Wind Symphony & Symphonic Band

EXPERIENCE MUSIC

&

CONNECTION SERIES

WIND SYMPHONY

SYMPHONIC BAND

Jaclyn Hartenberger, conductor

Michael C. Robinson, conductor

WEDNESDAY, NOV. 15 at 7:30 p.m.

HODGSON CONCERT HALL UGA PERFORMING ARTS CENTER 230 RIVER RD, ATHENS, GA

music.uga.edu | 706-542-3737

@ugamusic

CONNECTION SERIES PROGRAM

SYMPHONIC BAND

Zing!

Anthony Morris, Master’s Conducting Associate

Fu-Mon Melodious Thunk

Scott McAllister (1969) Hiroshi Hoshina (1936)

Caroline Wright, Doctoral Conducting Associate

Caccia and Chorale

David Biedenbender (1984)

Clifton Williams (1923-1976) BRIEF INTERMISSION

WIND SYMPHONY An Outdoor Overture

Aaron Copland (1900-1990)

The Alcotts

Charles Ives (1874-1954) trans. Richard Thurston

George Washington Bridge

William Schuman (1910-1992)

The Governor’s Own March

Alton Adams (1889-1987) rev. James Lamb

SYMPHONIC BAND PROGRAM NOTES

Zing! (2008) (4’45”) Scott McAllister (1969)

Zing! was commissioned by Kappa Kappa Psi and Tau Beta Sigma at Baylor University. Zing! is the first work in a series of short band pieces that are inspired by catchphrases of different band directors who influenced the composer in high school and college. These phrases were often used during rehearsals to illuminate an image in order to create a special sound. Jim Croft, retired Director of Bands at Florida State University, inspired Zing’s fanfare-like motives juxtaposed with lyrical melodic lines and “shiny” color that emulate this catchphrase.

Scott McAllister Scott McAllister has received numerous commissions, performances, and awards throughout the United States, Europe, and Asia. His music has been featured at the Aspen, Chautauqua, and Prague/ American Institute summer festivals. McAllister was awarded first prize in The Ladislav Kubik International Composition Competition and was a winner of an ASCAP Fellowship award. McAllister is currently professor of composition at Baylor University. He completed his undergraduate degrees in performance and composition from The Florida State University and his doctorate in composition from the Shepherd School of Music at Rice University.

Fu-Mon (1999) (5’05”) Hiroshi Hoshina (1936)

Fu-Mon was commissioned by the All Japan Band Association as a required piece for its 1987 Concert Competition. The title has no special meaning and Hoshina believes the impression of the work is

SYMPHONIC BAND PROGRAM NOTES more important than any cultural inference. It is the composer’s wish that performing this piece will be a pleasant and joyful experience.

Hiroshi Hoshina is a Japanese composer and educator. He graduated from the Tokyo National University of Fine Arts and Music in 1960 as a composition major. In that same year, he placed first in the orchestral music division of the Music Competition of Japan. He also won an Arts Festival award (1963) and the Sasagawa Prize (1975). He is active both as a composer and a conductor. Hoshina has written music for orchestra, operas, musicals, and pieces for band. He is regarded as being one of the most distinguished composers in the field of wind instruments music in Japan. He is similarly respected for his unique method of teaching principles of performance. He has also published books on performance theory and conducting and gives lectures.

Melodious Thunk (2012) (4’10”) David Biedenbender (1984)

Melodious Thunk was inspired by the famous jazz pianist Thelonious Monk. There are no direct quotes from the music of Monk, although a short fragment from Dizzy Gillespie’s tune Salt Peanuts is used. The composer, David Biedenbender, writes: “I really liked the idea of playing around with Monk’s name, first, because I personally really enjoy goofing around with “spoonerisms” (silly, ridiculous, mix-and-match letter games, which often happen by accident: for example, slip of the tongue becomes tip of the slung), and, second, because this nickname actually provided great musical inspiration. Melodious: well, that’s fairly obvious; and thunk (which is a great onomatopoeia!) became the starting points for the piece. Big, fat thunks are interspersed with pointy, clunky, bluesy blips, which are then transformed into a long, smooth, laid-back melody accompanied by a funky bass line ... I hope you’ll hear some similarities between this piece and Monk’s iconic musical style and quirky attitude.”

David Biedenbender David Biedenbender has written music for the concert stage as well as for dance and multimedia collaborations, and his work is often influenced by his diverse musical experiences in rock and jazz bands as a bassist, in wind, jazz, and New Orleans-style brass bands as a euphonium, trombone, and tuba player, and by study of Indian Carnatic Music. He has had the privilege of collaborating with and being commissioned by many renowned performers and ensembles, including Alarm Will Sound, the PRISM Saxophone Quartet, the Stenhammar String Quartet, the New Jersey Symphony Orchestra, the U.S. Navy Band, Philharmonie Baden-Baden (Germany), VocalEssence, and the Eastman Wind Ensemble, among many others. He is currently Associate Professor of Composition in the College of Music at Michigan State University, and he holds degrees in composition from the University of Michigan and Central Michigan University

Caccia and Chorale (1976) (6’40”) Clifton Williams (1923-1976)

Caccia and Chorale was Williams’ final work. Knowing that he had cancer, this piece is the musical embodiment of Williams’ reflections on his own mortality. Caccia, means hunt or chase, and is intended to reflect the preoccupation of most people in the world with a constant pursuit of materialism. The Chorale is, by contrast, an urgent and insistent plea for greater humanity, a return to religious or ethical concepts.

Clifton Williams Clifton Williams was an American composer, pianist, virtuosic horn player, music theorist, conductor, and teacher. He attended Louisiana Tech University for one year before joining the Army Air Corps as a

PROGRAM NOTES bandsman during World War II. Following the war, he completed his music studies at Louisiana State University. He then went on to pursue a master’s degree with Howard Hanson at the Eastman School of Music. After completing his studies, Williams became a faculty member at the University of Texas in Austin. While there, he continued to actively perform with the San Antonio Symphony and won two consecutive American Bandmasters Ostwald Awards for Fanfare and Allegro (1956) and Symphonic Suite (1957). In 1966, he became the chair of the Department of Theory and Composition at the University of Miami and despite a very demanding teaching schedule, remained in high demand as a guest conductor, clinician and lecturer until his untimely death in 1976 from cancer.

WIND SYMPHONY PROGRAM NOTES

An Outdoor Overture (1948) (9’20”) Aaron Copland (1900-1990)

Conductor of the High School of Music and Art in New York City, Alexander Richter, commissioned Aaron Copland to write “American music for American youth.” An Outdoor Overture for orchestra was premiered by Richter in December 1938. Although written for an indoor concert, musical scenes of awe, curiosity, exploration, and play invite the audience to an adventure outdoors. The piece, however, is not strictly “light music.” Solemn fanfares and weighty marches are thoughtful moments where one might consider an adventurer’s place in the larger context of the outdoor world. Unlike many of his works, Copland created this version for band himself.

Aaron Copland was an American composer and conductor, often referred to as the “Dean of American Composers.” He studied with legendary composition teacher Nadia Boulanger and developed a signature compositional style that blended modern musical elements with traditional American folk styles. He is best known for his works written in the 1930s and 1940s, in a deliberately accessible style, often labeled as “populist.” Works from this era include Fanfare for the Common Man, Appalachian Spring, Billy the Kid, and Rodeo.

The Alcotts (1920/1972) (5’)

Charles Ives (1874-1954) trans. Richard Thurston The Alcotts is the subject of one of Ives’s Essays Before a Sonata, which he published concurrently with the Concord Sonata in 1920. In the essay, Ives takes us inside the elm-shaped Orchard House where “sits the old spinet piano Sophia Thoreau gave to the Alcott children, on which Beth played the old Scotch airs, and played at Beethoven’s Fifth Symphony.” Warming as always to such a scene of home music-making, he continues: “ all around you, under the Concord sky there still floats ... that human faith melody reflecting an innate hope, a common interest in common men, a tune that the Concord bards are ever playing when they pound away at the immensities with a Beethoven-like sublimity, and with vengeance and perseverance.”

Jonathan Elkhaus At a young age, Charles Ives studied organ and went on to Yale to study composition with Horatio Parker. Believing that he could not earn a living writing the music that he wanted to write, he formed a successful insurance business and composed in the evenings. Much of his music was ignored during his own lifetime, and many of his compositions were not published until decades after he had written them. His compositional style was largely experimental, but also incorporated American folk tunes and hymn songs to paint a unique tonal portrait. In 1947 he received a Pulitzer Prize for his Third Symphony (1911), after its debut only a year earlier in 1946. He died in New York City in 1954, leaving

PROGRAM NOTES a legacy that predated most of the twentieth century innovations such as atonality, aleatoricism, polytonality, microtones, multiple cross-rhythms, and tone clusters.

George Washington Bridge (1950) (8’30’’) William Schuman (1910-1992)

There are few days in the year when I do not see George Washington Bridge. I pass it on my way to work as I drive along the Henry Hudson Parkway on the New York shore. Ever since my student days when I watched the progress of its construction, this bridge has had for me an almost human personality, and this personality is astonishingly varied, assuming different moods depending on the time of day or night, the weather, the traffic and, of course, my own mood as I pass by.

I have walked across it late at night when it was shrouded in fog, and during the brilliant sunshine hours of midday. I have driven over it countless times and passed under it on boats. Coming to New York City by air, sometimes I have been lucky enough to fly right over it. It is difficult to imagine a more gracious welcome or dramatic entry to the great metropolis.

William Schuman William Schuman was a native of New York, where he attended public schools and formed a jazz ensemble in high school. He completed his studies at Malkin Conservatory in New York, Teachers College of Columbia University and at the Mozarteum Academy in Salzburg, Austria. He became music instructor at Sarah Lawrence College and later was appointed president of the Juilliard School of Music. His compositions include ten symphonies, numerous orchestral and chamber pieces, band works, cantatas, an opera, ballet music, piano pieces and music for films. He was the first person to win the Pulitzer Prize in composition — for his 1943 work Secular Cantata No. 2. Although Schuman considered himself a composer first, he often educated and mentored young American composers and performers.

The Governor’s Own March (1921/1993) (2’30’’) Alton Adams (1889-1987) rev. James Lamb

Based on the bugle call to attention, the trumpets’ snappy opening four-note motif announces the beginning of The Governor’s Own March and serves to call listeners in preparation for the arrival of the Virgin Islands’ governor. The principal theme of the march was inspired by its original dedicatee, Admiral Joseph Wallace Oman, naval governor of the Virgin Islands from 1919 to 1921. The melody seems to depict the governor who Adams described as a “short, jaunty, snappy sort of fellow” while it similarly echoes the energetic themes of Sousa’s King Cotton or Manhattan Beach March. Adams felt that Sousa’s music perfectly captured the “spirit of militant vigor and courage” emblematic of the march.

Born in 1889, Alton Adams became the first black bandmaster in the United States Navy in 1917 when his all-black Adams Juvenile Band was inducted as the United States Navy Band of the Virgin Islands.

At the onset of American entry into World War One, the U.S. had purchased the islands from Denmark to deny Germany a submarine base so close to U.S. shores. Adams’s band served as a cultural and social bridge between the islands’ new, all-white American administration and its mostly black native population. Adams was soon in charge of three bands, his own in St. Thomas and two groups on St. Croix. He also volunteered as Supervisor of Music for the islands’ public schools to create its first music curriculum.

ARTIST TEAM BIOGRAPHIES DR. JACLYN HARTENBERGER is a highly sought performer, with artistry that has attracted invitations throughout the world. Under her leadership, ensembles consistently perform at a high level, and her programs are enthusiastically received. Their performances have been described as “superb,” “praiseworthy,” “terrific,” “impressive,” and displaying “artistry.”

An advocate for music’s future, Jaclyn frequently performs with young up and coming musicians throughout the country in addition to her appearances with the UGA Wind Symphony. Jaclyn has also collaborated with UGA’s faculty for performances of Milhaud’s La Creation du Monde, Stravinsky’s Concerto for Piano and Winds, and a variety of new pieces by UGA composers. Jaclyn has appeared with other professional ensembles including the West Point Band in New York, the Concordia Santa Fe Wind Ensemble in New Mexico, the Festival International de Inverno da USFM in Brazil, and the Salta Symphony Orchestra in Argentina.

Jaclyn Hartenberger serves as the Associate Director of Bands and Associate Professor of Music at the University of Georgia. In addition to serving as the conductor for the Wind Symphony, she teaches undergraduate and graduate conducting. She received a Master of Music and Doctor of Musical Arts in Conducting from The University of Texas at Austin. Her Bachelor of Music Education degree is from the University of North Texas, where she performed and recorded with the prestigious UNT Wind Symphony.

MICHAEL C. ROBINSON serves as Professor of Music Education at the University of Georgia. His duties include teaching courses in instrumental music education, conducting, and as Director of the UGA Symphonic Band. Robinson previously served for eleven years as the Director of The Sudler Trophy Award winning UGA Redcoat Marching Band. A native of Florida, Robinson received B.M. and M.M. degrees in Music Education and a D.M.A. degree in Instrumental Conducting from the University of Miami. Prior to the UGA appointment, he served as Associate Director of Bands at the University of South Florida in Tampa and Director of Bands at Fort Hays State University in Hays, Kansas. Robinson also taught eleven years in the public schools of Florida, most notably as Director of Bands at Seminole High School in Pinellas County Florida. During his teaching career, Robinson has received numerous honors and awards including; Pinellas County Teacher of the Year, City of Seminole Educator of the Year, USF College of Visual and Performing Arts Outstanding Service Award, The Orpheus Award from Phi Mu Alpha, and The Friend of the Arts award from Sigma Alpha Iota, among others. Robinson is active as a guest conductor, clinician and adjudicator throughout the United States. He also has extensive experience in the marching arts having served in a variety of capacities with top DCI Drum and Bugle corps such as the Boston Crusaders, The Cadets, Carolina Crown, Iowa Colts, Madison Scouts, and Suncoast Sound.

ANTHONY MORRIS is currently pursuing a Master of Music in Wind Conducting at the University of Georgia where he studies with Dr. Nicholas Williams and Dr. Jaclyn Hartenberger and serves as a Master’s Conducting Associate for the UGA Bands. Mr. Morris received a Bachelor of Music in Music Education with a dual concentration in Instrumental and Choral education with Cum Laude distinction from Kennesaw State University. Prior to graduate study, Mr. Morris served as the Director of Bands & Choirs at Wildwood Middle High School where he was responsible for the instruction and administration of the middle & high school concert bands, marching band, music theory, and choir program.

Mr. Morris has appeared as a guest conductor with the United States Army Band “Pershing’s Own” and was named a Conducting Fellow for the H. Robert Reynolds Conducting Institute at the 76th Annual Midwest Clinic in Chicago, Illinois. His passion for music education has led him to create the Relative Pitch Podcast which discusses modern issues regarding music education and helps pave the way for

ARTIST TEAM BIOGRAPHIES much-needed change to make a more diverse, enriching, and equitable music community. Through these endeavors, Mr. Morris and Relative Pitch Podcast presented sessions entitled “Changing of the Guard: Shifting Perspectives of Education” at the College Band Directors National Association National Conference and “Pushing for Change From the Inside: Bringing Equity to Middle and High School Bands” at the annual Georgia Music Educators Association In-Service Conference.

CAROLINE WRIGHT is joining the University of Georgia after quite an adventurous journey around the world. After graduating magna cum laude from Southeastern Louisiana University with her Bachelor’s degree in Music Education, Caroline moved to Tuscaloosa, Alabama to obtain her Master’s in Music Education at the University of Alabama. In both of her degrees, Caroline was awarded Most Outstanding Student by the faculty and staff by both Universities upon her completion.

Caroline taught briefly in St. Tammany Parish at Mandeville High School, before trading her swamp boots to work with a mouse down in Florida. Her work with Walt Disney’s Performing Arts in Orlando led her to start an international travel journey teaching in schools in Mainland China. During this time, Caroline was voted one of the top ten most sought-after teachers in China and was awarded first in overall parent satisfaction. After returning to the U.S., Caroline was hired as the Director of Bands at Mt. Bethel Christian Academy working on curriculum development from grades K-12. Caroline has been passionate about youth activism and has worked alongside with Legacy Youth Leadership which provided her work as a public speaker in places such as Yale, Princeton, Penn State, Harvard, and Model UN conferences throughout the United States. Caroline has taught Elementary music, and middle/ high school bands in states such as Louisiana, Arkansas, Florida, and Georgia.

Caroline has joined the Hugh Hodgson School of Music at the University of Georgia as a Doctoral Conducting Associate. She is currently pursuing a D.M.A in Wind Conducting where she will study with Dr. Nicholas Williams and Dr. Jaclyn Hartenberger.

UNIVERSITY OF GEORGIA SYMPHONIC BAND Michael C. Robinson, conductor FLUTE Kiconco Bassler - Cartersville, GA Rose Fitzgerald - Warner Robins, GA Keira Inks - Grovetown, GA Hali Jang - Acworth, GA Winnie Mburu - Nairobi, Kenya Roberto Montiel - Valdosta, GA Alex Tirino - Warner Robins, GA Libby Zavadil - Pittsburg, PA OBOE Carina Cardoso De Araujo - Curitiba, Brazil Emma Castleberry - Bishop, GA Lorelai Crook - Athens, GA Ashlyn Long - Alpharetta, GA Eleazar Louis - Dacula, GA Jennifer Tran - Savannah, GA BASSOON Kaleb Colwell - Cumming, GA Jordan Johnson - Bremen, GA Drew Kruszynski - Dallas, GA CLARINET Emma Hu - Zebulon, GA Bailey Hutchins - Vidalia, GA Blue Jackson - Stone Mountain, GA Anya Kerkemeyer - Tyrone, GA Tori Olson - Evans, GA Avery Pate - Columbus, GA Maggie Quesenberry - Evans, GA Allyson Tremblay - Buford, GA BASS CLARINET John Peach - Kennesaw, GA

ALTO SAXOPHONE Marissa Brown - Kennesaw, GA Ashley Emerton - Bremen, GA Nicholas Goldfarb - Decatur, GA Rachel Hoang - Lawrenceville, GA Emily Johnson - Cumming, GA Madelynn Rayner - Dublin, GA Bridget Sheridan - Fairfax, VA Jackson Tadlock - Taylorsville, GA TENOR SAXOPHONE Maddi Finn - Buffalo, NY Tucker Rollins - Colbert, GA BARITONE SAXOPHONE Sadie Landon - Mount Pleasant, SC TRUMPET Hannah Brooker - Covington, GA Clay Campbell - Dacula, GA Ella Carter - Brunswick, GA Todd Curless - Athens, GA Noah Duncan - Cordele, GA Dominic Francesconi Johns Creek, GA Benjamin Jones - Sugar Hill, GA Jonathan Lackey - Snellville, GA Emma Peters - Monroe, GA Sarah Shayeb - Leesburg, GA Hayes Thomas - Woodstock, GA Nathan Vazquez - Grovetown, GA Trey Walsh - Grayson, GA

HORN London Brooks - Thomson, GA Jacob Guerreso - Canton, GA Brianna Baker- Hopkins Greensboro, GA Enrico Soriano - Savannah, GA Alex Weekley - Waycross, GA TROMBONE Tyler Carver - Bogart, GA Connor Fenneren - Bogart, GA Erin Howard - Huntsville, AL Stanley Mullis - Eastman, GA Connor Norris - Marietta, GA BASS TROMBONE Ian Harding - Leesburg, GA EUPHONIUM Jackson Hund - Austin, TX Tarevachin Lightfoot - Monticello, GA Steven Lubitz - Marietta, GA Ava Rogers - Dallas, GA Maria Suggs - Columbus, GA TUBA Riley Maloney - Tiger, GA Katja Rintamaki - Minneapolis, MN PERCUSSION Rob Bowden - Dacula, GA Kai Braun - Cartersville, GA Arnav Gupta - Peachtree Corners, GA Euan Maley - Cumming, GA Jorjana Marin - Warner Robins, GA

*Members of the University of Georgia Symphonic Band are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors.

UNIVERSITY OF GEORGIA WIND SYMPHONY Jaclyn Hartenberger, conductor FLUTE Dylan Abbott – Kennesaw, GA Isabella Cabrel-Watson – Marietta, GA Samuel Malavé – Wellington, FL

HORN Anna DeYoung – Canton, GA Peter Dixon – Duluth, GA Jacob Evarts – Locust Grove, GA

Madeline Shell – Acworth, GA Connor Thorne – Milton, GA Alexia Toma – Dacula, GA Lauren Wiggins – Mount Pleasant, SC

Patrick Malone – Acworth, GA Makenzie Shields – Jasper, IN

OBOE Nora Avery – Stone Mountain, GA Chloe Chun – Cumming, GA Emily Grabowski – Evans, GA Alice McNett – Harrisonburg, VA Brenna Sexton – Marietta, GA CLARINET Lily Kate Akins – Brunswick, GA Ethan Campbell – Johns Creek, GA Riley Hartman – Woodstock, GA Rohan Kansal – Suwanee, GA Morgan Loper – Thomasville, GA Tyler Nichols – Kennesaw, GA Claire Telfor – Hudsonville, MI BASSOON Dillon Causby – Milton, GA Caleb Jackson – Macon, GA Ethan Johnson – Milton, GA SAXOPHONE Owen Cotton – Fairfax, VA Aidan Eclavea – Martinez, GA Carter Naughton – Falls Church, VA Christopher Victor – Hortense, GA TRUMPET Sophia Bobo – McDonough, GA Cameran Butryn – Watkinsville, GA Jackson Camp – Athens, GA Palmer Hartley – Dawsonville, GA Noah Hicks – Dallas, GA Colin Kennedy – Alpharetta, GA Jack Rozza – Marietta, GA

TROMBONE Trip Drennan – Atlanta, GA William Emde – Chamblee, GA Joshua Hadaway – Lawrenceville, GA Eric Looney – Watkinsville, GA Zachary Nelson – Blue Ridge, GA EUPHONIUM Andrew Hayes – Peachtree City, GA Skylar Smith – Rincon, GA Jacob Torbert – St. Simons Island, GA TUBA Andrew Hayes – Peachtree City, GA Skylar Smith – Rincon, GA Jacob Torbert – St. Simons Island, GA STRING BASS Bianca Wilson – Annapolis, MD Swathi Ramaswamy - Marietta, GA PERCUSSION Will Collins – Kennesaw, GA Tanner Falin – Statesboro, GA Michelle Jiang – Johns Creek, GA Reece Moseley – Winder, GA Jake Norwood – Jackson, GA Austin Waters – Buford, GA PIANO Calvin Stovall – Taylorsville, GA

*Members of the University of Georgia Wind Symphony are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors.

UNIVERSITY OF GEORGIA BANDS Nicholas Enrico Williams Jaclyn Hartenberger Brett Bawcum Michael C. Robinson

Director of Bands Associate Director of Bands Assistant Director of Bands/Director of Athletic Bands Professor/Conductor of Symphonic Band

Rob Akridge Mia Athanas R. Scott Mullen Jeremy Smith Gilbert Villagrana Caroline Wright Anthony Morris Michael Chapa Joseph Johnson Michelle Moeller Rocky Raffle

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 Master’s Conducting Associate Athletic Bands Graduate Assistant Graduate Assistant Graduate Assistant Large Ensemble Office Manager

Follow UGA Bands on Social Media:

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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

HUGH HODGSON SCHOOL OF MUSIC Peter J. Jutras Adrian P. Childs Brandon Craswell Amy Pollard Edith Hollander James Sewell Shaun Baer Paul Griffith Eric Dluzniewski Scott Higgins Tony Graves Dan Phipps

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

CELEBRATE THE SEASON

WITH TWELVE DAYS OF MUSIC We are still offering our “Pick Twelve” and “Pick Six” ticket packages for Spring Our spring ticketed concerts include performances by: The UGA Symphony Orchestra • The UGA Wind Ensemble UGA Hodgson Singers • UGA Opera Theatre’s “Tragedy of Carmen” Three incredible Faculty Artist recitals PLUS our closing concert of the season “Dona Nobis Pacem,” featuring: The Hodgson Singers, University Chorus, Men’s and Women’s Glee Clubs, vocal soloists, and the Symphony Orchestra.

Over 300 student musicians!

SCAN HERE FOR PICK SIX AND SAVE 10% UGA PERFORMING ARTS CENTER | 230 RIVER RD, ATHENS, GA

SCAN HERE FOR PICK TWELVE AND SAVE 15%

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YOUR SUPPORT MAKES A DIFFERENCE 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 tax-deductible gift to the Thursday Scholarship Fund so we may continue to support our students and make their education possible.

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.

CONCERT UNDERWRITING: If you are interested in underwriting a concert, please contact: Melissa Roberts at roberts@uga.edu or 706-254-2111.

Scan the QR code or visit music.uga.edu/giving to make a donation today to the University of Georgia Hugh Hodgson School of Music Scholarship Fund.

Thank you for your continued support of the UGA Hugh Hodgson School of Music.

EXPERIENCE MUSIC UPCOMING PERFORMANCES

THURS 11/16 7:30 p.m.

Hodgson Concert Hall

UGA WIND ENSEMBLE

Pounce

“Pounce” - Holly Harrison (GA premiere) “Cheetah” - Karel Husa and more!

$3 UGA STUDENT TICKETS ADULTS $20 WITH VALID UGA STUDENT ID CARD

Tickets: music.uga.edu | 706-542-4400

TUES 11/21

7:30 p.m.

Hodgson Concert Hall FREE CONCERT NO TICKETS REQUIRED

WITH A

AFRICAN AMERICAN HEART CHORAL ENSEMBLE

GRATEFUL

Sponsored in part by Rhonda Lucile Hicks

Annual Holiday Concert THURSDAY, NOVEMBER 30 $10 UGA STUDENT TICKETS WITH VALID UGA STUDENT ID CARD at 7:30 p.m.

FRIDAY, DECEMBER 1 at 7:30 p.m.

HODGSON CONCERT HALL UGA PERFORMING ARTS CENTER

ADULTS $25

TICKETS: Scan the QR code for your preferred performance night Underwritten by Bill Barstow in loving memory of Dolly Barstow

Hugh Hodgson School of Music, 250 River Road, Athens, GA, 30602 Phone: 706-542-3737 Website: music.uga.edu

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