walk zis way art installation
2025-09-09 12:00 - 2025-09-13 17:00 (America/New_York) | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Walk zis Way

An installation and events by Laurent Estoppey

walking · listening · playing

September 9 – 13, 2025

Reception: Thursday, Sept 11th | 6:30-8:30P

More About Walk zis Way

About twice a month, I walk on the street for a couple hours, listen, improvise on the saxophone, in a dialog with the soundscape.

Part of a situation, I create a situation. People might hear me, or not. Notice me, or not. But if they do, does it turn them into an audience?

Meanwhile, I try to read the world, to tune into it.

Walk zis Way is an ongoing situation, to this day performed fifty times in twenty-four cities in seven countries.

It is the core of an artistic research, which will lead to a PhD thesis at SACRe (Paris, PSL Ecole Normale Supérieure) / ArtSearCH (Switzerland HES-SO)

This exhibition features films by Lee Walton, Vincent Capes and Cyril Caine, an installation and photographs by Laurent Estoppey.

Throughout the week, individual thirty minute walks are available on request with Laurent*

Events:

Tuesday September 9th, 7pm

Concert with David Menestres, double bass, Michael Thomas Jackson, clarinet, Dan Ruccia, viola and Laurent Estoppey, saxophone

Thursday September 11th, 6pm

Community walk followed by a discussion & Reception

Saturday September 13th, 3pm

Round table moderated by Dr. Corey Johnson

* For an individual walk, please go to the website www.laurentestoppey.com/GPS, pick a spot and write to estolaurent@gmail.com

Greensboro Project Space Weekly Hours:

Tuesday-Friday, 12-5p

Saturday, 2-5p

A Decade of Darkness
2025-09-10 03:30 - 16:00, 2025-09-11 03:30 - 16:00, 2025-09-12 03:30 - 16:00, 2025-09-15 03:30 - 16:00, 2025-09-16 03:30 - 16:00, 2025-09-17 03:30 - 16:00, 2025-09-18 03:30 - 16:00, 2025-09-19 03:30 - 16:00 and 5 more dates | Gatewood Studio Arts Center, 527 Highland Ave, Greensboro, NC 27412, USA, 527 Highland Ave, Greensboro, 27412, United States
Photographer MJ Sharp is a documentary artist based in Durham, North Carolina. She was a visiting Fulbright Scholar at the University of Exeter, UK, for the 2021/2022 academic year pursuing the art/science collaboration Our Disappearing Darkness and Recreating True Night with nocturnal ecologist Dr. Kevin Gaston.

To learn more about MJ Sharp visit: https://mjsharp.com/

Casella Sinfonietta
2025-09-10 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/SfHopSvdivI

Jonathan Caldwell, conductorLindsay Kesselman, soprano

Program

STEVE REICHDouble Sextet (2009)

FastSlowFast

MARIA SCHNEIDERWinter Morning Walks (2013/2025)trans. Andrew Keiser

Walking By FlashlightI Saw a Dust Devil This MorningMy Wife and I Walk the Cold RoadHow Important it Must Be

AARON COPLANDAppalachian Spring (1944)

Choreography by Martha GrahamMusic by Aaron CoplandDanced by Martha Graham, Stuart Hodes, Bertram Ross, Matt Turney, Helen McGehee, Ethel Winter, Miriam Cole, YurikoProduced by Nathan KrollCourtesy of Martha Graham ResourcesFilmed and Produced by Metropolitan Pittsburgh Educational Television (1958)

The copyright for Appalachian Spring is held by the Martha Graham Center of Contemporary Dance. No reproduction any kind is allowed without permission from the Center.

About the Program
“Don’t get me wrong. Berg, Schoenberg, and Webern were very great composers. They gave expression to the emotional climate of their time. But for composers today to recreate the angst of ‘Pierrot Lunaire’ in Ohio, or in the back of a Burger King, is simply a joke.”

— Steve Reich (1986)

Titled “Prized Compositions,” tonight’s faculty and student side-by-side concert features two Pulitzer Prize–winning compositions in Steve Reich’s Double Sextet and Aaron Copland’s Appalachian Spring and a GRAMMY Award–winning composition in Maria Schneider’s Winter Morning Walks. However, beyond their award-winning appeal and framed by Steve Reich’s 1986 quote, these pieces also offer a perspective on access and belonging in the concert hall. Given that, a better title for this concert might be: “Popular Compositions.”

Written in 2008, Steve Reich’s Double Sextet is a classic example of minimalism. Minimalism began in the mid-1960s as a reaction against some of the more “extreme” movements of the mid-20th century including the total serialism of Pierre Boulez and Karlheinz Stockhausen and the indeterminacy of John Cage. As opposed to other modernist movements that explore an expansion or even destruction of 19th-century musical language, minimalism embraces relatively straightforward rhythmic, pitch, formal, and harmonic materials as well as non-Western and popular music. This approach to composition, which emphasizes accessibility to audiences, stands in direct opposition to a central tenet of many modernist movements which is clearly articulated in Milton Babbitt’s 1958 article/manifesto “Who Cares if You Listen?” In the essay, Babbitt describes “modern” music (modern for 1958, at least) as “…for, of, and by specialists” thereby explicitly denying the average listener access. Minimalism rejects this principle on its face and instead creates music which is “spun out” from a germinal cell and, through repetition and gradual change, is clearly revealed to the listener. In Reich’s words, “[w]hat I’m interested in is a compositional process and a sounding music that are one and the same thing.” In this way, minimalist music is often viewed as more listener-centric when compared to other streams of modernist music which seem more composer-centric. Or put differently, music that could be performed in the back of a Burger King.

Winner of the 2013 GRAMMY® for Best Classical Contemporary Composition, Maria Schneider’s Winter Morning Walks is a contemporary song cycle based on the poetry of Ted Kooser. Typically, when audiences think of song cycles, they imagine pieces like Franz Schubert’s Winterreise or Robert Schumann’s Dichterliebe, both 19th-century mainstays. If anything, though, Schneider’s offering to the genre is more Sondheim than Schumann. Rather than distancing herself from the audience, Schneider’s musical language freely synthesizes elements of classical music, jazz, and musical theater to create an intimate landscape that is uniquely accessible, personal, and touching.

Aaron Copland’s Appalachian Spring (1943) is the most famous work from the composer’s third period: his so-called populist or Americana period of the 1940s. While Copland’s work prior to 1940 tended towards abstraction, his work in the 1940s represents a more direct and accessible form of expression. As Copland described in Our New Music (1941):

During these years [the 1930s], I began to feel an increasing dissatisfaction with the relations of the music-loving public and the living composer. The old “special” public of the modern music concerts had fallen away, and the conventional concert public continue apathetic or indifferent to anything but the established classics. It seemed to me that we composers were in danger of working in a vacuum. Moreover, an entirely new public for music had grown up around the radio and the phonograph. It made no sense to ignore them and to continue writing as if they did not exist. I felt that it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms.

Subtitled “Ballet for Martha,” Appalachian Spring also bears direct connection to Martha Graham, the founder of the Martha Graham Dance Company which will celebrate its centennial in 2026. Like Reich, Schneider, and Copland, Graham offers a kind of natural and accessible technique albeit in a very different context. While audiences may find Graham’s choreography to be abstract and inaccessible, it must be considered in contrast to classical ballet technique. In classical ballet, the dancer is in a constant state of suspension while they hold themselves up (quite unnaturally) against the forces of gravity. By contrast, Graham’s technique and other schools of modern dance focus on the relationship between the dancer and gravity, a form of tension and release as the dancer works within the constraints of a natural force. In that sense, it is Graham’s floorwork and use of falling techniques that offers the dance a different kind of “natural” than classical ballet. Specifically with regards to Appalachian Spring, Graham’s choreography also incorporated folk dancing including square dance, skips, paddle turns, and curtsies, to complement the populist and folk elements found in Copland’s score and the ballet’s dramatic narrative.

Questions like “Who belongs in this space?” and “For whom is this music written?” are certainly not new for classical musicians. Tonight’s concert offers four different answers to those questions about belonging from Steve Reich, Maria Schneider, Aaron Copland, and Martha Graham. But we may be asking the wrong question. Using Reich’s framework, perhaps the question would better be posed as “Is this music giving expression to the emotional climate of our time?” If that is the question, this evening’s concert should hopefully yield a satisfactory answer.

The following people contributed significant time and effort to support tonight’s concert. Thank you to each of them.

Ian Jones

Shar Joyner

Dennis Hopson

Brad McMillan

Mark Engebretson

Ally Harvel and the UNCG Electronic Music Studio

Andrew Keiser and Maria Schneider

Molly Allman, Jaden Brown, Jordan Owen, and Patty Saunders

Joyce Herring, Raíssa de Sousa Lima, and Antonio Fini (Martha Graham Dance Company)

Nick Nosko (WQED)

Funding for tonight’s performance was provided, in part, by the John R. Locke Endowment for Excellence in Music fund. For more information on giving to the UNCG School of Music, please visit https://vpa.uncg.edu/music/giving/

Program Notes
Double Sextet

There are two identical sextets in Double Sextet. Each one is comprised of flute, clarinet, vibraphone, piano, violin and cello. Doubling the instrumentation was done so that, as in so many of my earlier works, two identical instruments could interlock to produce one overall pattern. For example, in this piece you will hear the pianos and vibes interlocking in a highly rhythmic way to drive the rest of the ensemble.

The piece can be played in two ways; either with 12 musicians, or with six playing against a recording of themselves.

The idea of a single player playing against a recording of themselves goes all the way back to Violin Phase of 1967 and extends though Vermont Counterpoint (1982), New York Counterpoint (1985), Electric Counterpoint (1987) and Cello Counterpoint (2003). The expansion of this idea to an entire chamber ensemble playing against pre-recordings of themselves begins with Different Trains (1988) and continues with Triple Quartet (1999) and now to Double Sextet. By doubling an entire chamber ensemble one creates the possibility for multiple simultaneous contrapuntal webs of identical instruments. In Different Trains and Triple Quartet all instruments are strings to produce one large string fabric. In Double Sextet there is more timbral variety through the interlocking of six different pairs of percussion, string and wind instruments.

The piece is in three movements fast, slow, fast and within each movement there are four harmonic sections built around the keys of D, F, A-flat and B [Major] or their relative minor keys B, D , F and G-sharp. As in almost all my music, modulations from one key to the next are sudden, clearly setting off each new section.

Double Sextet is about 22 minutes long and was completed in October 2007. It was commissioned by eighth blackbird and received its world premiere by that group at the University of Richmond in Virginia on March 26, 2008.

— Steve Reich

Winter Walks

These nine poems were selected from Ted Kooser’s wonderful book, Winter Morning Walks: One Hundred Postcards to Jim Harrison.

They were written during his recovery from treatment for cancer, after he began taking two mile walks each morning. He’d been told to stay out of the sun for a year because of skin sensitivity, so he exercised before dawn, hiking the isolated country roads near his home in Garland, Nebraska. He sometimes walked with his wife but most often alone.

During the previous summer, depressed and preoccupied, he’d stopped writing. But as that winter (1998) approached, his health began to improve. One November morning, following his walk, he tried his hand at a poem, and soon was writing every day.

As he wrote in his foreword to Winter Morning Walks, “Several years before, my friend Jim Harrison and I had carried on a correspondence in haiku. As a variation on this, I began pasting my morning poems on postcards and sending them to Jim, whose generosity, patience and good humor are here acknowledged. What follows is a selection of one hundred of those postcards.”

These poems feel so like home to me, connecting with my southwest Minnesota roots at so many different levels, that I find it almost astonishing. There’s nothing to explain about this music, except to say it was very hard to pick which poems from Ted Kooser’s Winter Morning Walks I would choose. I could have gone on composing more, and someday hopefully will.

These poems were originally titled with the date, for instance Perfectly Still This Solstice Morning was titled December 21, Clear and five degrees. I changed the titles, as the dates were no longer chronological once musical considerations for song ordering entered the picture. But it did feel natural to open with the poem he wrote on the winter solstice, and to close with the poem he wrote on the vernal equinox, which seemed like the perfectly natural way to bookend Winter Morning Walks.

— Maria Schneider

Appalachian Spring

Some of Copland’s most populist “American” music was produced during the Depression and war years, including the overtly patriotic morale boosters Lincoln Portrait and Fanfare for the Common Man. Appalachian Spring capped a trilogy of dance interpretations of the American frontier spirit, beginning with Billy the Kid (1938) and continuing with Rodeo (1942). This was music that created the concert and theater equivalent of the poignant “high lonesome” bluegrass sound emerging at the same time, music of open chords and spare textures that often drew on traditional sources.

Appalachian Spring was commissioned by Elizabeth Sprague Coolidge for Martha Graham. Copland began work on Graham’s then-untitled scenario in Hollywood in June 1943, completing the ballet a year later in Cambridge, MA. “After Martha gave me this bare outline, I knew certain crucial things—that it had to do with the pioneer American spirit, with youth and spring, with optimism and hope,” Copland later wrote.

Graham took the eventual title from “The Dance,” a poem by Hart Crane, though not the narrative of an Appalachian housewarming for a pioneer and his bride. Copland originally scored the ballet for an ensemble of 13 instruments, since the premiere was in the small Elizabeth Sprague Coolidge Auditorium at the Library of Congress (with Graham herself as the Bride, Erick Hawkins as the Husbandman, and Merce Cunningham as the Revivalist). In the spring of 1945 he arranged a suite from the ballet for full orchestra, which won the Pulitzer Prize for music that year.

O Appalachian Spring! I gained the ledge;Steep, inaccessible smile that eastward bendsAnd northward reaches in that violet wedgeOf Adirondacks!—wisped of azure wands,

— from “The Dance,” Hart Crane

Graham told Copland that she wanted the dance to be “a legend of American living, like a bone structure, the inner frame that holds together a people,” and the ballet and its music were immediately understood as reflections of a national identity, of hope and fulfillment in a difficult time. “… the Spring that is being celebrated is not just any Spring but the Spring of America; and the celebrants are not just half a dozen individuals but ourselves in different phases,” John Martin wrote in his New York Times review.

— John Henken

About the Artists
Lindsay Kesselman

Lindsay Kesselman is a twice GRAMMY®-nominated soprano known for her warm, collaborative spirit and investment in personal, intimate communication with audiences. She regularly collaborates with orchestras, wind symphonies, chamber ensembles, opera/theater companies, and new music ensembles across the United States, often premiering, touring and recording new works written for her by living composers. She is a passionate advocate for contemporary music, and has commissioned/premiered over 100 works to date.

Recent and upcoming highlights include performances of Darkening, then Brightening by Christopher Cerrone across the country, National CBDNA with the UNC Greensboro Wind Ensemble, premieres of wind transcriptions of Caroline Shaw’s Is a Rose and Maria Schneider’s Winter Morning Walks, Pierrot Lunaire with Ensemble ATL, Energy in All Directions by Kenneth Frazelle with Sandbox Percussion at the Saratoga Performing Arts Center, the role of Anna in Kurt Weill’s The Seven Deadly Sins with the Charlotte Symphony, Astronautica: Voices of Women in Space with Voices of Ascension, the John Corigliano 80th birthday celebration at National Sawdust (2018), a leading role in Louis Andriessen’s opera Theatre of the World with the Los Angeles Philharmonic and Dutch National Opera and an international tour of Einstein on the Beach with the Philip Glass Ensemble (2012–15).

She is featured on several recent recordings, including: David Biedenbender’s all we are given we cannot hold (2023, Blue Griffin), Chris Cerrone’s opera In a Grove (2023, In a Circle Records), Caroline Shaw’s Is a Rose (2023, Blue Griffin), Chris Cerrone’s The Arching Path (2021, In a Circle Records), and Louis Andriessen’s Theatre of the World with the Los Angeles Philharmonic (2017, Nonesuch).

Kesselman is Assistant Professor of Voice and Choral Music at UNC Greensboro and co-directs the Heretic’s Guide to Musicianship with Kevin Noe. She holds degrees in voice performance and music education from Rice University and Michigan State University. She is represented by Trudy Chan at Black Tea Music and lives in Charlotte, NC with her husband Kevin Noe and son Rowan.

Personnel
FluteErika Boysen*Amrutha KoteeswaranJoeli Schilling

OboeKristen Daniel

ClarinetConcetta BrehmerLuke Ellard*Cat Keen Hock*Sarah Lucas-PageTaylor StirmAnthony Taylor*

BassoonEmily KlinkoskiAngela MorettiRyan Reynolds*

SaxophoneRobert Young*

TrumpetNinon Kirchman

HornAbigail Pack*

EuphoniumJohn Cowger

PercussionShunan GuiJoe TurnerEric Willie*

HarpAlyssa Hall

PianoAngelita BerdialesJim Douglass*Annie Jeng*Matthew Roxas

ViolinMarjorie Bagley*Xin-Yu ChangChloe LiFabián López*Yi-Ju ShihSiana Wong

ViolaSarah BahinScott Rawls*

CelloAlex Ezerman*Davis LingnerCori Trenczer

Double BassZach Hobin*Jack Hopper

* School of Music Faculty/Staff

UNCG Bands
The renowned UNCG Bands are dedicated to the performance, study, and cultivation of wind band music of the highest quality, and are a serious and distinctive medium of musical expression. The UNCG Bands are considered to be among the very finest collegiate band programs in America based upon our active profile of excellence in our performances, recordings, tours and convention performances.

Through exemplary practices in organization, training, and presentation, the UNCG Bands provide exceptional experiences for our members, sharing outstanding performances throughout the year and enhancing the institutional spirit and character of UNCG.

The UNCG Bands seek to support music education in the state of North Carolina and in our region by providing leadership and sponsorship to secondary school band programs and other organizations.

UNCG Bands

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Program Notes

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Ethno USA
2025-09-11 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
Ethno is JM International’s program for folk, world and traditional music. Founded in 1990, it is aimed at young musicians (up to the age of 30) with a mission to revive and keep alive global cultural heritage.

Present today in over 40 countries and on all 6 continents, Ethno engages young people through a series of annual international music camps as well as workshops, concerts and tours, working together with schools, conservatories and other groups of youth to promote peace, tolerance and understanding.

At the core of Ethno is its democratic, peer to peer learning approach whereby young people teach each other the music from their countries and cultures. It is a non-formal pedagogy that has been refined over the past 33 years, embracing the principles of intercultural dialogue and understanding. Ethno provides a unique opportunity for young people from across the globe to come together and engage through music in a manner that is characterised by respect, generosity and openness.

The goal of Ethno is to inspire musicians through these interactions to deepen their musical interests and to build a global network that supports their careers. Each Ethno music camp combines workshops, jam sessions, rehearsals and performances that enable participants to develop both personal and professional skills. Through Ethno, musicians gain a greater understanding of each other’s cultures. At Ethno, music is a powerful tool that fosters inclusion, understanding and acceptance.

Additional EVENT

Masterclass Thursday, September 114:00 pm | Tew Recital Hall

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ReformEd
2025-09-12 19:30 - 21:00, 2025-09-13 03:00 - 15:30, 2025-09-13 19:30 - 21:00, 2025-09-14 14:00 - 15:30, 2025-09-14 19:30 - 21:00 | Pam and David Sprinkle Theatre, 402 Tate Street, Greensboro, NC, 27403, United States
By Peter Duffy Directed by Joshua Purvis

Dates:Sept. 12 at 7:30 p.m.Sept. 13 at 2:00 p.m. & 7:30 p.m.Sept. 14 at 2:00 p.m. & 7:30 p.m.

Tickets: Call the UNCG Theatre Box Office at 336-334-4392 or click the button below to purchase tickets online.

Purchase Tickets

Age Rating: PG-13Run Time: Approx. 90 min.Production Location: Pam and David Sprinkle Theatre (Brown Building), 402 Tate St, Greensboro, NC 27412Frame/Works Discussion via Teams and In Person: Sept. 15 at 7:00 p.m.To attend Frame/Works in person, please visit room 130 in the Moore Nursing Building located at 318 McIver St.

Summary:

Why are so many teachers walking away from the classroom—and what would it take to make them stay? After seven years of in-depth research, South Carolina theater professor Peter Duffy transforms real educators’ voices into a powerful theatrical experience. ReformED dives headfirst into the emotional, often heartbreaking realities behind the teacher exodus, weaving true stories into a compelling narrative that has sparked conversations from local stages to international audiences in Australia. More than just a play, ReformED is a catalyst for change—one that dares us to imagine a future where teachers don’t just survive the system, but thrive within it.

that which remains art exhibition
2025-09-16 12:00 - 2025-09-27 17:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
That Which Remains

Exhibition by Leigh Ann Hallberg and Paul Bright

September 16 – 27, 2025

*Reception: Friday, Sept 19th | 6-8P

*Gallery walk-through with artists, 6:30p

More About That Which Remains

Beginning with our hominin ancestors, artists have always made use of found materials, recovered objects, and their specific qualities to create art. But increasingly, materials for art became subsumed mostly as vehicles for depiction and expression; as a means to an end. The singular qualities of the materials of art begin to reassert themselves in the late 19th C, not merely coincidentally with the rise of photography. The photograph, so successful in recording the specificity of surfaces, the lighting and chiaroscuro of forms, the “facts” of appearances, allowed a medium like paint to more freely exhibit its inherent qualities, even when used in the service of depiction. (Much of Impressionism was structured and animated by this interplay of the physicality of evident paint and the expression it facilitated.) The introduction of collage in Cubism and the conceptual deployment of found objects in the work of Duchamp et al, brought intense focus on the materials of art as well as the proposition that art no longer needed be as created as it had been. It could be composed of preexisting things, found and repurposed objects, in a new, industrialized world of burgeoning objects of all kinds. The artist’s role in this context was largely that of selector – not unlike a photographer taking a picture – finding or stumbling across the right object to convey an intended meaning, a meaning which very often arose in part from the found object itself, which carried a history of past use and significance that intertwined with its new role as art object. Improvisatory, aleatory or chance methodologies often guided selection of the objects and the creation of these works. Our work in That Which Remains acknowledges this lineage and these approaches in varying degrees.

Our respective work is diverse in the forms it assumes, in its intentions, and in its stylistic permutations. But in That Which Remains, we are presenting works that share

a focus on traces, palimpsests, residue, and remnants. With the commonality of being made from detritus, from the Found, of discarded parts and fragments, the works evince improvisation, construction, and accretion as compositional methods. The work is varied but coheres through conceptual, aesthetic, and visual overlaps. Our interventions on our chosen objects can be minimal or subtle, but they are significant.

Leigh Ann’s work evinces a preoccupation with lineage, phenomena of “nature,” and scales of time and experience, in both the outer and inner worlds of human experience and the related proportionality of abstraction and figuration. It incorporates manipulated and reconfigured heirlooms; a woman’s dress gloves (Chirality); a sectioned and reconfigured Murray Bay wool blanket (Murray Bay: Standing Wave; a broken plate with inscribed figures of a seemingly runic numerology (3:2); re-embroidered linens (Leighs, Nana’s Helix); and durational paintings called Accretions. She also presents an elegant metaphor for our toxic, over-consumptive present, Core Sample, a totem holding layered and compressed plastic waste, reminiscent of glacial ice samples containing the stratified atmospheric history of eons.

Paul’s are fundamentally abstract works, even when they are composed of figurative or recognizable elements. They eschew or disrupt narrative. They traffic in advertising imagery – the “de/collages” of found materials and removed posters, the serendipitous Tear Sheets – and the found materials that pervade our lives (Just Like A Box). He is interested in how the physical degradation of their components mirrors their materialist and often retrograde messages. However, when these elements and ambiguous images are recontextualized in collaged compositions, they reveal an unexpected poetry. This is also elicited from the “aural quotidian” in his sound collages’ arrangement of found and recorded sounds (Wet in Dry), while the direct, minimal contrasts of topical printed matter (of Minor Interventions) opportunistically reveals the unintended irony or ready-made satire of their sources.

Greensboro Project Space Weekly Hours:

Tuesday-Friday, 12-5p

Saturday, 2-5p

Graduate Clarinet Showcase
2025-09-16 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/ubrrIzOq7lM?feature=share

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Rahsaan Barber Quintet
2025-09-19 19:30 - 21:30 | Organ Hall, 100 McIver St, Greensboro, 27412, United States
Since earning a Master’s Degree in Jazz Performance from the Manhattan School of Music in 2005, Rahsaan Barber has set out on a singular path of musical excellence in performance, composition, education, and entrepreneurship. Rahsaan enjoys a career that encompasses an ever-expanding range of musical styles, including jazz, blues, funk, classical, fusion, soul, Latin, and world music.

Rahsaan’s passionate, sincere, and studious approach to music-making has garnered professional appearances onstage alongside such heavyweights as Christian McBride, Brian Blade, the Temptations, Delfeayo Marsalis, the Spanish Harlem Orchestra, Duffy Jackson, Winard Harper, Kirk Franklin, Meghan Trainor and the Wooten Brothers. The saxophonist has performed on many of the world’s most prestigious stages for music including The Ryman, The Village Vanguard, Birdland, Lincoln Center, the Kennedy Center, the Montreux Jazz Festival, and the Smithsonian’s National Museum of African American History and Culture. Rahsaan joined the ranks of the nation’s rising jazz stars as the leader of his own quintet, Everyday Magic, and co-leader of the groundbreaking Nashville-based Latin-jazz septet El Movimiento. Rahsaan has entered the ranks of the nation’s premier jazz artists following several celebrated releases, most recently including “Mosaic,” a double-disc collection of original works released in April of 2021, featuring trumpeter Nathan Warner and trombonist Roland Barber, Rahsaan’s twin brother. Prior to the release of “Mosaic,” Barber received critical acclaim for “The Music In The Night” (2017) and “Everyday Magic,” (2011) both released on the saxophonist’s record label, Jazz Music City, which he founded to showcase his hometown’s (Nashville, TN) diverse and impressive musical talent. In addition to his own jazz outfits, the saxophonist founded The Nashville Salsa Machine in 2016, a twelve-member ensemble featuring Music City’s most celebrated Latin-music performers. Barber is also an in-demand saxophonist for recording sessions and touring work, most recently completing a year-long tour with pop icon Kelly Clarkson and multiple tours with Lauren Daigle.

Rahsaan currently serves as Assistant Professor of Jazz Studies and Saxophone at the University of North Carolina at Chapel Hill. Barber has taught extensively at the collegiate level for over a decade, including six years of instruction at Belmont University, where he began his collegiate teaching career as instructor jazz and classical saxophone, jazz ensembles, and commercial music styles at the impressive age of twenty-five. Barber has given masterclasses and concerts at multiple Jazz Education Network conferences and at numerous colleges and universities, including the University of Tennessee at Knoxville, the University of Memphis, Lipscomb University, UNC-Pembroke, UNC-Wilmington, Indiana University, The University of Wisconsin (OshKosh), the University of Evansville, and many more. In addition, Rahsaan has served as Vice-President of the Tennessee Jazz and Blues Society and as a board member for the Nashville Jazz Workshop’s Diversity, Equity and Inclusion panel.

The Miles Davis Jazz Studies Program at UNCG is a unique and innovative undergraduate jazz program designed to emulate the traditional process of learning jazz, through a combination of mentorship, real-world playing experiences, and a communal approach to learning. Although the program is housed in one of the largest music schools in the Southeast, it is kept intentionally small, resulting in an intensive and highly personalized learning environment.

UNCG offers the following degree programs for students interested in studying Jazz:

Bachelor of Music (B.M.) – Performance

Post-Baccalaureate Certificate in Jazz Studies

Additional Event
Masterclass3:00 pm, Organ Hall

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Adam Frey, euphonium
2025-09-22 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/Y834VVlhA80?feature=share

Adam Frey travels the globe sharing his talents as a performer and advocate for live music. Adam has soloed with orchestras and bands the world over, including the world famous Boston Pops, Cheju Symphony Orchestra (South Korea), US Army Orchestra (Washington DC), Harvard Pops (MA), Fort Collins (CO), Indian Hill (MA), the Vaasa Symphony Orchestra (Finland), Atlanta Philharmonic (GA), Camerata Eleutheria (Argentina), Cascade (WA), Greensboro (NC), Clemson (SC), LaGrange (GA), Minot (ND), Bellevue Philharmonic (WA), and Northeastern (MA) Symphony Orchestras. He also performs regularly with wind bands and brass bands that have included Soli Brass in Holland, Point of Ayr in Wales, the National Youth Brass Band of Switzerland and wind bands from Singapore, Thailand, Brazil, South Korea, Guatemala, the Dominican Republic, Columbia, Peru, Australia, Russia, Finland, China, Germany, Hong Kong, and the United States.

Adam has been guest soloist at festivals around the globe, including four times at the Midwest Clinic (USA), the WASBE Convention (Singapore), Melbourne International Festival of Brass (Australia), Trombonanza (Argentina), Carlos Gomez Festival (Brazil), Jeju International Wind Festival (South Korea), Asia Pacific Band Directors Conference (South Korea), Westby Low Brass Workshop (Norway), Peru Low Brass Festival (Peru), Colombia Festubal (Colombia), Tubmania (Thailand), and Orquesta Latinoamericana de Vientos (Colombia) to name a few.

A native of Atlanta, Georgia, Adam Frey received his musical training at the University of Georgia, the Royal Northern College of Music, and the University of Salford. As a major ambassador of the euphonium, Adam has more than one hundred and twenty works that have been composed or specifically arranged for him. Most are published by Euphonium.com Publications, Pinnacle Brass Publications, and Absolute Brass.com.

For 17 years, Adam has hosted the International Euphonium Tuba (IET) Festival at Emory University. This event each June hosts more than 175 students and teachers from around the world in a week of playing, learning, and inspiration. Participants range from high school and college students to adult amateurs. More details at: www.IETFestival.com

Adam Frey is also Associate Professor at the University of North Georgia. His website, www.euphonium.com, contains sound files, performance schedules, photos from his world travels, and his recordings and publications.

Adam Frey is a Yamaha Performing Artist and Guest Clinician.

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Studio Voice Recital
2025-09-23 17:30 - 19:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/qDEC73okv9U?feature=share

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Luke Ellard, clarinet
2025-09-23 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/NgJe10aNkHw?feature=share

Clarinetist, composer, educator, and new music collaborator Luke Ellard strives for art that continually reaches out, valuing a relational spirit, informed engagement, and unapologetic authenticity.

For Luke, collaboration is what gives music life. As a clarinetist, they have performed with members of Bang On a Can All Stars, Eighth Blackbird, International Contemporary Ensemble, Fifth House Ensemble, Arkansas Symphony, Winston-Salem Symphony, and Mallarmé Chamber Music. As a composer, their music has been performed and commissioned by ensembles such as North Texas Wind Symphony, HOCKET, New Trombone Collective, Barkada Quartet, among others. Their current performance projects center around their self-produced solo cross-genre/electronic band LE, performing with their new music quartet Sounding Board, and commissioning new exciting works for the clarinet.

Dr. Ellard serves on the faculty at the University of North Carolina at Greensboro as Assistant Professor of Clarinet, having previously served on faculty at the University of Oklahoma and Midwestern State University while teaching privately and performing in the Dallas-Fort Worth area. Luke earned their Doctor of Musical Arts in Clarinet Performance with related studies in Contemporary Music and Music Entrepreneurship at the University of North Texas, studying under Kimberly Cole Luevano. Additionally, Luke has earned degrees from Indiana University Jacobs School of Music (James Campbell & Eric Hoeprich), the University of Texas at Austin (Yevgeniy Sharlat, Dan Welcher, & Donald Grantham), and Louisiana Tech University (Lawrence Gibbs, Joe L. Alexander).

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Jazz Ensembles I and II: All Blues
2025-09-24 19:30 - 21:30 | The Crown at the Carolina Theatre, 310 S Greene St, Greensboro, 27401, United States
The Miles Davis Jazz Studies program begin their 2025-26 season at The Crown with “All Blues!” This concert celebrates the blues in all its forms – from the vocal prowess of Aretha Franklin to the energetic complexity of John Coltrane. Jazz Ensembles I and II will set your soul on fire in this very special concert. Get your tickets now, because they ALWAYS sell out!

The Miles Davis Jazz Studies Program at UNCG is a unique and innovative undergraduate jazz program designed to emulate the traditional process of learning jazz, through a combination of mentorship, real-world playing experiences, and a communal approach to learning. Although the program is housed in one of the largest music schools in the Southeast, it is kept intentionally small, resulting in an intensive and highly personalized learning environment.

UNCG offers the following degree programs for students interested in studying Jazz:

Bachelor of Music (B.M.) – Performance

Post-Baccalaureate Certificate in Jazz Studies

TicketPriceAdult$16.20Seniors$10.20Military$10.20Students$10.20Ticket prices include a $3.00 processing fee and applicable sales tax.

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Robert Young, saxophone
2025-09-25 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/RBP9-DLsyog?feature=share

Fueled by a deep desire to create an enthusiasm surrounding the classical saxophone, Dr. Robert Young connects with audiences with his musicianship, virtuosity, and authenticity. Praised for his “effortless expression and facile technique” (The Saxophonist Magazine), Robert maintains an active career as a soloist, chamber musician, and educator. His artistry has afforded him opportunities to appear with ensembles and musicians from across the globe including the PRISM Quartet, The Crossing, Chris Potter, Ravi Coltrane, Uri Caine, Charlotte Symphony, Detroit Chamber Winds and Strings, and the Charleston (SC) Symphony Orchestra.

As a chamber musician, Robert collaborated with The Crossing and performed alongside the PRISM Quartet on the GRAMMY Award-winning album Gavin Bryars: The Fifth Century (available on ECM Recordings). The New York Times praised the collective performance on this album as “superb”and “eloquent.” Young has appeared with the PRISM Quartet on numerous concerts including residencies at the Curtis Institute, Shepherd School of Music (Rice University), and the University of North Carolina School of the Arts. He can be heard on several albums with this notable ensemble including The Curtis Project, Heritage/Evolution, Volume 2, and The Book of Days.

Appearing with the Berkeley Symphony Orchestra as soloist in the 2023-24 season, he was hailed as “uncommonly expressive…and technically prodigious” (San Francisco Classical Voice) for his performance of Guillaume Connesson’s acrobatic concerto, A Kind of Trane. He has also been a soloist with the United States Navy Band, performing Quicksilver by Chicago-based composer Stacy Garrop, and has been featured as a soloist with the Rock Hill Symphony Orchestra, Piedmont Wind Symphony, UNCSA Symphony, and Zagreb Soloists (Croatia).

Robert holds a teaching position at the University of North Carolina at Greensboro as Assistant Professor of Saxophone. Young’s students have received honors at several local, regional and national competitions and have been featured at several clinics and conferences throughout the country. He previously has served on the faculties of the UNC School of the Arts, The Crane School of Music – SUNY Potsdam, and Wichita State University. Young is often invited to give guest lectures and classes throughout the country. In Fall 2022, Robert was invited as be a guest teacher for the renowned University of Michigan saxophone studio as a sabbatical replacement for the award-winning saxophonist Timothy McAllister.

Robert earned his Doctor of Musical Arts (2011) and Master of Music (2008) degrees in saxophone performance from the University of Michigan where he studied with Professor Donald Sinta. At the University of Michigan, he studied jazz saxophone with Dr. Andrew Bishop and was a recipient of the Lawrence Teal Fellowship. Young received a bachelor’s degree from the University of South Carolina (2006) in saxophone performance where he studied with Dr. Clifford Leaman.

As a Conn-Selmer Artist, Robert Young plays exclusively on Selmer saxophones. He also serves as a D’Addario artist/clinician and endorses Key Leaves products.

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Aaron Goldberg
2025-09-26 19:30 - 21:30 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
featuring Garrett Arellano, Chad Eby, Brevan Hampden, and Thomas Heflin

https://youtube.com/live/n8l7Cs68C00?feature=share

The Miles Davis Jazz Studies Program at UNCG is a unique and innovative undergraduate jazz program designed to emulate the traditional process of learning jazz, through a combination of mentorship, real-world playing experiences, and a communal approach to learning. Although the program is housed in one of the largest music schools in the Southeast, it is kept intentionally small, resulting in an intensive and highly personalized learning environment.

UNCG offers the following degree programs for students interested in studying Jazz:

Bachelor of Music (B.M.) – Performance

Post-Baccalaureate Certificate in Jazz Studies

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