College of Visual and Performing Arts

University Chorale
2026-02-24 19:30 - 21:00 (America/New_York) | 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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The Message
2026-02-25 09:00 - 16:00, 2026-02-26 09:00 - 16:00, 2026-02-27 09:00 - 16:00, 2026-03-02 09:00 - 16:00, 2026-03-03 09:00 - 16:00, 2026-03-04 09:00 - 16:00, 2026-03-05 09:00 - 16:00, 2026-03-06 09:00 - 16:00 and 5 more dates | 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/

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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The Lincoln Sisters of Deckawoo Drive
2026-02-28 10:00 - 11:00, 2026-02-28 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.

Purchase Tickets

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.

Gracen Long, flute and piano
2026-03-01 11:30 - 13:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/dagJ2i9oaJg

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A'nijuel Harris-Johnson, saxophone
2026-03-01 13:30 - 15:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/9U4t2EWbkOI

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Percussion Studio First Year and Sophomore Recital
2026-03-01 17:30 - 19:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/Gdrv9oIBtjU

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Alessandra Feris, piano ∙ Her Piano, Her Voice: South American Women Composers
2026-03-01 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/nsn3_vsZKDc

Praised for her artistry and passion, Brazilian pianist Alessandra Feris has established a distinguished career as a performer, pedagogue, and advocate for Latin-American piano music. She has performed widely across South America, Central America, Mexico, Europe, and the United States, with successful solo debuts in major venues including the Theatro São Pedro in Porto Alegre (Brazil), the Costa Rican National Theater, the Steinway Haus in Frankfurt (Germany), the Palácio de Bellas Artes (Sala Manuel M. Ponce) in Mexico City, and the Auditório León de Greiff in Bogotá, Colombia.

Alessandra Feris holds a bachelor’s degree from the Federal University of Rio Grande do Sul in Brazil, an Artist Diploma from the University of Music Franz Liszt in Germany, a master’s degree from the University of Iowa, and a doctoral degree from Florida State University. Her major teachers include Dirce Knijnik, Thomas Steinhöfel, Réne Lecuona, Read Gainsford, and the legendary Lazar Berman.

Committed to excellence in teaching, Dr. Feris has received the John Simms Piano Award at the University of Iowa, the Outstanding Teaching Assistant Award at Florida State University, and the Mississippi Humanities Council Teacher of the Year Award. A sought-after pedagogue, she has been a guest adjudicator for various national and international competitions, including the Lancaster International Piano Competition, the Hyatt Piano Competition, the Pianissimo Piano Competition in Colombia, and the Piano Latinoamericano Competition in Costa Rica. Her students have frequently won piano competitions such as the South Dakota MTNA Young Artist, SDMTA Collegiate Piano, Truran Piano Competition, and the University of South Dakota Concerto Competition.

Her guest-artist engagements include masterclasses and performances at universities and conservatories worldwide, including the Colburn School, Bowling Green State University, Purdue University, University of Nevada-Reno, Radford University, Texas Woman’s University, Goshen College, Irvine Valley College, University of Arizona, Washington State University, University of Kansas, University of Central Florida, Louisiana State University, Montclair State University, North Dakota State University, Auburn University, University of Southern Mississippi, Kansas State University, Huntingdon College, University of North Dakota, Chadron State College, University of South Alabama, University of Montevallo, Southern University, Wayne State University, University of Costa Rica, University of Aveiro in Portugal, University of Buenos Aires in Argentina, Ionian University in Greece, Royal Birmingham Conservatory in England, National University of Music in Peru and several universities in Colombia and Brazil.

Alessandra Feris is devoted to the diffusion of Latin-American piano music and has been a guest performer at the Trester Festival for Latin-American Music at the University of Arizona, the Latin-American Piano Festival at Texas A&M University in Commerce, the Ibero-American Festival Cinco Sentidos in Jena, Germany, and the Brasilien trifft Berlin Festival. She is a passionate contemporary pianist and is often invited to premiere works by living composers. Recent premieres include Love Letters by Steven Sacco, Wissenschaftsgläubigkeit by Paul Lombardi, and Mni Wiconi by Jeffrey Paul.

Dr. Feris has recently joined the University of North Carolina at Greensboro as Assistant Professor of Piano. She has previously served as Associate Professor of Piano at the University of South Dakota and Piano Faculty/Artist-in-Residence at Mississippi Gulf Coast Community College. She is an artist-teacher at the InterHarmony International Music Festival in Italy and the Lancaster International Piano Festival in Pennsylvania.

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Sinfonia: Folk Tunes and Folk Tales
2026-03-02 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/K96dBkh7A6I

Scott Glasser, conductorJennifer Aikey, graduate conductorJordan Owen, graduate conductor

Program

HEINRICH IGNAZ FRANZ BIBERBattalia

Sonata: The Gathering of the MusketeersThe Profligate Society of Common HumourAllegroThe MarchPrestoAriaThe BattleThe Lament of the Wounded

TRADITIONAL KOREAN FOLK SONGAhrirang (Traditional Korean Folk Song)

PERCY E. FLETCHERFolk Tune and Fiddle Dance

KIRT MOSIERTwo Scenes from the Hollow

Ichabod’s WalkHessian’s Ride

About the Program

About the Artists

Lorena Guillén, voice and artistic directorAlejandro Rutty, piano and bass Jacqui Carrasco, violinGuy Capuzzo, guitarAdam Ricci, pianoErik Schmidt, percussion

With its mesmerizing style and sound, the award-winning Lorena Guillén Tango Ensemble has captivated audiences with soulful arrangements of Argentine tango standards and original compositions that create a dynamic tango and pan-Latin fusion since 2015. The musicians in the group each have rich and extensive experience in Argentine tango, jazz, classical and contemporary music, and other world and popular music styles, all of which can be heard on their two albums, Exótica Flor (2023) and The Other Side of My Heart (2018), both available on all streaming platforms.

“Not Your Average Folk Contest 2021″ Grand Prize Winner (NC Folk Festival) and “World Music” category winner of Music-At-the-Museum Contest 2021 (NC Museum of Art), the Lorena Guillén Tango Ensemble has been featured on TV performances for NC PBS channel and Fox8News as well as live radio programs such as WUNC’s “The State of Things” with Frank Stasio (NPR affiliate in Chapel Hill, NC), KUNM’s “Corazón Tanguero” with Cristina Baccin (NPR affiliate in Albuquerque, NM), WFDD “Triad Arts” (Winston Salem, NC), “Musicaldo” (KGLP 91.7, Gallup, NM), and Radio DAMus (Buenos Aires, Argentina).

Over the years, the ensemble has presented its music at various venues: Kleinhans Music Hall (Buffalo, NY), MusicBox Theater and Folk Research Center (Saint Lucia, West Indies), Frick Museum Summer Concerts (PA), Center Stage Series at the Sangre de Cristo Auditorium (CO), Winston-Salem’s FIESTA Festival, Music Carolina SummerFest, NC Museum of Art, Greensboro’s NC Folk Festival, Creative Greensboro Concert Series, Blowing Rock Art & History Museum Summer Concert Series, Western Piedmont Symphony Concert Series, and Los Angeles’ Alvas Showroom (Los Angeles, CA).

This September 2023, the LGTE will embark on their first concert tour to Argentina, with shows at various venues and a featured presentation at the Familia Club Atlético Fernández Fierro Tango Festival.

The group frequently collaborates with regional Latino organizations, tango-dance organizations and youth orchestras and choirs. The Other Side of My Heart reflects that commitment: an oral-history multi-media piece based on interviews with Latina immigrants to NC. In the Embrace of Tango Project explored the crossed-path between Argentine tango and Jewish-diaspora culture and involved workshops with the Triangle-Jewish-Chorale, the UNCG University Chorale, and Durham-Tango-Dance.

Many of these creative initiatives have been generously funded by grants from the following organizations, which have supported the group’s creation of original works, audio recording, video recording, and implementation of workshops: ArtsGreensboro “Regional Artist Project,” NC arts Council, New-Music USA, and “EDI Grant” from the UNCG College of Visual and performing Arts.

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

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

UNCG Orchestras

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Say It Loud art exhibition
2026-03-03 12:00 - 2026-03-07 17:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Say It Loud

A Student Exhibition by North Carolina A&T Visual Arts Department

March 3-7, 2026

Reception: Friday, Mar 6th | 6-8P

More About Say It Loud

Say It Loud, inspired by the iconic James Brown anthem, is an exhibition that embraces the notion of making a statement with unwavering confidence. In the North Carolina A&T Visual Arts Department we strive to develop confident, unapologetic, and free-thinking artists that aren’t afraid to have their message heard. The works in this exhibition range from personal to collection narratives expressed through multiple mediums representative of what our artists think, feel, and know about the world. We feel that in the current landscape it is more important than ever to speak up and, as James Brown said, “SAY IT LOUD!”

Remy Baylor and Richard Huffman, piano
2026-03-03 17:30 - 19:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States
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Symphonic Band
2026-03-03 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
https://youtube.com/live/dF-pAABLE58

Jonathan Caldwell, conductorAbigail Pack, hornMolly Allman, graduate conductor

Program

RALPH VAUGHAN WILLIAMSFolk Song Suite (1924)

March, Seventeen Come SundayIntermezzo, My Bonny BoyMarch, Folk Songs from Somerset

CATHERINE LIKHUTASure-fire (2023)

THÉO SCHMITTNetworks (2023)

About the Program

About the Artists
Abigail Pack

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

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.

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Ger Vang, oboe
2026-03-04 17:30 - 19:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States

Symphony Orchestra
2026-03-04 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
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https://youtube.com/live/e1Ue0ztNez4

Jungho Kim, conductorSuyahan, morin khuur/horsehead fiddleSiana Wong, violin (First Prize Winner, Student Artist Competition)Hexigetu (Wenze), guest composerJordan Owen, graduate conductor

Program

CARL MARIA VON WEBER

Overture to Der Freischütz, op. 77

HEXIGETU (WENZE)

Horqin Rhapsodie

HEXIGETU (WENZE)

Capriccio on a Pastoral Theme for Horsehead Fiddle and Orchestra

world premiere

JEAN SIBELIUS

Violin Concerto in D minor, op. 47, Movement I

JOHANNES BRAHMS

Academic Festival Overture, op. 80

About the Program
Overture to Der Freischütz, op. 77

The Opera

Carl Maria von Weber’s 1821 opera Der Freischütz (The Freeshooter) is widely recognized as the foundational work of German Romantic opera. Composed between 1817 and 1821 and premiered in Berlin, this three act Singspiel with spoken dialogue draws on German folk legend and early Romantic interests in the supernatural, the natural world, and the moral tension between good and evil. At its center is Max, a huntsman whose confidence and marksmanship fail him at the very moment he must win a shooting contest, declared by Cuno, Agathe’s father and hereditary forester, to marry Agathe and become his rightful successor. In his desperation to improve himself and secure his future, Max is persuaded by his brooding companion Caspar, who has already forfeited his soul to Samiel, the Black Huntsman, into entering a Faustian bargain. Together they summon seven magic bullets, six of which Max controls, while the seventh belongs to Samiel and will strike whatever target the demonic power chooses.

The Music

The Overture condenses the opera’s dramatic trajectory into a concentrated musical narrative that foregrounds its central moral question concerning the conflict between good and evil. It begins with broad orchestral gestures and a noble horn chorale that evoke the hunting community and the forest environment, before the atmosphere shifts suddenly with tremolo strings and a diminished seventh chord associated with Samiel’s diabolical presence. The principal fast section unfolds in sonata form. Its turbulent first theme, derived from Max’s Act I aria, reflects his unsettled and darker character as it moves from agitated C minor writing into a grim, marchlike quality. In contrast stands a luminous second theme in C major, taken from Agathe’s Act II aria, initially shaped by antiphonal exchanges between woodwinds, low strings, and brass that suggest lingering uncertainty. By the conclusion, however, C major ultimately prevails over C minor. Agathe’s loving and redemptive music triumphs over Samiel’s sinister influence, and the Overture, like the opera, resolves its opening question by affirming that love and grace overcome the forces of darkness.

Note by Jordan Owen

Violin Concerto in D minor, op. 47

Jean Sibelius composed his Violin Concerto in D minor, op.47, between 1902 and 1904, marking his only completed foray into the genre due to a naturally solemn disposition. While encouraged by German virtuoso Willy Burmester to write the piece, Sibelius was forced by financial strain and personal turbulence to move the premiere to a date that Burmester could not accommodate, leading the offended violinist to never perform it. Over a barely audible murmur in the strings, the solo violin introduces the principal theme of the first movement, a dark, sighing idea that gradually gains intensity. The theme conveys both longing and passion and returns multiple times throughout the movement. The composer’s stylistic features are evident throughout, including somber orchestral colors, swelling brass chords, slow harmonic motion, and expressive melodic writing.

Note by Jordan Owen

Horqin Rhapsody for Orchestra

Horqin Rhapsody is an orchestral work composed in the Mongolian style. The music is magnificent and grand, characterized by a tempestuous performance that evokes the vast and majestic landscape of the grassland. The piece is divided into four sections:

Introduction: Ancient horns awaken the slumbering grassland.

First Section: Depicts a magnificent scene of herds of horses galloping across the plains, stirring and awe-inspiring.

Second Section: Portrays the profound and serene expanse of the grassland.

Third Section: Presents a vision of nature and humanity in perfect harmony, celebrating the passionate, unrestrained, and optimistic spirit of the grassland people in the face of hardship.

Horsehead Fiddle Concerto: Capriccio on a Pastoral Theme

Capriccio on a Pastoral Theme depicts the vast pastures, gentle winds, clear skies, and serene waters of the northern frontier of the motherland. The piece is composed in a rhapsodic style and free form. Its inspiration is drawn from the pastoral songs of the grassland, incorporating traditional Mongolian folk songs praising the Mongolian horse. The work skillfully blends the horsehead fiddle with symphonic accompaniment, celebrating the grassland people’s love for their homeland and their efforts in building a magnificent northern frontier. It also reflects their noble inner world, dedicated to ecological preservation and harmonious coexistence with nature.

Academic Festival Overture

Johannes Brahms came from a working-class family in Hamburg. Money was tight. To help make ends meet, Brahms quit school at fourteen and headed to the seaport to work as a barroom musician. Brahms was unlikely to attend University, however his duo-partner, the violinist Joseph Joachim, invited Brahms into University life, over a couple of summer months in Göttingen, while Joachim and his friends took Philosophy and History classes.(It was to Joachim that he would late dedicate his monumental violin concerto.) It was during these summer months that Brahms acquainted himself with beer halls and student drinking songs. By 1879, Brahms was an established composer when the University of Breslau presented Brahms with an honorary Doctor of Philosophy. In return, the University requested him to compose a piece as a musical “thank you”. Brahms did not appreciate this and instead of the traditional symphony the academics expected, they received a beautifully orchestrate medley of student drinking songs that has become one of Brahms’ best-known works. In Academic Festival Overture, Brahms skillfully weaves together four traditional beer-hall songs that would have been well-known to German university students of his era. The first, “Wir hatten gebauet ein stattliches Haus” (“We have built a stately house”) is a majestic trumpet chorale that carried significant political weight; associated with student groups advocating for German unification. This is followed by the lyrical “Der Landesvater” (“Father of our Country”) in the strings and the humorous, bassoon led “Was kommt dort von der Höh? (“What comes from afar?”), a lighthearted tune traditionally used during freshman initiations. The piece culminates in a triumphant full-orchestra rendition of “Gaudeamus igitur” (“Let us rejoice, therefore”) a popular 13th-century commencement song that elaborates the rowdy, carefree spirit of student life.

Note by Jordan Owen

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About Suyahan

“My grandfather and my great-grandfather played the Mongolian four-stringed fiddle, told Mongolian stories, and sang traditional songs in the village. Then, when I was nine, I first heard someone play the horsehead fiddle to accompany a folk song. From that moment I was deeply captivated by the sound! I fell in love with it!”

Born in Tongliao, Inner Mongolia, China to ethnic Mongolian parents, Suyahan was fascinated from a young age by the expressiveness of the Morin Khuur—(Horsehead Fiddle or Matou Qin). After undergraduate study, he went to Ulaanbaatar, Mongolia to complete his MM and then his DMA at the Mongolia National University of Education.

Prof. Suyahan has won numerous accolades for his performances in China, and he has received many teaching excellence awards from the Inner Mongolia Autonomous Region during his teaching at the Inner Mongolia University for the Nationalities (IMUN).

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About 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 Performance Studies with Dr. Fabián López.

She plays on a Wojciech Topa violin from 2017.

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About Hexigetu (Wenze)

Hexigetu (Wenze) is a Doctor of Musical Composition, a professor and Master’s supervisor at Inner Mongolia Minzu University. He holds several prominent positions, including Vice Chairman of the Inner Mongolia Musicians Association, Deputy Director of the Autonomous Region’s Steering Committee for Aesthetic Education, Council Member of the Chinese Society for Minority Music, and Deputy Director of the Ministry of Education’s Alliance for the Innovative Development of Art and Technology. He has been selected for the Inner Mongolia Autonomous Region’s “New Century 321 Talent Project” and is recognized as an “Inner Mongolia Prairie Excellence” talent. He has published over 30 academic papers and musical works.

His orchestral work Sacrificial Praise was selected for the 4th China Symphony Music Season and won the Inner Mongolia “Sarina” Award. His orchestral compositions include Sacrificial Praise, Horqin Rhapsody, Distant Recollections, the symphonic chorus A Riguma, the musical Noligerma, the symphonic poem Sengge Rinchen, and the Horqin Banquet Music Collection, among others. His piano works include Variations on a Goose Theme, Western Capriccio, and Dance of Life (which received an entry award in the “San Carlo Cup” National Piano Composition Competition). His chamber work Blooming won the Excellence Award at the 2nd Chinese Minority Chamber Music Composition Competition. The songs Horqin Grassland and Years Like a Song won first and third prizes, respectively, in the National University Music Alliance Song Composition Competition. Horqin Grassland and Searching for That Piece of Grassland received the Inner Mongolia “Five Ones Project” Award. The mixed chorus You Are My Lifelong Pursuitwas selected for the National University Archives of Original Classics Celebrating the 100th Anniversary of the Founding of the Communist Party of China. The work Grassland Cavalry was awarded the Outstanding Creative Work prize at the First Northeast China Three Provinces and One Region Education System Art Performance. He is also the author of monographs such as Practical Piano Textbook and Horqin Rhapsody.

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

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

UNCG Orchestras

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Concert Band
2026-03-05 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
https://youtube.com/live/F4j41w3uriI

Patty Saunders, conductorMolly Allman, graduate conductorJaden Brown, graduate conductor

Program

JOHN PRESCOTTNova Stella: New Star Fanfare

RICHARD SAUCEDOAmerican Barndance

WILLIAM OWENSBig Bend

NICOLE PIUNNOResound

GUSTAV HOLSTA Mooreside Suite

About the Program

About the Artists

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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The importance of philanthropy has never been greater. Please consider a gift to the School of Music to support our mission and ensure the future of music at UNCG.

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Community Day of Dance
2026-03-06 08:00 - 15:00 | Coleman Building, 1408 Walker Ave, Greensboro, North Carolina, 27412, United States
UNCG School of Dance in collaboration with Dr. Teresa Heiland is excited to host the Spring 2026 Community Day of Dance on Friday, March 6, 2026 from 8:30am-3:00 pm. This invite is open to area high school dance instructors. You may bring ten* (10) students at $10 per student (no cost for instructors). *Special permission is needed from Dr. Heiland if you wish to bring more than 10 students. Your registration is confirmed once UNCG School of Dance receives your payment (check or credit card accepted).

What to expect from the Spring 2026 Community Day of Dance:

In the morning, students may take 2-3 dance classes with UNCG dance faculty and graduate students in the following areas:

Jazz

Contemporary

Ballet

Safety Release Technique

West African

Yoga

Pilates

Percussion workshop

…and more to be added

Lunch: lunch will not be provided, however, we will provide information for restaurants on campus and close by as well as our full service Fountain View Dining Hall offering a wide of variety of dining options and foods for those with dietary restrictions.

In the afternoon, UNCG School of Dance will host a ‘Dance Share’ event in the UNCG Auditorium. We invite you and your students to share a piece of choreography (under five minutes in length). Students will also have the opportunity to experience two university dance performances, view screen dances, and meet School of Dance students over lunch to ask questions, learn about college experiences and life in the UNCG School of Dance.

For students interested in auditioning to be a dance major at UNCG, this day may serve as their audition.

In order to accommodate as many schools as possible, we are limiting the number of students per school at ten (10). To request additional students, please submit a written request to Teresa Heiland at tlheilan@uncg.edu.

Your registration becomes valid once payment of $10 per student is received buy the UNCG School of Dance via check (payable to UNCG Dance) or credit card. If other forms of payment are needed, please email UNCG School of Dance Business Services Coordinator, Jennifer Pugh at jepugh@uncg.edu.

The full Spring 2026 Community Day of Dance Itinerary will be shared once registration is confirmed.
