College of Visual and Performing Arts

Studio Voice Recital
2026-02-16 17:30 - 19:00 (America/New_York) | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/mH-ongSpgsE

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Taylor Stirm, clarinet
2026-02-16 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/qU2NeSEq00k

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UNCG School of Art Faculty Exhibition
2026-02-17 12:00 - 2026-02-28 17:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
UNCG School of Art Faculty Exhibition

February 17 – 28, 2026

*Reception: Friday, February 27th | 5-7P

*The reception on February 27th is free, but advance registration is strongly encouraged. Registration link here.

The School of Art Faculty show is an exhibition that both reflects and celebrates the individual creative activity of the School of Art faculty.

Featuring Artwork by

Topher AlexanderMarian Taylor BrownHugh Condrey BryantRodgers DameronKarrington GardnerDan HaleHeather HolianTamra HuntBlas IsasiClaire IttnerNatasha LehnerJennifer Helen MeanleyLindsay MetivierKelley O’BrienKasia OzgaElizabeth PerrillMichelle PodgorskiRachele RileyKate RobinsonKendrick ShacklefordNill SmithMariam Aziza StephanBarbara Campbell ThomasChristopher ThomasKevin VanekEmily VoelkerLeilei XiaHeidi Zenisek

Chamber Singers and Coro di Belle Voci
2026-02-17 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/mGiZ2tWgJnA

Lindsay Kesselman, conductorSusan Young, pianoThomas Frost, graduate conductorRuiyu Shen, graduate conductor

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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G♮ Chamber Music: Prague à Paris
2026-02-18 17:30 - 19:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States
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The Message
2026-02-19 09:00 - 16:00, 2026-02-20 09:00 - 16:00, 2026-02-23 09:00 - 16:00, 2026-02-24 09:00 - 16:00, 2026-02-25 09:00 - 16:00, 2026-02-26 09:00 - 16:00, 2026-02-27 09:00 - 16:00 | Gatewood Studio Arts Center, 527 Highland Ave, Greensboro, NC 27412, USA, 527 Highland Ave, Greensboro, 27412, United States
Join the School of Art at UNCG as we welcome Steven M. Cozart to the Gatewood Gallery. This exhibition will be open February 19 – March 20th with a Reception and Artist Talk on February 19.

Steven M. Cozart is a highly accomplished artist-scholar and documentarian whose passion for Painting and drawing endures despite his colorblindness. His body of figurative work is deeply rooted in his personal experiences and introspections, with a thematic focus on race and identity in Black America. Through thoughtful and deliberate use of symbolic objects in his imagery, Cozart addresses the complexities and nuances of stereotypes affecting black men and women, especially as they exist within the black community itself.

To read more about Steven M. Cozart – https://www.stevenmcozart.com/

Alexandra Funk, Baroque flute
2026-02-19 19:30 - 21:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States

Stone's Throw Quartet
2026-02-19 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/wS69gfAWwlo

Dan Hartung, percussionMK Phillips, percussionLouis Raymond-Kolker, percussionAlex Richard, percussion

withCarey Harwood, guitarAjai Shaw, itótele

About the Artists
Dan Hartung is the Assistant Professor of Music, Percussion Coordinator, and Assistant Director of Bands at Elon University. He was recently the Percussion Director of the Tarpon Springs Leadership Conservatory for the Arts and is also the founder and artistic director of the Austin Percussion Collective (APC).

Dan has a longstanding commitment to commissioning new music. He has commissioned over 20 new works by prominent composers including Ian Whillock, Darian Thomas, Sophie Mathieu, Ivan Trevino, and Louis Raymond-Kolker. He has performed as a soloist and chamber musician with APC, Density512, Flat Water Trio, and LNK Percussion Collective. He has also served as principal percussionist for The Orchestra San Antonio, Opera San Antonio, Ballet San Antonio, and the Classical Music Institute Orchestra for the Andrea Bocelli World Tour.

Since 2014, Dan has been an active marching percussion educator working with some of the foremost high school and collegiate programs across the country. In 2017, he marched snare drum with the Troopers Drum and Bugle Corps and has taught such schools as James Bowie High School, Vista Ridge High School, Gretna High School, Michigan State University, the University of Texas at Austin, and many more.

Dan is passionate about studying Afro-Diasporic percussion. He has studied Afro-Cuban percussion genres in Havana and Matanzas, Cuba with renowned musicians Octavio Rodríguez Rivera, Miguel Bernal, Michel Aldalma, Miguelito León, and members of the Latin Grammy Award winning Los Muñequitos de Matanzas. Additionally, he has performed with the Afro-Puerto Rican Bomba group Tambores del Pueblo, the Austin West African Drum and Dance Company, and he participates in Afro-Venezuelan Tambor celebrations with San Juan USA in New York, NY and Miami, FL.

Dan has earned degrees from the University of Texas at Austin (D.M.A.), Michigan State University (M.M.) and the University of Nebraska-Lincoln (B.M.E.). He has been fortunate to study with some of the foremost collegiate educators including Dave Hall, Gwen Dease, Jon Weber, Kevin “Bujo” Jones, Ivan Trevino, Richard Huntley, and Tom Burritt. Dan is an endorsing education artist for Vic Firth sticks and mallets and Zildjian cymbals and a member of the Black Swamp Percussion Educator Network.

MK Phillips is a dynamic North Carolina-based percussionist and educator, currently serving as Adjunct Assistant Professor of Percussion at Wake Forest University, Adjunct Professor of Percussion at Winston-Salem State University, and Lecturer of Percussion at the University of North Carolina at Greensboro (UNCG). An active performer and clinician, MK has appeared as a guest artist, adjudicator, and clinician at universities, high schools, and conferences nationwide. They have also performed extensively at the Percussive Arts Society International Convention (PASIC).

MK earned a Doctor of Musical Arts (DMA) from the University of North Carolina at Greensboro, where they were recently recognized with the 2024–2025 Outstanding Graduate Teaching Assistant Award from the College of Visual and Performing Arts. They hold a Master of Music degree from the Indiana University Jacobs School of Music, as well as dual Bachelor’s degrees in Music Education and Music Performance from the University of North Carolina at Greensboro.

An advocate for new music, MK has recently commissioned and/or premiered works by composers including Annika Socolofsky, Nick Werth, Russell Wharton, Von Hansen, Ivan Trevino, Michael Burritt, Robert Honstein, Katherine Bodor, Rob Rankin, and Isaac Pyatt. As a chamber musician, they have performed at Percussive Arts Society International Convention (PASIC) with InBloom Percussion (2019), the Indiana University Percussion Ensemble (2018), the PAS All-Star Ensemble (2015), and the UNCG Percussion Ensemble (2015).

As an orchestral musician, MK has also performed with the Greensboro Symphony Orchestra, Winston-Salem Symphony Orchestra, Western Piedmont Symphony, Charlotte Symphony Orchestra, Piedmont Wind Symphony, North Carolina Brass Band, Roanoke Symphony Orchestra, Salisbury Symphony Orchestra, Fayetteville Symphony Orchestra, Davidson SCORE, Piedmont Opera, and the Greensboro Opera.

McKayla Phillips proudly endorses Black Swamp Percussion, Vic Firth, Balter Mallets, and Zildjian.

Louis Raymond-Kolker is a composer and percussionist from Austin, Texas. He is a member of Inside Out Steelband, Larkspur Percussion Duo, and the Austin Percussion Collective. He teaches percussion, composition, and music theory at High Point University.

Louis actively works to facilitate the creation and performance of new music, and foster connections between composers, performers, and audiences. His compositions blend a sense of sentimentality, vivid imagery, and treating silly things seriously (and vice versa). As a performer, Louis specializes on steelpan, the national instrument of Trinidad and Tobago, and regularly premieres new works for instruments in the steelpan family.

Louis is a member of the Dream Educators Collective and the Black Swamp Percussion Educator Network. His compositions are published through C. Alan Publications, Boxfish Music Publishing, and his website, louisraymondkolker.com.

Alex Richard is a percussion teacher and freelance artist based in Winston-Salem, NC. She currently serves as a Percussion Instructor for the Elon Marching Band, and serves as an Adjunct Instructor teaching drumset, American music history, and musical communication at High Point University. Alex has a vested interest in new and popular music, and how those intersect to inform contemporary performance. As an advocate for new music, Alex regularly commissions and joins consortium efforts for new and exciting percussion works. In the Fall of 2025, she performed Thierry De Mey’s Silence Must Be! as a part of the PASIC New Music Focus Day, and in Fall of 2024, she performed alongside several PAS North Carolina members, presenting accessible modern percussion ensemble works at the North Carolina Music Educators Association Conference.

Alex received her M.M. in Percussion Performance from The University of Nebraska-Lincoln, studying with Dr. Dave Hall, and her B.M. in Music Education from The University of Tennessee-Knoxville, studying with Dr. Andrew Bliss and Keith Brown. She currently serves as the Secretary for the North Carolina Chapter of the Percussive Arts Society, and spends her free time baking and hanging out with her small gray cat, Bubbles.

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Jazz Ensembles I and II ∙ Miles Ahead: Acoustic Miles
2026-02-19 19:30 - 21:30 | The Crown at the Carolina Theatre, 310 S Greene St, Greensboro, 27401, United States
The Miles Davis Jazz Studies Program celebrate their namesake in his centennial year with “Miles Ahead: Acoustic Miles!” Jazz Ensembles I and II present a program of Davis’ most compelling acoustic music from the years spanning 1947–67. His trailblazing spirit made an indelible mark on the history of American music, and the Jazz Studies program dedicate their spring 2026 semester to his musical legacy.

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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Frankenstein
2026-02-20 19:30 - 22:00, 2026-02-21 14:00 - 16:30, 2026-02-21 19:30 - 22:00, 2026-02-22 14:00 - 16:30 | UNCG Auditorium, 408 Tate St, Greensboro, NC 27403, USA, 408 Tate St, NC, United States
Adapted by Nick DearBased on the novel by Mary ShelleyDirected by Jim Wren

Dates:February 20 at 7:30 p.m.February 21 at 2 p.m. & 7:30 p.m.February 22 at 2 p.m.

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

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Age Rating: PG-13Run Time: Approx. 2.5 hrs.Production Location: UNCG Auditorium, 408 Tate St, Greensboro, NC 27403

Summary:

Nick Dear’s electrifying adaptation of Mary Shelley’s Frankenstein retells the classic tale through the eyes of the Creature—a being brought to life by the brilliant but tormented Victor Frankenstein. Abandoned at birth and shunned by all, the Creature searches for love, only to find cruelty. As he learns language, empathy, and rage, his desire for belonging turns into a thirst for vengeance. What begins as a scientific triumph spirals into a brutal battle between creator and creation—bound by horror, hatred, and an inescapable fate.

UNCG School of Theatre’s license to present Nick Dear’s version of FRANKENSTEIN from the novel by Mary Shelley is granted by Rosica Colin Limited, London.

Movers and Makers
2026-02-20 19:30 - 22:30, 2026-02-21 19:30 - 22:30 | Dance Theatre, 1408 Walker Avenue, Greensboro, NC, 27412, United States
Please join us for Movers and Makers Showcase presented by Prime Movers.

Doors open at 7:00pm, show will start promptly at 7:30pm. If you arrive late to the show you will only be allowed entrance between pieces.

Tickets for sale via Etix.

Prices:

Adult: $10.68

Student: $5.34

Senior: $7.47

Limit 10 tickets per order.

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The Lincoln Sisters of Deckawoo Drive
2026-02-21 10:00 - 11:00, 2026-02-21 14:00 - 15:00 | Pam and David Sprinkle Theatre, 402 Tate Street, Greensboro, NC, 27403, United States
By Moses GoldbergAdapted from the books by Kate DiCamilloIllustrated by Chris Van DusenDirected by Lizzy BrannanA North Carolina Theatre for Young People ProductionWorld Premiere Production!

Dates:February 7 at 10 a.m. & 2 p.m.February 14 at 10 a.m. & 2 p.m.February 21 at 10 a.m. & 2 p.m.February 28 at 10 a.m. & 2 p.m.

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

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Age Rating: GRun Time: Approx. 1hr.Production Location: Pam and David Sprinkle Theatre (Brown Building), 402 Tate St, Greensboro, NC 27412, and touring to schools and organizations in NC. Frame/Works Discussion via Teams and in Person: Mar. 2 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.

Touring Performances: NCTYP will bring the magic of live theatre to your school or organization! This production is touring every Tuesday and Thursday, Mar. 3 to Apr. 28, 2026, except during Spring Break, which is Mar. 7-16. For information about bringing the touring version of this show to your school or organization, please contact the School of Theatre Box Office at 336-334-4392 or email them at grpsales@uncg.edu while classes are in session. To book a touring performance before classes are in session, please email Josh Ritter at jsritter@uncg.edu.

Summary:

Meet the Lincoln Sisters of Deckawoo Drive—opposites in every way, but bound by family, heart, and hilariously unexpected adventures. This charming spin-off from the beloved Mercy Watson series shines a spotlight on the no-nonsense Eugenia Lincoln and her sweet, spirited sister Baby. Baby Lincoln embarks on an exciting journey while her sister encounters an extraordinary package. Guided by the people they meet on the train, their nosy neighbors, and Mercy the pig, they make important discoveries about themselves – perhaps most importantly, that they love each other. With laugh-out-loud moments and tender surprises, this stage adaptation celebrates the power of change, sisterhood, and the joy of embracing the unknown.

Michaela Kelly, soprano
2026-02-22 15:30 - 17:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/1XvyOXeJuEA

Soprano, researcher, and teacher Michaela Kelly is currently Assistant Professor of Voice at the University of North Carolina at Greensboro. Previously, Kelly taught as lecturer at Scripps College and Chapman University in Southern California. Kelly was a recipient of the 2024 Emerging Leader Award from the National Association of Teachers of Singing (NATS) and recently served as Vice President of Programs for NATS-Los Angeles.

Her article “The Composition of a Voice Lesson: How a Motor Learning Classification Framework Affects Teacher Effectiveness” was published in the May/June 2025 edition of the Journal of Singing. She will present her research in the fall of 2025 at the Pan American Vocology Association (PAVA) Conference hosted in Mexico City. Kelly was a presenter at the Cal-Western NATS Conference and poster presenter at the NATS National Conference where she shared her paper, “What Is in a Voice Lesson Anyway?” which analyzes the contents of a voice lesson through the lens of motor learning.

A flexible and dynamic performer, Kelly has most recently sung with the Los Angeles Opera Chorus and Los Angeles Master Chorale. She is an avid recitalist and passionate about Art Song. She was a recipient of the inaugural American Art Song Prize at SongFest where she performed a recital curated and coached by Libby Larsen, John Musto, and Martha Guth. She has performed as a recitalist at Toronto Summer Music Festival, the Classical Music Institute, Source Song Festival, and has appeared as a soloist with the Claremont Concert Orchestra, Thornton Wind Ensemble, I Cantori di Carmel, New England Conservatory Opera, and NEC Choirs and Orchestra.

Dr. Kelly holds a Bachelor of Music (BM) in Music Education from the University of North Carolina at Greensboro, a Master of Music (MM) in Vocal Pedagogy from the New England Conservatory, and a Doctor of Musical Arts (DMA) in Vocal Performance from the University of Southern California.

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Faculty Composers Concert
2026-02-22 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/PEveFkee_e8

Music by Luke Ellard, Mark Engebretson, Billie Feather, Mara Gibson, Steve Landis, and Alejandro Rutty

with Erika Boysen, flute Susan Fancher, soprano saxophone Hank Smith, banjo Ināra Zandmane, piano

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Katherine Otter, Chloe-Olivia Gloston, and Gisele Diaz, piano
2026-02-23 17:30 - 19:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States

Sarah Lucas-Page, clarinet
2026-02-23 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/BcG9Qd2CYAg

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University Chorale
2026-02-24 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/pTNX77DM2AM

Kari Adams, conductorSusan Young, pianoRuiyu Shen, graduate conductor

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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Sounding Board
2026-02-26 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/sJcQs5n8zts

withAnnie Jeng, piano Rachael Keplin Gladen, viola Luke Ellard, clarinets Erik Schmidt, marimba

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Wind Ensemble
2026-02-27 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
https://youtube.com/live/KhTlxcXD6PE

Robert Young

John R. Locke

Sarah McKoin

William L. Lake, Jr.

Carolina Band Festival and Conductors Conference

Jonathan Caldwell, conductorRobert Young, saxophoneJohn R. Locke, guest conductorSarah McKoin, guest conductorWilliam L. Lake, Jr., guest conductor

Program

JOHN PHILIP SOUSASesquicentennial Exposition March (1926)

CAROLYN BREMEREarly Light (1999)

INGOLF DAHLConcerto for Saxophone and Wind Orchestra (1949/1953)

Recitative Adagio Rondo alla Marcia: Allegro brioso

MORTON GOULDYankee Doodle (1945)

LEONARD BERNSTEIN Symphonic Dances from West Side Story (1960)transcribed by Paul Lavender

About the Program
Sesquicentennial Exposition March

John Philip Sousa (1854–1932), America’s most celebrated band composer of his era, is widely known as the “March King.” Through his military band marches, he helped define the sound and identity of American band music at the turn of the twentieth century.

Born in Washington, DC, to a trombonist in the US Marine Band, Sousa was immersed in music from childhood. He trained as a violinist, studied composition, and at thirteen enlisted in the Marine Corps as an apprentice musician. After years as a theater conductor and performer, he returned in 1880 to lead the US Marine Band, a post he held until 1892. He then formed the Sousa Band, which toured internationally for nearly four decades, presenting more than 15,000 concerts.

Sousa composed 136 marches, along with operettas, dances, and songs, admired for their energy, craftsmanship, and expressive range. His most famous work, The Stars and Stripes Forever, later designated the national march of the United States, was the final piece he conducted before his death in 1932.

Commissioned in honor of the 150th anniversary of American independence, Sesquicentennial Exposition March was designated the official march of the Philadelphia Sesquicentennial Exposition. Dedicated to Philadelphia mayor W. Freeland Kendrick, the march received its premiere on the opening concert of the Sousa Band’s thirty-fourth annual tour in Hershey, Pennsylvania, on July 4, 1926, alongside premieres of Pride of the Wolverines and The Gridiron Club. The work captures the spirit of the struggle for American independence: its opening strain evokes the fiery resolve of revolutionary-era debate, with woodwinds and brass set in opposition to suggest conflicting viewpoints throughout, before converging in a unified, triumphant conclusion.

Early Light

Carolyn Bremer forged a path as a composer after extensive training as a double bass player. She studied at the Eastman School of Music in Rochester, New York, the California Institute of Arts in Santa Clarita, and the University of California, Santa Barbara, and later in her career served as associate director of the Bob Cole Conservatory of Music at California State University, Long Beach. She composed Early Light for the Oklahoma City Philharmonic, which premiered the work in 1995. Its musical material is derived primarily from “The Star-Spangled Banner.” In this bright and uplifting piece, Bremer—a passionate baseball fan since childhood—frames her excitement at hearing the national anthem before ball games. The percussive slapheard near the end echoes the crack of the bat on a long home run.

Concerto for Saxophone and Wind Orchestra

Ingolf Dahl conceived of his Concerto for Saxophone and Wind Orchestra in 1948 after receiving a letter from saxophone virtuoso Sigurd Rascher expressing interest in a large-scale work for saxophone. Rascher proposed the idea that the accompaniment should be scored so it could be performed with either band or orchestra, but Dahl quickly abandoned the idea of the orchestra, scoring it solely for band. Excited by the challenge of writing a new work for band, Dahl remarked, “Somebody has to write the big pieces, the symphonic works, if the medium is to be elevated.” The concerto, initially titled Fantasy, was conceived as a one-movement piece in three sections: recitative, arioso, and allegro. Later, Dahl transformed the work into a multi-movement piece.

Concerto for Alto Saxophone and Wind Orchestra was finished and premiered in May of 1949 by Rascher and the University of Illinois Concert Band. Dahl soon realized that Rascher was the only saxophonist in the world able to play the concerto due to its utilization of the very high “altissimo” register. This led to the concerto’s first revision in 1953, in which the third movement was substantially rewritten to give the soloist an alternative to the altissimo passages. A third revision was made in 1959, which included the removal of several sections, shortening the piece to about three quarters of its original length. As for the differences between the original and published versions, saxophone historian Paul Cohen writes: “When listening to the revised version of the concerto in comparison to the original, it is clear that Dahl was operating from a different compositional perspective.” This evening, we will perform the 1959 version.

Henry Cowell told Dahl that his concerto was “one of the most important and well-written band pieces he had ever seen.” One of Dahl’s closest contemporaries, Igor Stravinsky, was so moved by the piece that it brought him to tears. Within a decade of Dahl’s completion, the Concerto for Alto Saxophone and Wind Orchestra was performed by an extensive list of collegiate and professional ensembles, including the Los Angeles Philharmonic and the Boston Symphony Orchestra. Concerto for Alto Saxophone and Wind Orchestra remains one of Dahl’s most frequently performed works.

Yankee Doodle

In 1945, the final year of World War II, Morton Gould created a joyful setting of a tune that can be traced back to the very founding of our country and beyond, the iconic “Yankee Doodle.” Although there is incontrovertible evidence that the tune was in use at the time of the Revolution, its origins remain shrouded in mystery. Countries including England, France, Holland, and the United States have laid claim to it, and a definitive answer as to the source of the melody itself may never be known. The lyrics, however, can be traced back to the French and Indian War (1754–63). Although the British were fighting alongside colonial soldiers in this conflict, they had nothing but contempt for the unprofessional appearance and undisciplined bearing of their American cousins. Dr. Richard Schuckburgh, a British Army surgeon assigned to duty with the colonials in Albany, New York, found their shabby appearance so amusing that he penned the lyrics most associated with the melody today. Although his words were designed to insult the Yankees (“Doodle” is a Low German word meaning “fool”), by the time of the Revolutionary War Americans had come to embrace the song as their own. According to Moore’s Encyclopedia of Music, “When the battle of Concord and Lexington began the war, the English, when advancing in triumph, played along the road “God Save the King,” but, on their disastrous retreat, the Americans struck up “Yankee Doodle.”

Symphonic Dances from West Side Story

A child of the Jazz Age, Leonard Bernstein grafted George Gershwin’s Russian immigrant roots onto Cole Porter’s Ivy League education (Harvard, for Bernstein). His protean career developed very quickly: his famous debut conducting the New York Philharmonic on short notice in a nationally broadcast concert in November 1943 was followed the next year by the premieres of his First Symphony (“Jeremiah”) with the Pittsburgh Symphony; his ballet Fancy Free, choreographed by Jerome Robbins, at the Metropolitan Opera; and his Broadway musical On the Town.

In 1955-57, Bernstein wrote the musical West Side Story, the work that would ensure his fame as a composer. Then—after a New York run of almost two years (772 performances) and a national tour—in the opening weeks of 1960, Bernstein revisited his score for West Side Story and extracted nine sections to assemble into the Symphonic Dances. They premiered at a “Valentine for Leonard Bernstein” gala concert by the New York Philharmonic (a fundraiser for the orchestra’s pension fund) under Lukas Foss’ direction, on February 13, 1961.

The stylistic diversity within the Symphonic Dances is partially created by the juxtaposition of classical techniques (fugue, etc.) with dance rhythms and jazz syncopations. However, the essence of the entire score is that most prominent opening melodic figure of “Maria” (C-F sharp-G), with its characteristic tritone interval. The suite ends, like the musical itself, on edge, with an evocative chord containing the same interval.

The crucial role of dance in West Side Story added to the challenge of adapting the music for the concert platform. The orchestrations call for vibrant instrumental combinations and a huge percussion section (not to mention the vocal talents of the orchestra members!) to enhance the kinetic quality of the rhythms. More deeply, they tilt the narrative weight from a love story to gang conflict. We hear first the rivalry between the Jets and the Sharks, then the utopian opposite; their juxtaposition creates a dramatic tension that shapes the entire work. The printed score includes the following descriptions:

Prologue (Allegro moderato)—The growing rivalry between two teenage street gangs, the Jets and Sharks.

“Somewhere” (Adagio)—In a visionary dance sequence, the two gangs are united in friendship.

Scherzo (Vivace e leggiero)—In the same dream, they break through the city walls and suddenly find themselves in a world of space, air, and sun.

Mambo (Meno presto)—Reality again; competitive dance between the gangs.

Cha-cha (Andantino con grazia)—The star-crossed lovers [Tony and Maria] see each other for the first time and dance together.

Meeting Scene (Meno mosso)—Music accompanies their first spoken words.

Cool Fugue (Allegretto)—An elaborate dance sequence in which the Jets practice controlling their hostility.

Rumble (Molto allegro)—Climactic gang battle during which the two gang leaders are killed.

Finale (Adagio)—Love music developing into a procession, which recalls, in tragic reality, the vision of “Somewhere.”

About the Soloist
Robert Young

Fueled by a deep desire to create an enthusiasm surrounding the classical saxophone, 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.

About the Wind Ensemble

The UNCG Wind Ensemble is the premier wind band of the UNCG School of Music, uniting fifty outstanding musicians from across the United States and around the world. Its members—ranging from first‑year undergraduates to master’s and doctoral students in performance and music education—are selected through a highly competitive audition process. Ensemble musicians regularly earn top solo and chamber awards, competitive scholarships and fellowships, and professional positions in orchestras, military bands, teaching, and arts leadership. Current students represent seventeen states, Slovenia, and Hong Kong.

For decades, the ensemble has built a distinguished record of artistic excellence, with acclaimed performances at the John F. Kennedy Center for the Performing Arts, Lincoln Center, and leading venues throughout the eastern United States. Its catalog of more than twenty commercial recordings has received national recognition and helped position UNCG as a leader in wind band performance, commissioning, and recording.

The Wind Ensemble has been featured at major national and regional conferences of the College Band Directors National Association (CBDNA), National Band Association (NBA), American Bandmasters Association (ABA), and Music Educators National Conference (MENC). The ensemble has also collaborated with prominent composers and performers, including Pulitzer Prize–winning composer Karel Husa and other influential figures in the field.

Recent highlights include performances at the Music Center at Strathmore; a joint concert with the United States Army Band “Pershing’s Own”; a twelve‑day international tour through the Czech Republic, Austria, and Italy, culminating in a featured performance at Prague’s renowned Dvořák Hall; and a tour of the Southern United States that concluded with an appearance at the national conference of the College Band Directors National Association.

UNCG Bands
The UNCG Bands are devoted to the performance, study, and advancement of wind band music at the highest artistic level. Recognized as one of the nation’s premier collegiate band programs, the UNCG Bands maintain an active and distinguished record of excellence through performances, recordings, tours, and appearances at major conventions.

Through exemplary organization, training, and presentation, the UNCG Bands offer exceptional musical experiences for our members and share outstanding performances throughout the year. Together, we enrich the cultural life, spirit, and character of UNCG.

The UNCG Bands also proudly support music education across North Carolina and throughout the region by providing leadership, mentorship, and sponsorship to secondary school band programs and other musical organizations.

UNCG Bands

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