WEDNESDAY, MARCH 19, 2025 at 7:30 p.m.
HODGSON CONCERT HALL
&
CONCERT BAND UNIVERSITY BAND
Wednesday, March 19, 2025 at 7:30 p.m.
Hodgson Concert Hall
UGA Performing Arts Center
University of Georgia Concert Band
Caroline W. Pfisterer, Doctoral Conducting Associate
Myriam I. Athanas, Guest Conductor
University of Georgia University Band
Brett Bawcum, Conductor
P. Justin White, Doctoral Conducting Associate
Mt. Everest
Caribana Afterparty
UNIVERSITY OF GEORGIA CONCERT BAND
Rossano Galante
Omar Thomas
Bayou Breakdown
Bluebonnet Drift
Homeward Bound
Myriam I. Athanas - Guest Conductor
Brant Karrick
Aaron Perrine
John Philip Sousa, arr. Loras Schissel
UNIVERSITY OF GEORGIA UNIVERSITY BAND
Fanfare RE-Imagined
Safely Rest
Toccata for Band
Bakken Overture
Weep, o Mine Eyes
P. Justin White, Doctoral Conducting Associate
University Band Percussion Ensemble
William A. R. May
Nicole Piunno
Frank Erickson
Brian Nozny
John Bennett
arr. Brett Bawcum
World Premiere
Carlisle School March
World Premiere
Dennison Wheelock
arr. P. Justin White
A Little Tango Music
P. Justin White, Doctoral Conducting Associate
Adam Gorb
Mt. Everest (2010) (5’50”)
Rossano Galante (b. 1967)
Comprised of robust brass melodies, sweeping woodwind lines, and rhythmic ostinati, this composition captures the epic grandeur and beauty of Mt. Everest, the highest mountain on Earth.
Program Note by the Publisher
Rossano Galante is an American composer. Galante earned a degree in trumpet performance from the State University of New York at Buffalo in 1992. He then was accepted into the film scoring program at the University of Southern California and studied with film composer Jerry Goldsmith. Mr. Galante has composed music for the films Bite Marks, The Last Straight Man, Monday Morning, and Channels. He has served as orchestrator for over sixty studio films, including A Quiet Place, The Mummy, Logan, Big Fat Liar, Scary Movie 2, The Tuxedo, and Tuesdays With Morrie, to name only a few. For his large-scale wind ensemble compositions, he has been commissioned by the Federation of Gay Games-Paris 2018, Atlanta Freedom Band, Lake Braddock High School Band, Hofstra University Symphonic Band, and the Nebraska Wind Symphony, among many others.
Caribana Afterparty (2023) (3’25”)
Omar Thomas (b. 1984)
A further exploration and study of the dance styles at heart of my larger work Caribana, Caribana Afterparty (the second “a” in the word Caribana is bright, as in the words “ant” and “after”) brings soca and calypso music within reach of younger musicians, as well as musicians just beginning their exploration of Caribbean dance music. Caribana is the former name of the largest Caribbean carnival celebration outside of the Caribbean, which takes place in Toronto, Ontario, Canada. Titling this piece an “afterparty” gave me space to incorporate themes from the original work while developing new and different grooves from the region, reimagining them in a more accessible context. The main melodic material of Caribana Afterparty is taken directly from its older sibling Caribana and is presented in this work, in part, as a lush opening statement before quickly giving way to the full theme over an easy calypso groove. As the piece progresses, we are carried from the easier, more calming stylings of calypso music to the more jumping rhythms of soca music. Complete with a “riddim section” breakdown section that calls for all winds to use either their body or their music stands to add to the celebratory groove, this work promises to be a blast to listen to and play, while providing pedagogical richness and stylistic diversity to your program.
Program Note by the Composer
Omar Thomas is an American composer, arranger, and educator. Born to Guyanese parents, Omar moved to Boston in 2006 to pursue a Master of Music degree in jazz composition at the New England Conservatory of Music. He is the protégé of Ken Schaphorst and Frank Carlberg, and has studied under Maria Schneider. Omar’s music has been performed in concert halls across the country. He has been commissioned to create works in both jazz and classical styles. His work has been performed by such diverse groups as the Eastman New Jazz Ensemble, the San Francisco and Boston Gay Men’s Choruses, and the Colorado Symphony Orchestra.
Bayou Breakdown (1995) (4’45”)
Brant Karrick (b. 2004)
Bayou Breakdown began as an attempt to write a fugue in the style of Johann Sebastian Bach. The main melody is introduced in a four-part fugue scored for woodwinds, followed by a second statement of the fugue by the brass. A brief transition introduces a folk song-like lyrical theme based on a pentatonic scale. Another transition takes the piece to its most dissonant section, evoking a poorly played waltz. The main melody attempts to reappear but is swept away by a progression of descending chromatic chords. After a complete stop, the initial fugue returns, featuring solos by the clarinet, bassoon, alto saxophone, oboe, trumpet, and tuba. After a few short trio statements of the main tune, the piece ends with a polyphonic flurry from the full band. In writing Bayou Breakdown, I hoped to create a piece that would provide musical and technical challenges for performers yet could be immediately enjoyed by the listener, musician, and nonmusician alike. While the piece was written for my terrific students in the University of Toledo Wind Ensemble, it is dedicated to one of my most influential mentors, Frank Wickes, Director of Bands at Louisiana State University.
Program Note by the
Composer
Brant Karrick is an American composer, arranger, and educator. In the fall of 1991, Karrick entered the Ph.D. program in Music Education at Louisiana State University, completing the degree in 1994. His prior education includes a Bachelor of Music Education from the University of Louisville, which he completed in 1982, and a Master of Arts in Education from Western Kentucky University, completed in 1984. Dr. Karrick’s musical life has been influenced by many individuals. He studied trumpet with Leon Rapier, music education with Cornelia Yarborough, and conducting with Frank Wickes. His primary composition teachers were David Livingston, Steve Beck, and Cecil Karrick. His professional affiliations include: Music Educators National Conference, the Kentucky Music Educators Association, Phi Beta Mu, ASCAP, the National Band Association, and the College Band Directors National Association.
Bluebonnet Drift (2021) (7’20”)
Aaron Perrine (b. 1979)
Imagery is central to my writing process. Just thinking about a certain place can push the music I’m writing in one direction or another. While out for a run at the beginning stages of writing this piece, I found myself wondering what I might be seeing if I were in Texas rather than Minnesota. My mind instantly went to a sea of bluebonnets, which I associate with the timbre of low reeds, juxtaposed with the repetitive pulse of my shoes hitting the asphalt. I then decided to enhance the somewhat minimalist “running” music with a digitally modeled analog synthesizer- in this case, the ARP 2600. But I knew something was still missing. Adding processed tenor saxophone to the “bluebonnet” music was the last piece of the puzzle.
Many thanks to my longtime friend and collaborator Joel Vanderheyden for the beautiful playing! Program Note by the Composer
Aaron Perrine is an American composer. Dr. Perrine earned his Bachelor’s Degree in trombone performance and music education with high distinction from the University of Minnesota, Morris, in 2002. While an undergraduate, he received the Edna Murphy Morrison Award, Daisy Hansen Award, Chancellor’s Award, and multiple awards in composition from the Minnesota Music Educators Association.
After his time in Morris, Dr. Perrine moved to Minneapolis and began working on his Master’s Degree. While at the University of Minnesota, Aaron studied composition with Judith Zaimont and jazz arranging with Dean Sorenson. He completed his Master’s degree in 2006 and his Ph.D. in composition from the University of Iowa, studying with David Gompper and Lawrence Fritts. He is an assistant professor of music at Cornell College, Mt. Vernon, Iowa.
Homeward Bound 1891 / 1992 / 2014 (2’40”)
John Philip Sousa (1929-2023) arr. Loras Schissel
The only clue to the existence of this unpublished march was a mention in the list of compositions given in Sousa’s autobiography, Marching Along, until manuscripts turned up in the basement archives of the Sands Point home in 1965. Several copyists’ manuscripts for band bearing the names of U.S. Marine Band musicians were found. Marine Corps enlistment records for these men are incomplete, so establishing an exact date for the composition is improbable unless other manuscripts are someday discovered. Inasmuch as it was written while Sousa was leader of the Marine Band, it would seem that it would have been written during the homeward leg of one of the Marine Band tours (1891 and 1892) or perhaps in the return from the engagement in Fayetteville, North Carolina (1889).
Program Note from “John Philip Sousa: A Descriptive Catalog of His Works”
John Philip Sousa was America’s best-known composer and conductor during his lifetime. Highly regarded for his military band marches, Sousa is often called the “The March King” or “American March King”. Sousa wrote 136 independent marches, while a host of other marches and dances have been adapted from his stage works. He also wrote school songs for several American Universities, including Kansas State University, Marquette University, the University of Michigan, and the University of Minnesota. At age 13, his father enlisted him as an apprentice of the United States Marine Corps. Sousa served his apprenticeship for seven years, until 1875, and learned to play all the wind instruments while also continuing with the violin. He returned to the U.S. Marine Band as its head in 1880, and remained as its conductor until 1892. He organized his own band the year he left the Marine Band. The Sousa Band toured 1892-1931, performing 15,623 concerts in America and abroad.
UNIVERSITY BAND PROGRAM NOTES
Fanfare RE-Imagined (2023) (4’00”)
William A.R. May (b. 1988)
Fanfare RE-Imagined was commissioned by a consortium led by Quentin Goins, director of bands at Stephenson High School in Stone Mountain, GA, to reimagine the composer’s work Fanfare for Six Horns using a large-ensemble canvas: that of the wind band. Structurally, the composer employs a linear, direct, ABA-format, set against the backdrop of a memorable melody. At its essence, Fanfare RE-Imagined is a collection of choirs that have been woven together into a complex web of motivic counterpoint & development, throughout the work, possibly bringing to mind a diverse array of composers, including Bach, Holst, Dukas, & Ravel. Some elements contained within include bravura flourishes, a majestic theme, a broad canvas of harmonic progression, and an emphasis on percussive elements to complement the fanfare.
The music of William A.R. May has been described as “bold,” “exciting,” written with “attention to detail” & “tonal clarity.” A youthful native of Atlanta, Georgia, this eclectic artist has already achieved much in the way of musical success. In 2010, William earned his Bachelor’s Degree in music from Columbus State University, studying composition with Dr. Alfred Cohen. He obtained his Master’s Degree 2014 from Georgia State University, studying with Dr. Nickitas Demos. His early work, Fanfare for Six Horns, received its premiere performance at his alma mater, Columbus State, before going on to become a 2nd place National Prizewinner in the 2009 Music Teachers National Association Competition for Young Composers. Recently, The Music Box: Fantasy for Orchestra received international recognition from the Sphinx Organization & the New York Philharmonic Orchestra as a finalist in the inaugural 2022 Juilliard Composing Inclusion Initiative.
Safely Rest (2020) (6’00”)
Nicole Piunno (b. 1985)
Safely Rest combines the melodies of “Amazing Grace” and “Taps.” These melodies are woven together so they can be perceived as a single unit.
“’Tis grace that brought me safe thus far. And grace will lead me home.” - Amazing Grace “All is well. Safely rest. God is nigh.” - Taps Program Note by the Composer
Nicole Piunno (b. 1985) is an American composer and trumpeter. Dr. Piunno holds a Doctor of Musical Arts degree in composition and a Master of Music degree in theory pedagogy from Michigan State University, 2014. Her composition teachers were Ricardo Lorenz and Charles Ruggiero. She earned a Master of Music degree in composition at Central Michigan University, studying with David Gillingham. She has also worked with Jason Bahr, David Ludwig, and Tony Zilincik. Nicole earned a Bachelor of Music degree in music education from Ohio Wesleyan University, where her emphasis was on trumpet. She has performed with the Central Ohio Symphony Orchestra and appeared as a soloist with the Ohio Wesleyan University Chamber Orchestra.
Toccata for Band (1957) (5’00”)
Frank William Erickson (1923-1996)
Toccata for Band is considered a staple of the concert band repertoire due to its popularity and beauty in design. Essentially, two ideas are expressed in the Allegro non troppo and Andante con moto sections. The first, featuring the trumpets and clarinets, is quick and rhythmic; the second, featuring a horn solo, is slow and lyrical.
Frank Erickson was an American composer, conductor, arranger, educator, and author. Erickson began studying piano at the age of eight, trumpet at ten, and wrote his first band composition when he was in high school. He received his Bachelor of Music in 1950 and his Master of Music in 1951, both from the University of Southern California. He served with the United States Army Air Force from 1942-1946, and wrote arrangements for army bands during that time. After the war ended, he worked in Los Angeles as a trumpet player and jazz arranger. He was a composer, conductor, arranger, and author of books on band methods. He also lectured at the University of California at Los Angeles (1958) and was professor of music at San Jose State University.
Bakken Overture (2023) (2’00”)
Brian Nozny (b. 1977)
Bakken Overture by Brian Nozny is an energetic and groovy percussion quartet for commonly found drums and auxiliary percussion instruments. The piece boasts flexible part assignments that allows for four to eight performers.
Brian Nozny is in demand as a composer, performer, and educator throughout the United States. His compositions are regularly programmed throughout the world and have been featured on multiple international recordings. As a performer, he has worked in a diverse number of settings throughout the US. Currently he performs in the BRN Duo with his wife, flutist Rachel Nozny, as a member of the percussion group JP3, and regularly freelances throughout the Southeast. Brian presently resides in Lake Charles, LA where he the Director of Percussion Studies at McNeese State University.
Weep, o Mine Eyes (1599/2025) (5’00”)
John Bennet (1575-1614) arr. Brett Bawcum
Weep, o Mine Eyes was published in Bennet’s sole madrigal volume, Madrigals to Four Voices of 1599. Six of the seventeen texts in this collection, including Weep, o Mine Eyes, had been set by other English madrigal composers. The opening phrase of the madrigal seems to quote directly the very popular John Dowland lute ayre Flow, my Teares. It also strongly resembles the setting of the same text by their fellow Englishman John Wilbye. This arrangement includes the original madrigal text in the student parts to aid in their interpretation of the piece:
Weep, o mine eyes
And cease not
Alas, these your springtides
Methinks increase not
O, when begin you
To swell so high
That I may drown me in you.
Very little is known about English madrigal composer John Bennet (ca. 1575-1614) (not to be confused with the 18th-century English organist and composer of similar name). He is thought to have been born in northwest England in the late 1570s and to have died between 1599 and 1614. Among the English madrigalists, his compositional output is relatively modest in terms of volume and reputation. In addition to Weep, o Mine Eyes, he is known today for All Creatures
Now are Merry Winded - his contribution to the 1601 collection The Triumphs of Oriana dedicated to Queen Elizabeth I (Fellowes, 1948).
Carlisle School March (1896/2025) (3’00”)
Dennison Wheelock (1871-1927) arr. P. Justin White
Carlisle School March was composed for the Carlisle Indian Industrial School in Carlisle, Pennsylvania by band director and alumnus Dennison Wheelock. The boarding school was founded in 1879 and enrolled over 7,800 students before closing in 1918. During the early 20th century, the Carlisle Indian School was a national football powerhouse. Led by coach Pop Warner they regularly competed against other major programs such as the Ivy League schools Harvard, Pennsylvania, Cornell, Dartmouth, Yale, Princeton, and Brown, and Army (West Point) and Navy (Annapolis). Along with the national fame of the football team came and international reputation for the Carlisle Band which performed at Carnegie Hall, the Brooklyn Bridge opening, centennial parade of the constitution, presidential inaugurations and the worlds fair
Dennison Wheelock (1871-1927) was an Oneida band conductor, composer, cornet soloist. Wheelock was born in the Oneida Nation of Wisconsin. He went to Pennsylvania to be educated at the Carlisle Indian School and later appointed bandmaster of the school. Under his direction, the Carlisle Indian School Band performed at world fairs, expositions, and presidential inaugurations. In 1900 he debuted his three-part symphony, Aboriginal Suite, at Carnegie Hall in New York City.
In 1911, Wheelock was among the 50 founding members of the Society of American Indians, the first national American Indian rights organization developed and run by American Indians. He had read the law and passed the bar that year, practicing first in Wisconsin. As he represented more Indian nations in his practice, he moved to Washington, D.C., where he represented them in actions against the government in the United States Court of Claims and the U.S. Supreme Court. In 1980, to honor him and the celebrated Carlisle Indian Band, Dennison Wheelock’s Bandstand was reconstructed on the site of the original at the U.S. Army War College in Carlisle, Pennsylvania.
A Little Tango Music (2007) (5’00”)
Adam Gorb (b. 1958)
A Little Tango Music is a short sequence of melodies inspired by the curvaceous, melancholic and dangerous dance from Argentina that is the tango. I have always been greatly inspired by the tango in all its guises, ranging from the “Habanera” in Bizet’s Carmen, through its more mysterious deployment in the music of Debussy and Ravel, and a more satirical approach adopted by Stravinsky and Kurt Weill, and perhaps most vividly conveyed in the seductively violent music of
Astor Piazzolla. This miniature suite of three movements attempts to show in a trio of snapshots the varied moods and colors of the tango.
Program Note by the Composer
Adam Gorb is a British composer and educator. Dr. Gorb started composing at the age of ten. At fifteen he wrote a set of piano pieces, A Pianist’s Alphabet, of which a selection was performed on BBC Radio 3. In 1977, he studied music at Cambridge University, where his teachers included Hugh Wood and Robin Holloway. After graduating in 1980, he divided his time between composition and working as a musician in the theatre. In 1987, he started studying privately with Paul Patterson, and then, from 1991, at the Royal Academy of Music, he gained an MMus degree and graduated with the highest honors, including the Principal’s Prize in 1993. He has a Ph.D. in composition from the University of Birmingham and has taught at universities in the United States, Canada, Japan, and many European countries.
Gorb’s compositions include orchestral, ensemble, chamber, solo, and choral works and have been performed, broadcast and recorded worldwide. In 1994, his composition Metropolis for wind band (1992) was awarded the Walter Beeler Memorial Prize. In the UK his compositions, of every ability level, have had performances at contemporary music festivals in Huddersfield, Cheltenham, Hampstead and Highgate, Spitalfields, and Canterbury, and he has had concerts entirely devoted to his music in the UK, the U.S., and Canada.
Caroline W. Pfisterer, Doctoral Conducting Associate
Myriam I. Athanas, Guest Conductor
Flute
Amira Johnson*
Annie Barker
Emerson Earley*
Eva Smith
Joey Heidel
Karen Hernandez
Lauren Slicker
Presley Haney
Clarinet
Cindy Barrow
Scott Caplinger
Alex Carrillo*
Harli Cleveland*
Lilli Crawford*
Caroline Crawley*
Rylan Haney
Lauren Hightower
Sophia Kenis
Rosie Owens
Emma Pierce
Jillian Riley
Brennan Sweet
Bassoon
Christopher Youmans
Alto Saxophone
Steven Boyles
Marissa Brown
Mattie Fannin
Chloe James
Godswill Maxwell
Maddie Moore
Ashlynn Poole
Amy Timmons
Ava Vorbeck
Joshua Were
Tenor Saxophone
Kaleb Hall
Parker Hanawalt
Bari Saxophone
Jean Peralta
Macee Still
Horn
Sophie Bird
Sainty Mars
Emily Schoen
Trumpet
Thomas Archer*
Adam Brock
Todd Curless
Lucas Dee
Ta’Cara Huntley
Tucker Ivey
Grace LaCourte
Marlee Noah
Andy Penland
Andrew Phompatha
Rachel Preau
Marcus Welch
Trombone
Jackson Chapman
Wise Liang
Mike Pulliam*
Mikayla Steuer
Austin Torain
Brittany Turner
Audrey Zachman
Bass Trombone
Judson Ray
*Indicates seniors
Euphonium
Logan Drury
Alex Greenfield
Emma King
Katherine Lee
Caleb Lyons
Kyler McAdams
Luke Nash
Chase Scherer
Tuba
Jackson Dollar
Kyle Fleming
Adam King
Tommy Piland
Mitchell Puckett
Percussion
Isabella Cabrel-Watson*
Mason Cypert*
Maggie Davis
Arnav Gupta
Elsie Hahn
Sophia Higgins
Fareena Hisamuddin*
Zachary Nelson
Tyler Smith
Sam Suarez
Brett Bawcum, Conductor
P. Justin White, Doctoral Conducting Associate
Flute
Asher Bradford
Allie Chittenden
Grace Cochran
Presley Haney
Mindy Mailhot
Emersyn Mitchell
Nelli Schneemaier
Caitlin Shupe
Sarah Spence
Audrey Westray
Clarinet
Dylan Barfield
Callaway Bush
Olivia Durrence
Ella Hardeman
Alex Harris
Lily Johnson
Cade Jones
Fiza Lakhani
Ribaldo Matias
Arianna Maurici
Shelby Redding
Sydney Kate Roppe
Cassandra Ruiz
Alba Monraga Telles
Sabrina Tran
London Williams-Garner
Bass Clarinet
Delaney Livengood
Alto Saxophone
Josh Busbee
Aubrey David
Andrew Eshraghi
Miyuru Fernando
Connor Fraley
Taylor Kelly
Drew Kruszynski
Lauren Summerall
Ella Thomas
Blake Tumpey
Tenor Saxophone
J Acuff
Summer Atwill
Leonardo Lopez
Hernandez
Xander Ledbetter *
Kalah Reed
Baritone Saxophone
Connor Robertson
Trumpet
James Bewley
Olivia Bischof
Harrison Carmack
Madi Caspers
Olivia Craft
Dawson Deal
Mary-Liz Dougherty
Julianna Dumas
Jamison Gates
Tucker Ivey
Gavin Jacobs
Sarah Jordan
Michael Kantorczyk
Brayden Keller
Ella Lazar
Joshua LeBlanc
Jonathan Liu
Walker McCord
Tanner Murray
Tyler Nichols *
Caleb Phillips
Angela Ren
Alyssa Rouk
Marlie Scoggins
Irene Skow
Parker Taylor *
Olivia Tomeny
Dominick Tyler
Wade Webb
Connor Williammee
Stephen Zarlinski
*Indicates seniors
Horn
Josie Klinar *
Carter Lemelin
Michael Linde
Jonathan Mack
Grace Nicol
Alex Norman *
Sammy Patterson
SJ Patterson
Emma Pearson
Emily Rollins
Lelia Schilke
Carter Schwalbe
Trombone
Andrew Gilmore
Riley Hartman
Erin Howard
John Martin
Andrew Niemann
Connor Norris *
Daniel Ross
Rett Sams
Brennan Sweet
Luke Trandel
Bass Trombone
Lou Covert
Jah Duncombe
Taylor Maxwell
Euphonium
Taylor Albigese
Aaron Blank
Jesse Corso
Aidan Jackson
Maddie Price
Tuba
Ben Grogan
Daniel Kim
OJ Obi-okoye
Vaibhav Parikh
Matthew Walker
Percussion
Macade Allen
Reagan Cox
Zachary Nelson *
Lela Stair
Sam Suarez
Jake Van Essendelft
UNIVERSITY
Nicholas Enrico Williams
Jack A. Eaddy, Jr.
Brett Bawcum
Michael C. Robinson
Mia Athanas
Marcus Morris
R. Scott Mullen
Caroline Wright Pfisterer
Gilbert P. Villagrana
P. Justin White
David MacPherson
Joseph Johnson
Michelle Moeller
Rocky Raffle
Director of Bands
Associate Director of Bands
Associate Director of Bands/Director of Athletic Bands
Professor/Conductor of Symphonic Band
Assistant Director of Athletic Bands/Band Festivals Director
Assistant Director of Athletic Bands
Doctoral Conducting Associate
Doctoral Conducting Associate
Doctoral Conducting Associate
Doctoral Conducting Associate
Athletic Bands Graduate Assistant
Graduate Assistant
Graduate Assistant
Large Ensemble Office Manager
Follow UGA Bands on Social Media: @ugabands
INSTRUMENTAL FACULTY
Angela Jones-Reus
Reid Messich
Amy Pollard
D. Ray McClellan
Brandon Quarles
Phil Smith
Brandon Craswell
Jean Martin-Williams
Flute Oboe Bassoon Clarinet
Saxophone Trumpet Trumpet Horn
James Naigus
Joshua Bynum
Matthew Shipes
Timothy K. Adams, Jr.
Kimberly Toscano Adams
Milton Masciadri
Monica Hargrave
Liza Stepanova
Horn Trombone
Euphonium/Tuba
Percussion
Percussion
Double Bass
Harp
Piano
Daniel Bara
Emily Gertsch
Brandon Craswell
Amy Pollard
Edith Hollander
James Sewell
Shaun Baer
Paul Griffith
Eric Dluzniewski
Scott Higgins
Tony Graves
Jared Tubbs
Interim Director
Associate Director for Graduate Studies
Associate Director for Undergraduate Studies
Associate Director for Performance
Assistant to the Director
Production and Events Manager Director of Public Relations
Academic Professional, Sound Recording
Academic Professional, Sound Recording
Lead Piano Technician
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HUGH HODGSON SCHOOL OF MUSIC
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FRI 3/21
7:30 p.m.
Ramsey Concert Hall FREE CONCERT
MON 3/24
3:30 p.m.
Ramsey Concert Hall FREE CONCERT
MON 3/24
7:30 p.m.
Hodgson Concert Hall
$15 - Adult $3 - Child/Student
GUEST ARTIST RECITAL: KHEMIA ENSEMBLE
Hailed by the Columbia Daily Tribune as adding a “fresh dimension” to the concert experience, Khemia Ensemble embraces broad perspectives in contemporary classical chamber music.
REPERTORY SINGERS
The Repertory Singers is a mixed chamber choir directed by graduate student conductors. Its format offers laboratory rehearsal and performance experience for conductors and singers alike.
FACULTY CHAMBER ENSEMBLE: WELCOME HOME
This is a unique opportunity to hear the three newest faculty at the Hugh Hodgson School of Music offer a shared concert. Featuring new assistant professor of cello James Kim, newly appointed assistant professor of saxophone Brandon Quarles, and newly appointed assistant professor of piano Alan Woo, this concert will include a wide range of music that highlights each of their talents and demonstrates their drive for collaboration.
7:30 p.m.
Ramsey Concert Hall FREE CONCERT WED 3/26
UGA HORN CHOIR
The University of Georgia Horn Choir is an active performance opportunity for both horn majors and nonmajors at the Hugh Hodgson School of Music. Directed by Dr. Jean Martin-Williams and Dr. James Naigus, the Horn Choir explores traditional horn choir repertoire in addition to newer music and transcriptions.
7:30 p.m.
Hodgson Concert Hall
$15 - Adult $3 - Child/Student FRI 3/28
“SYMPHONIE FANTASTIQUE”UGA SYMPHONY ORCHESTRA W/ GUEST CONDUCTOR MICHAEL STERN
Hector Berlioz wrote semi-autobiographical program notes for this piece that allude to the romantic sufferings of a gifted artist who has poisoned himself with opium because of his unrequited love for a beautiful and fascinating woman. The artist’s reveries take him to a ball and to a pastoral scene in a field, which is interrupted by a hallucinatory march to the scaffold, leading to a fantastic dance. This is certain to be an audience favorite.