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DTSTART;TZID=America/New_York:20251021T193000
DTEND;TZID=America/New_York:20251021T210000
DTSTAMP:20260411T025848
CREATED:20251002T173139Z
LAST-MODIFIED:20251015T200818Z
UID:10003477-1761075000-1761080400@vpa.uncg.edu
SUMMARY:An Evening with Demeanor
DESCRIPTION:https://youtube.com/live/RXUncMlekYo?feature=share\n\n\n\n\n “Folk music is the music we need to make…”\n\n\n\nThis performance is made possible by generous support from The Robinson Family Fund. \n\n\n\n\n\n\n\n\n\n\n\nJustin Harrington (aka Demeanor) is an MC\, banjo and bones player from Greensboro\, North Carolina. Justin studied at the College Conservatory of Music at University of Cincinnati before leaving school to join his aunt\, Rhiannon Giddens\, as part of her Freedom Highway Tour. He has been playing the banjo for several years\, crafting an unconventional fusion of hip-hop and American roots music in an effort to break down the wall separating black Americans with their own ancestral tradition\, while celebrating American folk music as an African American art form. Justin is dedicated to developing an impactful body of work\, and curating empowering environments\, striving to follow in the footsteps of his predecessors while establishing a new musical legacy. He received a 2020 OneBeat Accelerator Grant to fund his non-profit initiative\, Haus of Lacks\, which aims to connect socially-engaged artists to develop + share strategies for using art and music creation to affect direct and actionable social change in their communities. \n\n\n\n\n\n\nEvent Details\n\n\n\n\nDownload Program\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe 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. \n\n\n\n\n\n\nkeyboard\, music\, piano\, student recital\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/an-evening-with-demeanor/
LOCATION:Tew Recital Hall\, 100 McIver St\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/10/demeanor-feature.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251021T090000
DTEND;TZID=America/New_York:20251021T160000
DTSTAMP:20260411T025848
CREATED:20251003T150323Z
LAST-MODIFIED:20251003T150327Z
UID:10003481-1761037200-1761062400@vpa.uncg.edu
SUMMARY:Crossing the Coulee
DESCRIPTION:Kate Gordon’s studio practice focuses on painting in the expanded field\, sourcing inspiration from pop-up books\, dioramas\, and collage. The dream imagery that Gordon mines aims to capture the strangeness of the waking world\, which is often not as logical as it might at first appear. Gordon has shown her paintings\, collages\, and video works nationally; exhibitions include a site-specific installation “Alligator Naps” at the Hilliard Art Museum\, curation into the Weatherspoon Art Museum’s “Art on Paper” exhibition\, and an invitation to create a public video installation at Block 2\, a visual platform for new media artists in Raleigh\, NC. Most recent professional accomplishments include participation in Kolaj Institute’s Artist Residency in Scotland\, curation into “Is This Too Much?”\, a maximalist exhibition at Le Mieux Galleries\, and inclusion in the “Louisiana Contemporary” exhibition at the Ogden Museum of Southern Art. Gordon currently holds the position of Associate Professor of Figure Drawing & Foundations at the University of Louisiana at Lafayette. She earned an M.F.A. from the University of North Carolina at Greensboro and a B.F.A. from Pratt Institute. \n\n\n\nExhibition runs October 16 – December 5\, 2025 Monday – Friday\, 8am – 4pmArtist Talk and Reception October 16\, 4:30pm
URL:https://vpa.uncg.edu/single-event/crossing-the-coulee-2/2025-10-21/
LOCATION:UNCG Gatewood Studio Arts Building\, 527 Highland Ave\, Greensboro\, NC\, United States
CATEGORIES:College of Visual and Performing Arts,School of Art
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/10/KateGordonPoster_V5-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251020T193000
DTEND;TZID=America/New_York:20251020T210000
DTSTAMP:20260411T025848
CREATED:20250812T175332Z
LAST-MODIFIED:20251015T200909Z
UID:10003343-1760988600-1760994000@vpa.uncg.edu
SUMMARY:George Fu\, piano
DESCRIPTION:American pianist George Xiaoyuan Fu is “one of the most exciting pianists of our time… a deep thinker\, thoroughly in command” (The Arts Desk). The winner of BBC Music Magazine’s 2024 Newcomer Award\, he is garnering international acclaim as a fearless and probing interpreter of a wide array of music\, combining “phenomenal technique with a profound sense of interpretative clarity” (Apple Music).   \n\n\n\nHighlights for Fu’s 2025-26 season include his solo debut at the Frick Collection in New York City\, playing the entire cycle of Oliver Messiaen’ Vingt Regards sur l’Enfant-Jésus; as well as a new solo piano commission he is writing for his recital at Wigmore Hall in London. He also appears at the Concertgebuow and with the Chamber Orchestra of Philadelphia with his ensemble\, Trio Zimbalist\, comprised of violinist Josef Špaček and cellist Timotheos Gavriilidis-Petrin.   \n\n\n\nFu has appeared throughout major venues around the world such as the Wigmore Hall\, Carnegie Hall\, 92nd Street Y\, Konzerthaus Berlin\, Kennedy Center\, St Martin In the Fields\, the Southbank Centre\, and Kings Place. As concerto soloist he has performed with National Symphony Orchestra (USA)\, Baltimore Symphony Orchestra\, North Carolina Symphony\, Tanglewood Music Center Orchestra\, and the Curtis Symphony Orchestra\, amongst others. He appears regularly at festivals worldwide such as the Aldeburgh\, Ryedale\, Presteigne\, Tanglewood\, Smetanova Litomyšl\, and the Santa Fe Chamber Music Festivals. His performances and interviews have been featured on broadcasts around the world\, ranging from BBC Radio 3 and National Public Radio\, to appearances on PBS/American Public Television and On Stage At Curtis in Philadelphia. In addition to Trio Zimbalist\, Fu enjoys fruitful collaborations with a wide variety of artists such as Roberto Díaz (viola)\, Dmitri Sitkovetsky (violin)\, Tamsin Waley-Cohen (violin)\, Mika Sasaki (piano)\, Liv Redpath (soprano)\, and Lotte Betts-Dean (mezzo-soprano).   \n\n\n\nAs an emerging composer\, Fu’s growing catalogue of original works and arrangements exhibits fresh imagination and virtuosity\, all the while drawing from a lifetime of studying a vast repertoire spanning several centuries. His Passacaglia on a Theme by Radiohead was recently featured on NPR’s All Songs Considered and hailed as “kind of mind-blowing” by Robin Hilton; while his arrangements of Ravel’s Daphnis et Chloé Suite No. 2 and Smetana’s Dance of the Comedians have seen successful debuts internationally. This year Trio Zimbalist will debut his first Piano Trio throughout concerts in the US.  \n\n\n\nFu’s second studio album\, Colouring Book\, was released with Platoon Classical in March 2025 to international acclaim\, with Gramophone Magazine hailing it as one of the best classical releases of the year: “Fu plays his own music with tremendous authority and colouristic resources\, as he also does with the Cruttwell-Reade and Aucoin selections… As for the Debussy Études\, Fu’s recordings contain some of the most enchantingly characterised interpretations I’ve heard since those of Ju-Ying Song\, Florent Boffard\, Mitsuko Uchida and Jean-Efflam Bavouzet. Yes\, they’re that good!” (Jed Distler) His first solo album\, MIRRORS (Platoon)\, won BBC Music Magazine’s 2024 Newcomer Award for best debut release.  \n\n\n\nFu made his concerto debut with the National Symphony Orchestra at the Kennedy Center at the age of 17. After earning a bachelor’s degree in economics from Harvard University\, Fu studied with Jonathan Biss and Meng-Chieh Liu at the Curtis Institute of Music\, and then with Christopher Elton and the Dame Myra Hess Chair of Piano Joanna MacGregor at the Royal Academy of Music. Additional mentors have included David Ludwig and Pierre-Laurent Aimard. He resides in London.  \n\n\n\n\n\n\nEvent Details\n\n\n\n\nDownload Program\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe 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. \n\n\n\n\n\n\nkeyboard\, music\, piano\, student recital\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/george-fu-piano/
LOCATION:Tew Recital Hall\, 100 McIver St\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/08/fu-george-piano-16-9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251020T090000
DTEND;TZID=America/New_York:20251020T160000
DTSTAMP:20260411T025848
CREATED:20251003T150323Z
LAST-MODIFIED:20251003T150327Z
UID:10003480-1760950800-1760976000@vpa.uncg.edu
SUMMARY:Crossing the Coulee
DESCRIPTION:Kate Gordon’s studio practice focuses on painting in the expanded field\, sourcing inspiration from pop-up books\, dioramas\, and collage. The dream imagery that Gordon mines aims to capture the strangeness of the waking world\, which is often not as logical as it might at first appear. Gordon has shown her paintings\, collages\, and video works nationally; exhibitions include a site-specific installation “Alligator Naps” at the Hilliard Art Museum\, curation into the Weatherspoon Art Museum’s “Art on Paper” exhibition\, and an invitation to create a public video installation at Block 2\, a visual platform for new media artists in Raleigh\, NC. Most recent professional accomplishments include participation in Kolaj Institute’s Artist Residency in Scotland\, curation into “Is This Too Much?”\, a maximalist exhibition at Le Mieux Galleries\, and inclusion in the “Louisiana Contemporary” exhibition at the Ogden Museum of Southern Art. Gordon currently holds the position of Associate Professor of Figure Drawing & Foundations at the University of Louisiana at Lafayette. She earned an M.F.A. from the University of North Carolina at Greensboro and a B.F.A. from Pratt Institute. \n\n\n\nExhibition runs October 16 – December 5\, 2025 Monday – Friday\, 8am – 4pmArtist Talk and Reception October 16\, 4:30pm
URL:https://vpa.uncg.edu/single-event/crossing-the-coulee-2/2025-10-20/
LOCATION:UNCG Gatewood Studio Arts Building\, 527 Highland Ave\, Greensboro\, NC\, United States
CATEGORIES:College of Visual and Performing Arts,School of Art
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/10/KateGordonPoster_V5-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251020T083000
DTEND;TZID=America/New_York:20251020T160000
DTSTAMP:20260411T025848
CREATED:20250808T194202Z
LAST-MODIFIED:20260216T212147Z
UID:10003338-1760949000-1760976000@vpa.uncg.edu
SUMMARY:Open House For Prospective Music Students
DESCRIPTION:
URL:https://vpa.uncg.edu/music/open-house/
LOCATION:UNCG School of Music\, 100 McIver St\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2024/09/PIC13905-music-aural-skills.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251018T193000
DTEND;TZID=America/New_York:20251018T193000
DTSTAMP:20260411T025848
CREATED:20250821T153651Z
LAST-MODIFIED:20250821T153654Z
UID:10003368-1760815800-1760815800@vpa.uncg.edu
SUMMARY:AGSD Showcase
DESCRIPTION:The association of Graduate students in Dance will present a concert showing works in progress and feature undergraduate and graduate dancers.  \n\n\n\n \n\n\n\n7:30pm Coleman Theatre (306)  
URL:https://vpa.uncg.edu/single-event/agsd-showcase-2/
LOCATION:Coleman Theatre\, 1408 Walker Ave\, Greensboro\, North Carolina\, 27412\, United States
CATEGORIES:School of Dance
ORGANIZER;CN="School of Dance":MAILTO:dance@uncg.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251017T200000
DTEND;TZID=America/New_York:20251017T200000
DTSTAMP:20260411T025848
CREATED:20250306T214055Z
LAST-MODIFIED:20250919T143315Z
UID:10003118-1760731200-1760731200@vpa.uncg.edu
SUMMARY:Count Basie Orchestra
DESCRIPTION:In the history of Jazz\, there is only one bandleader that has the distinction of having his orchestra still performing sold-out concerts all over the world\, with members personally chosen by him\, for nearly 40 years after his passing. Pianist and bandleader William James “Count” Basie was and still is an American institution that personifies the grandeur and excellence of Jazz. The Count Basie Orchestra\, today directed by Scotty Barnhart\, has won every respected jazz poll in the world at least once; won 18 Grammy Awards; performed for Kings\, Queens\, and other world Royalty; appeared in several movies and television shows; and at every major jazz festival and major concert hall in the world. \n\n\n\nThe most recent honor is a 2024 Grammy Win of Best Large Jazz Ensemble for Basie Swings the Blues!  Other honors include their 2022 Grammy Nomination for Live at Birdland\, a 2018 Grammy Nomination for All About That Basie\, which features special guests Stevie Wonder\, Jon Faddis\, and Take 6 among others\, and the 2018 Downbeat Readers Poll Award as the #1 Jazz Orchestra in the world. Their critically acclaimed release in 2015 of A Very Swingin’ Basie Christmas! is the very first holiday album in the 80-year history of the orchestra. Released on Concord Music\, it went to #1 on the Jazz charts and sold out on Amazon! Special guests include vocalists Johnny Mathis\, Ledisi\, our own Carmen Bradford\, and pianist Ellis Marsalis. \n\n\n\nA BBC TV-produced documentary on Mr. Basie and the orchestra titled Count Basie: Through His Own Eyes premiered on PBS in the US and UK in 2019 coinciding with the orchestra’s 85th Anniversary. It features interviews by Quincy Jones\, Scotty Barnhart\, Dee Askew\, John Williams\, and several other important members and associates of Mr. Basie and the orchestra.  \n\n\n\n\n\n\n\nOrchestra/MezzBalconyUNCG Students$7.50$7.50UNCG Faculty/Staff$25.00$25.00Adults$65.00$50.00Seniors/Military$55.00$40.00Children (K-12)$30.00$15.00\n\n\n\n\nPURCHASE TICKETS\n\n\n\n\n* Tickets to CVPA and UCLS events are sold exclusively through our box office locations and ETix website\, and nowhere else. Tickets purchased through third-party vendors cannot be honored. \n\n\n\n\n\n\nSome of the greatest soloists\, composers\, arrangers\, and vocalists in jazz history such as Lester Young\, Billie Holiday\, Frank Foster\, Thad Jones\, Sonny Payne\, Freddie Green\, Snooky Young\, Frank Wess\, and Joe Williams\, became international stars once they began working with the legendary Count Basie Orchestra. This great 18-member orchestra is continuing the excellent history started by Basie of stomping and shouting the blues\, as well as refining those musical particulars that allow for the deepest and most moving of swing.  \n\n\n\nCurrent members include one musician hired by Basie himself: trombonist Clarence Banks (1984).  Long-time members include Doug Miller (1989\, formerly w/Lionel Hampton)\, guitarist Will Matthews from Kansas City (1996)\, and members who have 15-25 years of service; trombonist Mark Williams\, trumpeters Shawn Edmonds and Endre Rice\, saxophonists Doug Lawrence (formerly w/Benny Goodman) and returning on lead alto\, David Glasser.  Newer members include bassist Trevor Ware\, lead trumpeter Frank Greene III\, trumpeter Brandon Lee\, pianist Reginald Thomas\, lead trombonist Isrea Butler\, bass trombonist Ronald Wilkins\, alto sax and flute Stantawn Kendrick\, and the youngest members\, drummer Robert Boone and baritone saxophonist Josh Lee.   \n\n\n\n\n\n\n\nIn addition to public presentations\, artists in the UCLS series have important interactions with UNCG students\, such as holding masterclasses\, talkback sessions\, and seminars\, often just hours before performing on stage. Thanks to a grant from The Cemala Foundation\, some of these artists also work with K-12 students in the Guilford County Schools.
URL:https://vpa.uncg.edu/single-event/count-basie-orchestra/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music,UCLS
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/03/Count-Basie-Orchestra-cropped-e1741629073922.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251017T193000
DTEND;TZID=America/New_York:20251017T193000
DTSTAMP:20260411T025848
CREATED:20250821T153528Z
LAST-MODIFIED:20250821T153531Z
UID:10003367-1760729400-1760729400@vpa.uncg.edu
SUMMARY:AGSD Showcase
DESCRIPTION:The association of Graduate students in Dance will present a concert showing works in progress and feature undergraduate and graduate dancers.  \n\n\n\n \n\n\n\n7:30pm Coleman Theatre (306)  
URL:https://vpa.uncg.edu/single-event/agsd-showcase/
LOCATION:Coleman Theatre\, 1408 Walker Ave\, Greensboro\, North Carolina\, 27412\, United States
CATEGORIES:School of Dance
ORGANIZER;CN="School of Dance":MAILTO:dance@uncg.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251017T090000
DTEND;TZID=America/New_York:20251017T160000
DTSTAMP:20260411T025848
CREATED:20251003T150323Z
LAST-MODIFIED:20251003T150327Z
UID:10003515-1760691600-1760716800@vpa.uncg.edu
SUMMARY:Crossing the Coulee
DESCRIPTION:Kate Gordon’s studio practice focuses on painting in the expanded field\, sourcing inspiration from pop-up books\, dioramas\, and collage. The dream imagery that Gordon mines aims to capture the strangeness of the waking world\, which is often not as logical as it might at first appear. Gordon has shown her paintings\, collages\, and video works nationally; exhibitions include a site-specific installation “Alligator Naps” at the Hilliard Art Museum\, curation into the Weatherspoon Art Museum’s “Art on Paper” exhibition\, and an invitation to create a public video installation at Block 2\, a visual platform for new media artists in Raleigh\, NC. Most recent professional accomplishments include participation in Kolaj Institute’s Artist Residency in Scotland\, curation into “Is This Too Much?”\, a maximalist exhibition at Le Mieux Galleries\, and inclusion in the “Louisiana Contemporary” exhibition at the Ogden Museum of Southern Art. Gordon currently holds the position of Associate Professor of Figure Drawing & Foundations at the University of Louisiana at Lafayette. She earned an M.F.A. from the University of North Carolina at Greensboro and a B.F.A. from Pratt Institute. \n\n\n\nExhibition runs October 16 – December 5\, 2025 Monday – Friday\, 8am – 4pmArtist Talk and Reception October 16\, 4:30pm
URL:https://vpa.uncg.edu/single-event/crossing-the-coulee-2/2025-10-17/
LOCATION:UNCG Gatewood Studio Arts Building\, 527 Highland Ave\, Greensboro\, NC\, United States
CATEGORIES:College of Visual and Performing Arts,School of Art
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/10/KateGordonPoster_V5-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251016T090000
DTEND;TZID=America/New_York:20251019T040000
DTSTAMP:20260411T025848
CREATED:20251003T145920Z
LAST-MODIFIED:20251003T145923Z
UID:10003478-1760605200-1760846400@vpa.uncg.edu
SUMMARY:Crossing the Coulee
DESCRIPTION:Kate Gordon’s studio practice focuses on painting in the expanded field\, sourcing inspiration from pop-up books\, dioramas\, and collage. The dream imagery that Gordon mines aims to capture the strangeness of the waking world\, which is often not as logical as it might at first appear. Gordon has shown her paintings\, collages\, and video works nationally; exhibitions include a site-specific installation “Alligator Naps” at the Hilliard Art Museum\, curation into the Weatherspoon Art Museum’s “Art on Paper” exhibition\, and an invitation to create a public video installation at Block 2\, a visual platform for new media artists in Raleigh\, NC. Most recent professional accomplishments include participation in Kolaj Institute’s Artist Residency in Scotland\, curation into “Is This Too Much?”\, a maximalist exhibition at Le Mieux Galleries\, and inclusion in the “Louisiana Contemporary” exhibition at the Ogden Museum of Southern Art. Gordon currently holds the position of Associate Professor of Figure Drawing & Foundations at the University of Louisiana at Lafayette. She earned an M.F.A. from the University of North Carolina at Greensboro and a B.F.A. from Pratt Institute. \n\n\n\nExhibition runs October 16 – December 5\, 2025 Monday – Friday\, 8am – 4pmArtist Talk and Reception October 16\, 4:30pm
URL:https://vpa.uncg.edu/single-event/crossing-the-coulee/
LOCATION:UNCG Gatewood Studio Arts Building\, 527 Highland Ave\, Greensboro\, NC\, United States
CATEGORIES:College of Visual and Performing Arts,School of Art
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/10/KateGordonPoster_V5-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251016T090000
DTEND;TZID=America/New_York:20251016T160000
DTSTAMP:20260411T025848
CREATED:20251003T150323Z
LAST-MODIFIED:20251003T150327Z
UID:10003479-1760605200-1760630400@vpa.uncg.edu
SUMMARY:Crossing the Coulee
DESCRIPTION:Kate Gordon’s studio practice focuses on painting in the expanded field\, sourcing inspiration from pop-up books\, dioramas\, and collage. The dream imagery that Gordon mines aims to capture the strangeness of the waking world\, which is often not as logical as it might at first appear. Gordon has shown her paintings\, collages\, and video works nationally; exhibitions include a site-specific installation “Alligator Naps” at the Hilliard Art Museum\, curation into the Weatherspoon Art Museum’s “Art on Paper” exhibition\, and an invitation to create a public video installation at Block 2\, a visual platform for new media artists in Raleigh\, NC. Most recent professional accomplishments include participation in Kolaj Institute’s Artist Residency in Scotland\, curation into “Is This Too Much?”\, a maximalist exhibition at Le Mieux Galleries\, and inclusion in the “Louisiana Contemporary” exhibition at the Ogden Museum of Southern Art. Gordon currently holds the position of Associate Professor of Figure Drawing & Foundations at the University of Louisiana at Lafayette. She earned an M.F.A. from the University of North Carolina at Greensboro and a B.F.A. from Pratt Institute. \n\n\n\nExhibition runs October 16 – December 5\, 2025 Monday – Friday\, 8am – 4pmArtist Talk and Reception October 16\, 4:30pm
URL:https://vpa.uncg.edu/single-event/crossing-the-coulee-2/2025-10-16/
LOCATION:UNCG Gatewood Studio Arts Building\, 527 Highland Ave\, Greensboro\, NC\, United States
CATEGORIES:College of Visual and Performing Arts,School of Art
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/10/KateGordonPoster_V5-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251015T173000
DTEND;TZID=America/New_York:20251015T190000
DTSTAMP:20260411T025848
CREATED:20251010T161518Z
LAST-MODIFIED:20251015T184700Z
UID:10003522-1760549400-1760554800@vpa.uncg.edu
SUMMARY:Owen Kellam\, horn
DESCRIPTION:https://youtube.com/live/l0QiFTHPmnc?feature=share\n\n\n\n\n\n\n\nEvent Details\n\n\n\n\nDownload Program\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe 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. \n\n\n\n\n\n\nkeyboard\, music\, piano\, student recital\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/owen-kellam-horn/
LOCATION:Tew Recital Hall\, 100 McIver St\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/09/student-recital-feature.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251010T193000
DTEND;TZID=America/New_York:20251010T210000
DTSTAMP:20260411T025848
CREATED:20250529T194659Z
LAST-MODIFIED:20251010T150820Z
UID:10003283-1760124600-1760130000@vpa.uncg.edu
SUMMARY:Concert Band
DESCRIPTION:https://youtube.com/live/nqLlBEl5GwY?feature=share\n\n\n\n\nPatty Saunders\, conductorLuke Ellard\, clarinetMolly Allman\, conductorJaden Brown\, conductor \n\n\n\nProgram\n\n\n\nVÁCLAV NELHÝBELCorsican Litany (1796) \n\n\n\nELENA SPECHTTo Old and New Places (2024) \n\n\n\nJODIE BLACKSHAWInto the Sun (2017) \n\n\n\nJOHN WILLIAMSViktor’s Tale from The Terminal (2009) \n\n\n\nKEVIN DAYSummit (2021) \n\n\n\nJOHN BARNES CHANCEVariations on a Korean Folk Song (1967) \n\n\n\n\nAbout the Program\nCorsican Litany\n\n\n\nVáclav Nelhýbel was a prolific Czech composer and conductor who studied composition and conducting at the Prague Conservatory of Music and musicology at Charles University and the University of Fribourg (Switzerland). He was the assistant conductor of the Czech Philharmonic and a composer and conductor of the Swiss National Radio. He co-founded and directed the Radio Free Europe in Munich and conducted the Vienna Philharmonic and Bavarian Symphony. He emigrated from the Czech Republic to the United States in 1957. \n\n\n\nFascinated with the American concert band\, Nelhýbel wrote Corsican Litany to explore the possibilities of the ensemble. Corsican laments were split into two categories: laments for deaths from natural causes and voceru\, songs of grief and vengeance for victims of murder. The voceru that inspired Nelhýbel’s Corsican Litany was first sung in 1775 at the funeral of a country doctor named Matju who had been murdered by his patient. This piece begins with the sound of tolling chimes to announce the beginning of mourning\, weaves sonically through pain and loss\, and ends with the chilling reminder that\, despite the voceru belief that vengeance can heal\, the tolling chime remains. \n\n\n\nNote by Patty Saunders \n\n\n\nTo Old and New Places\n\n\n\nElena Specht is a composer whose work often grows out of compelling stories and a strong sense of place. Her music has been performed by groups such as the U.S. Coast Guard Band and university wind ensembles. She currently works as a librarian with “The President’s Own” United States Marine Band. \n\n\n\nTo New and Old Places is written in three movements; each tied to a scene in a different young adult novel. In the first\, based on Jeanne DuPrau’s The City of Ember\, two young characters witness the sun rising for the very first time. The second\, based on Caroline B. Cooney’s The Face on the Milk Carton\, captures the bittersweet longing of a teenager imagining the life she might have had with her lost family. The final movement\, from C.S. Lewis’s The Voyage of the Dawn Treader\, carries the thrill of a voyage into uncharted seas. \n\n\n\nNote by Elena Specht and Molly Allman \n\n\n\nInto the Sun\n\n\n\nJodie Blackshaw is an Australian composer and conductor who studied composition with Larry Sitsky at the Australian National University. Blackshaw founded the Female Band Composer database in 2017 and the ColourFULL Music website in 2018. She is a composer that takes a student-centered approach in her works\, often including storylines\, options for student decision-making\, and program narratives that connect the piece with a larger story. \n\n\n\nInto the Sun is a compilation of stories told about the passage to Australia from the points of view of free settlers in the 1800s\, post-World War II immigrants\, and refugees seeking asylum. Blackshaw includes real-life stories that correspond to each of the piece’s six sections in her program notes that describe the emotional highs and lows of leaving home to find a new one. The sections include the Arrival; A New Land\, a New Life; Camps and Confusion; Acculturation: A Yearning for Home and All That is Familiar; Opportunity: With New-Found Enthusiasm; and Reflection: With a Feeling of Inner Peace of Calmness. Written to raise awareness of the plight of refugees\, Blackshaw broadens her programmatic message communicating a desire for all people to love one another. Blackshaw’s Into the Sun emphasizes this importance and the responsibility to help refugees in times of need. \n\n\n\nNote by Jodie Blackshaw and Patty Saunders \n\n\n\nViktor’s Tale from The Terminal\n\n\n\nJohn Williams is one of the most celebrated and influential film composers of the modern era. An American composer from New York\, Williams was the son of a jazz drummer and studied at UCLA\, the Juilliard School\, and Eastman. His career has included collaborations with director Steven Spielberg and George Lucas that has produced some of the most recognized music in cinematic history including Schindler’s List\, Indiana Jones\, and Star Wars. He has won numerous awards including five Academy Awards and twenty-five GRAMMY® awards. Williams remains active as a composer and conductor and continues to broaden his impact on modern film. \n\n\n\nViktor’s Tale is a composition for solo clarinet and orchestra that was developed from Williams’ score for the Steven Spielberg film The Terminal. Part drama and part comedy\, the film follows the protagonist\, Viktor Navorski\, as he finds himself a man without a country\, stuck in an airport terminal for days on end. Williams’ score brings to life this unfortunate circumstance and includes a musical portrait of Navorski’s warmth and friendliness through a dance-like piece for clarinet and ensemble. \n\n\n\nNote by the United States Marine Band and Patty Saunders \n\n\n\nSummit\n\n\n\nKevin Day is a composer\, jazz pianist\, producer\, and conductor who is known to juxtapose diverse musical traditions including contemporary classical\, jazz\, R&B\, and soul with classical composition. His father was a prominent hip-hop producer\, and his mother was a popular gospel singer. Day is one of eight founding members of the Nu Black Vanguard\, a collective dedicated to the advancement of Black composers\, and a graduate of Texas Christian University\, the University of Georgia\, and the University of Miami Frost School of Music. In 2024\, Day joined the faculty at the University of California San Diego as a lecturer in theory and musicianship. \n\n\n\nDay composed Summit in 2020 after being commissioned by the Indiana Bandmasters Association. The piece depicts a group of climbers as they journey up the face of a mountain. Along the way\, they encounter many obstacles\, including cliffs and chilling winds\, but the team perseveres and makes their way to the top. \n\n\n\nNote by Kevin Day and Jaden Brown \n\n\n\nVariations on a Korean Folk Song\n\n\n\nA native of Texas\, John Barnes Chance was an American composer and arranger who received his bachelor’s and master’s degrees from the University of Texas\, where he studied with Clifton Williams\, Kent Kennan\, and Paul Pisk. He performed as a percussionist with the Austin Symphony Orchestra and served as an arranger for the 4th Army Band in San Antonio and the 8th Army Band in Seoul\, Korea. After leaving the Army\, the Ford Foundation selected Chance to participate in the Young Composers Project. From 1960 through 1962\, he was composer-in-residence for the Greensboro Ford Foundation Young Composers Project writing for the Greensboro\, North Carolina public school system and Greensboro Senior High School\, now Grimsley High School. Chance was a prolific composer for wind band with works including Incantation and Dance and Blue Lake Overture. \n\n\n\nWhile stationed overseas in Seoul\, Chance heard the popular Korean folk song “Arirang” which inspired Variations on a Korean Folk Song. A song of love and heartbreak\, the theme is based on the ujo mode pentatonic scale and can be traced back to the 18th century. The tune was also used as a resistance anthem during the Japanese occupation of Korea when the singing of patriotic songs was criminalized. About the melody\, Chance said\, “The tune is not as simple as it sounds\, and my fascination with it during the intervening years led to its eventual use as the theme for this set of variations.” The theme is followed by five variations that alternate between fast and slow tempos and use multiple time signatures and rhythmic patterns to alter the theme. Variations on A Korean Folk Song is a cornerstone work for band and received the Sousa/Ostwald Award from the American Bandmasters Association in 1966. \n\n\n\nNote by Patty Saunders \n\n\n\n\nAbout the Artists\n\n\n\n\nClarinetist\, composer\, educator\, and new music collaborator Luke Ellard strives for art that continually reaches out\, valuing a relational spirit\, informed engagement\, and unapologetic authenticity.   \n\n\n\nFor Luke\, collaboration is what gives music life. As a clarinetist\, they have performed with members of Bang On a Can All Stars\, Eighth Blackbird\, International Contemporary Ensemble\, Fifth House Ensemble\, Arkansas Symphony\, Winston-Salem Symphony\, and Mallarmé Chamber Music. As a composer\, their music has been performed and commissioned by ensembles such as North Texas Wind Symphony\, HOCKET\, New Trombone Collective\, Barkada Quartet\, among others. Their current performance projects center around their self-produced solo cross-genre/electronic band LE\, performing with their new music quartet Sounding Board\, and commissioning new exciting works for the clarinet.   \n\n\n\nDr. Ellard serves on the faculty at the University of North Carolina at Greensboro as Assistant Professor of Clarinet\, having previously served on faculty at the University of Oklahoma and Midwestern State University while teaching privately and performing in the Dallas-Fort Worth area. Luke earned their Doctor of Musical Arts in Clarinet Performance with related studies in Contemporary Music and Music Entrepreneurship at the University of North Texas\, studying under Kimberly Cole Luevano. Additionally\, Luke has earned degrees from Indiana University Jacobs School of Music (James Campbell & Eric Hoeprich)\, the University of Texas at Austin (Yevgeniy Sharlat\, Dan Welcher\, & Donald Grantham)\, and Louisiana Tech University (Lawrence Gibbs\, Joe L. Alexander).   \n\n\n\n\nUNCG Bands\nThe 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. \n\n\n\nThrough 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. \n\n\n\nThe 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. \n\n\n\n\nUNCG Bands\n\n\n\n\n\n\n\n\n\nEvent Details\n\n\n\n\nDownload Program\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe 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. \n\n\n\n\n\n\nkeyboard\, music\, piano\, student recital\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/concert-band-8/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/08/luke-ellard-feature.jpg
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DTSTART;TZID=America/New_York:20251010T173000
DTEND;TZID=America/New_York:20251010T190000
DTSTAMP:20260411T025848
CREATED:20250926T150847Z
LAST-MODIFIED:20250926T213507Z
UID:10003467-1760117400-1760122800@vpa.uncg.edu
SUMMARY:Jackson Hopper\, double bass
DESCRIPTION:Event Details\n\n\n\n\nDownload Program\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe 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. \n\n\n\n\n\n\nkeyboard\, music\, piano\, student recital\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/jackson-hopper-double-bass/
LOCATION:Organ Hall\, 100 McIver St\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/09/student-recital-feature.jpg
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DTSTART;TZID=America/New_York:20251010T173000
DTEND;TZID=America/New_York:20251010T190000
DTSTAMP:20260411T025848
CREATED:20250921T211250Z
LAST-MODIFIED:20251006T115247Z
UID:10003465-1760117400-1760122800@vpa.uncg.edu
SUMMARY:Calypsus Brass
DESCRIPTION:https://youtube.com/live/4R0uVnQIvUk?feature=share\n\n\n\n\nCarrie Blosser and Jennifer Oliverio\, trumpetsEmily Schaefer\, hornLauren Rudzinskas\, tromboneStephanie Ycaza\, tuba \n\n\n\nFounded in 2021\, Calypsus Brass is a professional chamber ensemble performing new works recitals\, creating high-level professional recordings for composers\, and working with chamber musicians at all levels. The members are avid performers and educators who give recitals and masterclasses worldwide. \n\n\n\nA 501(c)3 Nonprofit\, Calypsus Brass is a groundbreaking musical group founded by women who earned doctoral degrees in music\, the first of its kind. Between them\, the members hold multiple doctorates\, a total of 14 degrees\, 3 minors\, and 4 advanced certificates in cognates such as pedagogy and jazz improvisation. Calypsus Brass serves as a recording ensemble for composers whose works have never been recorded.  \n\n\n\nCalypsus Brass is committed to prioritizing recording and performing works of historically marginalized composers to uplift the highest quality of music. To further this mission\, Calypsus Brass is proud to be the Ensemble in Residence for Rising Tide Music Press. This organization publishes and promotes BBIA (Black\, Brown\, Indigenous\, and Asian) musicians in their first 10 years of professional-level work as composers and arrangers. \n\n\n\nBecause professional recordings can be cost-prohibitive for composers and many composition competitions and calls for scores require recording with real instruments for consideration\, Calypsus Brass is committed to recording works by emerging artists. We encourage all musicians to program music by a diverse array of composers so that the music we perform is inclusive of the community we serve as artists. Calypsus is proud to lead by example in this mission with recording and commissioning projects. When premiering and recording works\, Calypsus Brass creates a relationship with composers\, helping to build their portfolios with recordings that the composers are proud to showcase while providing expert advice and coaching regarding idiomatic writing for brass instruments. \n\n\n\nAs devoted educators\, Calypsus members bring a robust pedagogical background to each masterclass and outreach event. Combining 80 years of educational experience\, Calypsus Brass presents specialized masterclasses and clinics on topics including: chamber music\, classical\, orchestra\, and jazz performance\, wellness\, audition preparation\, military and orchestral careers\, performance anxiety and psychology\, music career development\, marketing and branding\, arts administration and nonprofit management\, commissioning\, audio engineering\, and intersectionality in the music community. Calypsus Brass is a registered nonprofit. \n\n\n\n\n\n\nEvent Details\n\n\n\n\nDownload Program\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe 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. \n\n\n\n\n\n\nkeyboard\, music\, piano\, student recital\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/calypsus-brass/
LOCATION:Tew Recital Hall\, 100 McIver St\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/09/calypsus-brass-logo-feature.jpg
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DTSTART;TZID=America/New_York:20251010T033000
DTEND;TZID=America/New_York:20251010T160000
DTSTAMP:20260411T025848
CREATED:20250911T181844Z
LAST-MODIFIED:20250911T181848Z
UID:10003444-1760067000-1760112000@vpa.uncg.edu
SUMMARY:A Decade of Darkness
DESCRIPTION:Photographer MJ Sharp is a documentary artist based in Durham\, North Carolina. She was a visiting Fulbright Scholar at the University of Exeter\, UK\, for the 2021/2022 academic year pursuing the art/science collaboration Our Disappearing Darkness and Recreating True Night  with nocturnal ecologist Dr. Kevin Gaston.  \n\n\n\nTo learn more about MJ Sharp visit: https://mjsharp.com/
URL:https://vpa.uncg.edu/single-event/a-decade-of-darkness/2025-10-10/
LOCATION:Gatewood Studio Arts Center\, 527 Highland Ave\, Greensboro\, NC 27412\, USA\, 527 Highland Ave\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Art
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DTSTART;TZID=America/New_York:20251009T193000
DTEND;TZID=America/New_York:20251009T210000
DTSTAMP:20260411T025848
CREATED:20250529T174932Z
LAST-MODIFIED:20251009T233131Z
UID:10003282-1760038200-1760043600@vpa.uncg.edu
SUMMARY:Wind Ensemble
DESCRIPTION:Hub New Music\n\n\n\n\n\n\n\n\n\n\n\nhttps://youtube.com/live/JESfALSDeL4?feature=share\n\n\n\n\nJonathan Caldwell\, conductorHub New MusicGala Flagello\, composerPatty Saunders\, graduate conductor \n\n\n\nProgram\n\n\n\nANNA CLYNEMasquerade (2013/2018)transcribed by Dennis Llinás \n\n\n\nSHUYING LIIn This Breath (2025) \n\n\n\nGALA FLAGELLOThe Bird-While (2022) \n\n\n\nAvian GodsFragile\, Vanishing GiftsSurvive \n\n\n\nSILVESTRE REVUELTASSensemayá (1938/1990)transcribed by Frank Bencriscutto \n\n\n\nPAUL HINDEMITH Symphony in B-flat (1951) \n\n\n\nModerately fast\, with vigor Andante grazioso Fugue (rather broad) \n\n\n\n\nAbout the Program\nMasquerade\n\n\n\n\n\n\n\nMasquerade draws inspiration from the original mid-18th century promenade concerts held in London’s pleasure gardens. As is true today\, these concerts were a place where people from all walks of life mingled to enjoy a wide array of music. Other forms of entertainment ranged from the sedate to the salacious with acrobatics\, exotic street entertainers\, dancers\, fireworks and masquerades. I am fascinated by the historic and sociological courtship between music and dance. Combined with costumes\, masked guises and elaborate settings\, masquerades created an exciting\, yet controlled\, sense of occasion and celebration. It is this that I wish to evoke in Masquerade.  \n\n\n\nThe work derives its material from two melodies. For the main theme\, I imagined a chorus welcoming the audience and inviting them into their imaginary world. The second theme\, Juice of Barley\, is an old English country dance melody and drinking song\, which first appeared in John Playford’s 1695 edition of The English Dancing Master. \n\n\n\n— Anna Clyne \n\n\n\nIn This Breath\n\n\n\n\n\n\n\nIn This Breath was premiered by the Baylor University Wind Ensemble at the March 2025 CBDNA National Conference in Fort Worth\, Texas. It was composed in memory of Glen Adsit. Li offers the following regarding the piece: \n\n\n\n“My nature is the nature of the cloud—the nature of no birth and no death. Just as it is impossible for a cloud to die\, it’s impossible for me to die. I enjoy contemplating my continuation body\, just as the cloud enjoys watching the rain fall and become the river far below. If you look closely at yourself\, you will see how you too are continuing me in some way. If you breathe in and out\, and you find peace\, happiness\, and fulfillment\, you know I am always with you\, whether my physical body is still alive or not. I am continued in my many friends\, students\, and monastic disciples.” Thich Nhat Hanh – The Art of Living \n\n\n\nThis quotation comes from Thich Nhat Hanh’s The Art of Living. This book is a collection of the Vietnamese monk’s ruminations on life and death that guided my partner Glen Adsit through his personal struggles when confronted with his own mortality. As well as being my beloved life partner and musical collaborator\, Glen was a beloved figure in the music community who touched the lives of countless collaborators and students. In the wake of Glen’s sudden passing in January 2024 we have all become the rain to Glen’s cloud. His inextinguishable spirit and profound influence continue to resonate deeply within all of us. Although his physical body is no longer with us\, we now constitute his continuation body and are charged with continuing his legacy of support and love for one another. \n\n\n\nThis piece is a tribute to Glen\, the physical life we shared together\, and the new life we share as I continue his legacy in my own way. It reflects the profound love and connection we share\, both personally and through our collaborative musical endeavors. The piece is lyrical and tender\, inviting listeners into the intimate emotional spaces Glen and I navigated together. It captures the essence of Glen’s loving spirit—missed by many\, cherished by those who experienced his warmth and guidance\, and still apparent in the life and work of his family\, colleagues\, and students. It is both a celebration of Glen’s life and the enduring bond he and I share and a tribute to the legacy of love and artistic collaboration that he left behind for all of us to continue together. Glen Adsit was a conductor and trombonist. He served as the director of bands at The Hartt School and the national president of the College Band Directors National Association. \n\n\n\nAs the piece concludes\, the ensemble decrescendos to silence making space for a solo trombone crescendo as a tribute to Glen Adsit\, a trombonist\, and his enduring legacy. \n\n\n\n— Shuying Li and Patty Saunders \n\n\n\nThe Bird-While\n\n\n\n\n\n\n\nThe Bird-While (2022) is a concerto for flute\, clarinet\, violin\, cello\, and symphonic winds commissioned by Hub New Music. The piece is titled after and based on Keith Taylor’s poem Acolytes in the Bird-While\, which explores the flora and fauna of Michigan and the struggle to persist in the face of climate change. I aimed to write a concerto for an unconventional group of instruments that demonstrates their virtuosity while providing a platform for awareness of and education around environmental and climate justice. Each movement derives its title from Taylor’s poem\, drawing attention to pivotal lines in the poem’s narrative. \n\n\n\nThe first movement\, Avian Gods\, is inspired by the calls of the pileated woodpecker and redstart warbler\, two Michigan bird species central to Taylor’s poem. This movement’s 5/8 motif follows the woodpecker’s five-note call\, often separated into three- and two-note groupings that can be heard in both the soloists’ and ensemble’s parts. Snap pizzicato in the solo violin and cello evoke the woodpecker’s pecking\, and the ensemble’s driving 5/8 ostinato conjures the warbler’s high\, repetitive five-note shriek. \n\n\n\nThe second movement\, Fragile\, Vanishing Gifts\, highlights the individual natural elements that surround us every day. The flute\, clarinet\, violin\, and cello articulate the future loss of these elements due to climate change as they introduce the movement’s theme separately\, then come together in canon; our environment is a delicate balance between the individual and the collective. This theme originates from my Moon Dream (2020) for solo soprano saxophone\, an early pandemic-era lullaby commissioned by Latitude 49 for their Bagatelles Project in support of the Coalition for African Americans in the Performing Arts. \n\n\n\nThe third movement\, Survive\, is both a question and a call to action: can the performers — and our environment — withstand disruption and damage? As I was writing this movement\, my best friend and horn player\, Marina Krol Hodge\, suddenly passed\, leaving me pondering my own ability to weather life’s storms. Dedicated to Marina\, Survive features horn solos and a brass chorale throughout to commemorate her bright\, resilient spirit and her support of new music. The movement’s title also references the way in which music itself might survive through history\, which I illustrate by quoting the prelude of J.S. Bach’s Violin Partita No. 3. Two more nods to Bach appear later in this movement in the solo violin and cello. Piping plover calls are referenced in the fleeting\, staccato woodwind parts\, and the movement’s focus on quintal harmony and recurring fifths harken to the woodpecker’s opening five-note call. \n\n\n\n5% of proceeds from The Bird-While sales and rentals will be donated to the Bird Center of Michigan. \n\n\n\n— Gala Flagello \n\n\n\nSensemayá\n\n\n\n\n\n\n\nRevueltas wrote little explanation about his composition Sensemayá\, and the meaning/relationship of the music to the poem has been the basis for much scholarly debate for the past eighty years. Revueltas heard Afro-Cuban poet Nicholas Guillén recite his poem Sensemayá in 1937 and was taken by the text and rhythm of the poem. The word sensemayá is a combination of sensa (Providence) and Yemaya (Afro-Cuban Goddess of the Seas and Mother of Earth)\, one of the godSensemayá was the work that brought Silvestre Revueltas to international attention. It was through a recording of the work made by Leopold Stokowski in New York in December 1947 that widespread audiences outside of Mexico began to get an idea of Revueltas’ music. \n\n\n\nRevueltas had died in 1940 from complications of chronic alcoholism\, his music virtually unknown outside of Mexico\, some performances given during a trip to Spain in 1937 notwithstanding. The last decade of his life had been devoted to music\, with Revueltas active as a composer\, teacher\, and conductor in Mexico City. Between 1928 and his death\, Revueltas had composed roughly 60 works\, including orchestral\, chamber\, vocal\, and theater pieces\, as well as a handful of film scores\, such as Redes (released in English as The Wave\, 1936) and La noche de los mayas (The Night of the Mayans\, 1939). \n\n\n\nRevueltas had a varied and useful musical education\, comprised of a fair amount of practical experience. After three years in Mexico City (1913-1916)\, Revueltas traveled to the United States\, where he studied violin and composition in Austin and Chicago. In the late 1920s\, he played violin in a theater orchestra in San Antonio and conducted an orchestra in Mobile\, Alabama. He returned to Mexico in 1929\, when Carlos Chávez\, one of the country’s foremost composers and musicians\, invited him to become assistant conductor of the Mexico Symphony Orchestra\, a post he held until 1935. \n\n\n\nThese experiences combined to make Revueltas a sensitive and insightful writer for orchestra and a composer with an intrinsic ability to express Latin-American culture musically. Sensemayá first materialized in a (still unpublished) version for chamber ensemble in 1937. Revueltas based the work on a poem that describes the ritual killing of a snake from Cuban writer Nicolás Guillén’s collection West Indies Ltd.\, published in 1934. The atmosphere of the poem\, which pits life against death\, the snake against its ritual executioners\, is ideally captured by Revueltas in his brief\, vibrant musical work\, even more so in the version for full orchestra premiered by the composer with a pick-up orchestra at the Palacio de Bellas Artes in Mexico City on December 15\, 1938. The obsessive rhythms (the work is in 7/8 – and occasionally 7/16 – time)\, the slithering\, pictorial wind writing\, and the threatening brass all combine to create a raw evocation of the ceremony\, comparable to what Stravinsky did for pagan Russia in The Rite of Spring. \n\n\n\n— John Mangum \n\n\n\nSymphony in B-flat\n\n\n\n\n\n\n\nThe Symphony for Concert Band was composed at the request of Lt. Col. Hugh Curry\, leader of the United States Army Band\, and was premiered in Washington\, D.C.\, on April 5\, 1951\, with the composer conducting. This three-movement work is the only symphony that Hindemith wrote expressly for the wind band. The suite shows Hindemith’s great contrapunctal skill\, and the organized logic of his thematic material. His melodies develop ever-expanding lines\, and his skill in the organization and utilization of complex rhythmic variation adds spice and zest to the strength of his melodies. \n\n\n\nAlthough Symphony in B-Flat features unique uses of dissonant chords and nonharmonic tones\, it preserves neo-classical tonality\, forms\, and rhythmic and melodic patterns. Short figures are apt to form themselves into ostinatos to provide the background to broad and declamatory melodies; these melodies will often repeat characteristic phrases of awkward lengths so as to disturb the even flow of the basic rhythm. A slow section will alternate with a scherzando section\, and the two will combine to form the third portion of a movement. \n\n\n\nThe first movement is in sonata allegro form in three sections\, with the recapitulation economically utilizing both themes together in strong counterpoint. The second and third movements develop and expand their thematic material in some of the most memorable contrapunctal writing for winds. The second movement opens with an imitative duet between alto saxophone and cornet\, accompanied by a repeated chord figure. The duet theme\, along with thematic material from the opening movement\, provides the basic material for the remainder of the movement. The closing section of the third movement utilizes the combined themes while the woodwinds amplify the incessant chattering of the first movement. The brass and percussion adamantly demand a halt with a powerful final cadence. \n\n\n\nThe Symphony in B-Flat rivals any orchestra composition in length\, breadth\, and content\, and served to convince other first-rank composers — including Vittorio Giannini\, Vincent Persichetti\, Paul Creston\, and Alan Hovhaness — that the band is a legitimate medium for serious music. \n\n\n\n— Andrew Grenci and Joel Baroody \n\n\n\n\nAbout the Artists\nHub New Music\n\n\n\n\n\n\n\nCalled “contemporary chamber trailblazers” by the Boston Globe\, Hub New Music is a “prime mover of piping hot 21st century repertoire” (The Washington Post). Founded in 2013\, the “nimble quartet of winds and strings” (NPR) has commissioned dozens of new works for its distinctive ensemble of flute\, clarinet\, violin\, and cello. Hub actively collaborates with today’s most celebrated composers on projects that traverse a rich musical landscape. \n\n\n\nRecent and upcoming performances include concerts presented by the Kennedy Center\, Seattle Symphony\, Kaufman Music Center\, Suntory Hall (Tokyo)\, the Williams Center for the Arts\, Yale Schwarzman Center\, Cynthia Woods Mitchell Center\, King’s Place (London)\, Soka Performing Arts Center\, Arizona Friends of Chamber Music\, and the Celebrity Series of Boston.  \n\n\n\nTo celebrate its recent 10th anniversary\, Hub co-commissioned and premiered new works by Angélica Negrón\, Nico Muhly\, Tyshawn Sorey\, Andrew Norman\, Jessica Meyer\, and Donnacha Dennehy. Upcoming commissioning projects include substantial electroacoustic works by Christopher Cerrone and Daniel Wohl (2025); a work by Yaz Lancaster co-created with Black Mountain College Museum & Art Center (2025); and a collaborative project with composer\, vocalist\, and multi-instrumentalist Bora Yoon (2026). \n\n\n\nHub New Music’s recordings have garnered consistent acclaim. The group’s most recent record with Silkroad’s Kojiro Umezaki\, a distance\, intertwined \, features five works for Hub and shakuhachi which I Care if You Listen called “beautiful\, haunting music that presents a clear and authentic dialog between varied cultural paradigms and traditions.” Hub’s debut album\, Soul House\, released on New Amsterdam Records\, was called “ingenious and unequivocally gorgeous” (Boston Globe) and “intensely poignant” (Textura). In 2022\, Hub’s album with Carlos Simon\, Requiem for the Enslaved \, was nominated for a Grammy Award for Best Classical Composition. \n\n\n\nHub is also dedicated to educating\, inspiring and guiding future generations of artists. The ensemble has been a guest at leading institutions including Princeton University\, University of Michigan\, University of Southern California\, and Indiana University. In 2021\, Hub was a  resident ensemble for the Los Angeles Philharmonic’s Nancy and Barry Sanders Composer Fellowship program for high school aged composers. As part of its 10th anniversary celebration\, Hub designed a fellowship program with the Luna Lab in NYC that was awarded to Luna Lab alumna Sage Shurman. \n\n\n\nHub New Music is Michael Avitabile (flutes)\, Gleb Kanasevich (clarinets)\, Magnolia Rohrer (violin/viola)\, and Jesse Christeson (cello). Currently based in Detroit\, the ensemble’s name is inspired by its founding city of Boston’s reputation as a hub of innovation. Hub New Music is exclusively represented by Unfinished Side.  \n\n\n\nGala Flagello\n\n\n\n\n\n\n\nGala Flagello (b. 1994) is a composer\, educator\, and nonprofit director whose work is inspired by a passion for lyricism\, rhythmic vitality\, and fostering meaningful collaboration. Her music\, described as “at times endearingly whimsical\, at times ominous\, but always moving” (Cleveland Classical)\, resonates with audiences through its emotional depth and dynamic expression. Flagello’s collaborations with leading ensembles\, artists\, and institutions on national and international stages build impactful projects for audiences and performers alike.  \n\n\n\nFlagello’s 2024/25 season features the European premiere of Vitality with the BBC Symphony Orchestra\, including an international performance broadcast\, along with orchestral performances of Bravado by Detroit Symphony\, Chautauqua Festival\, Lansing Symphony\, Wichita Falls Symphony\, Central Ohio Symphony\, and Dearborn Symphony. She is a recipient of the 2024 Barlow General Commission\, which will support a new work for the Thalea String Quartet. This season also includes consortium premieres of Flagello’s Love & Nature\, a wind band work commissioned by 55 ensembles across the United States. \n\n\n\nUpcoming projects include a new piano concerto for soloist Henry Kramer and commissions from the Contemporary Youth Orchestra\, the University of Nebraska–Omaha School of Music\, and the University of Florida Bands. Album releases this season include Tallā Rouge’s Shapes in Collective Space featuring Burn as Brightly and a commercial recording of The Bird-While with Hub New Music and the University of Illinois Wind Symphony. \n\n\n\n\nUNCG Bands\nThe 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. \n\n\n\nThrough 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. \n\n\n\nThe 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. \n\n\n\n\nUNCG Bands\n\n\n\n\n\n\n\n\n\nEvent Details\n\n\n\n\nDownload Program\n\n\n\n\n\nProgram Notes\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe 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. \n\n\n\n\n\n\nkeyboard\, music\, piano\, student recital\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/wind-ensemble-12/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/05/hub-new-music.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251009T033000
DTEND;TZID=America/New_York:20251009T160000
DTSTAMP:20260411T025848
CREATED:20250911T181844Z
LAST-MODIFIED:20250911T181848Z
UID:10003443-1759980600-1760025600@vpa.uncg.edu
SUMMARY:A Decade of Darkness
DESCRIPTION:Photographer MJ Sharp is a documentary artist based in Durham\, North Carolina. She was a visiting Fulbright Scholar at the University of Exeter\, UK\, for the 2021/2022 academic year pursuing the art/science collaboration Our Disappearing Darkness and Recreating True Night  with nocturnal ecologist Dr. Kevin Gaston.  \n\n\n\nTo learn more about MJ Sharp visit: https://mjsharp.com/
URL:https://vpa.uncg.edu/single-event/a-decade-of-darkness/2025-10-09/
LOCATION:Gatewood Studio Arts Center\, 527 Highland Ave\, Greensboro\, NC 27412\, USA\, 527 Highland Ave\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Art
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251008T193000
DTEND;TZID=America/New_York:20251008T210000
DTSTAMP:20260411T025848
CREATED:20250529T174610Z
LAST-MODIFIED:20251008T132941Z
UID:10003281-1759951800-1759957200@vpa.uncg.edu
SUMMARY:Symphony Orchestra: Pines of Rome
DESCRIPTION:https://youtube.com/live/ttzUdStEcfI?feature=share\n\n\n\n\nJungho Kim\, conductorCori Trenczer\, cello \n\n\n\nProgram\n\n\n\nNIKOLAI RIMSKY-KORSAKOVCapriccio espagnol\, op. 34 (1887) \n\n\n\nFRANZ JOSEPH HAYDNCello Concerto No. 2 in D Major\, Hob. VIIb/2 (c. 1783)III. Rondo: Allegro \n\n\n\nOTTORINO RESPIGHIPines of Rome\, P 141 (1924) \n\n\n\nI pini di Villa Borghese (The Pines of the Villa Borghese)Pini presso una catacomba (Pines Near a Catacomb)I pini del Gianicolo (The Pines of the Janiculum)I pini della via Appia (The Pines of the Appian Way) \n\n\n\n\nAbout the Program\nCapriccio espagnol\, op. 34\n\n\n\nConsidering the great interest in Spanish music demonstrated by the father of Russian art music\, Mikhail Glinka (Glinka traveled extensively in Spain\, collected folk materials\, and composed pieces based on them)\, it is not surprising that a Glinka disciple such as Rimsky-Korsakov would look for similar geographic sources of inspiration. So it is that the Russian Rimsky-Korsakov conceived a fantasy on Spanish themes; he originally intended it to be for violin and orchestra. As it developed\, however\, the Capriccio espagnol came to be not only a virtuoso work for violin\, but also a work that could rightly be subtitled “Fantasy for violin\, clarinet\, oboe\, flute\, horn\, trumpet (etc.\, etc.).” Which is to say that while the composition’s accent is Spanish\, its emphasis is on solo instrumental virtuosity as well as on the orchestral effulgence that is so typical of Rimsky-Korsakov. \n\n\n\nThe composer himself commented on the dazzling merits of the piece\, saying\, “It is intended as a brilliant composition for the orchestra. The change of timbres\, the felicitous choice of melodic designs and figuration patterns\, exactly suiting each kind of instrument\, brief virtuoso cadenzas for solo instruments\, etc.\, constitute here the very essence of the composition and not its garb or orchestration. The Spanish themes of dance character furnished me with rich material for putting in use multiform orchestral effects. All in all\, the capriccio is undoubtedly a purely external piece\, but vividly brilliant for all that.” \n\n\n\nThe piece is in five sections\, played without pause. \n\n\n\n1. Alborada. This “morning song” begins with eye-opening\, full orchestral thrust\, out of which emerge clarinet and violin solos\, the latter ending the section quietly. \n\n\n\n2. Variations. A simple Spanish folk melody is given by horns. Five variations—really just elaborations on the theme—exploit various solo voices\, the last ending with languorous flute chromatics.  \n\n\n\n3. Alborada. The first section returns; here\, violin and clarinet reverse their first-movement solo passages.  \n\n\n\n4. Scene and Gypsy Song. A side drum initiates a fanfare for horns and trumpets alone; solo trumpet blazes out the theme. Next\, solo violin takes it up; then flute and clarinet\, with percussion and strings accumulating. A flute plays a cadenza over a timpani roll\, then clarinet over cymbals\, after which there is a harp and triangle duet. Finally\, the strings interject a ferocious idea; this is the gypsy song\, which then alternates with the opening fanfare motif in orchestral splendor.  \n\n\n\n5. Asturian Fandango. Trombones present the first part of the theme\, winds the second. After varying timbral treatment\, the Alborada returns to bring the capriccio to a fiery close.  \n\n\n\n— Orrin Howard \n\n\n\nSinfonia Concertante in E-flat Major for Violin and Viola\, K. 364\n\n\n\nBy 1779—a few years before Haydn wrote his Symphony No. 76—the 23-year-old Mozart was chomping at the bit to break free from the restrictions imposed by his employer in Salzburg\, the Archbishop Colloredo. His recent tour westward to Mannheim and Paris had proved of decisive importance; it apparently stirred a desire to experiment with some of the instrumental forms and styles Mozart had been encountering. \n\n\n\nOne result was the Sinfonia Concertante\, a work that bursts with the joy of exploring new instrumental sound combinations and possibilities. It also marks a sort of turning point\, in essence summing up much of what Mozart had achieved to date as an artist. Not long afterward—and in part on account of indulging in such purely pleasurable creative endeavors\, at the expense of his duties as court organist—he was summarily dismissed by his boss (as he sardonically puts it in a letter\, “with a kick on my arse”) and left Salzburg for good to live in Vienna. \n\n\n\nThe genre here\, as the name indicates\, is basically a hybrid between the symphony and the concerto – what\, later in the 19th century\, would be labeled a double concerto for violin and viola. Yet the Sinfonia Concertante wondrously unifies these several dimensions. Like Haydn\, Mozart exploits his rather modest orchestral ensemble to the maximum; there’s no percussion\, nor even flutes or Mozart’s beloved clarinets\, but he divides the violas into two for a richer string blend. The proportions of the opening movement (marked with the epic-sounding tempo “Allegro maestoso”) are generous and expansive\, further contributing to the work’s symphonic aspect. \n\n\n\nFor many\, this piece represents the grandest of Mozart’s violin concertos\, surpassing the five official ones. At the same time\, the viola is no second fiddle here. Mozart’s choice of instrument for the second soloist is telling: although an excellent violinist\, he himself loved to play viola in string quartet ensembles\, enjoying the perspective of being “in the middle.” One unforgettable characteristic of the Sinfonia Concertante is the remarkable partnership and equality shared by both soloists and the searingly beautiful sound blend they create. Mozart’s original score even inscribes the viola part in D major\, thus requiring the violist to tune the strings up a half-step. The intention is to give the usually more-reserved viola a certain resonance to offset the violin’s usual limelight-hogging sonority. \n\n\n\nThe Sinfonia Concertante is in part about an extraordinary abundance of ideas and sonorities which – thanks to Mozart’s art – pour out with a seeming effortlessness\, like ripened fruit simply there to be plucked. The opening orchestral exposition makes this clear\, as one idea is laid out on top of another until\, with a half dozen in the air\, one loses track. And more are yet to come as the curtain opens and the soloists enter in one of the most sublime passages of all Mozart\, soaring out from the background on a sustained high E-flat. It’s perhaps no surprise that George Balanchine choreographed a famous ballet to this music\, for the role of the duo soloists entails a conversation not just with the orchestra at large but with each other (it’s intriguing\, as well\, to imagine Mozart’s own voice represented by the viola). This is clear in the many echoing passages he unfolds and in his construction of the cadenzas\, expressly written out. \n\n\n\nBeyond these instrumental dimensions\, there’s yet another. This is the world of opera\, of lamenting song\, with a hint of archaic baroque sentiment\, which comes to the fore in the sensitive and lengthy Andante\, one of Mozart’s relatively rare minor-mode slow movements. Here we find an emotional depth that\, as Maynard Solomon speculates in his notable biography\, may reflect the composer’s experience of loss in coping with the recent death of his mother. Specifically\, the duality of the violin-viola sound contributes to another aspect of the piece’s stunning beauty: listen as the solo violin takes up its plaintive aria of grief and the response from the viola\, now providing a sudden but believable consolation. The two continue to form a complementary pair as Mozart unfolds his song seamlessly\, virtually prefiguring what Wagner would later coin as “infinite melody.” \n\n\n\nWith the presto rondo finale\, an irrepressibly joyful spirit returns. As Alfred Einstein observes\, its “gaiety results principally from the fact that in the chain of musical events the unexpected always occurs first\, being followed by the expected.” Or\, to return to Hesse’s ethereal Immortals\, the Sinfonia Concertante ends with their characteristic laughter\, which is “laughter without an object…simply light and lucidity.” \n\n\n\n— Thomas May \n\n\n\nPines of Rome\n\n\n\nRespighi managed to get a couple of operas staged in his native Bologna by the time he was 31 years old\, but work as an orchestral musician (violin and viola)\, teacher\, piano accompanist\, and arranger of Baroque music sustained his peripatetic career in its early years. A move to Rome in 1913 as professor of composition at the Liceo Musicale of Santa Cecilia proved decisive\, since Rome was then the center of orchestral life in Italy. In 1916\, he completed Fountains of Rome\, a four-part symphonic tone poem that gradually became a huge success\, making Respighi famous and wealthy. \n\n\n\nIn 1919 the Liceo became the Conservatory of Santa Cecilia\, and in 1923 Respighi was appointed its director. He held that administrative post only three years\, during which he composed Pines of Rome\, a sequel to Fountains and even more lucrative for Respighi. Its success\, following its premiere in December 1924\, enabled Respighi to quit as director of the Conservatory in 1926\, although he continued the teaching he loved\, as an advanced composition professor there until 1935. \n\n\n\nThe great popularity of this music is not hard to understand. It is brilliantly evocative\, well-crafted\, and emotionally sincere musical pageantry. The first section of Pines – all four are played without a break – is a short prelude depicting children at play in the pine grove of the Villa Borghese\, their dances and games raucously projected through quick brass and woodwind exchanges. \n\n\n\n“Pines Near a Catacomb” presents a serene\, even somber scene\, with muted strings supporting an orchestral chant which “re-echoes solemnly\, sonorously\, like a hymn” rising from the catacomb\, in the composer’s words. \n\n\n\n“The Pines of the Janiculum” is night music in which a solo clarinet sings plaintively\, introducing the actual song of a nightingale (Respighi even specified the recording to be used) over tremolo strings. “The Pines of the Appian Way” suggests morning dawning over the march of imperial Roman glory in trumpet-driven triumph. Mussolini adored Respighi’s orchestral music\, but the sound of a fascist parade here is probably the result of purely musical muscle flexing rather than any consciously propagandistic intentions on the part of the rather non-political composer.  \n\n\n\n— John Henken \n\n\n\n\nAbout the Artists\nCori Trenczer (Third Prize\, Student Artist Competition)\n\n\n\n\n\n\n\nCori Trenczer is a cellist\, chamber musician\, and teacher from the Hudson Valley region of New York. Coming from a musical family and a family of educators\, Cori is both an avid performer and a teacher to a robust studio of cello students. Cori has her bachelors degree in cello performance from the Eastman School of Music and she is a graduate assistant in the graduate string quartet at UNCG.  \n\n\n\nCori enjoys playing in the Greensboro Symphony Orchestra as a section cellist\, and teaching her studio of roughly 18 cello students\, ranging from age 8 to adult. She is interested in contemporary music and playing music by underrepresented composers. Cori is a virtual cello teacher on the faculty of Cornerstone Music Studios and on wyzant.com\, and teaches in-person at Moore Music Company and through UNCG’S Community Music Lessons Program. \n\n\n\n\nUNCG Orchestras\nThe 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. \n\n\n\nStudents 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. \n\n\n\n\nUNCG Orchestras\n\n\n\n\n\n\n\n\n\nEvent Details\n\n\n\n\n\n\nDownload Program\n\n\n\n\n\nProgram Notes\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\n\n\nThe 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. \n\n\n\n\n\n\nkeyboard\, music\, piano\, student recital\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/symphony-orchestra-the-pines-of-rome/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2024/07/choral-orchestral-collage-2.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251008T033000
DTEND;TZID=America/New_York:20251008T160000
DTSTAMP:20260411T025848
CREATED:20250911T181844Z
LAST-MODIFIED:20250911T181848Z
UID:10003442-1759894200-1759939200@vpa.uncg.edu
SUMMARY:A Decade of Darkness
DESCRIPTION:Photographer MJ Sharp is a documentary artist based in Durham\, North Carolina. She was a visiting Fulbright Scholar at the University of Exeter\, UK\, for the 2021/2022 academic year pursuing the art/science collaboration Our Disappearing Darkness and Recreating True Night  with nocturnal ecologist Dr. Kevin Gaston.  \n\n\n\nTo learn more about MJ Sharp visit: https://mjsharp.com/
URL:https://vpa.uncg.edu/single-event/a-decade-of-darkness/2025-10-08/
LOCATION:Gatewood Studio Arts Center\, 527 Highland Ave\, Greensboro\, NC 27412\, USA\, 527 Highland Ave\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Art
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251007T193000
DTEND;TZID=America/New_York:20251007T210000
DTSTAMP:20260411T025848
CREATED:20250529T175307Z
LAST-MODIFIED:20251007T145246Z
UID:10003280-1759865400-1759870800@vpa.uncg.edu
SUMMARY:Symphonic Band
DESCRIPTION:https://youtube.com/live/Ca5-DGMkn_I?feature=share\n\n\n\n\nJonathan Caldwell\, conductorStephanie Ycaza\, tuba \n\n\n\nProgram\n\n\n\nKEVIN DAYStride (2023) \n\n\n\nIVETTE HERRYMAN RODRÍGUEZSantiago (2019) \n\n\n\nNORMAN DELLO JOIOVariants on a Mediaeval Tune (1963) \n\n\n\nGALA FLAGELLOVitality (2022) \n\n\n\nDREW BONNERDeep\, Dark Night (2019) \n\n\n\nDMITRI SHOSTAKOVICHDance I from Suite for Variety Orchestra (1938) \n\n\n\n\nAbout the Program\nStride (2023)\n\n\n\nKevin Day is a composer\, jazz pianist\, producer\, and conductor who is known to juxtapose diverse musical traditions including contemporary classical\, jazz\, R&B\, and soul with classical composition. His father was a prominent hip-hop producer\, and his mother was a popular gospel singer. Day is one of eight founding members of the Nu Black Vanguard\, a collective dedicated to the advancement of Black composers\, and a graduate of Texas Christian University\, the University of Georgia\, and the University of Miami Frost School of Music. In 2024\, Day joined the faculty at the University of California San Diego as a lecturer in theory and musicianship. \n\n\n\nStride celebrates Day’s college marching band experiences and the idea of walking with confidence and decisiveness to overcome obstacles within one’s path. The piece includes a high energy theme\, a contrasting slower section\, and a return to the theme for an optimistic\, high-energy end. \n\n\n\n— Note by Kevin Day and Patty Saunders \n\n\n\nSantiago (2019)\n\n\n\nIvette Herryman Rodríguez\, a Cuban-born composer\, often incorporates elements of Cuban musical traditions into her work. Santiago takes its name from Santiago de Cuba\, a city renowned for its vibrant musical life and carnival traditions. At the heart of this culture is the “Comparsa Santiaguera\,” a parade of singers\, dancers\, and musicians that has become a defining feature of the city’s identity. The work celebrates Cuban musical traditions while paying tribute to Santiago de Cuba\, capturing both the spirit of its music and the lively energy of the comparsa. The piece opens with a lyrical statement of the main melody played by the corneta china\, a double-reed instrument with a piercing\, trumpet-like sound that traditionally announces the comparsa. The theme is followed by three titled variations: Variation I: Chorale\, which takes a lyrical approach to the main melody; Variation II: Lullaby and Dance\, which introduces a waltz-like dance; and Variation III: Comparsa\, which fully embraces the celebratory energy of the Cuban carnival.  \n\n\n\n— Note by Ivette Herryman Rodríguez and Molly Allman \n\n\n\nVariants on a Mediaeval Tune (1963)\n\n\n\nNorman Dello Joio\, an American composer best known for his choral works\, came from a musical family and first studied organ with his father before pursuing formal training. He is often identified as a postmodern\, specifically neoromantic\, composer. Postmodernism in music is characterized less by a unified style than by an emphasis on individual expression\, extending modernism’s break from tradition by encouraging composers to reject past conventions and write freely. Neoromanticism is a branch of postmodernism but shows a distinct return to emotional expression in music seen in 19th-century Romanticism.  \n\n\n\nVariants on a Mediaeval Tune premiered on April 10\, 1963\, as Dello Joio’s first original work for band. It is based on a melody titled “In dulci jubilo\,” a traditional Christmas carol\, which acts as the main theme. It includes a brief introduction followed by the theme and five variants that strongly contrast in tempo and character\, fully utilizing the possibilities of the band. The Mary Duke Biddle Foundation commissioned the piece for the Duke University Band with Paul Bryan\, conductor.  \n\n\n\n— Note by Jaden Brown  \n\n\n\nVitality (2022)\n\n\n\nGala Flagello is an American composer\, teacher\, and non-profit director. In 2022\, Flagello was a composition fellow at the Aspen Music Festival. Part of her fellowship requirement was to submit a piece to be read and recorded by the Aspen Conducting Academy Orchestra. For this\, Flagello chose to write Vitality. \n\n\n\nFlagello wrote Vitality in 2022 for the Aspen Conducting Academy orchestral readings. It draws inspiration from a quote by Martha Graham\, a renowned American dancer\, teacher\, and choreographer.  \n\n\n\nThere is a vitality\, a life force\, a quickening\, that is translated through you into action\, and because there is only one of you in all time\, this expression is unique. And if you block it\, it will never exist through any other medium and will be lost.  \n\n\n\nFound in a letter from Graham to fellow dancer and choreographer Agnes De Mille\, this quote contains three ideas: the what\, the how\, and the why. Graham defines the “what” as the universal life-force within each person\, the “how” as its unique expression through individual actions\, and the “why” as the necessity of expression\, since otherwise that force would be lost. Flagello writes that “the piece loosely follows this structure\, musically exploring the prickly and potent glimmers of one’s life force alongside the uncertainty of self-expression and vulnerability.”  \n\n\n\n— Note by Gala Flagello and Jaden Brown \n\n\n\nDeep\, Dark Night (2019) \n\n\n\nDrew Bonner is a composer and euphonium player. As a performer and educator\, he writes for a range of ensembles\, including euphonium quartets and wind bands. Deep\, Dark Night is originally written for solo tuba and British brass band and explores the thoughts and emotions that arise as night falls: moments of reflection\, grief\, anxiety\, and ultimately resilience. The piece captures experiences we have all faced: the quiet heaviness of the mind at night\, as well as the emotional struggles that can accompany it.  \n\n\n\nThe first movement begins with percussion and introduces a four-note motif that recurs throughout. This movement reflects a sense of melancholy and inner weight\, as the motif is developed and varied\, leading to a cadenza that descends into the tuba’s lowest register. The second movement\, “Agitato\,” conveys anger and a willingness to fight\, driving forward with continuous motion through repeated rhythms\, shifting melodies\, and overlapping parts. The main motif reappears in the accompaniment while the soloist rises above it\, creating contrast and ultimately concluding the work with determination and strength.  \n\n\n\n— Note by Tiffany Galus and Molly Allman \n\n\n\nDance I from Suite for Variety Orchestra (ca. 1956)\n\n\n\nDmitry Shostakovich was a highly regarded 20th century Russian composer who lived in the Soviet Union for much of his life. As a composer\, he lived in the shadow of constant criticism and fear from Soviet authorities which dictated the trajectory of his work. When Shostakovich died in Moscow in 1975\, his legacy included a prolific oeuvre that also reflected his personal experience of composing within the context of political oppression. \n\n\n\nDance no. 1 is taken from Shostakovich’s Suite for Variety Orchestra which was compiled by Shostakovich’s colleagues in the 1950s from his film and stage scores. “Dance no. 1” was adapted from “No. 16\, ‘The Market Place’” in Shostakovich’s film score for The Gadfly and is a galloping race from the start. The dance includes a main theme\, a contrasting middle section\, and a return to the opening with whirling\, scalar flourishes in the woodwinds and punctuated brass. \n\n\n\n— Note by Patty Saunders and Gerard McBurney \n\n\n\n\nAbout the Artists\nStephanie Ycaza\n\n\n\n\n\n\n\nStephanie Ycaza is the Assistant Professor of Tuba and Euphonium at the University of North Carolina at Greensboro. She previously held the position of Instructor of Tuba and Euphonium at the University of Northern Iowa\, and has also served on the music faculties of Virginia Commonwealth University\, Virginia State University\, Longwood University\, the University of Richmond\, and Shenandoah University. Stephanie is active as a masterclass teacher and as a clinician for middle and high school bands.  \n\n\n\nStephanie is a founding member of Calypsus Brass\, a brass quintet dedicated to performing new works and providing high-quality recordings for composers. Calypsus is committed to promoting the works of composers from historically marginalized groups\, and serves as an Ensemble-in-Residence for Rising Tide Music Press. Stephanie is Principal Tuba of the Waterloo-Cedar Falls Symphony\, and has also performed with the Virginia Symphony\, the Williamsburg Symphony\, the Capital Wind Symphony\, and the Virginia Grand Military band. She has also contributed to recording projects at Spacebomb Records in Richmond\, VA. Stephanie’s recent solo performances have focused on music for tuba with electronic accompaniment\, music by women composers\, and her own transcriptions and arrangements for low brass. She has appeared as a soloist at the International Tuba Euphonium Conference\, the Northeast\, Southeast\, and Midwest Regional ITEA Conferences\, the Army Band Tuba-Euphonium Workshop\, and the International Women’s Brass Conference. Stephanie also writes and gives presentations on the topic of mindfulness in the practice and performance of music.  \n\n\n\nStephanie holds a Doctor of Musical Arts degree from Shenandoah University\, a Master of Music degree and Artist Diploma from Yale University\, and a Bachelor of Music degree from Virginia Commonwealth University. She studied with Dr. Ross Walter\, Toby Hanks\, Mike Roylance\, Andrew Hitz\, and Michael Bunn. Stephanie is a Miraphone tuba artist.  \n\n\n\n\nUNCG Bands\nThe 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. \n\n\n\nThrough 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. \n\n\n\nThe 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. \n\n\n\n\nUNCG Bands\n\n\n\n\n\n\n\n\n\nEvent Details\n\n\n\n\nDownload Program\n\n\n\nProgram Notes\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe 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. \n\n\n\n\n\n\nkeyboard\, music\, piano\, student recital\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/symphonic-band-9/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/01/Stephanie-Ycaza-e1764967911560.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251007T120000
DTEND;TZID=America/New_York:20251011T170000
DTSTAMP:20260411T025848
CREATED:20250929T032739Z
LAST-MODIFIED:20250929T032839Z
UID:10003469-1759838400-1760202000@vpa.uncg.edu
SUMMARY:DRAwing Marathon Art Exhibition
DESCRIPTION:Drawing Marathon\n\n\n\nAn MFA Student Exhibition\n\n\n\n\n\n\n\nOctober 7 – 11\, 2025\n\n\n\nReception: Thursday\, Oct 9th | 6-8p\n\n\n\n \n\n\n\nFeatured Artists \n\n\n\nQuan Apollo\n\n\n\nMatt Fisher\n\n\n\nNhân  Lương\n\n\n\nMelanie Mcallister\n\n\n\nVictoria Mercado-Lues\n\n\n\nNaomi Michelle\n\n\n\nCalvin Ulrich\n\n\n\nAlana Wilson\n\n\n\n \n\n\n\nMore About Drawing Marathon Exhibition  \n\n\n\nDrawing Marathon is a foundational course in the MFA Studio Arts program at UNCG. Through a four-week intensive course that meets for 14+ hours every weekend\, students work through preconceived notions about their own image-making and artistic practices\, spending large blocks of time drawing in response to prompts or guidelines and then discussing the learning process with peers and this year’s Drawing Marathon instructor\, Jennifer Meanley. This exhibition is the culmination of the work produced during these four weeks by the graduate students\, including a range of drawings from quick experimentations to fully resolved drawings. \n\n\n\n \n\n\n\nGreensboro Project Space Weekly Gallery Hours: \n\n\n\nTuesday – Friday\, 12 -5 PM \n\n\n\nSaturday\, 2-5PM
URL:https://vpa.uncg.edu/single-event/drawing-marathon-art-exhibition/
LOCATION:Greensboro Project Space\, 111 E February 1 Pl\, Greensboro\, NC 27406\, USA
CATEGORIES:College of Visual and Performing Arts,Greensboro Project Space,School of Art
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/09/8.5-x-11-2.jpg
ORGANIZER;CN="Greensboro Project Space":MAILTO:greensboroprojectspace@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251007T033000
DTEND;TZID=America/New_York:20251007T160000
DTSTAMP:20260411T025848
CREATED:20250911T181844Z
LAST-MODIFIED:20250911T181848Z
UID:10003441-1759807800-1759852800@vpa.uncg.edu
SUMMARY:A Decade of Darkness
DESCRIPTION:Photographer MJ Sharp is a documentary artist based in Durham\, North Carolina. She was a visiting Fulbright Scholar at the University of Exeter\, UK\, for the 2021/2022 academic year pursuing the art/science collaboration Our Disappearing Darkness and Recreating True Night  with nocturnal ecologist Dr. Kevin Gaston.  \n\n\n\nTo learn more about MJ Sharp visit: https://mjsharp.com/
URL:https://vpa.uncg.edu/single-event/a-decade-of-darkness/2025-10-07/
LOCATION:Gatewood Studio Arts Center\, 527 Highland Ave\, Greensboro\, NC 27412\, USA\, 527 Highland Ave\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Art
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251006T193000
DTEND;TZID=America/New_York:20251006T210000
DTSTAMP:20260411T025848
CREATED:20250825T150416Z
LAST-MODIFIED:20250926T211301Z
UID:10003379-1759779000-1759784400@vpa.uncg.edu
SUMMARY:Chamber Singers
DESCRIPTION:https://youtube.com/live/EW6Xcs1mzuw?feature=share\n\n\n\n\nCarole Ott\, conductorAlexander Ezerman\, celloErika Boysen\, fluteMichaela Kelly\, soprano \n\n\n\nProgram\n\n\n\nTHEODORE MORRISONA Chant for Peace in Our Time \n\n\n\nMEIRA WARSHAUERAkhat Sha’alti \n\n\n\nANDREA CLEARFIELDPrayer for the Schechinah \n\n\n\nREENA ESMAILShe Will Transform You \n\n\n\nFRANZ SCHUBERTMirjam’s Siegesgesang \n\n\n\n\nAbout the Program\n \n\n\n\n\nAbout the Artists\n \n\n\n\n\nUNCG Choirs\nThe 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. \n\n\n\n\nUNCG Choirs\n\n\n\n\n\n\n\n\n\nEvent Details\n\n\n\n\nDownload Program\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe 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. \n\n\n\n\n\n\nkeyboard\, music\, piano\, student recital\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/chamber-singers-4/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2024/08/choir-event-feature.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251006T033000
DTEND;TZID=America/New_York:20251006T160000
DTSTAMP:20260411T025848
CREATED:20250911T181844Z
LAST-MODIFIED:20250911T181848Z
UID:10003440-1759721400-1759766400@vpa.uncg.edu
SUMMARY:A Decade of Darkness
DESCRIPTION:Photographer MJ Sharp is a documentary artist based in Durham\, North Carolina. She was a visiting Fulbright Scholar at the University of Exeter\, UK\, for the 2021/2022 academic year pursuing the art/science collaboration Our Disappearing Darkness and Recreating True Night  with nocturnal ecologist Dr. Kevin Gaston.  \n\n\n\nTo learn more about MJ Sharp visit: https://mjsharp.com/
URL:https://vpa.uncg.edu/single-event/a-decade-of-darkness/2025-10-06/
LOCATION:Gatewood Studio Arts Center\, 527 Highland Ave\, Greensboro\, NC 27412\, USA\, 527 Highland Ave\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Art
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251005T140000
DTEND;TZID=America/New_York:20251005T163000
DTSTAMP:20260411T025848
CREATED:20250731T182635Z
LAST-MODIFIED:20251001T202213Z
UID:10003475-1759672800-1759681800@vpa.uncg.edu
SUMMARY:Sweeney Todd
DESCRIPTION:The Demon Barber of Fleet StreetA Musical ThrillerMusic and Lyrics by Stephen SondheimBook by Hugh WheelerFrom an Adaptation by Christopher BondDirected by Tug Watson \n\n\n\nDates:Oct. 3 at 7:30 p.m.Oct. 4 at 2 p.m. & 7:30 p.m.Oct. 5 at 2 p.m.  \n\n\n\nTickets: Call the UNCG Theatre Box Office at 336-334-4392 or click the button below to purchase tickets online. \n\n\n\nPurchase Tickets \n\n\n\nAge Rating: PG-13Run Time: Approx. 2.5 hrs.Production Location: UNCG Auditorium\, 408 Tate St\, Greensboro\, NC 27403Frame/Works Discussion via Teams and In Person: Oct. 6 at 7:00 p.m.To attend Frame/Works in person\, please visit room 130 in the Moore Nursing Building located at 318 McIver St. \n\n\n\nSummary: \n\n\n\nEnter the dark\, twisted streets of 19th-century London—where revenge is served piping hot. Sweeney Todd\, a barber with a haunted past\, returns from exile burning with vengeance against the corrupt judge who destroyed his life and stole his wife. But justice has a price—and blood will spill. Teaming up with the wickedly clever Mrs. Lovett\, whose meat pie shop is circling the drain\, Todd opens a barbershop upstairs with a sinister twist. As razors flash and bodies vanish\, Mrs. Lovett’s business starts booming… thanks to a secret ingredient that has Londoners begging for more. But beware—this is only the beginning of the madness. The Demon Barber of Fleet Street is back… and his blades are hungry. \n\n\n\nSweeney Todd is presented through special arrangement with Musical Theatre International (MTI). All authorized performance materials are supplied by MTI. www.MTISHOWS.com
URL:https://vpa.uncg.edu/single-event/sweeney-todd/2025-10-05/
LOCATION:UNCG Auditorium\, 408 Tate St\, Greensboro\, NC 27403\, USA\, 408 Tate St\, NC\, United States
CATEGORIES:College of Visual and Performing Arts,School of Theatre
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/09/sweeney-todd_program-cover_v2_02_Joshua-Ritter.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251004T193000
DTEND;TZID=America/New_York:20251004T220000
DTSTAMP:20260411T025848
CREATED:20250731T182635Z
LAST-MODIFIED:20251001T202213Z
UID:10003474-1759606200-1759615200@vpa.uncg.edu
SUMMARY:Sweeney Todd
DESCRIPTION:The Demon Barber of Fleet StreetA Musical ThrillerMusic and Lyrics by Stephen SondheimBook by Hugh WheelerFrom an Adaptation by Christopher BondDirected by Tug Watson \n\n\n\nDates:Oct. 3 at 7:30 p.m.Oct. 4 at 2 p.m. & 7:30 p.m.Oct. 5 at 2 p.m.  \n\n\n\nTickets: Call the UNCG Theatre Box Office at 336-334-4392 or click the button below to purchase tickets online. \n\n\n\nPurchase Tickets \n\n\n\nAge Rating: PG-13Run Time: Approx. 2.5 hrs.Production Location: UNCG Auditorium\, 408 Tate St\, Greensboro\, NC 27403Frame/Works Discussion via Teams and In Person: Oct. 6 at 7:00 p.m.To attend Frame/Works in person\, please visit room 130 in the Moore Nursing Building located at 318 McIver St. \n\n\n\nSummary: \n\n\n\nEnter the dark\, twisted streets of 19th-century London—where revenge is served piping hot. Sweeney Todd\, a barber with a haunted past\, returns from exile burning with vengeance against the corrupt judge who destroyed his life and stole his wife. But justice has a price—and blood will spill. Teaming up with the wickedly clever Mrs. Lovett\, whose meat pie shop is circling the drain\, Todd opens a barbershop upstairs with a sinister twist. As razors flash and bodies vanish\, Mrs. Lovett’s business starts booming… thanks to a secret ingredient that has Londoners begging for more. But beware—this is only the beginning of the madness. The Demon Barber of Fleet Street is back… and his blades are hungry. \n\n\n\nSweeney Todd is presented through special arrangement with Musical Theatre International (MTI). All authorized performance materials are supplied by MTI. www.MTISHOWS.com
URL:https://vpa.uncg.edu/single-event/sweeney-todd/2025-10-04/2/
LOCATION:UNCG Auditorium\, 408 Tate St\, Greensboro\, NC 27403\, USA\, 408 Tate St\, NC\, United States
CATEGORIES:College of Visual and Performing Arts,School of Theatre
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/09/sweeney-todd_program-cover_v2_02_Joshua-Ritter.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251004T173000
DTEND;TZID=America/New_York:20251004T190000
DTSTAMP:20260411T025848
CREATED:20250903T191202Z
LAST-MODIFIED:20250926T213331Z
UID:10003391-1759599000-1759604400@vpa.uncg.edu
SUMMARY:Student Composers Concert
DESCRIPTION:https://youtube.com/live/ZH57JkDx0u8?feature=share\n\n\n\n\n\n\n\nEvent Details\n\n\n\n\nDownload Program\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe 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. \n\n\n\n\n\n\nkeyboard\, music\, piano\, student recital\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/student-composers-concert-2/
LOCATION:Tew Recital Hall\, 100 McIver St\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/08/studio-recital-feature.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251004T140000
DTEND;TZID=America/New_York:20251004T163000
DTSTAMP:20260411T025848
CREATED:20250731T182635Z
LAST-MODIFIED:20251001T202213Z
UID:10003353-1759586400-1759595400@vpa.uncg.edu
SUMMARY:Sweeney Todd
DESCRIPTION:The Demon Barber of Fleet StreetA Musical ThrillerMusic and Lyrics by Stephen SondheimBook by Hugh WheelerFrom an Adaptation by Christopher BondDirected by Tug Watson \n\n\n\nDates:Oct. 3 at 7:30 p.m.Oct. 4 at 2 p.m. & 7:30 p.m.Oct. 5 at 2 p.m.  \n\n\n\nTickets: Call the UNCG Theatre Box Office at 336-334-4392 or click the button below to purchase tickets online. \n\n\n\nPurchase Tickets \n\n\n\nAge Rating: PG-13Run Time: Approx. 2.5 hrs.Production Location: UNCG Auditorium\, 408 Tate St\, Greensboro\, NC 27403Frame/Works Discussion via Teams and In Person: Oct. 6 at 7:00 p.m.To attend Frame/Works in person\, please visit room 130 in the Moore Nursing Building located at 318 McIver St. \n\n\n\nSummary: \n\n\n\nEnter the dark\, twisted streets of 19th-century London—where revenge is served piping hot. Sweeney Todd\, a barber with a haunted past\, returns from exile burning with vengeance against the corrupt judge who destroyed his life and stole his wife. But justice has a price—and blood will spill. Teaming up with the wickedly clever Mrs. Lovett\, whose meat pie shop is circling the drain\, Todd opens a barbershop upstairs with a sinister twist. As razors flash and bodies vanish\, Mrs. Lovett’s business starts booming… thanks to a secret ingredient that has Londoners begging for more. But beware—this is only the beginning of the madness. The Demon Barber of Fleet Street is back… and his blades are hungry. \n\n\n\nSweeney Todd is presented through special arrangement with Musical Theatre International (MTI). All authorized performance materials are supplied by MTI. www.MTISHOWS.com
URL:https://vpa.uncg.edu/single-event/sweeney-todd/2025-10-04/1/
LOCATION:UNCG Auditorium\, 408 Tate St\, Greensboro\, NC 27403\, USA\, 408 Tate St\, NC\, United States
CATEGORIES:College of Visual and Performing Arts,School of Theatre
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/09/sweeney-todd_program-cover_v2_02_Joshua-Ritter.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251003T193000
DTEND;TZID=America/New_York:20251003T220000
DTSTAMP:20260411T025848
CREATED:20250731T182635Z
LAST-MODIFIED:20251001T202213Z
UID:10003307-1759519800-1759528800@vpa.uncg.edu
SUMMARY:Sweeney Todd
DESCRIPTION:The Demon Barber of Fleet StreetA Musical ThrillerMusic and Lyrics by Stephen SondheimBook by Hugh WheelerFrom an Adaptation by Christopher BondDirected by Tug Watson \n\n\n\nDates:Oct. 3 at 7:30 p.m.Oct. 4 at 2 p.m. & 7:30 p.m.Oct. 5 at 2 p.m.  \n\n\n\nTickets: Call the UNCG Theatre Box Office at 336-334-4392 or click the button below to purchase tickets online. \n\n\n\nPurchase Tickets \n\n\n\nAge Rating: PG-13Run Time: Approx. 2.5 hrs.Production Location: UNCG Auditorium\, 408 Tate St\, Greensboro\, NC 27403Frame/Works Discussion via Teams and In Person: Oct. 6 at 7:00 p.m.To attend Frame/Works in person\, please visit room 130 in the Moore Nursing Building located at 318 McIver St. \n\n\n\nSummary: \n\n\n\nEnter the dark\, twisted streets of 19th-century London—where revenge is served piping hot. Sweeney Todd\, a barber with a haunted past\, returns from exile burning with vengeance against the corrupt judge who destroyed his life and stole his wife. But justice has a price—and blood will spill. Teaming up with the wickedly clever Mrs. Lovett\, whose meat pie shop is circling the drain\, Todd opens a barbershop upstairs with a sinister twist. As razors flash and bodies vanish\, Mrs. Lovett’s business starts booming… thanks to a secret ingredient that has Londoners begging for more. But beware—this is only the beginning of the madness. The Demon Barber of Fleet Street is back… and his blades are hungry. \n\n\n\nSweeney Todd is presented through special arrangement with Musical Theatre International (MTI). All authorized performance materials are supplied by MTI. www.MTISHOWS.com
URL:https://vpa.uncg.edu/single-event/sweeney-todd/2025-10-03/
LOCATION:UNCG Auditorium\, 408 Tate St\, Greensboro\, NC 27403\, USA\, 408 Tate St\, NC\, United States
CATEGORIES:College of Visual and Performing Arts,School of Theatre
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/09/sweeney-todd_program-cover_v2_02_Joshua-Ritter.jpg
END:VEVENT
END:VCALENDAR