Winds of Time • Nashua • October 1, 2022

Welcome!

Connection

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

Letter from the President of the Board of Directors

Meet Our Music Director Roger Kalia

Dear Friends,

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!

Roger Kalia Music Director, Symphony NH

Sincerely,

AS THE

SYMPHONICSOUND OF THE GRANITE S T A TE

Office Location: 6 Church St. Nashua, NH Mail to: PO Box 1350 Nashua, NH 03061

Contact Us:

E-mail: snh@symphonynh.org

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Winds of Time

Welcome from the Executive Director

Letter from the President of the Board

Letter from Roger Kalia, Music Director

Biography of Roger Kalia, Music Director

Winds of

Program

Annual

100th

Collaborative

NH Board of Trustees and

Symphony

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 tenyear 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 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 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)

— THE GLENS FALLS CHRONICLE (NY)

“Kalia emerges to my ear as the [Lake George Music] festival’s secret weapon. His enthusiasm and positivism ... is unbounded. His leadership, impressive.”

Winds of Time

Winds of Time

Roger Kalia, Conductor

Brandenburg Concerto No. 2 in F Major, BWV 1047 (1721)

Johann Sebastian Bach (1685–1750)

Elliott Markow, violin; Kathleen Boyd, flute; Cheryl Bishkoff, oboe; Richard Watson, trumpet

Horn Concerto No. 4 in E-flat Major, K. 495, Mvt. I (1786)

Wolfgang Amadeus Mozart (1756–1791)

Steven harmon, horn

Quintet in A Minor for Bassoon and String Quartet, Mvt. III: Allegro Édouard Du Puy (1770–1822); Carl Anton Philipp Braun (1788–1835)

Michael Mechanic, bassoon

Concertino Clarinet in E-flat Major, Op. 26 (1811)

Carl Maria von Weber (1786–1826)

Mackenzie Austin, clarinet

~ INTERMISSION ~

Serenade for Strings in E Major, Op. 22 (1875)

Antonín Dvořák (1841–1904)

This evening’s concert will run for approximately 90 minutes with a 20 minute intermission.

Most German courts maintained a small band of instrumental musicians charged with providing festive and ceremonial music, making Bach’s gift of brilliant concertos a fitting choice for the musically-inclined margrave. The works were collected from pieces composed during Bach’s time as Kapellmeister at Köthen and possibly before; such musical recycling was a common practice for Bach and other musicians of his era. Aside from not fitting the unique instrumentation of the margrave’s personal

a work to feature one of the two highly talented court trumpeters of Köthen, where Bach worked from 1717–1723. With its frequent alternation or dialogue between solo and ripieno parts, this piece is a textbook example of the concerto grosso form. Although written for four diverse solo instruments, the string accompaniment and transparent textures give this threemovement concerto a light and sparkling feel.

Horn Concerto No. 4 in E-flat Major, K. 495, Mvt. I (1786)

Wolfgang Amadeus Mozart (1756–1791)

The French horn has enjoyed a long history as a featured solo instrument, with many wellknown Baroque and Classical composers such as Telemann, Vivaldi, Handel, and Haydn writing concertos that highlighted the instrument on its own or as part of a group of solo instruments. Mozart’s Fourth Horn Concerto thus participates in a long tradition of horn concertos, but its origin owes to a deep friendship between the hornist Joseph Leitgeb (1732–1811) and the Mozart family. Like many, if not most, wind players of the period, Leitgeb was proficient in multiple instruments, first learning violin from his father. However, his skill on the horn was remarkable, earning the praise of fellow musicians and allowing him multiple opportunities to perform as a featured soloist. During his stay in Salzburg, Leitgeb worked with Leopold Mozart, Wolfgang’s father, and developed a relationship with the Mozart family. When Leitgeb left for Vienna in 1777, Leopold assisted the hornist with a loan to purchase a small home.

Wolfgang honored his friend with various horn pieces, including three of his four horn concertos and the quintet. Leitgeb played on a natural horn—a valveless instrument that required the performer to manipulate pitch with their lips, air control, and hand. Leitgeb perfected the practice of using his hand to adjust pitch inside the instrument’s bell (a practice known as “hand-stopping”), which allowed him to play chromatic notes otherwise impossible on the natural hand.

Mozart’s Horn Concerto No. 4 was the last of the composer’s horn concertos and has become his most famous, constituting a core work of the horn repertory. The first movement, which

begins with a lively orchestral introduction, allows the horn to shine as it moves between soaring arpeggios (a technique common for pieces written for the natural horn) while showcasing the chromatic lyricism that would have been distinctive of Leitgeb’s playing. The frequent jumps in register from low to high pitches also showcase the virtuosity of the horn player. Although the concerto is perhaps best known today for its finale, the first movement is enjoyable on its own, revealing not only the skill of the soloist but also Mozart’s ability to craft sparkling works with memorable melodies.

Quintet in A Minor for Bassoon and String Quartet, Mvt. III: Allegro

Édouard Du Puy (1770–1822)

Carl Anton Philipp Braun (1788–1835)

In the 18th and 19th centuries, the string quartet was the most esteemed genre of chamber music. The string quartets of Haydn and Mozart served as the par excellence for generations of composers, who saw the genre as a way to demonstrate compositional prowess and participate in one of the most popular and revered genres of the Classical and Romantic eras. The standard string quartet—two violins, a viola, and a cello—would remain the primary model. Still, composers would often add to this ensemble to explore sonic combinations or to accommodate social circumstances, such as an additional player of a specific instrument.

A contemporary of Beethoven, the Swiss-born Du Puy was a versatile artist who held positions across Europe as a pianist, singer, violinist, and teacher. Following his studies in Paris and a short tenure as concertmaster in Rheinsburg (Brandenburg, Germany), he moved to

Stockholm, where he worked in the royal chapel and sang in the royal Swedish opera. A political disagreement (and perhaps an entanglement due to an affair with the official mistress of Prince Frederick Adolf) resulted in Du Puy’s banishment from Sweden, so he re-established himself in Copenhagen, teaching music and eventually working for both the Danish royal chapel and royal opera. The amorous composer found himself in yet another love affair, this time with a Danish princess, and was thus forced to leave Denmark on short notice. The ousting of the former Swedish king, Gustav IV, allowed Du Puy to return to Stockholm, where he resumed work as a court violinist, singer, and conductor. Du Puy’s various appointments are reflected in the range of his works, which include ballets, incidental music, divertissements, violin concertos (self-premiered), and instrumental chamber pieces.

Despite his many compositions, Du Puy is mainly unknown to audiences outside of Scandinavia today, and his quintet for bassoon and string quartet is likely his best-known piece. Owing to the rare instrumentation of the work, it seems likely that the work was written with a particular bassoonist in mind, but little is known of the piece’s origins. Moreover, the last of the three movements was penned by a colleague, the oboist Carl Anton Philipp Braun. Like Du Puy, Braun worked in both Copenhagen and Stockholm. In addition to his performing, he penned a handful of pieces that included large-scale orchestral works, military marches, and even solo piano works. The fact that the last movement bears the handwriting of Braun suggests that the last movement was composed by the oboist as a posthumous tribute to Du Puy. The first known records of performance date to 1830, eight years after the passing of Du Puy. The lively finale, a rondo, is a tour-de-force for the bassoonist, who functions largely as a soloist in the last movement, which showcases the instrument’s three-and-a-half octave range. The required virtuosity of this last movement has led to a performance tradition in which the finale is

performed as a concerto with solo bassoon and string accompaniment, with multiple string players per original part. This performance tradition will be featured on tonight’s concert.

Concertino Clarinet in E-flat

Major, Op. 26 (1811)

Carl Maria von Weber (1786–1826)

The German composer Carl Maria von Weber may be best remembered today for his operas. Still, the prolific composer who lived a tragically short life penned dozens of works for voice, piano, and instrumental ensemble. The clarinet, which underwent a handful of technical and performing innovations at the end of the eighteenth century, became a favorite instrument of Weber, owing in no small part to a friendship he developed with clarinet virtuoso Heinrich Joseph Baermann. In 1810, as part of an effort to establish himself as a respected composer, Weber embarked on a tour of Germany, stopping in Berlin in 1811. Berlin was home to an esteemed court orchestra, which counted Baermann as its principal clarinetist. Upon his arrival in Berlin, Weber immediately wrote a small work for the talented clarinetist, the Concertino for Clarinet in E-flat Major, Op. 26. Baermann premiered the work to critical acclaim, immediately prompting German King Maximilian I to commission two more clarinet concertos. The concertino thus not only helped establish Weber’s reputation as a composer but also initiated a fruitful relationship between the composer and clarinetist. Following the performance of the second concerto, Baermann and Weber would ultimately tour together, helping to secure Weber’s fame as a first-rate composer. Befitting of its name—a concertino is a small concerto—the piece consists of a single

movement lasting about ten minutes in length. The work is structured as a theme and variations preceded by a slow introduction. Baermann was praised for his ability to make the clarinet sound as melodious as the human voice and create great dynamic contrasts. Each variation of the concertino not only presents the theme in a different character but also showcases the expressive range of the clarinet.

Serenade for Strings in E

Major, Op. 22 (1875)

Antonín Dvořák (1841–1904)

When we listen to the entirety of Antonín Dvořák’s five-movement Serenade for Strings, it seems impossible that the work was written in only two weeks. Still, it serves as a testament to the combined power of inspiration and affirmation. Prior to the 1870, the Bohemian musician had composed a handful of works, including two symphonies and a string quartet, but his reputation as a composer had not been firmly established. In 1874, he entered a competition sponsored by the Viennese Ministry of Culture (Kultus-Ministerium), which awarded a substantial stipend that alleviated the immediate financial concerns that had burdened the young composer. The financial respite allowed Dvořák to dedicate himself to his craft, resulting in a highly productive period that included the composition of his Serenade for Strings, which he is said to have written over the span of twelve days in May 1875. Many scholars and critics have interpreted the

free-flowing nature of the opening melody as Dvořák’s artistic freedom, which was made possible by the stipend. As a genre, serenades were common throughout the eighteenth and nineteenth centuries. They allowed for substantial flexibility, ranging from four to ten movements of no set formal structure. (The first four movements of Dvořák’s serenade all follow a simple ABA structure, while the finale offers a more complex sonata form with contrasting themes, proper development, and recapitulation.) Serenades could be written for any combination of wind and string instruments, but the string serenade was popular in the Romantic era. (Dvořák’s unpublished serenade for flute, violin, and triangle from 1867 testifies to the diversity of instruments found in this genre.)

The first movement presents one of Dvořák’s most beloved melodies and seems to function as an intimate song without words. The second movement is a light waltz, while the third movement borrows the lively and playful genre of the scherzo from the symphony. The fourth movement, a calm and melancholy “Larghetto,” presents seemingly endless phrases with a sustained intensity that is relieved only momentarily by a contrasting, lighter middle section. Although the finale does not draw from any Czech dance directly, with its syncopated and frequent short-long rhythms, its writing certainly recalls Dvořák’s well-known Slavonic Dances. After a brief restatement of the Serenade’s opening theme, the short coda ends the work with a brilliant coda that emphatically brings the entire composition to a close.

The Serenade for Strings in E Major received its public premiere on December 10, 1875, at the Žofín Palace in Prague. The piece was well received, with critics praising both the work

and the composer. Writing for the local newspaper, the Národní listy, critic Ludevít Procházka praised the quality of the composition and expressed his pride in the composer whom he hoped would bring international fame to the Czech people. Procházka exclaimed, “Dvořák’s great and very uncommon gift deserved that the path be blazed for it into the large musical world, and we have no doubt that with works like this, whose real artistic value cannot be denied in any way, he will also find greater favour everywhere than for example in our conservatoire, which turns its

nose up at our domestic composers.” Indeed, as Procházka had hoped, Dvořák’s compositional star began to rise in the following years. He continued to win awards from the Austrian government, earning praise from committee members such as Johannes Brahms and Eduard Hanslick. Although he would write dozens of chamber works, including more than a dozen string quartets and four piano trios, Dvořák would return to the genre only once more, writing his 1878 Serenade in D minor for wind instruments.

christine wisch

Program Annotator

Christine Wisch is a PhD candidate in musicology with a minor in ethnomusicology. Her work as a musicologist focuses on early nineteenth-century Spanish classical music and issues of nationalism, patronage, and identity. She is the recipient of a 2019 Dissertation Fellowship from the Honor Society of Phi Kappa Phi for her in-progress dissertation, “Politics, Patronage, and Music in 1830s Spain.” Her research has been presented at both national and international conferences and has been supported by a number of awards and grants, including a 2017 Mellon Pre-Dissertation grant from Indiana University’s Russian and Eastern European Institute (REEI) and the A. Peter Brown Research Travel Award. Recently, she worked as a research consultant on Hispanic topics for the tenth edition of the History of Western Music and its corresponding anthologies, and she continues to work for Indiana University’s Latin American Music Center (LAMC). Additionally, she has written program notes for orchestras across the country and remains an active violinist.

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Sponsors and Collaborative

Music Director Sponsor Patricia Thurber

ConcertMaster Sponsor

Bob Oot and Carol Robey

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Maestro Sponsor Community Partner

With additional support from:

100th Anniversary Collaborative Partners

Foundations

Ella F. Anderson Trust

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Symphony NH

Board of Trustees

OFFICERS

Mary Jordan, President Harold Clark, Vice President Joseph Kenny, Treasurer Pam Baker, Secretary

TRUSTEES

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

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 Cheryl Bishkoff, Vice-Chair, Symphony NH Players’ Committee Representative

Deanna Hoying Executive Director

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Musicians

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

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

Horns

Steven Harmon Principal Kristin Olsen Michael H. Weinstein Ellen Michaud Martins

Trumpets

Richard Watson Principal Richard Kelley Trombones

John Faieta Principal Wes Hopper

Timpani & Percussion

Jeffrey Bluhm Principal Harp

Katie Lyon-Pingree Principal

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