Welcome!
We are delighted to extend to you our warmest welcomes as we embark on a musical journey that is as rich and harmonious as the notes that fill the air. It is with immense joy and pride that we celebrate a remarkable milestone - 101 years of Symphony NH! What began as a dream of a few passionate musicians in 1923 has flourished into an institution that has woven the tapestry of classical music into the very fabric of our community.
Over the past century, our orchestra has not only shared the timeless beauty of classical compositions but has also evolved to embrace the diverse and ever-evolving world of music. Our commitment to excellence and innovation has led us through eras of change, and today, we stand as a testament to the enduring power of music to unite, inspire, and transform lives.
As we reflect on our history, we are reminded of the countless talented musicians who have graced our stage, the dedicated patrons who have joined us on this musical odyssey, and the tireless efforts of our staff, board, and volunteers who have made it all possible. Together, we have created moments of pure magic, filling concert halls with the sublime sounds of strings, woodwinds, brass, and percussion.
Letter from the Executive Director and President of the Board of Directors
To mark occasion, we have curated an exceptional season of performances, featuring celebrated guest artists and timeless masterpieces. This season is not only a celebration of our past but a testament to our commitment to exploring new horizons and pushing the boundaries of classical music.
We extend our heartfelt gratitude to each one of you - our loyal supporters, season ticket holders, donors, and friends - for your unwavering dedication to the arts. Your presence and support have been the cornerstone of our success, and we look forward to sharing this historic year with you.
Together, let us revel in the beauty of the symphony as it has existed for over a century and as it continues to evolve and inspire generations to come. Join us as we raise our batons to the future, embracing the next hundred years of music, creativity, and community. Once again, welcome to the 101st season of Symphony NH! We are thrilled to have you with us, and we cannot wait to create and share magical musical moments together.
Sincerely,
Deanna Hoying Mary Jordan Executive Director Board President
• Page 8 • Photo credit Sid Ceaser • Page 9 •
Dear Friends,
Greetings and welcome to Symphony NH’s 2023-24 season! I am excited to continue our celebration of the orchestra’s 100th anniversary, as we celebrate our extraordinary musicians and perform a variety of music—everything from symphonic warhorses to the stunning film scores of John Williams, alongside stunning guest artists.
Our upcoming season will be one of our most ambitious and creative to date. Our 100th anniversary season reflects our dedication to sharing the wide array of cultures and voices that make up the unique spirit of the Granite State. I have curated a series of concerts that not only bring to life the timeless classics that have shaped the orchestral canon, but also explores new and unique compositions being written by some of today’s most captivating and unique voices.
I am thrilled to conduct symphonic classics such as Beethoven’s Seventh Symphony and Dvořák’s New World Symphony, alongside newer works by Sarah Kirkland Snider and Wynton Marsalis. We will feature an amazing array of guest artists— tabla virtuoso Sandeep Das, Indian-American singer Anuradha “Juju” Palakurthi, and electric harpist Rosanna Moore, among others. Additionally, I am looking forward to unique local collaborations with the Spartans Drum Corps in an innovative concert titled Brass to the Max! as well as conducting a concert of video game music featuring Grammy-nominated composer Austin Wintory. Focusing on the future, Symphony NH will be performing two world premiere compositions: D. J. Sparr’s Extraordinary Motion: Concerto for Electric Harp and the New Hampshire Concerto (Symphony NH’s first collaborative commission with student composers from Dartmouth and the University of New Hampshire).
Here’s to a season filled with incredible performances and unforgettable memories as we celebrate this milestone anniversary season with all of you. 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 with 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 Evansville Philharmonic Orchestra, his fifth season as Music Director of the Symphony New Hampshire, and in his sixth season with Orchestra Santa Monica. He is also Co-Founder and Music Director of the celebrated Lake George Music Festival in upstate New York. The recipient of several awards from the Solti Foundation U.S., including an Elizabeth Buccheri Opera Residency with Lyric Opera of Chicago and five Career Assistance Awards, Kalia has been praised for his “extraordinary leadership” (Courier & Press).
A versatile communicator and frequent guest conductor, Kalia is described as “leading with passionate intensity and a clear beat” as well as being “one to watch” (Long Beach Gazette) after his debut with the Long Beach Symphony. In recent seasons, Kalia has appeared with the National Symphony Orchestra at the Kennedy Center, Chicago Sinfonietta, Louisiana Philharmonic Orchestra, Szczecin Philharmonic (Poland), Hollywood Chamber Orchestra, Boise Philharmonic Orchestra, Spartanburg Philharmonic Orchestra, Columbus Indiana Philharmonic, and the symphony orchestras of Redlands, Terre Haute, Lima, Adrian, Bakersfield, Great Falls, Owensboro, Spokane, and Wheeling. The 2023-24 season features a debut with the Baltimore Chamber Orchestra and a return engagement with the Long Beach Symphony.
Kalia’s 2023-24 season features him leading Symphony NH for their 100th anniversary season in a variety of programs including their first-ever symphonic Bollywood concert featuring Indian-American singer Anuradha “Juju” Palakurthi at the Nashua Center for the Arts; two world premieres including D. J. Sparr’s Extraordinary Motion: Concerto for Electric Harp featuring Rosanna Moore, and the New Hampshire Concerto (Symphony NH’s first collaborative commission with student composers from Dartmouth and the University of New Hampshire); and a unique collabo-
ration with the Nashua-based Spartans Drum Corps. With the Evansville Philharmonic, the orchestra will perform the Evansville premieres of Dinuk Wijeratne’s Tabla Concerto featuring Sandeep Das and Sheridan Seyfried’s Double Concerto for Two Violins and Orchestra featuring Timothy and Nikki Chooi; performances of Mussorgsky’s Pictures at an Exhibition, Brahms’ Symphony No. 4, and Rachmaninoff’s Symphony No. 2; a return of the Musicians Showcase concert as part of the Classics Series featuring principal musicians of the orchestra as soloists; and first-ever collaborations with the University of Southern Indiana and the Red Skelton Theater at Vincennes University. Orchestra Santa Monica was recently chosen to be a part of the inaugural California Festival: A Celebration of New Music where Kalia will lead the orchestra in Brian Raphael Nabor’s lubilo. Kalia recently appointed acclaimed baritone Jubilant Sykes as OSM’s first-ever Artistic Advisor for the upcoming season, where the two of them will collaborate and plan future concert programs.
In his various music director positions, Kalia has focused on innovative artistic partnerships highlighting a variety of community partners. In 2021, Kalia collaborated with composer Derrick Skye, historian Robbie Jones, and artist 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 and KUSC. In 2022, We Gather Suite for Orchestra was commissioned by OSM and received its world premiere performance as part of OSM’s ten-year anniversary season. Kalia’s early seasons as music director of the Evansville Philharmonic have seen fruitful artistic collaborations with community organizations such as Historic Bosse Field, the Tri-State Hindu Temple, Evansville Civic Theatre, Children’s Center for Dance Education, 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 the League of American Orchestra’s 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 outreach programs—all held at the newly renovated Carriage House on the ground of the Fort William Henry Hotel. Kalia’s leadership has been hailed as “unbounded and impressive” (The Glens Falls Chronicle) with concert performances of the Festival Orchestra being regularly featured on NPR’s Performance Today and highlighted in Gramophone Magazine, Musical America, and Saratoga Living, among others. Kalia has led programs ranging from semi-staged chamber operas to commissioned works and premieres including Sheridan Seyfried’s Double Concerto for Two Violins and Orchestra featuring Nikki and Timothy Chooi, and Paul Dooley’s Northern Nights featuring percussionist Lisa Pegher. Kalia was recently featured on the Everything Conducting podcast for his innovative work at the festival including the creation of its inaugural Conducting Fellowship program this past summer.
Kalia has collaborated with a wide range of artists including singers Angela Brown, Reginald Smith Jr, Shayna Steele, and Jubilant Sykes; guitarist Meng Su; the Grammy award winning trio Time for Three; Cirque de la Symphonie; Electronic Dance Music (EDM) duo MAKO; Project TRIO; singer/ songwriters Randy Newman and Randy Jackson; violinists Nathan Cole, Glenn Dicterow and Sirena Huang; trumpeter Thomas Hooten; pianists Fei-Fei Dong, Vijay Venkatesh, 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 brings a fresh view to the classical music.”
— THE REPUBLIC (IN)
“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)
•
• Page 12
Program
New World
Roger Kalia, Conductor
Rosanna Moore, Harpist
New Hampshire Concerto
Simon Furze - Mountains
Wesley Coffin - Live Free or Die
Grace Chen - Flowing Summit
Tyler Nadeau - Where Life Intersects
D J Sparr & Janine Joseph - Extraordinary Motion: Concerto for Electric Harp and Orchestra
Rosanna Moore - Harp
~ INTERMISSION ~
Antonín Dvořák - Symphony No . 9 in E Minor “From the New World”
— Symphony NH Musicians —
VIOLIN 1
Elliott Markow Concertmaster
Sargis Karapetyan
Leonora LaDue
Beth Welty
Sara Skinner
Amelia Perron
Caroline Drozdiak
VIOLIN 2
Kun Shao Principal Second
Lynn Basila
Jane Dimitry
Onur Dilisen
Jessica Helie
Olga Patramanskaya-
bell
VIOLA
Dani Rimoni Principal
Elaine Leisinger Assistant Principal
Elaine Leisinger
Elisabeth Westner
Seeun Oh
Kathleen Kalogeras
Nissim Tseytlin
CELLO
Harel Gietheim Principal
Nathaniel Lathrop
Young Sook Lee
Alexander Badalov
Priscilla Taylor
Shay Roudolph
BASS
Volker Nahrmann Principal
Robert Hoffman
Robb Aistrup FLUTE
Kathleen Boyd Principal
Nina Barwell
OBOE
Cheryl Bishkofft Principal
Ronald Kaye
ENGLISH HORN
Kyoko Battaglia Principal
CLARINET
Mackenzie Austin Principal
Hyunwoo Chun
BASSOONS
Michael Mechanic Principal
Sally Merriman
HORNS
Ho-Yin Li Acting Principal
Kristin Olsen
Michael H Weinstein
Ellen Michaud Martins
TRUMPETS
Richard Watson Principal
Mark Emery
TROMBONES
Jude Morris Principal
Wes Hopper
BASS TROMBONE
Sean McCarty
TUBA
Zack Grass Guest Principal
TIMPANI & PERCUSSION
Jeffrey Bluhm Principal
Dylan Barber
PIANO
Amy Lee Principal
Guest Composers
SIMON FURZE
Mountains
Keene State College
Mountains is an ode to Mount Monadnock. Ultimately, It is a composition that reflects the mountains’ towering beauty
Before I began writing, I spent a few weeks reflecting on the mountain and its characteristics I thought about what it was like to climb a mountain; the steady start, the increased heartbeat, a dead stop to rest, and the continuing of the hike. I used these ‘stages’ to propel my writing process, and when I found myself stuck, I would ask, “where am I on the mountain?” Once I found my answer, it was easier to continue writing Having connective tissue is essential to my writing process, and it gave me a clear vision of where the music needed to go .
GRACE CHEN
Flowing Summit Dartmouth College
The piece takes the listener on a journey as one walks along the banks of the river, makes their way up to the summit of the mountain ranges, and then comes back down to the river again, but now with a brand-new perspective of the river The sixteen notes traded off in the violins that depict the flowing water are gradually passed onto other instruments until the fluid melody is then taken over by a more structured melody that illustrates the strong mountain peak. Multiple key changes throughout the piece emphasize changes in the journey from one form of nature to the next and highlight how one can be impacted by the beauties of New Hampshire
WESLEY COFFIN
Live Free or Die University of New Hampshire
I think there is something really interesting about New Hampshire’s state motto, “Live Free or Die”. New Hampshire is the sixth smallest state in the country, yet has the most imperative and bold phrase out of any state. Even the state nickname being the “Granite State ‘’ evokes such a strong imagery. This ultimatum inspired the vibe of this piece to be very bold and aggressive; it aims to capture this sort of underdog mentality. When I hear the motto, I think about what it means to live free, and I want the listener to think that as well when hearing the music. Living in a world where people can flourish wholly as themselves, is perhaps the most important goal we can set as human beings. If it means fighting for what is right, then so be it. That to me, is what the motto “Live Free or Die” means
The reading of Flowing Summit was an amazing and rewarding experience . Hearing the piece through software playback is completely different from hearing it played by live musicians. There were parts of the piece that did not sound like what she was used to hearing (from the software playback), and other parts of the piece where the sound exceeded her expectations. Overall, it was eye-opening and she hopes to have more opportunities like this in the future, as it has helped her grow as a musician .
TYLER NADEAU
Where Life Intersects Plymouth State University
My piece is about three main places in New Hampshire - my home in Salem, PSU, and the car detail shop I work at in salem. The piece is a representation of my emotions about where I’m at and what I’m doing. I often would find myself at the detail shop wishing I was at school - and at school wishing I was at the detail shop The piece explores this idea of “never being happy” and intertwines it with me overcoming the feeling of “never being happy” at home with my dog on the porch
• Page 18•
Extraordinary Motion: Concerto for Electric Harp
D. J. Sparr - Composer
Extraordinary Motion: Concerto for Electric Harp was crafted by composer D. J. Sparr specifically for the virtuosic talents of harpist Rosanna Moore In this collaboration, Sparr intertwines melodies and virtuosic displays of harp gestures with words of poet Janine Joseph which were created specifically for this concerto
Inspired by the universal theme of immigration and the ceaseless movement of humanity across borders, Sparr, Moore, and Joseph delve deep into the essence of migration, drawing parallels with the graceful flight of the swift bird. Joseph’s poem, woven intricately into the fabric of the composition, paints a vivid portrait of the swift’s existence “on the wing,” perpetually in motion without pause
The music mirrors the swift’s effortless navigation through the currents of air, propelled by a sense of urgency and determination. Moore’s mastery of the electric harp brings to life the fluidity and dynamism of the avian metaphor
Extraordinary Motion invites listeners to contemplate the universal desire for belonging . This concerto offers a meditation on the human experience of movement, migration, and the enduring quest for freedom
Extraordinary Motion: Concerto for Electric Harp
Janine Joseph - Poet
I live with little drag. Have you heard? Like a swift I rise with rising currents, never easing save to sleep on the glide I feed on aerials in flight, molt feather by feather without touching desert or emergent layer The word—O, have you heard?— the word is I live on the wing. Formed to air
I am a marvel of blur, plucking my oath from these strings .
D. J. SPARR
Composer - Extraordinary Motion
Composer and electric guitarist D . J Sparr, who Gramophone recently hailed as “exemplary,” is one of America’s preeminent composer-performers He has caught the attention of critics with his eclectic style, described as “pop-Romantic…iridescent and wondrous” (The Mercury News) and “suits the boundary erasing spirit of today’s new-music world” (The New York Times). In addition, the Los Angeles Times praises him as “an excellent soloist,” and the Santa Cruz Sentinel says that he “wowed an enthusiastic audience…Sparr’s guitar sang in a near-human voice.” He was the electric guitar concerto soloist on the 2018 GRAMMYAward-winning recording with JoAnn Falletta and the London Symphony Orchestra In 2011, Sparr was named one of NPR listeners’ favorite 100 composers. He has composed for and performed with renowned ensembles such as the Houston Grand Opera, Cabrillo Festival, New World Symphony, Washington National Opera, and Eighth Blackbird. D. J. was the Young American Composerin- residence with the California Symphony from 2011-2014 His music has received awards from BMI, New Music USA, and the League of Composers/ISCM. Sparr is a faculty member at the famed Walden School’s Creative Musicians Retreat in Dublin, New Hampshire. His composition works and guitar performances appear on Naxos, Innova Recordings, Albany, & Centaur Records
Read his full bio HERE
Emeline (HGO/HGOco), “On This Muddy Water”: Voices from the Houston Ship Channel (HGO/ HGOco), and From My Mother’s Mother (HGO/HGOco). Her poems have also been set to music by the acclaimed composers Melissa Dunphy (“American DREAMers: Stories of Immigration”) and Reinaldo Moya (“DREAM Song”).
Read her full bio HERE
ROSANNA MOORE
Guest Harpist - Extraordinary Motion
Often described as a quirky and engaging performer, who is fully at home on stage both as a harpist and as a storyteller/actor, Rosanna Moore, has made it her aim to combine theatre and music wherever possible
In addition to performing as a tenured member of the Rochester Philharmonic Orchestra, Rosanna can often be seen with ensembles such as Ensemble Signal, Slee Sinfonietta, Orchestra of the Southern Finger Lakes, Cayuga Chamber Orchestra, Symphor!a, Binghamton Philharmonic and Buffalo Philharmonic. She was invited to give the opening solo recital at the Sentmentat International Harp Festival, Spain in 2018. In 2021, she appeared for the fifth year as principal harp with the Lake George Music Festival, NY.
JANINE JOSEPH
Librettist - Extraordinary Motion
Janine Joseph is a formerly undocumented poet and librettist from the Philippines She is the author of Decade of the Brain (Alice James Books, 2023) and Driving without a License (2016), winner Kundiman Poetry Prize She is also co-editor of the anthology Here to Stay: Poetry and Prose from the Undocumented Diaspora, forthcoming in fall 2024 from HarperCollins She is an Associate Professor of Creative Writing at Virginia Tech
Janine’s commissioned chamber operas, song cycles, and choral works include The Art of Our Healers (Washington Master Chorale and Houston Grand Opera), What Wings They Were: The Case of
As a self-described ‘professional composer collector’, Rosanna pesters composers until they write for her! This has led to two world premieres of concerti, the US premiere of David Horne’s Splintered Instruments and Amy Victoria Nam’s Somewhere to Elsewhere, a show entitled God Complex with percussion and harp duo Sticks&Strings, an upcoming recording project with flute, viola, harp trio, Trio Alexander, and new interdisciplinary commissions with Hats+Heels bassoon and harp duo Since 2017, she has served as a harpist consultant for the Future Blend Project, an innovative and collaborative composition competition She also served in a number of roles on the executive board of OSSIA New Music collective, including as President in the lead up to the organization’s 20th anniversary season
Read her full bio HERE
• Page 22 •
Antonín Dvořák (1841–1904)
Born, raised, and trained in Bohemia (present-day Czech Republic), Antonín Dvořák is best remembered as a leader of Bohemian musical nationalism whose compositions frequently took inspiration from local folk traditions. Dvořák’s interest in folk music was evident in his earliest works, such as the Moravian Duets (1876) and his Slavonic Dances (1878–1886), which brought him international renown. Dvořák’s novel approach caught the attention of American arts patron Jeanette Thurber, who had recently founded the National Conservatory of Music of America in New York City. Thurber actively sought esteemed composers to join the faculty of her conservatory with the hope of cultivating an elite school of musicians who could create a distinctly American sound and school of composition. In 1891, Thurber approached Dvořák with an offer he could not refuse: the title of Director of the conservatory with a handsome salary and light teaching duties to allow him ample time to compose. (Dvořák had turned down previous offers, but the salary Thurber offered was enough to finally persuade the composer and his wife to leave their home for New York.) Thurber hoped that Dvořák would do for America what he did for Bohemia—capture the unique folk musical traditions of the local land and peoples and incorporate them into classical forms that would bring prestige to the nation.
Upon his arrival in the US, in addition to his teaching and administrative duties, Dvořák began to explore America’s musical offerings, which he later summarized in a lengthy essay titled “Music in America” in an 1895 volume of Harper’s New Monthly Magazine. Dvořák expressed considerable surprise about the lack of a distinctly American sound in light of the “unbounded patriotism and capacity for enthusiasm of most Americans.” The composer also echoed previously expressed statements about the inspiration of American music lying in African American spirituals,
slave songs, and Native American melodies, which he recognized as unique to the American musical landscape and likewise utilized in his own compositions meant to evoke an American sound. Hailed at its premiere as “a study in national music” by the New York Times, Dvořák’s Symphony in E Minor, Op. 95, was the composer’s first symphonic response to the task of creating a national musical style for the United States. The piece upholds the standard European four-movement formula for a symphony but incorporates rhythmic, melodic and harmonic patterns that reflect American folk traditions, particularly that of African American spirituals. The first movement opens with a pastoral introduction, gradually building into a vibrant depiction of nature through horn calls and dancing woodwinds. The second movement, the Largo, showcases one of Dvořák's most exquisite
melodies, famously played by the English horn. The melody so tenderly imitated the phrasing and melodic gestures of traditional song that one of Dvořák’s students, William Arms Fisher, penned words to it, publishing his adapted version in 1922 as the song Goin’ Home. Dvořák initially claimed that this movement and the third were influenced by The Song of Hiawatha, the 1855 epic poem by Henry Wadsworth Longfellow that recounts the life of a fictional Ojibwe warrior named Hiawatha, remarking that the second movement was a sketch for longer cantata or opera on the subject. The opera never came to fruition, but the influence on this symphony is nevertheless profound. The third movement continues Dvořák’s treatment of Longfellow’s poem with a musical depiction of an Indian dance scene
full of dramatic contrasts. After a tension-building introduction, the finale bursts into a strong and defiant theme. The final movement serves as a homecoming of sorts, as it recalls elements of the three preceding movements and creates a symphonic synthesis. The work ends with a sublime chord that gently fades away, leaving listeners with a peaceful feeling of nostalgia. The symphony, which Dvořák titled “From the New World,” premiered at Carnegie Hall on December 16, 1893, and received immediate acclaim, solidifying Dvořák’s position as a leading international composer. Today, the symphony remains one of the most popular pieces within the genre, resonating with audiences while testifying to an important moment in American musical history.
Symphony No. 9 in E minor
• Page 20•
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Carol LaChance
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, 2022 and June 30, 2023.
Carola Beasley-Topliffe
Carolyn Welch
Cathy Gast
Chris Nevins
Clare Gridley
Craig and Debra Putnam
Craig Savage
Crystal Goodwin
Daniel Viens
Dave Diamond
Deborah Buck
Deborah Spellman
Denali Delmar
Denise Perry
Dolores Soucy
Donice Colbert
Donna Burke
Donna Howard
Douglas and Elizabeth Luc Clowes
Ed and Glenda Fischer
Eileen Jasie
Elisabeth McCaffrey
Elizabeth and John Cepaitis
Elizabeth Blanc
Emma Daley
Eric and Cynthia Ryherd
Eric Halvorson
Ferenc Boldog
Fernanda Miletto
Frances Ferrari
Genevieve Dagobert
Greg Fritz
Jane Munson
Jane Washburn
Janine Conant
Jeanine Tousignant
Jeff and Kathy Gendron
Jeffrey Hsu
Jeremy MacKinney
Jerry White
Jill Hardin
Jim and Janice Harrison
John Furlong
John Moulton
Jonathan Brackett
Jonathan Ohlson
Julie Kopser
Julie Spencer
Karthik Shankaran
Kate Messner
Kathleen Theophilos
Katie Staveley
Keith Wilk
Kendra Kratkiewicz
Kerry Ingold
Kevin Hansen
Kevin O’Neill
Leila Cathcart
Leslie Johnson
Lisa Quigley
Liz and Garth Fletcher
Malia Ohlson
Margaret K Burt
Margaret Murray
Marisol McKee
Marlena Bourque
Martha Ridlon
Mary A Licking
Mary Anne Moquin
Mary Mechling
Meghan Brady
Michael Rosenblum
Michelle Cloutier
Michelle Notarangeli
Mike Bishop
Nancy Amato
Nancy Sharpe
Nancy Smagula
Pablo Casaverde
Pamela Baker
Pamela Mattaliano
Patricia Brennan
Patricia Hugenberger
Patricia Mullin
Paul Baker
Paul Bergeron
Peter Bachman
Peter Tabur
Rachel Tarr
Rob Zimmerman
Robert Lash
Robert Mazaka
Robin Harris
Roland Guilbault
Rosemary Clough
Ruth Baldwin
Ruth Chevion
Sarah Rocha
Sidney Tally
Stephen Forde
Stephen Pappas
Stephen Perron
Steve Beste
Steven Negron
Susan Gould
Terrence Collins
Thomas and Irene McManus
Thomas Sileo
Virginia Nedved-Cook
William Farquhar
William Pollitt
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• Page 29 •
Frederick Smyth Institute of Music
• Page 30 • Thank you!
• Page 31 •
Presenting Sponsors Sponsors and Collaborative Partners Maestro Sponsors Community Partner Season Sponsor With additional support from:
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
Madelaine G Von Weber Trust Media Partners
Board of Trustees 2023-24 OFFICERS
Mary Jordan, President
Harold Clark, Vice President
Bettejean Neveux, Treasurer
Robert Oot, Secretary TRUSTEES
Pam Baker
Robert Blaisdell
Ann N. Conway
Joseph Kenny
Carol Kreick
Donald McDonah
Jasmine Pandit
John Rein
Ashwini Saxena
Amir Toosi
Olga Usyk
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
Kun Shao, Vice-Chair, Symphony NH Players’ Committee Representative Staff
Deanna Hoying Executive Director
Joseph DuBose Orchestra Librarian | Personnel Manager
Paul LaFlamme Production Manager
Timothy Pace Senior Marketing Manager
Sophie Nahrmann Assistant Personnel Manager
Diana Sheedy Box Office Asistant
Kip Sheedy Usher Coordinator
Meghan Brady Grant Writer
Musicians 2023-24
Violins
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
Katharina Radlberger
Viola
Dani Rimoni Principal Viola
Elaine Leisinger
Assistant Principal Viola
Elisabeth Westner
Kathleen Kalogeras
Seeun Oh
Nissim Tseytlin
Cello
Harel Gietheim Principal Cello
Nathaniel Lathrop
Alexander Badalov
Young Sook Lee
Priscilla Hayes Taylor Bass
Volker Nahrmann Principal Bass
Robert F. Hoffman
Flutes
Kathleen Boyd Principal
Nina Barwell Oboes
Cheryl Bishkoff Principal
Ronald Kaye
Kyoko Battaglia English horn
Clarinets
Mackenzie Austin Principal
Bassoons
Michael Mechanic Principal
Sally Merriman
Leo Kenin Contrabassoon Horns
Steven Harmon Principal
Kristin Olsen
Michael H Weinstein
Ellen Michaud Martins Trumpets
Richard Watson Principal
Jude Morris Principal
John Faieta
Wes Hopper
Sean McCarty Bass Trombone Tuba
Takatsugu Hagiwara Principal
Timpani & Percussion
Jeffrey Bluhm Principal Harp
Katie Lyon-Pingree Principal
Richard Kelley Trombones
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Symphony NH
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
Concord
