BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//College of Visual and Performing Arts - ECPv6.15.18//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:College of Visual and Performing Arts
X-ORIGINAL-URL:https://vpa.uncg.edu
X-WR-CALDESC:Events for College of Visual and Performing Arts
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251118T193000
DTEND;TZID=America/New_York:20251118T210000
DTSTAMP:20260407T232032
CREATED:20250529T180643Z
LAST-MODIFIED:20251117T194127Z
UID:10003290-1763494200-1763499600@vpa.uncg.edu
SUMMARY:Symphonic Band
DESCRIPTION:https://youtube.com/live/8dXsdSsper8?feature=share\n\n\n\n\nJonathan Caldwell\, conductorGarrett Klein\, trumpetJuan José Navarro\, guest conductor \n\n\n\nProgram\n\n\n\nOSCAR NAVARRODowney Overture (2011) \n\n\n\nULYSSES KAYSolemn Prelude (1950) \n\n\n\nPHILIP SPARKEManhattan (2004) \n\n\n\nMANUEL MORALES MARTÍNEZSoñad el mar pasodoble (2020) \n\n\n\nPERCY GRAINGERCountry Gardens (1918)Irish Tune from County Derry (1918)Shepherd’s Hey (1918) \n\n\n\n\nAbout the Program\nDowney Overture\n\n\n\nÓscar Navarro is a Spanish composer and conductor. He studied clarinet\, composition\, and conducting in Spain and later specialized in film and television scoring at the University of Southern California in Los Angeles. His music has been performed worldwide by orchestras and symphonic bands\, including the Downey Symphony Orchestra\, for whom this overture was written. Downey Overture was composed as a celebration of both Navarro’s native Spain and his time in California. It is dedicated to the Downey Symphony Orchestra and its conductor Sharon Lavery. Navarro describes the piece as “a Latin-American fusion…an amalgam of rhythm and musical color wrapped in an atmosphere of dance.” The overture opens with bold\, dance-inspired rhythms\, with percussion and winds engaging in rhythmic interplay. The music moves through contrasting sections\, from lively to more dramatic\, and concludes by returning to earlier themes\, leaving a sense of energy and unity. \n\n\n\nNote by Óscar Navarro and Molly Allman \n\n\n\nSolemn Prelude\n\n\n\nUlysses S. Kay\, an American composer and educator\, was born in Tucson\, Arizona\, where he grew up surrounded by musical influence. His great-uncle\, American jazz cornetist King Oliver\, encouraged Kay to study piano. Kay studied at the University of Arizona\, the Eastman School of Music\, and Columbia University\, working with mentors including Howard Hanson and Paul Hindemith. Over his career\, he composed more than forty orchestral works\, five operas\, nearly fifty choral compositions\, and seven original works for band\, establishing himself as a significant twentieth-century composer. Kay was also one of the most successful African-American composers of his generation and gained widespread recognition in the classical world breaking barriers for other Black artists. He received numerous honors including a Guggenheim fellowship\, two Prix de Rome selections\, and six honorary doctorates. Despite his success and contributions\, Kay’s band works remain lesser-known and infrequently performed. Solemn Prelude (1950) was commissioned by Donald I. Moore for the Baylor University Golden Wave Band. Initially published by Broadcast Music Incorporated and Associated Music Publishing\, a typewritten note in the Ulysses Kay Archives indicates it was later listed as withdrawn\, leaving it unclear whether Kay intended it to be published or performed. Solemn Prelude is composed in an ABA form and exemplifies Kay’s compositional philosophy: “I [am] using quite simple musical materials and avoiding all so-called ‘effects\,’ [and] I have attempted to achieve symphonic expression while observing the characteristic qualities of the full concert band.” The slow and melodic work is built from a recurring rhythmic motive in D Minor\, first heard in the saxophones and low brass\, which accompanies the opening euphonium solo. Then solo passages are passed across the ensemble to include flute\, oboe\, trumpet\, and bassoon. The initial rhythmic motive returns and dominates the texture in the closing measures. \n\n\n\nNote by Patty Saunders \n\n\n\nSong and Dance\n\n\n\nPhilip Sparke is an English composer who has written extensively for brass band. In 1983\, the GUS Band\, a British brass band\, commissioned Sparke to write Jubilee Overture for an upcoming recording session and to celebrate their 50th anniversary. Following the success of Jubilee Overture\, the band commissioned Song and Dance the next year. In 2009\, Geoffrey Brand arranged Song and Dance for solo cornet and concert band. Song and Dance is a single movement piece in two sections\, a song followed by a dance. The “Song” features a “Scotch snap” rhythm followed by a lyrical cadenza leading to a muted presentation of the opening theme. The “Dance” is lively and tuneful with frequently changing meters to accompany the dancing melody. \n\n\n\nNote by Philip Sparke and Jaden Brown \n\n\n\nPageant\, op. 59\n\n\n\nVincent Persichetti was an American composer\, educator\, and pianist\, and an influential figure in early band literature. In the immediate aftermath of World War II\, bands struggled to program substantial\, original repertoire written specifically for band. Persichetti’s insistence on composing high quality music helped move the medium forward in many ways. In 1952\, Edwin Franko Goldman\, founder of the Goldman Band in New York City and the American Bandmasters Association (ABA)\, commissioned Persichetti to write a piece for the upcoming ABA Convention. Pageant was premiered at the 1953 ABA Convention in Miami\, Florida with Persichetti conducting the University of Miami Band. Early manuscript sketches of Pageant show that the piece was initially meant to be titled Morning Music for Band. Traces of the idea of “morning music” can be heard in the opening horn motif and the clarinet soli that follows. The piece is in two sections\, the first being slower and more lyrical and the second being a “parade” section introduced by the snare drum. \n\n\n\nNote by Vincent Persichetti and Jaden Brown \n\n\n\nSoñad el mar\n\n\n\nManuel Morales Martínez is a Spanish composer and conductor whose work focuses on wind ensembles across the Valencian region\, a heartland of Spanish band music tradition. Soñad el mar was composed in 2017 for the Banda Primitiva de Rafelbuñol and is a concert pasodoble. While a concert pasodoble maintains the characteristic pasodoble rhythmic framework\, these pasodobles are slower and more formally\, harmonically\, and melodically complex than a traditional pasodoble. The piece begins with a percussion-driven introduction\, leads into a bold main theme\, and features solos for horn and english horn in the trio section before returning to the main material. Throughout\, the music recalls the gentle motion of the sea while retaining the characteristic pulse of the pasodoble. Martínez describes the work as “tonal\, Romantic style and captures the calmness of the Mediterranean Sea.” \n\n\n\nNote by Manuel Morales Martínez and Molly Allman \n\n\n\nCountry GardensIrish Tune from County DerryShepherd’s Hey\n\n\n\nPercy Grainger (1882–1961)\, an Australian-born composer and pianist\, played a pivotal role in the early development of band literature in the early twentieth century through innovative orchestration and adventurous rhythms and meters. Known for his inclusion of folk melodies\, Grainger used Edison wax-cylinder phonographs to collect English folk songs throughout Britain often collaborating with Cecil Sharp\, a renowned collector. Fascinated by the unique performances of the singers and often integrating the tunes into his compositions\, he sought ways to capture the nuances of pitch and rhythm in his works. Grainger’s contributions to band repertoire include cornerstone works such as Lincolnshire Posy and Colonial Song. Country Gardens (1918) is an English folk tune shared with Grainger by Cecil Sharp based on the tune “The Vicar of Bray.” Grainger played improvisations on it as a concert pianist during his tour for the U.S. Army during World War I and later presented the song to his mother as a birthday gift. Despite its immense popularity\, Grainger referred to it as “my wretched tone art.” Grainger arranged the piece for band in 1953. In his program notes\, he wrote: “The typical English country garden is not often used to grow flowers in; it is more likely to be a vegetable plot. So you can think of turnips as I play it.” Irish Tune from County Derry (1918) highlights the lyrical beauty of folk song. The tune was collected by Miss J. Ross from New Town\, Limavady\, Co. Derry\, Ireland without a specific tune being credited. Grainger stated\, “The name of the tune unfortunately was not ascertained by Miss Ross\, who sent it to me with the simple remark that it was ‘very old\,’ in the correctness of which statement I have no hesitation in expressing my perfect concurrence.” The melody is shared by the song “Danny Boy\,” whose lyrics were composed by English songwriter Frederic Weatherly after Grainger had already arranged the tune. Grainger also arranged the melody in a version for wordless chorus. Shepherd’s Hey (1918)\, published and sold with Irish Tune from County Derry for many years\, is a lively arrangement of a Morris dance tune from rural English tradition. The “Hey” in the title refers to a specific Morris dance step\, though Grainger noted\, “This setting is not suitable to dance Morris Dance to.” Morris dances traditionally feature teams of “Morris Men” performing with bells and clashing sticks. Grainger collected the original melody and states that the work should be played “in a jolly\, energetic manner—with bounce and relish.” \n\n\n\nNote by Patty Saunders \n\n\n\n\nAbout the Artists\nGarrett Klein\n\n\n\n\n\n\n\nTrumpet artist Garrett Klein has garnered an international reputation for his varied performing career and dedicated teaching. He is currently serving as Assistant Professor of Trumpet at UNC Greensboro where he leads the Trumpet Studio\, directs the Trumpet Ensemble\, and serves as Brass Area Chair.   Aside from his teaching\, Garrett is the Principal Trumpet of the Greensboro Symphony Orchestra and Principal Solo Cornet with North Carolina Brass Band. He is a former member of the world-renowned Dallas Brass and toured the nation with that ensemble for five years. He has also appeared as a guest musician with Charlotte Symphony\, The Phoenix Symphony\, the Tucson Symphony Orchestra\, the New World Symphony\, the Singapore Symphony Orchestra\, and the Malaysian Philharmonic Orchestra. A new music advocate\, Garrett has worked with composers to commission several new works for trumpet\, presenting newly composed works at three International Trumpet Guild Conferences.  Garrett earned his DMA and MM degrees at Arizona State University\, along with a Certificate in Music Theory Pedagogy. Prior to ASU\, he studied at the prestigious Yong Siew Toh Conservatory of Music in Singapore and St. Olaf College in Minnesota. Garrett Klein is an endorsing artist for Conn-Selmer and proudly performs on Vincent Bach trumpets.  \n\n\n\nJuan José Navarro\n\n\n\n\n\n\n\nJuan José Navarro holds a Superior degree in Clarinet from the Conservatory of Music of Valencia\, in Orchestra Conducting from the Conservatory of Music of Murcia and Master in Conducting and Choral Pedagogy from the International University of La Rioja. \n\n\n\nHe has conducted for many of the productions of the Compaña Lírica Andaluza\, such as El Barbero de Lavapiés\, Agua Azucarillos y Aguardiente\, El Dúo de la Africana…in venues such as the Teatro Alameda of Málaga and the Nuevo Teatro Infanta Leonor of Jaén. \n\n\n\nHe has run courses\, lectures and given master classes for conducting in Universities as Almería (Spain)\, Virginia Tech University (Virginia)\, The University of Illinis (Illinois)\, Eastern Michigan University (Michigan)\, University of Northern Iowa (Iowa)\, University of Maryland (Maryland)\, University North Carolina Greensboro (North Carolina)\, Bolzano High Conservatory (Italy)\,  Luisiana State University (Luisiana)\, University Jewel College ( Missouri)\, Kansas University (Arkansas) and in places as Murcia\, Galicia\, Jaén\, Granada and Almería organized by such institutions as the Vicerrectorado de Extensión Universitaria of the University of Almería\, the Federación Andaluza de Bandas de Música\, the Real Conservatorio Profesional de Música of Almería as well as for the teaching staff at the Centro de Enseñanza al Profesorado. \n\n\n\nHe got the second prize conducting the San Indalecio Wind Orchestra in the National Competition in Murcia and the first prize conducting the Unión Musical de Godelleta in the Special Section of the Wind Bands Competition of Valencia. \n\n\n\nHe has been titular musical director for 8 years of the Sinfónica Municipal de Almería. He is co-founder along with José Miguel Rodilla of the Academia de Dirección de Orquesta y Banda\, “Diesis“\, which gives classes in Almería\, Murcia\, Sevilla and Valencia to more than eighty pupils from every part of Spain. \n\n\n\nHe has recently received the distinction of “Honorary Friend” of the University of Almería for his great contribution as director of the Orchestra\, Choir and Music Department. \n\n\n\nCurrently he is clarinet and conducting teacher at the Real Conservatorio Profesional de Música of Almería\, director of the Almería University Music Room where he conducts the Symphony Orchestra and Choir\, Professor of the Conducting Master at the Almería University and Conducting teacher at Diesis Academy. \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/symphonic-band-10/
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/2023/11/garrett-klein-e1562876742315.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251117T193000
DTEND;TZID=America/New_York:20251117T210000
DTSTAMP:20260407T232032
CREATED:20250529T194656Z
LAST-MODIFIED:20251107T213938Z
UID:10003289-1763407800-1763413200@vpa.uncg.edu
SUMMARY:Sinfonia
DESCRIPTION:https://youtube.com/live/FzW2EUsjaQ0?feature=share\n\n\n\n\nScott Glasser\, conductor \n\n\n\nProgram\n\n\n\n \n\n\n\n\nAbout the Program\n \n\n\n\n\nAbout the Artists\n \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\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/sinfonia-11/
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/2024/09/orchestas-pic13905.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251111T193000
DTEND;TZID=America/New_York:20251111T210000
DTSTAMP:20260407T232032
CREATED:20251003T193152Z
LAST-MODIFIED:20251029T194931Z
UID:10003517-1762889400-1762894800@vpa.uncg.edu
SUMMARY:Vincent van Gelder\, piano
DESCRIPTION:“Dr. Vincent van Gelder is a formidably equipped\, no-nonsense virtuoso”  \n\n\n\n– Carnegie Hall. New York Concert Review  \n\n\n\n“…essentially a poetic artist rather than a barnstormer\, and his program\, whilst it by no means avoided the technically challenging\, was notable for the range of beautiful sounds”  \n\n\n\n– Deptford Concert Hall. London Musical Opinion/British Liszt Society  \n\n\n\n“…brought out the different layers in Chopin’s 4 Ballades with the precision of a brain surgeon”.  \n\n\n\n– St. Louis Post  \n\n\n\n“The performance of the Liszt bm Sonata was memorable. As for his master classes\, the students were full of attention\, and Dr. van Gelder was able to make major changes with just the slightest of suggestions”  \n\n\n\n– Twentse Courant Tubantia\, The Netherlands  \n\n\n\n“Vincent composed romantic\, impressive music in the spirit of Liszt and his contemporaries. The music was magnificent and magnified the atmosphere of the artwork”  \n\n\n\n– Harpa Concert Hall. Fretabladid newspaper\, Iceland  \n\n\n\nDr. Vincent van Gelder was born in Rotterdam\, The Netherlands. He won top prizes in several national and international piano competitions\, including the Liszt-Garrison International Piano Competition\, New York Artist International Competition\, and St. Louis Artist Presentation competition. He has performed in many states in the US\, as well as multiple countries throughout Europe\, a notable example being a well-reviewed solo recital at Carnegie Hall. In 2008 he nearly lost the index finger of his left hand\, but thanks to a successful surgery he made a near full recovery.  \n\n\n\nHe has been a soloist with several orchestras\, and worked with conductors such as Hans Vonk. As a chamber pianist Vincent\, performed with musicians like Dmitri Sitkovetski\, members of the Ciompi Quartet\, Red Clay Quartet\, and his wife\, Dr. Ināra Zandmane. He has collaborated with several composers including the Argentinean composer Alejandro Rutty\, who wrote a piano concerto for him that premiered at the University of North Carolina at Greensboro Symphony orchestra.  \n\n\n\nHighly acclaimed performances were in London\, England\, the Van Cliburn Festival\, and Harpa Hall in Iceland. As a composer\, he won the 2025 International  \n\n\n\nFidelio Piano Composition Competition in Madrid\, Spain. Dr. van Gelder’s recordings have been played on radio and tv stations in the US as well as The Netherlands.  \n\n\n\nIn June of 2018 he performed at Harpa Hall in Reykjavik Iceland\, where he performed the world premiere of one of his own works\, ‘Guardians of Iceland-Eylin’s Journey’—a large\, multi-movement piece based on Icelandic legends\, a piano performance accompanied by artwork from his then 13 year old daughter\, Natalie van Gelder. Their next project\, ‘Ardenuir: The Stone in the Sword\,’ saw its premiere in 2022 at the Virginia Somerville Sutton Theatre in Greensboro\, North Carolina. They subsequently toured many concert halls in North Carolina.  \n\n\n\nIn September 2024\, Natalie published her first animated short film\, ‘Home Cooked Meals’\, with an original soundtrack written and performed by Vincent van Gelder. This short film is a featured animation at the NC Film Festival\, the Cary Film Festival\, the Raleigh Film and Art Festival\, and OUT at the Movies International Film Festival.  \n\n\n\nIn 2024\, Dr. van Gelder was invited to do record works by Jacobo Palm and other Caribbean composers for the Palm Foundation in The Netherlands. This is an ongoing project.  \n\n\n\nDr. van Gelder studied in Holland\, Latvia\, and the US\, receiving two Masters and subsequently a Doctor of Musical Arts degree in piano performance from the University of Missouri at Kansas City. His most influential teachers were Leslie Howard\, Czerny-Stefanska\, Teofils Bikis\, Arnis Zandmanis\, Wilfred Delphin\, and Richard Cass.  \n\n\n\nHe has been a member of the piano faculty at Duke University. He is the founder and president of the Triad Institute for Young Musicians.  \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/vincent-van-gelder-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/2025/09/guest-artist-recital-feature.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251111T120000
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260407T232032
CREATED:20251005T215529Z
LAST-MODIFIED:20251030T123526Z
UID:10003519-1762862400-1763830800@vpa.uncg.edu
SUMMARY:un hilo a veces rio [a thread sometimes river] art exhibition
DESCRIPTION:un hilo a veces rio\n\n\n\n[a thread sometimes river]\n\n\n\nSolo Exhibition by Vida Zamora\n\n\n\n\n\n\n\nNovember 11 – 22\, 2025\n\n\n\nReception: Friday\, Nov 21st | 6-8p\n\n\n\n \n\n\n\nMore About un hilo a ceces río [a thread sometimes river] \n\n\n\nun hilo a veces río [a thread sometimes river] is a collective\, image based sculptural composition that weaves time\, affect\, and world-making. In its assembly of “images\,” memory is not articulated through description nor representation\, but as a felt and active force in all its porosity–extending itself behind\, beyond and within singularity into the immanence of collectivity writ-large. The collaborators of this piece gathered\, made\, and worlded-with each other. In this act of sharing\, the life that emanated from their time together has been carefully and intentionally assembled into a map that leads nowhere but to the act of remembering itself: a latent potentiality that refuses to be defined and that inaugurates affect in an outward (shared) and inward (opaque) motion. Vida co-orchestrates–with Petra\, Patricia\, Lucy\, Martha\, and with the assistance of Anna\, Margaret\, Meijuan\, Sophie\, and Jessica–an piece that does not want to materialize\, but that finds a home in experience itself.  \n\n\n\nMore About Vida Zamora \n\n\n\nVida Zamora [b.1998; Puebla] is a transdisciplinary artist in constant errancy. She graduated from MICA [MD] with a BFA\, and was a UnionDocs [NY] Collaborative Studio Fellow. After graduating\, she dealt with immigration and gender affirming care\, yet recently gained access to a studio setting to continue her practice. Her work has been exhibited in programs at DIFFUSION [Canada]\, Millennium Film Workshop [NY]\, UnionDocs [NY]\, FISURA [Mexico]\, Badn?m [India]\, Cinema Parallels [Bosnia]\, and perfect lovers [NC] by curators such as the Re:assemblage collective\, Adriana Trujillo\, Michellè st. Michel\, Dylan Angel and Victoria Bouloubasis. \n\n\n\nTo learn more visit  vidazamora.art or follow them on Instagram: @vdzm__ \n\n\n\n \n\n\n\nGreensboro Project Space Open Public Hours \n\n\n\nTuesday-Friday\, 12-5p \n\n\n\nSaturday\, 2-5p
URL:https://vpa.uncg.edu/single-event/un-hilo-a-ceces-rio-a-thread-sometimes-river-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/2025/10/un-hilo-scaled.jpg
ORGANIZER;CN="Greensboro Project Space":MAILTO:greensboroprojectspace@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251101T200000
DTEND;TZID=America/New_York:20251101T200000
DTSTAMP:20260407T232032
CREATED:20250316T155148Z
LAST-MODIFIED:20250815T143650Z
UID:10003119-1762027200-1762027200@vpa.uncg.edu
SUMMARY:Ephrat Asherie Dance
DESCRIPTION:Ephrat “Bounce” Asherie is a New York City-based choreographer\, performer\, and b-girl and a 2016 Bessie Award Winner for Innovative Achievement in Dance. Asherie has received numerous awards to support her work including Dance Magazine’s Inaugural Harkness Promise Award and two National Dance Project Awards. In 2019 she was the recipient of a NYFA Fellowship and is currently a Jerome Hill Artist Fellow. \n\n\n\nAs Artistic Director of Ephrat Asherie Dance\, Asherie’s work has been presented nationally and internationally with commissions from companies including Malpaso and Parsons Contemporary Dance and additional commissions from Vail Dance Festival\, Fall for Dance\, River to River\, Firatatrrega\, and Works & Process at the Guggenheim. Her latest work\, UNDERSCORED—awarded a 2019 Creation and Development Award from the National Performance Network and a 2022 National Dance Project—premiered in November 2022 at Works & Process at the Guggenheim. \n\n\n\nAsherie is honored to have been mentored by Richard Santiago (a.k.a. Break Easy) and to have worked and collaborated with Michelle Dorrance\, Doug Elkins\, Rennie Harris\, Bill Irwin\, Gus Solomons\, Jr. and Buddha Stretch\, among others. Asherie earned her BA from Barnard College\, Columbia University in Italian and her MFA from the University of Wisconsin Milwaukee where she researched the vernacular jazz dance roots of contemporary street and club dances. She is a co-founding member of the all-female house dance collective MAWU and is forever grateful to NYC’s underground dance community for inspiring her to pursue a life as an artist. \n\n\n\n\n\n\n\nOrchestra/MezzBalconyUNCG Students$7.50$7.50UNCG Faculty/Staff$25.00$25.00Adults$45.00$30.00Seniors/Military$35.00$20.00Children (K-12)$10.00$10.00\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\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/ephrat-asherie-dance/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,UCLS
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/03/UNDERSCORED_Lafotographeuse_Pictured_Archie-Burnett_Bravo-Brahms-LaFortune_cropped-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251025T193000
DTEND;TZID=America/New_York:20251025T210000
DTSTAMP:20260407T232032
CREATED:20250529T200035Z
LAST-MODIFIED:20250529T200038Z
UID:10003297-1761420600-1761426000@vpa.uncg.edu
SUMMARY:Collage
DESCRIPTION:The UNCG School of Music is proud to present our 18th annual performance of Collage at 7:30 PM on October 25\, 2025! We are excited to welcome audiences back to UNCG Auditorium for our most exciting event of the year! \n\n\n\nCollage is captivating and totally unique\, featuring an incredible range of performers presenting one riveting work after another with special lighting. Join School of Music students and many of our world-class faculty members for this non-stop evening of amazing performances. It’s not to be missed! \n\n\n\nAll ticket proceeds benefit the School of Music Collage Scholarship Fund. \n\n\n\nSectionAdultsSeniorsStudentsSection Afront orchestra\, mezzanine$27$22$17Section Bmiddle and rear orchestra\, lower balcony$20$16$12Section Cupper balcony$15$11$8\n\n\n\n\nPurchase Tickets
URL:https://vpa.uncg.edu/single-event/collage-6/
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/2024/06/Possible-for-Current-Students-Rectangle.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251022T193000
DTEND;TZID=America/New_York:20251022T210000
DTSTAMP:20260407T232032
CREATED:20251007T182413Z
LAST-MODIFIED:20251022T201434Z
UID:10003521-1761161400-1761166800@vpa.uncg.edu
SUMMARY:The Juliet Letters
DESCRIPTION:Lindsay Kesselman\, sopranoMarjorie Bagley\, violinSiana Wong\, violinScott Rawls\, violaCori Trenczer\, violoncello \n\n\n\nProgram\n\n\n\nELVIS COSTELLO and THE BRODSKY QUARTETThe Juliet Letters (1992) \n\n\n\nDeliver UsFor Other EyesSwineExpert RitesDead LetterI Almost Had a WeaknessWhy?Who Do You Think You Are?Taking My Life in Your HandsThis Offer Is UnrepeatableDear Sweet Filthy WorldThe Letter HomeJacksons\, Monk and RoweThis Sad BurlesqueRomeo’s SeanceI Thought I’d Write to JulietLast PostThe First to LeaveDamnation’s CellarThe Birds Will Still Be Singing \n\n\n\n\nAbout the Program\nElvis Costello writes\, “…so there was this professor in Verona who answered letters to Juliet… \n\n\n\nWell\, if that sounds like the start of a tall story I suppose it is. There was a tiny newspaper item about a Veronese academic who had taken on the task of replying to letters addressed to ‘Juliet Capulet.’ \n\n\n\nThis apparently continued for a number of years\, until some gentlemen of the press exposed this secret correspondence. Quite how he came by these letters in the first place remains unclear. We can only make a guess as to their content. After all\, these people were writing to an Imaginary woman\, and a dead imaginary woman at that. Perhaps they were simply scholarly enquiries\, or letters of sympathy from others disappointed in love\, or even a plea from somebody forced into an unhappy arranged marriage. Whatever was contained in these letters and their replies\, the idea of this correspondence provided the initial inspiration” for The Juliet Letters\, a song sequence for string quartet and voice—a collaboration between Elvis Costello and The Brodsky Quartet. \n\n\n\n\nLyrics\nDeliver Us\n\n\n\nInstrumental \n\n\n\nFor Other Eyes\n\n\n\nI don’t know what I would doIf this letter should fall intoOther hands than it should pass throughFor other eyes \n\n\n\nHe said\, “It was nothing… it’s over and done”But the rotten worm was burrowing stillIts spirit invades me bleeding me whiteFor other repliesI searched his pocketsI searched his eyesI searched his wallet for clues and liesAnd I found a number that I somehow dialledA woman answered\, a woman smiledThen she hung up on the silence unperplexedInnocently spun her rolodexI dialled again I could not resistRevealing just the dentist receptionist \n\n\n\nOne day we’lI laugh about it or maybe we’lI curseBut there is one thing that is making it worseAnd it’s the lack of forgiveness that I can’t disguiseNo matter how well he liesNow we don’t know each other anymoreAnd when we touch our lips feel soreI question the longing left in his sighsFor other eyes \n\n\n\nSwine\n\n\n\nYou’re a swine and I’m saying that’s an insult to the pigIn the foul furrow that you digWhy don’t you lay your head downIn that unconsecrated groundWAS she your MOTHER?Or WAS she your brldeTo defile and to blisterTo gnaw at her sideIs this the end of the world?Now that you’ve finished your lifeThis RIDDLE is the work of my little pen-knife \n\n\n\nExpert Rites\n\n\n\nI marvel at the wonder of it in our souless ageFast flow the tears upon the pageDon’t be alarmed I am her friendWill I be excused if I presumeIt’s more than disappointment that we shareYou share the same sorry life\, the families fight\,that unhappy blade you both inviteThis romantic ideal has a lonely appealI once loved someone the way that you doBut I had to let her goI live with my regretDon’t despair my would-be Juliet \n\n\n\nDead Letter\n\n\n\nInstrumental \n\n\n\nI Almost Had a Weakness\n\n\n\nThank you for the flowersI threw them on the fireAnd I burned the photographs that you had enclosedGOD they were ugly childrenSo you’re the little bastard of that brother of mineTrying to trick a poor old woman‘Til I almost had a weaknessLast week Cousin FlorenceBit your Uncle JoeHit him on the forehead with a knife and a fork(She) said that he looked like the devilThen she said… “pass the vinegar\,” I’m beginning to think(That) I’m the only one who hasn’t taken to the drinking of itThough I almost had a weakness \n\n\n\nIt pains me to mentionThese delicate concernsWhile I have to tolerate you family jewelsI really mustn’t grumble(‘Cause) when I die the cats and dogs will jump up and downAnd you little swines will get nothingThough I almost had a weakness \n\n\n\nWhy?\n\n\n\nWhy is Daddy not here?Are you crying?Why?Does he still love me?Will you take care of me?If you both love me soWhy don’t you love each otherMummy’s gone missingDaddy’s on fireDaddy’s on fireDaddy’s on fire \n\n\n\nWho Do You Think You Are?\n\n\n\nThe hunted look\, the haunted graceThe empty laugh that you cultivateYou fall into that false embraceAnd kiss the air about her faceWho do you think you are?The tres bon mots you almost quote from yourQUIVER of literary dartsA thousand or so tuneless violins thrilling your cheaplittle heartWho do you think you are? \n\n\n\nMy cigarette burns right down to the ash\, my coffeecup is unstainedThe waiter hovers close at handHis courtesy strained \n\n\n\nWho do you think you are?I close with my regardsWell I’m the red-face gentlemanCaught in this picture postcardWho do you think you are? \n\n\n\nTrying my best to make the best of your absenceThough the joke gets tired and sordidSea-shell hearts get trampled under footPunchlines unrewarded \n\n\n\nBut even at this distance it’s not easy to acceptThe vision that I chase returns when I least expect itI’ve fallen from your tired embraceI kiss the air around the place that should be your face. \n\n\n\nTaking My Life in Your Hands\n\n\n\nMy dear impulsive darling\, I suspect my letter got to you too lateAnd it’s really just a silly fragment of paperBut it means so much to those who wait \n\n\n\nAll the suffering days and nights ’til I dare dream againThere you suddenly stand and I’ll be damnedIf you didn’t disappear with the dawn \n\n\n\nHours pass and darkness comesSoon I will close my eyesWill you return if you don’t reply? \n\n\n\nYou’ll be taking my life in your handsYou’ll be taking my life in your handsTaking my life in your hands \n\n\n\nI don’t know why my dearest darlingI can’t tell you how I feel when you are nearWhen I see you have returned my letters unopenedI will tear them up\, your voice ringing in my ears \n\n\n\nBut you’re kidding yourselfIf you think this correspondence will endI can always pretend wordsI don’t have the courage to send\, reaching you \n\n\n\nHours pass and darkness comesSoon I will close my eyesWill you return if you don’t reply? \n\n\n\nYou’ll be taking my life in your handsYou’ll be taking my life in your handsTaking my life in your hands \n\n\n\nThis Offer Is Unrepeatable\n\n\n\nDon’t send any money!Your fate has no priceIgnore at your peril this splendid adviceAn invaluable link in an infinite chainAn offer like this will just not come againYou wish you had women to charm and bewitchPower of life and death over the richYoung girls will be swooningbecause you’re exciting themNot only fall at your feet but be biting themGuaranteed\, guaranteed to capture your breathOr just possibly scare you to deathSign it and seal it and send it to friendsDon’t mention my nameDon’t make any long term plansIn thirty-six hours your fortunes will changeYour best friends won’t know youAnd neither will strangersDo not keep this letterIt must leave your handYou have been selected from over five thousandA twister and dupe will bamboozle or hoodwink youI can’t say more it would only confuse youThe wine they will offer will go to your headYou’ll start to see double in fishes and breadGuaranteed\, guaranteed for a lifetime or moreGuaranteed for this world and the nextGuaranteed\, guaranteed for the world and its motherCherish this life as you won’t get another oneUnless you should take up this fabulous offerDon’t leave it too late or you’ll be bound to sufferWoebetide anyone so woebegoneYou won’t know you’re born or about to pass onYou’ll never get tiredYou’ll never get boredBy the way I just hope you’re insuredAnd if you’re not satisfiedIf you want moreWe can always provide an improved overtureGuaranteed at a price that is almost unbeatableThis offer is unrepeatableYour troubles will vanishYour tears will dryYour blessing will just multiplyGuaranteed at a price that is almost unbeatableThis offer is unrepeatableGuaranteed\, guaranteed to bring fortune and favorA riot of colours and flavoursGuaranteed at a price that is almost unbeatableThis offer is unrepeatableWould I lie to you? Would I sell you a dud?Just sign on the line. Could you possibly write it inblood? \n\n\n\nDear Sweet Filthy World\n\n\n\nDear sweet\, filthy world\, my wifeOr whoever reads thisI think that I’ve lived too longWith all of my promise unfulfilledBut there is a veil drawn over all of that \n\n\n\nI know you’ll probably say“Spare us the melodrama”I don’t know how he choseThe pills or the stupid revolver” \n\n\n\nI’m out of luckI’m not that strongMy hands\, your neckI might have wrung \n\n\n\nDon’t try to find meI’m not worth anything anymore \n\n\n\nI am not leaving youWith all of your problems‘Cause the biggest one is meLife is dark and cold as the sea \n\n\n\nEmbrace me in my anguishPut seaweed in my hairAnd vow that you won’t cryBecause I’ve gone\, I can’t go onI can’t go on\, I can’t go onI must close now \n\n\n\nThe Letter Home\n\n\n\nCare of St. Ignatius House\, Willoughby DriveParramatta\, New South Wales\, this fifth day of JulyIn the year of Our LordNineteen hundred and thirty five \n\n\n\nWhy must I always apologizeEvery time that I sit down to writeThrough my own fault I may findYou’re no longer living at this address \n\n\n\nPlease excuse the lack of newsThe feeling of strange privilegeFor the hour of trial in these times of distressMean more than years imprisoned by etiquette \n\n\n\nI can remember when we were childrenThough I could never imagine this dayYour brother told me we’d live forever“I’ll go on better”\, I heard myself say \n\n\n\nAnd it seems so strange\, now that he’s goneTo recall all these gamesThough the years have divided usFriendships have strained and broken \n\n\n\nOh\, by the way\, how’s that girl that you wedI hated you then but I’m over the worst of itI can’t come home\, I might as well sayLife is short\, I shall not write again \n\n\n\nJacksons\, Monk and Rowe\n\n\n\nSister 4 and Brothers 3Hanging off the family treePractising for getting oldDo you want your fortune toldThey’re looking for you high and lowNow there’s nowhere for you to goSo you’ll just have to come out and face the musicJacksons\, Monk and Rowe \n\n\n\nLong ago when we were kids and we cut your hair to bitsAs we carried off like spoils the heads we’d smash right offyour dollsBut the wind is changing you knowAre you sure of your friends and your foeHave you got what it takes to carry it offJacksons\, Monk and Rowe \n\n\n\nAs the sun beats down and life begins to complicateWill we both incinerateIf we touch that brass name-plate \n\n\n\nMessrs. All\, noble SirsHighly paid solicitorsFind enclosed my signed divorceSad proceedings you endorseThe burden of pity will showIn the people we used to knowHave you got enough strength to carry it offJacksons\, Monk and Rowe \n\n\n\nThis Sad Burlesque\n\n\n\nI write in hopeBy the time you get this letterWe may liveTo see a change for the better \n\n\n\nOr are we so devotedTo these wretched selfish motivesWhen the cold facts and figures all add upThey cannot contradict this sad burlesque \n\n\n\nThis sad burlesque with miserable failuresMaking entertainment of our fateLaughter cannot dignify of elevateThis sad burlesque \n\n\n\nNow can they recall being young and idealistic?Before wading knee-deep in hogwash and arithmeticThe pitying smirk\, the argument that runs like clockworkWill run down eventually and splutter to a stop \n\n\n\nP.S. Well\, by now you know the worst of itAnd we’ve heard all the alibis that they’ve rehearsedThe smug predictionsIf it’s not a contradiction \n\n\n\nPlease have faith in human natureAnd have mercy on the creaturesIn this sad burlesque \n\n\n\nThis sad burlesque with miserable failuresMaking entertainment of our fateLaughter cannot dignify of elevateThis sad burlesque \n\n\n\nRomeo’s Seance\n\n\n\nIs anyone there I can talk to?Give us a sign if you’re with meCan’t you see that I’m dying to hear you \n\n\n\nEveryone else has lost interestAnd I’m all alone in this dream houseThough you’re gone\, I don’t feel like crying \n\n\n\nRomeo is calling you \n\n\n\nKnock once or twice if you’re out thereSend me a message\, my sweetheartWhen I’m out and about\, I’ll be coming to see you \n\n\n\nIt isn’t easy to live with this matronly faceAt the window\, try to contact meIf you can see how I’m suffering \n\n\n\nRomeo is calling you \n\n\n\nScatter the paper and thimblesYou can take care of the candlesAn unplugged radio plays\, she is close now \n\n\n\nMe and my hand holdingBaby\, you’re walking the floor and the ceilingAnd this is the song she dictated this evening \n\n\n\nRomeo is callingRomeo is calling you \n\n\n\nI Thought I’d Write to Juliet\n\n\n\nI thought I’d write to JulietFor she would understandAnd when someone is already deadThey can no longer let you down \n\n\n\nInstead I find myself talking to youAs my oldest friendTell me how I can advise someoneThat I don’t even know to welcome death \n\n\n\nFor I received a letter that is worth reportingAnd though it may raise a cynical smileIt leaves a sinking feeling \n\n\n\nLike when a soldier in a story says to the sergeant“Have you seen my pride and joy?” \n\n\n\nYou know the restAnd it’s no jokeForgive me pleaseAs I quote \n\n\n\n“This is a letter of thanksAs I’m so bored herein I can’t say whereSo I’m writing to people that I may never meetAnd I was thinking if something you said” \n\n\n\nI’m a female soldier\, my name is ConstanceI enlisted in the military needing funds for collegeI’m twenty-three years old and if I do get home aliveI imagine I may think again \n\n\n\nI’m sleeping with my eyes open for fear of attackYour words are a comfort\, they’re the best thing that I haveApart from family pictures and of course\, my gas maskI don’t know why I am writing to you \n\n\n\nLast Post\n\n\n\nInstrumental \n\n\n\nThe First to Leave\n\n\n\nI should open with a kissFor if you’re reading thisYou must have opened up your caseAnd found this letter where I placed itIn between the silk and laceThere were other clues\, like your walking shoesBut I still refused to believeThat you were meant to be the first to leaveEverybody here sends you their loveHow can I forget you still walk aboveOrbelowPerhaps you’ll never know this purgatoryWe never could agreeThere’s a thought\, there’s a pauseNo time to repentEternally yoursIn a permanent lent \n\n\n\nBut if I should give you upIf you’re right and life just stopsAnd I never see your face againThen from unearthly pleasures\, proud and plainI shall abstain \n\n\n\nUntil you realise\, my loss is your surpriseUnless you know otherwiseThen don’t grieveYou see I had to be the first to leave \n\n\n\nDamnation’s Cellar\n\n\n\nDid anybody notice\, over marmalade and eggsIn between the princess’ legsWhat with wars and floods and beggarsNot to mention stocks and sharesIf you have a moment to spare \n\n\n\nCan you write and reassure me that I have seenThey’re constructing a time machineAnd there will be no need for the obituary pagesWe can have any hero from the bygone ages‘Til the truth emerges\, the argument rages \n\n\n\nThe major and the minorTurn from tallow into tarShould we leave them in their place?Down in damnation’s cellar \n\n\n\nWhen any form of deity that you might enjoyCan be conjured with a test-tube and a flameIf it’s out there then science can explain itOr at least remove the blameAnd if there’s anyone\, you’d like to see again and speak up quickly \n\n\n\nSend us back Da Vinci then we don’t have to ponderThe maddening smile of La GiacondaThe critics say Nijinsky\, the dancer\, of courseWhile the punters would probably prefer the horseYou’ll find it’s quicker than history\, cheaper than divorce \n\n\n\nThe major and the minorTurn from tallow into tarShould we leave them in their place?Down in damnation’s cellar \n\n\n\nBring back Liberace or Ollie and StanShakespeare will have to wait his turnElvis Presley and Puccini shall return\, I suppose we live and learnThough it’s hard to believe as we cheerfully burnIt’s curious\, some will call for justiceThere are murders to solve \n\n\n\nWhat about Hitler? Or at least Lee Harvey OswaldGive us this day and everything we squanderAnyone beautiful\, somebody blonderThey’ll never please mankind\, so lie back and enjoy itStop press\, they’ve just decided to destroy it \n\n\n\nThe major and the minorTurn from tallow into tarShould we leave them in their place?Down in damnation’s cellar \n\n\n\nThe Birds Will Still Be Singing\n\n\n\nSummertime withers as the sun descendsHe wants to kiss you. Will you condescend?Before you wake and find a chill within your bonesUnder a fine canopy of lover’s dust and humourous bones \n\n\n\nBanish all dismayExtinguish every sorrow \n\n\n\nEternity stinks\, my darling. That’s no jokeDon’t waste your precious timepretending you’re heartbroken \n\n\n\nThere will be tears and candlesPretty words to saySpare me lily-white lilliesWith the awful perfume of decay \n\n\n\nBanish all dismayExtinguish every sorrowIf I’m lost or I’m forgivenThe birds will still be singing \n\n\n\nIt’s so hard to tear myself awayEven when you know it’s overIt’s too much to say. \n\n\n\nBanish all dismayExtinguish every sorrowIf I’m lost or I’m forgivenThe birds will still be singing \n\n\n\n\nAbout the Artists\nLindsay Kesselman\n\n\n\nLindsay Kesselman is a twice GRAMMY®-nominated soprano known for her warm\, collaborative spirit and investment in personal\, intimate communication with audiences. She regularly collaborates with orchestras\, wind symphonies\, chamber ensembles\, opera/theater companies\, and new music ensembles across the United States\, often premiering\, touring and recording new works written for her by living composers. She is a passionate advocate for contemporary music\, and has commissioned/premiered over 100 works to date. \n\n\n\nRecent and upcoming highlights include performances of Darkening\, then Brightening by Christopher Cerrone across the country\, National CBDNA with the UNC Greensboro Wind Ensemble\, premieres of wind transcriptions of Caroline Shaw’s Is a Rose and Maria Schneider’s Winter Morning Walks\, Pierrot Lunairewith Ensemble ATL\, Energy in All Directions by Kenneth Frazelle with Sandbox Percussion at the Saratoga Performing Arts Center\, the role of Anna in Kurt Weill’s The Seven Deadly Sins with the Charlotte Symphony\, Astronautica: Voices of Women in Space with Voices of Ascension\, the John Corigliano 80th birthday celebration at National Sawdust (2018)\, a leading role in Louis Andriessen’s opera Theatre of the World with the Los Angeles Philharmonic and Dutch National Opera and an international tour of Einstein on the Beach with the Philip Glass Ensemble (2012-2015). \n\n\n\nShe is featured on several recent recordings\, including: David Biedenbender’s all we are given we cannot hold (2023\, Blue Griffin)\, Chris Cerrone’s opera In a Grove (2023\, In a Circle Records)\, Caroline Shaw’s Is a Rose (2023\, Blue Griffin)\, Chris Cerrone’s The Arching Path (2021\, In a Circle Records)\, and Louis Andriessen’s Theatre of the World with the Los Angeles Philharmonic (2017\, Nonesuch). \n\n\n\nKesselman is Assistant Professor of Voice and Choral Music at UNC Greensboro and co-directs the Heretic’s Guide to Musicianship with Kevin Noe. She holds degrees in voice performance and music education from Rice University and Michigan State University. She is represented by Trudy Chan at Black Tea Music and lives in Charlotte\, NC with her husband Kevin Noe and son Rowan. \n\n\n\nMarjorie Bagley\n\n\n\nViolinist Marjorie Bagley joined the faculty at UNCG in the Fall of 2009 after teaching violin and chamber music at Ohio University in Athens\, OH. She began her professional career as first violinist and founding member of the Arcata String Quartet upon graduating from the Manhattan School of Music as a student of Pinchas Zukerman. The Arcata Quartet enjoyed nearly a decade of performances around the US and Europe\, including concerts in London’s Wigmore Hall\, Weill Recital Hall at Carnegie\, and their NYC debut in Town Hall. They can be heard in recordings on the VOX label\, alongside members of the Tokyo and American Quartets. Her love of chamber music continues to this day as she performs with colleagues in NC and around the country\, exploring classic and contemporary repertoire. \n\n\n\nBagley is Concertmaster of the Greensboro Symphony under the direction of Christopher Dragon. This season\, she performed as soloist alongside mandolin player Chris Thile\, and next season brings a solo appearance in Vaughn-Williams’ classic Lark Ascending. Bagley performed as both Associate Concertmaster and Principal Second Violin in the ProMusica Chamber Orchestra in Columbus\, OH\, under the direction of Music Director David Danzmayr and Principal Guest Artist Vadim Gluzman. For two decades\, Bagley performed as member of the Berkshire Bach Society with keyboardist Kenneth Cooper. \n\n\n\nSummers have taken Bagley to many festivals as both teacher and performer. The Arcata Quartet performed across Europe over several summers\, including a concert at the Rheingau Music Festival. Her path as a teacher began at the Meadowmount Music School where she was an assistant teacher\, and continued at a variety of summer chamber music festivals for high school  students across the country. For six summers\, Bagley was an assistant teacher at the Perlman Music Program. She has been on faculty at the Kinhaven Music School and the Green Mountain Chamber Music Festival\, and the International Music Academy Plzen in the Czech Republic. Bagley was an artist teacher at the Brevard Music Festival for eleven summers where she frequently served as concertmaster. \n\n\n\nProfessor Bagley continues to give masterclasses and performances at universities around the US. She remains fascinated by the unique qualities of each student she interacts with\, looking to combine an understanding of violin technique and learning strategies to help each student move towards their potential. She also loves to perform and teach works by living composers and works that draw from a variety of musical styles. \n\n\n\nAfter growing up in Wingate\, NC\, she received her BM summa cum laude in Violin Performance from the University of Michigan and an MM from the Manhattan School of Music. Teachers and coaches have included Pinchas Zukerman\, Josef Gingold\, Patinka Kopec\, Isidore Cohen\, and members of the Tokyo and American String Quartets. Three decades of performances have taken her to five continents and led to many inspiring musical collaborations. She can be heard in recordings on the Equilibrium\, Centaur\, Albany\, Summit\, and VOX labels. Bagley’s time away from the violin is filled with family adventures alongside her husband\, physics professor Ian Beatty\, and their three children. \n\n\n\nSiana Wong\n\n\n\nSiana Wong is a native of Greensboro\, North Carolina\, with Malaysian heritage. Before attending college\, she was a member of the Greensboro and Winston-Salem Symphony Youth Orchestras\, winning their concerto competition and performing as a soloist with them. She pursued her Bachelor of Music degree at UNC Chapel Hill under the tutelage of Nicholas DiEugenio\, as well as a BA in biology. During her time at Chapel Hill Siana was also a winner of the concerto competition. Siana is an avid chamber music performer in and out of her home state of NC\, including performances with EMF and UNCG faculty. Siana spent many summers at the Luby Violin Symposium at Chapel Hill\, having the opportunity to learn from first-class violinists from around the globe. She has also attended the Instrumental Program of Chautauqua Institution and participated in master classes with Ana Luque\, Shannon Thomas\, and others. \n\n\n\nSiana is a member of Fayetteville Symphony Orchestra\, Western Piedmont Symphony\, and she has recently been appointed Associate Concertmaster of  Greensboro Symphony Orchestra. In addition to her performing career\, she enjoys teaching in her private studio. \n\n\n\nCurrently\, Siana is extending her studies at UNCG\, pursuing a Post-Baccalaureate Certificate in violin performance with Dr. Fabián López. \n\n\n\nShe plays on a Wojciech Topa violin from 2017. \n\n\n\nScott Rawls\n\n\n\nViolist Scott Rawls has appeared as soloist and chamber musician throughout the United States\, Canada\, Mexico\, Japan\, and Europe.  Recent chamber music endeavors include performances with Dmitry Sitkovetsky\, Branford Marsalis\, Sergey Antonov\, Michelle Cann and the Reynolda Quartet.  With the Nikkanen/Rawls/Bailey string trio\, he has played tours in Alaska\, Washington\, Arizona and Texas.  His solo and chamber music recordings can be heard on the Centaur\, CRI\, Nonesuch\, Capstone\, and Philips labels. \n\n\n\nA strong proponent of new music\, Rawls has premiered dozens of new works by prominentcomposers.  Most notable\, he has toured extensively as a member of Steve Reich and Musicians.  As the violist in this ensemble\, he performed the numerous premieres of Daniel Variations\, The Cave and Three Tales by Steve Reich and Beryl Korot\, videographer. And under the auspices of presenting organizations such as the Wiener Festwochen\, Festival d’Automne a Paris\, Holland Festival\, Berlin Festival\, Spoleto Festival USA and the Lincoln Center Festival\, he has performed in major music centers around the world including London\, Vienna\, Rome\, Milan\, Tokyo\, Prague\, Amsterdam\, Brussels\, Los Angeles\, Chicago and New York. \n\n\n\nUnder the baton of maestro Christopher Dragon\, he plays principal viola in the Greensboro Symphony Orchestra.  During the summer season\, Rawls plays principal in the festival orchestra at Brevard Music Center where he also coordinates the viola program.  He was also appointed principal viola of the Palm Beach Opera orchestra\, David Stern artistic director. \n\n\n\nDr. Rawls currently serves as Marion Stedman Covington Distinguished Professor of Viola and Chamber Music and String Area Chair at The University of North Carolina at Greensboro. He holds a BM degree from Indiana University and a MM and DMA from State University of New York at Stony Brook. His major mentors include Abraham Skernick\, Georges Janzer\, John Graham and Julius Levine. \n\n\n\nCori Trenczer\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 their Bachelor’s Degree in Cello Performance from the Eastman School of Music and they are pursuing a Masters Degree in Cello Performance with Professor Ezerman at the University of North Carolina at Greensboro. \n\n\n\nCori is also a section cellist with the Greensboro Symphony Orchestra\, as well as a substitute cellist with the Winston-Salem Symphony and the South Carolina Philharmonic. A devoted chamber musician\, Cori has furthered their experience with their classmates in the Juniper Quartet\, along with colleagues at summer programs such as the Castleman Quartet Program\, Green Lake Chamber Music Institute\, and Emerald Coast Festival of Music. \n\n\n\nAlso passionate about contemporary music\, Cori has played in various new music ensembles including but not limited to: OSSIA New Music\, Musica Nova\, and Switch~Ensemble. They have worked with several composer colleagues during their undergraduate degree and their masters so far\, and would absolutely love to explore more newly created work. Cori currently has a studio of 11 online cello students\, ranging from age 10 to mid 20s. Cori is on the faculty at Moore Music Company where they teach an additional 5 students in person. Cori also teaches 2 students in person through the UNCG Community Lessons Program. \n\n\n\nCori is in the process of creating and editing a method book called “Smorgasbord for your Fingerboard: Volume One Songs for the Beginning Cellist”. This is a method book full of works by living young composers from many underrepresented groups. \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/the-juliet-letters/
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/2023/10/communitylessons_strings.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251020T193000
DTEND;TZID=America/New_York:20251020T210000
DTSTAMP:20260407T232032
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:20251017T200000
DTEND;TZID=America/New_York:20251017T200000
DTSTAMP:20260407T232032
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:20251010T193000
DTEND;TZID=America/New_York:20251010T210000
DTSTAMP:20260407T232032
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251010T173000
DTEND;TZID=America/New_York:20251010T190000
DTSTAMP:20260407T232032
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251009T193000
DTEND;TZID=America/New_York:20251009T210000
DTSTAMP:20260407T232032
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:20251008T193000
DTEND;TZID=America/New_York:20251008T210000
DTSTAMP:20260407T232032
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251007T193000
DTEND;TZID=America/New_York:20251007T210000
DTSTAMP:20260407T232032
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:20250930T193000
DTEND;TZID=America/New_York:20250930T210000
DTSTAMP:20260407T232032
CREATED:20250529T194701Z
LAST-MODIFIED:20250926T211419Z
UID:10003288-1759260600-1759266000@vpa.uncg.edu
SUMMARY:Sinfonia
DESCRIPTION:https://youtube.com/live/PjFvnxPyjbs?feature=share\n\n\n\n\nScott Glasser\, conductor \n\n\n\nProgram\n\n\n\n \n\n\n\n\nAbout the Program\n \n\n\n\n\nAbout the Artists\n \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\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/sinfonia-12/
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/2024/09/orchestas-pic13905.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250930T173000
DTEND;TZID=America/New_York:20250930T190000
DTSTAMP:20260407T232032
CREATED:20250915T165735Z
LAST-MODIFIED:20250926T211046Z
UID:10003445-1759253400-1759258800@vpa.uncg.edu
SUMMARY:Garrett Klein\, Abigail Pack\, and Marya Fancey
DESCRIPTION:Trumpet artist Garrett Klein has garnered an international reputation for his varied performing career and dedicated teaching. He is currently serving as Associate Professor of Trumpet at UNC Greensboro where he leads the Trumpet Studio\, directs the Trumpet Ensemble\, and serves as Brass Area Chair.   Aside from his teaching\, Garrett is the Principal Trumpet of the Greensboro Symphony Orchestra and Principal Solo Cornet with North Carolina Brass Band. He is a former member of the world-renowned Dallas Brass and toured the nation with that ensemble for five years. He has also appeared as a guest musician with Charlotte Symphony\, The Phoenix Symphony\, the Tucson Symphony Orchestra\, the New World Symphony\, the Singapore Symphony Orchestra\, and the Malaysian Philharmonic Orchestra. A new music advocate\, Garrett has worked with composers to commission several new works for trumpet\, presenting newly composed works at three International Trumpet Guild Conferences.  Garrett earned his DMA and MM degrees at Arizona State University\, along with a Certificate in Music Theory Pedagogy. Prior to ASU\, he studied at the prestigious Yong Siew Toh Conservatory of Music in Singapore and St. Olaf College in Minnesota. Garrett Klein is an endorsing artist for Conn-Selmer and proudly performs on Vincent Bach trumpets.  \n\n\n\n\n\n\n\n\n\n\n\nDr. Abigail Pack\, Professor of Horn at UNCG and a native of Roanoke\, Virginia\, received her training from East Carolina University (BMA)\, University of Iowa (MM)\, and University of Wisconsin-Madison (DMA) where she was a Bolz Teaching Fellow.  Before assuming her current position at UNCG she was horn faculty at James Madison University from 2001 to 2008.  She has also been on faculty at Knox College in Galesburg\, Il\, Western State College in Gunnison\, CO and in the Gunnison Watershed School District.  An avid symphony player Dr. Pack has held positions with the Barton Symphony Orchestra\, Quad Cities Symphony Orchestra\, Des Moines Symphony Orchestra\, Cedar Rapids Symphony Orchestra\, Green-Bay Symphony Orchestra\, the Wisconsin Chamber Orchestra and currently has a position with the Roanoke Symphony Orchestra\, the Southwest Chamber Orchestra\, the Greensboro Opera\, Amici Musicorum (chamber orchestra)\,  and the Opera Roanoke Orchestra.  Other orchestral subbing engagements include the Greensboro Symphony\, Winston Salem Symphony\, and the Charlotte Symphony. Other venues have included performances with the Western Piedmont Wind Symphony\, North Carolina Brass Band\, the Iowa Brass Quintet\, Western Slope Brass Band\, and Massanutten Brass Band.  Performance and presentation highlights include the National Flute Association (Washington DC with the Montpelier Winds)\, the International Horn Symposium (University of Cape Town\, South Africa\, Ithaca\, NY\, Montreal\, Canada)\, the International Midwest Band and Orchestra Conference (Chicago 2009\, 2022)\, International Double Reed Society (Athens\, GA)\, Western International Band Clinic (2022)\, the American Band College (2017\, 2021\, 2024) and The Kennedy Center of the Performing Arts (Washington).  She is a founding member of System 5 Brass Quintet and CORalina Horn Quartet and can be heard on the Centaur label. \n\n\n\n\n\n\n\n\n\n\n\nScholar-performer Marya Fancey uses her research to bridge temporal and cultural gaps in music for students and audiences. She received a 2017–2018 Fulbright Student Research Award to Poland for Historical Music Performance. This grant supported her dissertation research on organ masses from the Tablature of Johannes of Lublin (ca. 1540)\, culminating in a performance of its three mass cycles with vocal ensemble Flores Rosarum at the fifteenth-century Church of the Holy Cross in Krakow. She has presented at meetings of the Historical Keyboard Society of North America and the SE chapter of the American Musicological Society. \n\n\n\nHer concert programs frequently incorporate works by underappreciated composers. In 2016 Marya Fancey introduced Polish audiences to the music of Florence Price and David Hurd at the Podlaskie Organ Festival and the 18th International Festival of Organ Music at Pelplin Cathedral. She gave the 2015 world premiere of Passacaglia and Triple Fugue (organ) by Louise Talma. In 2011 she performed Sonata No. 2 (piano) by Grażyna Bacewicz at the 15th Annual Festival of Women Composers (Gainesville\, FL). \n\n\n\nIn studio and classroom teaching she augments the traditional classical canon with lesser-known compositions as well as works from a variety of other musical styles. She has taught music studies courses at UNCG\, Guilford College\, and the University of Florida. Her past professional activities include apprentice organ builder\, church organist and choir director\, private music teacher\, and assistant music editor. \n\n\n\nMarya Fancey holds the DMA degree in Organ Performance from UNC-Greensboro\, where she studied with André Lash (organ) and Andrew Willis (harpsichord and fortepiano)\, with a Post-Master’s certificate in Music Theory Pedagogy and a Post-Baccalaureate certificate in Historical Keyboard Performance. Her interest in the scholar-performer model arose from masterclasses with Marie-Claire Alain\, Olivier Latry\, John Grew\, William Porter\, Hank Knox\, and Edoardo Bellotti at multiple McGill Summer Organ Academies between 2005 and 2015. \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/garrett-klein-abigail-pack-and-marya-fancey/
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/2025/08/organ-hall.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250925T193000
DTEND;TZID=America/New_York:20250925T210000
DTSTAMP:20260407T232032
CREATED:20250812T181253Z
LAST-MODIFIED:20250925T023349Z
UID:10003344-1758828600-1758834000@vpa.uncg.edu
SUMMARY:Robert Young\, saxophone
DESCRIPTION:https://youtube.com/live/RBP9-DLsyog?feature=share\n\n\n\n\n\n\n\n\nFueled by a deep desire to create an enthusiasm surrounding the classical saxophone\, Dr. Robert Young connects with audiences with his musicianship\, virtuosity\, and authenticity. Praised for his “effortless expression and facile technique” (The Saxophonist Magazine)\, Robert maintains an active career as a soloist\, chamber musician\, and educator. His artistry has afforded him opportunities to appear with ensembles and musicians from across the globe including the PRISM Quartet\, The Crossing\, Chris Potter\, Ravi Coltrane\, Uri Caine\, Charlotte Symphony\, Detroit Chamber Winds and Strings\, and the Charleston (SC) Symphony Orchestra.  \n\n\n\nAs a chamber musician\, Robert collaborated with The Crossing and performed alongside the PRISM Quartet on the GRAMMY Award-winning album Gavin Bryars: The Fifth Century (available on ECM Recordings). The New York Times praised the collective performance on this album as “superb”and “eloquent.” Young has appeared with the PRISM Quartet on numerous concerts including residencies at the Curtis Institute\, Shepherd School of Music (Rice University)\, and the University of North Carolina School of the Arts. He can be heard on several albums with this notable ensemble including The Curtis Project\, Heritage/Evolution\, Volume 2\, and The Book of Days.  \n\n\n\nAppearing with the Berkeley Symphony Orchestra as soloist in the 2023-24 season\, he was hailed as “uncommonly expressive…and technically prodigious” (San Francisco Classical Voice) for his performance of Guillaume Connesson’s acrobatic concerto\, A Kind of Trane. He has also been a soloist with the United States Navy Band\, performing Quicksilver by Chicago-based composer Stacy Garrop\, and has been featured as a soloist with the Rock Hill Symphony Orchestra\, Piedmont Wind Symphony\, UNCSA Symphony\, and Zagreb Soloists (Croatia). \n\n\n\nRobert holds a teaching position at the University of North Carolina at Greensboro as Assistant Professor of Saxophone. Young’s students have received honors at several local\, regional and national competitions and have been featured at several clinics and conferences throughout the country. He previously has served on the faculties of the UNC School of the Arts\, The Crane School of Music – SUNY Potsdam\, and Wichita State University. Young is often invited to give guest lectures and classes throughout the country. In Fall 2022\, Robert was invited as be a guest teacher for the renowned University of Michigan saxophone studio as a sabbatical replacement for the award-winning saxophonist Timothy McAllister. \n\n\n\nRobert earned his Doctor of Musical Arts (2011) and Master of Music (2008) degrees in saxophone performance from the University of Michigan where he studied with Professor Donald Sinta. At the University of Michigan\, he studied jazz saxophone with Dr. Andrew Bishop and was a recipient of the Lawrence Teal Fellowship. Young received a bachelor’s degree from the University of South Carolina (2006) in saxophone performance where he studied with Dr. Clifford Leaman.  \n\n\n\nAs a Conn-Selmer Artist\, Robert Young plays exclusively on Selmer saxophones. He also serves as a D’Addario artist/clinician and endorses Key Leaves products. \n\n\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\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/robert-young-saxophone/
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/2025/05/robert-young-feature.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250922T193000
DTEND;TZID=America/New_York:20250922T210000
DTSTAMP:20260407T232032
CREATED:20250910T203930Z
LAST-MODIFIED:20250922T182807Z
UID:10003396-1758569400-1758574800@vpa.uncg.edu
SUMMARY:Adam Frey\, euphonium
DESCRIPTION:https://youtube.com/live/Y834VVlhA80?feature=share\n\n\n\n\n\n\n\n\nAdam Frey travels the globe sharing his talents as a performer and advocate for live music. Adam has soloed with orchestras and bands the world over\, including the world famous Boston Pops\, Cheju Symphony Orchestra (South Korea)\, US Army Orchestra (Washington DC)\, Harvard Pops (MA)\, Fort Collins (CO)\, Indian Hill (MA)\, the Vaasa Symphony Orchestra (Finland)\, Atlanta Philharmonic (GA)\, Camerata Eleutheria (Argentina)\, Cascade (WA)\, Greensboro (NC)\, Clemson (SC)\, LaGrange (GA)\, Minot (ND)\, Bellevue Philharmonic (WA)\, and Northeastern (MA) Symphony Orchestras.  He also performs regularly with wind bands and brass bands that have included Soli Brass in Holland\, Point of Ayr in Wales\, the National Youth Brass Band of Switzerland and wind bands from Singapore\, Thailand\, Brazil\, South Korea\, Guatemala\, the Dominican Republic\, Columbia\, Peru\, Australia\, Russia\, Finland\, China\, Germany\, Hong Kong\, and the United States. \n\n\n\nAdam has been guest soloist at festivals around the globe\, including four times at the Midwest Clinic (USA)\, the WASBE Convention (Singapore)\, Melbourne International Festival of Brass (Australia)\, Trombonanza (Argentina)\, Carlos Gomez Festival (Brazil)\, Jeju International Wind Festival (South Korea)\, Asia Pacific Band Directors Conference (South Korea)\, Westby Low Brass Workshop (Norway)\, Peru Low Brass Festival (Peru)\, Colombia Festubal (Colombia)\, Tubmania (Thailand)\, and Orquesta Latinoamericana de Vientos (Colombia) to name a few.  \n\n\n\nA native of Atlanta\, Georgia\, Adam Frey received his musical training at the University of Georgia\, the Royal Northern College of Music\, and the University of Salford. As a major ambassador of the euphonium\, Adam has more than one hundred and twenty works that have been composed or specifically arranged for him.  Most are published by Euphonium.com Publications\, Pinnacle Brass Publications\, and Absolute Brass.com.  \n\n\n\nFor 17 years\, Adam has hosted the International Euphonium Tuba (IET) Festival at Emory University. This event each June hosts more than 175 students and teachers from around the world in a week of playing\, learning\, and inspiration.  Participants range from high school and college students to adult amateurs.  More details at:  www.IETFestival.com \n\n\n\nAdam Frey is also Associate Professor at the University of North Georgia. His website\, www.euphonium.com\, contains sound files\, performance schedules\, photos from his world travels\, and his recordings and publications.  \n\n\n\nAdam Frey is a Yamaha Performing Artist and Guest Clinician. \n\n\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\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/adam-frey-euphonium-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/2025/02/adam-frey.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250919T193000
DTEND;TZID=America/New_York:20250919T213000
DTSTAMP:20260407T232032
CREATED:20250813T143313Z
LAST-MODIFIED:20250822T133017Z
UID:10003347-1758310200-1758317400@vpa.uncg.edu
SUMMARY:Rahsaan Barber Quintet
DESCRIPTION:Since earning a Master’s Degree in Jazz Performance from the Manhattan School of Music in 2005\, Rahsaan Barber has set out on a singular path of musical excellence in performance\, composition\, education\, and entrepreneurship. Rahsaan enjoys a career that encompasses an ever-expanding range of musical styles\, including jazz\, blues\, funk\, classical\, fusion\, soul\, Latin\, and world music. \n\n\n\nRahsaan’s passionate\, sincere\, and studious approach to music-making has garnered professional appearances onstage alongside such heavyweights as Christian McBride\, Brian Blade\, the Temptations\, Delfeayo Marsalis\, the Spanish Harlem Orchestra\, Duffy Jackson\, Winard Harper\, Kirk Franklin\, Meghan Trainor and the Wooten Brothers. The saxophonist has performed on many of the world’s most prestigious stages for music including The Ryman\, The Village Vanguard\, Birdland\, Lincoln Center\, the Kennedy Center\, the Montreux Jazz Festival\, and the Smithsonian’s National Museum of African American History and Culture. Rahsaan joined the ranks of the nation’s rising jazz stars as the leader of his own quintet\, Everyday Magic\, and co-leader of the groundbreaking Nashville-based Latin-jazz septet El Movimiento. Rahsaan has entered the ranks of the nation’s premier jazz artists following several celebrated releases\, most recently including “Mosaic\,” a double-disc collection of original works released in April of 2021\, featuring trumpeter Nathan Warner and trombonist Roland Barber\, Rahsaan’s twin brother. Prior to the release of “Mosaic\,” Barber received critical acclaim for “The Music In The Night” (2017) and “Everyday Magic\,” (2011) both released on the saxophonist’s record label\, Jazz Music City\, which he founded to showcase his hometown’s (Nashville\, TN) diverse and impressive musical talent. In addition to his own jazz outfits\, the saxophonist founded The Nashville Salsa Machine in 2016\, a twelve-member ensemble featuring Music City’s most celebrated Latin-music performers. Barber is also an in-demand saxophonist for recording sessions and touring work\, most recently completing a year-long tour with pop icon Kelly Clarkson and multiple tours with Lauren Daigle. \n\n\n\nRahsaan currently serves as Assistant Professor of Jazz Studies and Saxophone at the University of North Carolina at Chapel Hill. Barber has taught extensively at the collegiate level for over a decade\, including six years of instruction at Belmont University\, where he began his collegiate teaching career as instructor jazz and classical saxophone\, jazz ensembles\, and commercial music styles at the impressive age of twenty-five. Barber has given masterclasses and concerts at multiple Jazz Education Network conferences and at numerous colleges and universities\, including the University of Tennessee at Knoxville\, the University of Memphis\, Lipscomb University\, UNC-Pembroke\, UNC-Wilmington\, Indiana University\, The University of Wisconsin (OshKosh)\, the University of Evansville\, and many more. In addition\, Rahsaan has served as Vice-President of the Tennessee Jazz and Blues Society and as a board member for the Nashville Jazz Workshop’s Diversity\, Equity and Inclusion panel. \n\n\n\n\n\n\n\nThe Miles Davis Jazz Studies Program at UNCG is a unique and innovative undergraduate jazz program designed to emulate the traditional process of learning jazz\, through a combination of mentorship\, real-world playing experiences\, and a communal approach to learning. Although the program is housed in one of the largest music schools in the Southeast\, it is kept intentionally small\, resulting in an intensive and highly personalized learning environment. \n\n\n\n UNCG offers the following degree programs for students interested in studying Jazz: \n\n\n\n\nBachelor of Music (B.M.) – Performance\n\n\n\nPost-Baccalaureate Certificate in Jazz Studies\n\n\n\n\n\n\n\n\nAdditional Event\nMasterclass3:00 pm\, Organ Hall \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\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/rahsaan-barber-quintet/
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/2025/08/rahsaan-barber-jazz-feature.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250910T193000
DTEND;TZID=America/New_York:20250910T210000
DTSTAMP:20260407T232032
CREATED:20250529T172443Z
LAST-MODIFIED:20250910T144104Z
UID:10003279-1757532600-1757538000@vpa.uncg.edu
SUMMARY:Casella Sinfonietta
DESCRIPTION:https://youtube.com/live/SfHopSvdivI\n\n\n\n\nJonathan Caldwell\, conductorLindsay Kesselman\, soprano \n\n\n\nProgram\n\n\n\nSTEVE REICHDouble Sextet (2009) \n\n\n\nFastSlowFast \n\n\n\n\n\n\n\nMARIA SCHNEIDERWinter Morning Walks (2013/2025)trans. Andrew Keiser \n\n\n\nWalking By FlashlightI Saw a Dust Devil This MorningMy Wife and I Walk the Cold RoadHow Important it Must Be \n\n\n\n\n\n\n\nAARON COPLANDAppalachian Spring (1944) \n\n\n\nChoreography by Martha GrahamMusic by Aaron CoplandDanced by Martha Graham\, Stuart Hodes\, Bertram Ross\, Matt Turney\, Helen McGehee\, Ethel Winter\, Miriam Cole\, YurikoProduced by Nathan KrollCourtesy of Martha Graham ResourcesFilmed and Produced by Metropolitan Pittsburgh Educational Television (1958) \n\n\n\nThe copyright for Appalachian Spring is held by the Martha Graham Center of Contemporary Dance. No reproduction any kind is allowed without permission from the Center. \n\n\n\n\nAbout the Program\n“Don’t get me wrong. Berg\, Schoenberg\, and Webern were very great composers. They gave expression to the emotional climate of their time. But for composers today to recreate the angst of ‘Pierrot Lunaire’ in Ohio\, or in the back of a Burger King\, is simply a joke.” \n\n\n\n— Steve Reich (1986) \n\n\n\nTitled “Prized Compositions\,” tonight’s faculty and student side-by-side concert features two Pulitzer Prize–winning compositions in Steve Reich’s Double Sextet and Aaron Copland’s Appalachian Spring and a GRAMMY Award–winning composition in Maria Schneider’s Winter Morning Walks. However\, beyond their award-winning appeal and framed by Steve Reich’s 1986 quote\, these pieces also offer a perspective on access and belonging in the concert hall. Given that\, a better title for this concert might be: “Popular Compositions.” \n\n\n\nWritten in 2008\, Steve Reich’s Double Sextet is a classic example of minimalism. Minimalism began in the mid-1960s as a reaction against some of the more “extreme” movements of the mid-20th century including the total serialism of Pierre Boulez and Karlheinz Stockhausen and the indeterminacy of John Cage. As opposed to other modernist movements that explore an expansion or even destruction of 19th-century musical language\, minimalism embraces relatively straightforward rhythmic\, pitch\, formal\, and harmonic materials as well as non-Western and popular music. This approach to composition\, which emphasizes accessibility to audiences\, stands in direct opposition to a central tenet of many modernist movements which is clearly articulated in Milton Babbitt’s 1958 article/manifesto “Who Cares if You Listen?”  In the essay\, Babbitt describes “modern” music (modern for 1958\, at least) as “…for\, of\, and by specialists” thereby explicitly denying the average listener access. Minimalism rejects this principle on its face and instead creates music which is “spun out” from a germinal cell and\, through repetition and gradual change\, is clearly revealed to the listener. In Reich’s words\, “[w]hat I’m interested in is a compositional process and a sounding music that are one and the same thing.” In this way\, minimalist music is often viewed as more listener-centric when compared to other streams of modernist music which seem more composer-centric. Or put differently\, music that could be performed in the back of a Burger King. \n\n\n\nWinner of the 2013 GRAMMY® for Best Classical Contemporary Composition\, Maria Schneider’s Winter Morning Walks is a contemporary song cycle based on the poetry of Ted Kooser. Typically\, when audiences think of song cycles\, they imagine pieces like Franz Schubert’s Winterreise or Robert Schumann’s Dichterliebe\, both 19th-century mainstays. If anything\, though\, Schneider’s offering to the genre is more Sondheim than Schumann. Rather than distancing herself from the audience\, Schneider’s musical language freely synthesizes elements of classical music\, jazz\, and musical theater to create an intimate landscape that is uniquely accessible\, personal\, and touching. \n\n\n\nAaron Copland’s Appalachian Spring (1943) is the most famous work from the composer’s third period: his so-called populist or Americana period of the 1940s. While Copland’s work prior to 1940 tended towards abstraction\, his work in the 1940s represents a more direct and accessible form of expression. As Copland described in Our New Music (1941): \n\n\n\nDuring these years [the 1930s]\, I began to feel an increasing dissatisfaction with the relations of the music-loving public and the living composer. The old “special” public of the modern music concerts had fallen away\, and the conventional concert public continue apathetic or indifferent to anything but the established classics. It seemed to me that we composers were in danger of working in a vacuum. Moreover\, an entirely new public for music had grown up around the radio and the phonograph. It made no sense to ignore them and to continue writing as if they did not exist. I felt that it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms. \n\n\n\nSubtitled “Ballet for Martha\,” Appalachian Spring also bears direct connection to Martha Graham\, the founder of the Martha Graham Dance Company which will celebrate its centennial in 2026. Like Reich\, Schneider\, and Copland\, Graham offers a kind of natural and accessible technique albeit in a very different context. While audiences may find Graham’s choreography to be abstract and inaccessible\, it must be considered in contrast to classical ballet technique. In classical ballet\, the dancer is in a constant state of suspension while they hold themselves up (quite unnaturally) against the forces of gravity. By contrast\, Graham’s technique and other schools of modern dance focus on the relationship between the dancer and gravity\, a form of tension and release as the dancer works within the constraints of a natural force. In that sense\, it is Graham’s floorwork and use of falling techniques that offers the dance a different kind of “natural” than classical ballet. Specifically with regards to Appalachian Spring\, Graham’s choreography also incorporated folk dancing including square dance\, skips\, paddle turns\, and curtsies\, to complement the populist and folk elements found in Copland’s score and the ballet’s dramatic narrative. \n\n\n\nQuestions like “Who belongs in this space?” and “For whom is this music written?” are certainly not new for classical musicians. Tonight’s concert offers four different answers to those questions about belonging from Steve Reich\, Maria Schneider\, Aaron Copland\, and Martha Graham. But we may be asking the wrong question. Using Reich’s framework\, perhaps the question would better be posed as “Is this music giving expression to the emotional climate of our time?” If that is the question\, this evening’s concert should hopefully yield a satisfactory answer. \n\n\n\nThe following people contributed significant time and effort to support tonight’s concert. Thank you to each of them. \n\n\n\n\nIan Jones\n\n\n\nShar Joyner\n\n\n\nDennis Hopson\n\n\n\nBrad McMillan\n\n\n\nMark Engebretson\n\n\n\nAlly Harvel and the UNCG Electronic Music Studio\n\n\n\nAndrew Keiser and Maria Schneider\n\n\n\nMolly Allman\, Jaden Brown\, Jordan Owen\, and Patty Saunders\n\n\n\nJoyce Herring\, Raíssa de Sousa Lima\, and Antonio Fini (Martha Graham Dance Company)\n\n\n\nNick Nosko (WQED)\n\n\n\n\nFunding for tonight’s performance was provided\, in part\, by the John R. Locke Endowment for Excellence in Music fund. For more information on giving to the UNCG School of Music\, please visit https://vpa.uncg.edu/music/giving/ \n\n\n\n\nProgram Notes\nDouble Sextet\n\n\n\n\n\n\n\nThere are two identical sextets in Double Sextet. Each one is comprised of flute\, clarinet\, vibraphone\, piano\, violin and cello. Doubling the instrumentation was done so that\, as in so many of my earlier works\, two identical instruments could interlock to produce one overall pattern. For example\, in this piece you will hear the pianos and vibes interlocking in a highly rhythmic way to drive the rest of the ensemble. \n\n\n\nThe piece can be played in two ways; either with 12 musicians\, or with six playing against a recording of themselves. \n\n\n\nThe idea of a single player playing against a recording of themselves goes all the way back to Violin Phase of 1967 and extends though Vermont Counterpoint (1982)\, New York Counterpoint (1985)\, Electric Counterpoint (1987) and Cello Counterpoint (2003). The expansion of this idea to an entire chamber ensemble playing against pre-recordings of themselves begins with Different Trains (1988) and continues with Triple Quartet (1999) and now to Double Sextet. By doubling an entire chamber ensemble one creates the possibility for multiple simultaneous contrapuntal webs of identical instruments. In Different Trains and Triple Quartet all instruments are strings to produce one large string fabric. In Double Sextet there is more timbral variety through the interlocking of six different pairs of percussion\, string and wind instruments. \n\n\n\nThe piece is in three movements fast\, slow\, fast and within each movement there are four harmonic sections built around the keys of D\, F\, A-flat and B [Major] or their relative minor keys B\, D \, F and G-sharp. As in almost all my music\, modulations from one key to the next are sudden\, clearly setting off each new section. \n\n\n\nDouble Sextet is about 22 minutes long and was completed in October 2007. It was commissioned by eighth blackbird and received its world premiere by that group at the University of Richmond in Virginia on March 26\, 2008. \n\n\n\n— Steve Reich \n\n\n\nWinter Walks\n\n\n\n\n\n\n\nThese nine poems were selected from Ted Kooser’s wonderful book\, Winter Morning Walks: One Hundred Postcards to Jim Harrison. \n\n\n\nThey were written during his recovery from treatment for cancer\, after he began taking two mile walks each morning. He’d been told to stay out of the sun for a year because of skin sensitivity\, so he exercised before dawn\, hiking the isolated country roads near his home in Garland\, Nebraska. He sometimes walked with his wife but most often alone.  \n\n\n\nDuring the previous summer\, depressed and preoccupied\, he’d stopped writing. But as that winter (1998) approached\, his health began to improve. One November morning\, following his walk\, he tried his hand at a poem\, and soon was writing every day. \n\n\n\nAs he wrote in his foreword to Winter Morning Walks\, “Several years before\, my friend Jim Harrison and I had carried on a correspondence in haiku. As a variation on this\, I began pasting my morning poems on postcards and sending them to Jim\, whose generosity\, patience and good humor are here acknowledged. What follows is a selection of one hundred of those postcards.” \n\n\n\nThese poems feel so like home to me\, connecting with my southwest Minnesota roots at so many different levels\, that I find it almost astonishing. There’s nothing to explain about this music\, except to say it was very hard to pick which poems from Ted Kooser’s Winter Morning Walks I would choose. I could have gone on composing more\, and someday hopefully will. \n\n\n\nThese poems were originally titled with the date\, for instance Perfectly Still This Solstice Morning was titled December 21\, Clear and five degrees. I changed the titles\, as the dates were no longer chronological once musical considerations for song ordering entered the picture. But it did feel natural to open with the poem he wrote on the winter solstice\, and to close with the poem he wrote on the vernal equinox\, which seemed like the perfectly natural way to bookend Winter Morning Walks. \n\n\n\n— Maria Schneider \n\n\n\nAppalachian Spring\n\n\n\n\n\n\n\nSome of Copland’s most populist “American” music was produced during the Depression and war years\, including the overtly patriotic morale boosters Lincoln Portrait and Fanfare for the Common Man. Appalachian Spring capped a trilogy of dance interpretations of the American frontier spirit\, beginning with Billy the Kid (1938) and continuing with Rodeo (1942). This was music that created the concert and theater equivalent of the poignant “high lonesome” bluegrass sound emerging at the same time\, music of open chords and spare textures that often drew on traditional sources.  \n\n\n\nAppalachian Spring was commissioned by Elizabeth Sprague Coolidge for Martha Graham. Copland began work on Graham’s then-untitled scenario in Hollywood in June 1943\, completing the ballet a year later in Cambridge\, MA. “After Martha gave me this bare outline\, I knew certain crucial things—that it had to do with the pioneer American spirit\, with youth and spring\, with optimism and hope\,” Copland later wrote.   \n\n\n\nGraham took the eventual title from “The Dance\,” a poem by Hart Crane\, though not the narrative of an Appalachian housewarming for a pioneer and his bride. Copland originally scored the ballet for an ensemble of 13 instruments\, since the premiere was in the small Elizabeth Sprague Coolidge Auditorium at the Library of Congress (with Graham herself as the Bride\, Erick Hawkins as the Husbandman\, and Merce Cunningham as the Revivalist). In the spring of 1945 he arranged a suite from the ballet for full orchestra\, which won the Pulitzer Prize for music that year.  \n\n\n\nO Appalachian Spring! I gained the ledge;Steep\, inaccessible smile that eastward bendsAnd northward reaches in that violet wedgeOf Adirondacks!—wisped of azure wands\, \n\n\n\n— from “The Dance\,” Hart Crane \n\n\n\nGraham told Copland that she wanted the dance to be “a legend of American living\, like a bone structure\, the inner frame that holds together a people\,” and the ballet and its music were immediately understood as reflections of a national identity\, of hope and fulfillment in a difficult time. “… the Spring that is being celebrated is not just any Spring but the Spring of America; and the celebrants are not just half a dozen individuals but ourselves in different phases\,” John Martin wrote in his New York Times review.  \n\n\n\n— John Henken  \n\n\n\n\nAbout the Artists\nLindsay Kesselman\n\n\n\n\n\n\n\nLindsay Kesselman is a twice GRAMMY®-nominated soprano known for her warm\, collaborative spirit and investment in personal\, intimate communication with audiences. She regularly collaborates with orchestras\, wind symphonies\, chamber ensembles\, opera/theater companies\, and new music ensembles across the United States\, often premiering\, touring and recording new works written for her by living composers. She is a passionate advocate for contemporary music\, and has commissioned/premiered over 100 works to date.   \n\n\n\nRecent and upcoming highlights include performances of Darkening\, then Brightening by Christopher Cerrone across the country\, National CBDNA with the UNC Greensboro Wind Ensemble\, premieres of wind transcriptions of Caroline Shaw’s Is a Rose and Maria Schneider’s Winter Morning Walks\, Pierrot Lunaire with Ensemble ATL\, Energy in All Directions by Kenneth Frazelle with Sandbox Percussion at the Saratoga Performing Arts Center\, the role of Anna in Kurt Weill’s The Seven Deadly Sins with the Charlotte Symphony\, Astronautica: Voices of Women in Space with Voices of Ascension\, the John Corigliano 80th birthday celebration at National Sawdust (2018)\, a leading role in Louis Andriessen’s opera Theatre of the World with the Los Angeles Philharmonic and Dutch National Opera and an international tour of Einstein on the Beach with the Philip Glass Ensemble (2012–15).  \n\n\n\nShe is featured on several recent recordings\, including: David Biedenbender’s all we are given we cannot hold (2023\, Blue Griffin)\, Chris Cerrone’s opera In a Grove (2023\, In a Circle Records)\, Caroline Shaw’s Is a Rose (2023\, Blue Griffin)\, Chris Cerrone’s The Arching Path (2021\, In a Circle Records)\, and Louis Andriessen’s Theatre of the World with the Los Angeles Philharmonic (2017\, Nonesuch).  \n\n\n\nKesselman is Assistant Professor of Voice and Choral Music at UNC Greensboro and co-directs the Heretic’s Guide to Musicianship with Kevin Noe. She holds degrees in voice performance and music education from Rice University and Michigan State University. She is represented by Trudy Chan at Black Tea Music and lives in Charlotte\, NC with her husband Kevin Noe and son Rowan. \n\n\n\n\nPersonnel\nFluteErika Boysen*Amrutha KoteeswaranJoeli Schilling \n\n\n\nOboeKristen Daniel \n\n\n\nClarinetConcetta BrehmerLuke Ellard*Cat Keen Hock*Sarah Lucas-PageTaylor StirmAnthony Taylor* \n\n\n\nBassoonEmily KlinkoskiAngela MorettiRyan Reynolds* \n\n\n\nSaxophoneRobert Young* \n\n\n\nTrumpetNinon Kirchman \n\n\n\nHornAbigail Pack* \n\n\n\nEuphoniumJohn Cowger \n\n\n\nPercussionShunan GuiJoe TurnerEric Willie* \n\n\n\nHarpAlyssa Hall \n\n\n\nPianoAngelita BerdialesJim Douglass*Annie Jeng*Matthew Roxas \n\n\n\nViolinMarjorie Bagley*Xin-Yu ChangChloe LiFabián López*Yi-Ju ShihSiana Wong \n\n\n\nViolaSarah BahinScott Rawls* \n\n\n\nCelloAlex Ezerman*Davis LingnerCori Trenczer \n\n\n\nDouble BassZach Hobin*Jack Hopper \n\n\n\n* School of Music Faculty/Staff \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\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\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/casella-sinfonietta-sxs/
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/2024/02/New-Kesselman-Headshot-e1708611126301.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250429T193000
DTEND;TZID=America/New_York:20250429T210000
DTSTAMP:20260407T232032
CREATED:20240717T210709Z
LAST-MODIFIED:20250410T151630Z
UID:10001128-1745955000-1745960400@vpa.uncg.edu
SUMMARY:Symphony Orchestra\, Sinfonia\, and Choirs
DESCRIPTION:Program\n\n\n\nJungho Kim\, conductorMarissa Guarriello\, conductorCarole Ott\, conductorCalvin Godfrey\, trumpet \n\n\n\nwithRobin Sukhadia\, tablaJohn Stephens\, sitarLindsay Kesselman\, sopranoAlannah MacMillan\, mezzo-sopranoEric Laine\, tenorRobert Wells\, baritone \n\n\n\nKHACHATURIAN Waltz from Masquerade \n\n\n\nSTEKKE Concerto for Trumpet and Orchestra \n\n\n\nESMAIL This Love Between Us \n\n\n\n\n\n\n\n\nDownload Program\n\n\n\n\n\nParking\n\n\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\n\n\n\n\n\n\n\n\nAbout the Soloist\n\n\n\n\nCalvin Godfrey is currently pursuing a Master of Music in Trumpet Performance at University of North Carolina Greensboro where he holds a Graduate Assistantship and studies with Dr. Garrett Klein. An active performer\, he has played with numerous professional ensembles\, including the Charlotte Symphony\, and advanced to the semi-final round of the graduate solo division at the 2024 National Trumpet Competition. Calvin was also recognized for his paper Beethoven and Shostakovich: The String Quartet in Soviet Russia\, winning the UNCG Best Musicology Project award in April 2024. Calvin graduated summa cum laude with a degree in Computer Science and Mathematics from Virginia Tech\, where he studied trumpet with Dr. Jason Crafton. \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.
URL:https://vpa.uncg.edu/single-event/symphony-orchestra-and-choruses/
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250427T153000
DTEND;TZID=America/New_York:20250427T170000
DTSTAMP:20260407T232032
CREATED:20240822T203831Z
LAST-MODIFIED:20250408T153636Z
UID:10001151-1745767800-1745773200@vpa.uncg.edu
SUMMARY:Spartan Voices
DESCRIPTION:https://youtube.com/live/MzlS9WDhjiU?feature=share\n\n\n\n\n\nDownload Program\n\n\n\n\nThe UNCG Choral program is recognized for excellence\, creative performances\, and high artistic standards. The UNCG Choirs are comprised of four ensembles: University Chamber Singers\, University Chorale\, Coro di Belle Voci\, and Spartan Voices. These diverse offerings allow students the opportunity to experience a wide range of stylistic ideas through the exploration of music from various time periods and various cultures\, including major choral-orchestral works as well as smaller chamber pieces. The UNCG Choirs have performed at state\, regional\, national and international conferences. Dr. Carole Ott serves as Director of Choral Activities and conductor of Chamber Singers and Chorale. Prof. Lindsay Kesselman is conductor of Coro di Belle Voci. Dr. Brett Nolker is conductor of Spartan Voices.  \n\n\n\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.
URL:https://vpa.uncg.edu/single-event/spartan-voices-4/
LOCATION:Tew Recital Hall\, 100 McIver St\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250425T193000
DTEND;TZID=America/New_York:20250425T193000
DTSTAMP:20260407T232032
CREATED:20241204T173146Z
LAST-MODIFIED:20250424T202120Z
UID:10002050-1745609400-1745609400@vpa.uncg.edu
SUMMARY:Brevan Hampden
DESCRIPTION:Brevan Hampden\, Jazz Percussionist\n\n\n\nAfro-Cuban Celebration Featuring Jazz Ensemble I\, Latin Jazz Ensemble\, and Two Student Jazz Combos\n\n\n\nBorn in New York City in 1985\, Brevan was born instantly a member of a high-level musical family; his father Ivan\, who has toured with Luther Vandross\, Vanessa Williams\, Jennifer Lopez\, Roberta Flack\, Grady Tate\, and Ashford & Simpson\, and his mother Brenda\, who has performed on Broadway\, with Dizzy Gillespie\, Angie Bofill\, Marian Anderson\, and Jazzmobile. \n\n\n\n\n\n\n\nOrchestra/MezzStudents$6.00Adults$8.00Seniors$6.00\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\nAfter moving to Durham\, NC in 1988\, Brevan began showing signs of talent in music from age 7. He began playing percussion in church with his mother and brother at age 9. Soon after\, he began playing pick up gigs and at other churches in the Raleigh/Durham area. His older brother Brian moved to North Carolina when Brevan was 9\, and introduced him to the world of Latin and World Percussion. Brevan learned how to read music in middle school\, playing in concert band and jazz band\, and participated in the marching band once moving on to high school. Although there were no high school programs that catered to Latin percussion or jazz/popular music in general\, Brevan continued his study of percussion\, by listening to and being influenced by percussionists Ray Barretto\, Mongo Santamaria\, Carlos “Patato” Valdes\, Tata Guines\, Changuito\, Giovanni Hidalgo\, Angel “Cachete” Maldonado\, Tito Puente\, Miguel “Anga” Diaz\, Tomas “El Panga” Ramos and other artists such as Curtis Mayfield\, James Brown\, John Coltrane\, Thelonious Monk\, Kool and the Gang\, Parliament\, Daryl “Munyungo” Jackson\, Leon “Ndugu” Chancelor\, Steve Kroon\, Roger Squitero\, Sheila E. and Luis Conte. \n\n\n\nTwice\, during his high school years\, Brevan attended the Berklee World Percussion Festival in Boston\, where he studied with Giovanni Hidalgo\, Horacio “El Negro” Hernandez\, Eguie Castrillo\, and Ernesto Diaz. This helped further his knowledge of percussion\, and of music in general\, which\, upon his return to North Carolina allowed him to continue performing locally\, with bands such as Junk in the Trunk\, Samecumba\, Carnavalito\, and the North Carolina Central University (NCCU) Jazz Ensemble\, with whom his other brother\, Iajhi\, was performing at the time. \n\n\n\n\n\n\n\nRobinson Family Visiting Jazz Artists\n\n\n\nA residency made possible by the Robinson Family Fund\, established by Ward Robinson (’19 PBC Jazz\, ’10 MPH) and Pamela Pittman\, is bringing two jazz luminaries to UNCG’s School of Music this year. Guitarist Peter Bernstein and Percussionist Brevan Hampden will come to Greensboro for residencies with students and concerts which will be open to the public.
URL:https://vpa.uncg.edu/single-event/brevan-hampden/
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/2024/05/hampden-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250424T193000
DTEND;TZID=America/New_York:20250424T210000
DTSTAMP:20260407T232032
CREATED:20240716T005649Z
LAST-MODIFIED:20250421T175825Z
UID:10001119-1745523000-1745528400@vpa.uncg.edu
SUMMARY:Symphonic Band
DESCRIPTION:https://youtube.com/live/F6xqQpOcdlA?feature=share\n\n\n\n\nProgram\n\n\n\nJonathan Caldwell\, conductorEric Willie\, percussionAlbert Lau\, percussionMcKayla Phillips\, percussionJoe Turner\, percussion \n\n\n\nVIET CUONG Re(new)al (2019) \n\n\n\n  Hydro  Wind  Solar \n\n\n\nKAREL HUSAApotheosis of This Earth (1970) \n\n\n\nApotheosisTragedy of DestructionPostscript \n\n\n\nALEXANDER SCRIABIN Nocturne\, op. 9\, no. 2 (1894/1975)transcribed by Alfred Reed \n\n\n\n\nAbout the Program\nViet Cuong | Re(new)al (2019)\n\n\n\nI have tremendous respect for renewable energy initiatives and the commitment to creating a new\, better reality for us all. Re(new)al is a percussion quartet concerto that is similarly devoted to finding unexpected ways to breathe new life into traditional ideas\, and the solo quartet therefore performs on several “found” instruments\, including crystal glasses and compressed air cans. And while the piece also features more traditional instruments\, such as snare drum and vibraphone\, I looked for ways to either alter their sounds or find new ways to play them. For instance\, a single snare drum is played by all four members of the quartet\, and certain notes of the vibraphone are prepared with aluminum foil to recreate sounds found in electronic music. The entire piece was conceived in this way\, and even the accompaniment was written these ideas in mind. \n\n\n\nCooperation and synergy are also core themes of the piece\, as I believe we all have to work together to move forward. All of the music played by the solo quartet is comprised of single musical ideas that are evenly distributed between the four soloists (for those interested\, the fancy musical term for this is a hocket). The music would therefore be dysfunctional without the presence and dedication of all four members. For example\, the quartet divvies up lighting-fast drum set beats in the second movement and then shares one glockenspiel in the last movement. But perhaps my favorite example of synergy in the piece is in the very opening\, where the four soloists toast crystal glasses. We always toast glasses in the presence of others\, and oftentimes to celebrate new beginnings. This is my simple way of celebrating everyone who is working together to create a cleaner\, more efficient world. \n\n\n\nRe(new)al is constructed of three continuous movements\, each inspired by the power of hydro\, wind\, and solar energies. The hydro movement transforms tuned crystal glasses into ringing hand bells as the wind ensemble slowly submerges the soloists in their sound. The second movement turns each member of the quartet into a blade of a dizzying wind turbine\, playing seemingly-impossible 90’s-inspired drum and bass patterns over a bass line that quotes and expands upon a few bars from one of my favorite drum and bass tracks by DJ Hype. The closing movement simulates a sunrise and evokes the brilliance of sunlight with metallic percussion instruments. This piece was originally written with a sinfonietta accompaniment\, and in its original form was commissioned for the 2017 American Music Festival by David Alan Miller and the Albany Symphony’s Dogs of Desire in partnership with GE Renewable Energy. A full orchestra version was commissioned in 2018 by the Albany Symphony\, and this final version for wind ensemble was commissioned by a consortium of universities and community ensembles. Heartfelt thanks to everyone who has been involved in any of the three versions of this piece. \n\n\n\n– Note by Viet Cuong \n\n\n\nKarel Husa | Apotheosis of this Earth (1970)\n\n\n\nThe composition of Apotheosis of this Earth was motivated by the present desperate stage of mankind and its immense problems with everyday killings\, war\, hunger\, extermination of fauna\, huge forest fires\, and critical contamination of the whole environment. \n\n\n\nIn the first movement\, “Apotheosis\,” the earth first approaches as a point of light in the universe. Our memory and imagination approach it in perhaps the same way as it appeared to the astronauts returning from the moon. The earth grows larger and larger\, and we can even remember some of its tragic moments (as struck by the xylophone near the end of the movement). \n\n\n\nThe second movement\, “Tragedy of Destruction\,” deals with the actual brutalities of man against nature\, leading to the destruction of our planet\, perhaps by radioactive explosion. The earth dies as a savagely\, mortally wounded creature. \n\n\n\nThe last movement is a “Postscript”\, full of the realization that so little is left to be said: the earth has been pulverized into the universe\, the voices scattered into space. Toward the end\, these voices — at first computer-like and mechanical — unite into the words “this beautiful earth”\, simply said\, warm and filled with regret…and one of so many questions comes to our minds: “Why have we let this happen?” \n\n\n\n– Note by Karel Husa \n\n\n\nAlexander Scriabin | Nocturne\, op. 9\, no. 2 (1894/1975)\n\n\n\nAlexander Scriabin was one of the most prolific Russian composers and pianists of his time. In his early life\, Scriabin’s musical language consisted of a romantic and lyrical style and was heavily influenced by pianist and composer\, Frederick Chopin. However\, in his later career\, Scriabin developed an atonal and dissonant style of writing\, separately from Schoenberg’s atonal musical system\, that influenced many Russian composers during his time\, such as Sergei Prokofiev and Igor Stravinsky. \n\n\n\nScriabin’s Prelude and Nocturne for Left Hand\, op. 9\, is in two movements and written for the left hand alone. Scriabin composed the piece in 1894 after injuring his right hand while preparing Franz Liszt’s Don Juan. This arrangement for band by Alfred Reed is a setting of the second movement. \n\n\n\n– Note from Brolaga Music Publishing \n\n\n\n\nAbout the Artists\n\n\n\n\nDescribed as a “true musical talent and professional” Eric Willie has a varied career as a percussion soloist\, chamber musician\, orchestral player\, and teacher. \n\n\n\nHaving performed on three continents\, Eric has presented solo performances throughout the United States\, Russia\, Brasil\, and Colombia. Most recently\, Eric performed as soloist with the Tamborimba Ensamble in Cali\, Colombia\, and conducted Edgard Varese’s “Ionisation” at the III Encontro Percussivo in Recife\, Pernambuco Brasil. In the United States\, Eric has performed or conducted at ten Percussive Arts Society’s International Conventions (PASIC)\, presented at the Midwest Clinic\, as well as several state days of percussion and music educator conventions. \n\n\n\nAs a chamber musician\, Eric performs with the Nief-Norf Project and the Legal Wood Project. As well\, as an avid promoter of new music for percussion\, Eric has commissioned and/or premiered works by Christopher Adler\, Michael Burritt\, Doug Bristol\, Eric Cha-Beach\, Elliott Cole\, Greg Danner\, Christopher Deane\, Paul Lansky\, Anna Meadors\, Marc Mellits\, Leroy Osmon\, John Psathas\, Josh Quillen\, Baljinder Sekhon\, Adam Silverman\, D.J. Sparr\, Jason Treuting\, Blake Tyson\, Alejandro Viñao\, Matt Walker\, Jamie Whitmarsh\, and James Wood. \n\n\n\nActive within the Percussive Arts Society (PAS)\, Eric previously served as Chair of the International Percussion Ensemble Committee\, President of the Tennessee Chapter\, as a New Literature and Recordings Reviewer for Percussive Notes journal\, and now serves as Vice President for the North Carolina Chapter of the Society. His percussion ensembles have been named winners of the 2015 and 2020 PAS International Percussion Ensemble Competition. \n\n\n\nIn addition to his talents as a classical percussionist\, Eric is known for his marching percussion arranging and teaching experience. He has served on staff with the Cavaliers Drum and Bugle Corps\, served as a Percussion Consultant with the Phantom Regiment Drum and Bugle Corps (2012-2013)\, and instructor and/or arranger for the Spirit\, Southwind\, Carolina Crown\, and the Madison Scouts drum and bugle corps. He has also instructed for the University of North Texas “A” Line\, Music City Mystique\, and as Faculty for the Music for All World Percussion Symposium. \n\n\n\nAs an author and composer\, his books and solo have been published by Innovative Percussion\, TapSpace\, and Row-Loff. The latter\, his coauthored “All-Inclusive Audition Etudes” book\, has been adopted for use by the North Carolina and Tennessee Music Educator’s Associations. \n\n\n\nCurrently\, Eric serves as Professor of Percussion Studies at the University of North Carolina at Greensboro\, where he directs a comprehensive percussion program. In addition to his teaching opportunities\, Eric has served as Chair of the School of Music Faculty\, as Chair of the Brass and Percussion Area\, as well as a member of the Strategic Planning Committee. \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\n\n\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\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/symphonic-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/2024/07/PIC24762-MUS_Wind_Ensemble_0639-3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250402T140000
DTEND;TZID=America/New_York:20250402T153000
DTSTAMP:20260407T232032
CREATED:20250319T133001Z
LAST-MODIFIED:20250402T131812Z
UID:10003170-1743602400-1743607800@vpa.uncg.edu
SUMMARY:Symphony Orchestra
DESCRIPTION:Program\n\n\n\nJungho Kim\, conductorSteven Stusek\, saxophone \n\n\n\n\n\n\n\nBERNSTEIN Overture to Candide \n\n\n\nDEBUSSY Rhapsodie\, L.98 \n\n\n\nSTRAVINSKY The Firebird Suite (1919 version) \n\n\n\n\n\n\n\n\nDownload Program\n\n\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\n\n\n\n\nAbout the Soloist\n\n\n\n\nSteven Stusek is Professor of Music at the University of North Carolina at Greensboro\, where he is a member of the Eastwind Quintette d’Anches and the Red Clay Saxophone Quartet. Originally from Oshkosh\, Wisconsin\, he received his Bachelor’s degree in saxophone performance from Indiana University. Before beginning a Master’s degree in saxophone and chamber music at Arizona State University\, Steve spent a year in Paris studying at the Paris Conservatory (Conservatoire Nationale Superior de Musique de Paris) and the Conservatoire de le Région de Paris\, where he was awarded the Prix d’Or à l’Unanimité in Saxophone Performance. After living in the Netherlands for almost eight years he returned to Indiana University and was awarded a DMA in Saxophone in 2001. He has served on the faculties of Ball State University\, Middlebury College\, the Cincinnati Conservatory of Music. He has been on the UNCG faculty since 1999. As a soloist\, Steve has appeared with the Eastern Music Festival and more recently with the University of South Carolina Wind Ensemble as part of the North American Saxophone Alliance Biennial conference. He has been the principle saxophonist for the Eastern Music Festival and the Greensboro Symphony for the past ten years. In 2000\, he won the prestigious Dutch Chamber Music Competition as part of the saxophone-accordion duo 2Track with accordion virtuoso Otine van Erp. Together they have performed throughout the Netherlands\, the US and on Dutch radio. Steve teamed up with pianist Inara Zandmane and saxophonist Susan Fancher to produce the critically acclaimed recording Louder than Words – music for two saxophones and piano. Steve’s teachers have included Eugene Rousseau\, Joseph Wytko\, David Baker\, Larry Teal\, Daniel Deffayet\, Jean-Yves Formeau\, and Leroy Wolter. Steve is the Past-President of the North American Saxophone Alliance. \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.
URL:https://vpa.uncg.edu/single-event/symphony-orchestra-9/
LOCATION:Tew Recital Hall Atrium\, 100 McIver St\, Greensboro\, North Carolina\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2023/10/uncg-symphony-orchestra.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250330T140000
DTEND;TZID=America/New_York:20250330T170000
DTSTAMP:20260407T232032
CREATED:20250225T182644Z
LAST-MODIFIED:20250227T150057Z
UID:10003112-1743343200-1743354000@vpa.uncg.edu
SUMMARY:Poulenc's 'Dialogues of the Carmelites'
DESCRIPTION:Poulenc’s THE DIALOGUES of the CARMELITES is based on the true-life Martyrs of Compiègne\, who were executed by guillotine on July 17\, 1794\, just ten days before the end of the French Revolution Reign of Terror. The sixteen sisters who died that day exhibited extraordinary faith and paid the ultimate price and did not compromise when faced with great persecution. \n\n\n\nPoulenc’s riveting and haunting opera will move you as few operas can. With a cast of ninety singers combining with the UNCG Symphony Orchestra\, this is a production not to be missed. \n\n\n\n\n\nTicketPriceAdult$10.00Students (All)$5.00Ticket prices do not include processing fee.\n\n\n\n\nPurchase Tickets\n\n\n\nDownload Program\n\n\n\nOpera Theatre\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\nJoin Our Email List
URL:https://vpa.uncg.edu/single-event/poulencs-dialogues-of-the-carmelites-3/
LOCATION:Huggins Auditorium (Greensboro College)\, 815 W Market St\, Greensboro\, North Carolina\, 27401\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/02/Dialogues-web-SP25.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250328T193000
DTEND;TZID=America/New_York:20250328T223000
DTSTAMP:20260407T232032
CREATED:20250225T173928Z
LAST-MODIFIED:20250227T150050Z
UID:10003111-1743190200-1743201000@vpa.uncg.edu
SUMMARY:Poulenc's 'Dialogues of the Carmelites'
DESCRIPTION:Poulenc’s THE DIALOGUES of the CARMELITES is based on the true-life Martyrs of Compiègne\, who were executed by guillotine on July 17\, 1794\, just ten days before the end of the French Revolution Reign of Terror. The sixteen sisters who died that day exhibited extraordinary faith and paid the ultimate price and did not compromise when faced with great persecution. \n\n\n\nPoulenc’s riveting and haunting opera will move you as few operas can. With a cast of ninety singers combining with the UNCG Symphony Orchestra\, this is a production not to be missed. \n\n\n\n\n\nTicketPriceAdult$10.00Students (All)$5.00Ticket prices do not include processing fee.\n\n\n\n\nPurchase Tickets\n\n\n\nDownload Program\n\n\n\nOpera Theatre\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\nJoin Our Email List
URL:https://vpa.uncg.edu/single-event/poulencs-dialogues-of-the-carmelites-2/
LOCATION:Huggins Auditorium (Greensboro College)\, 815 W Market St\, Greensboro\, North Carolina\, 27401\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/02/Dialogues-web-SP25.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250328T160000
DTEND;TZID=America/New_York:20250328T170000
DTSTAMP:20260407T232032
CREATED:20250318T142515Z
LAST-MODIFIED:20250328T155420Z
UID:10003146-1743177600-1743181200@vpa.uncg.edu
SUMMARY:Wind Ensemble (CBDNA National Conference)
DESCRIPTION:College Band Directors National Association (CBDNA) National Conference \n\n\n\nProgram\n\n\n\nJonathan Caldwell\, conductorLindsay Kesselman\, soprano \n\n\n\n\n\n\n\nDAI (’15 MM)Saṃsāric Dance \n\n\n\nCERRONE Darkening\, Then Brightening \n\n\n\nGOTKOVSKY Symphonie pour orchestre d’harmonie \n\n\n\n\n\n\n\n\nDownload Program\n\n\n\nConcert Livestream\n\n\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\nJoin Our Email List\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout the Soloist\n\n\n\n\nLindsay Kesselman is a twice GRAMMY-nominated soprano known for her warm\, collaborative spirit and investment in personal\, intimate communication with audiences. She regularly collaborates with orchestras\, wind symphonies\, chamber ensembles\, opera/theater companies\, and new music ensembles across the United States\, often premiering\, touring and recording new works written for her by living composers. She is a passionate advocate for contemporary music\, and has commissioned/premiered over 100 works to date. Recent and upcoming highlights include frequent performances of Darkening\, then Brightening by Christopher Cerrone across the country\, a tour culminating at National CBDNA with the UNC Greensboro Wind Ensemble\, premieres of wind transcriptions of Caroline Shaw’s Is a Rose and Maria Schneider’s Winter Morning Walks\, Pierrot Lunaire with Ensemble ATL\, Energy in All Directions by Kenneth Frazelle with Sandbox Percussion at the Saratoga Performing Arts Center\, the role of Anna in Kurt Weill’s The Seven Deadly Sins with the Charlotte Symphony\, the role of Ada Lovelace in a new opera\, Galaxies in Her Eyes by Mark Lanz Weiser and Amy Punt\, Astronautica: Voices of Women in Space with Voices of Ascension\, ongoing performances of works written for Kesselman by John Mackey with orchestras and wind symphonies across the country\, the John Corigliano 80th birthday celebration at National Sawdust (2018)\, Quixote (Amy Beth Kirsten and Mark DeChiazza) with Peak Performances at Montclair State University (2017)\, a leading role in Louis Andriessen’s opera Theatre of the World with the Los Angeles Philharmonic and Dutch National Opera and an international tour of Einstein on the Beach with the Philip Glass Ensemble (2012-2015). She is featured on several recent recordings: David Biedenbender’s all we are given we cannot hold (2023\, Blue Griffin)\, Chris Cerrone’s opera In a Grove (2023\, In a Circle Records)\, Caroline Shaw’s Is a Rose (2023\, Blue Griffin)\, Chris Cerrone’s The Arching Path (2021\, In a Circle Records)\, Russell Hartenberger’s Requiem for Percussion and Voices (2019\, Nexus Records)\, Chris Cerrone’s The Pieces That Fall to Earth with Wild Up (2019\, New Amsterdam Records)\, Mathew Rosenblum’s Lament/Witches’ Sabbath with the Pittsburgh New Music Ensemble (2018\, New Focus Recordings)\, Louis Andriessen’s Theatre of the World with the Los Angeles Philharmonic (2017\, Nonesuch)\, and Jon Magnussen’s Twinge with HAVEN (2016\, Blue Griffin). Kesselman has been the resident soprano of the Pittsburgh New Music Ensemble for 13 seasons\, and Haven\, Kesselman’s trio with Kimberly Cole Luevano\, clarinet and Midori Koga\, piano (www.haventrio.com) actively commissions and tours throughout North America. Haven is the recipient of a 2021 Barlow Endowment for Music Composition award with composer David Biedenbender and a 2021 Chamber Music America Classical Commissioning Grant with composer Ivette Herryman Rodríguez. She is a dedicated teacher and serves as Assistant Professor of Voice and Choral Music at UNC Greensboro. There she maintains an active voice studio and she conducts the UNCG Treble Ensemble. Kesselman also co-directs the Heretic’s Guide to Musicianship: A Score Study and Interpretation Workshop with Kevin Noe. A frequent guest clinician at colleges and universities across the United States\, Kesselman specializes in voice teaching\, leadership\, entrepreneurship\, musicianship\, young composer mentoring\, chamber music\, audience development\, programming\, interdisciplinary collaboration\, harnessing vulnerability in performance\, and community engagement. \n\n\n\nKesselman holds degrees in voice performance and music education from Rice University and Michigan State University. She is represented by Trudy Chan at Black Tea Music and lives in Charlotte\, NC with her husband Kevin Noe and son Rowan. More information can be found at www.lindsaykesselman.com. \n\n\n\n\nAbout the Wind Ensemble\n\n\n\n\nThe UNCG Wind Ensemble is a highly select concert band of fifty performers majoring in music at the UNCG School of Music. Performers in the current Wind Ensemble are drawn from sixteen states\, Slovenia\, and Hong Kong. The ensemble has enjoyed a distinguished record of performance throughout its history. In January 1992\, the UNCG Wind Ensemble performed “A Tribute to John Philip Sousa” to a capacity crowd of 2\,700 at the Concert Hall of the John F. Kennedy Center for the Performing Arts in Washington\, D.C. Twice\, the Wind Ensemble earned critical acclaim from The Washington Post following concerts in the nation’s capital. The Wind Ensemble has performed throughout the eastern United States in recent years including the first-ever performance\, in 1987\, by a North Carolina collegiate ensemble in Lincoln Center\, New York City. The Wind Ensemble performed that same year in West Virginia\, Virginia\, Pennsylvania\, and Washington\, D.C. The Wind Ensemble has recorded nineteen commercially-available albums which have received widespread praise.
URL:https://vpa.uncg.edu/single-event/wind-ensemble-cbdna-national-conference/
LOCATION:Van Cliburn Concert Hall at TCU\, 2900 W Lowden St\, Fort Worth\, Texas\, 76109\, 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/wind-ensemble-fall-2024-2000px-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250327T193000
DTEND;TZID=America/New_York:20250327T223000
DTSTAMP:20260407T232032
CREATED:20250225T152935Z
LAST-MODIFIED:20250316T234323Z
UID:10003110-1743103800-1743114600@vpa.uncg.edu
SUMMARY:Poulenc's 'Dialogues of the Carmelites'
DESCRIPTION:Poulenc’s THE DIALOGUES of the CARMELITES is based on the true-life Martyrs of Compiègne\, who were executed by guillotine on July 17\, 1794\, just ten days before the end of the French Revolution Reign of Terror. The sixteen sisters who died that day exhibited extraordinary faith and paid the ultimate price and did not compromise when faced with great persecution. \n\n\n\nPoulenc’s riveting and haunting opera will move you as few operas can. With a cast of ninety singers combining with the UNCG Symphony Orchestra\, this is a production not to be missed. \n\n\n\n\n\nTicketPriceAdult$10.00Students (All)$5.00Ticket prices do not include processing fee.\n\n\n\n\nPurchase Tickets\n\n\n\nDownload Program\n\n\n\nOpera Theatre\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\nJoin Our Email List
URL:https://vpa.uncg.edu/single-event/poulencs-dialogues-of-the-carmelites/
LOCATION:Huggins Auditorium (Greensboro College)\, 815 W Market St\, Greensboro\, North Carolina\, 27401\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2025/02/Dialogues-web-SP25.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250326T193000
DTEND;TZID=America/New_York:20250326T210000
DTSTAMP:20260407T232032
CREATED:20250227T143621Z
LAST-MODIFIED:20250227T143746Z
UID:10003115-1743017400-1743022800@vpa.uncg.edu
SUMMARY:Alejandro Rutty\, electric bass
DESCRIPTION:Download Program\n\n\n\n\n\n\n\n\n\n\n\n\nComposer and bassist Alejandro Rutty is best-known for his distinctive mix of South American styles\, lyrical melodies\, meticulous rhythmic detail\, and exotic textures. His recent output includes solos\, duos\, trios and quartets for extended-range electric bass\, which he performs by himself or with other bassists.  \n\n\n\nRutty’s compositions and arrangements have been performed by the Minnesota Symphony Orchestra\, Boston Modern Orchestra Project\, Indianapolis Chamber Orchestra\, National Symphony Orchestra of Argentina\, National Symphony Orchestra of Brazil\, Montevideo Philharmonic\, Porto Alegre Symphony Orchestra and numerous chamber ensembles. Recordings of his music have been released by Navona\, Capstone\, Albany\, Arizona University Recordings\, and other labels.   \n\n\n\nWhy Bass? II is a release with original music for a solo bass\, no overdubs. The recording is available on all streaming platforms.  \n\n\n\nLearn More about the Why Bass? project: www.alejandrorutty.com 
URL:https://vpa.uncg.edu/single-event/alejandro-rutty-electric-bass/
LOCATION:Organ Hall\, 100 McIver St\, Greensboro\, 27412\, United States
CATEGORIES:School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2023/11/Rutty-Portrait.jpeg
END:VEVENT
END:VCALENDAR