We are continuing our educational programs, deepening our engagement with young audiences, and enhancing our relationships with other nonprofits and partner venues around the state. This allows us to reach more people than ever before. These efforts would not be possible without the generous support of our patrons, sponsors, and volunteers. Your contributions are the lifeblood of our organization, and we are profoundly thankful for your unwavering commitment.
As we look forward to the months ahead, we are reminded of the extraordinary privilege it is to be a part of this vibrant musical community. We are excited to share this journey with you and to create lasting memories together.
Thank you for your continued support, and we can’t wait to see you at the symphony!
With warm regards,
Deanna R. Hoying Executive Director
Don McDonah, M.D. Board President
Our musicians for today
VIOLA
Dani Rimoni Principal
Elaine Leisinger Assistant Principal
Seeun Oh
CELLO
Nathaniel Lathrop Assistant Principal
Alexander Badalov
Priscilla Taylor
CLARINET
Marguerite Levin Guest Principal
BASSOON
Sally Merriman Acting Principal
TIMPANI & PERCUSSION
Jeffrey Bluhm Principal Jeff Sagurton HARP
Maria Ren Guest Principal
A LETTER FROM OUR MUSIC DIRECTOR
Dear Friends,
Welcome to Symphony NH’s 2024-25 season! This year, we are thrilled to present a season rich in variety, spanning from Beethoven to Mahler to Hollywood Hits, and much more. Our repertoire is diverse, and we are excited to feature an eclectic lineup of guest artists, while continuing to showcase the extraordinary talents of the musicians of Symphony NH.
As many of you may know, this will be my final season as your music director. The past six years have been a truly special chapter in my life, and I am deeply proud of what we have accomplished together. It has been an honor to lead the organization through its milestone 100th anniversary and to bring the orchestra to cities across the Granite State. The challenges of navigating the pandemic and re-imagining the concert experience—whether symphonic or chamber—have been profound, and I take pride in the fact that we continued to create opportunities for our musicians and bring music to so many people during that time. Most importantly, I will cherish the friendships and connections I’ve made with so many wonderful people over these years.
This season features some of my favorite works in the symphonic repertoire. Our opening concert includes Mahler’s breathtaking Symphony No. 4 in a unique chamber orchestra arrangement by Iain Farrington. Later, we will perform Beethoven’s Symphony No. 3, “Eroica,” along with Gershwin’s Rhapsody in Blue and Copland’s monumental Symphony No. 3. In a special concert, our remarkable woodwind and brass players will be highlighted in “Serenade for Winds,” which includes Mozart’s enchanting Gran Partita and Dvořák’s Serenade of the Winds—plus a surprise addition! I am also excited to present a program of beloved overtures, including Mozart’s Overture to The Marriage of Figaro and Bernstein’s Overture to West Side Story. Additionally, it will be a joy to share the stage with our outstanding guest artists this season, such as soprano Carley DeFranco and pianist Fei-Fei.
While this season is bittersweet for me, I look forward to every moment we will share in what promises to be a series of thrilling performances and unforgettable memories as I conclude my time as music director. Thank you for your unwavering support and enthusiasm over these past six years. I look forward to this season of music making and am thrilled you are part of it!
Sincerely,
Roger Kalia Music Director, Symphony NH
Roger Kalia Music Director, Symphony NH
Praised for bringing a “fresh view to classical music” (The Republic), Indian American conductor Roger Kalia is a versatile communicator who brings unique and unmistakable energy to the podium. Recently profiled by Symphony Magazine in recognition of his innovative programming, Kalia has been hailed as “leading with passionate intensity and a clear beat” as well as being “one to watch” (Long Beach Gazette).
Kalia is now in his fifth season as Music Director of the Evansville Philharmonic, his sixth season as Music Director of Symphony New Hampshire, and in his seventh season with Orchestra Santa Monica. He was most recently appointed Artistic Director Designate of the Terre Haute Symphony Orchestra for the 2024-25 season, and he will assume the role of Artistic Director during the 2025-26 season. He is also Co-Founder and Music Director of the celebrated Lake George Music Festival in upstate New York which has been described as “an unparalleled classical music experience in the Adirondacks” (Chronogram). The recipient of several awards from The Solti Foundation U.S., including an Elizabeth Buccheri Opera Residency with Lyric Opera of Chicago and five Career Assistance Awards, Kalia has been praised for his “extraordinary leadership” (Courier & Press).
The 2024-25 season features Kalia’s debut with the Amarillo Symphony and a return to the Redlands Bowl to conduct the Grand Finals of the prestigious Young Artists Concerto Competition as part of the Redlands Bowl Summer Music Festival. In recent seasons, he has appeared with the National Symphony Orchestra at the Kennedy Center, Chicago Sinfonietta, Louisiana Philharmonic, Baltimore Chamber
Orchestra, Szczecin Philharmonic (Poland), Hollywood Chamber Orchestra, Boise Philharmonic, Spartanburg Philharmonic, Columbus Indiana Philharmonic, and the symphony orchestras of Redlands, Lima, Adrian, Bakersfield, Great Falls, Owensboro, Spokane, and Wheeling.
In his various music director positions, Kalia has focused on innovative artistic partnerships highlighting a variety of community partners. In 2023, Kalia collaborated with acclaimed Bollywood singer Anuradha “Juju” Palakurthi and Symphony New Hampshire in a celebration of Indian culture via a history-spanning performance of Bollywood songs in their first-ever arrangement for Western instruments, Symphony Masala. He commissioned and premiered Orchestra Santa Monica’s inaugural art film in collaboration with composer Derrick Skye titled We Gather: Black Life in Santa Monica, and his early seasons leading the Evansville Philharmonic centered on collaborations with community organizations such as Historic Bosse Field, the Tri-State Hindu Temple, and the Evansville Wartime Museum. Kalia’s groundbreaking programming has been featured on PBS’s “On the Road with Brick Briscoe” and “Regional Voices.”
Kalia has collaborated with a wide range of artists including singers Angela Brown, Shayna Steele, Dan Domenech, and Jubilant Sykes; Grammy-winning trio Time for Three; Indian tabla virtuoso Sandeep Das; singer/ songwriters Randy Newman and Randy Jackson; rock musicians Johnny Rzeznik of the Goo Goo Dolls and Nancy Wilson of Heart; the B-52s; sitar player Anoushka Shankar; and actor Jack Black.
A native of New York State, Kalia holds degrees from Indiana University, the University of Houston, and SUNY Potsdam’s Crane School of Music. He currently resides in Indiana with his wife, musicologist and violinist Christine Wisch.
Carley DeFranco Soprano
“Sunny,” “supple,” and “soaring,” Bostonbased soprano Carley DeFranco is committed to giving passionate performances that inspire her community. Her upcoming projects include Knoxville: Summer of 1915 and Mahler 4 with Symphony NH, La Bonne Chanson with players from Emmanuel Music, appearances with Boston Lyric Opera in their Street Stage and Boston Public Library programming, and concerts of German baroque music with Musicians of the Old Post Road.
Carley’s favorite onstage moments have been those that push beyond the assumed classical music experience into something adventurous. Some of these notable moments include a fully staged Les Illuminations (Britten) with Emmanuel Music and Urbanity Dance choreographed by Shura Baryshnikov, the Angel in a film version of La Resurrezione (Handel), singing and dancing onstage as a siren in Sirènes (Debussy) with Lorelei Ensemble and Boston Ballet, the premiere of Lost Birds (Christopher Tin) with VOCES 8, a site-specific staging of Frauenliebe und Leben with Boston Opera Collaborative and the premiere of Earth Symphony (Jake Runestad) with True Concord Voices & Orchestra
Her 2023-24 season brought a variety of collaborations with chamber, choral and symphonic ensembles, including performances with Worcester Chorus (Handel Messiah), Lexington Symphony (Beethoven 9), Back Bay Chorale (Rossini Giunone), Falmouth Chorale (Mozart Requiem), Sarasa Ensemble (selections from the Bolivian Mission baroque), Monadnock Music (song recital with piano and cello), and her German debut at Bachfest Leipzig with Emmanuel Music. Carley also enjoys performing regularly as a chorister with Handel & Haydn Society, Upper Valley Baroque, True Concord Voices & Orchestra, Oregon Bach Festival Chorus, Boston Lyric Opera Chorus and Emmanuel Music.
Carley believes deeply in the power of community and has roared operatic hits at the Roslindale Holiday Wander promoting small businesses, sung from the back of a pick-up truck with Mass Opera (featured in
Opera America), led pre and post-concert panels with Boston Opera Collaborative, hosted private Zoom concerts with Emmanuel Music’s Musical Conversations initiative and given many tailored programs at birthday parties, wedding celebrations, memorial services and holiday affairs. This year, Carley founded DeFranco Music LLC, a music studio with ten teachers that partners with local schools to provide afterschool music lessons. She is an Instructor of Voice with Harvard University’s Holden Voice Program and offers private lessons (inperson or online) from her home studio.
Samuel Barber (1910 –1981)
Knoxville:Summerof1915 , op. 24 (1947)
Samuel Barber’s Knoxville: Summer of 1915 is a poignant expression of nostalgia and the fleeting nature of childhood in American vocal music. Composed in 1947 and set to James Agee’s prose poem of the same name, the work captures a summer evening in Knoxville, Tennessee, seen through the eyes of a child. Barber, who had no direct connection to Knoxville, found in Agee’s text a powerful reflection of his own memories of childhood. At the time, Barber was coping with his father’s illness, and he described his response to the poem as “immediate and intense.” The result is a “lyric rhapsody” that encapsulates the innocence of youth alongside an awareness of life’s fragility.
Commissioned by soprano Eleanor Steber, who premiered the work with the Boston Symphony Orchestra under Serge Koussevitzky, Knoxville: Summer of 1915 is a single-movement piece structured to mirror the stream-of-consciousness style of Agee’s writing. The prose poem, later included in Agee’s Pulitzer Prize-winning novel A Death in the Family (1957), begins:
“We are talking now of summer evenings in Knoxville, Tennessee in the time that I lived there so successfully disguised to myself as a child.”
Agee’s words reflect both the simplicity and the complexity of childhood, where innocence coexists with a growing awareness of the world’s uncertainties.
Barber’s music closely follows the emotional contours of Agee’s text. The piece opens with a gentle orchestral introduction that evokes the image of sitting on a porch at dusk. The child narrator describes the peacefulness of the evening: “It has become that time of evening when people sit on their porches, rocking gently and talking gently.” Barber’s melodic lines float effortlessly over a rocking accompaniment, mimicking the gentle motion of a porch swing. The music
transitions to a more agitated mood as the child hears a streetcar passing: “A streetcar raising its iron moan,” Barber sets this passage with busier orchestration, full of tension and dissonance. Though subtly woven into the text, the passage of time and an awareness of mortality and loss are felt deeply in Barber’s settings: even in the most idyllic of moments, the music shifts between major and minor tonalities, creating an atmosphere that balances comfort with unease. The music likewise matches the spontaneity of the events in the text, frequently shifting in its texture and colors to match how the narrator’s thoughts wander from memory to memory. The final section of Knoxville: Summer of 1915 is particularly moving, as the child is brought inside to bed, and the music returns to the calm rocking motion of the opening. “After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her,” Agee writes, and Barber’s music fades gently, suggesting the child drifting off to sleep. The piece ends on a note of unresolved longing with the line: “But will not ever tell me who I am.” This closing hints at more profound questions of identity and belonging that remain unanswered, leaving a haunting impression and ultimately reminding us of life’s ephemeral nature.
body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard and starched milk, the image upon them of lovers and horsemen, squared with clowns in hueless amber.
A streetcar raising its iron moan: stopping, belling and starting; stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts; the faint stinging bell; rises again, still fainter, fainter, lifting, lifts, faints forgone: forgotten.
Now is the night one blue dew. Now is the night one blue dew, my father has drained, now he has coiled the hose. Low on the length of lawns, a frailing of fire who breathes … Parents on porches: rock and rock. From damp strings morning glories hang their ancient faces.
The dry and exalted noise of the locusts from all the air at once enchants my eardrums. On the rough wet grass of the backyard my father and mother have spread quilts. We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there … They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all in particular, of nothing at all.
and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night. May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away.
After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home:
but will not, no ,will not, not now, not ever; but will not ever tell me who I am.
Gustav Mahler (1860 – 1911)
Symphony No. 4 in G Major (1899–1901)
Often regarded as his most accessible work, Gustav Mahler’s Symphony No. 4 in G Major (1899–1901) is deceptively complex, masking profound depth within a seemingly simple soundworld. Drawing from Des Knaben Wunderhorn “The Boy’s Magic Horn”—a collection of German folk poetry dating to 1805—the Fourth Symphony is a culmination of Mahler’s exploration of innocence, life, and death, which is presented through a childlike lens. Contributing to the sense of simplicity is that the four-movement work lasts only an hour, a stark contrast from his eight other symphonies, which typically reach close to or exceed ninety minutes.
The first movement (Bedächtig, nicht eilen) begins with the iconic sound of sleigh bells, immediately setting a playful, innocent tone. Mahler once described the sleigh bells as a key symbol of childhood, evoking a world of simplicity and wonder. However, beneath this surface lies a more complex structure. Mark Evan Bonds points out how the symphony’s opening juxtaposes two contrasting musical ideas: the “functional” sound of the bells and a classical-style theme reminiscent of Haydn and Mozart, creating a deliberate disruption that Mahler carries throughout the work. The movement’s lightheartedness is tempered by the underlying ambivalence Mahler injects, a hallmark of his ability to convey multiple layers of emotion.
The second movement (In gemächlicher Bewegung) introduces a solo violin tuned to a higher tone (a practice called scordatura), creating an eerie, otherworldly effect. This is often interpreted as the presence of Freund Hein, a German folk figure representing death. The violin’s macabre dance mirrors Mahler’s fascination with death, portrayed here not as a terrifying force but as something playful, even whimsical. This movement provides a glimpse into Mahler’s philosophical musings on mortality and the afterlife, reflected in a musical dialogue that is both haunting and serene.
The third movement (Ruhevoll) is an expansive Adagio marked by its serene
beauty and hymn-like quality. Mahler himself once described this movement as being constructed with “extreme, almost school-like regularity,” yet beneath its simplicity lies a richness that exemplifies Mahler’s ideal of a symphony having something “cosmic within itself.” The Adagio builds toward an ecstatic climax before slowly dissolving into calm, signaling a seamless transition to the next movement.
In the fourth and final movement (Sehr behaglich), the solo soprano enters for the first time in the symphony, singing a text from the Wunderhorn, “Das himmlische Leben” (The Heavenly Life), which offers a child’s vision of heaven. The song had been composed almost a decade earlier and was intended to conclude the Third Symphony before Mahler repurposed it as the culmination of the Fourth. In his letters, Mahler referred to this song as the “apex” of the symphony, explaining that it contained within it the seed from which the entire work grows. The surreal, almost naïve depiction of paradise is tempered by unsettling imagery of lambs being slaughtered and saints laughing at macabre scenes, embodying the tension between joy and suffering, life and death. This ambiguity, where the serene and the disturbing coexist, leaves the listener with a sense of unresolved paradox, reflecting Mahler’s own ambivalence toward the idea of heavenly peace.
Mahler’s symphonies have remained in the performing repertoire since their premieres and are frequently cited as favorites among musicians and audiences alike. Fans of Mahler’s symphonies included Arnold Schoenberg, who created chamber arrangements for his Society for Private Musical Performances. Tonight’s performance continues this tradition of chamber performances and utilizes an arrangement made by English musician Iain Farrington. The chamber version allows the intimacy of Mahler’s writing to shine through, highlighting the clarity of its textures while retaining the spirit of this beloved masterwork.
Wir führen ein geduldig’s, Unschuldig’s, geduldig’s, Ein liebliches Lämmlein zu Tod!
Sankt Lucas den Ochsen tät schlachten
Ohn’ einig’s Bedenken und Achten, Der Wein kost’ kein Heller Im himmlischen Keller, Die Englein, die backen das Brot.
Gut’ Kräuter von allerhand Arten, Die wachsen im himmlischen Garten!
Gut’ Spargel, Fisolen
Und was wir nur wollen!
Ganze Schüsseln voll sind uns bereit!
Gut Äpfel, gut’ Birn’ und gut’ Trauben!
Die Gärtner, die alles erlauben! Willst Rehbock, willst Hasen, Auf offener Straßen Sie laufen herbei!
Sollt’ ein Fasttag etwa kommen, Alle Fische gleich mit Freuden angeschwommen!
Dort läuft schon Sankt Peter Mit Netz und mit Köder Zum himmlischen Weiher hinein.
Sankt Martha die Köchin muß sein.
Kein’ Musik ist ja nicht auf Erden, Die uns’rer verglichen kann werden.
Elftausend Jungfrauen
Zu tanzen sich trauen!
Sankt Ursula selbst dazu lacht!
Cäcilia mit ihren Verwandten
Sind treffliche Hofmusikanten!
Die englischen Stimmen
Ermuntern die Sinnen, Daß alles für Freuden erwacht.
We lead a patient, innocent, patient, a dear little lamb to death!
Saint Luke slaughters oxen without giving it thought or attention. Wine costs not a penny in Heaven’s cellar; and angels bake the bread.
Good vegetables of all sorts grow in Heaven’s garden! Good asparagus, beans and whatever we wish! Full bowls are ready for us! Good apples, good pears and good grapes! The gardener permits us everything! Would you like roebuck, would you like hare? In the very streets they run by!
Should a fast-day arrive, all the fish swim up to us with joy!
Over there, Saint Peter is running already with his net and bait to the heavenly pond.
Saint Martha must be the cook!
No music on earth can be compared to ours. Eleven thousand maidens dare to dance!
Even Saint Ursula herself is laughing! Cecilia and all her relatives are splendid court musicians! The angelic voices rouse the senses so that everything awakens with joy.
Christine Wisch
Program Annotator
Christine Wisch is a staff member of the Latin American Music Center and adjunct lecturer at the Jacobs School of Music. She holds a bachelor’s degrees in music education and Spanish from the University of Houston as well as a master’s degree and doctorate in musicology from Indiana University. Her work as a musicologist focuses on nineteenth-and early twentiethcentury Spanish classical music and issues of patronage, nationalism, and exoticism. She currently teaches a course on Women Musicians for the Music in General Studies Program and the Introduction to Latin American Art Music for the LAMC as part of the undergraduate minor curriculum.
24/25 SEASON
Mahler 4 - Visions of Heaven
Sunday, October 27 4pm
Nashua Center for the Arts, Nashua
Beethoven 3rd - Exploring Eroica
Saturday, November 9 7:30pm
Nashua Center for the Arts, Nashua
Illuminated Ensembles
American Standards
Sunday, November 17 4pm
Bank of NH Stage, Concord
Holiday Brass
Thursday, December 5 7:30pm The Rex, Manchester
Friday, December 6 7:30pm
St. Mary and Archangel Michael Coptic Orthodox Church, Nashua
Illuminated Ensembles
Heartstrings
Friday, February 14 7:30pm
Bank of NH Stage, Concord
Serenade of the Winds
Saturday, March 8 7:30pm
Nashua Community College
Hollywood Hits
Saturday, March 29 7:30pm
Stockbridge Theater, Derry
Sunday, March 30 3pm
Capitol Center for the Arts, Concord
It’s All Overtures
Saturday, April 19 7:30pm
Nashua Center for the Arts, Nashua
Rhapsody in Blue
Saturday, May 10 7:30pm
Capitol Center for the Arts, Concord
Illuminated Ensembles
Chamber Favorites
Sunday, May 18 4pm
Bank of NH Stage, Concord
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Symphony NH gratefully acknowledges these donors who have contributed to our mission of making great music accessible and providing learning opportunities to enrich diverse audiences. Gifts listed were made between July 1, 2023 and June 30, 2024.
Ella F Anderson
The Demoulas Foundation
Samuel P. Hunt Foundation
The McIninch Foundation
Frederick Smyth Institute of Music
RBC Foundation
Conway Arena Ice Commission
2024-25 Board of Trustees
Officers
Dr. Donald McDonah, President
Open, Vice President
Bob Blaisdell, Treasurer
Dr. Robert Oot, Secretary
Trustees
Harold Clarck
Ryan Correia
Joe Kenny, Esq.
Jasmine Pandit
Dr. Ashwini Saxena Alka Sen Olga Usyk
Ex-Officio Members
Deanna Hoying, Executive Director
Roger Kalia, Music Director
Rosemary Johnson, Co-President, Friends of Symphony NH
