Studio Voice Recital
2025-09-23 17:30 - 19:00 (America/New_York) | 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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A Decade of Darkness
2025-09-24 03:30 - 16:00, 2025-09-25 03:30 - 16:00, 2025-09-26 03:30 - 16:00, 2025-09-29 03:30 - 16:00, 2025-09-30 03:30 - 16:00, 2025-10-01 03:30 - 16:00, 2025-10-02 03:30 - 16:00, 2025-10-03 03:30 - 16:00 and 2 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/

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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10-year anniversary Jan Van Dyke
2025-09-28 14:00 - 16:00 | Coleman Building, 1408 Walker Ave, Greensboro, North Carolina, 27412, United States
10-year Anniversary Jan Van Dyke

Event takes place in the Jan Van Dyke Courtyard at the Coleman Building (School of Dance).

mOthertongue: Lived Experience in Asian America
2025-09-29 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/W5r6deD2y7k?feature=share

mOthertongue: Lived Experience in Asian America

Jennifer Lien, sopranoAnnie Jeng, piano

Exotic landscapes. Virtuous, submissive, sexualized women. Ineffective, emasculated, villainous men. These images of Asia have long been a staple of the European imagination, whether in colonial-era art song, grand Italian opera, film, or television. Here, in the 21st century, these stereotypes about Americans of Asian descent persist (see: pandemic-era anti-Asian hate).

I believe that the way to challenge outdated cultural ideas is by sharing new art with fresh cultural ideas. I wanted to perform songs that assert the Asian American lived experience, from the perspective of those of us who live it. But when I went looking for songs by Asian American composers set to contemporary Asian American texts, I came up empty. So I reached out to Chen, Dunphy, and Sankaram, three Asian American women composers in their prime who also write beautifully for the voice. To my surprise, all three readily agreed to my proposal.

The new songs on today’s program express the joys, pains, contradictions, and pride we experience as Asians living in this land we call home. I am struck by the recurring themes that resonate across the three song cycles: colonization; cultural shame; living in between cultures; culture loss; microaggression; pride. To sing these truths is to find and reclaim power that has been lost somewhere along the way.

My deepest gratitude goes to Justine, Melissa, Kamala, and the poet Ophelia Hu Kinney; to Sam Martin of Cincinnati Song Initiative for recognizing the importance of this project and co-commissioning these songs with me; to the Minnesota State Arts Board for awarding me a Creative Individuals grant in 2024; to all my Asian American pianist partners on this project, in particular Annie Jeng here in North Carolina; and to all the host institutions welcoming this project to their concert stages.

My wish for this project is that these songs feed the hunger of singers for repertoire that expresses their lived experience, and inspire marginalized composers to create works that assert their truths, take up space, and shift the cultural needle in the right direction. Our stories are all American stories. To answer the question in Chen’s second song: All of us belong here.

— Jennifer Lien

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Beautiful In My Eyes art exhibition
2025-09-30 12:00 - 2025-10-04 17:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Beautiful In My Eyes

Solo Exhibition by Grace Thompson

September 30 – October 4, 2025

Reception: Friday, October 3rd | 6-8P

More About Beautiful in My Eyes

Beautiful in My Eyes features a group of observational oil paintings that focus on capturing lived moments in time. The work in this exhibit evokes memories of paused moments in daily life, crafting nostalgic feelings and thoughts. As life can be unpredictable, I seek stability by recording familiar spaces to appreciate the time spent in them and with the people I care about. This prompts me to accept spaces for what they offer rather than staging a scene. Often, I jump into painting without preparatory drawings because the subject changes as the environment moves through time. The paintings invite the audience to reflect on small things and moments that matter to them, whether that be observing how the sun comes through the window during midday or a napping family pet.

More About Grace

I am an observational oil painter interested in capturing fleeting moments in time. Many of my paintings render the progression of quotidian spaces across sessions, capturing movement of objects, people, and light. I explore the sense of nostalgia in mundane spaces through rigorous rhythmic applications of mark and color.

Follow Grace on Instagram @gracthomp

Greensboro Project Space Weekly Gallery Hours:

Tuesday – Friday, 12 -5 PM

Saturday, 2-5PM

Garrett Klein, Abigail Pack, and Marya Fancey
2025-09-30 17:30 - 19:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States
Trumpet artist Garrett Klein has garnered an international reputation for his varied performing career and dedicated teaching. He is currently serving as Associate Professor of Trumpet at UNC Greensboro where he leads the Trumpet Studio, directs the Trumpet Ensemble, and serves as Brass Area Chair. Aside from his teaching, Garrett is the Principal Trumpet of the Greensboro Symphony Orchestra and Principal Solo Cornet with North Carolina Brass Band. He is a former member of the world-renowned Dallas Brass and toured the nation with that ensemble for five years. He has also appeared as a guest musician with Charlotte Symphony, The Phoenix Symphony, the Tucson Symphony Orchestra, the New World Symphony, the Singapore Symphony Orchestra, and the Malaysian Philharmonic Orchestra. A new music advocate, Garrett has worked with composers to commission several new works for trumpet, presenting newly composed works at three International Trumpet Guild Conferences. Garrett earned his DMA and MM degrees at Arizona State University, along with a Certificate in Music Theory Pedagogy. Prior to ASU, he studied at the prestigious Yong Siew Toh Conservatory of Music in Singapore and St. Olaf College in Minnesota. Garrett Klein is an endorsing artist for Conn-Selmer and proudly performs on Vincent Bach trumpets.

Dr. Abigail Pack, Professor of Horn at UNCG and a native of Roanoke, Virginia, received her training from East Carolina University (BMA), University of Iowa (MM), and University of Wisconsin-Madison (DMA) where she was a Bolz Teaching Fellow. Before assuming her current position at UNCG she was horn faculty at James Madison University from 2001 to 2008. She has also been on faculty at Knox College in Galesburg, Il, Western State College in Gunnison, CO and in the Gunnison Watershed School District. An avid symphony player Dr. Pack has held positions with the Barton Symphony Orchestra, Quad Cities Symphony Orchestra, Des Moines Symphony Orchestra, Cedar Rapids Symphony Orchestra, Green-Bay Symphony Orchestra, the Wisconsin Chamber Orchestra and currently has a position with the Roanoke Symphony Orchestra, the Southwest Chamber Orchestra, the Greensboro Opera, Amici Musicorum (chamber orchestra), and the Opera Roanoke Orchestra. Other orchestral subbing engagements include the Greensboro Symphony, Winston Salem Symphony, and the Charlotte Symphony. Other venues have included performances with the Western Piedmont Wind Symphony, North Carolina Brass Band, the Iowa Brass Quintet, Western Slope Brass Band, and Massanutten Brass Band. Performance and presentation highlights include the National Flute Association (Washington DC with the Montpelier Winds), the International Horn Symposium (University of Cape Town, South Africa, Ithaca, NY, Montreal, Canada), the International Midwest Band and Orchestra Conference (Chicago 2009, 2022), International Double Reed Society (Athens, GA), Western International Band Clinic (2022), the American Band College (2017, 2021, 2024) and The Kennedy Center of the Performing Arts (Washington). She is a founding member of System 5 Brass Quintet and CORalina Horn Quartet and can be heard on the Centaur label.

Scholar-performer Marya Fancey uses her research to bridge temporal and cultural gaps in music for students and audiences. She received a 2017–2018 Fulbright Student Research Award to Poland for Historical Music Performance. This grant supported her dissertation research on organ masses from the Tablature of Johannes of Lublin (ca. 1540), culminating in a performance of its three mass cycles with vocal ensemble Flores Rosarum at the fifteenth-century Church of the Holy Cross in Krakow. She has presented at meetings of the Historical Keyboard Society of North America and the SE chapter of the American Musicological Society.

Her concert programs frequently incorporate works by underappreciated composers. In 2016 Marya Fancey introduced Polish audiences to the music of Florence Price and David Hurd at the Podlaskie Organ Festival and the 18th International Festival of Organ Music at Pelplin Cathedral. She gave the 2015 world premiere of Passacaglia and Triple Fugue (organ) by Louise Talma. In 2011 she performed Sonata No. 2 (piano) by Grażyna Bacewicz at the 15th Annual Festival of Women Composers (Gainesville, FL).

In studio and classroom teaching she augments the traditional classical canon with lesser-known compositions as well as works from a variety of other musical styles. She has taught music studies courses at UNCG, Guilford College, and the University of Florida. Her past professional activities include apprentice organ builder, church organist and choir director, private music teacher, and assistant music editor.

Marya Fancey holds the DMA degree in Organ Performance from UNC-Greensboro, where she studied with André Lash (organ) and Andrew Willis (harpsichord and fortepiano), with a Post-Master’s certificate in Music Theory Pedagogy and a Post-Baccalaureate certificate in Historical Keyboard Performance. Her interest in the scholar-performer model arose from masterclasses with Marie-Claire Alain, Olivier Latry, John Grew, William Porter, Hank Knox, and Edoardo Bellotti at multiple McGill Summer Organ Academies between 2005 and 2015.

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

Scott Glasser, conductor

Program

About the Program

About the Artists

UNCG Orchestras
The vibrant UNCG Orchestra program has long been recognized for performance excellence, adventurous programming, and high artistic standards. A diversity of offerings allow students the opportunity to perform repertoire for ensembles ranging from the largest cornerstone and contemporary works for full orchestra, to intimate pieces for chamber orchestra, to string orchestra.

Students in the UNCG Orchestra program are dedicated to the performance, study and cultivation of orchestral music of the highest quality. The UNCG Orchestras offer outstanding performances throughout the year and enhance the institutional spirit and community of UNCG. We seek to promote music education in the state of North Carolina and in our region by supporting secondary school orchestra programs and other organizations through our outreach activities and other annual events on campus.

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Coro di Belle Voci
2025-10-02 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/w4LFFoy2M-g?feature=share

Lindsay Kesselman, conductor

About the Program

About the Artists

UNCG Choirs
The mission of the UNCG Choirs is dedicated to the teaching, performance, study and cultivation of choral music of the highest quality representing not just the western choral canon but also choral music of other cultures by a diverse body of historical and new composers. We believe that the UNCG Choirs are a serious and distinctive medium of musical expression, of vital service and importance to its members and to UNCG. Through ensemble performance, we strive to create an environment of trust, communication, and expressive freedom, to present outstanding performances throughout the year, and to enhance the institutional sprit and character of UNCG. To music as an art and a profession, the UNCG Choirs seek to bring increasing artistry, understanding, and respect by efforts within our own immediate sphere and by providing leadership and sponsorship to school choral programs and through cooperation with all other agencies pursuing similar musical goals.

UNCG Choirs

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University Chorale
2025-10-03 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/ZMgLbcvDFMg?feature=share

Carole Ott, conductorKari Adams, guest conductor

Program

KATERINA GIMONElements (2014)

About the Program
Elements

Elements is set of choral works that abstractly depict the four classical elements and explores the wide range of capabilities of the human voice – from overtone singing, to vocal percussion, to colourful vocal timbres. Elements features no ‘text’ (at least not in the traditional sense), rather a series of syllables generated through improvisation meant to evoke the sound and energy of each element.

Elements was premiered in March 2014 by Laurier Singers under Lee Willingham. This set of works is a 2016 SOCAN Young Composers Competition winner, a 2015 Vancouver Chamber Choir’ Young Composers’ Competition winner, and a 2014 IAWM Search For New Music winner.

Earth is a beautiful, texturally-driven work depicting the simple yet unexplainable beauty of the earth. The work features harmonic overtone singing by a group of soloists; an accessible introduction to overtone singing in a choral setting.

Air traces the movement from calm breath to thick violent winds. Together singers gradually introduce new sounds and pitches, building an intricate texture with ever-shifting emphasis.

Fire is a fun, lively, and energetic work incorporating vocal percussion, body percussion, nasal singing, calls, nonsense syllables, as well as optional percussion.

Water presents powerful soaring textures and lilting melodies that grow and decay like waves in the ocean.

About the Artists

UNCG Choirs
The mission of the UNCG Choirs is dedicated to the teaching, performance, study and cultivation of choral music of the highest quality representing not just the western choral canon but also choral music of other cultures by a diverse body of historical and new composers. We believe that the UNCG Choirs are a serious and distinctive medium of musical expression, of vital service and importance to its members and to UNCG. Through ensemble performance, we strive to create an environment of trust, communication, and expressive freedom, to present outstanding performances throughout the year, and to enhance the institutional sprit and character of UNCG. To music as an art and a profession, the UNCG Choirs seek to bring increasing artistry, understanding, and respect by efforts within our own immediate sphere and by providing leadership and sponsorship to school choral programs and through cooperation with all other agencies pursuing similar musical goals.

UNCG Choirs

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Sweeney Todd
2025-10-03 19:30 - 22:00, 2025-10-04 14:00 - 16:30, 2025-10-04 19:30 - 22:00, 2025-10-05 14:00 - 16:30 | UNCG Auditorium, 408 Tate St, Greensboro, NC 27403, USA, 408 Tate St, NC, United States
The Demon Barber of Fleet StreetA Musical ThrillerMusic and Lyrics by Stephen SondheimBook by Hugh WheelerFrom an Adaptation by Christopher BondDirected by Tug Watson

Dates:Oct. 3 at 7:30 p.m.Oct. 4 at 2 p.m. & 7:30 p.m.Oct. 5 at 2 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. 2.5 hrs.Production Location: UNCG Auditorium, 408 Tate St, Greensboro, NC 27403Frame/Works Discussion via Teams and In Person: Oct. 6 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:

Enter the dark, twisted streets of 19th-century London—where revenge is served piping hot. Sweeney Todd, a barber with a haunted past, returns from exile burning with vengeance against the corrupt judge who destroyed his life and stole his wife. But justice has a price—and blood will spill. Teaming up with the wickedly clever Mrs. Lovett, whose meat pie shop is circling the drain, Todd opens a barbershop upstairs with a sinister twist. As razors flash and bodies vanish, Mrs. Lovett’s business starts booming… thanks to a secret ingredient that has Londoners begging for more. But beware—this is only the beginning of the madness. The Demon Barber of Fleet Street is back… and his blades are hungry.

Sweeney Todd is presented through special arrangement with Musical Theatre International (MTI). All authorized performance materials are supplied by MTI. www.MTISHOWS.com

Student Composers Concert
2025-10-04 17:30 - 19:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/ZH57JkDx0u8?feature=share

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Chamber Singers
2025-10-06 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
https://youtube.com/live/EW6Xcs1mzuw?feature=share

Carole Ott, conductorAlexander Ezerman, celloErika Boysen, fluteMichaela Kelly, soprano

Program

THEODORE MORRISONA Chant for Peace in Our Time

MEIRA WARSHAUERAkhat Sha’alti

ANDREA CLEARFIELDPrayer for the Schechinah

REENA ESMAILShe Will Transform You

FRANZ SCHUBERTMirjam’s Siegesgesang

About the Program

About the Artists

UNCG Choirs
The mission of the UNCG Choirs is dedicated to the teaching, performance, study and cultivation of choral music of the highest quality representing not just the western choral canon but also choral music of other cultures by a diverse body of historical and new composers. We believe that the UNCG Choirs are a serious and distinctive medium of musical expression, of vital service and importance to its members and to UNCG. Through ensemble performance, we strive to create an environment of trust, communication, and expressive freedom, to present outstanding performances throughout the year, and to enhance the institutional sprit and character of UNCG. To music as an art and a profession, the UNCG Choirs seek to bring increasing artistry, understanding, and respect by efforts within our own immediate sphere and by providing leadership and sponsorship to school choral programs and through cooperation with all other agencies pursuing similar musical goals.

UNCG Choirs

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DRAwing Marathon Art Exhibition
2025-10-07 12:00 - 2025-10-11 17:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Drawing Marathon

An MFA Student Exhibition

October 7 – 11, 2025

Reception: Thursday, Oct 9th | 6-8p

Featured Artists

Quan Apollo

Matt Fisher

Nhân Lương

Melanie Mcallister

Victoria Mercado-Lues

Naomi Michelle

Calvin Ulrich

Alana Wilson

More About Drawing Marathon Exhibition

Drawing Marathon is a foundational course in the MFA Studio Arts program at UNCG. Through a four-week intensive course that meets for 14+ hours every weekend, students work through preconceived notions about their own image-making and artistic practices, spending large blocks of time drawing in response to prompts or guidelines and then discussing the learning process with peers and this year’s Drawing Marathon instructor, Jennifer Meanley. This exhibition is the culmination of the work produced during these four weeks by the graduate students, including a range of drawings from quick experimentations to fully resolved drawings.

Greensboro Project Space Weekly Gallery Hours:

Tuesday – Friday, 12 -5 PM

Saturday, 2-5PM

Symphonic Band
2025-10-07 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
https://youtube.com/live/Ca5-DGMkn_I?feature=share

Jonathan Caldwell, conductorStephanie Ycaza, tuba

Program

KEVIN DAYStride (2023)

IVETTE HERRYMAN RODRÍGUEZSantiago (2019)

NORMAN DELLO JOIOVariants on a Mediaeval Tune (1963)

GALA FLAGELLOVitality (2022)

DREW BONNERDeep, Dark Night (2019)

DMITRI SHOSTAKOVICHDance I from Suite for Variety Orchestra (1938)

About the Program
Stride (2023)

Kevin Day is a composer, jazz pianist, producer, and conductor who is known to juxtapose diverse musical traditions including contemporary classical, jazz, R&B, and soul with classical composition. His father was a prominent hip-hop producer, and his mother was a popular gospel singer. Day is one of eight founding members of the Nu Black Vanguard, a collective dedicated to the advancement of Black composers, and a graduate of Texas Christian University, the University of Georgia, and the University of Miami Frost School of Music. In 2024, Day joined the faculty at the University of California San Diego as a lecturer in theory and musicianship.

Stride celebrates Day’s college marching band experiences and the idea of walking with confidence and decisiveness to overcome obstacles within one’s path. The piece includes a high energy theme, a contrasting slower section, and a return to the theme for an optimistic, high-energy end.

— Note by Kevin Day and Patty Saunders

Santiago (2019)

Ivette Herryman Rodríguez, a Cuban-born composer, often incorporates elements of Cuban musical traditions into her work. Santiago takes its name from Santiago de Cuba, a city renowned for its vibrant musical life and carnival traditions. At the heart of this culture is the “Comparsa Santiaguera,” a parade of singers, dancers, and musicians that has become a defining feature of the city’s identity. The work celebrates Cuban musical traditions while paying tribute to Santiago de Cuba, capturing both the spirit of its music and the lively energy of the comparsa. The piece opens with a lyrical statement of the main melody played by the corneta china, a double-reed instrument with a piercing, trumpet-like sound that traditionally announces the comparsa. The theme is followed by three titled variations: Variation I: Chorale, which takes a lyrical approach to the main melody; Variation II: Lullaby and Dance, which introduces a waltz-like dance; and Variation III: Comparsa, which fully embraces the celebratory energy of the Cuban carnival.

— Note by Ivette Herryman Rodríguez and Molly Allman

Variants on a Mediaeval Tune (1963)

Norman Dello Joio, an American composer best known for his choral works, came from a musical family and first studied organ with his father before pursuing formal training. He is often identified as a postmodern, specifically neoromantic, composer. Postmodernism in music is characterized less by a unified style than by an emphasis on individual expression, extending modernism’s break from tradition by encouraging composers to reject past conventions and write freely. Neoromanticism is a branch of postmodernism but shows a distinct return to emotional expression in music seen in 19th-century Romanticism.

Variants on a Mediaeval Tune premiered on April 10, 1963, as Dello Joio’s first original work for band. It is based on a melody titled “In dulci jubilo,” a traditional Christmas carol, which acts as the main theme. It includes a brief introduction followed by the theme and five variants that strongly contrast in tempo and character, fully utilizing the possibilities of the band. The Mary Duke Biddle Foundation commissioned the piece for the Duke University Band with Paul Bryan, conductor.

— Note by Jaden Brown

Vitality (2022)

Gala Flagello is an American composer, teacher, and non-profit director. In 2022, Flagello was a composition fellow at the Aspen Music Festival. Part of her fellowship requirement was to submit a piece to be read and recorded by the Aspen Conducting Academy Orchestra. For this, Flagello chose to write Vitality.

Flagello wrote Vitality in 2022 for the Aspen Conducting Academy orchestral readings. It draws inspiration from a quote by Martha Graham, a renowned American dancer, teacher, and choreographer.

There is a vitality, a life force, a quickening, that is translated through you into action, and because there is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other medium and will be lost.

Found in a letter from Graham to fellow dancer and choreographer Agnes De Mille, this quote contains three ideas: the what, the how, and the why. Graham defines the “what” as the universal life-force within each person, the “how” as its unique expression through individual actions, and the “why” as the necessity of expression, since otherwise that force would be lost. Flagello writes that “the piece loosely follows this structure, musically exploring the prickly and potent glimmers of one’s life force alongside the uncertainty of self-expression and vulnerability.”

— Note by Gala Flagello and Jaden Brown

Deep, Dark Night (2019)

Drew Bonner is a composer and euphonium player. As a performer and educator, he writes for a range of ensembles, including euphonium quartets and wind bands. Deep, Dark Night is originally written for solo tuba and British brass band and explores the thoughts and emotions that arise as night falls: moments of reflection, grief, anxiety, and ultimately resilience. The piece captures experiences we have all faced: the quiet heaviness of the mind at night, as well as the emotional struggles that can accompany it.

The first movement begins with percussion and introduces a four-note motif that recurs throughout. This movement reflects a sense of melancholy and inner weight, as the motif is developed and varied, leading to a cadenza that descends into the tuba’s lowest register. The second movement, “Agitato,” conveys anger and a willingness to fight, driving forward with continuous motion through repeated rhythms, shifting melodies, and overlapping parts. The main motif reappears in the accompaniment while the soloist rises above it, creating contrast and ultimately concluding the work with determination and strength.

— Note by Tiffany Galus and Molly Allman

Dance I from Suite for Variety Orchestra (ca. 1956)

Dmitry Shostakovich was a highly regarded 20th century Russian composer who lived in the Soviet Union for much of his life. As a composer, he lived in the shadow of constant criticism and fear from Soviet authorities which dictated the trajectory of his work. When Shostakovich died in Moscow in 1975, his legacy included a prolific oeuvre that also reflected his personal experience of composing within the context of political oppression.

Dance no. 1 is taken from Shostakovich’s Suite for Variety Orchestra which was compiled by Shostakovich’s colleagues in the 1950s from his film and stage scores. “Dance no. 1” was adapted from “No. 16, ‘The Market Place’” in Shostakovich’s film score for The Gadfly and is a galloping race from the start. The dance includes a main theme, a contrasting middle section, and a return to the opening with whirling, scalar flourishes in the woodwinds and punctuated brass.

— Note by Patty Saunders and Gerard McBurney

About the Artists
Stephanie Ycaza

Stephanie Ycaza is the Assistant Professor of Tuba and Euphonium at the University of North Carolina at Greensboro. She previously held the position of Instructor of Tuba and Euphonium at the University of Northern Iowa, and has also served on the music faculties of Virginia Commonwealth University, Virginia State University, Longwood University, the University of Richmond, and Shenandoah University. Stephanie is active as a masterclass teacher and as a clinician for middle and high school bands.

Stephanie is a founding member of Calypsus Brass, a brass quintet dedicated to performing new works and providing high-quality recordings for composers. Calypsus is committed to promoting the works of composers from historically marginalized groups, and serves as an Ensemble-in-Residence for Rising Tide Music Press. Stephanie is Principal Tuba of the Waterloo-Cedar Falls Symphony, and has also performed with the Virginia Symphony, the Williamsburg Symphony, the Capital Wind Symphony, and the Virginia Grand Military band. She has also contributed to recording projects at Spacebomb Records in Richmond, VA. Stephanie’s recent solo performances have focused on music for tuba with electronic accompaniment, music by women composers, and her own transcriptions and arrangements for low brass. She has appeared as a soloist at the International Tuba Euphonium Conference, the Northeast, Southeast, and Midwest Regional ITEA Conferences, the Army Band Tuba-Euphonium Workshop, and the International Women’s Brass Conference. Stephanie also writes and gives presentations on the topic of mindfulness in the practice and performance of music.

Stephanie holds a Doctor of Musical Arts degree from Shenandoah University, a Master of Music degree and Artist Diploma from Yale University, and a Bachelor of Music degree from Virginia Commonwealth University. She studied with Dr. Ross Walter, Toby Hanks, Mike Roylance, Andrew Hitz, and Michael Bunn. Stephanie is a Miraphone tuba artist.

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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