UGA WIND SYMPHONY
SYMPHONIC BAND
WEDNESDAY, OCTOBER 30, 2024 at 7:30 p.m.
HODGSON CONCERT HALL
MICHAEL C. ROBINSON, conductor
JACK A. EADDY, JR., conductor
&
WIND SYMPHONY SYMPHONIC BAND
Wednesday, October 30, 2024 at 7:30 p.m.
Hodgson Concert Hall
UGA Performing Arts Center
University of Georgia Symphonic Band
Michael C. Robinson, Conductor
Marcus Morris, Guest Conductor
Gilbert P. Villagrana, Doctoral Conducting Associate
Tyler Nichols, Guest Conductor
Bulldog Brass Society; Victor Pires, Trumpet
Adriano Estraiotto, Trumpet
Josh Wood, Horn
Ian Wolff, Trombone
Hunter Kane, Tuba
University of Georgia Wind Symphony
Jack A. Eaddy, Jr., Conductor
R. Scott Mullen, Doctoral Conducting Associate
Brett Bawcum, Guest Conductor
Sea Songs
PROGRAM
UNIVERSITY OF GEORGIA SYMPHONIC BAND
Georgia Bulldog Medley
Marcus Morris, Guest Conductor
Ralph Vaughan Williams
Roger L. Dancz
Tyler Nichols, Guest Conductor
Prelude, Siciliano, and Rondo
I. Prelude
II. Siciliano
III. Rondo
Down a Country Lane
Suite from “MASS”
Gilbert P. Villagrana, Doctoral Conducting Associate
Malcolm Arnold
trans. John P. Paynter
Bulldog Brass Society
In memory of H. Dwight Satterwhite
INTERMISSION
UNIVERSITY OF GEORGIA WIND SYMPHONY
Aaron Copland
Leonard Bernstein
Dancing Fire
Colonial Song
R. Scott Mullen, Doctoral Conducting Associate
Kevin Day
Percy Grainger
ed. Mark Rogers
Commando March
Rippling Watercolors
Un Cafecito
Give Us This Day
Brett Bawcum, Guest Conductor
Samuel Barber
Brian Balmages
Dennis Llinás
David Maslanka
Sea Songs (1923) (4’)
Ralph Vaughan Williams (1872 - 1958)
Written in 1923 for the following year’s Wembley Exhibition, Sea Songs is a march medley of three well-known sea shanties: Princess Royal, Admiral Benbow, and Portsmouth Written in typical march form with a trio, it was published simultaneously for brass band and wind band and was later transcribed by the composer for symphony orchestra. Sea Songs was initially intended to be the final movement of Vaughan Williams’ Folk Song Suite.
Program Note by Nikk Pilato
Ralph Vaughan Williams was an English composer of symphonies, chamber music, opera, choral music, and film scores. He was also a collector of English folk music and song: this activity both influenced his editorial approach to the English Hymnal, beginning in 1904, in which he included many folk song arrangements set as hymn tunes, and also influenced several of his own original compositions. He joined the Royal Army Medical Corps in France during World War I. From the 1920s onward, he was in increasing demand as a composer and conductor. He composed simple pieces and grand orchestral works and is considered the outstanding composer of his generation in England.
Georgia Bulldog Medley (1968) (4’30”)
Roger L. Dancz (1930-1998)
The Georgia Bulldog Medley might be thought of as an overture to life at UGA in the mid-twentieth century. Based loosely on an earlier arrangement for the Men’s Glee Club, Dancz enhanced the original work with harmonic and instrumentation gestures commonly used by composers for stage and screen at the time. The opening song, “Goin’ Back,” is interrupted just before its final syllable with an arrangement of “Hail to Georgia” that could as easily have appeared in a Rodgers and Hammerstein score. This influence remains evident through many of the remaining titles— “Daughter of the Red and Black,” “Glory to Georgia,” “Bulldog Marching Song,” and “I Want to Go Back to UGA”—before the opening melody returns. Dancz ends with a dramatic tag which quotes the UGA Alma Mater (a 19th-century American melody called “Annie Lisle” that is shared by countless institutions) which remains in the modern Redcoat Band pregame show.
Dancz’s arrangement was primarily intended for performance on the then-Redcoat Symphonic Band Spring Tour--an annual outreach program that brought the sounds
of Sanford Stadium and the UGA Fine Arts Theater to much of the rest of Georgia. These tours continued through the 1980s, when Mr. Dancz was joined by associate conductor Dwight Satterwhite, who would later carry on the tradition well into the 1990s as director of bands. Though Satterwhite’s embrace of new wind music and the expanding band repertoire surpassed even that of the progressive Dancz, Symphonic Band Spring Tour concerts always featured the “Georgia Bulldog Medley,” complete with majorettes, Georgettes, and flagline. It was a favorite of Dr. Satterwhite’s and the many audiences he touched.
Program Note by Brett Bawcum and Jacob Weinstein
Roger L. Dancz was a prominent American band director, arranger/composer, and educator. Beginning his music study at age six, Dancz’s earliest career goal— “play my trumpet and make people happy”—would remain in place throughout his life. After forming dance bands during his teen years, he earned a bachelors degree in music from Stetson University. He performed in the Third Army Band at Ft. McPherson in Atlanta and wrote arrangements for the Georgia Tech Band, whose director’s recommendation led to Dancz’s appointment as director of the University of Georgia Band in 1955. He remained at UGA for 35 years, leading the band through its period of greatest growth and public interest. He is today considered the father of the Redcoat Band. Dancz’s arrangements and compositions, and those of his student Tom Wallace, remain beloved by millions of University of Georgia students, alumni, and fans.
Prelude,
Siciliano, and Rondo (1963/1979) (7’45”)
Malcolm Arnold (1921-2006)
Prelude, Siciliano, and Rondo was first written in 1963 for brass band under the title Little Suite for Brass. Paynter’s arrangement for wind bands includes woodwinds and additional percussion but retains the breezy effervescence of the original work. All three movements are written in short, clear, five-part song forms, giving the composer’s imaginative melodies a natural, almost folklike, settings. The Prelude begins bombastically in a fanfare style but reaches a middle climax and winds down to a quiet return of the opening measures, which fade to silence. The lilting and expressive Siciliano is both slower and more expressive than the other movements, thus allowing solo instruments and smaller choirs of sound to be heard. It also ends quietly. The rollicking five-part Rondo provides a romping finale in which the technical facility of the modern wind band is set forth in boastful brilliance.
Program Note adapted from “Program Notes for Band”
Malcolm Arnold began his career playing trumpet professionally, by age thirty his life was devoted to composition. He was bracketed with Britten and Walton as one of the most sought-after composers in Britain. His natural melodic gift earned him a reputation as a composer of light music in works such as his sets of Welsh, English, Scottish, Irish and Cornish Dances, and his scores to the St Trinian’s films and Hobson’s Choice. Arnold was a relatively conservative composer of tonal works, but a prolific and popular one. He acknowledged Hector Berlioz as an influence, and several commentators have drawn a comparison with Jean Sibelius.
Down a Country Lane (1962/1991) (3’15”)
Aaron Copland (1900-1990)
On June 29, 1962, Life Magazine featured Aaron Copland’s composition Down a Country Lane. The piece was commissioned by Life in hopes of making quality music available to the common pianist and student. The work was featured along with an article titled “Our Bumper Crop of Beginning Piano Players”. The article explains, “Down a Country Lane fills a musical gap: It is among the few modern pieces specially written for young piano students by a major composer.” Copland is quoted in the article as saying “Even thirdyear students will have to practice before trying it in public.” Copland then explains the title: “The music is descriptive only in an imaginative, not a literal sense. I didn’t think of the title until the piece was finished - Down a Country Lane just happened to fit its flowing quality.”
Program Note by the Publisher
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.
Suite from “MASS” (1971/2009) (15’)
Leonard Bernstein (1918-1990)
Suite from “MASS”, arranged for the Canadian Brass and the Eastman Wind Ensemble, takes particularly memorable selections from throughout the course of MASS and sets them for featured brass quintet and full ensemble. The brass quintet most frequently takes on the role of the solo singers from the stage production. The arrangements
themselves are remarkably true to the original work, though ordered differently. For instance, in the suite, A Simple Song is the middle movement and acts as the gentle centerpiece between the more virtuosic expressions of the exterior sections, as opposed to its early presentation within the full version. Part One, in contrast, sets some of the more aggressive moments of the original. While the Alleluia is jubilant, the Sanctus and Agnus Dei (which come from near the end of MASS at the moment when the congregation’s furor is at its highest) blare with sizzling cacophony. The finale sets the Offertory and Almighty Father with the beautiful sonorities of the hymn cadencing with an “Amen” sung by the ensemble. Though the medium has shifted, Sweeney’s conscientious work lets Bernstein’s voice sing through unabashedly, as always passionate and profound.
Program Note by Jacob Wallace
Leonard Bernstein was an American composer, pianist, and conductor. His achievements included Kennedy Center Honor for Lifetime of Contributions to American Culture Through the Performing Arts, eleven Emmy Awards, election to the Academy of the American Academy and Institute of Arts and Letters, and the Lifetime Achievement Grammy Award from the National Academy of Recording Arts and Sciences.
WIND SYMPHONY PROGRAM NOTES
Dancing Fire (2016) (3’50”)
Kevin Day (b. 1996)
When I was writing Dancing Fire, I wanted to write a piece for my high school band program and its directors for the great pieces we played, the fun times we had, and the excitement our bands created at our concerts. The picture I had in my head before I began writing was a group of people surrounding a large bonfire during the night. These people began dancing around the fire, having fun, singing songs, and ultimately, celebrating life. Once I had that picture in my head, along with the constant repeating motif that eventually became the melody for the entire piece, the rest of the work fit together nicely, and in two weeks it was done. The composition brings this mental picture I had to life in a fun and energetic way with dance-like percussion and a constant groove, as well as its contagious melody, a mysterious soprano sax solo, and a climactic ending.
Program Note by the Composer
Kevin Day is an internationally acclaimed composer, conductor, and pianist, whose music often intersects between the worlds of jazz, minimalism, Latin music, fusion, and contemporary classical idioms. A winner of the BMI Student Composer Award, a threetime finalist for the ASCAP Morton Gould Young Composer Award, and considered for
the 2022 Pulitzer Prize for his Concerto for Wind Ensemble, Day has composed over 200 works, and has had numerous performances around the world. Day currently works as Lecturer of Music Theory and Musicianship at the UC San Diego Department of Music, and is a graduate of the Hugh Hodgson School of Music at the University of Georgia.
Colonial Song (1916-18/1997) (6’)
Percy Grainger (1882-1961)
The musical material of Colonial Song dates from 1905. The work is dedicated to Grainger’s mother, and Grainger describes:
“No traditional tunes of any kind are made use of in this piece, in which I have wished to express feelings aroused by thoughts of the scenery and people of my native land, Australia, and also to voice a certain kind of emotion that seems to me not untypical of native-born Colonials in general. Perhaps it is not unnatural that people living more or less lonelily in vast virgin countries and struggling against natural and climatic hardships (rather than against the more actively and dramatically exciting counter wills of the fellow men, as in more thickly populated lands) should run largely to that patiently yearning, inactive sentimental wistfulness that we find so touchingly expressed in much American art.”
Percy Grainger was an Australian-born composer, pianist, and champion of the saxophone and the concert band. In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he traveled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18 and took American citizenship in 1918. Grainger toured internationally as a pianist and is widely regarded as one of the most important composers of wind instruments.
Commando March (1943) (3’30”)
Samuel Barber (1910-1981)
When Samuel Barber joined the United States Army in 1942, he quickly went to work writing music for the war effort. Though not officially commissioned to do so by the US government, Barber’s first work after his military induction was Commando March, and it was premiered by the Army Air Forces Technical Command Training Band in early 1943. Commando March enjoyed immediate success as the Goldman Band played the work throughout the summer of 1943, leading to a request by Serge Koussevitzky for Barber to adapt it for orchestra. Commando March endures as a cornerstone work for
wind band, standing as Barber’s singular yet beloved contribution to the band genre from a two-time Pulitzer Prize-winning icon of American music.
Program Note adapted from the Wind Repertory Project
Samuel Barber was an American composer born into an educated, social, and distinguished Irish-American family. His father was a doctor, and his mother was a pianist. His aunt, Louise Homer, was a leading contralto at the Metropolitan Opera, and his uncle, Sidney Homer, was a composer of American art songs. Barber was the recipient of numerous awards and prizes including the American Prix de Rome, two Pulitzers, and election to the American Academy of Arts and Letters. His intensely lyrical Adagio for Strings has become one of the most recognizable and beloved compositions, both in concerts and films (Platoon, The Elephant Man, El Norte, Lorenzo’s Oil).
Rippling Watercolors (2015) (4’15”)
Brian Balmages (b. 1975)
Many often underestimate the extensive colors, harmonies, and emotional range that are often achievable in younger ensembles. It is in this spirit that the musical lines of Rippling Watercolors were born. The idea for this piece came from a simple set of watercolors. When children get hold of these and use their imagination, the most amazing things can happen. Children can see things that adults never see. They open our minds while we help them grow and learn. With a little imagination, these watercolors can become a magnificent sunrise or sunset over the ocean, a gorgeous view from a mountaintop, or an image of a supernova in space. The smallest drop can change the pattern and create something entirely new, either with a brush or entirely within nature.
Program Note by the Composer
Brian Balmages is an active trumpeter, composer, conductor, producer, and performer. His fresh compositional ideas have been heralded by many performers and directors, resulting in a high demand of his works for winds, brass, and orchestra. He received his Bachelor of Music from James Madison University and his master’s degree from the University of Miami. Mr. Balmages studied trumpet with James Kluesner, Don Tison, and Gilbert Johnson. His compositions have been performed worldwide at conferences, including the College Band Directors National and Regional Conferences, the Midwest Clinic, the International Tuba/Euphonium Conference, the International Trombone Festival, and the International Trumpet Guild Conference.
Un Cafecito (2020) (6’25”)
Dennis Llinás (b. 1980)
The phrase Un Cafecito means “a little coffee.” Growing up in Miami in our Cuban culture, it was customary for co-workers to bring to work an eight-ounce cup filled with Cuban coffee (basically really strong and sweet espresso) with many tiny shot cups. At certain points in the day, they would approach colleagues and pour a quick shot for them accompanied with the phrase,“¿Quieres un cafecito?” translating to “Do you want a little coffee?” Needless to say after that shot, you were ready for another few hours of daily activity.
This piece is meant to be just that — a little bit of pick-me-up with the sounds of my childhood.
Program Note by the Composer
Dennis Llinás is an American conductor, educator and composer. Dr. Llinás received a Bachelor of Science in Music Education from Florida International University and both a Master of Music and Doctor of Musical Arts in Conducting from The University of Texas at Austin. Prior to his collegiate teaching, Dr. Llinás taught at Miami Coral Park High School in Miami, Fla. and W. Charles Akins High School in Austin, Tx. Llinás serves as associate professor of music and director of bands at the University of Oregon where his principal responsibilities include overseeing all aspects of the UO Department of Bands, conducting the Oregon Wind Ensemble, teaching graduate and undergraduate conducting, and wind literature. Prior to his appointment at the U of O, he served as the associate director of bands at Louisiana State University where his responsibilities included conducting the LSU Symphonic Winds, teaching undergraduate and graduate conducting, and directing the Tiger Band.
Give Us This Day (2005) (15’)
David Maslanka (1943-2017)
The words “Give Us This Day” are, of course, from the Lord’s Prayer, but the inspiration for this music is Buddhist. I have recently read a book by the Vietnamese Buddhist monk Thich Nhat Hanh (pronounced “Tick Not Hahn”) entitled For a Future to be Possible. His premise is that a future for the planet is only possible if individuals become deeply mindful of themselves, deeply connected to who they really are. While this is not a new idea, and something that is an ongoing struggle for everyone, in my estimation it is the issue for world peace. For me, writing music, and working with people to perform music,
are two of those points of deep mindfulness. Music makes the connection to reality, and by reality I mean a true awakeness and awareness.
“Give Us This Day” gives us this very moment of awakeness and aware aliveness so that we can build a future in the face of a most dangerous and difficult time.
Program Note by the Composer
David Maslanka was born in New Bedford, Massachusetts, in 1943. He attended the Oberlin College Conservatory, where he studied composition with Joseph Wood. He spent a year at the Mozarteum in Salzburg, Austria, and did master’s and doctoral study in composition at Michigan State University, where his principal teacher was H. Owen Reed. Maslanka’s music for winds has become especially well-known. Among his more than 150 works are over fifty pieces for wind ensemble, including eight symphonies, seventeen concertos, a Mass, and many concert pieces. He served on the faculties of the State University of New York at Geneseo, Sarah Lawrence College, New York University, and Kingsborough Community College of the City University of New York, and was a freelance composer in Missoula, Montana, from 1990 until his death in 2017.
Flute
Mazzy Beyer
Ana Buchan
Mary Burke
Rose Fitzgerald
Anish Garikapati
Keira Inks
Katherine Piroumian
Priya Storey
Oboe
Ella Blakeborough
Sydney Brockway
Emma Castleberry
Aidan Furman
Eleazar Louis
Carter Reed
Jennifer Tran
Bassoon
Yamilet Anariba^
Nathan Bine
Skylar Ward
Clarinet
Emma Hu
Bailey Hutchins
Blue Jackson
Shree Kanji
Tyler Nichols
Maggie Quesenberry
Claire Telfor^
Michael C. Robinson, Conductor
Bass Clarinet
Ethan Campbell
Alto Saxophone
Antonio Aguilar
Erin Brown
Nicholas Goldfarb
Madelynn Rayner
Bridget Sheridan
Bella Turco
Margaret Watson
Tenor Saxophone
Emily Johnson
Tucker Rollins
Baritone Saxophone
Sadie Landon
Horn
Nathan Brown
Della Frazier
Jacob Guerreso
Sophia Phillips
Trumpet
Jacob Alford
Justing Arnold
Teddy Cone
Noah Hicks^
Timothy Jackson
Zachery Lerman
Emma Peters
Nathan Vazquez
Ethan Young
Trombone
Noah Adkinson
Nichole Botsoe
Jacob Duda
Major Ellis
William Emde
Connor Fenneran
Euphonium
TarevaChine Lightfoot
Ava Rogers
Maria Suggs
Jacob Torbert
Tuba
Riley Maloney
Peyton Mayhew
Percussion
Nicolas Alvarez
Kai Brown
Jack Maguire
Jorjana Marin
Jacien Thorne
Mary Webb
Alec Yeung
Nikhil Young
*Members of the University of Georgia Symphonic Band are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors.
^Graduating member appearing in their final ensemble performance with UGA Bands
Flute
Lyla Bingaman
Bella Cabrel-Watson^
Jadyn Hairston
Heesoo Jeong
Madeline Shell
Elisabeth Surdilovic
Lauren Wiggins
Oboe
Nora Avery
Triston Fielding
Anisa Herbert
Xander Herman
Kristi Kiene
Ashlyn Long
Clarinet
Cecelia Berenguer
William Kaplan
Katie Martin
Avery Pate
John Peach
Sophie Ray
Rebeca Reyes
Ashley Vinson
Bassoon
Kaleb Colwell
Lily Hurn
Ethan Johnson
Jordan Johnson
Jack A. Eaddy Jr., Conductor
Saxophone
Ashley Emerton
Brennan Sweet
Jackson Tadlock
Jon Erik Tripp
Trumpet
Luke Barret
Emily Beiter
Cameran Butryn
Palmer Hartley
Hayes Thomas
Trey Walsh^
Matthew Young Horn
London Brooks
Peter Dixon
Gibson Krolikowski
Patrick Malone
Chance Salter
Trombone
Eli Boudreaux
Tyler Carver
Jonah Madaris
Thomas Pajares
Matthew Quach
Euphonium
Steven Lubitz
Skylar Smith^
Kara Thaxon
Tuba
Moses Bannister
Jack Gordon
String Bass
Leonardo Lopes
Percussion
Kelly Harbin
David MacPherson
Euan Maley^
Aaron Phillip
Mackenzie Roquemore
Angelina Vasquez
Austin Waters
Piano
Ryan Swingler
Harp
Evelyn Raphael
*Members of the University of Georgia Wind Symphony are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors.
^Graduating member appearing in their final ensemble performance with UGA Bands
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
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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.
ImaginePossibilities the
MON 11/4
5:30 p.m.
Ramsey Concert Hall
FREE CONCERT
TUES 11/5
5:30 p.m.
Ramsey Concert Hall
FREE CONCERT
FRI 11/8
7:30 p.m.
SUN 11/10 3 p.m.
Hodgson Concert Hall
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 OPERA
Journey through some of opera’s historic arias and moments sung by our graduate opera students and the impeccable UGA voice faculty.
MON 11/11
5 p.m.
Wilson Center for Humanities and Arts FREE EVENT
TUES 11/12
7:30 p.m.
Hodgson Concert Hall FREE CONCERT
THE DANCER’S VOICE: RUMYA PUTCHA IN CONVERSATION W/ JARED HOLTON
This event is hosted by the Willson Center for Humanities and Arts as part of UGA’s 2024 Spotlight on the Arts festival.
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.
7:30 p.m.
Hodgson Concert Hall
FREE CONCERT WED 11/13
THU 11/14
7:30 p.m.
Hodgson Concert Hall
FREE CONCERT
UNIVERSITY OF GEORGIA CHINESE MUSIC ENSEMBLE
Under the direction of Vicki Lu, this ensemble features instruments such as the erhu, guzheng, pipa, hulusi and the yangqin.
UNIVERSITY OF GEORGIA BRITISH BRASS BAND
The British Brass Band repertoire encompasses a wide variety of styles including excellent original works, marvelous transcriptions of orchestral works.