 20% off Table Sponsorship for Maestro

To learn more about Symphony NH partnership opportunities contact Deanna Hoying, deanna@symphonynh.org or call (603) 595-9156.

SYMPHONY NH Musicians

Violin Elliott Markow, Concertmaster Amy Ripka Lynn Basila Jane Dimitry Nancy Goodwin Leonora LaDue Sargis Karapetyan Ana-Maria LaPointe Kun Shao Anne Egan Aleksandra Labinska Katharina Radlberger*

Bassoon Sally Merriman

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

Trumpet Richard Watson, Principal Richard Kelley

Cello Harel Gietheim, Principal Alexander Badalov Nathaniel Lathro Young Sook Lee Priscilla Hayes Taylor Bass Volker Nahrmann, Principal Robert Hoffman Carolyn Freyer*

Contrabassoon Leo Kenen

French Horn Kristin Olsen Michael Weinstein Ellen Martins English Horn Kiyoko Hida Battaglia

Trombone John Faieta Wes Hopper Tuba Takatsugu Hagiwara* Percussion Jeffrey Bluhm, Principal Timpani and Percussion Harp Katie Lyon-Pingree Piano Ziang Xu, Acting Principal

Flute Kathleen Boyd, Principal Nina Barwell Oboe Cheryl Bishkoff, Principal

* denotes leave of absence

DONORS 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, 2020 and June 30, 2021.

Up to $99

Francis and Rita Bonner

Anonymous (41)

Gail Coffey

Alicia Franke Rivera

Georgiana Sanchez-Reyes

Amir Toosi Amy Ouellette Amy Pennington and Doc Brookman Andrew and Cynthia Morse Beatrice Hughes Bill and Christy Belvin Brian O'Connell Brian Pierce Candace Dochstader Carol Baldwin Cecile Juneau Chris Nevins Chris Van Valkenburgh, Kaeleigh Barker Christian and Deborah Rand Craig and Debra Putnam Daichi Sakai Daniel and Carol Goodenough Daniel Blazej David and Rosemary Audette David and Sherry Diamond David Forest David Heath and Gail Russell David Wilkins Deborah and Michael DellOrfano Debra Tanguay Diane Bianchetta Don and Mary Hayes Dr. Drew and Denise Wilson Betsy and Bob Birchenough In honor of Roger Kalia Elizabeth and Sean Reese Erika and Jeffery MacDonald Eva Tartaglia

Glenda and Ed Fischer Greg Wood Heather Jones In memory of Grace Latham Jane Norton Joel Blank John Dianis Judy Badot Julianna Rowland Jung-A Lee Karen and Randal Dixon Kathy and Bruce Briggs Katherine Messner Kathie Roy In memory of Noel and Alice Trottier Kathleen A Theophilos Kenneth Troup Kent and Donna Swanson In memory of Sue B. Myers Kevin O'Neill Kevin Wilson Krishna and Latha Mangipudi Lee Schuh In honor of Mark Hagelberg & Enid SchantzHagelberg Len and Deena Segal Linda Gillet Linda and Gary Sutherland Linda and Robert Gerlach Lindsey Humes Lucinda Holden Lynne Ford Madeleine LaRose

Up to $99

David and Peggy Gilmour

Marc and Enid Schantz-Hagelberg

Dee Pringle

Margaret Hammer

Doreen Ramirez

Marie Sullivan

Douglas Chamberlain

Mark and Lindsay Stern

Edward and Monique Fisichelli

Mary Mechling

Emile Tetu, Suzanne Tetu

Melliyal Annamalai

Frank Belfsky

Meredith Pizzi

Fred and Pat Thayer

Mona and Malcolm Roberts

Ginny Nedved-Cook

Monica Cataldo

Hannah McCarthy and Phil Rutledge

Nancy F. Gervais

Jackson and Patricia McLaughlin

Otto and Edith Frank

Jane and Jonathan Weber

Paul Westbrook

Jason T. Stockwell

Paulette Owen, Jerry Owen

Jay and Antonia Dinkel

Peter and Kerry Ingold

Jean and Benjamin Horne

Peter Chaloner, Jeanne Chaloner

Jeanine Tousignant

The Quenneville family

Joseph and Julie Cartier

Richard Erausquin

Judith Murray

Roberta Brayer

Judy Claborn

Ronald P. Bergeron

Karen Lennon

Lolli Bonte

Kathleen A. Thurston

Sue Hurwitz

In memory of Sandra Hurd

Thom Walters

Kenneth and Sharon Wall

Thomas and Sharon Fincher

Kevin and Karen Kervick

Victor Sabalauskas William Dean William Doll Yoko Sekita

In memory of Ernst O. Frevel Kirke and Michelle Wheeler Lee Bory Lea LaDue and Mark Goldstein In honor of Marilyn LaDue

Friend $100-249 Anonymous (9)

Leonid Kupchik In memory of Mila Kupchik

Alexandra Shaplyko

Linda and Richard Watson

Athanasia Juris

Linda L. Bradish

Bette and Elliot Lasky

Linda Walkley Kipnes

Bobbye Bartels

Liz and Paul Racioppi

Bruce E. Wilburn

Lois Grant

Carol Ace

Mark and Cynthia Rouvalis

Catherine Eames

Martha K. Samborn

Cathy and Bill Widmer

Matt and Leslie Van Wagner

David Hall

Michael and Elizabeth Lenehan

David and Mary Murphy

Michael and Mary McLaughlin

Friend $100-249 Noel and Dora Friedman Norman Trudeau Pamela and Alan Kirby Pamela Hart In memory of Joan D. Kenny Patricia Hugenberger Patricia Mullin Paul Farrell Paul Rivenburgh Paul Spivack Philip and Laura Trowbridge Roger and Carol Brooks Ron and Cindy Blythe Rosemary Johnson Rosemary T Clough Ruth Chevion Ruth and Nick Perencevich Sam and Joann Williams In honor of Marc Thayer Simone Allard Suneela and Vipul Mistry Tom and Deb White Tim Hall and Marcy Crary Tom and Betsy Woodward Vivian Ytterhus William Politt Associate $250-499 Anonymous (4) Anne and John Baier Barry Palmer Chris and Marty Guild Cindy and Eric Ryherd Dick and Jill Cane Donna Varney Kraus Eileen and Larry Hirsch Gabriele and Eitan Zeira Hein and Lakshmi van den Heuvel Jeff Gendron John Schulte Joshua Rosen

Katherine Philbin In honor of Volker Nahrmann Laurie and Rabbi Jon Spira-Savett Lawrence Morgan Lenny and Deb Waldman Paul Kenney, Deborah Jelley Robert and Mary Davies Shahriar and Mona Movafaghi Stella Bloom Sustainer $500-999 Anonymous (1) Ashwini Saxena Bogdan Golja, Mary Ann Melizzi-Golja Diane Wanger Don Sommese Gary and Debbie Novotny Janet Brown Jeanne Gall John and Carol Ford Karen and Joseph Kenny Marcia Donaldson In honor of Roger Kalia Mary A. Licking Matthew Levine and Bettina Payton Michael and Kathleen Munster Pamela Mattaliano Peter and Susanna Toumanoff Ralph and Bonnie Guercio Rebecca Kadish and Robert Levine Robert Lash, Sheila Kabat Sandy Rodgers Somashekar Nalla Stephen Ziedman, Carol Martel Patron $1,000-2,499 Cam McGurk Deepa Mangalat Dr. and Mrs. Donald McDonah Gabor and Galina Szakacs Linda and Terry Robinson

John Daniels Martha O'Neill Robert and Geri Boisvert, Jr. Robert and Judy Carlson Semra and David Bahi Conductors Circle Virtuoso $2,500-4,999 Ardath Blauvelt Beve and Pete Tucker Calann and Robin Hertel Catherine Schneider and Matthew Locker Mary Jordan and Henry Quinlan Mr. and Mrs. John F. Egan Pat Clancey and Dick Iannacone Peter and Barbara Letvinchuk Benefactor $5,000-9999 Barb Young, Dave Young Davis and Patricia Thurber Hal Clark and Karen Hays Mark Tremallo and Wellner Poppe-Tremallo Marshall and Elena Jespersen Maestro $10,000+ Bob Oot and Carol Robey James and Ann Conway In honor of Fund Our Future The Montrone Family

SYMPHONY NH EDUCATION PROGRAMS As a committed member of the Southern New Hampshire community, Symphony New Hampshire (SNH) seeks to engage and educate local youth through live music, developing educational opportunities and promoting an appreciation for symphonic music.

Symphony NH and Carnegie Hall's Weill Music Institute partner to present Link Up in the Nashua Public Schools, teaching students to play recorder throughout the year in the classroom.

Link UpSNH, in partnership with Carnegie Hall’s Weill Music Institute’s national Link Up program, supplies music instruction resources free of charge to local elementary school students in grade 3. Students: • Learn to sing and play the recorder in the classroom.

• Explore orchestral repertoire through a hands- on music curriculum.

• Interact with professional musicians.

This highly participatory program culminates in an exciting spring performance at the Keefe Center for the Arts in which the students perform with Symphony NH musicians and play the music they’ve been learning in the classroom.

To learn more about Link Up, visit the Carnegie Hall website: https://www.carnegiehall.org/Education/Educators/Link-Up Adopt-a-school: Symphony NH is committed to providing music education programs that introduce students to instruments and live performances as well as helping to enrich existing music programs across the state of New Hampshire. Adopt-A-SchoolSNH gives back to the community by coaching the next generation of great musicians.

Through our Adopt-A-School Program, a service that is provided at no cost to participating students and schools, we offer: • Free, hour-long group coaching sessions to instrumental students • Coaching in a variety of strings, woodwinds, and brass instruments by Symphony NH musicians • After school group sessions • Schools the option of scheduling these coaching sessions on a weekly or monthly basis.

The Adopt-a-School Program is a weekly after-school program, engaging band students in third and fourth grade with classes and coachings with Symphony NH musicians. Symphony NH collaborates with teachers to plan and implement interactive and engaging sessions with an emphasis on creating and exploring music while gaining technical skills on their instruments.

IN YOUR COMMUNITY Since 1923, Symphony NH has fostered engagement, dialogue and a stronger sense of community through its various musical offerings. Committed to presenting performances for people of all ages and backgrounds, SNH presents several free and affordable series of dynamic musical experiences ranging from a half hour to an hour in length throughout the Nashua area year-round.

Neighborhood Connections • In partnership with One Greater Nashua’s Cultural Navigators and the Adult Learning Center • Celebrate the rich musical culture of Nashua’s residents and their native countries through intimate concerts of transcribed traditional works performed by small groups of SNH musicians • Held at Nashua’s Adult Learning Center and other locations.

In-Town Concerts Compelling hour-long performances in accessible, public settings throughout Nashua, including the Nashua Public Library, Holman Stadium, Riverwalk Cafe and at local churches.

SNH Where You Worship Symphony NH musicians are available to perform intimate concerts with ensembles of various sizes for houses of worship of all religions and denominations represented in the Nashua area as part of their services.

Community Ticket Program Symphony NH believes that anyone should be able to attend our concerts. Our ticket programs provide free and discounted tickets to community organizations, from libraries, to music schools, to non-profits at no cost to the participating organization.

To learn more about or to participate in our Community Ticket Program please contact us.

FROM the classroom to the concert hall, Symphony NH programs depend on you.

PERSONAL Giving Thanks to you, our donors, Symphony NH continues to enrich communities across New Hampshire and northern Massachusetts through exceptional live orchestral music, world-renowned soloists, and our community engagement and education initiatives.

By making your gift today, you continue to support Symphony NH’s mission to inspire and enlighten through exceptional live music.

If you are interested in becoming a sustaining donor by giving monthly or quarterly, please contact Deanna Hoying at deanna@symphonynh.org or (603) 595-9156.

SPONSORSHIP Opportunities Support from local corporations and businesses is essential to continuing Symphony NH's work in the community. A broad range of partnership opportunities, including in-kind, are available.

Partnering with Symphony NH can increase your organization’s exposure in the region while supporting live music, arts education, and arts access for underserved communities.

PLANNED Giving Leave a legacy for years to come through planned giving. By making a legacy gift through your will or trust, you will continue to support Symphony NH’s artistic excellence, and commitment to robust community engagement and education programs.

Bequests can be given as a specific asset or dollar amount, or percentage of the remainder of your estate after providing for your family and other beneficiaries.

For examples of language to include, please consult your legal expert.

For more information, please contact Deanna Hoying at deanna@symphonynh.org or (603) 595-9156.

OTHER Ways to Give You can ensure your legacy and play a crucial role in Symphony NH’s future in a multitude of ways. Contact your own tax and/or legal advisors to determine your best options, some of which include IRA Charitable Rollover and Gifts of Securities.

To learn more about the endowment, or to make a contribution, e-mail or call us at (603) 595-9156.

YOUR HEALTH AND SAFETY Safety protocols For the 2021-22 Season We’re excited to welcome you back safely to live performances and the 2021–22 season!

Symphony NH is committed to protecting the health of our guests, musicians, and staff. As recommendations around COVID-19 evolve, all health and safety protocols will be clearly communicated to ticket holders and posted on Symphony NH's website at www.symphonynh.org/safety. Updates will be informed by recommendations from the Centers for Disease Control and Prevention, the state of NH, and the City of Nashua.

At this time, all audience members must show proof of vaccination and remain masked while attending our indoor concerts.

In recognition that ticket buyers may want additional flexibility, SNH is offering exchanges or refunds for ticket buyers up to 48 hours prior to the start of each performance. Please note that all 21-22 tickets are refundable and exchangeable without fees.

Please read on for more detailed information about our requirements, protocols, and guidelines below.

Safety Guidelines & Procedures Face Mask Requirement Face coverings are required to be worn by all in attendance at a Symphony NH concert or event. We encourage you to review the CDC guidelines for proper face coverings and maskwearing guidelines.

Proof of Vaccination At this time, all staff, musicians, and audience members of Symphony NH concerts will be required to show proof that they have received a COVID-19 vaccine approved by the World Health Organization or the Food and Drug Administration. The final dose of the vaccine must have been administered at least 14 days before entry. If proof of vaccination is not brought with the patron to the hall, the patron will be unable to enter the concert. A refund or exchange will be offered. No exceptions will be made as this is in accordance with CDC guidelines.

Accepted forms of proof of vaccination: Physical copy of vaccination card, accompanied by a photo ID Digital copy, i.e. photos on your mobile device, accompanied by a photo ID. Be sure to take a clear photo of the front and back of your card.

Please Note: Because audience members under 12 years of age are unable to be vaccinated at this point in time, no children under the age of 12 may attend a Symphony NH concert. We are saddened that this policy currently excludes children under the age of 12 from attending our concerts but public health concerns must be at the forefront. We look forward to a time when we can safely welcome everyone back to share the experience of live music.

Anyone who has purchased a ticket and is unable to be vaccinated due to disability or religious reasons will receive a ticket refund. For the safety of all audiences, musicians, and staff, we regret that we are unable to offer any exceptions for those who are not vaccinated.

When to Stay Home If you’re feeling ill or have symptoms related to a cold or infectious disease, please stay home.

Ticket Exchange Policy In recognition that ticket buyers may want additional flexibility due to health and safety concerns, SNH is offering exchanges or refunds for ticket buyers up to 48 hours prior to the start of each performance. Please note that all 21-22 tickets are refundable and exchangeable without fees.

Guests under 12 years of age and anyone who is unable to be vaccinated due to disability or religious reasons under the applicable laws will be accommodated with a ticket refund.

Exchanges can be made by calling Symphony NH at 603-595-9156 or emailing snh@symphonynh.org What We’re Doing All Symphony NH concerts this fall 2021 will be approximately 70 minutes long, without intermission. In accordance with safety protocols, there will be no food or drink allowed in the hall or for sale in the venue.

Our venues will be fully cleaned before each concert. Regular and thorough cleanings of all restrooms and public touchpoints, including tables, chairs, and handrails will be executed.

Hand sanitizer will be available at entry to the hall. eTickets/contactless entry: We’re implementing contactless ticketing and entry. Print your tickets at home to show at the door, or save to your smartphone or iPad. Proof of vaccination will be taken by select trained staff before entry to hall. Following your first presentation of vaccination proof, your name and email will be added to the Vaccinated list, and you will not need to bring proof with you to future concerts in the season; you will only need to give your name and email at the checkpoint.

In addition to visiting this page for health and safety information, sign up for our weekly eblast and monthly newsletter for the most up-to-date communications.

Our policies have been and will continue to be based on guidance from federal, state, and local authorities and it is our sincere hope that we will be able to loosen requirements as our season progresses.

Despite the implementation of enhanced safety measures, an inherent risk of exposure to infectious disease still exists. By attending a Symphony NH performance, you voluntarily assume all risks related to exposure to infectious disease, including the risk of exposure to communicable diseases, viruses, bacteria, or illnesses that cause sickness, and hereby waive all potential claims relating to such risks.

Contact Us If you have any questions about the health and safety guidelines, or require a refund, please contact us at 603-595-9156 or email us at snh@symphonynh.org *Due to the high volume of inquiries, responses may be delayed. Thank you for your patience as we respond as soon as we can.