FACULTY CHAMBER ENSEMBLES THREE Table for
JANAU
MONDAY, OCTOBER 28, 2024 at 7:30 p.m.
RAMSEY CONCERT HALL
TABLE FOR THREE AT CHEZ JANAU
Monday, October 28, 2024 at 7:30 p.m.
Ramsey Concert Hall
UGA Performing Arts Center
PROGRAM
Table for Three at Chez Janau
Paris 1899
Passacaglia
Reflective
Blues in 3
Piano Trio #2 in B minor, op.76
Jean Martin-Williams, horn
Matthew Shipes, tuba
Alan Woo, piano
Paul Ferguson (b. 1969)
Joaquin Turina (1882-1949)
Lento - Allegro molto moderato
Molto vivace
Lento - Andante mosso
Shakhida Azimkhodjaeva, violin
James Kim, cello
Alan Woo, piano
I Never Saw Another Butterfly
The butterfly
Yes, that’s the way things are
Birdsong
The Garden Man proposes, God disposes
The Old House
Amy Petrongelli, soprano
Brandon Quarles, saxophone
from Sechs deutsche Lieder, Op. 103 (1837)
Zwiegesang
Das heimliche Lied
Wach auf!
Damon Denton, piano
Elizabeth Johnson Knight, mezzo soprano
D. Ray McClellan, clarinet
Lori Laitman (b. 1955)
Luis Spohr (1784-1859)
Featuring (in order from upper left)
Shakhida Azimkhodjaeva, violin
Damon Denton, piano
James Kim, cello
Elizabeth Johnson Knight, mezzo soprano
Jean Martin-Williams, horn
D. Ray McClellan, clarinet
Amy Petrongelli, soprano
Brandon Quarles, saxophone
Matthew Shipes, tuba
Alan Woo, piano
Table for Three at Chez Janau
Paul Ferguson (b. 1969)
The combination of horn, tuba and piano first came to prominence when Alec Wilder wrote a composition to feature his friends John Barrows, horn, and Roger Bobo, tuba. As conical instruments, the sonorities of the tuba and horn are quite rich together, in contrast to cylindrical instruments like the trumpet and trombone. This instrumentation has been used by several other composers. Dr. John Ericson, horn professor at Arizona State University, commissioned Paul Ferguson to write the piece being played tonight. Paul Ferguson is Director of Jazz Studies at Case Western University and a trombonist. He is the recipient of the 1995 Gil Evans Fellowship in jazz composition. After graduating from the Eastman School of Music, he toured with the Glenn Miller Band and the Tommy Dorsey Band. Chez Janou is a popular bistro in Paris, known for its lively and unpretentious vibe, which can certainly describe Ferguson’s trio, featuring four diverse movements that each carry a common chromatic thread and share light jazz inspired themes, possibly representing the twists and turns of a conversation between three friends.
I Never Saw Another Butterfly
Lori Laitman (b. 1955)
Written in 1996, American composer Lori Laitman’s song cycle, I Never Saw Another Butterfly, features a collection of poems written by children from the Terezin Concentration Camp. Laitman writes, “As I read these poems, the idea of the saxophone as the sole partner to the voice intrigued me — the sound of the saxophone itself could be haunting, soulful, and reminiscent of Klezmer music. The six poems that I chose have widely different imagery, allowing for a variety of musical styles… One cannot help but be touched by the hope and innocence that these children put into their poetry, despite their terrible surroundings.”
The butterfly
Pavel Friedmann (1921-1944)
The last, the very last, So richly, brightly, dazzlingly yellow. Perhaps if the sun’s tears would sing against a white stone … Such, such a yellow Is carried lightly ’way up high. It went away I’m sure because it wished to kiss the world goodbye. For seven weeks I’ve lived in here,
Penned up inside this ghetto. But I have found what I love here. The dandelions call to me
And the white chestnut branches in the court.
Only I never saw another butterfly. That butterfly was the last one. Butterflies don’t live in here, In the ghetto.
PROGRAM NOTES
Yes, that’s the way things are
Koleba – Miroslav Košek (1932-1944), Hanuš Löwy (1931-1944), Bachner (dates unknown)
I. In Terezín in the so-called park
A queer old granddad sits
Somewhere there in the so-called park.
He wears a beard down to his lap
And on his head, a little cap.
Birdsong
Anonymous
He doesn’t know the world at all
Who stays in his nest and doesn’t go out.
He doesn’t know what birds know best
Nor what I want to sing about.
That the world is full of loveliness.
When dewdrops sparkle in the grass
And earth’s aflood with morning light, A blackbird sings upon a bush
To greet the dawning after night.
Then I know fine it is to live.
Hey, try to open up your heart
To beauty; go to the woods someday
And weave a wrath of memory there.
Then if the tears obscure your way
You’ll know how wonderful it is
To be alive.
Man proposes, God disposes
Koleba – Miroslav Košek, Hanuš Löwy, Bachner
I. Who was helpless back in Prague, And who was rich before,
He’s a poor soul here in Terezín, His body’s bruised and sore.
II. Hard crusts he crumbles in his gums, He’s only got one single tooth.
My poor old man with working gums, Instead of soft rolls, lentil soup.
My poor old greybeard!
The garden
Franta Bass (1930-1944)
A little garden, Fragrant and full of roses.
The path is narrow
And a little boy walks along it.
A little boy, a sweet boy,
Like that growing blossom.
When the blossom comes to bloom, The little boy will be no more.
II. Who was toughened up before, He’ll survive these days.
But who was used to servants Will sink into his grave.
The old house
Franta Bass
Deserted here, the old house stands in silence, asleep.
The old house used to be so nice, Before, standing there, it was so nice.
Now it is deserted rotting in silence — What a waste of houses
What a waste of hours.
from Sechs deutsche Lieder, Op. 103 (1837)
Luis Spohr (1784-1859)
Zwiegesang
Im Fliederbusch ein Vöglein saß
In der stillen, schönen Maiennacht, Darunter ein Mägdlein im hohen Gras
In der stillen, schönen Maiennacht. Sang Mägdlein, hielt das Vöglein Ruh’, Sang Vöglein, hört’ das Mägdlein zu, Und weithin klang
Der Zwiegesang
Das mondbeglänzte Thal entlang.
Was sang das Vöglein im Gezweig
Durch die stille, schöne Maiennacht?
Was sang doch wohl das Mägdlein gleich
Durch die stille, schöne Maiennacht?
Von Frühlingssonne das Vögelein, Von Liebeswonne das Mägdelein.
Wie der Gesang
Zum Herzen drang, Vergess’ ich nimmer mein Lebelang!
Poem by Robert Reinick
Duet
In the lilac bush a little bird sat
In the quiet, lovely May night; Below, a maiden sat in the high grass
In the quiet, lovely May night.
When the maiden sang, the bird was quiet, When the little bird sang, the maiden listened, And over a long distance rang out Their duet
Alongside the moon-bright valley.
What was the little bird singing in the branches Through the quiet, lovely May night?
For that matter, what was the maiden singing Through the quiet, lovely May night?
Of the spring’s sun sang the little bird, Of the splendor of love sang the maiden. How that song
Exhilarated my heart, I will never forget for the rest of my life.
Translation copyright © by Emily Ezust, from the LiederNet Archive: www.lieder.net
Das heimliche Lied
Es gibt geheime Schmerzen, Sie klaget nie der Mund, Getragen tief im Herzen
Sind sie der Welt nicht kund.
Es gibt ein heimlich Sehnen, Das scheuet stets das Licht, Es gibt verborgne Tränen, Der Fremde sieht sie nicht.
Es gibt ein still Versinken
In eine innre Welt, Wo Friedensauen winken, Von Sternenglanz erhellt, Wo auf gefallnen Schranken
Die Seele Himmel baut, Und jubelnd den Gedanken Den Lippen anvertraut.
Es gibt ein still Vergehen
In stummen, öden Schmerz, Und Niemand darf es sehen, Das schwergepreßte Herz.
Es sagt nicht was ihm fehlet, Und wenn’s im Grame bricht, Verblutend und zerquälet, Der Fremde sieht sie nicht.
Es gibt einen sanften Schlummer, Wo süßer Frieden weilt, Wo stille Ruh’ den Kummer
Der müden Seele heilt.
Doch gibt’s ein schöner Hoffen, Das Welten überfliegt,
Da wo am Herzen offen Das Herz voll Liebe liegt.
PROGRAM NOTES
The Secret Song
There are secret pains
Whose lament is never tongued; Borne deep in the heart
They are unknown to the world. There is a secret longing That always shies from the light; There are hidden tears A stranger does not see.
There is a quiet sinking Into an inner world
Where peaceful meadows beckon, Lit by the gleam of stars, Where, all boundaries fallen, The soul raises Heaven And with jubilation
Confides its thoughts to the lips.
There is a quiet passing Into silent, desolate pain, And no one is allowed to see That heavy-pressed heart. It does not say what it needs, And though it breaks with grief, Tortured to death and bleeding, The stranger does not see it.
There is a gentle slumber
Where sweet peace abides, Where quiet rest heals the cares Of the weary soul. There is yet a lovely hoping That soars above all worlds, Where, open to another heart, The heart lies filled with love.
Poem by Ernst Koch
Translation copyright © by Allen Shearer, from the LiederNet Archive: www.lieder.net
PROGRAM NOTES
Wach auf!
Was stehst du bange Und sinnest nach?
Ach! schon so lange
Ist Liebe wach.
Hörst du das Klingen Allüberall?
Die Vöglein singen Mit süßem Schall.
Aus Starrem sprießet
Baumblättlein weich, Das Leben fließet
Um Ast und Zweig.
Das Tröpflein schlüpfet
Aus Waldesschacht, Das Bächlein hüpfet
Mit Wallungsmacht.
Der Himmel neiget
In’s Wellenklar, Die Bläue zeiget
Sich wunderbar.
Ein heit’res [Schmiegen]1
Zu Form und Klang,
Ein ew’ges Fügen
Im ew’gen Drang!
Was stehst du bange
Und sinnest nach?
Ach! schon so lange
Ist Liebe wach.
Poem by Rudolf Kulemann
Awaken!
Why do you stand there brooding with fear?
Ah, so long does love stay awake!
Do you hear the ringing all around?
The birds are singing with such sweet sounds.
Soft leaves are sprouting from the rigid branches, Life is flowing through bough and twig.
Little drops are gliding from the forest hollows, The brook leaps with abundant strength.
The heavens bow towards the clear waves, The blueness is wondrously revealed, A bright flourish of shape and sound, An endless yielding to endless impulse.
Why do you stand there brooding with fear?
Ah, so long does love stay awake!
Translation copyright © by Ruth Rainero, from the LiederNet Archive: www.lieder.net
Native of Tashkent, Uzbekistan, Shakhida Azimkhodjaeva graduated from Moscow Tchaikovsky Conservatory. She gave her debut with the Uzbekistan Symphony Orchestra when she was eleven and won the National Violin Competition. She performed with Moscow Tchaikovsky Conservatory Symphony Orchestra under direction of such conductors as Zubin Metha, Pierre Boulez, Valery Gergiev, and many others. As a soloist and chamber musician, she performed in all the major cities of the former Soviet Union in the most prestigious halls such as Moscow Tchaikovsky Conservatory and St. Petersburg Philharmonic concert halls
Ms.Azimkhodjaeva was one of the founders of the Moscow Chamber Orchestra “ARCO”. Since 1989, she has been concertmaster and soloist with the orchestra and has performed extensively in Europe, South Korea, USA, Canada, Brazil, and Kenya. Her performances include numerous appearances at Weill Recital Hall at Carnegie Hall, Moscow Tchaikovsky Conservatory, Teatro la Fenice in Venice, Italy and Teatro Sao Pedro in Porto Alegre, Brazil.
Ms.Azimkhodjaeva joined the violin faculty of the University of Georgia School of Music in 1995.
Damon Denton was born in Charleston, South Carolina and grew up in Severna Park, Maryland. He is a graduate of the Peabody Institute of the Johns Hopkins University and the Juilliard School where he received a Master of Music degree studying under Russian pianist, Oxana Yablonskaya. He has been a faculty accompanist at the University of Georgia since 2010.
During his career Damon has performed concerts in England, Ireland, Mexico, Germany, South Africa and throughout the United States. Venue highlights have included: Lincoln Center’s Alice Tully Hall; Carnegie Hall’s Weill Recital Hall; The University of South Africa; The State Theater of Pretoria; The Royal Dublin Society in Ireland; The Lyric Theater in Baltimore Maryland; The Leighton House Museum in London; The Arlington Theater in Santa Barbara; The United Nations; Le Theatre de Queretaro in Mexico, among others. Denton has performed as collaborator with Fred Mills (UGA professor and former member of the Canadian Brass), with members of the New York, Los Angeles, Philadelphia, Boston, Atlanta, Dallas and San Francisco Symphony Orchestras as well as with soloists from the St. Lukes Orchestra, New York’s “Winds of New Amsterdam”, and the Orpheus Chamber Ensemble. Damon was also a close friend and studio pianist in New York City for the late Metropolitan opera star, Anna Moffo.
James Kim has appeared as soloist with orchestras such as Boston Symphony and Royal Philharmonic, working with conductors David Zinman, Michael Sanderling, Alexander Shelley, Keith Lockhart, onstage at Carnegie Stern Auditorium, Zankel Hall, Boston Symphony Hall, Jordan Hall, and Metropolitan Museum of Art. He has given solo recitals at Carnegie Weill Hall, Greene Space, Seoul Arts Center IBK Hall, and Kumho Art Hall. His performances have been broadcasted on radio stations NPR and WQXR.
He has also collaborated with numerous orchestras in his native Korea, concertizing at Lotte Concert Hall—where he is the first soloist in its history—Tongyeong Concert Hall, Daegu Concert House, Seoul Arts Center, and DITTO Festival. In 2021, Sony Classical released his album Death and Offering presenting works dedicated to him by Korean composer Shinuh Lee.
He is a recipient of Salon de Virtuosi’s Sony Career Grant and a top prizewinner of Isang Yun and David Popper International Cello Competitions. From 2016 to 2021, he performed on a Matteo Goffriller cello from Venice ca. 1715, generously loaned by Samsung Cultural Foundation and Stradivari Society® of Chicago, Illinois.
Elizabeth Johnson Knight, American mezzo soprano, is in demand as both a choral and solo artist. She made her Carnegie Hall debut in 2010 as alto soloist in Handel’s Messiah with Andrew Megill and the Masterwork Chorus. Recent appearances include the role of Madame de Croissy in Poulenc’s Dialogues of the Carmelites with Louisiana Opera and guest solo appearances with the Duke Vespers Ensemble and the University of Illinois Chamber Singers/Sinfonia da Camera. Elizabeth has also sung in professional choral ensembles across the United States, including Orpheus Chamber Singers, Tennessee Chamber Chorus, Vox Humana, Kinnara Ensemble, and the South Dakota Chorale. She is a long-time member of the Chorale of the Carmel Bach Festival. She has recorded with many of these ensembles, including the GRAMMY-nominated Tyberg: Masses album with South Dakota Chorale.
Knight joined the faculty of the University of Georgia’s Hugh Hodgson School of Music in 2016 after holding teaching positions at Southeastern Oklahoma State University, the University of Louisiana, Monroe, Murray State University, the University of North Texas, and Richland College. She is a 2022 recipient of UGA’s Sandy Beaver Excellence in Teaching Award. In addition to private voice, she has taught English, Italian, French, and German Diction, Vocal Pedagogy, and Opera Workshop. Her research interests include assessment techniques for the applied studio and the effects of posture on the acoustics of the singing voice. She has published research in Journal of Voice and has presented papers at the New Voice Educators’ Symposium, the Texoma NATS
Artist Series, and the Performing Arts Medicine Association Symposium. Elizabeth is a graduate of the University of North Texas (DMA), Indiana University (MM), and the University of Mississippi (BM).
Dr. Jean Martin-Williams is Josiah Meigs Distinguished Teaching Professor in the University of Georgia Hugh Hodgson School of Music. She teaches horn, directs the University of Georgia Horn Choir, coaches chamber music, and is a member of the Georgia Woodwind Quintet. Dr. Martin-Williams served for eleven years as the Director of UGA’s Lilly Teaching Fellows program, under the auspices of the Center for Teaching and Learning. She has a passion for teaching and improving pedagogy and served on the University committee that established the First Year Odyssey Seminar program. Since 2016 she has also served as an Associate Dean for the Franklin College of Arts and Sciences as an advocate for the arts and undergraduate instruction. In 2022 she received the University Professor award from UGA.
Before joining the University of Georgia faculty, she was a full-time performer in New York City, performing in a variety of chamber and orchestral settings including the Metropolitan Opera, the Mostly Mozart Festival, and the New York Chamber Symphony. She continues to be an active performer and is a member of the New York Pops Orchestra. During the summer, she has served on the artist faculty of the Brevard Music Center in North Carolina and the Chamber Music Center of the Northeast at Bennington College in Vermont. Dr. Martin-Williams has published in The Horn Call and she is currently a member of the Executive Advisory Committee of the International Horn Competition of America.
Acclaimed for “a remarkable technique, tone and lyricism”, D. Ray McClellan is Professor of Clarinet at the University of Georgia, and a member of the Georgia Woodwind Quintet. Prior to his appointment at University of Georgia he held professorships at James Madison University and Henderson State University. Mr. McClellan is a former clarinetist and soloist with “The President’s Own” United States Marine Band, he has appeared internationally in recitals and as concerto soloist in Canada, Taiwan, Japan, Italy, Brazil, Kenya, Tanzania and the Czech Republic.
McClellan has been principal clarinetist of The Savannah Orchestra, guest principal clarinetist with the Augusta Symphony, Charleston Symphony, Alexandria Symphony, and the Garden State Philharmonic and has performed with The Ying Quartet, the Nostich Quartet in the Czech Republic. Mr. McClellan performed recitals at the International Clarinet Convention in 2005, 2006, 2007, 2010 and in 2014. He has
recorded chamber music discs with ACA Digital and the Clarinet Concerto by Gerald Finzi with Phoenix USA. Many of his students occupy clarinet positions in orchestras, military bands and universities.
Lauded in the New York Times for her “admirable fluidity,” soprano Amy Petrongelli’s diverse performance career wholeheartedly embraces both traditional and contemporary repertoire. In 2020, Amy was honored with an Professional Achievement Award from the University of Michigan for her significant contributions to the field of music performance.
Amy has been a featured performer for organizations such as the Five Boroughs Music Festival, The Block, the Casement Fund Recital Series, the Great Lakes Chamber Music Festival, as well as national and regional conferences for the National Association for Teachers of Singing. Her commitment to musical collaboration has led her to fellowships at the Tanglewood Music Festival, Fall Island Vocal Arts Seminar, the Eighth Blackbird Creative Lab, and New Music on the Point. Past operatic roles have included Adina in L’elisir d’amore, Lauretta in Gianni Schicchi, Tytania in A Midsummer’s Night Dream, and Amy in Little Women. An avid recitalist, Amy has had the honor of performing with some of today’s leading collaborative pianists including Kathleen Kelly, Martin Katz, JJ Penna, and Alan Smith. Most recently, Amy began recording her first solo album with long-time collaborator, pianist Blair Salter. The album, entitled “I am in need of music,” celebrates a lineage of female art song composers from the United States & Canada.
Dr. Brandon Quarles is a music-maker and teacher who thrives on cross-genre collaborations. A native of Ringgold, Georgia, Dr. Quarles is the Assistant Professor of Saxophone at the University of Georgia’s Hugh Hodgson School of Music. Dr. Quarles was previously the Lecturer of Saxophone and Allied Areas at UGA where in addition to teaching saxophone, he directed and conducted the Contemporary Chamber Ensemble, taught a local music history course “Music in Athens,” and taught a professional development course “Music in the Real World.” Prior to joining the faculty of UGA, Dr. Quarles was the Associate Lecturer in Classical Saxophone at the University of Wisconsin-Madison and was an Instructor for Northwestern University’s general music curriculum.
Dr. Quarles’ performance experience spans a wide array of genres and styles on a variety of instruments. As a saxophonist, he has performed with symphony orchestras such as the Grant Park Symphony; chamber ensembles such as Eighth Blackbird, Ensemble Dal Niente, and ensemble vim; and indie rock bands such as My Brightest Diamond and Night Palace, among others. An advocate for new music, he has given the premiere of
over 70 works for the saxophone to date. Most recently, Dr. Quarles has presented and performed at the past three North American Saxophone Alliance national conferences, and was one of two guest artists invited to perform at the 2023 University of Tennessee Contemporary Music Festival. Dr. Quarles made his debut as a concerto soloist in 2015 as a winner of the UGA Symphony Orchestra Concerto Competition. Since then, Dr. Quarles has been a featured soloist with ensembles such as the Northshore Concert Band, the Atlanta Freedom Band, The University of Wisconsin-Madison Wind Ensemble, and the University of Georgia Wind Ensemble and Wind Symphony.
Dr. Matthew Shipes is the Associate Professor of Tuba and Euphonium at The University of Georgia and tubist with the Georgia Brass Quintet. A dedicated advocate of tuba and euphonium performance and pedagogy, Matt has also worked with the International Tuba Euphonium Association (ITEA) as Membership Marketer and Social Media director, communicating with an international audience of enthusiasts, students and professionals.
In 2020 Matt created the first-ever international euphonium mock-band e-competition, Stars and Shipes, engaging over 100 participants from several countries around the world and featuring a judging panel of top euphonium performers from the premier military bands in Washington D.C. over three years.
Matt was a member of The United States Air Force Band in Washington, D.C as a euphoniumist in the Ceremonial Brass, a position he held until 2016. While in the band, he had many opportunities to perform for former President Obama, several foreign leaders, and for hundreds of ceremonies at Arlington National Cemetery.
Matt has performed recitals and given masterclasses across the country, including a featured solo recital at the 2019 United States Army Band’s Tuba and Euphonium Workshop. He was also an invited speaker at the 2019 International Tuba and Euphonium Conference (ITEC) at the University of Iowa, and presented his class, “A Guide to Military Band Auditions,” which he has presented at several regional tuba and euphonium conferences as well. He also performed with the American Tuba Quartet, of which he is a founding member, at the 2016 ITEC at the University of Tennessee, and has most recently been a featured soloist and performer at 2022 and 2024 regional ITEA conferences.
PERFORMER BIOGRAPHIES
Praised by the New York Times as a pianist with “assurance and vitality,” Alan Woo made his Lincoln Center debut at Alice Tully Hall performing with the Juilliard Orchestra under the baton of Yannick Nézet-Séguin. He has since collaborated with conductors Daniel Hege, Miguel Harth-Bedoya, and Tito Muñoz in solo appearances with the Houston Symphony, Fort Worth Symphony, and Music Academy of the West Festival Orchestra.
Woo’s recent engagements include solo recitals throughout the US, Brazil, Europe, and Asia. He has been featured on The McGraw Hill Financial Young Artists Showcase broadcasted on WQXR in New York and has performed in venues such as Carnegie’s Weill and Zankel Recital Halls. As chamber musician, he has made appearances at the New York Philharmonic Ensembles, Emory Chamber Music Society of Atlanta, Lake George Music Festival, Chamber Music Athens, Brooklyn Chamber Music Society, and La Jolla Music Society’s SummerFest series, among others.
Born in Arlington, Virginia, Woo is a graduate of The Juilliard School and Peabody Conservatory where he completed degrees in piano performance under Robert McDonald and Yong Hi Moon. He currently teaches at the University of Georgia as an assistant professor of piano, having previously held positions at Elizabeth City State University and Peabody Institute.
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5:30 p.m.
Ramsey Concert Hall FREE CONCERT WED 10/30
6 p.m.
Edge Concert Hall FREE CONCERT WED 10/30
7:30 p.m.
Hodgson Concert Hall FREE CONCERT WED 10/30
5:30 p.m.
Ramsey Concert Hall FREE CONCERT MON 11/4
5:30 p.m.
Ramsey Concert Hall FREE CONCERT TUES 11/5
Hodgson Concert Hall FRI 11/8 SUN 11/10
7:30 p.m.
3 p.m.
UNIVERSITY OF GEORGIA SOUTHERN WINDS QUINTET RECITAL
The Southern Wind Quintet is a graduate chamber music ensemble established in 1999 at the Hugh Hodgson School of Music.
GUEST ARTIST RECITAL: MATTHEW HIGHTOWER, TUBA
Edge is located in the Hugh Hodgson School of Music, 250 River Road, Athens GA
UNIVERSITY OF GEORGIA WIND SYMPHONY & SYMPHONIC BAND
This concert features works by Barber, Copland, Bernstein, Maslanka, and more between the two ensembles.
UNIVERSITY OF GEORGIA JAZZ ENSEMBLES I & II
Both Jazz Ensembles cover a wide range of jazz eras and styles, with works from Duke Ellington to Thelonius Monk.
UNIVERSITY OF GEORGIA BULLDOG BRASS SOCIETY
The Bulldog Brass Society is the premier graduate brass quintet at the University of Georgia.
UNIVERSITY OF GEORGIA OPERA THEATRE FALL GALA
Journey through some of opera’s historic arias and moments sung by our graduate opera students and the impeccable UGA voice faculty.
5:30 p.m.
Ramsey Concert Hall FREE CONCERT TUES 11/12
UNIVERSITY OF GEORGIA WIND ENSEMBLE CHAMBER WINDS “OLD WINE IN NEW BOTTLES”
“Old Wine in New Bottles” by Gordon Jacob and other gems will be featured in this chamber reduction of the Wind Ensemble, creating more unique opportunities for the students this semester.