Flute Ensemble
2025-11-14 19:30 - 21:00 (America/New_York) | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/AGrF0v5NJOY

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Shades of Blue
2025-11-14 19:30 - 21:30 | The Crown at the Carolina Theatre, 310 S Greene St, Greensboro, 27401, United States
Join us for the inaugural presentation of the UNCG Vocal Jazz Ensemble, Shades of Blue! This concert will be an exploration of innovative arrangements of group vocal jazz repertoire, solos, and collaborations with instrumentalists. Featuring the music of Duke Ellington, Cole Porter, and Miles Davis, with songs in the style of Ella Fitzgerald, Betty Carter, and Antonio Carlos Jobim.

Please note that The Crown elevator is currently undergoing maintenance. During this time, access to the Crown will be via stairs.

Robinson Family Visiting Jazz Artists

A residency made possible by the Robinson Family Fund, established by Ward Robinson (’19 PBC Jazz, ’10 MPH) and Pamela Pittman, is bringing two jazz luminaries to UNCG’s School of Music this year. Pianist Christian Sands and bassist John Clayton will come to Greensboro for residencies with students and concerts which will be open to the public.

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

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

Bachelor of Music (B.M.) – Performance

Post-Baccalaureate Certificate in Jazz Studies

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TicketPriceAdult$13.00Seniors$7.00Student$7.00Ticket prices do not include a $3.00 processing fee and applicable sales tax.

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Opera Theatre presents 'El Gato con Botas' and 'El Grumete'
2025-11-15 15:30 - 17:30 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
Step into the classic fairy tale, “Puss in Boots,” with the UNCG Opera Theatre. Guest stage director and UNCG alum Jourdan Laine Howell brings us a wonderful setting of a familiar story composed by Xavier Montsalvatge. The evening begins with a short love triangle in “The Cabin Boy” written by Emilio Arrieta, reminiscent of Donizetti’s music.

Both operas are sung in Spanish with English supertitles and accessible for all ages.

TicketPriceAdult$10Student$5

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Jorge Variego, clarinet and composer
2025-11-15 19:30 - 21:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States
withSteve Landis, Adam Ricci and Alejandro Rutty

music byJorge Variego and Alejandro Rutty

Jorge Variego was born in Rosario, Argentina. He is a former Fulbright Scholar and is currently Assistant Professor of Music and Technology at the University of Tennessee, Knoxville and is the director of the composition program at the Sewanee Summer Music Festival. His music can be heard in the Parma, Albany Records, CMMAS, Centaur and Naxos libraries. In 2018 his book on algorithmic composition was released by the National University of Quilmes, in Argentina. During that same year he received the support of the Swedish Arts Grants Committee to be resident composer at the Visby Centre for Composers and was guest lecturer at the Universidad Autónoma de Madrid, in Spain. Among his recent research endeavors, his book “Composing with Constraints” was published by Oxford University Press in 2021. In 2023 he was the guest in many festivals, including the inaugural Festival de Música Algorítmica y Modular hosted by the Universidad Nacional de Musica de Perú, in Lima. In the 23-24 season, his music was performed by the Oak Ridge Symphony, the Bryan Symphony and the Knoxville Symphony.

Variego is the founder director of the Domino Ensemble a non-profit organization dedicated to the promotion, commission, and performance of new music with improvisation. The group released “Purple Ego” (Centaur – 2019) and “Recompensa” (Centaur – 2023) among other recordings. In 2023 the ensemble performed at the Big Ears festival in collaboration with British author Geoff Dyer and in 2024 presented “Recompensa” at the ShapeShifter Lab in Brooklyn, NY.

He is also the founder director of the UT Electroacoustic Ensemble, a student group dedicated to free improvisation with electronic media and is the Treasurer of ATMI and a member of the Society of Composers National Council.

This concert is partially funded by the Robinson Family Fund in PopTech and Music Composition.

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Devon Shifflett, harpsichord
2025-11-15 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/6SidEcyn1uw?feature=share

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Nicole Graham, clarinet
2025-11-16 11:30 - 13:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/7JaB-hs4DN8?feature=share

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Rebecca Snyder, clarinet
2025-11-16 15:30 - 17:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/L7FJnz5yfKM?feature=share

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Erin Dees, tuba
2025-11-16 17:30 - 19:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/CH8lDvZH3z4?feature=share

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Woodwind Chamber Music Recital
2025-11-16 17:30 - 19:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States
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Emily Klinkoski, bassoon
2025-11-16 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/udtJhq1DyFU?feature=share

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Sinfonia
2025-11-17 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/FzW2EUsjaQ0?feature=share

Scott Glasser, conductor

Program

About the Program

About the Artists

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

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

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Studio Voice Recital
2025-11-18 17:30 - 19:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/6Vr5a8tROP8

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Strings Chamber Music Recital
2025-11-18 17:30 - 19:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States

Symphonic Band
2025-11-18 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
https://youtube.com/live/8dXsdSsper8?feature=share

Jonathan Caldwell, conductorGarrett Klein, trumpetJuan José Navarro, guest conductor

Program

OSCAR NAVARRODowney Overture (2011)

ULYSSES KAYSolemn Prelude (1950)

PHILIP SPARKEManhattan (2004)

MANUEL MORALES MARTÍNEZSoñad el mar pasodoble (2020)

PERCY GRAINGERCountry Gardens (1918)Irish Tune from County Derry (1918)Shepherd’s Hey (1918)

About the Program
Downey Overture

Óscar Navarro is a Spanish composer and conductor. He studied clarinet, composition, and conducting in Spain and later specialized in film and television scoring at the University of Southern California in Los Angeles. His music has been performed worldwide by orchestras and symphonic bands, including the Downey Symphony Orchestra, for whom this overture was written. Downey Overture was composed as a celebration of both Navarro’s native Spain and his time in California. It is dedicated to the Downey Symphony Orchestra and its conductor Sharon Lavery. Navarro describes the piece as “a Latin-American fusion…an amalgam of rhythm and musical color wrapped in an atmosphere of dance.” The overture opens with bold, dance-inspired rhythms, with percussion and winds engaging in rhythmic interplay. The music moves through contrasting sections, from lively to more dramatic, and concludes by returning to earlier themes, leaving a sense of energy and unity.

Note by Óscar Navarro and Molly Allman

Solemn Prelude

Ulysses S. Kay, an American composer and educator, was born in Tucson, Arizona, where he grew up surrounded by musical influence. His great-uncle, American jazz cornetist King Oliver, encouraged Kay to study piano. Kay studied at the University of Arizona, the Eastman School of Music, and Columbia University, working with mentors including Howard Hanson and Paul Hindemith. Over his career, he composed more than forty orchestral works, five operas, nearly fifty choral compositions, and seven original works for band, establishing himself as a significant twentieth-century composer. Kay was also one of the most successful African-American composers of his generation and gained widespread recognition in the classical world breaking barriers for other Black artists. He received numerous honors including a Guggenheim fellowship, two Prix de Rome selections, and six honorary doctorates. Despite his success and contributions, Kay’s band works remain lesser-known and infrequently performed. Solemn Prelude (1950) was commissioned by Donald I. Moore for the Baylor University Golden Wave Band. Initially published by Broadcast Music Incorporated and Associated Music Publishing, a typewritten note in the Ulysses Kay Archives indicates it was later listed as withdrawn, leaving it unclear whether Kay intended it to be published or performed. Solemn Prelude is composed in an ABA form and exemplifies Kay’s compositional philosophy: “I [am] using quite simple musical materials and avoiding all so-called ‘effects,’ [and] I have attempted to achieve symphonic expression while observing the characteristic qualities of the full concert band.” The slow and melodic work is built from a recurring rhythmic motive in D Minor, first heard in the saxophones and low brass, which accompanies the opening euphonium solo. Then solo passages are passed across the ensemble to include flute, oboe, trumpet, and bassoon. The initial rhythmic motive returns and dominates the texture in the closing measures.

Note by Patty Saunders

Song and Dance

Philip Sparke is an English composer who has written extensively for brass band. In 1983, the GUS Band, a British brass band, commissioned Sparke to write Jubilee Overture for an upcoming recording session and to celebrate their 50th anniversary. Following the success of Jubilee Overture, the band commissioned Song and Dance the next year. In 2009, Geoffrey Brand arranged Song and Dance for solo cornet and concert band. Song and Dance is a single movement piece in two sections, a song followed by a dance. The “Song” features a “Scotch snap” rhythm followed by a lyrical cadenza leading to a muted presentation of the opening theme. The “Dance” is lively and tuneful with frequently changing meters to accompany the dancing melody.

Note by Philip Sparke and Jaden Brown

Pageant, op. 59

Vincent Persichetti was an American composer, educator, and pianist, and an influential figure in early band literature. In the immediate aftermath of World War II, bands struggled to program substantial, original repertoire written specifically for band. Persichetti’s insistence on composing high quality music helped move the medium forward in many ways. In 1952, Edwin Franko Goldman, founder of the Goldman Band in New York City and the American Bandmasters Association (ABA), commissioned Persichetti to write a piece for the upcoming ABA Convention. Pageant was premiered at the 1953 ABA Convention in Miami, Florida with Persichetti conducting the University of Miami Band. Early manuscript sketches of Pageant show that the piece was initially meant to be titled Morning Music for Band. Traces of the idea of “morning music” can be heard in the opening horn motif and the clarinet soli that follows. The piece is in two sections, the first being slower and more lyrical and the second being a “parade” section introduced by the snare drum.

Note by Vincent Persichetti and Jaden Brown

Soñad el mar

Manuel Morales Martínez is a Spanish composer and conductor whose work focuses on wind ensembles across the Valencian region, a heartland of Spanish band music tradition. Soñad el mar was composed in 2017 for the Banda Primitiva de Rafelbuñol and is a concert pasodoble. While a concert pasodoble maintains the characteristic pasodoble rhythmic framework, these pasodobles are slower and more formally, harmonically, and melodically complex than a traditional pasodoble. The piece begins with a percussion-driven introduction, leads into a bold main theme, and features solos for horn and english horn in the trio section before returning to the main material. Throughout, the music recalls the gentle motion of the sea while retaining the characteristic pulse of the pasodoble. Martínez describes the work as “tonal, Romantic style and captures the calmness of the Mediterranean Sea.”

Note by Manuel Morales Martínez and Molly Allman

Country GardensIrish Tune from County DerryShepherd’s Hey

Percy Grainger (1882–1961), an Australian-born composer and pianist, played a pivotal role in the early development of band literature in the early twentieth century through innovative orchestration and adventurous rhythms and meters. Known for his inclusion of folk melodies, Grainger used Edison wax-cylinder phonographs to collect English folk songs throughout Britain often collaborating with Cecil Sharp, a renowned collector. Fascinated by the unique performances of the singers and often integrating the tunes into his compositions, he sought ways to capture the nuances of pitch and rhythm in his works. Grainger’s contributions to band repertoire include cornerstone works such as Lincolnshire Posy and Colonial Song. Country Gardens (1918) is an English folk tune shared with Grainger by Cecil Sharp based on the tune “The Vicar of Bray.” Grainger played improvisations on it as a concert pianist during his tour for the U.S. Army during World War I and later presented the song to his mother as a birthday gift. Despite its immense popularity, Grainger referred to it as “my wretched tone art.” Grainger arranged the piece for band in 1953. In his program notes, he wrote: “The typical English country garden is not often used to grow flowers in; it is more likely to be a vegetable plot. So you can think of turnips as I play it.” Irish Tune from County Derry (1918) highlights the lyrical beauty of folk song. The tune was collected by Miss J. Ross from New Town, Limavady, Co. Derry, Ireland without a specific tune being credited. Grainger stated, “The name of the tune unfortunately was not ascertained by Miss Ross, who sent it to me with the simple remark that it was ‘very old,’ in the correctness of which statement I have no hesitation in expressing my perfect concurrence.” The melody is shared by the song “Danny Boy,” whose lyrics were composed by English songwriter Frederic Weatherly after Grainger had already arranged the tune. Grainger also arranged the melody in a version for wordless chorus. Shepherd’s Hey (1918), published and sold with Irish Tune from County Derry for many years, is a lively arrangement of a Morris dance tune from rural English tradition. The “Hey” in the title refers to a specific Morris dance step, though Grainger noted, “This setting is not suitable to dance Morris Dance to.” Morris dances traditionally feature teams of “Morris Men” performing with bells and clashing sticks. Grainger collected the original melody and states that the work should be played “in a jolly, energetic manner—with bounce and relish.”

Note by Patty Saunders

About the Artists
Garrett Klein

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

Juan José Navarro

Juan José Navarro holds a Superior degree in Clarinet from the Conservatory of Music of Valencia, in Orchestra Conducting from the Conservatory of Music of Murcia and Master in Conducting and Choral Pedagogy from the International University of La Rioja.

He has conducted for many of the productions of the Compaña Lírica Andaluza, such as El Barbero de Lavapiés, Agua Azucarillos y Aguardiente, El Dúo de la Africana…in venues such as the Teatro Alameda of Málaga and the Nuevo Teatro Infanta Leonor of Jaén.

He has run courses, lectures and given master classes for conducting in Universities as Almería (Spain), Virginia Tech University (Virginia), The University of Illinis (Illinois), Eastern Michigan University (Michigan), University of Northern Iowa (Iowa), University of Maryland (Maryland), University North Carolina Greensboro (North Carolina), Bolzano High Conservatory (Italy), Luisiana State University (Luisiana), University Jewel College ( Missouri), Kansas University (Arkansas) and in places as Murcia, Galicia, Jaén, Granada and Almería organized by such institutions as the Vicerrectorado de Extensión Universitaria of the University of Almería, the Federación Andaluza de Bandas de Música, the Real Conservatorio Profesional de Música of Almería as well as for the teaching staff at the Centro de Enseñanza al Profesorado.

He got the second prize conducting the San Indalecio Wind Orchestra in the National Competition in Murcia and the first prize conducting the Unión Musical de Godelleta in the Special Section of the Wind Bands Competition of Valencia.

He has been titular musical director for 8 years of the Sinfónica Municipal de Almería. He is co-founder along with José Miguel Rodilla of the Academia de Dirección de Orquesta y Banda, “Diesis“, which gives classes in Almería, Murcia, Sevilla and Valencia to more than eighty pupils from every part of Spain.

He has recently received the distinction of “Honorary Friend” of the University of Almería for his great contribution as director of the Orchestra, Choir and Music Department.

Currently he is clarinet and conducting teacher at the Real Conservatorio Profesional de Música of Almería, director of the Almería University Music Room where he conducts the Symphony Orchestra and Choir, Professor of the Conducting Master at the Almería University and Conducting teacher at Diesis Academy.

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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Enshi Li, violin
2025-11-19 17:30 - 19:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/t2qmjkXxFp4?feature=share

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Symphony Orchestra: Tchaikovsky's Fourth
2025-11-19 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
https://youtube.com/live/jCmzzTMRRoU?feature=share

Jungho Kim, conductorMajorie Bagley, violinScott Rawls, violaMark Engebretson, composer

Program

MARK ENGEBRETSONIncandescent Arcs (premiere)

W.A. MOZARTSinfonia Concertante for Violin, Viola, and Orchestra, K. 364 (1779)

Allegro maestosoAndantePresto

PYOTR I. TCHAIKOVSKYSymphony No. 4 in F minor, op. 36 (1877–78)

Andante sostenuto—Moderato con anima—Moderato assai, quasi Andante—Allegro vivoAndantino in modo di canzonaScherzo: Pizzicato ostinato—AllegroFinale: Allegro con fuoco

About the Program
Incandescent Arcs

Incandescent Arcs brings together two preoccupations that have long featured in my music: light and color (Luminous, Radiance, Dark Arts for Daylight) and arc shapes (An Arc in Solitude, Intensity Arcs and Blocks, d_forme). For me, an arc represents an intensity shape: in its simplest form, this could relate to dynamics or loudness, but it might also describe intensity, timbre, pitch level, rhythm, or levels of complexity. We experience arcs as musical shapes naturally: improvisers, for example, often create music that could be said to be in an arc shape. The golden section, which can be understood as an arc shape, has been cited as a structural feature of many musical works. In the end, the arc shape describes the most basic concepts of tension and release. Evocations if light and color in music are more elusive, although many composers have related notions of color to their music, for example Olivier Messiaen and Aleksandr Scriabin. For some, their interest is inspired by their own synesthetic experiences, but it is well known that their sound/color correspondences are highly personal and not universally heard or seen. I don’t have synesthesia myself, but still color is a musical preoccupation in many ways. The idea of incandescence is most often connected to bright lights. Think of what we used to have for light bulbs. It can also be used to refer to strongly felt emotional states, often in the angry spectrum, but more applicable in this case centered on enthusiasm, passion, love. Something incandescent glows or shines from within. This piece brings two main ideas (arcs) forward, one of which is, for me, a brilliant, bright white light. The other suggests deepest, darkest violet. In both cases, the emotional connections will be your own but hopefully will be strong and ardent. Of course, you may not hear the piece in terms of color or light, but there are always other ways to listen and experience the music. You might, for example, think of these arcs as stories, consider how each story is altered through its retelling, and enjoy the ride over the large-scale arc as they become inexorably entwined.

Note by Mark Engebretson

Sinfonia Concertante for Violin, Viola, and Orchestra, K. 364

By 1779, Mozart was eager to break free from the constraints imposed by Archbishop Colloredo in Salzburg. His recent travels to Mannheim and Paris immersed him in the evolving sinfonia concertante genre, a hybrid of symphony and concerto featuring multiple soloists. Inspired by the instrumental dialogue he encountered, Mozart composed his Sinfonia Concertante in E-flat major, K. 364, a work that embodies his mature synthesis of virtuosic flair and expressive depth. This composition marks a turning point, signaling artistic independence that soon led to his dismissal from Salzburg and relocation to Vienna. The scoring is notable for its timbral sensitivity: the bright violin is balanced with the darker, richer hues of the viola. Mozart enhances this by dividing the viola section, enriching the string texture, and employing scordatura tuning on the solo viola—raising its pitch a semitone to elevate its resonance and balance. The expansive opening Allegro maestoso builds on themes introduced by the orchestra, highlighting influences from Mannheim’s dynamic orchestral style, including the celebrated Mannheim crescendo. The Andante slow movement reflects an operatic sensibility, with the plaintive violin paired against the consoling viola in a dialogue suggestive of vocal lament. Its emotional depth, linked by scholars like Maynard Solomon to Mozart’s personal loss of his mother, adds profound lyricism. The final Presto rondo bursts with energy and joy, featuring lively exchanges and melodic inventions that culminate in an exciting conclusion.

Note by Jordan Owen

Symphony No. 4 in F minor, op. 36

Tchaikovsky’s Symphony No. 4 in F minor, op. 36, completed in 1878, stands as one of the composer’s most intimate and confessional orchestral works, shaped profoundly by a time of great personal upheaval. Composed against the backdrop of his disastrous marriage to Antonina Milyukova and subsequent emotional crisis, the Fourth Symphony channels Tchaikovsky’s anxieties, vulnerabilities, and eventual moments of resilience into a gripping musical narrative. Throughout its composition, Tchaikovsky maintained a deeply personal correspondence with his patron and confidante Nadezhda von Meck, ultimately dedicating the symphony to her—a gesture reflective of the trust and solace her support provided during this troubling period. In his letters, Tchaikovsky described the work as an embodiment of Fate, casting the symphony’s opening fanfares as an inescapable force standing between the individual and happiness. This powerful motif, ushered in by the brass and winds, acts as the foundation for the symphony’s structure as well as its psychological landscape. The first movement, marked by urgency and dramatic turns, repeatedly confronts the listener with this idea of Fate’s interference and persistence, each thematic arrival shadowed by the specter of destiny. The movement’s restless momentum and orchestral color draw clear lines between internal struggle and artistic expression. The second movement, Andantino in modo di canzona, adopts an altogether more lyrical tone, introduced by a plaintive oboe solo. Here, nostalgia and sorrow intermingle, reflecting Tchaikovsky’s musings on solitude, exhaustion, and the bittersweet pleasure of reminiscence. Memories of happiness and youth emerge across sweeping melodic arcs, only to dissolve into sadness as the passage of time is gently mourned. This music does not simply dwell in melancholy; it gently urges its listener to accept the complexity of loss and memory. With the Scherzo, marked Pizzicato ostinato, the composer shifts into a world of playfulness and innovative texture. The strings’ pizzicato provides a bright, unpredictable backdrop, while wind and brass introduce episodes that recall folk festivities and military parades. These sections flit by like fleeting thoughts or half-remembered dreams, and Tchaikovsky himself likened them to errant, abstract images that pass through the imagination when the mind wanders. What emerges is a remarkable movement not only for its novelty but for its ability to capture the ephemeral nature of inner experience. The finale unleashes the full force of the orchestra in a rollicking outburst of energy, opening with a jubilant exclamation and quickly shifting gears with a Russian folk tune, “In the Field Stands a Birch Tree.” Tchaikovsky reveals that when joy cannot be found within oneself, the pleasures of the community—embodied in dance and festivity—may offer a way forward. Yet, as exuberance builds, Fate’s theme unexpectedly reappears, a reminder that suffering and joy are always in dialogue. Despite its return, the finale presses on to a conclusion brimming with vitality and affirmation, as if to suggest that life, for all its trials, offers moments of real joy when one partakes in the world around them. Known as one of the great Romantic symphonies, Tchaikovsky’s Fourth transforms personal struggle and existential questioning into a compelling drama rich with psychological insight and expressive color. Its confessional tone, forged through adversity, continues to resonate with audiences as a testament to the resilience of the individual spirit and the transformative potential of music.

Note by Jordan Owen

About the Artists
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.

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 prominent composers. 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.

Mark Engebretson

Composer Mark Engebretson is Professor of Composition and Music Technology at the University of North Carolina at Greensboro.  He is the recipient of a Barlow Commission (for Bent Frequency), North Carolina Artist Fellowship in Composition (for the Concerto for Soprano Saxophone and Orchestra), a Fulbright Fellowship for studies in France, and has received commissions from Harvard University’s Fromm Music Foundation (Acrylic Waves), the University of Wisconsin-Madison (They Said: sinister resonance), the Thomas S. Kenan Center for the Arts (Deliriade), and the Chicago College for the Performing Arts (Crossfade). He is the founder of New Music Greensboro.

Engebretson’s creative work is driven by melody, timbre, virtuosity, clear and balanced formal structure, the integration of new media, multiple levels of associations, and a desire for fresh, engaging musical expression. Recent work has included strong overtones of pop music, creative intersections with written texts and using audience members’ smartphones as a form of interactivity.

Mark Engebretson taught composition at the University of Florida, music theory at the SUNY Fredonia and 20th-century music history at the Eastman School of Music. He studied at the University of Minnesota (graduating Summa cum Laude), the Conservatoire de Bordeaux (as a Fulbright Scholar), and Northwestern University, where he received the Doctor of Music degree.  At Northwestern he studied composition with M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim and saxophone with Frederick Hemke. His teachers in France were Michel Fuste-Lambezat and Jean-Marie Londeix.

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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Amy Zigler ∙ Irna Priore Music and Culture Lecture Series
2025-11-20 16:00 - 17:00 | Music 221, 100 McIver St, Greensboro, North Carolina, 27410, United States

University Chorale
2025-11-20 17:30 - 19:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/qI-zUhL_OnA?feature=share

Carole Ott, conductor

About the Program

About the Artists

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

UNCG Choirs

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Wind Ensemble
2025-11-20 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
https://youtube.com/live/hztl84uanQ0?feature=share

Jonathan Caldwell, conductorJuan José Navarro, guest conductorTaylor Stirm, clarinet

Program

Mark Engebretson

Crossfade

Arnold Schoenberg

Theme and Variations, op. 43a

Scott McAllister

Black Dog

intermission

Amando Blanquer Ponsoda

Gloses II

ModeratoMossoModeratoMosso, con certa vivacitáAllegro jubiloso

Luis Serrano Alarcón

Invocación

Jaume Teixidor

Amparito Roca

Funding for Juan José Navarro’s residency was provided, in part, by the John R. Locke Endowment for Excellence in Music.

About the Program
Crossfade

Mark Engebretson is a professor of composition and music technology at the University of North Carolina at Greensboro. His music explores melody, timbre, and virtuosity through clear formal design, while often integrating new media and popular influences. A recipient of a Fulbright Fellowship, Engebretson’s music has been commissioned by the Fromm Music Foundation and Barlow Endowment. Engebretson’s works have been performed widely in the United States and abroad.  Crossfade was commissioned by Stephen Squires and the Chicago College of Performing Arts Wind Ensemble and premiered in 2017. The title references the process of blending one sound or idea into another: a technique familiar in audio production. Throughout the piece, musical textures and colors overlap and transform as ideas emerge, fade, and reappear in new contexts. Crossfade unfolds in three large sections: an energetic opening characterized by rhythmic motion and bass-driven motives, a slower and more texturally experimental middle section, and a return of the opening material transformed with new energy and melodic material. The work’s vibrance, intricate layers, and buoyant rhythms create what the composer describes as “a bubbly concoction of energy, rhythm, and joy.”

Note by Mark Engebretson and Molly Allman

Theme and Variations, op. 43a

Arnold Schoenberg, largely self-taught and originally from Vienna, immigrated to Los Angeles in 1934. While in the United States, Schoenberg taught at UCLA while composing until a heart attack in 1945 led him to retire from teaching in order to focus on composition. Schoenberg is best known for “emancipating dissonance” through his move away from tonality and toward atonality where music lacks a key center. This idea led to his development of 12-tone technique, a revolutionary approach to composition that has come to define his legacy. However, this contribution represents only part of his creative output which also includes his significant and tonal composition for band: Theme and Variations, op. 43a. Written while Schoenberg was living in Los Angeles, Theme and Variations, op. 43a was composed at the request of Carl Engel, president of G. Schirmer Music, following a request from Edwin Franko Goldman, for an original composition for band. Centered in G Minor, the work consists of a theme, seven variations, and a finale. Each variation is based on the original theme and developed through fragmentation and motivic transformation, while incorporating tempo variation, a waltz, an inverted canon, and a chorale. The multi-part finale includes a double fugue and a coda that transforms the tonality from G Minor to G Major.

Note by Patty Saunders

Black Dog

Scott McAllister is an American composer, educator, and clarinetist. McAllister attended Florida State University where he studied conducting with the director of bands, James Croft, and clarinet with Frank Kowalsky. In 2001, following the success of his previous work for clarinet, X Concerto, Croft and Kowalsky commissioned McAllister to write another clarinet concerto which became Black Dog. Written to showcase Frank Kowalsky’s technique, Black Dog draws inspiration from 1970s rock music including guitarists Jimi Hendrix and Jimmy Page, and more specifically Led Zeppelin’s song “Black Dog.” The piece is intended to evoke the feeling of an outdoor concert, with the clarinet soloist serving as the lead singer in front of a screaming audience. To further emphasize the “rock” feel of the piece, McAllister chose to write it as a rhapsody, which allows for more formal freedom. The soloist is featured in several cadenzas before a “head-banging” bass line propels the piece to a rousing conclusion.

Note by Scott McAllister and Jaden Brown

Gloses II

Spanish composer Amando Blanquer Ponsoda studied horn with Don Fernando de Mora and composition at the Conservatory of Valencia with Leopoldo Magneti, Manuel Palau, and Miguel Asins Arbó. In the 1950s, he received a scholarship to study in Paris and studied composition with Olivier Messiaen. Blanquer won several awards including the Rome Prize in 1962. Upon moving back to Spain, he served as the chair of composition at the Valencia Superior Conservatory of Music. His prolific output of more than three hundred works spans symphonic, chamber, choral, and solo music. His significance as a band composer is evident in his works for band and with his background playing in the Primitive Band of Alcoy. Considering his compositional style, Blanquer remarked “each musical idea is born from the element that originates it—whether it be an orchestra, a band, an oboe, a guitar.” Gloses II is part of a trilogy, alongside Gloses for organ (1987) and Gloses III for symphony orchestra (1990). Commissioned for the Festliche Musik Tage in Switzerland, it was also featured at the Valencia International Wind Band Competition in 1991. In Spain, a “glosa” is a poetic form that expands on a pre-existing short text, typically a four-line stanza. In music, the “glosa” generates melodic variations—a tradition rooted in Valencian Baroque music, notably in the works of organist Joan Baptiste Cabanilles (1644–1712). The five-movement work is a musical interpretation of a “glosa” and opens with a four- note melody in the low brass, which serves as thematic material used throughout the work The second movement highlights the oboe and bassoon with contrasting lyrical lines and dance-like rhythms. Chimes signal the beginning of the third movement, which opens with a horn solo which is developed across the ensemble before resolving to a D Major chord. The fourth and longest movement features a chaotic texture, with frantic, fragmented rhythms interspersed with slower, lyrical passages. The final movement marked “Allegro jubiloso,” begins with tom-toms and marked chords. Woodwind and high brass rhythmic sections, a reintroduction of oboe and flute solos, and fanfare-like brass are showcased. The rhythmic motive is then imitated in the timpani in the final measures to bring the piece to a triumphant and full ensemble E Major chord.

Note by Patty Saunders

Invocación

Luis Serrano Alarcón is a Spanish composer and conductor who writes primarily for band. In 2017, La Armónica, the symphonic band at Centro Instructivo Musical (CIM) in Buñol, Spain, commissioned Alarcón to compose Invocación. The piece was premiered as part of the band’s competition repertoire for the World Music Contest, a month-long music festival in Kerkrade, Netherlands. Invocación is based on Isaac Albeníz’s piano suite Iberia, specifically, the second movement, “El Puerto” which Alarcón performed as a child. Alarcón draws inspiration from his experiences and memories with Iberia in Invocación. The piece’s subtitle, “Revisitando El Puerto,” refers to both the revisitation of old music and a revival of the actual location that inspired Albeníz’s “El Puerto”: El Puerto de Santa María in Cadíz, Spain. Additionally, the title Invocación is subtle reference to the first movement of the piano suite, “Evocación.” These similarities and connections were specifically chosen by Alarcón for a reason: “While to evoke is to remember in an intervening way or motivated by something external, to invoke is a request, and therefore denotes intention.”

Note by Luis Serrano Alarcón and Jaden Brown

Amparito Roca

Jaume Teixidor was a Spanish composer and conductor who spent most of his career leading municipal and military bands throughout Spain, including the Baracaldo Municipal Band in northern Spain. He wrote more than five hundred compositions for concert band, many of which became staples of Spanish band repertoire.  Amparito Roca is a pasodoble; a traditional Spanish military march in duple meter with brisk-like rhythms and bold melodic themes, often associated with bullfighting and festive celebrations. Named after Teixidor’s piano student, Amparito Roca, for whom he originally wrote the piece as a study work, the piece opens with a spirited introduction, followed by the main theme, alternating with lyrical and dance-like passages. Its lively rhythms, dynamic contrasts, and melodic flourishes capture the character of the Spanish pasodoble.

About the Artists
Taylor Stirm (Second Prize, Student Artist Competition)

Taylor Stirm is a current doctoral student at UNC Greensboro and the North Carolina student representative for the International Clarinet Association. Stirm is a clarinet instructor at the University of North Carolina School of the Arts Community Music School and the University of North Carolina at Greensboro Community Music School. She also has a large private studio in North Carolina of clarinet and piano students.

Equally at home in solo, chamber, and orchestral situations, Stirm has performed throughout the United States and internationally. She has been featured at conferences of the International Clarinet Association, American Single Reed Summit, and HERo. Stirm is a founding member of the clarinet trio Chaos Incarné, which aims to expand the clarinet repertoire through commissioning emerging composers from underrepresented communities.

Stirm holds degrees from UNC Greensboro and Arizona State University. Her primary teachers include Anthony Taylor, Luke Ellard, Andy Hudson, Robert Spring, Joshua Gardner, and Theresa Martin.

Juan José Navarro

Juan José Navarro is currently teacher of clarinet and conducting at the Real Conservatorio Profesional de Música of Almería. He also conducts the Almería University Symphony Orchestra and Choir and leads the master’s conducting program at Almería University. He has served as music director of the Sinfónica Municipal de Almería for eight years and is also the co-founder along with José Miguel Rodilla of the Academia de Dirección de Orquesta y Banda, “Diesis.” Academia Diesis gives classes in Almería, Murcia, Sevilla, and Valencia and has served more than eighty students from every part of Spain.

Prof. Navarro was awarded second prize for conducting the San Indalecio Wind Orchestra in the National Competition in Murcia and the first prize for conducting the Unión Musical de Godelleta in the Special Section of the Wind Bands Competition of Valencia. He has conducted in the Franz Liszt Academy of Music in Budapest, the Musikverein in Vienna, and the Opera House in Cairo.

Prof. Navarro holds degrees in clarinet from the Conservatory of Music of Valencia, in orchestral conducting from the Conservatory of Music of Murcia, and a master’s degree in conducting and choral pedagogy from the International University of La Rioja.

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

Personnel

FLUTEJason EvinskyRebecca KleinmannColleen McCracken*Ericka SanchezJoeli SchillingLucien SmithGrace Spivey

OBOEMcKenzie CarrHailey CohenGer Vang*

CLARINETTJ BaudreauConcetta Brehmer*Katelyn CopelandLiam DeenNicole GrahamHayley Jensen*Graham MarvellMariah McClammyAubrey Russell

BASSOONEmily Klinkoski*Angela MorettiSabrina Wright

SAXOPHONERyan EhingerJames GrassArjuna RamachandranDylan Royal*Orazio ThomasChris Vega

TRUMPETCalvin Godfrey*Jack KannanNinon KirchmanRiver PrescottOliver RunkleZachary Seaman

HORNEli KinardJackson MeshawJT Sandlin*Kai Summerlin

TROMBONEHector JamarilloMichael Mangrum*Kristen McBrayerMegan Seyer

EUPHONIUMJohn Cowger*Jason LeeJonathan LowryKent Tingley

TUBANate Bridges*Trevor LongWill Wood

PERCUSSIONEli Alvarez-LopezSam ElyZach Foster*Gabe GenopolosLachlan GeorgeMadison KaranShelby Perez-Hendricks

DOUBLE BASSDominic Kilgore

PIANOYuxin Chen

HARPBethany Lancaster

All personnel are listed alphabetically.

*section leader

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Violin Studio Recital
2025-11-20 19:30 - 21:00, 2025-11-22 19:30 - 21:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States

Trumpet Studio Recital
2025-11-21 17:30 - 19:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States

Concert Band
2025-11-21 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
https://youtube.com/live/NQSqDb5HqmE?feature=share

Patty Saunders, conductor

Program

About the Program

About the Artists

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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Janinah Burnett Band featuring Christian Sands and Terreon Gully
2025-11-21 19:30 - 21:30 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
Janinah Burnett

Christian Sands

Terreon Gully

Robinson Family Visiting Jazz Artists

A residency made possible by the Robinson Family Fund, established by Ward Robinson (’19 PBC Jazz, ’10 MPH) and Pamela Pittman, is bringing two jazz luminaries to UNCG’s School of Music this year. Pianist Christian Sands and bassist John Clayton will come to Greensboro for residencies with students and concerts which will be open to the public.

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

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

Bachelor of Music (B.M.) – Performance

Post-Baccalaureate Certificate in Jazz Studies

TicketPriceAdult$12.00Seniors$9.00Student$6.00Ticket prices do not include a $3.00 processing fee and applicable sales tax.

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Leah Mir, organ
2025-11-22 11:30 - 13:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States

Darrion Keck, trumpet
2025-11-22 15:30 - 17:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States

Lillian Church, soprano
2025-11-22 17:30 - 19:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States

Yi-Ju Shih, violin
2025-11-23 11:30 - 13:00 | Organ Hall, 100 McIver St, Greensboro, 27412, United States

Honors High School Jazz Band and Jazz Ensemble I with special guest Christian Sands
2025-11-23 13:30 - 15:30 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
The Miles Davis Jazz Studies Program presents the 26th Annual Honors High School Jazz Band, November 22–23, 2025, featuring Christian Sands.

The two-day event consists of big band rehearsals, clinics, and improvisation master classes, and concludes with a performance by the Honors Band, renowned pianist Christian Sands, and the UNCG Jazz Ensemble I directed by Thomas Heflin.

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

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

Bachelor of Music (B.M.) – Performance

Post-Baccalaureate Certificate in Jazz Studies

TicketPriceAdult$12.00Seniors$9.00Students$6.00

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Chamber Singers
2025-11-23 15:30 - 17:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
https://youtube.com/live/wKwnUY23mUI?feature=share

Carole Ott, conductor

Program

GEORG PHILIPP TELEMANNNun Danket alle Gott

J.J.E. LOBO DE MESQUITALadainha de Nossa Senhora

W.A. MOZARTVesperae solennes de confessore, K. 339

About the Program

About the Artists

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

UNCG Choirs

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