As we embark on another exciting season of music, we are filled with gratitude and anticipation for the journey ahead. Whether you are a long-time supporter or new to our community, we extend our warmest welcome to you.
This season promises to be a remarkable one, with a lineup of performances that will showcase both timeless masterpieces and innovative new works. Our talented musicians, under the inspiring leadership of Roger Kalia, have been working tirelessly to bring you an unforgettable experience. Each concert will be a celebration of the artistry, passion, and dedication that define our orchestra.
We also want to share that this season will be particularly special as it marks Maestro Kalia’s final year with us as Music Director. Over the years, Roger has brought extraordinary vision, energy, and artistry to our orchestra, elevating our performances and leaving an indelible mark on our community. We invite you to join us in celebrating his remarkable tenure and to experience the musical journey we have planned for this farewell season.
At Symphony NH, we believe that music has the power to unite, heal, and inspire. In a world that can sometimes feel divided, our mission is to create moments of connection through the universal language of music. We are committed to making our performances accessible to all, and we are proud of the diverse and inclusive community that we continue to build together.
We are continuing our educational programs, deepening our engagement with young audiences, and enhancing our relationships with other nonprofits and partner venues around the state. This allows us to reach more people than ever before. These efforts would not be possible without the generous support of our patrons, sponsors, and volunteers. Your contributions are the lifeblood of our organization, and we are profoundly thankful for your unwavering commitment.
As we look forward to the months ahead, we are reminded of the extraordinary privilege it is to be a part of this vibrant musical community. We are excited to share this journey with you and to create lasting memories together.
Thank you for your continued support, and we can’t wait to see you at the symphony!
With warm regards,
Deanna R. Hoying Executive Director
Don McDonah, M.D. Board President
Hyunwoo Chun
Aleksis Martin
Kelly Hurrell
BASSET HORNS
Taylor Isberg Guest Principal
Steven Zhang
BASSOONS
Michael Mechanic Principal
Sally Merriman
CONTRABASSOON
Gabe Ramey
TROMBONES
Wes Hopper Acting Principal
Alexis Smith
Sean McCarty
TUBA
Takatsugu Hagiwara Principal
TIMPANI & PERCUSSION
Jeffrey Bluhm Principal
Lucas Vogelan
Jakob Schoenfelt Our musicians for Tonight
A LETTER FROM OUR MUSIC DIRECTOR
Dear Friends,
Welcome to Symphony NH’s 2024-25 season! This year, we are thrilled to present a season rich in variety, spanning from Beethoven to Mahler to Hollywood Hits, and much more. Our repertoire is diverse, and we are excited to feature an eclectic lineup of guest artists, while continuing to showcase the extraordinary talents of the musicians of Symphony NH.
As many of you may know, this will be my final season as your music director. The past six years have been a truly special chapter in my life, and I am deeply proud of what we have accomplished together. It has been an honor to lead the organization through its milestone 100th anniversary and to bring the orchestra to cities across the Granite State. The challenges of navigating the pandemic and re-imagining the concert experience—whether symphonic or chamber—have been profound, and I take pride in the fact that we continued to create opportunities for our musicians and bring music to so many people during that time. Most importantly, I will cherish the friendships and connections I’ve made with so many wonderful people over these years.
This season features some of my favorite works in the symphonic repertoire. Our opening concert includes Mahler’s breathtaking Symphony No. 4 in a unique chamber orchestra arrangement by Iain Farrington. Later, we will perform Beethoven’s Symphony No. 3, “Eroica,” along with Gershwin’s Rhapsody in Blue and Copland’s monumental Symphony No. 3. In a special concert, our remarkable woodwind and brass players will be highlighted in “Serenade for Winds,” which includes Mozart’s enchanting Gran Partita and Dvořák’s Serenade of the Winds—plus a surprise addition! I am also excited to present a program of beloved overtures, including Mozart’s Overture to The Marriage of Figaro and Bernstein’s Overture to West Side Story. Additionally, it will be a joy to share the stage with our outstanding guest artists this season, such as soprano Carley DeFranco and pianist Fei-Fei.
While this season is bittersweet for me, I look forward to every moment we will share in what promises to be a series of thrilling performances and unforgettable memories as I conclude my time as music director. Thank you for your unwavering support and enthusiasm over these past six years. I look forward to this season of music making and am thrilled you are part of it!
Sincerely,
Roger Kalia Music Director, Symphony NH
Roger Kalia Music Director, Symphony NH
Praised for bringing a “fresh view to classical music” (The Republic), Indian American conductor Roger Kalia is a versatile communicator who brings unique and unmistakable energy to the podium. Recently profiled by Symphony Magazine in recognition of his innovative programming, Kalia has been hailed as “leading with passionate intensity and a clear beat” as well as being “one to watch” (Long Beach Gazette).
Kalia is now in his fifth season as Music Director of the Evansville Philharmonic, his sixth season as Music Director of Symphony New Hampshire, and in his seventh season with Orchestra Santa Monica. He was most recently appointed Artistic Director Designate of the Terre Haute Symphony Orchestra for the 2024-25 season, and he will assume the role of Artistic Director during the 2025-26 season. He is also Co-Founder and Music Director of the celebrated Lake George Music Festival in upstate New York which has been described as “an unparalleled classical music experience in the Adirondacks” (Chronogram). The recipient of several awards from The Solti Foundation U.S., including an Elizabeth Buccheri Opera Residency with Lyric Opera of Chicago and five Career Assistance Awards, Kalia has been praised for his “extraordinary leadership” (Courier & Press).
The 2024-25 season features Kalia’s debut with the Amarillo Symphony and a return to the Redlands Bowl to conduct the Grand Finals of the prestigious Young Artists Concerto Competition as part of the Redlands Bowl Summer Music Festival. In recent seasons, he has appeared with the National Symphony Orchestra at the Kennedy Center, Chicago Sinfonietta, Louisiana Philharmonic, Baltimore Chamber
Orchestra, Szczecin Philharmonic (Poland), Hollywood Chamber Orchestra, Boise Philharmonic, Spartanburg Philharmonic, Columbus Indiana Philharmonic, and the symphony orchestras of Redlands, Lima, Adrian, Bakersfield, Great Falls, Owensboro, Spokane, and Wheeling.
In his various music director positions, Kalia has focused on innovative artistic partnerships highlighting a variety of community partners. In 2023, Kalia collaborated with acclaimed Bollywood singer Anuradha “Juju” Palakurthi and Symphony New Hampshire in a celebration of Indian culture via a history-spanning performance of Bollywood songs in their first-ever arrangement for Western instruments, Symphony Masala. He commissioned and premiered Orchestra Santa Monica’s inaugural art film in collaboration with composer Derrick Skye titled We Gather: Black Life in Santa Monica, and his early seasons leading the Evansville Philharmonic centered on collaborations with community organizations such as Historic Bosse Field, the Tri-State Hindu Temple, and the Evansville Wartime Museum. Kalia’s groundbreaking programming has been featured on PBS’s “On the Road with Brick Briscoe” and “Regional Voices.”
Kalia has collaborated with a wide range of artists including singers Angela Brown, Shayna Steele, Dan Domenech, and Jubilant Sykes; Grammy-winning trio Time for Three; Indian tabla virtuoso Sandeep Das; singer/ songwriters Randy Newman and Randy Jackson; rock musicians Johnny Rzeznik of the Goo Goo Dolls and Nancy Wilson of Heart; the B-52s; sitar player Anoushka Shankar; and actor Jack Black.
A native of New York State, Kalia holds degrees from Indiana University, the University of Houston, and SUNY Potsdam’s Crane School of Music. He currently resides in Indiana with his wife, musicologist and violinist Christine Wisch.
Program Notes - Serenade of the Winds
Although less common in concert halls than full symphonic orchestras with winds, today’s concert wind ensemble has a lengthy and esteemed history, rooting itself in the European tradition of Harmoniemusik. Emerging in the late 18th century, Harmoniemusik was a form of chamber music written specifically for wind instruments. These ensembles, typically composed of pairs of oboes, clarinets, horns, and bassoons—the common instrumentation of the wind section for court and theater orchestras—were initially associated with the courts of European aristocracy. They provided lively outdoor entertainment or underscored formal banquets, serving as a sonic emblem of both elegance and status. Composers like Mozart and Haydn were among the first to elevate
the genre, recognizing its potential beyond mere functional music.
The growing prominence of the wind ensemble coincided with a broader interest in exploring the unique tonal palette of wind instruments. While strings dominated the symphonic repertoire, winds offered a range of colors—from the playful chirping of flutes and clarinets to the noble warmth of horns. By the early 19th century, advancements in instrument design allowed for greater technical and dynamic capabilities, inspiring composers to craft more ambitious works for winds. The wind ensemble transformed from a courtly entertainment medium to a standalone artistic force, paving the way for masterpieces such as those featured in this program.
Felix Mendelssohn (1809–1847) • Overture for Winds, Op. 24 in C Major (1824, rev. 1838)
Felix Mendelssohn, a prodigious talent whose brilliance was evident from an early age, composed his Overture for Winds at just 15 years old. Written during the summer of 1824 while traveling with his father to the spa town of Bad Doberan, the piece was originally intended for the town’s Harmonie, an ensemble dedicated to performing Harmoniemusik. This group comprised one flute, two oboes, two clarinets, two bassoons, two horns, one trumpet, and one English bass horn—a relative of the serpent and predecessor of the ophicleide. Perhaps to reflect its role as evening entertaining, Mendelssohn titled this work Nocturno. In 1838, Mendelssohn revisited the work, refining transitions, making subtle harmonic and rhythmic adjustments, and expanding the instrumentation to suit the larger German military bands of the time. The revised version features a richer palette, adding one piccolo, one flute, two clarinets in F, two clarinets in C, two oboes, two bassoons, one contrabassoon, one English bass horn, two horns in C, two horns in F, two trumpets in C, two tenor
trombones, one bass trombone, side drum, bass drum, triangle, and cymbals. Renamed Ouverture für Harmoniemusik and known in English mostly as his Overture for Winds, this expanded version for 23 instruments plus percussion was sent to Mendelssohn’s publisher, N. Simrock, and remains the standard version performed today.
Despite his youth when the work was first conceived, Mendelssohn’s compositional maturity and mastery of form and texture are strikingly evident. The piece reflects
the influence of his Classical predecessors while offering hints of the Romantic sensibility that would shape his later works. The overture unfolds in a single movement, beginning with a dignified and ceremonial introduction. This leads into a vibrant Allegro section, bursting with energetic themes and intricate counterpoint. The interplay between instruments is both playful and sophisticated, demonstrating Mendelssohn’s exceptional understanding of wind textures. Lyrical
passages throughout the work highlight the expressive capabilities of the ensemble, hinting at the Romantic era’s growing emphasis on emotional depth. With its combination of youthful exuberance, refined craftsmanship, and innovative use of wind textures, Mendelssohn’s Overture for Winds remains a testament to his prodigious talent and a cornerstone of the Harmoniemusik tradition
Wolfgang Amadeus Mozart (1856–1891) • Serenade No. 10 in B-flat Major, K. 361, “Gran Partita” (1781)
Mozart’s Gran Partita stands as a pinnacle of Harmoniemusik, highlighting the composer’s unmatched talent for blending melody, harmony, and drama. Completed in 1781, this serenade for 13 instruments (2 oboes, 2 clarinets, 2 basset horns, 2 bassoons, 4 horns, and a double bass) is one of his most expansive and ambitious works for winds. At a time when wind serenades were often lightweight entertainment— once a form of musical courtship, serenades took their name from the word “serenity,” as they were typically performed during tranquil evening gatherings. Mozart’s wind serenades, frequently written for the common Harmonie instrumentation of the time, transcended this tradition. While much of the era’s wind music catered to the commercial market with simple, functional compositions, Mozart elevated the genre. His Gran Partita redefined the serenade, imbuing it with symphonic scope, emotional depth, and unparalleled artistry, making it a quintessential work of late eighteenthcentury Harmoniemusik.
The genesis and early performance history of this work remain somewhat unclear. Many scholars believe that the work was composed in two stages, with the first complete version from 1781 comprising only four movements and the expansion to seven movements occurring for a 1784 performance. Tonight’s program features the first three movements and finale, which together approximate the structure of a four-movement symphony and likely constituted the original four-movement version.
The opening movement begins with a solemn “Largo,” creating an air of anticipation before transitioning into a spirited “Allegro.” Bold and dynamic themes blend grandeur with charm, emphasizing Mozart’s skill in crafting music that is both accessible and sophisticated. The “Menuetto” that follows is a graceful minuet, featuring two contrasting trios. The first trio
highlights the lyrical interplay of clarinets and basset horns, while the second gives prominence to the oboe, bassoons, and horns, revealing Mozart’s nuanced orchestration and playful wit. The third movement, “Adagio,” is one of Mozart’s most celebrated creations, renowned for its beauty and emotional resonance. Its operatic oboe line, soaring above a gently throbbing accompaniment, embodies lyrical grace and dramatic flair. This movement has found a place not only in concert halls but also in popular culture, appearing in numerous modern films and television shows. The serenade concludes with a jubilant Finale, marked by intricate counterpoint and joyous themes inspired by the conventions of opera buffa (comic opera). This exuberant ending captures the celebratory spirit of the serenade while reaffirming Mozart’s mastery of form and texture.
Much like the work’s compositional history, the origins of the title “Gran Partita” remain uncertain, too. Scholars have noted that the term, misspelled on the surviving autograph score, does not appear to be in Mozart’s handwriting. Historically, “partita” referred to a Baroque suite of dance movements for small ensembles, but regardless of its provenance, the title has endured, resonating
with modern audiences and reflecting the grandeur and refinement Mozart achieved in this extraordinary work. Among his many compositions for wind ensembles, the “Gran Partita” stands out as a profound exploration of the ensemble’s expressive range,
demonstrating Mozart’s remarkable ability to make winds sing as eloquently as strings or voices. It is both a testament to his genius and a transformative milestone in the evolution of wind music.
Antonín Dvořák (1841–1904) • Serenade in D minor, Op. 44, B. 77 (1878)
Born in a small village near Prague, Antonín Dvořák, was deeply rooted in his Czech heritage and brought a distinctly folk-inspired voice to the European classical tradition. His Serenade for Winds, Cello, and Double Bass in D minor, Op. 44, written in 1878, reflects his signature blend of heartfelt lyricism and vibrant dance rhythms inspired by his heritage. Composed during a particularly fruitful period in his career, the Serenade came at a time when Dvořák was gaining international recognition, thanks in part to the advocacy of Johannes Brahms.
The Serenade exemplifies Dvořák’s ability to honor the classical tradition of Harmoniemusik while infusing it with his nationalistic flair and elements of Czech folk music. Dvořák also adapted the traditional Harmoniemusik instrumentation to suit his own artistic needs, utilizing pairs of oboes, clarinets, and bassoons, along with three horns, a cello, and a double bass. This distinctive instrumentation produces a warm, resonant sound that draws on Bohemia’s centuries-long tradition of excellence in wind playing and Dvořák’s own appreciation for and exploration of rich, lower-pitched instruments. Inspired by a desire to create something both joyful and accessible, Dvořák reportedly composed the Serenade in just two weeks.
Structured in four movements, the Serenade pays homage to the symphonic tradition, signaling its stature as a substantial artistic statement. The first movement, “Moderato, quasi marcia,” opens with a dignified march that transitions into a flowing and lyrical middle section. This introduction balances courtly elegance with folk-like simplicity, highlighting Dvořák’s melodic gifts. The second movement, “Minuetto,” nods to the classical minuet form but incorporates syncopated Czech dance rhythms. The trio section features a lively furiant, a traditional Czech dance that adds an unmistakably nationalistic character. The third movement, “Andante con moto,” offers a moment of
introspection. Expressive melodies from the oboe and clarinet unfold over subtle syncopations articulated by the horns, creating a mood of gentle nostalgia and lyricism. The finale, “Allegro molto,” bursts with energy, evoking the lively spirit of a village band. Its dance-like themes bring exuberance to the movement, briefly recalling the opening march theme before concluding with a rousing coda.
The Serenade was premiered in Prague in 1878, with Dvořák himself conducting. He dedicated the work to the German music critic Louis Ehlert, whose early praise for Dvořák’s compositions had also helped establish the composer’s reputation in Germany and beyond. Though Brahms did not attend the premiere, he eagerly obtained a copy of the published work and praised it in a letter to his friend, the violinist and composer Joseph Joachim. Brahms described the Serenade as “a more lovely, refreshing impression of real, rich, and charming creative talent you can’t easily have… I think it must be a pleasure for the wind players!”
Indeed, Dvořák’s Serenade for Winds continues to captivate performers and audiences alike. Its joyful character, inventive folk-inspired elements, and elegant craftsmanship are a testament to Dvořák’s talents and fulfill his desire to delight listeners.
Christine Wisch
Program Annotator
Christine Wisch is a staff member of the Latin American Music Center and adjunct lecturer at the Jacobs School of Music. She holds a bachelor’s degrees in music education and Spanish from the University of Houston as well as a master’s degree and doctorate in musicology from Indiana University. Her work as a musicologist focuses on nineteenth-and early twentiethcentury Spanish classical music and issues of patronage, nationalism, and exoticism. She currently teaches a course on Women Musicians for the Music in General Studies Program and the Introduction to Latin American Art Music for the LAMC as part of the undergraduate minor curriculum.
24/25 SEASON
Hollywood Hits
Saturday, March 29 7:30pm
Stockbridge Theatre, Derry
Sunday, March 30 3pm
Capitol Center for the Arts, Concord
It’s All Overtures
Saturday, April 19 7:30pm
Nashua Center for the Arts, Nashua
Rhapsody in Blue
Saturday, May 10 7:30pm
Capitol Center for the Arts, Concord
Illuminated Ensembles
Chamber Favorites
Sunday, May 18 4pm
Bank of NH Stage, Concord
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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.
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2024-25 Board of Trustees
Officers
Dr. Donald McDonah, President Open, Vice President
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Joe Kenny, Esq.
Jasmine Pandit Dr. Ashwini Saxena Alka Sen Olga Usyk
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Deanna Hoying, Executive Director Roger Kalia, Music Director
