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A look at Symphony NH as its music director prepares to pass the baton

Though it doesn’t take cues from the movie Conclave, the process of finding a successor to Roger Kalia, Music Director of Symphony NH, is similar in spirit.

“You’re really looking for someone who is the face of the organization,” search consultant Nick Adams said recently. “How they interact with a whole host of fairly disparate groups of people … you want to have a system that allows you to see that person in these different environments.”

Kalia announced his departure in early 2024. When the final notes of Aaron Copland’s American Symphony fade at his last concert on May 10 at Concord’s Capitol Center for the Arts, the maestro will have spent six years leading the state’s largest orchestra. By then, four or five potential new conductors will be finalized.

What happens next is an interesting twist on filling an outgoing leadership role. Each candidate will have an opportunity to perform for the classical music community over the course of the 2025-26 concert season. At the end, one will become Symphony NH Music Director.

Adams, who served as Operations Manager at Symphony NH from 2007 to 2014 and now heads the Boston-based Cantata Singers along with his search efforts, believes the season-long audition is the best way for a community to choose a potential conductor. They’ve considered 10 candidates thus far.

“What we were looking for is are they able to take an art form that’s hundreds of years old and program it in a way that … speaks to people who already know the language of classical music and orchestras, but also package it and involve composers and other music in a way that might bring new 21st-century audiences in.”

Symphony NH Executive Director Deanna Hoying values this long hello as a way to see how potential Music Directors will bond with the orchestra. To that end, the search committee will attend rehearsals to evaluate chemistry between them and the candidate.

“You want to know how these folks work with the musicians,” she said by phone in late February. “Are they efficient in how they use the time that they have? How do they work with our librarian? Watching how they work, how they treat people in that environment is really important, because our musicians are our most valuable asset. Many of them have been with us for decades.”

The selection process that culminated in 2019 was the result of a national search for a Music Director. Kalia lives in Evansville, Indiana, where he leads that city’s orchestra, and traveled to Nashua for his work there. The current effort is focused on finding a candidate based in the region.

“Working with a Music Director who doesn’t live here; I think one of the things they realized is the value of having them be a little bit closer is, one, you just get to see them more, and that helps a lot,” Hoying said. “People have connections to these artists.”

They began with an element of uncertainty, wondering if they could attract enough candidates, and they built safeguards into the process in case they needed to expand at some point.

“We felt like, ‘let’s start with what we actually want, which is somebody within a two-hour drive of New Hampshire,” Hoying said, adding the net would widen “if we felt that we didn’t have enough in the pool.”

Fortunately, she continued, “We had so much wealth of talent that we didn’t need to do that. What blew us all away was that we had so many incredibly talented people who are local … because you don’t know until you throw the net out what you’re going to get.”

Kalia and Hoying came to Symphony NH in the same year. After moving to Manchester from Louisville, where she worked with their orchestra, Hoying reached out to then director Mark Thayer to offer her services. She started as a grant writer in the spring. Kalia began his tenure that fall.

When the pandemic arrived, the organization turned from celebrating a new leader to wondering how it could survive.

“Roger started and didn’t even get through his first season, dear guy,” Hoying said. “In spring, it’s like, ‘Guess what? We’re going to have to pivot.’ He and I talked about pivoting a lot and we did it a lot as more information became available. We got through Covid; we did the livestream shows.”

Emerging from months of virtual programming, there were still plenty of restrictions to address.

“Everything was changing, sometimes very rapidly, and we were always having to respond,” Hoying recalled. “What’s everybody feeling now; how is this going to work? We knew there might be a percentage of our pre-Covid audience who may never come back.”

During that time, Thayer left to work for the symphony in Elgin, Illinois. He recommended Hoying, whose role had expanded into development, as his replacement. She accepted, but asked to begin as Interim Executive Director. “I wanted the board to feel like they had some agency, and to make sure they were comfortable with me,” she said. “And that I, in all honesty, was comfortable doing the job. I mean, this is a big job.”

The upcoming 2022-2023 season marking Symphony NH’s centennial year was an immediate challenge as she moved into her permanent position. “Covid really upended planning, but we were able to put together a season that really celebrated, as we called it, looking back.”

This included longtime partner organization the Nashua Choral Society performing Mozart’s Requiem with the local Nashoba Valley Chorale.“We looked to our past for inspiration,” she recalled. “We celebrated the hundredth at the brand-new Nashua Center for the Arts, which was lovely. We were one of the first shows; I think they had been open all of three weeks.”

That connection with Nashua’s newest venue became more critical with the closing of Keefe Auditorium, the site for many concerts in the past. In an interview last fall, Roger Kalia spoke of the challenges presented by losing the Keefe and its larger stage, while at the same time praising the Nashua Center.

“We had a dedicated audience at the Keefe, and that is a little bit challenging in the sense that we’re going to miss that,” he said. The new venue, Kalia added, “is acoustically really good, and close to the audience, in the sense that the seats are very close to the stage. It’s intimate music-making, and I really enjoy that.”

He went on to say that while the Keefe was the state’s largest auditorium, its 1,400 seats were sometimes hard to fill. “The Nashua Center has 700, and every seat is essentially filled. As a musician, you enjoy that, when you see a full audience sitting there.”

The relationship will continue when the Symphony NH Brass Ensemble is among the performers gathering to celebrate the center’s second anniversary on Tuesday, April 1. The Nashua Community Music School String Ensemble, Ukestra, Ruby Shabazz, Y Dance in Motion, Peacock Players and Actorsingers will also appear.

A statewide entity — the name was changed from Nashua Symphony Orchestra in 2012 — Symphony NH has expanded its reach in recent years, with multiple concerts in Concord, Derry and Manchester, in addition to Nashua’s St. Mary and Archangel Michael Coptic Orthodox Church, where the annual Holiday Brass concert was held last December.

All parties in the search expressed that finding a Music Director who lives in the community comes with an underlying priority: selecting a candidate who will also be of the community. Nick Adams recalled a search committee member telling him that one of their evaluation metrics is, “Would I like to have a bagel and coffee with this person at the corner cafe? They’ll tell me about their musical selections and what inspires them. It’s an excellent way to think about it.”

Hoying concurred, saying, “there are definitely a lot of elements to this job, and Music Director is equal parts being on stage and working with the musicians and then really having that presence in the community … when they go into a local coffee shop, people know who they are.”

Part of classical music’s enduring nature comes from centuries of maestros reinterpreting important works, she continued, citing Beethoven’s Fifth Symphony as an example. “Everybody brings their own take to it, so I think that’s where you want to kind of generate that interest and this level of approachability. You’ve got to be able to connect with your audiences. Otherwise … that’s where I think you miss the mark.”

Further, she continued, “What I look for in a candidate is someone that’s got a very clear vision of what an orchestra can be in the 21^st century, knowing that we do still have a lot of challenges. We are still competing with inflation and content on streaming services and all those things that keep people from coming out. What is the vision of the orchestra in the future, and how do we welcome everyone to our family, to our concerts?”

The committee hopes to choose finalists soon.

“Our current field of semifinalists is 10 people,” Adams said. “I tell Deanna all the time, ‘Your next music director is in this pool.’ The number of applicants that we had that are just really talented and are interested in this position is — it’s a very deep pool. I think a host of them will be really exciting for the community to see. What is most encouraging to me is I think the future is really bright.”

It’s a rich and varied list, he continued. “There’s certainly some that bring different kinds of strengths to the table, but each of them has been really able to present a compelling picture of what their music directorship would look like. So I think at this point we’re really looking at whatever the perfect fit is for the southern New Hampshire community…. There’s a lot of reasons to be excited.”

Next up for Maestro Kalia
What: “Serenade for Winds,” a unique concert that focuses on the orchestra’s wind section.
When: Saturday, March 8, 7:30 p.m., Nashua Community College (505 Amherst St., Nashua)
Tickets: $10-$40 at symphonynh.org

Kalia described the program:
“Although less common in concert halls than full symphonic orchestras with winds, today’s concert wind ensemble has a lengthy 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.

“I would also mention that Mendelssohn was only 15 years old when he wrote his Overture for Winds. A very impressive achievement!”

Indiana wants him

Maestro Kalia talks about his final Symphony NH concerts

Roger Kalia’s tenure as Symphony NH’s Music Director draws to a close with three more concerts, the final in May. In a phone interview on Feb. 24 he talked about his final three concerts and shared memories about his time leading the orchestra, once again intimating that classical music fans may see him again.

Though he’s not participating in the search for his successor, Kalia offered his thoughts on becoming the Music Director at Symphony NH through a similar process.

For my year, they had, I think, eight or nine candidates. So it was a little bit bigger. I think it was over a year and a half rather than just one season. All the finalists conducted a concert, and then during the week we’d meet with search committee members and all sorts of community members. It’s an intense process.

“Serenade of the Winds”happens Saturday, March 8, at Nashua Community College.

There are three incredible works in this concert that really are probably the most famous pieces from the wind repertoire, I would say. When Mozart was writing these pieces, he was really kind of opening up a … I don’t want to say new genre, but a new way of writing for chamber music, and the focus was on wind instruments. The Mozart is one of the most famous works; it’s called the Gran Partita. It’s full of elegance, charm. It has a stunning slow movement, which is an adagio. It’s a seven-movement work, and we’re doing the first three movements and the finale…. We’re also doing the Dvorak Serenade for Winds, which is a joyful work that’s infused with a lot of Czech folk music, which is where he was from [and] it features, once again, all of the wind instruments of the orchestra, and really highlights the principal winds…. We’re opening the concert with a work by Felix Mendelssohn called the Overture for Winds, a very youthful, energetic piece, that really highlights his gift of melody and drama….

I feel that it’s important to highlight our wind musicians because they’re incredibly talented and it gives them more of a soloistic feature…. A lot of orchestras, I think, don’t program these works often just because … the strings aren’t playing. I think Symphony NH is unique in that, I feel especially during my tenure, we’ve done a lot with chamber works, and I call them that because they’re smaller works, it’s not a full orchestra. We did it during Covid especially.

With music from West Side Story and Mozart’s Marriage of Figaro, “It’s All Overtures” on Saturday, April 19, will appeal to even casual fans of classical music.

They’re all shorter pieces, let’s say 5 to 10 minutes. We’re doing nine or 10 overtures on this program, all pretty popular ones. I mean, talk about accessible and familiar pieces. You think about Rossini, the William Tell Overture, the one made famous by the Lone Ranger, something I think everyone would know. West Side Story with Bernstein … Maestro was an Oscar-nominated movie with Bradley Cooper. Because of that, Bernstein’s music has … been in the spotlight a little bit more. I think a lot of people know the Marriage of Figaro Overture by Mozart. It’s light, it sparkles, it’s fast, virtuosic.

The concert will also feature a piece by Fanny Mendelssohn, Felix’s older sister — a rarity, a 19th-century female composer.

It’s a great work, eight to nine minutes, and it sounds a lot like early Beethoven. It’s so melodic and rich. So I’m excited to feature that work. It deserves to be heard and celebrated. She faced a lot of barriers, [but] this overture now is getting played everywhere, the Overture in C. I think it’s a hidden gem, and it’s a fun one. The orchestra is featured, especially the woodwinds. There’s some beautiful clarinet solos and oboe flute solos.

For the all-American “Rhapsody in Blue” concert on May 10, Kalia bids adieu to Symphony NH with a program featuring pianist Fei Fei.

I’ve always loved conducting the music of American composers like Gershwin and Copland. Appalachian Spring has always been one of my favorite works, but rather than do that, I wanted to do a grand, majestic work like the Symphony No. 3…. It captures the spirit of America, the optimism of our country. It culminates in the triumphant Fanfare for the Common Man. I’m a former trumpet player and this is one of the great brass works in the repertoire…. Fei Fei, I want to say this will be our fourth time collaborating on Rhapsody in Blue…. She performs it with a unique twist … she really brings out the jazz elements, and she is so exciting to watch.

On becoming Musical Director of the Terre Haute Symphony on July 1.

I’m looking forward to working with their [outgoing] music director next month on … a decades-of-pop concert [featuring acts like] Frank Sinatra; Earth, Wind & Fire; Metallica; Led Zeppelin. It’s going to be a fun show with a singer [and] not to get off track here, I grew up a huge metal fan, and I was a big Metallica fan when I was in high school, and I love conducting rock shows with an orchestra, it’s so much fun. Audiences just go crazy. It’s not your typical classical audience where they’re just sitting there. They’re up, moving around, dancing, it’s great to see. Terre Haute, as with Symphony NH, they’re open to innovative programming. So I’m looking forward to all of these different innovative programs that we’re going to be putting on, the variety of music.

Though he’s leaving, it’s not goodbye forever.

I’m still going to be in touch with everyone from Symphony NH. Even though it’s a job, I’ve made a lot of personal friendships…. Deanna, who’s been my partner the last four years since she took the job as Executive Director, she’s been great to me. We see eye to eye on programming, and she’s all about … expanding the repertoire and making it more inclusive, and being about the community and reaching new audiences. I hope to continue that in a community like Terre Haute. I know they’re open to it. They’re open to innovation and making the orchestra accessible and community engagement is the key. I think that’s going to be a big part of my tenure there.

Finally, a favorite memory.

One of my most proud moments with the orchestra was the New Hampshire Concerto that we did last year, where we collaborated with four student composers from four different universities in New Hampshire, and they created a multi-movement work that was about New Hampshire, about the topography, the geography, the history, whatever it had to do with New Hampshire. It was really special to give those kids an opportunity to work with a professional orchestra, and I’m actually hoping to bring that model to my other orchestras now because I think it was so successful. Because it celebrated not only new music, but connected with the local community, the state of New Hampshire. Which is what this is all about, community engagement. It was also an opportunity to showcase our focus on music education, giving student musicians opportunities.

Symphony NH upcoming concerts

Serenade of the Winds
Saturday, March 8, 7:30 p.m. at Nashua Community College, Judd Gregg Hall Auditorium, 505 Amherst St., Nashua
A concert dedicated to the orchestra’s wind instruments, the program includes Mendelssohn’s Overture for Winds, Op. 24 in C Major (1824), select movements from Gran Partita, Mozart’s Serenade No.10 in B-flat Major, K.361, (1781) and Dvořák’s Serenade, Op.44, B.77, D minor (1878)

Hollywood Hits
Saturday, March 29, 7:30 p.m. at Stockbridge Theatre, 22-98 Bypass 28, Derry
Sunday, March 30, 3 p.m. at Capitol Center for the Arts, 44 S. Main St., Concord
Blockbuster movie themes from Gone with the Wind, The Magnificent Seven, Dr. Zhivago, Lawrence of Arabia, James Bond, Rocky, The Pink Panther, Moon River, Dances with Wolves, Ben Hur and more.

It’s All Overtures
Saturday, April 19, 7:30 p.m. at Nashua Center for the Arts, 201 Main St., Nashua
Well-known overtures, from Mozart’s Marriage of Figaro to Leonard Bernstein’s West Side Story.

Rhapsody in Blue
Saturday, May 10, 7:30 p.m. at Capitol Center for the Arts, 44 South Main St., Concord,
Maestro Kalia leads his last concert, with guest pianist Fei-Fei. It’s an all-American affair with works of Aaron Copland, Florence Price and George Gershwin. The program includes Gershwin’s Rhapsody in Blue (1924), Price’s Piano Concerto in One Movement (1934) and Copland’s Symphony No. 3 (1944-46)

Illuminated Ensembles – Chamber Favorites
Sunday, May 18, 4 p.m. at Bank of New Hampshire Stage, 16 S. Main St., Concord
The final concert in the Illuminated Ensembles series, with the Symphony NH Woodwind Quintet performing an evening of classical chamber music.