BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//College of Visual and Performing Arts - ECPv6.16.1//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:20230312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20231105T060000
END:STANDARD
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:20251010T193000
DTEND;TZID=America/New_York:20251010T210000
DTSTAMP:20260516T220221
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\n\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:20251009T193000
DTEND;TZID=America/New_York:20251009T210000
DTSTAMP:20260516T220221
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\n\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:20260516T220221
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\n\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:20260516T220221
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\n\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:20251006T193000
DTEND;TZID=America/New_York:20251006T210000
DTSTAMP:20260516T220221
CREATED:20250825T150416Z
LAST-MODIFIED:20250926T211301Z
UID:10003379-1759779000-1759784400@vpa.uncg.edu
SUMMARY:Chamber Singers
DESCRIPTION:https://youtube.com/live/EW6Xcs1mzuw?feature=share\n\n\n\n\nCarole Ott\, conductorAlexander Ezerman\, celloErika Boysen\, fluteMichaela Kelly\, soprano \n\n\n\nProgram\n\n\n\nTHEODORE MORRISONA Chant for Peace in Our Time \n\n\n\nMEIRA WARSHAUERAkhat Sha’alti \n\n\n\nANDREA CLEARFIELDPrayer for the Schechinah \n\n\n\nREENA ESMAILShe Will Transform You \n\n\n\nFRANZ SCHUBERTMirjam’s Siegesgesang \n\n\n\n\nAbout the Program\n \n\n\n\n\nAbout the Artists\n \n\n\n\n\nUNCG Choirs\nThe mission of the UNCG Choirs is dedicated to the teaching\, performance\, study and cultivation of choral music of the highest quality representing not just the western choral canon but also choral music of other cultures by a diverse body of historical and new composers. We believe that the UNCG Choirs are a serious and distinctive medium of musical expression\, of vital service and importance to its members and to UNCG. Through ensemble performance\, we strive to create an environment of trust\, communication\, and expressive freedom\, to present outstanding performances throughout the year\, and to enhance the institutional sprit and character of UNCG. To music as an art and a profession\, the UNCG Choirs seek to bring increasing artistry\, understanding\, and respect by efforts within our own immediate sphere and by providing leadership and sponsorship to school choral programs and through cooperation with all other agencies pursuing similar musical goals. \n\n\n\n\nUNCG Choirs\n\n\n\n\n\n\n\n\n\nEvent Details\n\n\n\n\nDownload Program\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe importance of philanthropy has never been greater. Please consider a gift to the School of Music to support our mission and ensure the future of music at UNCG. \n\n\n\n\n\n\n\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/chamber-singers-4/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2024/08/choir-event-feature.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250504T130000
DTEND;TZID=America/New_York:20250504T170000
DTSTAMP:20260516T220221
CREATED:20250429T204245Z
LAST-MODIFIED:20250429T211233Z
UID:10003271-1746363600-1746378000@vpa.uncg.edu
SUMMARY:North Carolina All-State Honors Bands
DESCRIPTION:
URL:https://www.ncbandmasters.org/clinic#new_tab
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/2025/04/university-bands-feature.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250429T193000
DTEND;TZID=America/New_York:20250429T210000
DTSTAMP:20260516T220221
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:20250425T193000
DTEND;TZID=America/New_York:20250425T193000
DTSTAMP:20260516T220221
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:20260516T220221
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:20250423T193000
DTEND;TZID=America/New_York:20250423T210000
DTSTAMP:20260516T220221
CREATED:20240716T205134Z
LAST-MODIFIED:20250408T152602Z
UID:10001124-1745436600-1745442000@vpa.uncg.edu
SUMMARY:Concert Band
DESCRIPTION:https://youtube.com/live/rFjWbTN5wnU?feature=share\n\n\n\n\n\nDownload Program\n\n\n\n\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.
URL:https://vpa.uncg.edu/single-event/concert-band-7/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250315T200000
DTEND;TZID=America/New_York:20250315T200000
DTSTAMP:20260516T220221
CREATED:20241101T123403Z
LAST-MODIFIED:20250313T133754Z
UID:10002007-1742068800-1742068800@vpa.uncg.edu
SUMMARY:Lang Lang
DESCRIPTION:Lang Lang is a leading figure in classical music today—as a pianist\, educator\, and philanthropist he has become one of the world’s most influential and committed ambassadors for the arts in the 21st century. Equally happy playing for billions of viewers at the 2008 Olympic Opening Ceremony in Beijing or just for a few hundred children in the public schools\, he is a master of communicating through music. \n\n\n\nHeralded by the New York Times as “the hottest artist on the classical music planet\,” Lang Lang plays sold-out concerts all over the world. He has formed ongoing collaborations with conductors including Sir Simon Rattle\, Gustavo Dudamel\, Daniel Barenboim\, and Christoph Eschenbach and performs with all the world’s top orchestras. Lang Lang is known for thinking outside the box and frequently steps into different musical worlds. His performances at the GRAMMY Awards with Metallica\, Pharrell Williams\, or jazz legend Herbie Hancock were watched by millions of viewers. \n\n\n\n\n\n\n\nOrchestra/MezzBalconiesUNCG Students$7.50$7.50UNCG Faculty/Staff$25.00$25.00Adults$75.00$70.00Seniors/Military$65.00$60.00Children (K-12)$50.00$40.00Platinum VIP$100.00\n\n\n\n\nPURCHASE TICKETS (Sold Out)\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“The hottest artist on the classical music planet may well be the Chinese pianist Lang Lang. \n\n\n\n— New York Times \n\n\n\n\nFor about a decade\, Lang Lang has contributed to musical education worldwide. In 2008 he founded the Lang Lang International Music Foundation aimed at cultivating tomorrow’s top pianists\, championing music education at the forefront of technology\, and building a young audience through live music experiences. In 2013 Lang Lang was designated by the Secretary General of the United Nations as a Messenger of Peace focusing on global education. \n\n\n\nLang Lang started playing the piano aged three and gave his first public recital before the age of five. He entered Beijing’s Central Music Conservatory aged nine and won First Prize at the International Tchaikovsky Competition for Young Musicians at 13. He subsequently went to Philadelphia to study with legendary pianist Gary Graffman at the Curtis Institute of Music. He was seventeen when his big break came\, substituting for André Watts at the Gala of the Century\, playing Tchaikovsky’s First Piano Concerto with the Chicago Symphony Orchestra under the baton of Christoph Eschenbach: he became an overnight sensation and the invitations started to pour in. \n\n\n\nLang Lang’s boundless drive to attract new audiences to classical music has brought him tremendous recognition: he was presented with the 2010 Crystal Award in Davos and was picked as one of the 250 Young Global Leaders by the World Economic Forum. He also received  honorary doctorates from the Royal College of Music\, the Manhattan School of Music\, and New York University. In December 2011 he was honored with the highest prize awarded by the Ministry of Culture of the People’s Republic of China and received the highest civilian honors in Germany (Merit of the Federal Republic of Germany) and France (Medal of the Order of Arts and Letters). In 2016 Lang Lang was invited to the Vatican to perform for Pope Francis. He has also performed for numerous other international dignitaries\, including four US presidents and monarchs from many nations. \n\n\n\n\n“The ebullient Lang Lang is maturing as an artist… his playing is refined\, almost severe. He has an intelligent way of shaping phrases\, controlling dynamics\, varying articulations… a captivating performance\, the kind that you remember as much for its quiet stretches as for its wow factor. \n\n\n\n— New Yorker \n\n\n\n\n\n“Lang the magician is slowly transforming himself into Lang the musician…there will be no stopping this nonchalant dervish of the keyboard . . .his playing was so raptly beautiful that one was afraid to breathe for fear of missing anything. \n\n\n\n— Chicago Tribune \n\n\n\n\n\nwww.langlangofficial.com \n\n\n\nwww.langlangfoundation.org \n\n\n\nwww.instagram.com/langlangpiano \n\n\n\nwww.facebook.com/langlangpiano \n\n\n\nwww.twitter.com/lang-lang \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/langlang/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,UCLS
ATTACH;FMTTYPE=image/png:https://vpa.uncg.edu/wp-content/uploads/2024/04/langlangbanner2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250226T193000
DTEND;TZID=America/New_York:20250226T210000
DTSTAMP:20260516T220221
CREATED:20240822T203241Z
LAST-MODIFIED:20250225T201934Z
UID:10001149-1740598200-1740603600@vpa.uncg.edu
SUMMARY:Chamber Singers
DESCRIPTION:Program\n\n\n\nCarole Ott\, conductor \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\nhttps://youtube.com/live/I8-mapsnu9E?feature=share\n\n\n\n\n\nAbout the UNCG Choirs\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/chamber-singers-3/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2024/08/choir-feature-e1776363465919.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250225T193000
DTEND;TZID=America/New_York:20250225T210000
DTSTAMP:20260516T220221
CREATED:20240822T202543Z
LAST-MODIFIED:20250225T201751Z
UID:10001148-1740511800-1740517200@vpa.uncg.edu
SUMMARY:University Chorale
DESCRIPTION:https://youtube.com/live/LjWcCnbT4cY?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/university-chorale-3/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2024/08/choir-event-feature.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250221T193000
DTEND;TZID=America/New_York:20250221T210000
DTSTAMP:20260516T220221
CREATED:20240716T205019Z
LAST-MODIFIED:20250206T164904Z
UID:10001123-1740166200-1740171600@vpa.uncg.edu
SUMMARY:Concert Band
DESCRIPTION:Program\n\n\n\nPatty Saunders\, conductorDalton Guin\, conductor \n\n\n\n\n\n\n\nITO On The March \n\n\n\nBRYANT Nothing Gold Can Stay \n\n\n\nCURNOW Rejouissance \n\n\n\nHORNE Scrapin’ \n\n\n\nCOPLEY Dragonfly \n\n\n\nARNOLD Prelude\, Siciliano\, and Rondo \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\nJoin Our Email List\n\n\n\n\n\n\n\nhttps://youtube.com/live/wxG9VoFqmoI?feature=share\n\n\n\n\n\nAbout the UNCG 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.
URL:https://vpa.uncg.edu/single-event/concert-band-6/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250219T193000
DTEND;TZID=America/New_York:20250219T210000
DTSTAMP:20260516T220221
CREATED:20240717T205452Z
LAST-MODIFIED:20250219T181343Z
UID:10001127-1739993400-1739998800@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\nhttps://youtube.com/live/B-rvKRRtE9o?feature=share\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-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/2023/10/uncg-symphony-orchestra.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250218T193000
DTEND;TZID=America/New_York:20250218T210000
DTSTAMP:20260516T220221
CREATED:20240715T224523Z
LAST-MODIFIED:20250206T163538Z
UID:10001118-1739907000-1739912400@vpa.uncg.edu
SUMMARY:Symphonic Band
DESCRIPTION:Program\n\n\n\nJonathan Caldwell\, conductorSteven Stusek\, saxophonePatty Saunders\, graduate conductor \n\n\n\n\n\n\n\nMcCUNE Spiral \n\n\n\nFLAGELLO Love and Nature \n\n\n\nYOUNG Concerto for Alto Saxophone and Wind Ensemble \n\n\n\nPERSICHETTI Symphony No. 6 \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\nJoin Our Email List\n\n\n\n\n\n\n\nhttps://youtube.com/live/4wLn8ZgIWfY?feature=share\n\n\n\n\n\nAbout the Soloist\n\n\n\n\nSteven Stusek\, saxophone\, 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 principal 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\nAbout the UNCG 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.
URL:https://vpa.uncg.edu/single-event/symphonic-band-7/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250214T193000
DTEND;TZID=America/New_York:20250214T210000
DTSTAMP:20260516T220221
CREATED:20240715T141719Z
LAST-MODIFIED:20250214T133306Z
UID:10001115-1739561400-1739566800@vpa.uncg.edu
SUMMARY:Wind Ensemble
DESCRIPTION:35th Annual Carolina Band Festival and Conductors Conference \n\n\n\nProgram\n\n\n\nJonathan Caldwell\, conductorLuke Ellard\, clarinetMichael Haithcock\, guest conductorArris Golden\, guest conductorBrian Doyle\, guest conductor \n\n\n\n\n\n\n\nHARRISON Splinter \n\n\n\nMITCHELL From The Depths We Rise \n\n\n\nGARROP Chariot of Helios \n\n\n\nSIMON Go Down Moses \n\n\n\nMARKOWSKI Unfamiliar Territory \n\n\n\nTICHELI Over the Moon \n\n\n\n\n\n\n\n\nDownload Program\n\n\n\nProgram Notes\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\nhttps://youtube.com/live/dejvo4a2ZYc?feature=share\n\n\n\n\n\n\nDr. Luke Ellard\n\n\n\n\n\nDr. Arris Golden\n\n\n\n\n\nDr. Brian K. Doyle\n\n\n\n\n\nProf. Michael Haithcock\n\n\n\n\n\n\nAbout the Soloist\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\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-11/
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/wind-ensemble-fall-2024-2000px-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241122T193000
DTEND;TZID=America/New_York:20241122T210000
DTSTAMP:20260516T220221
CREATED:20240716T203215Z
LAST-MODIFIED:20241114T184655Z
UID:10001122-1732303800-1732309200@vpa.uncg.edu
SUMMARY:Concert Band
DESCRIPTION:Program\n\n\n\nPatty Saunders\, conductorKat Smith\, conductor \n\n\n\nNELHYBEL Festivo \n\n\n\nSTILL Summerland \n\n\n\nNISHIMURA Breath of the Mountains \n\n\n\nMILBURN Meditation \n\n\n\nDAY Rocketship! \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\nhttps://youtube.com/live/3RaN3liIz9w?feature=share\n\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.
URL:https://vpa.uncg.edu/single-event/concert-band-5/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241121T193000
DTEND;TZID=America/New_York:20241121T210000
DTSTAMP:20260516T220221
CREATED:20240715T133827Z
LAST-MODIFIED:20241121T155414Z
UID:10001113-1732217400-1732222800@vpa.uncg.edu
SUMMARY:Wind Ensemble
DESCRIPTION:Program\n\n\n\nJonathan Caldwell\, conductorLindsay Kesselman\, sopranoPatty Saunders\, graduate conductor \n\n\n\nDAI Saṃsāric Dance (world premiere) \n\n\n\nGRAINGER Colonial Song \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\nProgram Notes and Biographies\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\nhttps://youtube.com/live/DJklje3rNQ0?feature=share\n\n\n\n\n\nAbout the Program\nTonight’s program is a preview performance of the Wind Ensemble’s concert at the College Band Directors National Association national conference in Fort Worth\, Texas on March 28\, 2025. In advance of that performance\, the Wind Ensemble will perform six concerts on a tour that will span the southern United States with stops in Charlotte\, Atlanta\, Tuscaloosa\, New Orleans\, Houston\, and Dallas. The program\, with compositions by UNCG alum Dai Wei (’15 MM) and Ida Gotkovsky\, the poetry of Kim Addonizio\, and the voices of Dai Wei and UNCG faculty member Lindsay Kesselman\, is an acknowledgement of UNCG’s legacy of women’s education and a celebration of women’s voices more broadly. \n\n\n\nIn 1892\, UNCG opened its doors as the State Normal and Industrial School with music courses as part of the original curriculum. For the first seventy-two years of its existence\, the university only served women before becoming co-educational in 1964—the year after the university was renamed as the University of North Carolina at Greensboro. Today\, the university’s population stands at roughly 67% women. Tonight’s program serves as a reminder and reaffirmation of UNCG’s mission of educating women in North Carolina and beyond. \n\n\n\nThe program is also bound together through elements of cyclicity and repetition. In some musical cultures\, repetition is used to promote and create community—to instill a sense of collectivism; in others\, it may be used to express the infinite and indescribable qualities of reality. The ephemeral and fleeting nature of music necessitates cyclicity in order to promote understanding\, particularly in the long-form music found in the Western classical tradition. In music\, however\, repetition is never simply repetition—to promote understanding\, the repetition is changed\, or the listener is changed by experiencing the repetition. Just as poet Kim Addonizio describes the simple experience of watching the sky “darkening\, then brightening” over the course of a day\, sometimes we notice changes in the musical cycles before us and other times we notice changes within ourselves. In other words\, does the cycle change or do we? \n\n\n\nEach of the three pieces on the CBDNA program feature elements of cyclicity and symmetry. Dai Wei’s Samsaric Dance is inspired by the Tibetan Buddhism conception of existence. Over the course of the piece\, multiple musical elements emerge\, return\, interact with each other\, and continuously transform before the piece eventually rests on a C♯ that symbolizes the oneness and unity of all existence. In this sense\, cyclicity refers to the endless cycle of birth\, death\, and rebirth—like a wheel rolling forward and backwards towards a possible but never promised nirvana. \n\n\n\nChristopher Cerrone’s Darkening\, Then Brightening is built in an arch form but one shaped like a valley. The descent of the first three movements leads towards the return of the C♯ from Samsaric Dance now transformed into the sound of inevitable descent. While the listener and singer ascend towards the light in the final movements\, the promise of redemption lies just beyond their grasp as the piece suddenly stops. The valley was just too deep. \n\n\n\nWhile elements of formal cyclicity are clearly evident in both movements of Ida Gotkovsky’s Symphonie pour orchestre d’harmonie\, her intermingling of octatonic\, whole tone\, and quartal pitch material throughout the symphony is of particular interest. This kind of symmetrical pitch organization\, one also favored by her composition teacher Olivier Messiaen\, creates melodic and harmonic structures free of any sense of a fundamental pitch\, occurring in looping cycles without a clear beginning or end. While traditional tonal music relies on asymmetrical pitch structures to establish hierarchy\, Gotkovsky’s pitch organization lends her music an almost otherworldly quality while remaining relatively consonant even within a modernist framework. \n\n\n\nThe chord that ends the piece\, and thus the concert\, is a quartal harmony built on C-naturals in the soprano and bass voices. The chord’s brightness and power seem far removed from the C♯ featured so prominently in the previous two pieces. The cycle has ended lower in pitch but perhaps more hopeful in tone? Darkening\, then brightening… has the cycle changed\, or have we? \n\n\n\nA performance such as this is an incredible undertaking and requires a great deal of effort and resources. Thank you to the following for their support of the UNCG Wind Ensemble’s performance at CBDNA. \n\n\n\n\nJohn R. Locke Endowment for Excellence in Music\n\n\n\nBetty Johnson Cheek Fine Arts Endowment\n\n\n\nDr. J. Alan Boyette\, Provost\, UNCG\n\n\n\nDr. bruce d. mcclung\, Dean\, UNCG College of Visual and Performing Arts\n\n\n\nDr. Charles Young\, Director\, UNCG School of Music\n\n\n\nDr. Catherine Keen Hock\, Assistant Director\, UNCG School of Music\n\n\n\nProf. Lindsay Kesselman\, Assistant Professor of Voice and Choral Music\, UNCG School of Music\n\n\n\nBrad McMillan\, Director of Outreach Programs and Marketing Coordinator\, UNCG School of Music\n\n\n\nLyndsey Dean\, Ensembles Manager\, UNCG School of Music\n\n\n\nDr. Kevin M. Geraldi\, Director of Bands\, University of Illinois Urbana–Champaign\n\n\n\nDr. John R. Locke\, Director of Bands Emeritus\, UNCG School of Music\n\n\n\nDr. Carole Ott Coelho\, Director of Choral Activities\, UNCG School of Music\n\n\n\nDr. Jungho Kim\, Director of Orchestras\, UNCG School of Music\n\n\n\nNeil Shepherd\, Business Officer\, UNCG School of Music\n\n\n\nDennis Hopson\, Hall Manager and Recording Engineer\, UNCG School of Music\n\n\n\nSharneisha Joyner\, Building Manager and Instrument Inventory Specialist\, UNCG School of Music\n\n\n\nAdella Dzitko-Carlson\, Administrative Assistant and Personnel Officer\, UNCG School of Music\n\n\n\nDr. Nick Lewis\, Admissions and Student Services Specialist\, UNCG School of Music\n\n\n\nStephen Duncan\, Piano Technician\, UNCG School of Music\n\n\n\nPatty Saunders\, DMA Conducting Student\, UNCG School of Music\n\n\n\nDalton Guin\, MM Conducting Student\, UNCG School of Music\n\n\n\nKat Smith\, MM Conducting Student\, UNCG School of Music\n\n\n\n\n\nAbout the Artists\n\n\n\n\nLindsay Kesselman is a two-time 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 composed for her by living composers. She is a passionate advocate for contemporary music and has commissioned/premiered over one hundred works to date.    \n\n\n\nRecent and upcoming highlights include the premiere of Darkening\, then Brightening by Christopher Cerrone with the University of Illinois Wind Symphony; the wind transcription of Caroline Shaw’s Is a Rose\, Energy in All Directions by Kenneth Frazelle with Sandbox Percussion at the Saratoga Performing Arts Center; the role of Anna in Kurt Weill and Bertolt Brecht’s The Seven Deadly Sins with the Charlotte Symphony; the role of Ada Lovelace in the new opera Galaxies in Her Eyes by Mark Lanz Weiser and Amy S. Punt; 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\nKesselman is Assistant Professor of Voice and Choral Music at the UNC Greensboro School of Music. Kesselman 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 with her husband\, Kevin Noe\, and son\, Rowan. \n\n\n\n\nWind Ensemble\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-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/2024/05/UNCG-Wind-Ensemble-Web-2400px.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241120T193000
DTEND;TZID=America/New_York:20241120T210000
DTSTAMP:20260516T220221
CREATED:20240717T205130Z
LAST-MODIFIED:20241120T171047Z
UID:10001126-1732131000-1732136400@vpa.uncg.edu
SUMMARY:Symphony Orchestra
DESCRIPTION:Program\n\n\n\nJungho Kim\, conductorJayon Felizarta\, violin \n\n\n\nMOZART Overture to Die Zauberflöte (The Magic Flute)\, K. 620 \n\n\n\nBRAHMS Violin Concerto in D major\, op. 77 (Mvt. I\, Allegro non troppo) \n\n\n\nBEETHOVEN Egmont Overture\, op. 84 \n\n\n\nMUSSORGSKY Pictures at an Exhibition (orchestrated by Maurice Ravel) \n\n\n\n\n\n\n\n\nDownload Program\n\n\n\nProgram Notes and Biographies\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\nhttps://youtube.com/live/yKhnBuzwQS0?feature=share\n\n\n\n\n\nAbout the Artists\n\n\n\n\nJayon Felizarta is a violinist currently studying under Dr. Fabian Lopez at UNCG. As a native of North Carolina\, he has been closely involved with the musical community since his youth\, performing with the NC Triangle Youth Symphony\, Duke String School symphony\, and TYP Quartet. In 2020\, Jayon received second prize of the King’s Peak International Music Competition\, and in 2017\, he received second prize at the North Carolina Symphony Youth Concerto Competition. He was a laureate of the Peter Perret youth talent search and has performed as soloist for the Winston-Salem Symphony. \n\n\n\nAn active orchestral performer\, Jayon Felizarta is a first violinist of the Fayetteville Symphony and UNCG University Symphony Orchestra\, and has performed with the Wilmington Symphony. He also performs as violinist for the JAW Trio at UNCG. \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-7/
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/2023/10/uncg-symphony-orchestra.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241119T193000
DTEND;TZID=America/New_York:20241119T210000
DTSTAMP:20260516T220221
CREATED:20240715T222022Z
LAST-MODIFIED:20241119T160436Z
UID:10001117-1732044600-1732050000@vpa.uncg.edu
SUMMARY:Symphonic Band
DESCRIPTION:Program\n\n\n\nJonathan Caldwell\, conductorPatty Saunders\, graduate conductor \n\n\n\nALDRIDGE On Parade \n\n\n\nBUTLER Cosmopolitan America \n\n\n\nSEKHON Remembering \n\n\n\nLI Starry Ocean (consortium premiere) \n\n\n\nBRYANT Ecstatic Waters \n\n\n\n\n\n\n\n\nDownload Program\n\n\n\nProgram Notes and Biographies\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\nhttps://youtube.com/live/87q0hwWgvG8?feature=share\n\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.
URL:https://vpa.uncg.edu/single-event/symphonic-band-6/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241117T140000
DTEND;TZID=America/New_York:20241117T160000
DTSTAMP:20260516T220221
CREATED:20241028T185944Z
LAST-MODIFIED:20241028T185945Z
UID:10001994-1731852000-1731859200@vpa.uncg.edu
SUMMARY:Opera Theatre presents Offenbach's "The Lantern Marriage" and Menotti's "The Old Maid and the Thief"
DESCRIPTION:Join the UNCG Opera Theatre for an evening of light-hearted romance and comedy\, as we present two short one acts: Offenbach’s The Lantern Marriage and Menotti’s The Old Maid and the Thief.  In Offenbach’s charming operetta\, our hero finds his treasure\, disappointing the hopes of the two widows who had their sights set on making him their new husband.  The Old Maid and the Thief narrative parallels The Lantern Marriage as two single women (Miss Todd and Miss Pinkerton) attempt to win the affections of Bob\, who ends up finding his love in their maid\, Laetitia. \n\n\n\n\n\n\n\n\n\n\n\n\nPurchase Tickets\n\n\n\nDownload Program
URL:https://vpa.uncg.edu/single-event/opera-theatre-presents-offenbachs-the-lantern-marriage-and-menottis-the-old-maid-and-the-thief-3/
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/2024/10/TheLanternMarriageprogram.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241115T193000
DTEND;TZID=America/New_York:20241115T213000
DTSTAMP:20260516T220221
CREATED:20241028T185909Z
LAST-MODIFIED:20241028T185910Z
UID:10001993-1731699000-1731706200@vpa.uncg.edu
SUMMARY:Opera Theatre presents Offenbach's "The Lantern Marriage" and Menotti's "The Old Maid and the Thief"
DESCRIPTION:Join the UNCG Opera Theatre for an evening of light-hearted romance and comedy\, as we present two short one acts: Offenbach’s The Lantern Marriage and Menotti’s The Old Maid and the Thief.  In Offenbach’s charming operetta\, our hero finds his treasure\, disappointing the hopes of the two widows who had their sights set on making him their new husband.  The Old Maid and the Thief narrative parallels The Lantern Marriage as two single women (Miss Todd and Miss Pinkerton) attempt to win the affections of Bob\, who ends up finding his love in their maid\, Laetitia. \n\n\n\n\n\n\n\n\n\n\n\n\nPurchase Tickets\n\n\n\nDownload Program
URL:https://vpa.uncg.edu/single-event/opera-theatre-presents-offenbachs-the-lantern-marriage-and-menottis-the-old-maid-and-the-thief-2/
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/2024/10/TheLanternMarriageprogram.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241114T193000
DTEND;TZID=America/New_York:20241114T213000
DTSTAMP:20260516T220221
CREATED:20241028T190535Z
LAST-MODIFIED:20241114T172900Z
UID:10001992-1731612600-1731619800@vpa.uncg.edu
SUMMARY:Opera Theatre presents Offenbach's "The Lantern Marriage" and Menotti's "The Old Maid and the Thief"
DESCRIPTION:Join the UNCG Opera Theatre for an evening of light-hearted romance and comedy\, as we present two short one acts: Offenbach’s The Lantern Marriage and Menotti’s The Old Maid and the Thief.  In Offenbach’s charming operetta\, our hero finds his treasure\, disappointing the hopes of the two widows who had their sights set on making him their new husband.  The Old Maid and the Thief narrative parallels The Lantern Marriage as two single women (Miss Todd and Miss Pinkerton) attempt to win the affections of Bob\, who ends up finding his love in their maid\, Laetitia. \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\nPurchase Tickets\n\n\n\nDownload Program\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJoin Our Email List
URL:https://vpa.uncg.edu/single-event/opera-theatre-presents-offenbachs-the-lantern-marriage-and-menottis-the-old-maid-and-the-thief-4/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
ATTACH;FMTTYPE=image/jpeg:https://vpa.uncg.edu/wp-content/uploads/2024/10/TheLanternMarriageprogram.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241026T193000
DTEND;TZID=America/New_York:20241026T210000
DTSTAMP:20260516T220221
CREATED:20240716T152918Z
LAST-MODIFIED:20241016T134851Z
UID:10001120-1729971000-1729976400@vpa.uncg.edu
SUMMARY:Collage
DESCRIPTION:The UNCG School of Music is proud to present our 17th annual performance of Collage at 7:30 PM on October 26\, 2024! We are excited to welcome audiences back to UNCG Auditorium for our most exciting event of the year with a new date! Get into the spooky spirit with special lighting\, haunting music\, and non-stop scintillating performances! \n\n\n\nCollage is captivating and totally unique\, featuring an incredible range of performers presenting one riveting work after another. 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-5/
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/2024/07/collage-feature-image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241018T200000
DTEND;TZID=America/New_York:20241018T200000
DTSTAMP:20260516T220221
CREATED:20240703T211903Z
LAST-MODIFIED:20240703T211904Z
UID:10001107-1729281600-1729281600@vpa.uncg.edu
SUMMARY:Swing Out
DESCRIPTION:Sw!ng Out\n\n\n\nAcclaimed choreographer Caleb Teicher brings the best of the swing dance world to Greensboro with live music by the Eyal Vilner Big Band. \n\n\n\nA New York Times’s Critic’s Pick\, SW!NG OUT celebrates the unbridled joy of Lindy Hop and the excitement of the artists’ distinct improvisational styles—generating a different show each night. \n\n\n\nMusic by the Eyal Vilner Big Band complements the social dance experience with irresistible rhythms that will make you want to dance along. Welcoming audiences into the fold\, each performance concludes with an on-stage jam session with the company! \n\n\n\n\n\n\n\nOrchestra/MezzBalconiesUNCG Students$7.50$7.50UNCG Faculty/Staff$25.00$25.00Adults$50.00$45.00Seniors/Military$40.00$35.00Children (K-12)$25.00$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\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/swing-out/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,UCLS
ATTACH;FMTTYPE=image/png:https://vpa.uncg.edu/wp-content/uploads/2024/04/swingout-copy.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241011T193000
DTEND;TZID=America/New_York:20241011T210000
DTSTAMP:20260516T220221
CREATED:20240817T141551Z
LAST-MODIFIED:20240915T175447Z
UID:10001141-1728675000-1728680400@vpa.uncg.edu
SUMMARY:Concert Band
DESCRIPTION:Program\n\n\n\nPatty Saunders\, conductor \n\n\n\nGALANTEThe Redwoods \n\n\n\nMACKEYSheltering Sky \n\n\n\nBALMAGESBeyond the Summit \n\n\n\nJOLLEYAsh \n\n\n\nGIROUXCelestial Seas \n\n\n\nSHELDONOcean Ridge Rhapsody \n\n\n\n\n\n\n\n\nDownload Program\n\n\n\n\n\n\n\n\n\nhttps://youtube.com/live/M3kHqTeA2WE?feature=share\n\n\n\n\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.
URL:https://vpa.uncg.edu/single-event/94413/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241010T193000
DTEND;TZID=America/New_York:20241010T210000
DTSTAMP:20260516T220221
CREATED:20240711T225213Z
LAST-MODIFIED:20240915T175307Z
UID:10001112-1728588600-1728594000@vpa.uncg.edu
SUMMARY:Wind Ensemble
DESCRIPTION:Program\n\n\n\nJonathan Caldwell\, conductorJaninah Burnett\, vocalistErik Santos\, composer \n\n\n\nFLAGELLO Bravado \n\n\n\nPURRINGTON apricity \n\n\n\nSANTOS The Seer \n\n\n\nBERNSTEIN Profanation from Symphony No. 1\, “Jeremiah” \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\nhttps://youtube.com/live/_w5Ibf6DKvY?feature=share\n\n\n\n\n\nAbout the Artists\n\n\n\n\nA versatile singer\, actor\, musician\, writer\, arranger\, and educator\, Janinah Burnett is in demand and has thrilled audiences domestically and internationally in opera\, recital\, musical theatre\, jazz\, television\, and film. Some of her signature operatic roles include Mimí in La bohème\, Leila in Les pêcheurs des perles\, Donna Anna and Donna Elvira in Don Giovanni\, Micaëla in Carmen\, Marguerite in Faust\, and Violetta in La Traviata. An original cast member of Baz Luhrmann’s La Bohème on Broadway as Mimí\, she won a Los Angeles Theater Alliance Award and performed on the Tony Awards Presentation. \n\n\n\nBurnett was on the roster of principal artists at the Metropolitan Opera for eight consecutive seasons debuting as Bianca in La Rondine. She was a member of the closing cast of Phantom of the Opera on Broadway\, making appearances as “Carlotta Giudicelli” since 2016. \n\n\n\nIn February 2021\, Burnett released her debut album\, Love the Color of Your Butterfly\, which features musical arrangements and collaborations with some of the world’s finest jazz musicians including Christian Sands\, Sullivan Fortner Jr.\, Casey Benjamin\, and Terreon Gully who produced the project. Released on her own record label Clazz Records\, Love the Color of Your Butterfly is an amalgamation of jazz\, opera\, art song\, oratorio\, rhythm and blues\, and spirituals and introduces her concept of “Clazz\,” which encourages collaboration and redefines the parameters of genre while embracing parts of history that are erased\, widely unknown and forgotten. Love the Color of Your Butterfly has been featured in numerous publications including the Financial Times\, Playbill\, Broadway World\, Downbeat Magazine\, and Opera News. \n\n\n\nBurnett has been a guest artist and taught masterclasses at Eastern Mennonite University\, The Cinema School\, Clark University\, and Bar Harbor Music Festival. She holds an MM from the Eastman School of Music and a BA from Spelman College. \n\n\n\n\n\n\n\nErik Santos is a composer\, multi-instrumentalist\, singer\, producer\, and teacher\, who is active in many musical genres\, from rock and jazz\, to classical\, to electronic\, world music\, and music for theater and dance. He is the Chair of the Composition Department at the University of Michigan School of Music\, Theatre & Dance. \n\n\n\nAs the first-born in a family of musicians – father Rosendo Ejercito Santos\, Jr.\, mother Harriet\, brothers Nathan and Jason – music has always been at the core of his life practice\, both as a profession and hobby. \n\n\n\nProfessor Santos has received commissions\, prizes\, fellowships\, and other recognitions for his concert music\, including the prestigious 2020 Sousa-ABA-Ostwald Prize from the American Bandmasters Association\, the Charles Ives Scholarship\, and the Charles Ives Fellowship from The American Academy of Arts and Letters\, awards from Broadcast Music Incorporated (BMI)\, the MacDowell Colony\, the Bozeman Symphony\, the Civic Orchestra of Chicago\, the Rackham Graduate School of U-M\, and the Music Teachers National Association (MTNA). \n\n\n\nBut\, in recent years\, Santos has become increasingly preoccupied with presenting music in venues other than the classical concert hall  — dance clubs\, street corners\, radio\, theaters\, churches\, museums\, cafes\, car stereos\, movies\, Internet\, iPods\, etc. — where there is more emphasis given to the interaction of music with other spontaneous sensory elements\, involving listeners at the hub of a transdimensional experience. This interest flourished in 2002 when he was invited to join the pioneering and internationally celebrated Japanese butoh company Dairakudakan: Temputenshiki (avant-garde dance/theater)\, as a resident composer—a potent collaboration that continues to this day. \n\n\n\nIn 2005\, Santos and artist/singer Toko Shiiki formed an upbeat band called October Babies\, which has performed a large variety of original multi-cultural and multi-lingual dance songs in America and Japan. (Check out their 2020 EP Find New Way\, and new videos!) They affiliated with the local Ann Arbor music label/collective Oddfellow Music\, which later became Willis Sound. Having completed 5 albums\, along with music videos and documentaries with October Babies\, Santos and Shiiki became interested in filmmaking\, and this led to the full-length movie Threshold: Whispers of Fukushima in 2015. This project focuses on the lives of several musicians who have chosen to live in their homeland of Fukushima\, Japan\, despite the devastation of earthquake and tsunami\, the threat of the failing nuclear reactor\, and even persecution by fellow human beings. By 2019\, they completed three more films inspired by creative relationships they formed in Fukushima (Over the Sky\, Passing the Baton\, and Up the Mountain)\, as well as the film We Women Weave\, about the Moonseed Movement Troupe. \n\n\n\nThe creative relationships formed in the making of Threshold have continued to grow. For example\, in 2016\, Santos and Shiiki co-organized a partnership with the University of Michigan Center for World Performance Studies\, the Center for Japanese Studies\, and SMTD\, to invite the fiery Japanese youth drum ensemble Yamakiya Taiko to perform at the University of Michigan for The Fukushima Tribute Concert/Residency. This week-long event began with a thunderous concert at the Power Center and continued with a bunch of rousing Taiko workshops around campus and town. The ensemble premiered a new work Santos wrote for them and a cadre of U-M student drummers\, called “Armadillo Flow.” Check out the video! \n\n\n\nSantos has been on the Michigan local original music scene for XX years\, with bands October Babies\, The Crossed Lines\, 16 More Miles\, and Citygoat\, and he’s hosted several long-running Open Mic stages in the area. These days\, he’s possessed by a fresh passion for practicing – learning\, unlearning\, all day every day – memorizing poetry\, investigating inventions of Bach and Bruce Lee\, and Vince Gilligan\, enjoying sound. \n\n\n\n\nWind Ensemble\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-6/
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/2024/05/UNCG-Wind-Ensemble-Web-2400px.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241009T193000
DTEND;TZID=America/New_York:20241009T210000
DTSTAMP:20260516T220221
CREATED:20240717T204827Z
LAST-MODIFIED:20241009T142848Z
UID:10001125-1728502200-1728507600@vpa.uncg.edu
SUMMARY:Symphony Orchestra
DESCRIPTION:Program\n\n\n\nJungho Kim\, conductorFranck Fontcouberte\, guest conductorAngela Moretti\, bassoonDaisy Schön\, soprano \n\n\n\nWEBER Concerto for Bassoon in F Major\, op. 75 \n\n\n\nBIZET Suite No. 1 from Carmen \n\n\n\nBOULANGER D’un Matins de printemps \n\n\n\nGOUNOD Musique de ballet de Faust“Je veux vivre” from Roméo et Juliette \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\nhttps://youtube.com/live/brdiyduH_CE?feature=share\n\n\n\n\n\nAbout the Artists\n\n\n\n\nAngela Moretti is currently in her first year of study for the Doctor of Musical Arts degree at the University of North Carolina at Greensboro. She holds a Master’s degree from the University of Central Florida and a Bachelor of Music Education degree from Florida State University. Prior to her time at UNCG\, Ms. Moretti was the Adjunct Lecturer of Bassoon at Texas Lutheran University and served in the U.S. Army as a member of the 8th Army Band in South Korea and the 323d Army Band in Texas. While serving as an Army musician\, she performed in hundreds of concerts\, festivals\, and clinics in South Korea and the United States. Prior to her Army service\, Angela was a music teacher at Lakewood Park Elementary School in Florida and held positions with several regional orchestras across Florida and Texas. Her small business\, Laughing Crow Bassoon Reeds\, specializes in handmade bassoon reeds and supplies for amateur and professional bassoonists. In her spare time\, Angela enjoys hiking\, nature photography\, freelance graphic design\, and spending time with her rescued greyhound\, Sarge. \n\n\n\n\n\n\n\nMs. Daisy Schön\, she/her\, is a classical soprano pursuing her Masters at UNCG. She studies with Dr. Robert Wells and is in the Vocal Pedagogy track. Daisy graduated from Indiana University with a BM degree in Vocal Performance where she studied with Dr. Brian Gill. While at IU\, Daisy sang in numerous opera choruses\, oratorios\, and premiered contemporary vocal solo works. Last summer\, Ms. Schön sang at the Collaborative Piano Institute at Louisiana State University\, where she sang in masterclasses with master teachers of collaborative piano and premiered a set of music written for her and Mengyao Zhao by Steven Naylor. Daisy also teaches a vibrant studio and maintains an interest and focus on trauma-informed teaching practices. She strives for a compassionate\, joyful\, and mindful approach to her musicianship and facilitating. \n\n\n\n\n\n\n\nFranck Fontcouberte is the artistic director of the Contrepoint instrumental ensemble\, the «MusicaSète» festival\, the «Rencontres Gigeantesques»\, the Ensemble Vocal et Instrumental de Montpellier and the Chorale de Sète\, Conductor of the United Strings of Europe in London. \n\n\n\nAfter working as conductor with David Robertson\, Zoltan Pesko\, Armin Jordan and Pierre Boulez\, he gives numerous concerts in France and abroad with his own orchestras and as guest conductor in Florence\, Rome\, Riga\, Athens\, Istanbul\, Barcelona\, Prague\, Salzburg\, Johannesburg\, Belgrade\, Kotor\, Novisad\, London\, Geneva\, Lausanne\, Beirut and Merida. \n\n\n\nAlongside his career as Music Director and Conductor\, Franck Fontcouberte is a professor of instrumental ensembles at the Regional Conservatory of Montpellier Méditerranée Métropole. He founded the International Academy of Conducting\, which provides opportunities for young conductors from around the world to develop under his guidance. He was invited by the Université Notre Dame de Beyrouth to give master classes between 2016 and 2020. \n\n\n\nFranck Fontcouberte has recorded many instrumental and lyrical works\, including: La Belle Hélène by Jacques Offenbach\, the Coronation Mass by Franz Liszt\, the Requiem by Giuseppe Verdi\, Norma by Vincenzo Bellini\, Valses et Polkas by Johann Strauss\, Sacred and Profane Dances by Claude Debussy\, Music for strings\, percussion and celesta by Béla Bartók\, Serenade for strings by Tchaikosvki\, by Dvorak\, by Elgar\, the Chamber Symphony by Shostakovitch\, the Concert for violin and percussion on Balkan themes in world premiere by Mateja Marinkovic. His latest album «In motion» under the Swedish label Bis was released in November 2020. It presents the work «Maralinga» by the Australian composer Matthew Hindson with the New Zealand virtuoso violinist Amalia Hall. \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-6/
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/2023/10/uncg-symphony-orchestra.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241008T193000
DTEND;TZID=America/New_York:20241008T210000
DTSTAMP:20260516T220221
CREATED:20240715T193358Z
LAST-MODIFIED:20240915T174540Z
UID:10001116-1728415800-1728421200@vpa.uncg.edu
SUMMARY:Symphonic Band
DESCRIPTION:Program\n\n\n\nJonathan Caldwell\, conductorPatty Saunders\, graduate conductor \n\n\n\nBERNSTEIN Slava! \n\n\n\nZARE Deep Underground \n\n\n\nPRICE The Old Boatman and Adoration \n\n\n\nNELHÝBEL Trittico \n\n\n\nTHOMAS Magneticfireflies \n\n\n\nMÁRQUEZ Conga del fuego nuevo \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\nhttps://youtube.com/live/jmne1tM7s3s?feature=share\n\n\n\n\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.
URL:https://vpa.uncg.edu/single-event/symphonic-band-5/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
END:VEVENT
END:VCALENDAR