UGA WIND SYMPHONY
SYMPHONIC BAND
WEDNESDAY, FEBRUARY 12, 2025 at 7:30 p.m.
HODGSON CONCERT HALL
MICHAEL C. ROBINSON, conductor
JACK A. EADDY, JR., conductor
WIND SYMPHONY
&
SYMPHONIC BAND
Wednesday, February 12, 2025 at 7:30 p.m.
Hodgson Concert Hall
UGA Performing Arts Center
University of Georgia Symphonic Band
Michael C. Robinson, Conductor
R. Scott Mullen, Doctoral Conducting Associate
Joy McCarthy, Soprano
University of Georgia Wind Symphony
Jack A. Eaddy, Jr., Conductor
Marcus Morris, Guest Conductor/Assistant Director of Athletic Bands
P. Justin White, Doctoral Conducting Associate
PROGRAM
UNIVERSITY OF GEORGIA SYMPHONIC BAND
Punchinello
Shenandoah
Courtly Airs and Dances
IV. Saltarello
V. Sarabande
VI. Allemande
Aspen Jubilee
R. Scott Mullen, Doctoral Conducting Associate
Joy McCarthy, soprano
INTERMISSION
UNIVERSITY OF GEORGIA WIND SYMPHONY
Overture to “Colas Breugnon”
Lyric for Strings
Alfred Reed
Frank Ticheli
Ron Nelson
Ron Nelson
Dmitri Kabalevsky trans. Donald Hunsberger
George Walker trans. Cheldon Williams
Marcus Morris, Guest Conductor / Assistant Director of Athletic Bands
Spiritual Suite
I. Valley of Bones
II. The Bells
III. Troubled Water
The Thunderer
Symphony on Themes of John Philip Sousa
II. After “the Thunderer
P. Justin White, Doctoral Conducting Associate
Margaret Bonds trans. Tyler Ehrlich
John Philip Sousa ed. Loras Shissel
Ira Hearshen
Redline Tango John Mackey
Punchinello (1974) (8’)
Alfred Reed (1921-2005)
Punchinello is in the traditional three-part overture form (fast-slow-fast) with a warm lyrical middle section set off by a brilliant opening and closing group of themes that are constantly developed with all of the resources of the modern integrated wind ensemble. Although there is no program note denoting how the music was conceived in terms of any specific play, story or film, some listeners might just perhaps find a touch of nostalgia in the long, singing line of the middle section, or in the exciting theater two-step rhythms in the final portion. The only real clue as to what the music is about may be found in its subtitle: Overture to a Romantic Comedy ... and the elements of both romance and comedy have indeed always remained the same, and, hopefully, will continue to be so!
Program Note by the Composer
Alfred Reed was an American composer, arranger, conductor and educator. Born into a family of Austrian descent that cherished music, Reed began his musical studies at age ten on trumpet, and by high school he was performing professionally in the Catskills at resort hotels. He served as musician and arranger during World War II in the 529th Army Air Force Band, for which he created more than 100 works, and following the war was a student of Vittorio Giannini at Juilliard. In 1966 he joined the faculty of the School of Music at the University of Miami, holding a joint appointment in the Theory-Composition and Music Education departments, and to develop the unique (at the time) Music Industry degree program at that institution, of which he became director. With over 250 published works for concert band, wind ensemble, orchestra, chorus, and various smaller chamber music groups, Mr. Reed was one of the nation’s most prolific and frequently performed composers.
Shenandoah (1999) (6’)
Frank Ticheli (b. 1958)
In my setting of Shenandoah I was inspired by the freedom and beauty of the folk melody and by the natural images evoked by the words, especially the image of a river. I was less concerned with the sound of a rolling river than with its life-affirming energy - its timelessness. Sometimes the accompaniment flows quietly under the melody; other times it breathes alongside it. The work’s mood ranges from quiet reflection, through growing optimism, to profound exaltation.
Program Note by the Composer
Frank Ticheli is an American composer and conductor. Ticheli joined the faculty of the University of Southern California’s Thornton School of Music in 1991, where he served as Professor of Composition until 2023. From 1991 to 1998, Ticheli was Composer in Residence of the Pacific
Symphony, and he still enjoys a close working relationship with that orchestra and their music director, Carl St. Clair. Ticheli is well known for his works for concert band, many of which have become standards in the repertoire. Ticheli is the winner of the 2006 NBA/William D. Revelli Memorial Band Composition Contest for his Symphony No. 2. Other awards for his music include the Charles Ives and the Goddard Lieberson Awards, both from the American Academy of Arts and Letters, the Walter Beeler Memorial Prize, and First Prize awards in the Texas Sesquicentennial Orchestral Composition Competition, Britten-on-the-Bay Choral Composition Contest, and Virginia CBDNA Symposium for New Band Music. Dr. Ticheli received his doctoral and masters degrees in composition from The University of Michigan.
Courtly Airs and Dances (1995) (6’30”)
Ron Nelson (1929-2023)
Courtly Airs and Dances is a suite of Renaissance dances which were characteristic to five European countries during the 1500s. Three of the dances (Basse Dance, Pavane, and Allemande) are meant to emulate the music of Claude Gervaise by drawing on the style of his music as well as the characteristics of other compositions from that period. The festival opens with a fanfarelike Intrada followed by the Basse Danse (France), Pavane (England), Saltarello (Italy), Sarabande (Spain), and Allemande (Germany). The work was commissioned by the Hill Country Middle School Band from Austin, Texas, Cheryl Floyd, director.
Program Note by the composer
Ron Nelson was an American composer. Nelson began piano lessons at the age of six. At that tender age, he wrote his first composition, entitled The Sailboat, finding it more fun to improvise than to practice. He became a church organist at the age of thirteen. His early efforts rewarded him with the discipline to write down his improvisations and the basic principles of orchestration. Dr. Nelson received his Bachelor of Music degree in 1952, a Master’s degree in 1953, and a Doctor of Musical Arts degree in 1956, all from the Eastman School of Music at the University of Rochester. He also studied in France at the Ecole Normale de Musique and at the Paris Conservatory under a Fulbright Grant in 1955. Dr. Nelson joined the Brown University faculty the following year, and taught there until his retirement in 1993. He composed two operas, a mass, music for films and television, 90 choral works, and over 40 instrumental works. Composing for band became a major focus, and the community has been rewarded with his Savannah River Holiday, Rocky Point Holiday, Passacaglia (Homage on B-A-C-H), and Chaconne.
Aspen Jubilee (1988/1994) (10’40”)
Ron Nelson (1929-2023)
Aspen Jubilee was commissioned by the Manatee High School Band in Bradenton, Florida. Ron Nelson shares his thoughts about Aspen Jubilee: “I was thinking of the stupendous beauty of the Rockies in general, of blinding sunlight of snow-covered peaks; of the frontier spirit of old Aspen with its brash, funny dynamism, and its corny ragtag Fourth of July parades and fireworks displays. I was also thinking about indescribably beautiful nights under star-filled skies (the middle section is titled Nightsong). There is only a passing nod to the Aspen which has now become a playground for the rich and famous. I spent thirteen of the most memorable summers of my life at the Aspen Music Festival. I was able to immerse myself in music, meet fascinating people, and recharge my batteries. Each year it became progressively more expensive and sophisticated, but I still associate it with wonderful music making.
Overture to “Colas Breugnon” (1937/2003) (5’05”)
Dmitri Kabalevsky (1904-1987 ) trans. Donald Hunsberger
This overture is a brisk, brilliant, and high-spirited piece, written as the curtain raiser of Kabalevsky’s opera based on Romain Rolland’s lusty novel of life in Burgundy, France, during the 16th century. The hero of the story has something in him of both Robin Hood and Francois Villon (a French lyric poet who was banished from Paris in 1463), and Kabalevsky has written music admirably fitting this character.
Program Note by Everett Kisinger
Dmitri Kabalevsky was a Russian composer. Although not as well known as Shostakovich and Prokofiev, Dmitri Kabalevsky was one of Russia’s highly gifted composers. Kabalevsky was 14 when he and his family moved from St. Petersburg to Moscow, where he attended the Scriabin School of Music from 1919 to 1925. In 1925, he entered the Moscow Conservatory, where he studied composition with Miaskovsky, who had the greatest influence on Kabaelvsky’s early works. He later developed his own style, marked by clear tonality and energetic rhythms. He was professor of composition at the Moscow Conservatory.
WIND SYMPHONY PROGRAM NOTES
Lyric for Strings (1946/2024) (5’25”)
George Walker (1922-2018 ) trans. Cheldon Williams
Lyric for Strings stands as a poignant testament to Walker’s mastery of expression and emotional depth. Originally conceived as a movement within a larger string quartet during his undergraduate years at the Curtis Institute of Music, this piece underwent a transformative journey before emerging as a standalone work.
Originally titled Lament, likely because of the composition’s personal nature and homage to his grandmother, this tender piece was an extraction from a string quartet. Before its first professional performance, Walker renamed the piece Adagio; however, he ultimately settled on the evocative title “Lyric for Strings” before its publication.
George Walker was an African-American composer, pianist and educator of West-IndianAmerican descent. Walker was first exposed to music at the age of 5 when he began to play the piano. He was admitted to the Oberlin Conservatory at fourteen. He also took artist diplomas in piano and composition from the Curtis Institute of Music, becoming the distinguished conservatory’s first Black graduate in 1945. His doctorate from the Eastman School of Music came in 1951. Walker studied composition with Rosario Scalero, who also taught Samuel Barber and Gian Carlo Menotti.
In 1996, George Walker became the first black composer to receive the coveted Pulitzer Prize in music for his work Lilacs for Voice and Orchestra, premiered by the Boston Symphony, Seiji Ozawa conducting. In 1997 Marion Barry, Mayor of Washington, D.C., proclaimed June 17th as George Walker Day in the nation’s capitol. In 1998, he received the Composers Award from the Lancaster Symphony and the letter of Distinction from the American Music Center for “his significant contributions to the field of contemporary American Music.” In 1999, he was elected to the American Academy of Arts and Letters. In April 2000, George Walker was inducted into the American Classical Music Hall of Fame in a ceremony at the Library of Congress in Washington, D.C.
Spiritual Suite (1930’s/2024) (12’35”)
Margaret Bonds (1913-1972 ) trans. Tyler Ehrlich
Spiritual Suite for piano by Margaret Bonds has existed in multiple editions since the third movement Troubled Water was first published as a standalone work by Sam Fox Publishing Company in 1967. Decades later, Louise Toppin uncovered that Troubled Water was in fact the final movement of the larger Spiritual Suite. Videmus Music published the complete work in 2020 in an edition by Toppin, followed by an arrangement of Troubled Water for cello and piano in 2023. While this wind ensemble transcription is primarily based on the original version for piano, several ideas
are borrowed from the arrangement for cello and piano.
Margaret Allison Bonds was an American composer, pianist, arranger, and teacher. Her father, Monroe Alpheus Majors, was an active force in the civil rights movement as a physician and writer. His work included the founding of a medical association for black physicians who were denied membership in the American Medical Association on the basis of race. Her mother, Estelle C. Bonds, was a church musician and member of the National Association of Negro Musicians.
As a child, Margaret Bonds studied piano under the Coleridge Taylor Scholarship, which was awarded to her by the Coleridge Taylor School of Music, where her mother worked as an educator for 20 years. Ms. Bonds studied at Northwestern University and the Juilliard School, studying composition with Roy Harris, Robert Starer, and Emerson Harper.
In 1932, Bonds’ composition Sea Ghost won the prestigious national Wanamaker Foundation Prize, bringing her to the public’s attention. On June 15, 1933, Bonds performed with the Chicago Symphony Orchestra -- the first black person in history to do so – performing Concertino for Piano and Orchestra by John Alden Carpenter. She would return in 1934 to perform Piano Concerto in D Minor composed by former teacher Florence Price.
The Thunderer (1889) (2’45”)
John Philip Sousa (1854 - 1932) ed. Loras Schissel
The Thunderer is emblematic of Sousa’s march writing, utilizing the standard form found in a vast majority of his marches. After a four-bar homorhythmic introduction, the first strain of the march features whirling woodwind trills and a punchy countermelody in the trombones. The second strain is an adaptation of “Here’s to Your Health, Sir!,” which Sousa had written for his 1886 collection A Book of Instruction for the Field-Trumpet and Drum. As is customary with Sousa’s marches, a countermelody is added on the repeat of the second strain — an inversion of the trombone countermelody heard in the first strain. A song-like trio encompasses a majority of the second half of the march, apart from a brief break strain with simple ceremonial trumpet calls.
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.
Symphony on Themes of John Philip Sousa II. After “The Thunderer” (1991) (7’05”)
Ira Hearshen (b. 1948)
After “The Thunderer” is the second movement of Hearshen’s Symphony. In this movement, the composer takes the trio theme from the original march, slows it down considerably, and casts it in the style of the finale of Mahler’s Symphony No. 3. The opening phrase of the work is a full statement of the trio theme, scored for reeds and low brass. The tempo increases slightly, and the solo oboe introduces a secondary theme — a loosely inverted version of the original tune. This second theme develops through a brief harmonic sequence, growing in intensity and continuing to accelerate until its climax. As the tension dissipates, woodwind tremolos obscure the harmony and fragments of the primary thematic material return, first in flutes, then double reeds, and finally in muted horn.
Hearshen’s Mahler-esque inspiration is most evident in the subsequent phrases. A trombone solo statement of the primary theme is supported by simple counterpoint in the high brass and woodwinds, closely mimicking Mahler’s orchestration in the final minutes of his Third Symphony. (In fact, many of the contrapuntal lines Hearshen uses here are direct quotes from Mahler’s writing.) The final bars of the work are a near cut-and-paste from Mahler — a serene D-flat major chord in woodwinds sets the foundation for the gradual addition of musicians leading to a jubilant A-flat major chord, punctuated by a I-V alternation in timpani and low brass. The final chord of the work, scored for low winds and horns, resembles the reverberation of the preceding A-flat major chord in a grand concert hall. The work ends with a brief rudimentary snare drum solo.
Ira Hearshen is an American composer. Hearshen received his Bachelor of Music degree in applied theory and composition from Wayne State University. In 1972, he moved to Los Angeles to study orchestration at the Grove School of Music and counterpoint under Allyn Ferguson. He also studied under film composer Albert Harris. His arrangements have been featured in the Detroit Symphony’s Pine Knob Summer Series, The Summer Pops Series for John Denver, the Jacksonville (FL) Symphony, and the Air Combat Heritage Band.
His orchestrations have appeared in the feature films Guarding Tess, The Three Musketeers, Toy Story 2 and All Dogs Go To Heaven 2, the television series Beauty and the Beast, and the Broadway show Into the Light. Among his concert works, his Symphony on Themes of John Philip Sousa was nominated for a 1997 Pulitzer Prize in Music.
Redline Tango (2004) (9’)
John Mackey (b. 1973)
Redline Tango takes its title from two sources. The first is the common term of “redlining an engine,” or pushing it to the limit. In the case of this score, “redline” also refers to the “red line,” or the IRT subway line (2 and 3 trains) of the New York subway system, which is the train that goes between my apartment on the Upper West Side of Manhattan and BAM, where this work was premiered.
The work is in three sections. The first section is the initial virtuosic “redlining” section, with constantly-driving 16th-notes and a gradual increase in intensity. After the peak comes the second section, the “tango,” which is rather light but demented, and even a bit sleazy. The material for the tango is derived directly from the first section of the work. A transition leads us back to an even “redder” version of the first section, with one final pop at the end. Originally commissioned by the Brooklyn Philharmonic, this is the re-worked, or “windstrated” version.
John Mackey is a renowned American composer, celebrated for his work in dance and symphonic winds. He holds a Master of Music degree from The Juilliard School and a Bachelor of Fine Arts degree from the Cleveland Institute of Music, where he studied under John Corigliano and Donald Erb. Mackey’s compositions have been performed at prestigious venues such as Carnegie Hall, the Kennedy Center, and the Sydney Opera House. He has received numerous commissions from organizations like the Parsons Dance Company, the Cleveland Orchestra Youth Orchestra, and the Dallas Wind Symphony. His collaborations include work with Doug Varone and the U.S. Olympic Synchronized Swim Team, which performed to his score “Damn” at the 2004 Athens Olympics. Notable accolades include the ASCAP Concert Music Awards, the ABA/Ostwald Award, and the NBA William D. Revelli Composition Contest. Mackey has served as Composer-In-Residence at various festivals and institutions, and he was music director of the Parsons Dance Company from 1999-2003. In his spare time, he enjoys photography.
Flute
Anish Garikapati
Katherine Piroumian
Emma Walker
Oboe
Emma Castleberry
Aidan Furman
Eleazar Louis
Jennifer Tran
Bassoon
Nathan Bine
Kaleb Colwell
Skylar Ward
Clarinet
Aubrey Ford
Emma Hu
Bailey Hutchins
Shree Kanji
Katie Martin
Jonathan Mack
Godswill Maxwell
Maggie Quesenberry
Saxophone
Antonio Aguilar
Erin Brown
Maddi Finn
Nicholas Goldfarb
Leo Hayden
Rachel Hoang
Sadie Landon
Madelynn Rayner
Michael C. Robinson, Conductor
Horn
Nathan Brown
Joel Clotfelter
Lily Collins
Anjali Culver
Addison Denney
Jacob Guerreso
MacKeane Threadgill
Trumpet
Justin Arnold
Emily Beiter
Emily Bray
Ivan Feldman
Jasper Green
Benjamin Jones
Henry Kim
Zachary Lerman
Emma Peters
Ethan Young
Trombone
Noah Adkinson
Jacob Duda
Major Ellis
William Emde
Connor Fenneran
Euphonium
Katherine Coronado-Alvarez
TarevaChine Lightfoot
Steven Lubitz
Maria Suggs
Jacob Torbert
Tuba
Riley Maloney
Dallas Pellom
Dylan Woodcock
Percussion
Miles Bell
Morgan Loper
Sippel Mary
Aaron Phillip
Mary Webb
Nikhail Young
*Members of the University of Georgia Symphonic Band are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors.
Flute
Lyla Bingaman
Victoria Rose Fitzgerald
Jadyn Hairston
Avery Claire Morris
Madeline Shell
Oboe
Nora Avery
Triston Fielding
Kristi Kiene
Marcus Lewis
Ashlyn Long
Carter Reed
Clarinet
William Kaplan
Nate Kite
Tyler Nichols
John Peach
Sophie Ray
Rebeca Reyes
Ashley Vinson
Pano Vlachos
Bassoon
Lily Hurn
Ethan Johnson
Jordan Johnson
Jack A. Eaddy Jr., Conductor
Saxophone
Ashley Emerton
Bridget Sheridan
Jackson Tadlock
Jon Erik Tripp
Trumpet
Luke Barrett
Teddy Cone
Tim Jackson
Hayes Thomas
Nathan Vazquez
Matthew Young
Horn
London Brooks
Della Frazier
Gibson Krolikowski
Patrick Malone
Chance Salter
Makenzie Shields
Trombone
Nichole Botsoe
Tyler Carver
Jonah Madaris
Matthew Quach
Euphonium
Ava Rogers
Kara Thaxton
Tuba
Moses Bannister
Jack Gordon
String Bass
Leonardo Lopes
Percussion
Kelly Harbin
David MacPherson
Jorjana Marin
Jacien Thorne
Austin Waters
Angelica Wright
Piano
Ryan Swingler
*Members of the University of Georgia Wind Symphony are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors.
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
UNIVERSITY
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
Piano Technician Sectioning Officer
HUGH HODGSON SCHOOL OF MUSIC
Scholarships and Graduate assistantships funded by donations to the Thursday Scholarship Fund make it possible for students to learn and pursue their passions at the Hugh Hodgson School of Music. Please consider a taxdeductible gift to the Thursday Scholarship Fund so we may continue to support our students and make their education possible. Scan the QR code now or reach out to Melissa Roberts at roberts@uga.edu or 706-254-2111.
SUPPORT INDIVIDUAL AREAS OF THE SCHOOL OF MUSIC
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.
JOIN THE DIRECTOR’S CIRCLE
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.
OPEN HOUSE HUGH HODGSON SCHOOL OF MUSIC
Friday, March 28 Noon - 7 p.m.
If you are (or have) pre-college students, are a regular audience member or donor, or have interest in private music lessons at any age, this is a fantastic and free event for you!
Faculty and students are already preparing special performances and presentations during this afternoon. Rehearsals and classes will be open for you to step inside and experience our work.
PLUS:
Lamar Dodd Student Market
Guest Artist: João Pedro Oliveira composer lecture at 6 p.m.in the Dancz Center for New Music
Learn about the Community Music School and Summer Camps
Visit music.uga.edu for more details later this month!
THURS 2/13
7:30 p.m.
Hodgson Concert Hall
$20 - Adult
$3 - Child/Student
THURSDAY SCHOLARSHIP SERIES: FACULTY FOLLIES - “AN EVENING
OF MUSICAL COMEDY”
Not since the days of Victor Borge and P.D.Q. Bach has there been such a collision of classical music and side-splitting laughter. Curated by professor of comedy...er...clarinet D. Ray McClellan, this fun-filled evening features faculty and students sharing music that highlights joy and playfulness. Silly situations evocative of a classic “Follies” like variety show promise to unfold. What a great way to celebrate Valentine’s Day!
MON 2/17
6 p.m. & 7:30 p.m.
Edge Concert Hall FREE CONCERT
TUES 2/18
7:30 p.m.
Hdogson Concert Hall FREE CONCERT
FRI 2/21
SAT 2/22
7:30 p.m.
3 p.m.
Fine Arts Theatre SUN 2/23
$20 - Adult
$3 - Child/Student
PAGANINI 25 SOLO VIOLIN CAPRICES CONCERTS 1
& 2
Edge Concert Hall is located in the Hugh Hodgson School of Music. 250 River Road, Athens, GA
UNIVERSITY OF GEORGIA PHILHARMONIA
As one of the Hugh Hodgson School of Music’s large orchestral ensembles, the University Philharmonia offers an outlet for musical expression to all string players at the University of Georgia.
UNIVERSITY OF GEORGIA OPERA THEATRE: LA FINTA GIARDINIERA
UGA Opera Theatre returns to the Fine Arts Theatre Building for this fully-staged performance! Confusion is in full bloom at a small-town mayor’s estate near Milan, where Violante and her servant are disguised as gardeners to hide from her exboyfriend, Belfiore. Chaos reigns among several would-be couples in this somewhat surreal romp of requited and unrequited love. Enjoy wonderful music and imagination from an 18-year-old Mozart in a precursor to Le Nozze di Figaro.
Sung in Italian with English supertitles.