April
As humans, we crave connection; it’s in our DNA In late March 2020, in the earliest stages of the pandemic, authors Michelle Langley and Leah Coutts wrote an article for the World Economic Forum “Why do we turn to music in times of crisis?” Their conclusion was that “Music creates a sense of belonging and participation It is an antidote to the growing sense of alienation and isolation in society in general – even more so now we are being asked to actively practice social distancing and isolation . Social distancing and geographical isolation do not have to result in social isolation In the face of uncertainty and panic, music is a social balm for soothing anxiety, enhancing community connections, and acting in defiance of a threat to community spirit” .
As Symphony NH approaches our 100th anniversary in April 2023, I have been thinking about 100 years of this connection through music; of the generations of New Hampshire and northern Massachusetts residents who have shared the experience of live orchestral music together And of the generations of audiences sitting in the dark concert hall and having that visceral feeling of the orchestra as the sound washes over and through you – it’s thrilling! No live concert can ever be repeated exactly as it was the night before as each time is unique . And those experiences are shared for that one performance with the musicians, conductor, and audience It creates a bond between the music makers and the audience that is special
And while we are excited to celebrate this momentous anniversary, we are also looking to the future of Symphony NH and the next 100 years of musical connections
Sincerely,
Deanna R . Hoying Executive Director
We’ve been patient; we’ve been missing live music, and missing hearing it together . I’m thrilled to experience it once again as Symphony NH begins its 100th year of musical gifts to our state.
In celebrating this extraordinary milestone, we are also celebrating the communities and people of New Hampshire with performances throughout the state – Nashua, Concord, Manchester, Berlin, Lebanon – in an auditorium, garden, opera house, theater, church, and college . From our opening “Tribute to New Hampshire” with the stunning Firebird Suite by Stravinsky, to “Momemtum” with Schubert’s elegant Unfinished Symphony, we invite all audiences to experience the power of music
I’m honored to serve as president of the board of directors of New Hampshire’s oldest professional orchestra . I’m proud of the trustees, patrons, donors, and sponsors who are committed to ensuring that we are around for the next 100 years! I’m proud of the musicians who have persevered through one of the most tumultuous times in our history, and I’m proud of our Music Director, Roger Kalia, who brings talent, energy, innovation, and inspiration to our orchestra
Music is the antidote to isolation and stress; it has the power to transcend walls and boundaries with its language . I’m pleased to join our executive director, Deanna Hoying, in our goal of connecting communities made up of diverse audiences Thank you for joining us!
Sincerely,
Mary Jordan
Directors
Welcome to our 100th anniversary season! I am excited to share with you a truly meaningful and special season for the historic occasion of Symphony New Hampshire’s 100th anniversary. The music reflects the orchestra’s past and present, highlighting our connection to New Hampshire in multiple ways while also focusing on our incredible musicians . Be sure to say hello to our new orchestra members as well! The exciting works we will perform have been carefully chosen as we mean to inspire and connect with all of you throughout the season .
I am honored to be the music director of New Hampshire’s oldest professional orchestra From World War I to the Pandemic, Symphony NH has endured and shared the joy of music with communities throughout the Granite State It is a true privilege to be a part of this organization’s history and its future .
Our upcoming season will be one of our most ambitious yet, with blockbuster works such as Stravinsky’s The Firebird Suite and Mahler’s First Symphony in thrilling chamber orchestra arrangements; a collaboration with the Nashua Choral Arts Society and Nashoba Valley Chorale in Mozart’s Requiem; hidden gems by Astor Piazzolla and Amy Beach; not to mention works by TJ Cole, Oliver Caplan, and John Adams . Our 100th anniversary concert - celebrated to the day of our first concert one hundred years ago - promises to be an event you won’t want to miss with the return of renowned cellist Amit Peled in Dvorak’s iconic Cello Concerto . As our anniversary falls towards the end of this season, our celebration is actually two seasons long . 2022-23 is just the beginning!
All of us at Symphony New Hampshire look forward to seeing you in the concert halls around the state . We are so glad that you are here to celebrate this milestone with us . See you soon!
Sincerely,
Roger Kalia Music Director, Symphony NH
With a dynamic podium presence and noted passionate interpretations, Indian American conductor Roger Kalia has been celebrated by audiences and industry professionals alike, with Symphony Magazine recently recognizing him nationally as one of five first-year music directors for his innovative programming during the pandemic . Praised for bringing a “fresh view to classical music” (The Republic, IN), Kalia is now in his fourth season as Music Director of the 100-year-old Symphony New Hampshire, and of Orchestra Santa Monica, and in his third season as Music Director of the Evansville Philharmonic Orchestra . He is also Co-Founder and Music Director of the 12-year-old celebrated Lake George Music Festival in upstate New York The recipient of an Elizabeth Buccheri Opera Residency with Lyric Opera of Chicago and five Career Assistance Awards from the Solti Foundation U .S ., Kalia has been praised for his “extraordinary leadership” (Courier & Press)
A versatile communicator and frequent guest conductor, in recent seasons, Kalia has appeared with the National Symphony Orchestra at the Kennedy Center, Chicago Sinfonietta, Louisiana Philharmonic Orchestra, Szczecin Philharmonic (Poland), Boise Philharmonic Orchestra, Spartanburg Philharmonic Orchestra, and the symphony orchestras of Redlands, Lima, Adrian, Bakersfield, Great Falls, Owensboro, Spokane, and Wheeling .
Kalia leads Symphony NH this 2022-23 as it celebrates its 100th anniversary Amongst the notable events are the season opening concert featuring works written about or in New Hampshire; a collaborative performance of Mozart’s Requiem with the Nashua Choral Society and Nashoba Valley Chorale; and the 100th anniversary concert of Symphony NH’s in April 2023 that marks their first concert to the day one
hundred years later in a program featuring cellist Amit Peled performing Dvorak’s Cello Concerto . In addition to conerts with his Lake George Music Festival and the Evansville Philharmonoc, Kalia also debuts with the Columbus Indiana Philharmonic, Boston’s Longy Conservatory Orchestra Flex, and returns to the Redlands Bowl with the Hollywood Chamber Orchestra .
In his various music director positions, Kalia has focused on innovative artistic partnerships highlighting a variety of community partners In November 2021, Kalia collaborated with composer Derrick Skye, historian Robbie Jones, and painter Kevin McCants to commission and premiere Orchestra Santa Monica’s first-ever art film titled We Gather: Black Life in Santa Monica told through music, visuals, and narrative, which has since received screenings at the California African American Museum, Santa Monica History Museum, and KUSC In February 2023, We Gather will receive its first-ever live performance as part of OSM’s ten-year anniversary season. Kalia’s first two seasons as music director of the EPO have seen fruitful artistic collaborations with community organizations such as Historic Bosse Field, the Tri-State Hindu Temple, Evansville Civic Theatre, and the Evansville Wartime Museum Kalia’s visionary programming has been featured on PBS’ “On the Road with Brick Briscoe” and “Regional Voices,” and in publications such as Evansville Living Magazine and Symphony Magazine . In 2011, Kalia and two of his colleagues co-founded the Lake George Music Festival, which has been described as “an unparalleled classical music experience in the Adirondacks” (Chronogram) As one of the nation’s foremost classical music artist retreats, the festival presents cutting-edge artists and composers performing classical and new music, traditional and experimental concerts and recitals of various sizes, open rehearsals, informational talks, and a variety of community
“Kalia brings a fresh view to the classical music.”
— THE REPUBLIC (IN)
outreach programs Kalia has collaborated with a wide range of artists including singers Angela Brown, Reginald Smith Jr, and Shayna Steele; guitarist Meng Su; Cirque de la Symphonie; Electronic Dance Music
(EDM) duo MAKO; Project TRIO; singer/songwriters
Randy Newman and Randy Jackson; Philadelphia Orchestra concertmaster David Kim; violinists Nathan Cole, Glenn Dicterow and Sphinx Competition winner
Annelle Gregory; dancers of the Charlotte Ballet and Ballet Indiana; pianists Fei-Fei Dong, Sean Chen, and Misha Dichter; rock musicians Johnny Rzeznik of the Goo Goo Dolls and Nancy Wilson of Heart; the B-52s; sitar player Anoushka Shankar; actor Jack Black; and visual artist/astronomer Dr . José Francisco Salgado . A native of New York State, Kalia holds degrees from Indiana University, the University of Houston, and SUNY Potsdam’s Crane School of Music His primary mentors include David Effron, Arthur Fagen, and Franz Anton Krager with additional mentoring from David Zinman, Marin Alsop, Robert Spano, and the late Kurt Masur Previous posts include Associate Conductor of California’s Pacific Symphony, Assistant Conductor of the Charlotte Symphony Orchestra, Conducting Fellow with the Chicago Sinfonietta, and Music Director of the Pacific Symphony Youth Orchestra, Young Musicians Foundation (YMF) Debut Orchestra, and the Columbus Symphony Orchestra (IN) Kalia attended the Aspen Music Festival where he was a Conducting Fellow in 2010, and in 2011, Kalia won Second Prize in the Memphis Symphony International Conducting Competition, which led to his debut with the orchestra the following season and launched his professional career Kalia is married to musicologist / violinist Christine Wisch
“Kalia led with passionate intensity and a clear beat ... he’s one to watch.”
— LONG BEACH GAZETTE (CA)
“... what a remarkable performance [of the Mendelssohn “Scottish” Symphony]... Mendelssohn’s paean to the rugged beauty of that northern nation came alive in this fine performance, with the EPO under the extraordinary leadership of Kalia.”
— COURIER & PRESS (IN)
“Kalia emerges to my ear as the [Lake George Music] festival’s secret weapon. His enthusiasm and positivism ... is unbounded. His leadership, impressive.”
— THE GLENS FALLS CHRONICLE (NY)
Roger Kalia, Conductor
Piazzolla/arr. Verhelst
Suite from Maria de Buenos Aires
Mahler/arr. Farrington
Symphony No . 1, “Titan” ~
1 Langsam, schleppend - Immer sehr gemächlich
Slowly, dragging - Very restrained throughout
2. Kräftig bewegt, doch nicht zu schnell - Recht
gemächlich
Moving strongly, but not too quickly - Restrained
3 Feierlich und gemessen, ohne zu schleppen
Solemnly and measured, without dragging
4 . Stürmisch bewegt – Energisch
Stormily agitated – Energetic
This evening’s concert will run for approximately 60 minutes with no intermission.
Steven Verhelst
“You can say my music isn’t the tango, but you can’t say it isn’t Argentina.”
Such was the response of Ástor Piazzolla to those who accused him of “destroying” or “killing” Argentina’s beloved popular music From our perspective today, it is hard to imagine a time in which there were vocal anti-piazzollistas who denounced the musician, but indeed, in mid-twentieth-century Argentina, the musical innovations Piazzolla brought to tango music caused both controversy and delight
Born in Mar del Plata Argentina, Piazzolla was the only child of Italian immigrant parents. After spending some of his childhood in New York, he and his family returned to his hometown in Argentina where the teenage Piazzolla began performing with local tango orchestras Piazzolla soon moved to Buenos Aires and joined the famed tango ensemble run by Aníbal Troilo . Although his primary instrument was the bandoneon, a type of concertina that was common to tango ensembles, Piazzolla also studied classical piano and composition, with the eminent figures of Alberto Ginastera and Nadia Boulanger being his most prominent teachers .
Throughout the 1950s and 1960s, Piazzolla developed a unique style that came to be known as nuevo tango—literally, “new tango .” Piazzolla’s musical approach infused classic tango with extended harmonies borrowed from jazz, added additional instruments such as saxophone and electric guitar to tango ensembles, and
incorporated classical techniques such as fugal writing and extended counterpoint into his tango compositions In 1966, Piazzolla began collaborating with Uruguayan-Argentine poet Horacio Ferrer. One of their first joint endeavors was the tango “operita” (little opera) titled María de Buenos Aires, for which Ferrer wrote the lyrics The operita opened to mixed reviews on May 8, 1968, at the Sala Planeta in Buenos Aires Those who criticized the operita did so largely on the basis of its generic distinction and its libretto, while Piazzolla’s music, which was scored for an orchestra of ten instrumentalists (including Piazzolla on bandoneon) to accompany the three lead vocalists, was generally praised .
Although María de Buenos Aires is only rarely performed in its entirety as a staged work, many arrangements of the music have been made and are found more frequently on concert programs, including arrangements by Piazzolla himself and his famed pianist, Pablo Ziegler . The suite for brass ensemble, arranged by composer Steven Verhelst, was written specifically for the brass players of the Royal Concertgebouw Orchestra in 2010 and has quickly become one of the more popular arrangements of this music . The suite features four beloved numbers from the operita: Yo soi María (I am María), Balada (Ballad), Habanera, and Fuga y Misterio (Fugue and Mystery)
By the nineteenth century and in the wake of Beethoven, the symphony became the pinnacle of musical expression for composers who used the form to demonstrate their technical prowess and communicate their most profound thoughts Some composers also began writing symphonies that carried extramusical meanings or followed specific narratives . Such works, which became known as program or programmatic music, stood in contrast to absolute music, which was music written for music’s own sake and did not carry any extramusical associations . As program music became ever more popular and composers progressively used the symphony to express sentiments for which words were deemed inadequate, audiences increasingly expected composers to address what their music meant, even if there was no explicit program .
When Mahler’s First Symphony premiered on November 20, 1889, the accompanying program titled the work, “A Symphonic Poem in Two Parts ” The two parts were further divided by tempo markings, and the only hint of a possible program was the title of the fourth movement, which simply indicated that the movement should be performed in the style of funeral obsequies (“a la pompes funèbres”) Four years later, Mahler updated the music and the titles for a performance in Hamburg, calling the entire work “Titan: A Tone Poem in Symphonic Form.” The five movements— still divided according to the original two parts— all carried descriptions, beginning with an introduction that depicted the “awakening of nature from a long winter’s sleep” and ending with “Dall’ Inferno” and the “sudden outburst of despair from a deeply wounded heart ” By the 1894 performance in Weimar, Mahler had further tweaked the
descriptions within his “Titan” Symphony, which he gave the subtitle “From the Days of Youth, Music of Flowers, Fruit, and Thorns ” The opening depiction of awakening nature remained largely unchanged, as did the final movement, which carried the name “Dall’ Inferno al Paradiso,” a title that made any connection to Dante’s Divine Comedy unmistakable The title of “Titan” itself referred to the four-volume Romantic novel written by Jean Paul Richter between 1800–1803 in which the protagonist strives to lead a passionate and heroic life . The inner three movements likewise carried brief descriptions ranging from a general floral scene to the specific “Hunter’s Funeral Procession: Funeral March in the Manner of Callot ” This latter title referenced an ironic woodcarving that was misattributed to the French Baroque printmaker Jacques Callot The woodcarving, which was actually created by Austrian artist Moritz Von Schwind, depicts animals carrying the body of a hunter in a funeral procession, thus providing an unforgettable ironic image .
Despite the effort put into revising the music and program titles for these three early performances, Mahler ultimately decided to remove the programmatic elements of his first symphony and settled on restructuring the piece into a traditional format of four movements with tempo markings for titles Of the decision to remove the titles, in 1896 Mahler remarked that the initial inclusion of descriptive titles was due to the insistence of his friends, but Mahler felt that the public had been misled and that the imposed narrative did not fit the music Mahler explained that he found himself forced to identify how specific musical moments corresponded to the identified narratives and that the symphony was not conceived with any program in mind . Rather, for Mahler, as he famously explained a year earlier in 1895, “the symphony must be like the world It must embrace everything ” The imposition of a program not only misdirected audience focus but also necessarily limited interpretive possibilities .
Today, it is the four-movement version without
programmatic references that is the standard version performed by orchestras Although through the absence of descriptive titles Mahler encourages performers and audiences alike to experience the music without a specific program, it is impossible to hear the work without reference to any part of the outside world In the opening movement, Mahler keeps the indication “Like the sound of nature,” (wie en Naturlaut), and if we listen closely, we may even hear a cuckoo The second movement is the symphony’s dance movement, and while again there is no specific program, the melodic content recalls an earlier song “Hansel and Gretel” (Hans und Grethe), which Mahler first published in 1880. Mahler follows the standard ABA formula for this movement, beginning with a lively Austrian ländler, a triple-meter folk dance . The ländler contrasts with a more lyrical trio section that resembles— if not parodies—a Viennese waltz The third movement, which was previously identified as the hunter’s funeral procession, presents the popular children’s song “Frère Jacques .” Even without a specific narrative, Mahler creates a deep sense of musical irony by presenting the well-known tune in the minor mode and juxtaposing it with jaunty percussion The theme of nature returns with the tempo indication and title of the symphony’s fourth movement, “Stürmisch bewegt” (moving like a storm). With this title in mind, it is difficult to hear the opening moments as anything but the crashes of thunder and lightning Musical fragments from the preceding three movements return throughout the finale, which takes listeners on a journey from the turbulent to the triumphant, ultimately encompassing a world within itself
The chamber arrangement of Mahler’s first symphony heard tonight was published in 2011 by British composer, pianist, and arranger Iain Farrington In making this arrangement for small ensemble with single woodwinds, Farrington participates in a century-old tradition of adapting Mahler’s symphonies for reduced forces .
Composer Arnold Schoenberg first made chamber arrangements of Mahler’s symphonies to present at his Society for Private Musical Performances in
Vienna in 1918 . Farrington’s arrangement preserves the musical material of the symphony in its entirety with minimal reorchestration that allows appropriate balance with the significantly reduced string section and solo winds .
Christine Wisch holds a PhD in musicology with a minor in ethnomusicology Her work as a musicologist focuses on early nineteenth-century Spanish classical music and issues of nationalism, patronage, and identity She is the recipient of a 2019 Dissertation Fellowship from the Honor Society of Phi Kappa Phi for her in-progress dissertation, “Politics, Patronage, and Music in 1830s Spain ” Her research has been presented at both national and international conferences and has been supported by a number of awards and grants, including a 2017 Mellon Pre-Dissertation grant from Indiana University’s Russian and Eastern European Institute (REEI) and the A Peter Brown Research Travel Award Recently, she worked as a research consultant on Hispanic topics for the tenth edition of the History of Western Music and its corresponding anthologies, and she continues to work for Indiana University’s Latin American Music Center (LAMC) Additionally, she has written program notes for orchestras across the country and remains an active violinist .
Roger Kalia, conductor
Elliott Markow
Concertmaster
Emma Kondo Powell
Assistant Concertmaster
Aleksandra Labinska
Sargis Karapetyan
Kun Shao Principal Second
Amy Ripka Assistant Principal Second
Leonora LaDue
Katharina Radlberger
Dani Rimoni Principal
Seeun Oh
Kathleen Kalogeras
Harel Gietheim Principal
Nathaniel Lathrop
Young Sook Lee
Volker Nahrmann Principal
Kathleen Boyd Principal
Richard Watson Principal
Richard Kelley
John Faieta Principal
Wes Hopper
Takatsugu Hagiwara Principal
Cheryl Bishkoff Principal
Alexis Lanz Guest Principal
Michael Mechanic Principal
Steven Harmon Principal
Kristin Olsen
Jeffrey Bluhm Principal
Dylan Barber
Katie Lyon-Pingree Principal
We are turning 100! Join us for our Centennial Concert and post-concert gala celebration
April 29 | Nashua
4:00 PM Concert at the NEW Nashua Performing Arts Center
6:30 PM Post-Concert Gala at the Courtyard Marriot of Nashua
100 years concert and Post-Concert
Centennial Anniversary gala
Symphony NH marks the anniversary of its very first concert TO THE DAY at the new Nashua Center for the Arts! Join us for a concert featuring acclaimed cellist Amit Peled, who performed Dvořák’s Cello Concerto with SNH in 2001, followed by two works played on Symphony NH’s very first concert on April 29, 1923: a movement from Schubert’s “Unfinished” Symphony – and Strauss’s On the Beautiful Blue Danube, a piece that has stood the test of time. A special gala celebration and dinner follow. We hope you will join us for this fun-filled evening as we celebrate our 100th year and reveal insights into our much-anticipated 2023-24 season.
Seating limited. Reserve your tickets early!
Tap here for more info
Family Concert
May 13 | Nashua
11:00 AM Keefe Center for the Arts
Tap here for more info
Maestro $10,000+
Ardath Blauvelt
Marshall and Elena Jespersen
James and Ann Conway
Bob Oot and Carol Robey
Benefactor $5,000-9999
Anonymous (1)
Hal Clark and Karen Hays
Calann and Robin Hertel
Mark Tremallo and Wellner Poppe-Tremallo
Virtuoso $3,000-4,999
Robert and Geri Boisvert
Peter and Barbara Letvinchuk
Anonymous (1)
Semra and David Bahi
Stella Bloom
Glenn Burkhardt
Robert and Judy Carlson
John Daniels
Garry N. Henkel
Carol Houde and Stephen Gronberg
In honor of Barb Young
Mary Jordan and Henry Quinlan
Cecile Juneau
Karen and Joseph Kenny
Carl and Pamela Mattaliano
Donald and Catherine McDonah
Cam McGurk
Sandra Meinz
Peggy and Peter Proko
John A. Rein
Linda Robinson
Gabor and Galina Szakacs
Barb Young, Dave Young
Anonymous (1)
Janet Brown
Marcia Donaldson
Catherine Eames
Jean and Frank Holt
Annette and Anthony Immorlica
Donald and Carol Lyon
Martha O’Neill
Gerard and Rachel Paquette
Barbara Dee Pringle
Ashwini Saxena
New Hampshire Imaging Services
In honor of Dr. Robert Oot
Peter Toumanoff
Mrs. Robert Wanger
Donald and Brenda Smith-Weiss
In honor of Blue Elmo
Mary Winiecki
In memory of Kenneth Gabriele and Eitan Zeira
Anonymous (2)
Carol Ace
Anne and John Baier
Pamela Baker
James and Barbara Battis
Lee Bory
Paul Farrell
Edward and Monique Fisichelli
Eleanor Goldthwait
Stephen Ziedman
Paul Kenney and Deborah Jelley
Allan and Ruth Kabel
Bettina Peyton and Matthew Levine
Hannah McCarthy
Lawrence Morgan
Jim and Lynda Petropulos
Paul Rivenburgh
Joshua Rosen
Donna Rosenstock
Mark and Lindsay Stern
Deb Stone
Anonymous Anonymous in honor of Carol Austin Blodgett
Michele Baltus and Rick Davis Family Fund
Bobbye Bartels
Arteca Bellavance
Lolli Bonte
Roger and Carol Brooks
Ken and Patricia Brunini
Leonard and Eileen Brunk
Dick and Jill Cane
Douglas Chamberlain
Robert and Mary Davies
Jay and Antonia Dinkel
Candace Dochstader
Sherry and Jack Dutzy
Marie Falzone
Armig Ferris
Noel and Dora Friedman
David and Peggy Gilmour
Leonora LaDue and Mark Goldstein
In memory of Marilyn LaDue
Lois Grant
Mr. and Mrs. Gual
Sarah, David, Ian and Sean Hall
Don and Mary Hayes
Benjamin and Jean Horne
Lindsey Humes
Kathy Theophilos
Jane Jones
Sia Juris
Sheila Kabat
Robert E Lash
Bette and Elliot Lasky
Mike and Betty Lenehan
Rebecca Kadish and Robert Levine
Mary Licking
Nancy Linsley
Sylvia Lundberg
Erika Cross MacDonald
In honor of David Bahi
Gene and Jan Madigan
Christy Houpis and Dawn McGuire
Paul and Liz McKenzie
On behalf of celebrating your wedding day!
Richard McKenzie
On behalf of celebrating Paul and Liz McKenzie’s wedding
Jackson and Patricia McLaughlin
Mary McLaughlin
David and Mary Murphy
Judith Murray
Chris Nevins
Roy and Patricia Hugenberger
Anne-Marie Pelkey
Rita Ralston
Doreen Ramirez
Sandy Rodgers
Michael Rosenblum and Stephanie Wolf-Rosenblum
Mark and Cynthia Rouvalis
Roger and Adelaide Saunders
Walter Schier
Alexandra Shaplyko
Ken and Sharon Wall
Beth Sheehan
Paul S. Spivack
Kent and Donna Swanson
William and Frances Upham
The Westner family
Kirke and Michelle Wheeler
Bruce Wilburn
Dave and Barb Young
Congratulations to Paul and Liz McKenzie on your wedding. May the music be with you always!
Up to $99
Anonymous (2)
Rocio Alexander
Rosemary and Dave Audette
Symphony NH gratefully acknowledges the following donors who have contributed to our mission of making great music accessible and providing learning opportunities to enrich diverse audiences Listed below are gifts made between July 1, 2021 and June 30, 2022.
Jeanne Bausha
Carola Beasley-Topliffe
Daniel Blazej
Kathryn Borenstein
Roberta Brayer
Christina Brown
Louis and Maria Candito
John and Elizabeth Cepaitis
Ruth Chevion
Caren Citagliano
Rosemary Clough
Tracy Danziger
Ryan DeLosa
Dave and Sherry Diamond
Lois Dixon
Eric and Antoinette Drouart
Carol Engholm
Richard Erausquin
Glenda and Ed Fischer
Liz and Garth Fletcher
Wayland Foote
Gail Forthoffer
Edith Frank
Laura Fraser
Charles Friou
John and Barbara Furlong
Jeff Gendron
Robert and Linda Gerlach
Robert Goff
Wayne and Laura Goldner
Janice and James Harrison
Rebecca Hecking
Laurel Horne
Walter Jackson
Sally Jasper
Leslie Johnson
Rosemary Johnson
Marilyn Jonas
Michael Joseph
Pamela and Alan Kirby
Donna Kraus
Carol LaChance
Judy Lange
Madeleine LaRose
Charlotte Leto
James Lynch
Elizabeth MacDonald
Elizabeth MacMillan
Pamela Magrath
Debra Manseau
Fernand and Janice Martin
Thomas and Irene McManus
Mary Mechling
Katherine Messner
Ann Miles
Anne Moulton
Shahriar and Mona Movafaghi
Patricia Mullin
Virginia Nedved-Cook
Jacqui O’Shea
William Pariser
Alyssa Partridge
Denise Perry
Brian Pierce
Karen Price
Xiaofei Pu
Craig and Debra Putnam
Mona and Malcolm Roberts
Tim Roukey
James Sama
Victoria Sandin
Robert Scarponi
Maria Sehovich
Katherine Staveley
Sunshine Clark-Wilkins Elementary in honor of David M. Wright
David Thirkill
Kathleen Thurston
Trina Toups
Barbara Travis
Richard Tripp
Philip Trowbridge
Nita and James Vandt
Mary Walker
Thom Walters
Jane E. Washburn
Craig Webb
Deb and Andrew Westwood
Anne Wilbur
Leslie and Stephen Woodard
Music Director Sponsor
Patricia Thurber
ConcertMaster Sponsor
Bob Oot and Carol Robey
Maestro Sponsor Community Partner
With additional support from:
Ella F . Anderson Trust
The Bagan Foundation
Citizens Bank Trusts/Ayer Trust
Conway Arena Ice Commission
The Demoulas Foundation
Samuel P. Hunt Foundation
The McIninch Foundation
RBC Foundation
Rotary Club West
Frederick Smyth Institute of Music
Madelaine G . Von Weber Trust
Mary Jordan, President
Harold Clark, Vice President
Joseph Kenny, Treasurer
Pam Baker, Secretary
David Bahi
Geraldine Boisvert
Ann N. Conway
Donald McDonah
Bettejean Neveux
Robert Oot
John Rein
Ashwini Saxena
Galina Szakacs
Amir Toosi
Wilberto Torres
Olga Usyk
Drew Wilson
Deanna Hoying, Executive Director
Roger Kalia, Music Director
Rosemary Johnson, President, Friends of Symphony NH
Ron Kaye, Chair, Symphony NH Players’ Committee Representative
Cheryl Bishkoff, Vice-Chair, Symphony NH Players’ Committee Representative
Deanna Hoying Executive Director
Joseph DuBose Orchestra Librarian | Personnel Manager
Paul LaFlamme Production Manager
Kate Merges Patron Systems and Marketing Manager | Graphic Design
Laura Grant Interim Director of Marketing and Communications /
Press Contact - (917) 359-7319 | laura@grant-communications.com
Sophie Nahrmann Assistant Personnel Manager
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
Dani Rimoni Principal Viola
Elaine Leisinger
Assistant Principal Viola
Elisabeth Westner
Kathleen Kalogeras
Seeun Oh
Nissim Tseytlin
Harel Gietheim Principal Cello
Nathaniel Lathrop
Alexander Badalov
Young Sook Lee
Priscilla Hayes Taylor
Volker Nahrmann Principal Bass
Robert F. Hoffman
Kathleen Boyd Principal
Nina Barwell
Cheryl Bishkoff Principal
Ronald Kaye
Kyoko Battaglia English horn
Mackenzie Austin Principal
Michael Mechanic Principal
Sally Merriman
Steven Harmon Principal
Kristin Olsen
Michael H . Weinstein
Ellen Michaud Martins
Richard Watson Principal
Richard Kelley
John Faieta Principal
Wes Hopper
Takatsugu Hagiwara Principal
Jeffrey Bluhm Principal Harp
Katie Lyon-Pingree Principal
