Dona Nobis Pacem

EXPERIENCE MUSIC

university of georgia symphony orchestra and combined choirs

dona nobis pacem

grant us peace

ralph vaughan williams over 300 student musicians

by

plus: sinfonia concertante for violin, viola and orchestra

by w. a. mozart, featuring michael heald, violin, and maggie snyder, viola

friday, april 26 at 7:30 p.m.

hodgson concert hall uga performing arts center, 230 river rd, athens, ga

composed

dona nobis pacem

University of Georgia Symphony Orchestra

Mark Cedel, conductor

University of Georgia Hodgson Singers

Daniel Bara, conductor

University of Georgia Men and Women’s Glee Club

University of Georgia University Chorus

Sarah Frook Gallo, conductor

Friday, April 26, 2024 at 7:30 p.m.

Hugh Hodgson Concert Hall

UGA Performing Arts Center

PROGRAM

Sinfonia Concertante in E Flat for violin, viola, K.364

I. Allegro

II. Andante

III. Presto

Michael Heald, violin, Maggie Snyder, viola

INTERMISSION

I. Agnus Dei

II. Beat! Beat! Drums!

III. Reconciliation

IV. Dirge For Two Veterans

V. The Angel of Death

VI. O Man Greatly Beloved

Lauren LaBarre, soprano, Joshua Wagner, baritone

W.A Mozart

Ralph Vaughan Williams

Dona Nobis Pacem

I. Agnus Dei

Text and Translations (Latin Mass)

Agnus Dei qui tollis peccata mundi, Dona nobis pacem

II. Beat! Beat! Drums!

Text (Walt Whitman):

Beat! beat! drums! – blow! bugles! blow!

Through the windows – through the doors – burst like a ruthless force,

Into the solemn church, and scatter the congregation,

Into the school where the scholar is studying;

Lamb of God, that takest away the sins of the world, Grant us thy peace.

Leave not the bridegroom quiet – no happiness must he have now with his bride,

Nor the peaceful farmer any peace, ploughing his field, or gathering in his grain,

So fierce you whirr and pound you drums – so shrill you bugles blow.

Beat! beat! drums! – blow! bugles! blow!

Over the traffic of cities – over the rumble of wheels in the streets;

Are beds prepared for the sleepers at night in the houses? No sleepers must sleep in those beds,

No bargainers’ bargains by day – would they continue?

Would the talkers be talking? would the singer attempt to sing?

Then rattle quicker, heavier drums – you bugles wilder blow.

Beat! beat! drums! – blow! bugles! blow!

Make no parley – stop for no expostulation,

Mind not the timid – mind not the weeper or prayer,

Mind not the old man beseeching the young man,

Let not the child’s voice be heard, nor the mother’s entreaties,

Make even the trestles to shake the dead where they lie awaiting the hearses,

So strong you thump O terrible drums – so loud you bugles blow.

III. Reconciliation

Text (Walt Whitman):

Word over all, beautiful as the sky, Beautiful that war and all its deeds of carnage must in time be utterly lost,

That the hands of the sisters Death and Night incessantly, softly, wash again and ever again this soiled world;

IV. Dirge For Two Veterans

Text (Walt Whitman):

The last sunbeam

Lightly falls from the finished Sabbath, On the pavement here, and there beyond it is looking Down a new-made double grave.

Lo, the moon ascending, Up from the east the silvery round moon, Beautiful over the house-tops, ghastly, phantom moon, Immense and silent moon.

I see a sad procession, And I hear the sound of coming full-keyed bugles, All the channels of the city streets they’re flooding As with voices and with tears.

I hear the great drums pounding, And the small drums steady whirring, And every blow of the great convulsive drums Strikes me through and through.

For the son is brought with the father, In the foremost ranks of the fierce assault they fell, Two veterans, son and father, dropped together, And the double grave awaits them.

For my enemy is dead, a man divine as myself is dead,

I look where he lies white-faced and still in the coffin – I draw near,

Bend down and touch lightly with my lips the white face in the coffin.

Now nearer blow the bugles, And the drums strike more convulsive, And the daylight o’er the pavement quite has faded,

And the strong dead-march enwraps me.

In the eastern sky-up buoying, The sorrowful vast phantom moves illumined, ‘Tis some mother’s large transparent face, In heaven brighter growing.

O strong dead-march you please me!

O moon immense with your silvery face you soothe me!

O my soldiers twain! O my veterans passing to burial!

What I have I also give you.

The moon gives you light, And the bugles and the drums give you music, And my heart, O my soldiers, my veterans, My heart gives you love.

V. The Angel of Death

The Angel of Death has been abroad throughout the land; you may almost hear the beating of his wings. There is no one as of old….. to sprinkle with blood the lintel and the two side-posts of our doors, that he may spare and pass on.

John Bright

Dona nobis pacem.

We looked for peace, but no good came; and for a time of health, and behold trouble!

The snorting of his horses was heard from Dan; the whole land trembled at the sound of the neighing of his strong ones; for they are come, and have devoured the land….. and those that dwell therein…..

The harvest is past, the summer is ended, and we are not saved….

Is there no balm in Gilead?; is there no physician there? Why then is not the health of the daughter of my people recovered?

Jeremiah 8: 15-22

VI. O Man Greatly Beloved

‘O man greatly beloved, fear not, peace be unto thee, be strong, yea, be strong.’

Daniel 10: 19

‘The glory of this latter house shall be greater than of the former…. and in this place will I give peace.’

Haggai 2: 9

‘Nation shall not lift up a sword against nation, neither shall they learn war any more. And none shall make them afraid, neither the sword go through their land. Mercy and truth are met together; righteousness and peace have kissed each other. Truth shall spring out of the earth, and righteousness shall look down from heaven. Open to me the gates of righteousness, I will go into them.

Let all the nations be gathered together, and let the people be assembled; and let them hear, and say, it is the truth.

And it shall come, that I will gather all nations and tongues. And they shall come and see my glory. And I will set a sign among them, and they shall declare my glory among the nations.

For as the new heavens and the new earth, which I will make, shall remain before me, so shall your seed and your name remain for ever.’

Glory to God in the highest, and on earth peace, good-will toward men.

(Adapted from Micah 4: 3, Leviticus 26: 6, Psalms 85: 10, and 118: 19, Isaiah 43: 9, and 66: 18-22, and Luke 2: 14)

Dona Nobis Pacem (40’)

Composed by Ralph Vaughan Williams

Ralph Vaughan Williams’ choral/orchestral work, Dona Nobis Pacem, stands as a powerful and poignant testament to the composer’s deep humanity and his unwavering commitment to peace. Composed in 1936, against the backdrop of rising political tensions and the looming threat of another world war, the piece is a plea for peace and understanding in a world torn apart by conflict and strife. It was premiered by the Huddersfield Choral Society on October 2, 1936, conducted by Albert Coates. Vaughan Williams, arguably among the most influential and important British composers of the 20th century and a pupil of several compositional giants of the earlier generation, including Hubert Parry, Charles Stanford, and Maurice Ravel, had by that time served as the editor of the English Hymnal (1906) and composed landmark staples of the repertoire including A Sea Symphony (1909), Fantasia on a Theme of Thomas Tallis (1910) and A London Symphony (1914). Of significance to this work, he volunteered for military service during World War I as he was approaching the age of 40, driving ambulance wagons in France and Greece as a private in the Royal Army Medical Corps. The title of the work and the recurring pleas throughout the work, “Dona nobis pacem,” Latin for “Grant Us Peace”, is sung by choir and soloist alternately with urgency and distress as well as calm reassurance, and suggests the precariousness of mankind’s ability to remain in a state of peace. The progression of six movements, many of which seamlessly progress into the next, explore different aspects of war, peace, and the human experience. Most of the English text of work is by the great American transcendental poet, Walt Whitman (1819-1892). The opening movement commences with a solemn and prayerful invocation for peace. The music is haunting and introspective, with the choir, soprano soloist, and orchestra weaving a tapestry of sound that evokes a sense of longing and yearning. The second movement, “Beat! Beat! Drums!”, offers stark contrast. The music is aggressive and relentless, capturing and grotesquely extolling the chaos, human price, and brutality of war. The relentlessness of the pounding rhythms and dissonant harmonies create a sense of urgency and unease. “Reconciliation,” which follows, offers hope amidst the darkness of war with music that is consoling and lyrical. Here the baritone soloist and choir sing of forgiveness and redemption in some of the most beautiful and intimate music of the entire work.

The fourth movement, “Dirge for Two Veterans,” is a poignant and compelling reflection on the cost of war as it describes the funeral procession to the double grave of father and son soldiers killed in battle. This powerful centerpiece of the work is both somber, grandiose, and reflective, with the choir mourning the loss of life and the futility of conflict. The inexorable drive of the funeral march, the haunting melodies, and the rich poetic imagery evoke a sense of grief and loss that is deeply moving. The fifth movement, “The Angel of Death,” is a meditation on the horror and devastation of war. Based on texts by John Bright and the booksof Jeremiah from the Old Testament, the music is dark and foreboding, with the choir and soloists bitterly singing of death and destruction and war’s hopeless despair and unanswered prayers. The dissonant harmonies and unsettling rhythms create a sense of dread, underscoring the tragic consequences of violence and conflict. The baritone soloist heroically ushers in a sense of hope as the final movement begins, suggesting that a rebuilt world will be greater than the former and will be a place peace. Adapted from several Biblical texts, this exuberant and joyous movement builds to a powerful climax, with the voices rising in a triumphant cry for good will toward humankind. The piece ends on a

hopeful note with the return of the soprano soloist offering the final, unaccompanied iterations of “pacem.” In “Dona Nobis Pacem,” Vaughan Williams has created a work of profound beauty and emotional depth. Since its premiere, it has remained a staple in the choral/orchestral repertory, and is a favorite of singers and audiences alike for its beauty, drama, and poetic message.

Sinfonia Concertante in E-Flat Major for Violin and Viola, K. 364 (32’) scored for: two oboes, two horns, strings, solo violin and solo viola.

In 1779, Mozart was working under Archbishop Colloredo in Salzburg, and the composer felt chained and imprisoned to make music. Mozart’s recent tour around Mannheim and Paris gave him a new perspective and started experimenting with the genre, Sinfonia Concertante. These works combined elements of both symphonies and concertos. Later, it could be called a double concerto for violin and viola. The soloists’ dialogue is an animated conversation that ranges through a series of topics and moods, each soloist contributing equally to the musical flow.

The Sinfonia Concertante is in three movements, adhering to the conventional fast-slow-fast structure of the Classical period. The first movement is characterized by its spirited opening theme presented by the orchestra, the dotted rhythm referencing the rhythmic practices of the music Mozart encountered in Mannheim. Also influenced by this tour was the famous Mannheim crescendo at the end of the introduction, in effect a musical climax, as apposed terrace dynamics from the Baroque era. The second movement echoes with lamenting arias of the operatic stage. The mournful violin and the consoling viola suggest an operatic duet, and the emotional depth of the movement has been interpreted by Maynard Solomon, a musicologist, as embodying Mozart’s reaction to the recent death of his mother. The concluding third movement has a force of energy and vitality, a joyous theme sparking a lively exchange between the soloists and the orchestra. Mozart’s technique for melodic invention is apparent in the playful themes with the violin and viola taking turns to embellish and develop the material. The movement gathers momentum, building to a brilliant finale that showcases the combined talents of soloists and orchestra.

SOLOIST BIOGRAPHIES

Violist Maggie Snyder is Professor of Viola at the University of Georgia, Principal Violist of the Chamber Orchestra of New York, with whom she records for Naxos, and is on the Artist-Faculty of the Brevard Music Festival. She has performed solo recitals, chamber music, concertos and as an orchestral musician throughout the United States and abroad in such halls as the Kennedy and Kauffman Centers, all three Carnegie Halls, Merkin Hall, Spivey Hall, and the Seoul Arts Center, and in the UK, Greece, Korea, and Russia. She was a semi-finalist of the 2001 Primrose International Viola Competition, made her recital debut in Weill Recital Hall at Carnegie Hall with her sister duo, Allemagnetti in 2009, and has released 4 solo recordings since 2012 on the Arabesque Label and one collaborative album on Parma. These recordings feature world premiere works commissioned from Thomas Pasatieri, Garrett Byrnes, Kamran Ince, Libby Larsen, Gabriela Lena Frank, Gity Razaz, and her next recording (2024) features commissioned works by Mary Kouyoumdjian and Tessa Lark. She has given masterclasses, clinics, and performances at universities and music schools throughout the country and abroad and has served on the faculties of West Virginia University, Ohio University, and the University of Alabama. She was the recipient of the 2018 University of Georgia’s Creative Research Medal in the Humanities and Arts, and was the 2023 Sandy Beaver Teaching award winner at UGA.

Michael Heald is currently Associate Professor of Violin at the Hugh Hodgson School of Music, University of Georgia. He primarily studied with Emanuel Hurwitz and Richard Deakin in England, and then at Michigan State University with Walter Verdehr. Michael has performed in a multitude of settings, collaborating with artists such as Peter Frankl, Joseph Lin, and Ralph Votapek in chamber music. He has performed throughout Europe and the United States as an orchestral musician, playing and recording in such orchestras as the Philharmonia, the BBC Philharmonic, and the English String Orchestra. Conductors include Simon Rattle, Yehudi Menuhin, and Valery Gergiev. He was concertmaster of both the Lansing and Jackson Symphony Orchestras, and a member of the American Sinfonietta. He recorded sonatas by Beethoven and Elgar, as well as commissioned and recorded works by Leonard Ball, both available on Arabesque. He has given master classes and clinics at national conferences and festivals, and most recently at the Royal College of Music. A career highlight was his performing The Lark Ascending for Queen Elisabeth II. He has been on the faculties of the Montecito Music Festival in California and the Wintergreen Festival in Virginia, and he currently performs at the Bellingham Festival of Music in Washington and the Hamptons Festival of Music on Long Island, New York.

Lauren LaBarre is a fourth-year undergraduate pursuing her Bachelor’s of Music in Vocal Performance. Lauren has been a part of the opera scenes program since sophomore year, and played as the lead character, Alice, in the UGA student-led and student-composed premiere of children’s opera, Down the Rabbit Hole, last fall. She has also had the privilege to sing as a soloist in oratorio selections alongside UGA’s Hodgson Singers, Repertory Singers, and University Chorus. She is incredibly excited for this opportunity and is thankful for her voice teacher Dr. Petrongelli for her guidance, the entire opera staff and her castmates for their never-ending support.

Joshua Wagner, from Alexandria, Kentucky, enjoys a versatile and collaborative musical career,

having a background as a vocalist, pianist, educator, and conductor. Joshua received the Bachelor of Music Degree in Music Education from Eastern Kentucky University (EKU) and is currently pursuing a master’s degree in Choral Conducting at the University of Georgia. As an active church musician, Joshua has experience leading music for a variety of denominations and is currently the director of music at First Christian Church of Watkinsville, and Organist/Cantor at St. Joseph Catholic Church of Athens. As a pianist, Joshua maintains an active accompanying schedule and has played for many choirs in the central Kentucky area. Joshua has performed with the EKU Jazz Ensemble and was the accompanist for the EKU Musical Theatre program.

In 2022, Joshua was selected to receive EKU’s Robert Whitt Award in Choral Excellence, and Joshua was declared the first-place winner of the EKU Barry McCauley vocal competition. Joshua has performed for notable artists like Dr. Jeremy Huw Williams, Cynthia Lawrence, Dr. Kimberly Lazzeri, Katherine Keen, Dr. Joyce Hall Wolf, and Dr. Mark Kano.

The University of Georgia Symphony Orchestra performs during the “Hapy Birthday, Anton Bruckner” concert in Hodgson Concert Hall on February 26, 2024. Photo by Shaun Baer.

VIOLIN I

Carlos Brena, concertmaster

Molly Schneider, assistant concertmaster

Alexis Boylan

Jhonni Campos

Lyu Lian

Zeyu Yuan

Sarah Nienhiser

André Araújo de Souza

Sean Smith

Brian Roach

Adelmo Giménez

Lucas Nyman

Alicia Li

Ellis Kim

Simms Murray

Sarah Ling

VIOLIN II

Clarissa Tamara, principal

Sage Codispoti,  assistant principal

Chelsea Afful

Kiera Johnson

Nicholas Olmstead

Shazan Samnani

Rebekah Kim

Rea Aiyer

Lauren McClary

Andreea Barca

Ranjani Vasudevan

Jen Edwards

Athziri Moreno-Martinez

Gianna DiMuzio

Eileen Chong

Mark Cedel, Conductor

Nicholas Han, Assistant Conductor

VIOLA

Bryan Johnson, principal

Nina Nagarajan,  assistant principal

Kailey Ford,  assistant principal

Jensi Perng

Anna Murphy

Jodie Stone

Mason Minutella

Daniel Boscan

Ashley Belcher

Clinton Stempien

Libby Zavadil

Seneca Fisher

CELLO

Zachary Helms, principal

Gabriella McClellan, assistant principal

Thomas LaMon

Joshua Aderhold

Ian Koontz

Tristan Dempsey

Olivia Durrence

Charlton Hills

William Slater

Kemp McArthur

BASS

Daniel Pina, principal

Bianca Wilson,  associate principal

Wueliton Zanelatto

Dal Pont, assistant principal

Austin Carter

Ricardo Karelisky

Jordan Askew

Madeleine Bower

Victor V. Costa

FLUTE

Yinzi Zhou, principal

Dylan Abbott

Rachel Lee, piccolo OBOE

Marissa Ankeny, principal

Gracee Myers

Brenna Sexton

Michelle Moeller

CLARINET

Sarah Christi, co-principal

Tan Charintranount, co-principal

BASSOON

Caleb Jackson,  principal

Hsin Cheng

Yamilet Anariba, contra HORN

Joseph Johnson,  principal

Joshua Wood

Marianna Schwark

Gracie Gambrell

Charles Dunn

TRUMPET

Jake Landau,  principal

Toby Johnson

TROMBONE

Danny Alford, principal

Benjamin Novo

Elizabeth Toles, bass trombone

TUBA

Hunter Kane

PERCUSSION

Patrick Sorah, principal

Euan Maley

William Collins

Thomas Huff

HARP

Isabel Hardy

LIBRARIAN

Molly Schneider

PERSONNEL and PRODUCTION

Ricardo Karelisky Deho

Sarah Frook Gallo, conductor

Thomas Dixon, graduate assistant

Diego Suarez, pianist

Sopano

Diana Aviña

Shari Barnes

Jackie Broadwell

Ansley Bryan

Carina Cardoso de Araujo

Sae Cenicola

Sherry Downy

Jeffery D. Fairley, II

Neha Gregory

Abigail Hallman

Celine Houenou

Charlotte Howard

Hali Jang

Jasmine Jensen

Kumiko Kashii

Jacqueline Kerr

Beata Kochut

Natalie Kramer

Rachel Yoonseo Lee

Jennifer Luo

Adelaide Mangum

Emaline Newbury

Caitlien Nguyen

Camilla Nivison

Hannah Perdue

Audrey Raynor

Eva Rivers

Stella Schroter

Angela Stewart

Emily Theisen

SJ Ursrey

Charlotte Varnum

Susan Virkler

Sarah Visser

Sung-Eun Yang

Alto

Mariah Arnold

Nora Avery

Katie Boyle

Emma Carbo

Shirley Chen

Grace Deaton

Ansley Dyer

Macey Dyer

Emma Gile

Lilia Goldberg

Marjanne Goozé

Sadie Hammond

Elise Hearn

Rhonda Herring

Maya Iyer

Elizabeth Izzo

Beth Lewis

Grace Lorys

Hanna Marston

Alexandria McConkey

Susan McLeish

Kathryn Miller

Paola Mora Galazzo

Ally Murari

Laura O’Neill

Colette Pampu

Lillie Reihing

Ashley Rutledge

Sneha Sharma

Annabel Shue

Angela Smith

Rebecca Smith

Seaton Stiles

Audrey Ta

Jenna Vidal

Beth Weigle

Karen WhelchelRedwine

Lauren Wiggins

Sandy Woods

Anna Wright

Sylveste Zimmerman

Tenor

Martin Arnade

Benjamin Burnham

Thomas Dixon

Paul Downy

Aram Gallman

David Harvey

Chris Herring

Rayvon Love

Daniel Shafer

Bass

Jayden Chong

Robert Freedman

Finnegan Howard

Patrick Humes

Aakash Joshi

Andres Matlock

Stephen Pollard

John Royal

Braden Rymer

Kostandinos

SalamanopoulosRymer

Benjamin Sharp, Calvin Stovall

Liam Taylor

Aidan Thompson

Kenny Tsao

Nathan Vazquez

Josh Wagner

Gary Weed

Dellar Weldon

Soprano I

Kait Bouman

Zaria Doss

Caroline Echols

Phoebe Feibus

Lizzie Gesner

Mia Hansen

Scarlett Oetting

Shaohanna Pace

Margaret Wilson

UNIVERSITY OF GEORGIA WOMEN’S GLEE CLUB

Sarah Frook Gallo, conductor

Rayvon Love, graduate teaching assistant

Diego Suarez, pianist

Soprano II

Eliza Gavin

Adrianna Hernandez

Abby Herring

Sarah Hickman

Laurel McFarland

Hannah Perdue

Amanda Robinson

Mikayla Schuster

Ansleigh Seay

Shayna Suddeth

Emilie Sullivan

Audrey Vasquez

Laura Weeks

Rita Zheng

Alto I

Lucy Smith Biemiller

Katie Beth Brewer

Grace Deaton

Julie Goodner

Lucy Goodwin

Lucy Kellam

Caroline Malcom

Emma Sue Mitchell

Brenna Pursley

Sydney Shankman

Danielle Vergara

Linda Williams

UNIVERSITY OF GEORGIA MEN’S GLEE CLUB

Alto II

Stella Babb

Kailey Bridgette

Bella Castaño

Elisa Garcia-Carreras

Alondra Hernandez-Vega

Shelby Miller

Ava Rogers

Marlee Van Mullekom

Tenor I

Cutter Hayes

Trevor Hyatt

Daniel Shafer

Sarah Frook Gallo, conductor

Joshua Wagner, graduate assistant

Haoying Wu, collaborative pianist

Tenor II

Jr Banitt

Ian Harding

Thomas Hotard

Rayvon Love

Andrew Newman

Connor Perrine

Arthur Radosavljevic

Judson Stricklin

Bass I

Bennett Brock

Benjamin Brown

Thom Dixon

Carter Hoff

Peter Kandra

William Lam

Sam Son

Jay Sureka

West Clayton

Joshua Wagner

Bass II

Cameran Butryn

Benjamin Daugherty

Jackson Hamilton

Aaron Knapp

Braden Rymer

Miller Vaughan

Sopano

Livy Baxley

Ava Bogarde

Zaria Doss

Phoebe Feibus

Victoria Goodnature

Cara Jensen

Lauren LaBarre

Joy McCarthy

Grace Ann Miller

Allessandra Sayers

Nova Senkyrick

Meera Srinivasan

Hope Unger

Audrey Vasquez

Daniel Bara, conductor

Thomas Dixon, graduate assistant

Saeram Jang, rehearsal accompanist

Alto

Maddie Alexander

Marianna Baccus

Cameron Coates

Olivia Crerie

Elle Dignam

Sarah Dudley

Nayu Kim

Ally Murari

Danielle Olivares

Lillie Sims

Taya Taylor

De’Nasia Thomas

Marlee VanMullekom

Danielle Vergara

Tenor

Zachary Andersen

Colton Carter

Noah Colwell

Aidan Eclavea

Rayvon Love

Will Pollard

Julian Riviera

Pierce Roberts

Daniel Shafer

Demetreon Wells

Bass

JR Banitt

Milo Bauman

Joshua Dixon

Thomas Dixon

Barrett Meadows

Tyler Newton

Jonas Roemer

Braden Rymer

Miller Vaughan

Josh Wagner

UNIVERSITY OF GEORGIA HODGSON SINGERS

The UGA Hodgson Singers performing in Hodgson Concert Hall on October 20, 2023. Photo by Shaun Baer.

EXPERIENCE MUSIC

UPCOMING PERFORMANCES

MON 4/29

3:30 p.m.

Ramsey Hall, UGA PAC

FREE CONCERT

NO TICKETS REQUIRED

MON 4/29

7:30 p.m.

Hodgson Hall, UGA PAC

FREE CONCERT

NO TICKETS REQUIRED

SUPPORT THE THURSDAY SCHOLARSHIP FUND

REPERTORY

UGA SINGERS PHILHARMONIA

MICHAEL MICHAEL HEALD VIOLIN

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In addition to our primary Support and Scholarship Funds, many specialized areas of interest, including our orchestra and choral programs, have support and scholarship funds you can contribute to directly. You can now learn more about all the ways and areas you can support the Hugh Hodgson School of Music. Scan the QR code or visit music.uga.edu/giving-and-alumni to the support the Hugh Hodgson School of Music area of your choice.

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Gifts of all amounts are greatly appreciated. However, annual giving at the $1,500 level and higher provides membership in the Director’s Circle, our Hugh Hodgson School of Music Honor Roll. Director’s Circle members are invited to exclusive events and performances throughout the academic year.

For large gifts, please contact Melissa Roberts at roberts@uga.edu or 706-254-2111.

THANK YOU FOR YOUR CONTINUED SUPPORT OF THE UNIVERSITY OF GEORGIA HUGH HODGSON SCHOOL OF MUSIC.

Thom Dixon & Rayvon Love, conductors

Nicholas Han, conductor

Hugh Hodgson School of Music 2024-25 Performance Season

Imagine

Po ibiliti the

Plus:

CULTURAL EXCHANGE TO KENYA

SOUTHEASTERN HORN WORKSHOP

NEW DEVELOPMENTS IN VOICE AND OPERA

EXPANDED OPTIONS FOR GIVING

STUDENT, ALUMNI, AND FACULTY HIGHLIGHTS

SUN 5/12

3 p.m.

Ramsey Hall, UGA, 230 River Road

CELEBRATING INTERNATIONAL MUSICAL EXCELLENCE RIGHT HERE IN ATHENS!

History of Tango

A celebration of the history of tango, including colorful chamber works by Luigi Boccherini and Manuel De Falla plus original compositions by JP Jofre.

Guest Artists: JP Jofre, bandoneon, Itamar Zorman, violin Plus Chamber Music Athens Orchestra

FRI 5/17

7:30 p.m.

Day Chapel at the State Botanical Garden of Georgia 2450 S. Milledge Ave.

An Evening in Paris

TUES 5/14 From Opera To Hip-Hop: A Celebration Of American Voices

7:30 p.m.

Morton Theatre 195 Washington St. Donations accepted at venue.

A celebration of African-American musical excellence across styles and genres at the historic Morton Theatre in downtown Athens. This concert is free.

Guest artists: Joshua Stewart, tenor; Squallé, hip-hop artist Lemuel LaRoche, poet, Montu Miller as MC

7:30 p.m.

Georgia Museum of Art 90 Carlton St.

The centerpiece of the first half of the program is Debussy’s sensuous and rarely heard Sonata for Flute, Viola, and Harp. Also included Bizet, Saint-Saëns and Poulenc. Seating is limited.

THURS 5/16 “Dispersions In Watercolor”New Multi-Disciplinary Music At The Georgia Museum Of Art

Guest artist: Amy Yang, piano

At the heart of modern chamber music is the creation of new music. Includes three

SUN 5/19

7:30 p.m.

Guest artists: Amy Yang, piano, Itamar Zorman, violin

Melissa Reardon, viola, Elisabeth Remy Johnson, harp

First Baptist Church 255 Pulaski St.

The Art of the String Quartet

Includes transcendent, monumental masterpiece, Schubert Quintet, with David Starkweather, String Quartet in D minor by Sibelius and a short work by JamaicanBritish composer Eleanor Alberga.

Guest artists: Borromeo String Quartet

TUES 5/21

7:30 p.m.

Ramsey Hall, UGA PAC 230 River Road

Chamber Music Athens Gala Finale

Guests lead an ensemble of UGA faculty and students in Bach’s exuberant Brandenburg Concerto No. 3., plus Tchaikovsky’s virtuosic string sextet Souvenir de Florence.

Guest artists: Borromeo String Quartet

Internationally acclaimed guest musicians join UGA Faculty and students for a series of six concerts in venues throughout Athens. Visit chambermusicathens.org for details and tickets!

CHAMBER MUSIC ATHENS CO-SPONSORS INCLUDE:

First Baptist Church Athens

First Presbyterian Church of Athens

State Botanical Garden of Georgia

Generous contributions by individual supporters