Welcome to the October issue of Cadenza! This marks the halfway point in our celebration of Hispanic Heritage Month, and we are highlighting two upcoming performances – music and dance – in this issue with feature stories. I am delighted to welcome Ballet Nepantla to the UTSA Recital Hall this month! In addition, you’ll find announcements of all of our upcoming concerts in October.
This issue of Cadenza also features some of our outstanding student and faculty research and creative projects, including a wonderful film collaboration between UTSA’s Film and Media program and our own Lyric Theatre. We also have our Alumni Spotlight on Sundas Mohi-Truong, an accomplished Director of Orchestras at Klein Cain High School in Houston, and a rising leader in music education in Texas.
Please keep an eye on these pages and our website for upcoming concert information. You can find upcoming concerts on the School of Music homepage and in the COLFA calendar, where you can filter events by type. And please share Cadenza with your friends and family outside of San Antonio; they can check out the livestreams of our performances on our School of Music Facebook page! As always, we hope that all of you will take this opportunity to follow us on social media, where we post fun features on our students, faculty, and staff, link to our livestreams, and share photos and video clips of all that is taking place in the School of Music.
Are you interested in having live music at your own event? You could hire a student group! Our Gig Service link is live on the School of Music website! And as always, we invite our alumni to submit your news and reconnect with your UTSA Music friends by sending an update to music@utsa.edu. We hope you are as excited as we are about all that is happening in the School of Music, and we look forward to seeing you soon for live music at UTSA!
Dr. Tracy Cowden
Roland K. Blumberg Endowed Professor in Music Director of the UTSA School of Music
UTSA continues its Hispanic Heritage Month celebration with the String Area’s Fall concert ¡Vive Con Ganas! on October 3 at 7:30 p.m. in the UTSA Recital Hall. The UTSA Chamber Strings and Mariachi Los Paisanos have assembled as an ensemble for the concert. San Antonio native and Tejano music legend Patsy Torres will join them on stage for an electric performance of Hispanic music and culture.
Dr. Torres and her band will perform a half-hour set during the concert, followed by music from the UTSA Chamber Strings ensemble. The show is open to the public and offers free admission. The event coincides with the UTSA School of Music’s efforts to embrace Latin contemporary music styles and traditions into the program, such as the recent announcement of Tejano star Shelly Lares’s artist residency with the school and last week’s orchestra-mariachi concert Rapsodia Mexicana.
The concert takes its name from the title of Dr. Torres’s upcoming album, “Vive Con Ganas,” which directly translates to “live with desire.” The album’s title track will premiere live in a joint performance between the Patsy Torres Band and the student ensemble during the concert. In the context of Dr. Torres’s artistic intentions, the album encourages listeners to live life to its fullest potential and pursue their passions with faith and determination.
“Live life like you’re to die tomorrow, but learn like you’re going to live forever,” said Torres, echoing sentiments passed on to her by her grandfather, who she regarded as an essential role model in her life.
Known for her thriving success in the Tejano music scene since the 1980s, Dr. Torres has garnered international praise for her versatility as a female vocalist and songwriter. She has accumulated many accolades throughout her career, most recently winning Album of the Year for her record Dame Tu Corazon at the 2021 Tejano Music Awards.
Dr. Torres is also widely recognized for her activism as a vocal proponent of education, community awareness, and healthy lifestyles for children and young adults. Since her career’s beginnings, she has used music and her Tejano-star status as a platform to champion causes such as anti-substance abuse and “stay-in-school” campaigns. She considers her work as an advocate for youth causes among her most significant accomplishments.
In addition to music from the Patsy Torres Band, String Area coordinator Dr. Nicole Cherry has curated a selection of works representing Hispanic culture for the Chamber Strings to perform during the concert. Audiences can expect to hear music written by Jesus Florido, Astor Piazzolla, Jose Lafitte White, and senior UTSA composition student Alexa Valles.
– Rolando Ramon
Haven is a trio of talented musicians from various locations who work beyond the logistics to perform beautiful music works for audiences nationwide. They will open our En Vivo Guest Artist Series on Monday, October 9th, 2023 at 7:30 p.m. in the UTSA Recital Hall.
Lindsay Kesselman (soprano), Kimberly Cole Luevano (clarine), and Midori Koga (piano) are beginning their 12th season performing together as Haven. After releasing their first album “Bright Angel” in 2013, they’ve since performed pieces such as “Atonement,” “Twinge,” and their most recent release, “all we are given we cannot hold,” which will be a focal point of their upcoming performance on campus.
The three song cycles for use poetry written by three different writers. The first song cycle, titled “De Otro Mundo” composed by Ivette Herryman-Rodriguez, uses the poem “Domingo Triste” by Jose Julian Marti Perez, a Cuban poet, for three movements in the cycle. Kesselman contemplates the meanings she hopes for audiences to understand and empathize with.
“The first song… it’s a theme of pain and sorrow, rooted in the idea of home,” Kesselman reflects. “Ivette herself is from Cuba and used her own experiences to emote the hard feelings of a ‘new sense’ of home and how someone might feel displaced or without their true home.”
The second song cycle, a seven-movement work titled “all we are given we cannot hold,” was composed by David Biederbender and written by Robert Fanning, whom Kesselman believes is a ‘fiery, fantastic duo.’ It first premiered on July 14, 2023. Haven hopes audiences enjoy the sentimental, mundane moments and everyday life snapshots portrayed, as they are very significant.
“One movement portrays a young parent watching their young daughter in preschool through a far-off gaze and the loneliness she feels,” Kesselman states. “The parent’s wish to help their child is something I feel many parents in the audience could feel thoroughly in this piece.”
Like this movement, the others portray heart-wrenching moments. This song cycle allows audiences to empathize and process many day-to-day emotions through the beautiful poetry and accompanying music.
The third and final song cycle was composed and written by Lindsay Kesselman’s father, Lee Kesselman. Written primarily for wind quartet, “Would that Loving Were Enough” expresses a heartfelt longing for love and “speaks to the soul.” Its performance at UTSA will be its world premiere.
“We are thrilled to be premiering my dad’s piece and cannot wait for the UTSA audience to be the first to experience its beauty,” said Kesselman
In addition to excelling as performers, all three members are ambitious and passionate teachers who actively seek opportunities to work with student artists. UTSA music students will have the opportunity to participate in workshops with all three members during their residency on campus.
- Suzanna Bridges-Kleese
Though traditionally serving as an acoustic haven for musicians, the UTSA Recital Hall will soon become a portal to the mystical realm of the afterlife when Ballet Nepantla brings their show Mística to campus this month. Offering a unique experience that honors Mexican cultural roots and provides a fresh take on Hispanic tradition, they will perform as part of our En Vivo Guest Artist Series.
A professional ballet company from New York City, Ballet Nepantla is a fusion of contemporary dance and traditional Mexican ballet folklórico. Their stage productions utilize original music, detailed costumes, and visual effects to create immersive experiences. All elements of their shows also draw influence and delve into various genres of African dance due to its heavy influence on Mexican culture.
Since Ballet Nepantla’s founding in 2017 by Andrea Guajardo and Martin Rodriguez, their shows have been met with universal acclaim for exploring artistic boundaries and exposing modern audiences to Hispanic traditions and ancestral history.
“The name ‘Nepantla’ is an indigenous term from the Nahuatl dialect, and it roughly translates to in-between space, or an in-between-ness,” said Guajardo, referencing the space in-between cultural and historical borders that Ballet Nepantla explores in all of their works.
Originally from South Texas and an ethnic Hispanic, Andrea Guajardo grew up surrounded by Mexican culture during her childhood. However, her aspirations to become a contemporary ballet dancer prompted her to move to New York when she was 17, studying with the Alvin Ailey American Dance Theater and earning her BFA in dance from Fordham University. To her surprise, she eventually encountered ballet folklórico once again while in New York and consequently developed a newfound interest in her roots.
“It was then I realized that this was so important for me to be doing. This is my culture, my family, my background…it’s a beautiful thing that I always took for granted growing up,” said Guajardo on reconnecting with ballet folklórico.
Cofounder Martin Rodriguez originally immigrated to the United States from Mexico and has performed in traditional ballet folklórico throughout his life. His aspirations to bring specialized folklórico to American audiences led him to New York, where he first crossed paths with Guajardo. Sharing common ambitions and Mexican roots, the pair combined their expertise, envisioning “an aesthetic that would speak to the historical, cultural, and social realities of a broader narrative of being Mexican, Mexican American, immigrant, and trans-cultural.”
Ballet Neptantla’s Mística commemorates the traditions of Día de Los Muertos and utilizes their stage productions’ unique elements to honor Mexico’s Hispanic, African, and indigenous roots. The show’s performers wear costumes that reflect Hispanic traditions and ancestral heritage, featuring colorful attires and depictions of skeletons and Mexico’s indigenous people. One of the show’s most notable features is its use of blacklight to transport the audience
“EXPECT THE UNEXPECTED...IT’S LIKE NO OTHER DÍA DE LOS MUERTOS SHOW YOU’VE EVER SEEN”
into the afterlife in its second half, highlighting the dancers’ costumes, movements, and various optical illusions throughout the experience.
The show was initially conceived as a virtual production during the height of the COVID-19 pandemic in 2020 when people experienced new hardships caused by poor economic conditions, high death tolls, and widespread fear worldwide. A community that originated from a village called Chinatla in Puebla, Mexico, was critically affected during this time, losing many people to the pandemic. These people were also Ballet Nepantla’s largest support group in New York. Inspired by their plight, Mística was created to commemorate the lives lost and to keep everyone involved with Nepantla hopeful during a time of strife and tribulation.
Ballet Nepantla’s performance at UTSA comes fresh off the heels of Hispanic Heritage Month, making the show an encore of the university’s celebration of the history, culture, and contributions of the Latinos and Chicanos in the United States. It characterizes one of the many aspects of En Vivo’s second season that aim to distinguish it from prior guest artist residencies by offering a remarkably diverse selection of high-caliber performers.
“Coming back to Texas, I hope to inspire people, especially in their youth…having audiences of students see a company of New York City professional dancers, half of whom came from the Valley and South Texas and are now dancing on professional stages and touring the world,” said Guajardo.
Mística will be open to the public and free to attend on October 17th, 2023, at 7:30 p.m.
Epigram – a little poem or witty statement
A new UTSA Lyric Theatre initiative showcasing short operas has emerged for their upcoming 20232024 season. The initiative, known as Epigrams, supports three main goals: to commission new operas, to give composers studying at the School of Music a chance to premiere their stage works, and to program pieces that challenge and inspire our singers.
The inaugural Epigrams performances are slated for November 17th and 19th. They will feature twelve student artists comprised of graduates and undergraduates from six majors. Conducted and directed by Dr. Jourdan Laine Howell (Associate Professor of Instruction, Voice & Lyric Theatre) and Justin Chappell (undergraduate music education major), pianist Geoffrey Waite joins the Lyric Theatre’s creative team to perform the production’s music both nights.
“This initiative will establish UTSA Lyric Theatre as a program that boldly invests in new repertoire which simultaneously serves to propel our student artists toward professional success. The Epigrams initiative will continue Lyric Theatre’s UTSA commitment to providing opportunities for student conductors and stage directors. I am grateful to have Justin Chappell on board as assistant director for several of the mini-operas on the program, as well as take the reigns on The Singing Lesson. Justin is a current undergrad, and he is excellent on stage and will be excellent in the director’s seat.”
– Jourdan Laine HowellW. H. Squires’ The Singing Lesson is a six-minute baritone and mezzo-soprano duet that student director Justin Chappell adapted for the stage. Baritone Jared Kellman-Medina and mezzo-soprano Callan Sramek step into the roles of professor and student for a humorous peek into a classical voice lesson. Smartly led by Chappell, this quick piece will be a delight.
“I’m so thankful to have the chance to work with the UTSA Lyric Theater and fulfill my dream of staging my own performance. This is a fantastic opportunity,” says Chappell.
Darius Milhaud’s The Abduction of Europa is a seven-minute opera in eight scenes on the Greek myth of Jupiter and Europa. Milhaud’s satirical version of the story pushes the boundary of decency while offering several hilarious moments that are sure to entertain. Directed by Howell, the miniature opera features a full Greek chorus with Lucas Moncada Zoll (tenor), Antonio Zubillaga (baritone), Lexie Cary (soprano), and Abraham Gomez (bass) in the lead roles.
Wesley Uchiyama-Penix’s Soul of Word will receive its stage premiere during the Epigrams performance. The work examines the importance of language, specifically how language affects one’s ability to connect with their culture or faith. The real-life experiences of the cast members singing in the 14-minute mini-opera inspired the libretto.
Another benefit of the initiative is that one student has the opportunity to study multiple characters in one semester.
“I think working on these smaller works like The Abduction of Europa and Soul of Word has really given me a diverse experience,” said tenor Lucas Moncada Zoll.
“So often we get a role and get burnt out on the singing the same music over and over throughout the semester, but get–ting to sing this short form, fun music is a breath of fresh air every time I walk into rehearsal.”
Graduate soprano Emily Densmore is excited about the commission aspect of the initiative as it gives her the chance to work with a composer on their own piece.
“Starting off my grad school journey working on two new pieces of music [Soul of Word and The Bronze Idol] has been an incredible opportunity. Not many musicians get the chance to work with living composers in their career,” says Densmore. “It has been such a joy to bring these new pieces of music to life, and I can’t wait to see what more is in store for me at UTSA!”
Undergraduate music major Christian Stevens has begun work on The Bronze Idol, a full-scale opera inspired by Jean-Paul Satre’s “No Exit.” Those who are familiar with Satre’s novel will recognize the Valet (sung by baritone Antonio Zubillaga), Garçin (sung by baritone Jared Kellman-Medina), Inèz (sung by soprano Emily Densmore), and Estelle (sung by Ana Marinelarena) as they become acquainted in their eternal abode – hell. Audiences will hear the opening moments of Stevens’ opera for the first time at the Epigrams performance. Howell and Chappell are the directors for this scene premiere.
Commissioned works allow UTSA singers to perform repertoire about issues that matter to them. An example is Nell Shaw Cohen’s The Fire Tower, which addresses changes in the forest environment due to drought and fire. Presented as a workshop premiere and directed by Howell, The Fire Tower follows Ray, a fire tower worker, and June, the one who will take over the tower post. As the women hike to the tower, they connect over shared grief and a deep love of nature. The 20-minute opera features graduate soprano Lexie Cary and mezzo-soprano Johanna Kitchen singing the parts of June and Ray.
Howell hopes the Epigrams performances will bring a new set of listeners to experience what UTSA Lyric Theatre offers.
“Not everyone wants to listen to a three-hour opera; not everyone wants to listen to music from 200 years ago. Epigrams is perfect for those who want a little of this and a little of that – and want it in under an hour,” said Howell.
Epigrams runs Friday, November 17th at 7:30 p.m. and Sunday, November 19th at 3:00 p.m. in UTSA’s Recital Hall on the Main Campus. Tickets can be purchased online.
– Jourdan Laine Howell
“Opera on Film”—a course unlike any other—is bringing opera students together with film students to develop and produce an original musical film. This team-taught course saw its faculty—from both Music and Film—start brainstorming concepts and developing a storyline half a year in advance. Inspired by “Kotodama”—a Japanese word which translates to “soul of words” or “soul of language”—and also inspired by Mexican and Romanian cultures, the resulting film will explore themes of language and culture in a densely-layered short with universal sentiments and rich original music and lyrics composed by UTSA Music faculty and staff.
“I believe in ‘Opera on Film.’ I want the opportunity to help guide and shape the development of the storytelling medium while celebrating the real experiences of Roadrunners.”
Jourdan Associate Professor of Instruction in Voice & Lyric Theatre
Singing through music before rehearsal (left to right): Emma Maria Martinez, jazz singer; Emma Madalina, contemporary singer; Jessica Morales, musical theater singer; Abraham Gomez, opera singer; Lucas Moncada Zoll, opera singer; Callan Sramek, opera singer.
Laine Howell,
“Every class, there’s a eureka moment that leads us into a creative flow state.”
“I would like the audience to appreciate the beauty of these two disciplines, film, and music, and to see how this student/faculty collaboration is bringing them together in a unique film experience,” said Guillermina Zabala Suarez, Professor of Practice in Film and Media Production at UTSA.
The filmmaking is executed by Film/Media students, with guidance from faculty. Students Selah Major and Wyatt Frantz are co-directors of the project. They approached the film with an open mind, knowing that adapters must serve and elevate the music. Working on the project with other film students has allowed them to bounce ideas off one another and use teamwork to solve visual and narrative puzzles.
Film students are currently divided into teams to tackle such aspects of production as sound, lighting, screenwriting, directing, production design, and cinematography. Music students are currently working on character development and infusing that character intention into their vocal delivery alongside pianist Geoffrey Waite and composer Wesley Penix
“I selected the singers for this piece because I enjoy working with them. They are professional and come prepared to work. I enjoy every singer’s voice; each voice is different. We have jazz singers, contemporary singers, musical theatre singers, and opera singers in this cast – I love the variety,” said Jourdan Howell.
“You can tell they care about this project because it is much improved every time I see them. As a composer, it is truly the greatest of compliments for them to put so much effort into something that has literally never been done before,” said Wesley Penix.
The film adaptation is in production throughout this semester and is scheduled to make its premiere in a few months. Viewers can expect to see the “Opera on Film” production at the Film and Media Studies screening at Santikos Palladium on November 29th.
– Wyatt Frantz, student co-directorCamera practices. Brendan Martinez, camera assistant.
This month’s alumni spotlight is Sundas Mohi-Truong, the Director of Orchestras at Klein Cain High School in Houston, Texas. She is also the Vice-President of the Texas Orchestra Directors Association and on the Board of Directors for the American String Teachers Association.
During her years of undergraduate study at UTSA, Mohi first pursued a viola performance and biology double major, focusing her attention on pre-med endeavors; however, Mohi was unaware of how her passion for music would steer her aspirations onto another track.
“Dr. Eugene Dowdy first saw a spark and encouraged me to participate in the UTSA String Project,” Mohi states. “When I started working with children…helping them grow and be proud of their accomplishments, I realized that my calling was to be a teacher.”
The switch created a long, unsteady path for Mohi regarding her family’s expectations and her own plans, but she has never regretted the decision.
“I have zero regrets,” Mohi reflects. “I love what I do every day, and I love being a mentor and supporter of all of the students who walk into my classroom.”
The beginning of her career started at Tompkins High School as the Assistant Director for four years. Now at KCHS, Mohi felt her formative first four years helped establish her footing and a robust foundation as a music educator. She enjoys the opportunity to help High School students in their formative years as students.
“...I really enjoy the opportunity to get to know my students over a period of four years and support them through their successes and challenges during this time,” Mohi states.
At KCHS, Mohi is proud to state that the program has flourished and grown from 150 students to 220 students in six orchestras under her direction. In the past four years alone, they have earned several accolades, such as ‘National Winner’ in the Mark of Excellence Competition, TMEA Honor String Orchestra Finalist, and most recently, an invitation to perform at this year’s Midwest Band and Orchestra Clinic.
Mohi’s journey to success in her teaching career, she believes, was first formed through her time at UTSA as a music student, specifically in a program she knows gave her invaluable knowledge for teaching.
“Something I love about UTSA’s program is the opportunity to participate in the String Project,” Mohi says. “This is an invaluable, direct teaching experience that sets you up to teach in the public school classroom. I highly recommend that all string education majors participate in this opportunity.”
As she remembers UTSA and all of the aspects its music program has to offer, she finds that her most fond memories are of the professors.
“ What I love most about UTSA’s music program are the professors,” Mohi fondly states. “They are truly invested in the success of their students, and are willing to go above and beyond to make sure students have what they need… 9 years later, I still reach out to them for guidance and support, and they are always there for me.”
With her rampant success, Mohi thanks her former professors for the wisdom she gained during her years at UTSA.
“None of this would be possible without the mentorship of my professors, Dr. Eugene Dowdy, Dr. Kristen Pellegrino, Dr. Stacey Davis, and Professor Allyson Dawkins,” Mohi states.
– Suzanna Bridges-Kleese
Graduate student Richard Peralta was one of four violinists selected to perform in a masterclass with internationally renowned violinist Chee-Yun. Peralta, who studies violin with Dr. Stephanie Teply Westney at UTSA, performed a movement from Brahms’s Violin Sonata No. 3 in D Minor, Op. 108. The masterclass, co-sponsored by YOSA and the San Antonio Philharmonic was a free community event as part of the San Antonio Philhamonic’s opening weekend of their second season.
UTSA Freshman pianist Matthew Miller was one of six pianists selected nationally to participate in the Celebrating the Spectrum Festival this past summer.
The annual week-long festival is held at the College of Music on the beautiful Michigan State University campus every July. The festival is an opportunity for pianists with autism to experience an immersive musical experience culminating in solo and four-hand performances with graduate students studying at MSU.
Each graduate student is assigned a camper to mentor throughout the festival. Each selected pianist receives a full-tuition scholarship as well as all-expense paid travel and housing for themselves and a parent to attend. Matthew was an outstanding representative of our music program at UTSA!
Last month saw the release of a book that Professor of String Music Education Dr. Kristen Pelligrino co-authored and co-edited titled Teaching Instrumental Music: Contemporary Perspectives and Pedagogy. The publication was released through Oxford University Press on August 31.
In addition to Dr. Pellegrino, UTSA’s Dr. Si Millican, who is Professor of Instrumental Music Education, is also listed as a contributor to the book. As the title suggests, the massive work is an organized compilation of contemporary methods and approaches to music education put together by various educators and expert pedagogues. The comprehensive book truly impresses with how much area it covers, containing several large sections comprising 57 total chapters. The work provides in-depth guidance into the pedagogical theory and strategizing that has been updated according to recent methodology. It contains insight into individual instrument and ensemble teaching methods and delves into contemporary music styles, such as jazz, pop, and mariachi.
Dr. Pellegrino wrote eight chapters from the book, with her two areas of focus being string music instruction and general concepts for pedagogy. Pellegrino has stated that she uses these chapters, along with others from the book, in two of the classes that she teaches.
“It’s nice to have specific people in mind when you’re writing,” said Pellegrino.
Dr. Pellegrino and Dr. Millican contributed to the book’s first chapter, “Transferrabe Pedagogical Concepts.” The chapter consists of six concepts Dr. Pelligrino defined as good pedagogy practices that are universally applicable regardless of instruction level or musical context. Dr. Millican used a study he conducted where music teachers identified core teaching practices.
Kristen’s contributions early in the book’s first section explore teaching topics, including concept sequencing and deconstruction, experiential learning, student relationships, teaching cycle, and music teacher identity development. These early chapters benefit from the first-person point of view that they are written in by Kristen, making it a seamless transfer of her lessons to the page. She is explicit in her explanation, something she encourages as good practice in the book. She also stresses the importance of the book’s diversity, pointing to the inclusion topic in popular and non-traditional music.
“More and more people are teaching that type [of music.] We have culturally relevant and responsive teaching methods for popular music,” said Pelligrino.
October 09 – Performance
Linsay Kesselman, soprano
Kimberly Luevano, clarinet
Midori Koga, piano
BALLET NEPANTLA
October 17 – Performance
Ballet company combining classical ballet with ballet folklorico presents a performance of their show Mística
November 13 – Masterclass
Kari Boyer
Allison Asthana
Sarah Shin
Chelsea Tanner
AGARITA
December 09 – Performance
Sarah Silver Manzke, violin
Marisa Bushman, viola
Ignacio Gallego, cello
Daniel Anastasio, piano
REENA ESMAIL , composer
March 03-08 – Guest Composer
New Music Festval 2024 artist
JAZZ
7:30 P.M. | UTSA Recital Hall
¡VIVE CON GANAS!
Patsy Torres, Chamber Strings, Mariachi Los Paisanos
7:30 PM | UTSA Recital Hall
STUDENT RECITAL
Jordan Green
7:30pm | UTSA Recital Hall
STUDENT RECITAL
Juan Martinez
5:00 PM | UTSA Recital Hall
HAVEN TRIO
En Vivo Guest Artist Series
7:30 PM | UTSA Recital Hall
OCTUBAFEST I
5:00 PM | UTSA Recital Hall
OCTUBAFEST II
5:00 PM | UTSA Recital Hall
STUDENT RECITAL
Daniel Aguilar
7:30 PM | UTSA Recital Hall
VOCAL ARTS SERIES: FAR OFF LANDS
7:30 PM | Zion Lutheran Church
UTSA JAZZ ENSEMBLE
7:30 PM | UTSA Recital Hall
BALLET NEPANTLA: MÍSTICA
En Vivo Guest Artist Series
7:30 PM | UTSA Recital Hall
STUDENT RECITAL
Reagan Lujan
5:00 PM | UTSA Recital Hall
UTSA JAZZ FACULTY RECITAL
7:30 PM | UTSA Recital Hall
UTSA SYMPHONIC BAND
7:30 PM | UTSA Recital Hall
STUDENT RECITAL
Callan Sramek
5:00 PM | UTSA Recital Hall
UTSA CHOIRS: SOUNDS OF THE CHAPEL
Chamber Singer, Concert Choir
7:30 PM | UTSA Recital Hall
STUDENT RECITAL
Macy Harmison
5:00 PM | UTSA Recital Hall
STUDENT RECITAL
Greta Glasscock
3:00 PM | UTSA Recital Hall
UNIVERSITY BAND
Symphonic Dance No. 3
7:30 PM | UTSA Recital Hall
GUITAR STUDIO
7:30 PM | UTSA Recital Hall
STUDENT RECITAL
Marcellas Walker
5:00 PM | UTSA Recital Hall
STUDENT RECITAL
Brandon Davis
7:30 PM | UTSA Recital Hall
DUO 彩 AYA: CYCLES
Faculty/Guest Recital
7:30 PM | UTSA Recital Hall
UTSA WIND SYMPHONY
“Whispers of Ancient Tales”
7:30 PM | UTSA Recital Hall
UNIVERSITY CHORUS: TOGETHER WE ARE MET
7:30 PM | UTSA Recital Hall
PERCUSSION ENSEMBLE: GRAVITY
3:00 PM | UTSA Recital Hall
STUDENT RECITAL
Andrew Rubio
5:00 PM | UTSA Recital Hall
STUDENT RECITAL
Blake Bailey
7:30 PM | UTSA Recital Hall
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