Jackson Hopper, double bass
2025-10-10 17:30 - 19:00 (America/New_York) | Organ Hall, 100 McIver St, Greensboro, 27412, United States
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Concert Band
2025-10-10 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
https://youtube.com/live/nqLlBEl5GwY?feature=share

Patty Saunders, conductorLuke Ellard, clarinetMolly Allman, conductorJaden Brown, conductor

Program

VÁCLAV NELHÝBELCorsican Litany (1796)

ELENA SPECHTTo Old and New Places (2024)

JODIE BLACKSHAWInto the Sun (2017)

JOHN WILLIAMSViktor’s Tale from The Terminal (2009)

KEVIN DAYSummit (2021)

JOHN BARNES CHANCEVariations on a Korean Folk Song (1967)

About the Program
Corsican Litany

Václav Nelhýbel was a prolific Czech composer and conductor who studied composition and conducting at the Prague Conservatory of Music and musicology at Charles University and the University of Fribourg (Switzerland). He was the assistant conductor of the Czech Philharmonic and a composer and conductor of the Swiss National Radio. He co-founded and directed the Radio Free Europe in Munich and conducted the Vienna Philharmonic and Bavarian Symphony. He emigrated from the Czech Republic to the United States in 1957.

Fascinated with the American concert band, Nelhýbel wrote Corsican Litany to explore the possibilities of the ensemble. Corsican laments were split into two categories: laments for deaths from natural causes and voceru, songs of grief and vengeance for victims of murder. The voceru that inspired Nelhýbel’s Corsican Litany was first sung in 1775 at the funeral of a country doctor named Matju who had been murdered by his patient. This piece begins with the sound of tolling chimes to announce the beginning of mourning, weaves sonically through pain and loss, and ends with the chilling reminder that, despite the voceru belief that vengeance can heal, the tolling chime remains.

Note by Patty Saunders

To Old and New Places

Elena Specht is a composer whose work often grows out of compelling stories and a strong sense of place. Her music has been performed by groups such as the U.S. Coast Guard Band and university wind ensembles. She currently works as a librarian with “The President’s Own” United States Marine Band.

To New and Old Places is written in three movements; each tied to a scene in a different young adult novel. In the first, based on Jeanne DuPrau’s The City of Ember, two young characters witness the sun rising for the very first time. The second, based on Caroline B. Cooney’s The Face on the Milk Carton, captures the bittersweet longing of a teenager imagining the life she might have had with her lost family. The final movement, from C.S. Lewis’s The Voyage of the Dawn Treader, carries the thrill of a voyage into uncharted seas.

Note by Elena Specht and Molly Allman

Into the Sun

Jodie Blackshaw is an Australian composer and conductor who studied composition with Larry Sitsky at the Australian National University. Blackshaw founded the Female Band Composer database in 2017 and the ColourFULL Music website in 2018. She is a composer that takes a student-centered approach in her works, often including storylines, options for student decision-making, and program narratives that connect the piece with a larger story.

Into the Sun is a compilation of stories told about the passage to Australia from the points of view of free settlers in the 1800s, post-World War II immigrants, and refugees seeking asylum. Blackshaw includes real-life stories that correspond to each of the piece’s six sections in her program notes that describe the emotional highs and lows of leaving home to find a new one. The sections include the Arrival; A New Land, a New Life; Camps and Confusion; Acculturation: A Yearning for Home and All That is Familiar; Opportunity: With New-Found Enthusiasm; and Reflection: With a Feeling of Inner Peace of Calmness. Written to raise awareness of the plight of refugees, Blackshaw broadens her programmatic message communicating a desire for all people to love one another. Blackshaw’s Into the Sun emphasizes this importance and the responsibility to help refugees in times of need.

Note by Jodie Blackshaw and Patty Saunders

Viktor’s Tale from The Terminal

John Williams is one of the most celebrated and influential film composers of the modern era. An American composer from New York, Williams was the son of a jazz drummer and studied at UCLA, the Juilliard School, and Eastman. His career has included collaborations with director Steven Spielberg and George Lucas that has produced some of the most recognized music in cinematic history including Schindler’s List, Indiana Jones, and Star Wars. He has won numerous awards including five Academy Awards and twenty-five GRAMMY® awards. Williams remains active as a composer and conductor and continues to broaden his impact on modern film.

Viktor’s Tale is a composition for solo clarinet and orchestra that was developed from Williams’ score for the Steven Spielberg film The Terminal. Part drama and part comedy, the film follows the protagonist, Viktor Navorski, as he finds himself a man without a country, stuck in an airport terminal for days on end. Williams’ score brings to life this unfortunate circumstance and includes a musical portrait of Navorski’s warmth and friendliness through a dance-like piece for clarinet and ensemble.

Note by the United States Marine Band and Patty Saunders

Summit

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.

Day composed Summit in 2020 after being commissioned by the Indiana Bandmasters Association. The piece depicts a group of climbers as they journey up the face of a mountain. Along the way, they encounter many obstacles, including cliffs and chilling winds, but the team perseveres and makes their way to the top.

Note by Kevin Day and Jaden Brown

Variations on a Korean Folk Song

A native of Texas, John Barnes Chance was an American composer and arranger who received his bachelor’s and master’s degrees from the University of Texas, where he studied with Clifton Williams, Kent Kennan, and Paul Pisk. He performed as a percussionist with the Austin Symphony Orchestra and served as an arranger for the 4th Army Band in San Antonio and the 8th Army Band in Seoul, Korea. After leaving the Army, the Ford Foundation selected Chance to participate in the Young Composers Project. From 1960 through 1962, he was composer-in-residence for the Greensboro Ford Foundation Young Composers Project writing for the Greensboro, North Carolina public school system and Greensboro Senior High School, now Grimsley High School. Chance was a prolific composer for wind band with works including Incantation and Dance and Blue Lake Overture.

While stationed overseas in Seoul, Chance heard the popular Korean folk song “Arirang” which inspired Variations on a Korean Folk Song. A song of love and heartbreak, the theme is based on the ujo mode pentatonic scale and can be traced back to the 18th century. The tune was also used as a resistance anthem during the Japanese occupation of Korea when the singing of patriotic songs was criminalized. About the melody, Chance said, “The tune is not as simple as it sounds, and my fascination with it during the intervening years led to its eventual use as the theme for this set of variations.” The theme is followed by five variations that alternate between fast and slow tempos and use multiple time signatures and rhythmic patterns to alter the theme. Variations on A Korean Folk Song is a cornerstone work for band and received the Sousa/Ostwald Award from the American Bandmasters Association in 1966.

Note by Patty Saunders

About the Artists

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).

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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The Den Community art Exhibition
2025-10-14 12:00 - 2025-10-25 17:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
[ ] @ GPS

The Den Community Exhibition

Curated by Jalani Maxwell, Dismantled Supply Co.

October 14 – 25, 2025

Reception: Friday, October 17th | 6-8P

Additional Events:

Loafs and Loafers by Kyle Scott, Oct 16th | 6-9PM

Syn[ ]cate Basement Show by Dom Savant, Oct 22nd | 6-9PM

[ ] Artist Forum, Oct 25th | 3-4:30PM

Featured Community Artists

Nailah BrewerLyric BrooksDarius CantyAminah CoppageJakai DickersonDawoud EvansMyles GravesKijani GrinageCain JohnsonTristen JonesMalcolm KingJalani MaxwellA’Daria MoffettRaynette NahDemarjae PowellKeir RichardIsaiah SoutherlandAmari Stimpson-Hatcher,Jordan X

More About [ ] @ GPS

Sick of fighting to be seen?

Maybe [ ] is the place for you.

Den, more commonly referred to as [ ] , is a grassroots organization founded in Greensboro, NC in 2024. Functioning to offer minority and youth artist with opportunities for professional artistic development, [ ] actively engages with a developing arts scene through a variety of interventions, workshops and activities. This exhibition serves as a culmination of our efforts thus far and a glimpse into the world [ ] is cultivating.

It is just as much our world, as it is yours; tell us what you see.

So, how about it [ ] ? You in?

Curatorial Statement

Stories untold often just need space to be heard, felt, seen and more importantly, experienced. Making space is taking space. “Third spaces” are the kind DSCo holds conversation in. These exist as syncretic hubs, embracing a variety of identities and fostering interest. Championing intersectionality, [ ] gives space to a community with a ring of its own.

Dismantled Supply Co. presents to you, [ ] .

Greensboro Project Space Weekly Gallery Hours:

Tuesday – Friday, 12 -5 PM

Saturday, 2-5PM

Owen Kellam, horn
2025-10-15 17:30 - 19:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/l0QiFTHPmnc?feature=share

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Crossing the Coulee
2025-10-16 09:00 - 16:00, 2025-10-16 09:00 - 2025-10-19 04:00, 2025-10-17 09:00 - 16:00, 2025-10-20 09:00 - 16:00, 2025-10-21 09:00 - 16:00, 2025-10-22 09:00 - 16:00, 2025-10-23 09:00 - 16:00, 2025-10-24 09:00 - 16:00 and 2 more dates | UNCG Gatewood Studio Arts Building, 527 Highland Ave, Greensboro, NC, United States
Kate Gordon’s studio practice focuses on painting in the expanded field, sourcing inspiration from pop-up books, dioramas, and collage. The dream imagery that Gordon mines aims to capture the strangeness of the waking world, which is often not as logical as it might at first appear. Gordon has shown her paintings, collages, and video works nationally; exhibitions include a site-specific installation “Alligator Naps” at the Hilliard Art Museum, curation into the Weatherspoon Art Museum’s “Art on Paper” exhibition, and an invitation to create a public video installation at Block 2, a visual platform for new media artists in Raleigh, NC. Most recent professional accomplishments include participation in Kolaj Institute’s Artist Residency in Scotland, curation into “Is This Too Much?”, a maximalist exhibition at Le Mieux Galleries, and inclusion in the “Louisiana Contemporary” exhibition at the Ogden Museum of Southern Art. Gordon currently holds the position of Associate Professor of Figure Drawing & Foundations at the University of Louisiana at Lafayette. She earned an M.F.A. from the University of North Carolina at Greensboro and a B.F.A. from Pratt Institute.

Exhibition runs October 16 – December 5, 2025 Monday – Friday, 8am – 4pmArtist Talk and Reception October 16, 4:30pm

AGSD Showcase
2025-10-17 19:30, 2025-10-18 19:30 | Coleman Theatre, 1408 Walker Ave, Greensboro, North Carolina, 27412, United States
The association of Graduate students in Dance will present a concert showing works in progress and feature undergraduate and graduate dancers.

7:30pm Coleman Theatre (306)

Count Basie Orchestra
2025-10-17 20:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
In the history of Jazz, there is only one bandleader that has the distinction of having his orchestra still performing sold-out concerts all over the world, with members personally chosen by him, for nearly 40 years after his passing. Pianist and bandleader William James “Count” Basie was and still is an American institution that personifies the grandeur and excellence of Jazz. The Count Basie Orchestra, today directed by Scotty Barnhart, has won every respected jazz poll in the world at least once; won 18 Grammy Awards; performed for Kings, Queens, and other world Royalty; appeared in several movies and television shows; and at every major jazz festival and major concert hall in the world.

The most recent honor is a 2024 Grammy Win of Best Large Jazz Ensemble for Basie Swings the Blues! Other honors include their 2022 Grammy Nomination for Live at Birdland, a 2018 Grammy Nomination for All About That Basie, which features special guests Stevie Wonder, Jon Faddis, and Take 6 among others, and the 2018 Downbeat Readers Poll Award as the #1 Jazz Orchestra in the world. Their critically acclaimed release in 2015 of A Very Swingin’ Basie Christmas! is the very first holiday album in the 80-year history of the orchestra. Released on Concord Music, it went to #1 on the Jazz charts and sold out on Amazon! Special guests include vocalists Johnny Mathis, Ledisi, our own Carmen Bradford, and pianist Ellis Marsalis.

A BBC TV-produced documentary on Mr. Basie and the orchestra titled Count Basie: Through His Own Eyes premiered on PBS in the US and UK in 2019 coinciding with the orchestra’s 85th Anniversary. It features interviews by Quincy Jones, Scotty Barnhart, Dee Askew, John Williams, and several other important members and associates of Mr. Basie and the orchestra.

Orchestra/MezzBalconyUNCG Students$7.50$7.50UNCG Faculty/Staff$25.00$25.00Adults$65.00$50.00Seniors/Military$55.00$40.00Children (K-12)$30.00$15.00

PURCHASE TICKETS

* Tickets to CVPA and UCLS events are sold exclusively through our box office locations and ETix website, and nowhere else. Tickets purchased through third-party vendors cannot be honored.

Some of the greatest soloists, composers, arrangers, and vocalists in jazz history such as Lester Young, Billie Holiday, Frank Foster, Thad Jones, Sonny Payne, Freddie Green, Snooky Young, Frank Wess, and Joe Williams, became international stars once they began working with the legendary Count Basie Orchestra. This great 18-member orchestra is continuing the excellent history started by Basie of stomping and shouting the blues, as well as refining those musical particulars that allow for the deepest and most moving of swing.

Current members include one musician hired by Basie himself: trombonist Clarence Banks (1984). Long-time members include Doug Miller (1989, formerly w/Lionel Hampton), guitarist Will Matthews from Kansas City (1996), and members who have 15-25 years of service; trombonist Mark Williams, trumpeters Shawn Edmonds and Endre Rice, saxophonists Doug Lawrence (formerly w/Benny Goodman) and returning on lead alto, David Glasser. Newer members include bassist Trevor Ware, lead trumpeter Frank Greene III, trumpeter Brandon Lee, pianist Reginald Thomas, lead trombonist Isrea Butler, bass trombonist Ronald Wilkins, alto sax and flute Stantawn Kendrick, and the youngest members, drummer Robert Boone and baritone saxophonist Josh Lee.

In addition to public presentations, artists in the UCLS series have important interactions with UNCG students, such as holding masterclasses, talkback sessions, and seminars, often just hours before performing on stage. Thanks to a grant from The Cemala Foundation, some of these artists also work with K-12 students in the Guilford County Schools.

Open House For Prospective Music Students
2025-10-20 08:30 - 16:00 | UNCG School of Music, 100 McIver St, Greensboro, NC, 27412, United States

George Fu, piano
2025-10-20 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
American pianist George Xiaoyuan Fu is “one of the most exciting pianists of our time… a deep thinker, thoroughly in command” (The Arts Desk). The winner of BBC Music Magazine’s 2024 Newcomer Award, he is garnering international acclaim as a fearless and probing interpreter of a wide array of music, combining “phenomenal technique with a profound sense of interpretative clarity” (Apple Music).

Highlights for Fu’s 2025-26 season include his solo debut at the Frick Collection in New York City, playing the entire cycle of Oliver Messiaen’ Vingt Regards sur l’Enfant-Jésus; as well as a new solo piano commission he is writing for his recital at Wigmore Hall in London. He also appears at the Concertgebuow and with the Chamber Orchestra of Philadelphia with his ensemble, Trio Zimbalist, comprised of violinist Josef Špaček and cellist Timotheos Gavriilidis-Petrin.

Fu has appeared throughout major venues around the world such as the Wigmore Hall, Carnegie Hall, 92nd Street Y, Konzerthaus Berlin, Kennedy Center, St Martin In the Fields, the Southbank Centre, and Kings Place. As concerto soloist he has performed with National Symphony Orchestra (USA), Baltimore Symphony Orchestra, North Carolina Symphony, Tanglewood Music Center Orchestra, and the Curtis Symphony Orchestra, amongst others. He appears regularly at festivals worldwide such as the Aldeburgh, Ryedale, Presteigne, Tanglewood, Smetanova Litomyšl, and the Santa Fe Chamber Music Festivals. His performances and interviews have been featured on broadcasts around the world, ranging from BBC Radio 3 and National Public Radio, to appearances on PBS/American Public Television and On Stage At Curtis in Philadelphia. In addition to Trio Zimbalist, Fu enjoys fruitful collaborations with a wide variety of artists such as Roberto Díaz (viola), Dmitri Sitkovetsky (violin), Tamsin Waley-Cohen (violin), Mika Sasaki (piano), Liv Redpath (soprano), and Lotte Betts-Dean (mezzo-soprano).

As an emerging composer, Fu’s growing catalogue of original works and arrangements exhibits fresh imagination and virtuosity, all the while drawing from a lifetime of studying a vast repertoire spanning several centuries. His Passacaglia on a Theme by Radiohead was recently featured on NPR’s All Songs Considered and hailed as “kind of mind-blowing” by Robin Hilton; while his arrangements of Ravel’s Daphnis et Chloé Suite No. 2 and Smetana’s Dance of the Comedians have seen successful debuts internationally. This year Trio Zimbalist will debut his first Piano Trio throughout concerts in the US.

Fu’s second studio album, Colouring Book, was released with Platoon Classical in March 2025 to international acclaim, with Gramophone Magazine hailing it as one of the best classical releases of the year: “Fu plays his own music with tremendous authority and colouristic resources, as he also does with the Cruttwell-Reade and Aucoin selections… As for the Debussy Études, Fu’s recordings contain some of the most enchantingly characterised interpretations I’ve heard since those of Ju-Ying Song, Florent Boffard, Mitsuko Uchida and Jean-Efflam Bavouzet. Yes, they’re that good!” (Jed Distler) His first solo album, MIRRORS (Platoon), won BBC Music Magazine’s 2024 Newcomer Award for best debut release.

Fu made his concerto debut with the National Symphony Orchestra at the Kennedy Center at the age of 17. After earning a bachelor’s degree in economics from Harvard University, Fu studied with Jonathan Biss and Meng-Chieh Liu at the Curtis Institute of Music, and then with Christopher Elton and the Dame Myra Hess Chair of Piano Joanna MacGregor at the Royal Academy of Music. Additional mentors have included David Ludwig and Pierre-Laurent Aimard. He resides in London.

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An Evening with Demeanor
2025-10-21 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/RXUncMlekYo?feature=share

“Folk music is the music we need to make…”

This performance is made possible by generous support from The Robinson Family Fund.

Justin Harrington (aka Demeanor) is an MC, banjo and bones player from Greensboro, North Carolina. Justin studied at the College Conservatory of Music at University of Cincinnati before leaving school to join his aunt, Rhiannon Giddens, as part of her Freedom Highway Tour. He has been playing the banjo for several years, crafting an unconventional fusion of hip-hop and American roots music in an effort to break down the wall separating black Americans with their own ancestral tradition, while celebrating American folk music as an African American art form. Justin is dedicated to developing an impactful body of work, and curating empowering environments, striving to follow in the footsteps of his predecessors while establishing a new musical legacy. He received a 2020 OneBeat Accelerator Grant to fund his non-profit initiative, Haus of Lacks, which aims to connect socially-engaged artists to develop + share strategies for using art and music creation to affect direct and actionable social change in their communities.

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The Juliet Letters
2025-10-22 19:30 - 21:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States
Lindsay Kesselman, sopranoMarjorie Bagley, violinSiana Wong, violinScott Rawls, violaCori Trenczer, violoncello

Program

ELVIS COSTELLO and THE BRODSKY QUARTETThe Juliet Letters (1992)

Deliver UsFor Other EyesSwineExpert RitesDead LetterI Almost Had a WeaknessWhy?Who Do You Think You Are?Taking My Life in Your HandsThis Offer Is UnrepeatableDear Sweet Filthy WorldThe Letter HomeJacksons, Monk and RoweThis Sad BurlesqueRomeo’s SeanceI Thought I’d Write to JulietLast PostThe First to LeaveDamnation’s CellarThe Birds Will Still Be Singing

About the Program
Elvis Costello writes, “…so there was this professor in Verona who answered letters to Juliet…

Well, if that sounds like the start of a tall story I suppose it is. There was a tiny newspaper item about a Veronese academic who had taken on the task of replying to letters addressed to ‘Juliet Capulet.’

This apparently continued for a number of years, until some gentlemen of the press exposed this secret correspondence. Quite how he came by these letters in the first place remains unclear. We can only make a guess as to their content. After all, these people were writing to an Imaginary woman, and a dead imaginary woman at that. Perhaps they were simply scholarly enquiries, or letters of sympathy from others disappointed in love, or even a plea from somebody forced into an unhappy arranged marriage. Whatever was contained in these letters and their replies, the idea of this correspondence provided the initial inspiration” for The Juliet Letters, a song sequence for string quartet and voice—a collaboration between Elvis Costello and The Brodsky Quartet.

Lyrics
Deliver Us

Instrumental

For Other Eyes

I don’t know what I would doIf this letter should fall intoOther hands than it should pass throughFor other eyes

He said, “It was nothing… it’s over and done”But the rotten worm was burrowing stillIts spirit invades me bleeding me whiteFor other repliesI searched his pocketsI searched his eyesI searched his wallet for clues and liesAnd I found a number that I somehow dialledA woman answered, a woman smiledThen she hung up on the silence unperplexedInnocently spun her rolodexI dialled again I could not resistRevealing just the dentist receptionist

One day we’lI laugh about it or maybe we’lI curseBut there is one thing that is making it worseAnd it’s the lack of forgiveness that I can’t disguiseNo matter how well he liesNow we don’t know each other anymoreAnd when we touch our lips feel soreI question the longing left in his sighsFor other eyes

Swine

You’re a swine and I’m saying that’s an insult to the pigIn the foul furrow that you digWhy don’t you lay your head downIn that unconsecrated groundWAS she your MOTHER?Or WAS she your brldeTo defile and to blisterTo gnaw at her sideIs this the end of the world?Now that you’ve finished your lifeThis RIDDLE is the work of my little pen-knife

Expert Rites

I marvel at the wonder of it in our souless ageFast flow the tears upon the pageDon’t be alarmed I am her friendWill I be excused if I presumeIt’s more than disappointment that we shareYou share the same sorry life, the families fight,that unhappy blade you both inviteThis romantic ideal has a lonely appealI once loved someone the way that you doBut I had to let her goI live with my regretDon’t despair my would-be Juliet

Dead Letter

Instrumental

I Almost Had a Weakness

Thank you for the flowersI threw them on the fireAnd I burned the photographs that you had enclosedGOD they were ugly childrenSo you’re the little bastard of that brother of mineTrying to trick a poor old woman‘Til I almost had a weaknessLast week Cousin FlorenceBit your Uncle JoeHit him on the forehead with a knife and a fork(She) said that he looked like the devilThen she said… “pass the vinegar,” I’m beginning to think(That) I’m the only one who hasn’t taken to the drinking of itThough I almost had a weakness

It pains me to mentionThese delicate concernsWhile I have to tolerate you family jewelsI really mustn’t grumble(‘Cause) when I die the cats and dogs will jump up and downAnd you little swines will get nothingThough I almost had a weakness

Why?

Why is Daddy not here?Are you crying?Why?Does he still love me?Will you take care of me?If you both love me soWhy don’t you love each otherMummy’s gone missingDaddy’s on fireDaddy’s on fireDaddy’s on fire

Who Do You Think You Are?

The hunted look, the haunted graceThe empty laugh that you cultivateYou fall into that false embraceAnd kiss the air about her faceWho do you think you are?The tres bon mots you almost quote from yourQUIVER of literary dartsA thousand or so tuneless violins thrilling your cheaplittle heartWho do you think you are?

My cigarette burns right down to the ash, my coffeecup is unstainedThe waiter hovers close at handHis courtesy strained

Who do you think you are?I close with my regardsWell I’m the red-face gentlemanCaught in this picture postcardWho do you think you are?

Trying my best to make the best of your absenceThough the joke gets tired and sordidSea-shell hearts get trampled under footPunchlines unrewarded

But even at this distance it’s not easy to acceptThe vision that I chase returns when I least expect itI’ve fallen from your tired embraceI kiss the air around the place that should be your face.

Taking My Life in Your Hands

My dear impulsive darling, I suspect my letter got to you too lateAnd it’s really just a silly fragment of paperBut it means so much to those who wait

All the suffering days and nights ’til I dare dream againThere you suddenly stand and I’ll be damnedIf you didn’t disappear with the dawn

Hours pass and darkness comesSoon I will close my eyesWill you return if you don’t reply?

You’ll be taking my life in your handsYou’ll be taking my life in your handsTaking my life in your hands

I don’t know why my dearest darlingI can’t tell you how I feel when you are nearWhen I see you have returned my letters unopenedI will tear them up, your voice ringing in my ears

But you’re kidding yourselfIf you think this correspondence will endI can always pretend wordsI don’t have the courage to send, reaching you

Hours pass and darkness comesSoon I will close my eyesWill you return if you don’t reply?

You’ll be taking my life in your handsYou’ll be taking my life in your handsTaking my life in your hands

This Offer Is Unrepeatable

Don’t send any money!Your fate has no priceIgnore at your peril this splendid adviceAn invaluable link in an infinite chainAn offer like this will just not come againYou wish you had women to charm and bewitchPower of life and death over the richYoung girls will be swooningbecause you’re exciting themNot only fall at your feet but be biting themGuaranteed, guaranteed to capture your breathOr just possibly scare you to deathSign it and seal it and send it to friendsDon’t mention my nameDon’t make any long term plansIn thirty-six hours your fortunes will changeYour best friends won’t know youAnd neither will strangersDo not keep this letterIt must leave your handYou have been selected from over five thousandA twister and dupe will bamboozle or hoodwink youI can’t say more it would only confuse youThe wine they will offer will go to your headYou’ll start to see double in fishes and breadGuaranteed, guaranteed for a lifetime or moreGuaranteed for this world and the nextGuaranteed, guaranteed for the world and its motherCherish this life as you won’t get another oneUnless you should take up this fabulous offerDon’t leave it too late or you’ll be bound to sufferWoebetide anyone so woebegoneYou won’t know you’re born or about to pass onYou’ll never get tiredYou’ll never get boredBy the way I just hope you’re insuredAnd if you’re not satisfiedIf you want moreWe can always provide an improved overtureGuaranteed at a price that is almost unbeatableThis offer is unrepeatableYour troubles will vanishYour tears will dryYour blessing will just multiplyGuaranteed at a price that is almost unbeatableThis offer is unrepeatableGuaranteed, guaranteed to bring fortune and favorA riot of colours and flavoursGuaranteed at a price that is almost unbeatableThis offer is unrepeatableWould I lie to you? Would I sell you a dud?Just sign on the line. Could you possibly write it inblood?

Dear Sweet Filthy World

Dear sweet, filthy world, my wifeOr whoever reads thisI think that I’ve lived too longWith all of my promise unfulfilledBut there is a veil drawn over all of that

I know you’ll probably say“Spare us the melodrama”I don’t know how he choseThe pills or the stupid revolver”

I’m out of luckI’m not that strongMy hands, your neckI might have wrung

Don’t try to find meI’m not worth anything anymore

I am not leaving youWith all of your problems‘Cause the biggest one is meLife is dark and cold as the sea

Embrace me in my anguishPut seaweed in my hairAnd vow that you won’t cryBecause I’ve gone, I can’t go onI can’t go on, I can’t go onI must close now

The Letter Home

Care of St. Ignatius House, Willoughby DriveParramatta, New South Wales, this fifth day of JulyIn the year of Our LordNineteen hundred and thirty five

Why must I always apologizeEvery time that I sit down to writeThrough my own fault I may findYou’re no longer living at this address

Please excuse the lack of newsThe feeling of strange privilegeFor the hour of trial in these times of distressMean more than years imprisoned by etiquette

I can remember when we were childrenThough I could never imagine this dayYour brother told me we’d live forever“I’ll go on better”, I heard myself say

And it seems so strange, now that he’s goneTo recall all these gamesThough the years have divided usFriendships have strained and broken

Oh, by the way, how’s that girl that you wedI hated you then but I’m over the worst of itI can’t come home, I might as well sayLife is short, I shall not write again

Jacksons, Monk and Rowe

Sister 4 and Brothers 3Hanging off the family treePractising for getting oldDo you want your fortune toldThey’re looking for you high and lowNow there’s nowhere for you to goSo you’ll just have to come out and face the musicJacksons, Monk and Rowe

Long ago when we were kids and we cut your hair to bitsAs we carried off like spoils the heads we’d smash right offyour dollsBut the wind is changing you knowAre you sure of your friends and your foeHave you got what it takes to carry it offJacksons, Monk and Rowe

As the sun beats down and life begins to complicateWill we both incinerateIf we touch that brass name-plate

Messrs. All, noble SirsHighly paid solicitorsFind enclosed my signed divorceSad proceedings you endorseThe burden of pity will showIn the people we used to knowHave you got enough strength to carry it offJacksons, Monk and Rowe

This Sad Burlesque

I write in hopeBy the time you get this letterWe may liveTo see a change for the better

Or are we so devotedTo these wretched selfish motivesWhen the cold facts and figures all add upThey cannot contradict this sad burlesque

This sad burlesque with miserable failuresMaking entertainment of our fateLaughter cannot dignify of elevateThis sad burlesque

Now can they recall being young and idealistic?Before wading knee-deep in hogwash and arithmeticThe pitying smirk, the argument that runs like clockworkWill run down eventually and splutter to a stop

P.S. Well, by now you know the worst of itAnd we’ve heard all the alibis that they’ve rehearsedThe smug predictionsIf it’s not a contradiction

Please have faith in human natureAnd have mercy on the creaturesIn this sad burlesque

This sad burlesque with miserable failuresMaking entertainment of our fateLaughter cannot dignify of elevateThis sad burlesque

Romeo’s Seance

Is anyone there I can talk to?Give us a sign if you’re with meCan’t you see that I’m dying to hear you

Everyone else has lost interestAnd I’m all alone in this dream houseThough you’re gone, I don’t feel like crying

Romeo is calling you

Knock once or twice if you’re out thereSend me a message, my sweetheartWhen I’m out and about, I’ll be coming to see you

It isn’t easy to live with this matronly faceAt the window, try to contact meIf you can see how I’m suffering

Romeo is calling you

Scatter the paper and thimblesYou can take care of the candlesAn unplugged radio plays, she is close now

Me and my hand holdingBaby, you’re walking the floor and the ceilingAnd this is the song she dictated this evening

Romeo is callingRomeo is calling you

I Thought I’d Write to Juliet

I thought I’d write to JulietFor she would understandAnd when someone is already deadThey can no longer let you down

Instead I find myself talking to youAs my oldest friendTell me how I can advise someoneThat I don’t even know to welcome death

For I received a letter that is worth reportingAnd though it may raise a cynical smileIt leaves a sinking feeling

Like when a soldier in a story says to the sergeant“Have you seen my pride and joy?”

You know the restAnd it’s no jokeForgive me pleaseAs I quote

“This is a letter of thanksAs I’m so bored herein I can’t say whereSo I’m writing to people that I may never meetAnd I was thinking if something you said”

I’m a female soldier, my name is ConstanceI enlisted in the military needing funds for collegeI’m twenty-three years old and if I do get home aliveI imagine I may think again

I’m sleeping with my eyes open for fear of attackYour words are a comfort, they’re the best thing that I haveApart from family pictures and of course, my gas maskI don’t know why I am writing to you

Last Post

Instrumental

The First to Leave

I should open with a kissFor if you’re reading thisYou must have opened up your caseAnd found this letter where I placed itIn between the silk and laceThere were other clues, like your walking shoesBut I still refused to believeThat you were meant to be the first to leaveEverybody here sends you their loveHow can I forget you still walk aboveOrbelowPerhaps you’ll never know this purgatoryWe never could agreeThere’s a thought, there’s a pauseNo time to repentEternally yoursIn a permanent lent

But if I should give you upIf you’re right and life just stopsAnd I never see your face againThen from unearthly pleasures, proud and plainI shall abstain

Until you realise, my loss is your surpriseUnless you know otherwiseThen don’t grieveYou see I had to be the first to leave

Damnation’s Cellar

Did anybody notice, over marmalade and eggsIn between the princess’ legsWhat with wars and floods and beggarsNot to mention stocks and sharesIf you have a moment to spare

Can you write and reassure me that I have seenThey’re constructing a time machineAnd there will be no need for the obituary pagesWe can have any hero from the bygone ages‘Til the truth emerges, the argument rages

The major and the minorTurn from tallow into tarShould we leave them in their place?Down in damnation’s cellar

When any form of deity that you might enjoyCan be conjured with a test-tube and a flameIf it’s out there then science can explain itOr at least remove the blameAnd if there’s anyone, you’d like to see again and speak up quickly

Send us back Da Vinci then we don’t have to ponderThe maddening smile of La GiacondaThe critics say Nijinsky, the dancer, of courseWhile the punters would probably prefer the horseYou’ll find it’s quicker than history, cheaper than divorce

The major and the minorTurn from tallow into tarShould we leave them in their place?Down in damnation’s cellar

Bring back Liberace or Ollie and StanShakespeare will have to wait his turnElvis Presley and Puccini shall return, I suppose we live and learnThough it’s hard to believe as we cheerfully burnIt’s curious, some will call for justiceThere are murders to solve

What about Hitler? Or at least Lee Harvey OswaldGive us this day and everything we squanderAnyone beautiful, somebody blonderThey’ll never please mankind, so lie back and enjoy itStop press, they’ve just decided to destroy it

The major and the minorTurn from tallow into tarShould we leave them in their place?Down in damnation’s cellar

The Birds Will Still Be Singing

Summertime withers as the sun descendsHe wants to kiss you. Will you condescend?Before you wake and find a chill within your bonesUnder a fine canopy of lover’s dust and humourous bones

Banish all dismayExtinguish every sorrow

Eternity stinks, my darling. That’s no jokeDon’t waste your precious timepretending you’re heartbroken

There will be tears and candlesPretty words to saySpare me lily-white lilliesWith the awful perfume of decay

Banish all dismayExtinguish every sorrowIf I’m lost or I’m forgivenThe birds will still be singing

It’s so hard to tear myself awayEven when you know it’s overIt’s too much to say.

Banish all dismayExtinguish every sorrowIf I’m lost or I’m forgivenThe birds will still be singing

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 Lunairewith 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 (2012-2015).

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.

Marjorie Bagley

Violinist Marjorie Bagley joined the faculty at UNCG in the Fall of 2009 after teaching violin and chamber music at Ohio University in Athens, OH. She began her professional career as first violinist and founding member of the Arcata String Quartet upon graduating from the Manhattan School of Music as a student of Pinchas Zukerman. The Arcata Quartet enjoyed nearly a decade of performances around the US and Europe, including concerts in London’s Wigmore Hall, Weill Recital Hall at Carnegie, and their NYC debut in Town Hall. They can be heard in recordings on the VOX label, alongside members of the Tokyo and American Quartets. Her love of chamber music continues to this day as she performs with colleagues in NC and around the country, exploring classic and contemporary repertoire.

Bagley is Concertmaster of the Greensboro Symphony under the direction of Christopher Dragon. This season, she performed as soloist alongside mandolin player Chris Thile, and next season brings a solo appearance in Vaughn-Williams’ classic Lark Ascending. Bagley performed as both Associate Concertmaster and Principal Second Violin in the ProMusica Chamber Orchestra in Columbus, OH, under the direction of Music Director David Danzmayr and Principal Guest Artist Vadim Gluzman. For two decades, Bagley performed as member of the Berkshire Bach Society with keyboardist Kenneth Cooper.

Summers have taken Bagley to many festivals as both teacher and performer. The Arcata Quartet performed across Europe over several summers, including a concert at the Rheingau Music Festival. Her path as a teacher began at the Meadowmount Music School where she was an assistant teacher, and continued at a variety of summer chamber music festivals for high school students across the country. For six summers, Bagley was an assistant teacher at the Perlman Music Program. She has been on faculty at the Kinhaven Music School and the Green Mountain Chamber Music Festival, and the International Music Academy Plzen in the Czech Republic. Bagley was an artist teacher at the Brevard Music Festival for eleven summers where she frequently served as concertmaster.

Professor Bagley continues to give masterclasses and performances at universities around the US. She remains fascinated by the unique qualities of each student she interacts with, looking to combine an understanding of violin technique and learning strategies to help each student move towards their potential. She also loves to perform and teach works by living composers and works that draw from a variety of musical styles.

After growing up in Wingate, NC, she received her BM summa cum laude in Violin Performance from the University of Michigan and an MM from the Manhattan School of Music. Teachers and coaches have included Pinchas Zukerman, Josef Gingold, Patinka Kopec, Isidore Cohen, and members of the Tokyo and American String Quartets. Three decades of performances have taken her to five continents and led to many inspiring musical collaborations. She can be heard in recordings on the Equilibrium, Centaur, Albany, Summit, and VOX labels. Bagley’s time away from the violin is filled with family adventures alongside her husband, physics professor Ian Beatty, and their three children.

Siana Wong

Siana Wong is a native of Greensboro, North Carolina, with Malaysian heritage. Before attending college, she was a member of the Greensboro and Winston-Salem Symphony Youth Orchestras, winning their concerto competition and performing as a soloist with them. She pursued her Bachelor of Music degree at UNC Chapel Hill under the tutelage of Nicholas DiEugenio, as well as a BA in biology. During her time at Chapel Hill Siana was also a winner of the concerto competition. Siana is an avid chamber music performer in and out of her home state of NC, including performances with EMF and UNCG faculty. Siana spent many summers at the Luby Violin Symposium at Chapel Hill, having the opportunity to learn from first-class violinists from around the globe. She has also attended the Instrumental Program of Chautauqua Institution and participated in master classes with Ana Luque, Shannon Thomas, and others.

Siana is a member of Fayetteville Symphony Orchestra, Western Piedmont Symphony, and she has recently been appointed Associate Concertmaster of Greensboro Symphony Orchestra. In addition to her performing career, she enjoys teaching in her private studio.

Currently, Siana is extending her studies at UNCG, pursuing a Post-Baccalaureate Certificate in violin performance with Dr. Fabián López.

She plays on a Wojciech Topa violin from 2017.

Scott Rawls

Violist Scott Rawls has appeared as soloist and chamber musician throughout the United States, Canada, Mexico, Japan, and Europe. Recent chamber music endeavors include performances with Dmitry Sitkovetsky, Branford Marsalis, Sergey Antonov, Michelle Cann and the Reynolda Quartet. With the Nikkanen/Rawls/Bailey string trio, he has played tours in Alaska, Washington, Arizona and Texas. His solo and chamber music recordings can be heard on the Centaur, CRI, Nonesuch, Capstone, and Philips labels.

A strong proponent of new music, Rawls has premiered dozens of new works by prominentcomposers. Most notable, he has toured extensively as a member of Steve Reich and Musicians. As the violist in this ensemble, he performed the numerous premieres of Daniel Variations, The Cave and Three Tales by Steve Reich and Beryl Korot, videographer. And under the auspices of presenting organizations such as the Wiener Festwochen, Festival d’Automne a Paris, Holland Festival, Berlin Festival, Spoleto Festival USA and the Lincoln Center Festival, he has performed in major music centers around the world including London, Vienna, Rome, Milan, Tokyo, Prague, Amsterdam, Brussels, Los Angeles, Chicago and New York.

Under the baton of maestro Christopher Dragon, he plays principal viola in the Greensboro Symphony Orchestra. During the summer season, Rawls plays principal in the festival orchestra at Brevard Music Center where he also coordinates the viola program. He was also appointed principal viola of the Palm Beach Opera orchestra, David Stern artistic director.

Dr. Rawls currently serves as Marion Stedman Covington Distinguished Professor of Viola and Chamber Music and String Area Chair at The University of North Carolina at Greensboro. He holds a BM degree from Indiana University and a MM and DMA from State University of New York at Stony Brook. His major mentors include Abraham Skernick, Georges Janzer, John Graham and Julius Levine.

Cori Trenczer

Cori Trenczer is a cellist, chamber musician, and teacher from the Hudson Valley region of New York. Coming from a musical family and a family of educators, Cori is both an avid performer and a teacher to a robust studio of cello students. Cori has their Bachelor’s Degree in Cello Performance from the Eastman School of Music and they are pursuing a Masters Degree in Cello Performance with Professor Ezerman at the University of North Carolina at Greensboro.

Cori is also a section cellist with the Greensboro Symphony Orchestra, as well as a substitute cellist with the Winston-Salem Symphony and the South Carolina Philharmonic. A devoted chamber musician, Cori has furthered their experience with their classmates in the Juniper Quartet, along with colleagues at summer programs such as the Castleman Quartet Program, Green Lake Chamber Music Institute, and Emerald Coast Festival of Music.

Also passionate about contemporary music, Cori has played in various new music ensembles including but not limited to: OSSIA New Music, Musica Nova, and Switch~Ensemble. They have worked with several composer colleagues during their undergraduate degree and their masters so far, and would absolutely love to explore more newly created work. Cori currently has a studio of 11 online cello students, ranging from age 10 to mid 20s. Cori is on the faculty at Moore Music Company where they teach an additional 5 students in person. Cori also teaches 2 students in person through the UNCG Community Lessons Program.

Cori is in the process of creating and editing a method book called “Smorgasbord for your Fingerboard: Volume One Songs for the Beginning Cellist”. This is a method book full of works by living young composers from many underrepresented groups.

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Horn Choir
2025-10-22 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://www.youtube.com/live/nlPuH9vHtis?si=AO_p0L7COLJMHj0U

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Emma Saba, piano
2025-10-24 17:30 - 19:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/JotLBw0O6FE?feature=share

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Prime Movers Concert
2025-10-24 19:30, 2025-10-25 19:30 | Coleman Theatre, 1408 Walker Ave, Greensboro, North Carolina, 27412, United States
The student group Prime Movers will host their annual Concert featuring adjudicated undergraduate student work.

The event takes place at 7:30pm in Coleman Theatre (306)

Collage
2025-10-25 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
The UNCG School of Music is proud to present our 18th annual performance of Collage at 7:30 PM on October 25, 2025! We are excited to welcome audiences back to UNCG Auditorium for our most exciting event of the year!

Collage is captivating and totally unique, featuring an incredible range of performers presenting one riveting work after another with special lighting. Join School of Music students and many of our world-class faculty members for this non-stop evening of amazing performances. It’s not to be missed!

All ticket proceeds benefit the School of Music Collage Scholarship Fund.

SectionAdultsSeniorsStudentsSection Afront orchestra, mezzanine$27$22$17Section Bmiddle and rear orchestra, lower balcony$20$16$12Section Cupper balcony$15$11$8

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Studio Voice Recital
2025-10-27 17:30 - 19:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/TdgcI_CwC7M

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Student Composers Concert
2025-10-27 19:30 - 21:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States
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A Foundations Yearbook, Art exhibition
2025-10-28 12:00 - 2025-11-01 17:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Embody: A Foundations Yearbook

Featuring Self Portraits by over 100 First-Year School of Art Students

October 28 – November 1, 2025

Reception: Friday, October 31st | 5-7P

More About Embody: A Foundations Yearbook

Embody: A Foundations Yearbook is a self-portrait exhibition featuring new art majors in a new place through self-reflection and a show of community. Over 100 first-year, first semester students will be presented as part of the First-Year Foundations course led by Professor Christopher Thomas.

Greensboro Project Space Weekly Gallery Hours:

Tuesday – Friday, 12 -5 PM

Saturday, 2-5PM

Halloween Organ Spooktacular
2025-10-28 19:30 - 21:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States
