BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Winston-Salem Symphony - ECPv6.17.2//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://www.wssymphony.org X-WR-CALDESC:Events for Winston-Salem Symphony REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20230312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20231105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20250309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20251102T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20260308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20261101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20270314T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20271107T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20260531T150000 DTEND;TZID=America/New_York:20260531T173000 DTSTAMP:20260528T155512Z CREATED:20250605T165918Z LAST-MODIFIED:20260528T155512Z UID:10000241-1780239600-1780248600@www.wssymphony.org SUMMARY:Copland's Fanfare DESCRIPTION:Copland’s Fanfare\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayMay 307:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayMay 313:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusJaki Shelton Green NarratorMichelle Merrill ConductorChris Gilliam Chorus Director \n\n\n\nConor Brown How to Relax with OrigamiDan Locklair SINCE DAWNAaron Copland Symphony No. 3 \n\n\n\n Read program notes and hear audio clips. \n\n\n\n\n\nConor Brown’s quirky How to Relax with Origami folds numerous\, varied miniatures into a brief opening work. Winston-Salem composer Dan Locklair pairs poetry by Maya Angelou—narrated here by NC poet laureate Jaki Shelton Green— with a large orchestra and chorus. Copland’s enormous Symphony No. 3 celebrates the contributions of everyday\, hard-working people and its familiar melody (“Fanfare for the Common Man”) makes for a stunning conclusion to the season and a remarkable fête for America 250. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nTHEPAULINE TURNER DOUGHTONLEAD CHORUS SPONSORSHIP \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayMay 307:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayMay 313:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Judy Voss Jones Fine Arts Center\, directly behind Reynolds Auditorium on its west side\, for a lively discussion about the music and surrounding context. Wake Forest University emeritus professor of music Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nProgram Notesby Dr. David Levy\n\n\n \n \n \n \n \n \n Conor Abbott Brown:How to Relax with OrigamiAmerican clarinetist\, composer\, synth programmer\, orchestrator\, and producer Conor Abbott Brown was born in Boulder\, CO in 1988. This polymath musician holds degrees from the University of Colorado at Boulder (DMA and MM in Music Composition)\, Bard College (BA in Dance)\, and the Bard College Conservatory of Music (BM in Music Composition). Conor’s compositions\, described as “creatively wrought” and “zesty” by The New York Times and noted for their “sharp humor” by The Aspen Times\, have been performed by the Detroit Symphony Orchestra\, the Albany Symphony\, the Aspen Festival Orchestra\, the Los Angeles Chamber Orchestra\, and others. How to Relax with Origami was composed in 2017 and received its premiere with Leonard Slatkin leading the Detroit Symphony Orchestra in that same year. The work is scored for piccolo\, 2 flutes (2nd doubling piccolo)\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon (doubling 3rd bassoon)\, 4 horns\, 4 trumpets\, 3 trombones\, tuba\, timpani\, large percussion group (including unusual instruments such as police whistle\, clown horns\, and hammer)\, harp\, piano\, celesta\, strings.Luke Howard at Brigham Young University has kindly provided the following based on conversations with Conor Brown: How to Relax with Origami\, a series of eight orchestral vignettes\, was conceived in response to the changing socio-political landscape in early 2017.  When the work was premiered by the Detroit Symphony later that year\, the composer recalled\, “I found myself in a grim mood at the confusion\, callousness\, and illogic of the new era.  This is reflected directly in the structure of the piece\, which consists of very short\, internally-conflicted movements that interrelate only in tangential or fraught ways.”The work’s overall structure is\, in Brown’s words\, “the musical equivalent of folding origami out of the cartoons page of a newspaper\,” highlighting the fragmentation and contradictory juxtapositions along with the synthetic forms that result. Some of the subtitles appended to the various movements also refer to the esoteric “muses” that inspired him to create music of binary polarities—high and low culture\, the real and the imagined\, violence and play—exploiting these emotional tensions. Brown also found some hope in the music of Mexican composer Silvestre Revueltas who\, he notes\, “often contrasted dark satire and rapid-fire juxtaposition… with moments of sincerity\, playfulness\, and joy.” The first movement\, “Ducks in a Walnut\,” was inspired by daydreams of “a tiny\, enclosed world populated only by ducks in outrageous costumes.”  Latin-inflected rhythms drive this miniature world\, framed by brief moments of piccolo-flavored cuteness.  “Two-Party System\,” the second movement\, pits contradictory ideas against each other—one an asymmetrical kind of patriotic march\, the other a sustained dissonance.  In a perpetual Ivesian face-off\, neither allows itself to be influenced by the other.“Tempest in a Star Box” is a play on the “storm in a teacup” metaphor\, with an origami twist.  Brown notes that while some have described the origami star box as “useful and cute\,” this movement is neither.  Four borrowed chords are a direct quote from the 1995 clarinet quintet Turning Points by Joan Tower\, Brown’s teacher and mentor\, and a powerful influence on his compositional development.While Brown was working on this piece\, one of his colleagues of Mexican heritage was the victim of a racist hate crime.  In solidarity\, Brown chose to title some of the movements in Spanish.  The fourth movement\, “Ternura volcánica” (“Volcanic Tenderness”) employs a suitably oxymoronic phrase borrowed from Pablo Neruda’s poetic memorial to Silvestre Revueltas\, and features a lonely\, poignant clarinet solo mocked by a slide whistle at the conclusion.The title of the fifth movement\, “Guepardos hacen el caballito\,” has a somewhat less sentimental origin; it is the caption of one of Gary Larson’s celebrated Far Side cartoons\, “Cheetah Wheelies\,” translated into Spanish.  Another daydream\, this time eating a piece of the finest French washed-rind cheese\, inspired the exceptionally brief and acerbic sixth movement\, “Biting into Mold.”  “The Last of the Snowmen” references an episode of the Cartoon Network’s animated series Courage the Cowardly Dog\, as well an invoking the specter of global warming.The final movement\, “Ojo de Ana Coluto\,” is a multilayered pun.  Literally\, the “eye of Ana Coluto\,” it anthropomorphizes (in Spanish) the grammatical construct known as “anacoluthon\,” in which a sentence breaks off midpoint and pursues a conclusion with no logical relation to the opening.  It is the exact term for the kind of internally-fraught constructs that have played out musically in each of the work’s prior movements as well.  “I picture the word ‘anacoluthon’ incarnated as the Cosmic Judge of Cohesion\,” Brown explains.  “I imagine her gazing down upon me as I write this piece. Although I plead with her that it’s a celebration of free association\, she still condemns the work to oblivion.” Program Note by David B. Levy/Luke Howard\, ©2025 \n \n \n \n \n \n Dan Locklair:SINCE DAWNAward-winning composer\, organist\, and educator\, Dan Locklair was born in Charlotte\, NC on August 7\, 1949. His musical education includes the Master of Sacred Music degree from the School of Sacred Music of Union Theological Seminary in New York City and a Doctor of Musical Arts degree from the Eastman School of Music in Rochester\, New York. His former teachers have included Joseph Goodman\, Ezra Laderman\, Samuel Adler and Joseph Schwantner (composition)\, as well as Donna Robertson\, Robert Baker and David Craighead (organ). Dr. Locklair is Composer-in-Residence and Professor of Music\, Emeritus at Wake Forest University. His music is widely performed throughout the U.S. and the world. His catalog includes symphonic works\, a ballet\, an opera\, solo\, chamber\, vocal and choral compositions. Outstanding musicians worldwide\, including the Helsinki Philharmonic\, the St. Louis Orchestra\, the Buffalo Philharmonic\, The Louisville Orchestra\, the Elmer Iseler Singers of Canada\, the St. Thomas Choir of Men and Boys (NYC) and the BBC Singers (UK) have performed Locklair’s music. Broadcasts of it have included National Public Radio (NPR)\, American Public Media (APM)\, Vatican Radio\, Czech Radio\, Finnish Radio\, the BBC and the CBC. Recordings of his works are commercially available on numerous CD’s including Naxos\, Koch\, Ondine\, Albany\, MSR\, Priory\, Loft and Convivium (UK). Further details of recordings and publications may be found at http://www.locklair.com.Since Dawn was composed in 1995 for Wake Forest University’s Year of the Arts (1996-7). The work is based on Maya Angelou’s 1993 poem\, “On the Pulse of Morning\,” written and spoken at the inauguration of President Bill Clinton on January 20\, 1993\, was published the next year. Locklair’s setting is dedicated “to Maya Angelou and to all artists who\, through their art\, seek to make the world a better place.” Its first performance took place in Wait Chapel on September 28\, 1996 with Dr. Angelou as Narrator\, and Peter Perret conducting the Winston-Salem Symphony and the Wake Forest University Chorus. It is scored for 2 flutes (2nd doubling piccolo)\, 2 oboes (2nd doubling English horn)\, 2 clarinets\, 2 bassoons\, 4 horns\, 2 trumpets\, 3 trombones\, tuba\, piano\, timpani\, percussion\, strings\, narrator\, and chorus.Dan Locklair has provided his own program notes for Since Dawn: “Maya Angelou (1928-2014) was the first poet since Robert Frost to be asked to create a poem for an American presidential inauguration. Her On the Pulse of Morning both challenged our nation and offered renewed hope as she read her poem at the 1993 inauguration of President Bill Clinton. Although the poem was created to be a part of a national political function\, the significance of the poem goes far beyond the event for which it was created. As all quality art should be able to do\, the poem clearly stands on its own as a work of art as it addresses all of creation.I have long admired the many aspects of Maya Angelou’s creative work and I valued her both as a person and as a colleague at Wake Forest University in Winston-Salem\, North Carolina. From the start of SINCE DAWN I was honored to have had Maya’s strong support and encouragement toward the creation of this\, the first\, musical setting of her On the Pulse of Morning.Dr. Angelou’s On the Pulse of Morning emanates from three key words that form the first line of her poem: “A Rock\, A River\, A Tree.” The ideas represented by these three poetic images are developed throughout the poem. In SINCE DAWN three musical ideas emerge\, most often over a pulsating bass line\, which correspond with each of the three poetic images: A gentle two-note\, sixteenth/dotted-quarter fanfare idea (“A Rock”); a more lyrical and flowing melodic idea (“A River”); a rich and lush chordal idea (“A Tree”). As with the poem’s poetic ideas\, the use and development of these three musical ideas are at the heart of the creation of SINCE DAWN.Except for the very final portion of SINCE DAWN\, there is no textual repetition between the narrator (who functions as a true soloist) and the chorus (which\, like the orchestra and the later two piano version\, functions both alone and in a supportive\, coloristic roles).Near its conclusion\, Maya Angelou’s On the Pulse of Morning challenges us to:“Lift up your hearts.Each new hour holds new chancesFor a new beginning.”It is my hope that all hearts that experience SINCE DAWN will be lifted and moved to new beginnings.” Program Note by David B. Levy/Dan Locklair\, © 2025 \n \n \n \n \n \n Aaron Copland:Symphony No. 3Aaron Copland was born in Brooklyn\, NY on November 14\, 1900\, and died in North Tarrytown\, NY on December 2\, 1990. In addition to his distinguished accomplishments as a composer\, he was an important author on musical topics\, as well as a gifted pianist and conductor. Furthermore\, he was a mentor to at least two generations of important American composers. Copland\, more than any composer in the 20th century\, gave classical music a distinctly “American” voice. His Symphony no. 3 was first performed in Boston’s Symphony Hall on October 18\, 1946 with Serge Koussevitzky conducting. The work is scored for 3 flutes (piccolo)\, 2 oboes (English horn)\, 2 clarinets (Eb and bass)\, 2 bassoons (contrabassoon)\, 4 horns\, 4 trumpets\, 3 trombones\, tuba\, timpani\, percussion\, celesta\, piano\, and strings.In his notes written for the premiere of his Third Symphony\, Aaron Copland stated his concern that he had previously been “pigeon-holed” as a composer of symphonic jazz\, a folklorist\, and as a “purveyor of Americana.” This artistic self-consciousness explains\, at least in part\, why he chose to fulfill a commission from the Koussevitzky Foundation with a “traditional” four-movement symphony. Copland’s two earlier efforts in the genre do not fit that description insofar as Symphony no. 1 (1924\, rev. 1928) was originally conceived as a composition for organ and orchestra and thus leaned more toward a concerto than a true symphony. He named his Symphony no. 2 (1932-33) a Short Symphony and lasts only fifteen minutes. Copland was a great admirer of the symphonies of Gustav Mahler and Dmitri Shostakovich. This meant that the composition of a true full-length symphony was not an undertaking that he took lightly. Copland was also aware that Koussevitzky\, who was slated to conduct the premiere of the work\, had a strong preference for compositions written in the “grand manner.” The Third Symphony was dedicated “to the memory of my dear friend Natalie Koussevitzky\,” the late wife of the conductor. Coincidentally\, the English composer Benjamin Britten’s great opera\, Peter Grimes\, was the result of a commission from the Koussevitzky Foundation also was dedicated to her memory.The work’s first performance took place in Boston’s Symphony Hall on October 18\, 1946\, and was declared the winner of the New York Music Critics Circle Prize as the best orchestral composition by an American composer for that season. As chronicled by Alex Ross in his fine book\, The Rest is Noise (Picador\, 2007)\, the work’s approbation by the public was tainted by a vitriolic and politically-motivated attack on it by the critic/composer\, Virgil Thomson. Thomson was very much opposed to the New Deal and Henry Wallace\, and found in Copland’s Third Symphony too much sympathy with populism in the mode of the Soviet composer\, Dmitri Shostakovich.The composer wrote his own descriptive notes for the Third Symphony\, which I give below:1. Molto moderato: The opening movement\, which is broad and expressive in character\, opens and closes in the key of E Major. (Formally it bears no relation to the sonata-allegro with which symphonies usually begin.) The themes—three in number—are plainly stated: the first is in the strings\, at the very start without introduction; the second in related mood in violas and oboes; the third\, of a bolder nature\, in the trombones and horns. The general form is that of an arch\, in which the central portion is more animated\, and the final section an extended coda\, presenting a broadened version of the opening material. Both first and third themes are referred to again in later movements of the Symphony.2. Allegro molto: The form of this movement stays closer to normal symphonic procedure. It is the usual scherzo\, with first part\, trio\, and return. A brass introduction leads to the main theme\, which is stated three times in Part 1: at first in horns and violas with continuation in clarinets\, then in unison strings\, and finally in augmentation in the lower brass. The three statements of the theme are separated by the usual episodes. After the climax is reached\, the trio follows with pause. Solo woodwinds sing the new trio melody in lyrical and canonical style. The strings take it up\, and add a new section of their own. The recapitulation of Part 1 is not literal. The principal theme of the scherzo returns in a somewhat disguised form in the solo piano\, leading through previous episodic material to a full restatement in the tutti orchestra. This is climaxed by a return to the lyrical trio theme\, this time sung in canon and in fortissimo by the entire orchestra.3. Andantino quasi allegretto: The third movement is freest of all in formal structure. Although it is built up sectionally\, the various sections are intended to emerge one from the other in continuous flow\, somewhat in the manner of a closely-knit series of variations. The opening section\, however\, plays no role other than that of introducing the main body of the movement.High up in the unaccompanied first violins is heard a rhythmically transformed version of the third (trombone) theme of the first movement of the Symphony. It is briefly developed in contrapuntal style\, and comes to a full close\, once again in the key of E major. A new and more tonal theme is introduced in the solo flute. This is the melody that supplies the thematic substance for the sectional metamorphoses that follow: at first with quiet singing nostalgia; then faster and heavier—almost dance-like; then more child-like and naïve\, and finally vigorous and forthright. Imperceptibly the whole movement drifts off into the higher regions of the strings\, out of which floats the single line of the beginning\, sung by a solo violin and piccolo\, accompanied this time by harps and celesta. The third movement calls for no brass\, with the exception of a single horn and trumpet.4. Molto deliberato (Fanfare)—Allegro risoluto: The final movement follows without pause. It is the longest movement of the Symphony\, and closest in structure to the customary sonata-allegro form. The opening fanfare is based on “Fanfare for the Common Man\,” which I composed in 1942 at the invitation of Eugene Goossens for a series of wartime fanfares introduced under his direction by the Cincinnati Symphony. In the present version it is first played pianissimo by flutes and clarinets\, and then suddenly given out by brass and percussion. The fanfare serves as preparation for the main body of the movement which follows. The components of the usual form are there: a first theme in animated sixteenth-note motion; a second theme—broader and more song-like in character; a full-blown development and a refashioned return to the earlier material of the movement\, leading to a peroration. One curious feature of the movement consists in the fact that the second theme is to be found embedded in the development section instead of  being in its customary place. The development\, as such\, concerns itself with the fanfare and the first theme fragments. A shrill tutti chord\, with flutter-tongued brass and piccolos\, brings the development to a close. What follows is not a recapitulation in the ordinary sense. Instead\, a delicate interweaving of the first theme in the higher solo woodwinds is combined with a quiet version of the fanfare in the two bassoons. Combined with this\, the opening theme of the first movement of the Symphony is quoted\, first in the violins\, and later in the solo trombone. Near the end a full-voiced chanting of the second song-like theme is heard in horns and trombones. The symphony concludes on a massive restatement of the opening phrase with which the entire work began. Program note by David B. Levy/Aaron Copland © 2012/2025 \n\n\n\n\nOn Audio\n\n\n\n\n\n\n\nLocklair SINCE DAWNWinston-Salem Symphony | Wake Forest University ChoirsMaya Angelou Narrator | Peter Perret ConductorSeptember 1996 (world premiere) \n\n\n\n\n\n\n\n\n\n\n\nCopland Symphony No. 3Winston-Salem Symphony | Robert Moody ConductorSeptember 2012 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJaki Shelton Green\n\n\n\nJaki Shelton Green\, ninth Poet Laureate of North Carolina appointed in 2018\, is the first African American and third woman to be appointed as the North Carolina Poet Laureate. Some of her recognitions include North Carolina State University 2026 Honorary Doctorate of Humane Letters\, 2022 Forbes Magazine 50 Over 50 Lifestyle List\, 2021 UNC Chapel Hill Frank B. Hanes Writer in Residence\, 2021 recipient of the George School Outstanding Alumni Award\, 2020 Kathryn H. Wallace Award for Community Service\, 2020 St. Andrews University Ethel Fortner Award\, 2020 Northern Orange County Dr. Martin Luther King\, Jr. Achievement Award\, 2020 Lucy Bramlette Patterson Award\, 2019 Academy of American Poet Laureates Fellow\, 2019 North Carolina Humanities Council Caldwell Award\, 2019 Woman of Distinction Excellence in Humanities Award\, 2014 Induction into the North Carolina Literary Hall of Fame\, 2009 North Carolina Piedmont Laureate appointment\, 2003 recipient of the North Carolina Award for Literature. \n\n\n\nJaki Shelton Green recently retired as professor of documentary poetry at Duke University Center for Documentary Studies. Her publications include Dead on Arrival\, Masks\, Dead on Arrival and New Poems\, Conjure Blues\, singing a tree into dance\, and breath of the song\, published by Blair Publishers. Feeding the Light\, i want to undie you\, The Communion of White Dresses published by Jacar Press\, and i want to undie you\, English /Italian bilingual edition published by Lebeg Publishers of Rome Italy. Juneteenth 2020\, she released her first LP poetry album\, The River Speaks of Thirst\, produced by Soul City Sounds and Clearly Records and released a CD\, i want to undie you in 2021. \n\n\n\nJaki Shelton Green is the owner of SistaWRITE providing writing retreats for women writers in across the United States\, Northern Morocco\, the Loire valley in France\, and Ireland. She has been involved with numerous public art collaborations and projects including the NC Freedom Park\, Dix Park Conservancy\, City of Asheville Riverwalk Project\, Mint Museum of Charlotte\, North Carolina African American Heritage Commission Africa to Carolina public art installation. \n\n\n\nHer poetry has been commissioned\, performed\, choreographed\, and translated into symphonies\, film\, and paintings by visual artists\, dance companies\, and musicians including Flutronix\, the Cincinnati Symphony Orchestra\, The North Carolina Symphony Orchestra\, The Art Project of Chicago\, The New York City Girls Choir\, Wichita Falls Texas Symphony\, Lexington Kentucky Philharmonic Orchestra\, Duke University Black Music Lab Project\, the Miami City Ballet\, the Justice Project Theater\, Murmurations Dance Company\, Choreodance Company\, Elon University Dance Department\, Chuck Davis African American Dance Company at the Kennedy Center\, DancaNova at Naropa Institute\, Two Near the Edge Dance Company\, North Carolina State University Dance Department\, North Carolina Central University Dance Department\, North Carolina State University Craft Center\, Gregg Museum of Art and Design\, and Theatre Charlotte. Other collaborations include 2026 Artist in Residence at the Durham NC Unitarian Universalist Fellowship\, the Moroccan Ministry of Education\, the History Museum of Charlotte\, the Blowing Rock Arts and History Museum\, Poet Laureate in Residence at the North Carolina Museum of Art (2021-2024)\, poetry editor for WALTER Magazine. URL:https://www.wssymphony.org/event/coplands-fanfare/2026-05-31/ LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104 CATEGORIES:Classics Series,Symphony Chorus ATTACH;FMTTYPE=image/webp:https://www.wssymphony.org/wp-content/uploads/2026/05/red-wss-chorus-michelle-dan-1.webp GEO:36.1011236;-80.2648333 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Reynolds Auditorium 301 Hawthorne Rd. NW Winston-Salem NC 27104;X-APPLE-RADIUS=500;X-TITLE=301 Hawthorne Rd. NW:geo:-80.2648333,36.1011236 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20260530T193000 DTEND;TZID=America/New_York:20260530T220000 DTSTAMP:20260528T155512Z CREATED:20250605T165918Z LAST-MODIFIED:20260528T155512Z UID:10000165-1780169400-1780178400@www.wssymphony.org SUMMARY:Copland's Fanfare DESCRIPTION:Copland’s Fanfare\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayMay 307:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayMay 313:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusJaki Shelton Green NarratorMichelle Merrill ConductorChris Gilliam Chorus Director \n\n\n\nConor Brown How to Relax with OrigamiDan Locklair SINCE DAWNAaron Copland Symphony No. 3 \n\n\n\n Read program notes and hear audio clips. \n\n\n\n\n\nConor Brown’s quirky How to Relax with Origami folds numerous\, varied miniatures into a brief opening work. Winston-Salem composer Dan Locklair pairs poetry by Maya Angelou—narrated here by NC poet laureate Jaki Shelton Green— with a large orchestra and chorus. Copland’s enormous Symphony No. 3 celebrates the contributions of everyday\, hard-working people and its familiar melody (“Fanfare for the Common Man”) makes for a stunning conclusion to the season and a remarkable fête for America 250. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nTHEPAULINE TURNER DOUGHTONLEAD CHORUS SPONSORSHIP \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayMay 307:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayMay 313:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Judy Voss Jones Fine Arts Center\, directly behind Reynolds Auditorium on its west side\, for a lively discussion about the music and surrounding context. Wake Forest University emeritus professor of music Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nProgram Notesby Dr. David Levy\n\n\n \n \n \n \n \n \n Conor Abbott Brown:How to Relax with OrigamiAmerican clarinetist\, composer\, synth programmer\, orchestrator\, and producer Conor Abbott Brown was born in Boulder\, CO in 1988. This polymath musician holds degrees from the University of Colorado at Boulder (DMA and MM in Music Composition)\, Bard College (BA in Dance)\, and the Bard College Conservatory of Music (BM in Music Composition). Conor’s compositions\, described as “creatively wrought” and “zesty” by The New York Times and noted for their “sharp humor” by The Aspen Times\, have been performed by the Detroit Symphony Orchestra\, the Albany Symphony\, the Aspen Festival Orchestra\, the Los Angeles Chamber Orchestra\, and others. How to Relax with Origami was composed in 2017 and received its premiere with Leonard Slatkin leading the Detroit Symphony Orchestra in that same year. The work is scored for piccolo\, 2 flutes (2nd doubling piccolo)\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon (doubling 3rd bassoon)\, 4 horns\, 4 trumpets\, 3 trombones\, tuba\, timpani\, large percussion group (including unusual instruments such as police whistle\, clown horns\, and hammer)\, harp\, piano\, celesta\, strings.Luke Howard at Brigham Young University has kindly provided the following based on conversations with Conor Brown: How to Relax with Origami\, a series of eight orchestral vignettes\, was conceived in response to the changing socio-political landscape in early 2017.  When the work was premiered by the Detroit Symphony later that year\, the composer recalled\, “I found myself in a grim mood at the confusion\, callousness\, and illogic of the new era.  This is reflected directly in the structure of the piece\, which consists of very short\, internally-conflicted movements that interrelate only in tangential or fraught ways.”The work’s overall structure is\, in Brown’s words\, “the musical equivalent of folding origami out of the cartoons page of a newspaper\,” highlighting the fragmentation and contradictory juxtapositions along with the synthetic forms that result. Some of the subtitles appended to the various movements also refer to the esoteric “muses” that inspired him to create music of binary polarities—high and low culture\, the real and the imagined\, violence and play—exploiting these emotional tensions. Brown also found some hope in the music of Mexican composer Silvestre Revueltas who\, he notes\, “often contrasted dark satire and rapid-fire juxtaposition… with moments of sincerity\, playfulness\, and joy.” The first movement\, “Ducks in a Walnut\,” was inspired by daydreams of “a tiny\, enclosed world populated only by ducks in outrageous costumes.”  Latin-inflected rhythms drive this miniature world\, framed by brief moments of piccolo-flavored cuteness.  “Two-Party System\,” the second movement\, pits contradictory ideas against each other—one an asymmetrical kind of patriotic march\, the other a sustained dissonance.  In a perpetual Ivesian face-off\, neither allows itself to be influenced by the other.“Tempest in a Star Box” is a play on the “storm in a teacup” metaphor\, with an origami twist.  Brown notes that while some have described the origami star box as “useful and cute\,” this movement is neither.  Four borrowed chords are a direct quote from the 1995 clarinet quintet Turning Points by Joan Tower\, Brown’s teacher and mentor\, and a powerful influence on his compositional development.While Brown was working on this piece\, one of his colleagues of Mexican heritage was the victim of a racist hate crime.  In solidarity\, Brown chose to title some of the movements in Spanish.  The fourth movement\, “Ternura volcánica” (“Volcanic Tenderness”) employs a suitably oxymoronic phrase borrowed from Pablo Neruda’s poetic memorial to Silvestre Revueltas\, and features a lonely\, poignant clarinet solo mocked by a slide whistle at the conclusion.The title of the fifth movement\, “Guepardos hacen el caballito\,” has a somewhat less sentimental origin; it is the caption of one of Gary Larson’s celebrated Far Side cartoons\, “Cheetah Wheelies\,” translated into Spanish.  Another daydream\, this time eating a piece of the finest French washed-rind cheese\, inspired the exceptionally brief and acerbic sixth movement\, “Biting into Mold.”  “The Last of the Snowmen” references an episode of the Cartoon Network’s animated series Courage the Cowardly Dog\, as well an invoking the specter of global warming.The final movement\, “Ojo de Ana Coluto\,” is a multilayered pun.  Literally\, the “eye of Ana Coluto\,” it anthropomorphizes (in Spanish) the grammatical construct known as “anacoluthon\,” in which a sentence breaks off midpoint and pursues a conclusion with no logical relation to the opening.  It is the exact term for the kind of internally-fraught constructs that have played out musically in each of the work’s prior movements as well.  “I picture the word ‘anacoluthon’ incarnated as the Cosmic Judge of Cohesion\,” Brown explains.  “I imagine her gazing down upon me as I write this piece. Although I plead with her that it’s a celebration of free association\, she still condemns the work to oblivion.” Program Note by David B. Levy/Luke Howard\, ©2025 \n \n \n \n \n \n Dan Locklair:SINCE DAWNAward-winning composer\, organist\, and educator\, Dan Locklair was born in Charlotte\, NC on August 7\, 1949. His musical education includes the Master of Sacred Music degree from the School of Sacred Music of Union Theological Seminary in New York City and a Doctor of Musical Arts degree from the Eastman School of Music in Rochester\, New York. His former teachers have included Joseph Goodman\, Ezra Laderman\, Samuel Adler and Joseph Schwantner (composition)\, as well as Donna Robertson\, Robert Baker and David Craighead (organ). Dr. Locklair is Composer-in-Residence and Professor of Music\, Emeritus at Wake Forest University. His music is widely performed throughout the U.S. and the world. His catalog includes symphonic works\, a ballet\, an opera\, solo\, chamber\, vocal and choral compositions. Outstanding musicians worldwide\, including the Helsinki Philharmonic\, the St. Louis Orchestra\, the Buffalo Philharmonic\, The Louisville Orchestra\, the Elmer Iseler Singers of Canada\, the St. Thomas Choir of Men and Boys (NYC) and the BBC Singers (UK) have performed Locklair’s music. Broadcasts of it have included National Public Radio (NPR)\, American Public Media (APM)\, Vatican Radio\, Czech Radio\, Finnish Radio\, the BBC and the CBC. Recordings of his works are commercially available on numerous CD’s including Naxos\, Koch\, Ondine\, Albany\, MSR\, Priory\, Loft and Convivium (UK). Further details of recordings and publications may be found at http://www.locklair.com.Since Dawn was composed in 1995 for Wake Forest University’s Year of the Arts (1996-7). The work is based on Maya Angelou’s 1993 poem\, “On the Pulse of Morning\,” written and spoken at the inauguration of President Bill Clinton on January 20\, 1993\, was published the next year. Locklair’s setting is dedicated “to Maya Angelou and to all artists who\, through their art\, seek to make the world a better place.” Its first performance took place in Wait Chapel on September 28\, 1996 with Dr. Angelou as Narrator\, and Peter Perret conducting the Winston-Salem Symphony and the Wake Forest University Chorus. It is scored for 2 flutes (2nd doubling piccolo)\, 2 oboes (2nd doubling English horn)\, 2 clarinets\, 2 bassoons\, 4 horns\, 2 trumpets\, 3 trombones\, tuba\, piano\, timpani\, percussion\, strings\, narrator\, and chorus.Dan Locklair has provided his own program notes for Since Dawn: “Maya Angelou (1928-2014) was the first poet since Robert Frost to be asked to create a poem for an American presidential inauguration. Her On the Pulse of Morning both challenged our nation and offered renewed hope as she read her poem at the 1993 inauguration of President Bill Clinton. Although the poem was created to be a part of a national political function\, the significance of the poem goes far beyond the event for which it was created. As all quality art should be able to do\, the poem clearly stands on its own as a work of art as it addresses all of creation.I have long admired the many aspects of Maya Angelou’s creative work and I valued her both as a person and as a colleague at Wake Forest University in Winston-Salem\, North Carolina. From the start of SINCE DAWN I was honored to have had Maya’s strong support and encouragement toward the creation of this\, the first\, musical setting of her On the Pulse of Morning.Dr. Angelou’s On the Pulse of Morning emanates from three key words that form the first line of her poem: “A Rock\, A River\, A Tree.” The ideas represented by these three poetic images are developed throughout the poem. In SINCE DAWN three musical ideas emerge\, most often over a pulsating bass line\, which correspond with each of the three poetic images: A gentle two-note\, sixteenth/dotted-quarter fanfare idea (“A Rock”); a more lyrical and flowing melodic idea (“A River”); a rich and lush chordal idea (“A Tree”). As with the poem’s poetic ideas\, the use and development of these three musical ideas are at the heart of the creation of SINCE DAWN.Except for the very final portion of SINCE DAWN\, there is no textual repetition between the narrator (who functions as a true soloist) and the chorus (which\, like the orchestra and the later two piano version\, functions both alone and in a supportive\, coloristic roles).Near its conclusion\, Maya Angelou’s On the Pulse of Morning challenges us to:“Lift up your hearts.Each new hour holds new chancesFor a new beginning.”It is my hope that all hearts that experience SINCE DAWN will be lifted and moved to new beginnings.” Program Note by David B. Levy/Dan Locklair\, © 2025 \n \n \n \n \n \n Aaron Copland:Symphony No. 3Aaron Copland was born in Brooklyn\, NY on November 14\, 1900\, and died in North Tarrytown\, NY on December 2\, 1990. In addition to his distinguished accomplishments as a composer\, he was an important author on musical topics\, as well as a gifted pianist and conductor. Furthermore\, he was a mentor to at least two generations of important American composers. Copland\, more than any composer in the 20th century\, gave classical music a distinctly “American” voice. His Symphony no. 3 was first performed in Boston’s Symphony Hall on October 18\, 1946 with Serge Koussevitzky conducting. The work is scored for 3 flutes (piccolo)\, 2 oboes (English horn)\, 2 clarinets (Eb and bass)\, 2 bassoons (contrabassoon)\, 4 horns\, 4 trumpets\, 3 trombones\, tuba\, timpani\, percussion\, celesta\, piano\, and strings.In his notes written for the premiere of his Third Symphony\, Aaron Copland stated his concern that he had previously been “pigeon-holed” as a composer of symphonic jazz\, a folklorist\, and as a “purveyor of Americana.” This artistic self-consciousness explains\, at least in part\, why he chose to fulfill a commission from the Koussevitzky Foundation with a “traditional” four-movement symphony. Copland’s two earlier efforts in the genre do not fit that description insofar as Symphony no. 1 (1924\, rev. 1928) was originally conceived as a composition for organ and orchestra and thus leaned more toward a concerto than a true symphony. He named his Symphony no. 2 (1932-33) a Short Symphony and lasts only fifteen minutes. Copland was a great admirer of the symphonies of Gustav Mahler and Dmitri Shostakovich. This meant that the composition of a true full-length symphony was not an undertaking that he took lightly. Copland was also aware that Koussevitzky\, who was slated to conduct the premiere of the work\, had a strong preference for compositions written in the “grand manner.” The Third Symphony was dedicated “to the memory of my dear friend Natalie Koussevitzky\,” the late wife of the conductor. Coincidentally\, the English composer Benjamin Britten’s great opera\, Peter Grimes\, was the result of a commission from the Koussevitzky Foundation also was dedicated to her memory.The work’s first performance took place in Boston’s Symphony Hall on October 18\, 1946\, and was declared the winner of the New York Music Critics Circle Prize as the best orchestral composition by an American composer for that season. As chronicled by Alex Ross in his fine book\, The Rest is Noise (Picador\, 2007)\, the work’s approbation by the public was tainted by a vitriolic and politically-motivated attack on it by the critic/composer\, Virgil Thomson. Thomson was very much opposed to the New Deal and Henry Wallace\, and found in Copland’s Third Symphony too much sympathy with populism in the mode of the Soviet composer\, Dmitri Shostakovich.The composer wrote his own descriptive notes for the Third Symphony\, which I give below:1. Molto moderato: The opening movement\, which is broad and expressive in character\, opens and closes in the key of E Major. (Formally it bears no relation to the sonata-allegro with which symphonies usually begin.) The themes—three in number—are plainly stated: the first is in the strings\, at the very start without introduction; the second in related mood in violas and oboes; the third\, of a bolder nature\, in the trombones and horns. The general form is that of an arch\, in which the central portion is more animated\, and the final section an extended coda\, presenting a broadened version of the opening material. Both first and third themes are referred to again in later movements of the Symphony.2. Allegro molto: The form of this movement stays closer to normal symphonic procedure. It is the usual scherzo\, with first part\, trio\, and return. A brass introduction leads to the main theme\, which is stated three times in Part 1: at first in horns and violas with continuation in clarinets\, then in unison strings\, and finally in augmentation in the lower brass. The three statements of the theme are separated by the usual episodes. After the climax is reached\, the trio follows with pause. Solo woodwinds sing the new trio melody in lyrical and canonical style. The strings take it up\, and add a new section of their own. The recapitulation of Part 1 is not literal. The principal theme of the scherzo returns in a somewhat disguised form in the solo piano\, leading through previous episodic material to a full restatement in the tutti orchestra. This is climaxed by a return to the lyrical trio theme\, this time sung in canon and in fortissimo by the entire orchestra.3. Andantino quasi allegretto: The third movement is freest of all in formal structure. Although it is built up sectionally\, the various sections are intended to emerge one from the other in continuous flow\, somewhat in the manner of a closely-knit series of variations. The opening section\, however\, plays no role other than that of introducing the main body of the movement.High up in the unaccompanied first violins is heard a rhythmically transformed version of the third (trombone) theme of the first movement of the Symphony. It is briefly developed in contrapuntal style\, and comes to a full close\, once again in the key of E major. A new and more tonal theme is introduced in the solo flute. This is the melody that supplies the thematic substance for the sectional metamorphoses that follow: at first with quiet singing nostalgia; then faster and heavier—almost dance-like; then more child-like and naïve\, and finally vigorous and forthright. Imperceptibly the whole movement drifts off into the higher regions of the strings\, out of which floats the single line of the beginning\, sung by a solo violin and piccolo\, accompanied this time by harps and celesta. The third movement calls for no brass\, with the exception of a single horn and trumpet.4. Molto deliberato (Fanfare)—Allegro risoluto: The final movement follows without pause. It is the longest movement of the Symphony\, and closest in structure to the customary sonata-allegro form. The opening fanfare is based on “Fanfare for the Common Man\,” which I composed in 1942 at the invitation of Eugene Goossens for a series of wartime fanfares introduced under his direction by the Cincinnati Symphony. In the present version it is first played pianissimo by flutes and clarinets\, and then suddenly given out by brass and percussion. The fanfare serves as preparation for the main body of the movement which follows. The components of the usual form are there: a first theme in animated sixteenth-note motion; a second theme—broader and more song-like in character; a full-blown development and a refashioned return to the earlier material of the movement\, leading to a peroration. One curious feature of the movement consists in the fact that the second theme is to be found embedded in the development section instead of  being in its customary place. The development\, as such\, concerns itself with the fanfare and the first theme fragments. A shrill tutti chord\, with flutter-tongued brass and piccolos\, brings the development to a close. What follows is not a recapitulation in the ordinary sense. Instead\, a delicate interweaving of the first theme in the higher solo woodwinds is combined with a quiet version of the fanfare in the two bassoons. Combined with this\, the opening theme of the first movement of the Symphony is quoted\, first in the violins\, and later in the solo trombone. Near the end a full-voiced chanting of the second song-like theme is heard in horns and trombones. The symphony concludes on a massive restatement of the opening phrase with which the entire work began. Program note by David B. Levy/Aaron Copland © 2012/2025 \n\n\n\n\nOn Audio\n\n\n\n\n\n\n\nLocklair SINCE DAWNWinston-Salem Symphony | Wake Forest University ChoirsMaya Angelou Narrator | Peter Perret ConductorSeptember 1996 (world premiere) \n\n\n\n\n\n\n\n\n\n\n\nCopland Symphony No. 3Winston-Salem Symphony | Robert Moody ConductorSeptember 2012 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJaki Shelton Green\n\n\n\nJaki Shelton Green\, ninth Poet Laureate of North Carolina appointed in 2018\, is the first African American and third woman to be appointed as the North Carolina Poet Laureate. Some of her recognitions include North Carolina State University 2026 Honorary Doctorate of Humane Letters\, 2022 Forbes Magazine 50 Over 50 Lifestyle List\, 2021 UNC Chapel Hill Frank B. Hanes Writer in Residence\, 2021 recipient of the George School Outstanding Alumni Award\, 2020 Kathryn H. Wallace Award for Community Service\, 2020 St. Andrews University Ethel Fortner Award\, 2020 Northern Orange County Dr. Martin Luther King\, Jr. Achievement Award\, 2020 Lucy Bramlette Patterson Award\, 2019 Academy of American Poet Laureates Fellow\, 2019 North Carolina Humanities Council Caldwell Award\, 2019 Woman of Distinction Excellence in Humanities Award\, 2014 Induction into the North Carolina Literary Hall of Fame\, 2009 North Carolina Piedmont Laureate appointment\, 2003 recipient of the North Carolina Award for Literature. \n\n\n\nJaki Shelton Green recently retired as professor of documentary poetry at Duke University Center for Documentary Studies. Her publications include Dead on Arrival\, Masks\, Dead on Arrival and New Poems\, Conjure Blues\, singing a tree into dance\, and breath of the song\, published by Blair Publishers. Feeding the Light\, i want to undie you\, The Communion of White Dresses published by Jacar Press\, and i want to undie you\, English /Italian bilingual edition published by Lebeg Publishers of Rome Italy. Juneteenth 2020\, she released her first LP poetry album\, The River Speaks of Thirst\, produced by Soul City Sounds and Clearly Records and released a CD\, i want to undie you in 2021. \n\n\n\nJaki Shelton Green is the owner of SistaWRITE providing writing retreats for women writers in across the United States\, Northern Morocco\, the Loire valley in France\, and Ireland. She has been involved with numerous public art collaborations and projects including the NC Freedom Park\, Dix Park Conservancy\, City of Asheville Riverwalk Project\, Mint Museum of Charlotte\, North Carolina African American Heritage Commission Africa to Carolina public art installation. \n\n\n\nHer poetry has been commissioned\, performed\, choreographed\, and translated into symphonies\, film\, and paintings by visual artists\, dance companies\, and musicians including Flutronix\, the Cincinnati Symphony Orchestra\, The North Carolina Symphony Orchestra\, The Art Project of Chicago\, The New York City Girls Choir\, Wichita Falls Texas Symphony\, Lexington Kentucky Philharmonic Orchestra\, Duke University Black Music Lab Project\, the Miami City Ballet\, the Justice Project Theater\, Murmurations Dance Company\, Choreodance Company\, Elon University Dance Department\, Chuck Davis African American Dance Company at the Kennedy Center\, DancaNova at Naropa Institute\, Two Near the Edge Dance Company\, North Carolina State University Dance Department\, North Carolina Central University Dance Department\, North Carolina State University Craft Center\, Gregg Museum of Art and Design\, and Theatre Charlotte. Other collaborations include 2026 Artist in Residence at the Durham NC Unitarian Universalist Fellowship\, the Moroccan Ministry of Education\, the History Museum of Charlotte\, the Blowing Rock Arts and History Museum\, Poet Laureate in Residence at the North Carolina Museum of Art (2021-2024)\, poetry editor for WALTER Magazine. URL:https://www.wssymphony.org/event/coplands-fanfare/2026-05-30/ LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104 CATEGORIES:Classics Series,Symphony Chorus ATTACH;FMTTYPE=image/webp:https://www.wssymphony.org/wp-content/uploads/2026/05/red-wss-chorus-michelle-dan-1.webp GEO:36.1011236;-80.2648333 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Reynolds Auditorium 301 Hawthorne Rd. NW Winston-Salem NC 27104;X-APPLE-RADIUS=500;X-TITLE=301 Hawthorne Rd. NW:geo:-80.2648333,36.1011236 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20260308T150000 DTEND;TZID=America/New_York:20260308T170000 DTSTAMP:20260304T214043Z CREATED:20250529T190054Z LAST-MODIFIED:20260304T214043Z UID:10000138-1772982000-1772989200@www.wssymphony.org SUMMARY:Beethoven + Borodin DESCRIPTION:Beethoven + Borodinwith the Symphony Chorus\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayMar 7\, 20267:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayMar 8\, 20263:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusKathryn Levy FluteMichelle Merrill ConductorChris Gilliam Chorus Director \n\n\n\nBeethoven Symphony No. 8 Program Notes \n\n\n\nGriffes Poem for flute and Orchestra Program Notes \n\n\n\nQuinn Mason Princesa de la Luna Program Notes \n\n\n\nBorodin Polovtsian Dances from Prince Igor Program Notes \n\n\n\nThis program will be performed without intermission and is expected to last approximately 1 hour and 15 minutes. \n\n\n\nBeethoven’s firework Eighth Symphony and Borodin’s familiar and raucous Polovstian Dances (featuring the Symphony Chorus) bookend a concert with a quieter middle. Charles Griffes’s Poem features WSS principal flutist Kathryn Levy\, celebrating her 50th season with the orchestra; Quinn Mason’s recent Princesa de la Luna is a palette of colors and textures for a string orchestra with harp. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nIndividual Concert Sponsor:Dr. Patricia Willis \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayMar 77:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayMar 83:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Chorus Rehearsal Room\, directly adjacent to Reynolds Auditorium on its north side\, for a lively discussion about the music and surrounding context. Local musicologist and WFU emeritus professor of music Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before the concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nKathryn Levy Flute\n\n\n\nFlutist Kathryn Levy is a native of Salinas\, California.  She studied flute with Katherine Sorensen of San Jose\, Paul Renzi of San Francisco\, Roger Stevens at the Music Academy of the West in Santa Barbara\, Maurice Sharpe at the Aspen Music Festival and Joseph Mariano at the Eastman School of Music in Rochester\, New York where she earned both the BM and the Coveted Performer’s Certificate. In 1976\, Ms. Levy moved to Winston-Salem\, NC where she teaches in the Wake Forest University Department of Music. She has developed the flute choir and wind chamber music programs in addition to her studio teaching and has performed frequently in faculty chamber music concerts. \n\n\n\nMs. Levy is equally at home as an orchestral musician\, having served as a flutist in the New Orleans Philharmonic\, the Rochester Philharmonic and numerous summer festival orchestras. She currently holds the position of Principal Flute with the Winston-Salem Symphony and Piccoloist with the Chautauqua Symphony. \n\n\n\n\nRead more. URL:https://www.wssymphony.org/event/beethoven-borodin/2026-03-08/ LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104 CATEGORIES:Classics Series,Symphony Chorus ATTACH;FMTTYPE=image/jpeg:https://www.wssymphony.org/wp-content/uploads/2025/04/Titan_Homepage-1.jpg GEO:36.1011236;-80.2648333 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Reynolds Auditorium 301 Hawthorne Rd. NW Winston-Salem NC 27104;X-APPLE-RADIUS=500;X-TITLE=301 Hawthorne Rd. NW:geo:-80.2648333,36.1011236 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20260307T193000 DTEND;TZID=America/New_York:20260307T213000 DTSTAMP:20260304T214043Z CREATED:20250529T190054Z LAST-MODIFIED:20260304T214043Z UID:10000155-1772911800-1772919000@www.wssymphony.org SUMMARY:Beethoven + Borodin DESCRIPTION:Beethoven + Borodinwith the Symphony Chorus\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayMar 7\, 20267:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayMar 8\, 20263:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusKathryn Levy FluteMichelle Merrill ConductorChris Gilliam Chorus Director \n\n\n\nBeethoven Symphony No. 8 Program Notes \n\n\n\nGriffes Poem for flute and Orchestra Program Notes \n\n\n\nQuinn Mason Princesa de la Luna Program Notes \n\n\n\nBorodin Polovtsian Dances from Prince Igor Program Notes \n\n\n\nThis program will be performed without intermission and is expected to last approximately 1 hour and 15 minutes. \n\n\n\nBeethoven’s firework Eighth Symphony and Borodin’s familiar and raucous Polovstian Dances (featuring the Symphony Chorus) bookend a concert with a quieter middle. Charles Griffes’s Poem features WSS principal flutist Kathryn Levy\, celebrating her 50th season with the orchestra; Quinn Mason’s recent Princesa de la Luna is a palette of colors and textures for a string orchestra with harp. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nIndividual Concert Sponsor:Dr. Patricia Willis \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayMar 77:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayMar 83:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Chorus Rehearsal Room\, directly adjacent to Reynolds Auditorium on its north side\, for a lively discussion about the music and surrounding context. Local musicologist and WFU emeritus professor of music Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before the concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nKathryn Levy Flute\n\n\n\nFlutist Kathryn Levy is a native of Salinas\, California.  She studied flute with Katherine Sorensen of San Jose\, Paul Renzi of San Francisco\, Roger Stevens at the Music Academy of the West in Santa Barbara\, Maurice Sharpe at the Aspen Music Festival and Joseph Mariano at the Eastman School of Music in Rochester\, New York where she earned both the BM and the Coveted Performer’s Certificate. In 1976\, Ms. Levy moved to Winston-Salem\, NC where she teaches in the Wake Forest University Department of Music. She has developed the flute choir and wind chamber music programs in addition to her studio teaching and has performed frequently in faculty chamber music concerts. \n\n\n\nMs. Levy is equally at home as an orchestral musician\, having served as a flutist in the New Orleans Philharmonic\, the Rochester Philharmonic and numerous summer festival orchestras. She currently holds the position of Principal Flute with the Winston-Salem Symphony and Piccoloist with the Chautauqua Symphony. \n\n\n\n\nRead more. URL:https://www.wssymphony.org/event/beethoven-borodin/2026-03-07/ LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104 CATEGORIES:Classics Series,Symphony Chorus ATTACH;FMTTYPE=image/jpeg:https://www.wssymphony.org/wp-content/uploads/2025/04/Titan_Homepage-1.jpg GEO:36.1011236;-80.2648333 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Reynolds Auditorium 301 Hawthorne Rd. NW Winston-Salem NC 27104;X-APPLE-RADIUS=500;X-TITLE=301 Hawthorne Rd. NW:geo:-80.2648333,36.1011236 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20251129T193000 DTEND;TZID=America/New_York:20251129T213000 DTSTAMP:20251124T175534Z CREATED:20250602T152730Z LAST-MODIFIED:20251124T175534Z UID:10000129-1764444600-1764451800@www.wssymphony.org SUMMARY:A Carolina Christmas DESCRIPTION:A Carolina Christmas:Home for the Holidays\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayNov 29\, 20257:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusMichelle Merrill ConductorTony DeSare Vocals \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMusic Director Michelle Merrill’s spin on traditional holiday favorites for orchestra and chorus features jazz and popular vocalist Tony DeSare\, who brings jazz club intimacy\, Carnegie Hall glamour\, and Vegas glitz right home to Reynolds on Thanksgiving weekend. Plus\, Santa will be there\, and you can wear your favorite holiday sweater and get a pic before the show! \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nThis concert is also a food drive to benefit Second Harvest Food Bank of Northwest NC and those in our community facing food insecurity. Please remember to bring a non-perishable food item (or several!) to donate in one of Second Harvest’s marked bins in the lobby. Thanks! \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Conversation\n\n\n\nSaturday at 6:30 PM \n\n\n\nAll audience members are invited to join us in the Chorus Rehearsal Room located just inside the north entrance of Reynolds Auditorium\, for a lively discussion about the music and surrounding context. Wake Forest University musicologist Dr. Megan Francisco is your guide—pre-concert talks are free to attend\, but seating is limited\, so arrive early! \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayNov 297:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorn Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nTony DeSare\, vocalist\n\n\n\nTony DeSare performs with infectious joy\, wry playfulness and robust musicality. Named Rising Star Male Vocalist in Downbeat magazine\, DeSare has lived up to this distinction by winning critical and popular acclaim for his concert performances throughout North America and abroad. From jazz clubs to Carnegie Hall to Las Vegas and headlining major symphony orchestras\, DeSare has brought his fresh take on old school class around the globe. DeSare has four top-ten Billboard jazz albums under his belt and has been featured on the CBS Early Show\, NPR\, A Prairie Home Companion\, the Today Show and his music has been posted by social media celebrity juggernaut\, George Takei. DeSare has also collaborated with Youtube supergroup Postmodern Jukebox. He has been a featured guest artist with over 100 symphony orchestras with some highlights including the Cleveland Orchestra\, The New York Pops\, The San Francisco Symphony\, The Houston Symphony\, the Chicago Symphony. \n\n\n\n\nRead more. URL:https://www.wssymphony.org/event/christmas/ LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104 CATEGORIES:Family Concerts,HOLIDAY25,Plugged-In Pops,Symphony Chorus ATTACH;FMTTYPE=image/jpeg:https://www.wssymphony.org/wp-content/uploads/2025/05/christmas_b_roll-2160p.mp4.00_01_31_00.Still001-scaled.jpg GEO:36.1011236;-80.2648333 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Reynolds Auditorium 301 Hawthorne Rd. NW Winston-Salem NC 27104;X-APPLE-RADIUS=500;X-TITLE=301 Hawthorne Rd. NW:geo:-80.2648333,36.1011236 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20251026T170000 DTEND;TZID=America/New_York:20251026T190000 DTSTAMP:20251021T171303Z CREATED:20250529T180732Z LAST-MODIFIED:20251021T171303Z UID:10000122-1761498000-1761505200@www.wssymphony.org SUMMARY:Illuminare DESCRIPTION:SYMPHONY CHORUS:Illuminare\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayOct 26\, 20255:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem Symphony Chamber Orchestra & Organ \n\n\n\nWinston-Salem Symphony ChorusChris Gilliam Chorus DirectorElaine HagenbergIlluminare \n\n\n\nDan ForrestLux – The Dawn From On High \n\n\n\n\n\n\n\n\n\nScintillating choral works by two of today’s most popular American choral composers highlight contrasts in color and emotion. A chamber orchestra of Winston-Salem Symphony musicians is joined by the Symphony Chorus and at Centenary United Methodist Church for this hour-long concert\, pairing these beautiful pieces with the sanctuary’s wonderful choral acoustic and late-afternoon light. \n\n\n\nThis concert will also feature local organist Susan Bates on Centenary’s pipe organ. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nTHE PAULINE TURNER DOUGHTONLEAD CHORUSSPONSORSHIP \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayOct 265:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nCentenary United Methodist Church646 W. 5th St.Winston-Salem\, NC \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nChristopher GilliamSymphony Chorus Director\n\n\n\nA conductor praised for his “precision and clarity\,” and performances hailed as “enlightened\,” Christopher Gilliam is the Director of the Winston-Salem Symphony Chorus\, Director of Choral Activities at Wake Forest University\, and Director of Music at Highland Presbyterian Church in Winston-Salem. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem Symphony Chorus\n\n\n\nThe Winston-Salem Symphony Chorus traces its beginnings to the 1940’s when there were three separate choral ensembles in Winston-Salem. The three ensembles merged in 1960 to the Singers’ Guild. In the years following their union\, the Singers’ Guild collaborated frequently with the Symphony\, and in the fall of 1971 merged with the Symphony to become known as the Winston-Salem Symphony Chorale. In 2018 the organization became known as the Winston-Salem Symphony Chorus.  \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYou May Also Like…\n\n\n\n\n\n\n\n\n\n\nHandel‘s Messiah\n\n\n\nMichelle Merrill leads the Symphony and Chorus in this holiday tradition; Handel’s oratorio tells music’s greatest message of faith. \n\n\n\n\nDec 13\, 2025\n\n\n\n\n\n\n\n\nA Carolina Christmas:Home for the Holidays\n\n\n\nThe Symphony Chorus\, guest vocalist Tony DeSare\, music director Michelle Merrill and a right-jolly old elf ring in the holiday season. \n\n\n\n\nNov 29\, 2025 URL:https://www.wssymphony.org/event/illuminare/ LOCATION:Centenary United Methodist Church\, 646 W. 5th St.\, Winston-Salem\, NC\, United States CATEGORIES:Special Concerts,Symphony Chorus ATTACH;FMTTYPE=image/webp:https://www.wssymphony.org/wp-content/uploads/2025/03/013_20241103-DSC09237_JFarleyPhotography-copy.webp GEO:36.0985935;-80.2508964 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Centenary United Methodist Church 646 W. 5th St. Winston-Salem NC United States;X-APPLE-RADIUS=500;X-TITLE=646 W. 5th St.:geo:-80.2508964,36.0985935 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250427T150000 DTEND;TZID=America/New_York:20250427T173000 DTSTAMP:20250424T140322Z CREATED:20240729T195548Z LAST-MODIFIED:20250424T140322Z UID:10000097-1745766000-1745775000@www.wssymphony.org SUMMARY:Verdi's Requiem DESCRIPTION:Verdi’s Requiem\n\n\n\nLarge orchestra and chorus | Powerful drama \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayApril 26\, 20257:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayApril 27\, 20253:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusOthalie Graham SopranoRaehann Bryce-Davis Mezzo SopranoCooper Nolan TenorBill McMurray BassMichelle Merrill ConductorChris Gilliam Chorus Director \n\n\n\nGiuseppe VerdiRequiem \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\n\n\nRenowned for its dramatic intensity and profound emotional depth\, Verdi’s concert-stage masterpiece will be brought to life by a symphony orchestra\, chorus\, and a quartet of soloists whose voices will soar through the hall. \n\n\n\nFrom the powerful and haunting “Dies irae” to the tender “Agnus dei\,” each movement unfolds with gripping fervor\, showcasing Verdi’s unparalleled ability to blend grandeur with intimacy. Join us for a performance that will resonate long after the final note\, as we embark on a journey through the depths of human emotion and spiritual contemplation with Verdi’s Requiem. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in Room 302 of Wait Chapel\, accessed from the north atrium of the building\, for a lively discussion about the music and surrounding context. Musicologist Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayApr 267:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayApr 273:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nOthalie Graham\, soprano\n\n\n\nCanadian-American soprano Othalie Graham continues to receive critical acclaim throughout North America and is widely known for her interpretations of the title roles in Turandot and Aida and her commitment to Wagnerian repertoire. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRaehann Bryce-Davis\, mezzo-soprano\n\n\n\nRaehann Bryce-Davis has been hailed by The New York Times as a “striking mezzo soprano” and by the San Francisco Chronicle for her “electrifying sense of fearlessness.” \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nCooper Nolan\, tenor\n\n\n\nTenor Cooper Nolan\, praised for his “bright\, shining\, tenor” (Musical America) and his “powerhouse voice” (Opera News)\, is increasingly making a name for himself as an important interpreter of some of opera’s most demanding tenor roles. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nBill McMurray\, baritone\n\n\n\nWith more than forty operatic roles to his credit\, Bill McMurray has been described as “A baritone with warm\, rich tones and superb stage presence” by the Durham Herald Sun. Roles to his credit include Figaro (Il Barbiere di Siviglia)\, Marcello (La bohème)\, Dulcamara (L’elisir d’amore)\, Count Almaviva (Le nozze di Figaro)\, and Escamillo (Carmen). \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMichelle Merrill\, conductor\n\n\n\nWSS Music Director Michelle Merrill served four years as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra and also serves as the Music Director of the Coastal Symphony of Georgia\, where she has ignited the growth and expansion of the orchestra’s offerings both on and off the stage.  Ms. Merrill is a proud recipient of a 2016 Solti Foundation U.S. Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship as awarded by members of the Vienna Philharmonic and the American Austrian Foundation\, which enabled her to be in residence at the world-renowned Salzburg Festival. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nChris Gilliam\, chorus director\n\n\n\nA conductor praised for his “precision and clarity\,” and performances hailed as “enlightened\,” Chris Gilliam is the Director of Choral Activities at Wake Forest University\, director of the Winston-Salem Symphony Chorus\, the artistic director and conductor for the Winston-Salem Choral Artists\, and Director of Music at Highland Presbyterian Church in Winston-Salem. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nWait ChapelWake Forest University2625 Wake Forest Rd.Winston-Salem\, NC 27106 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRelated Events\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMusic Lovers’ Luncheon\n\n\n\nFriday\, Apr 25 at NoonForsyth Country Club3101 Country Club Rd.\, Winston-Salem \n\n\n\nEnjoy lunch with a side of interesting conversation! Michelle Merrill discusses Verdi’s Requiem with the work’s soloists: Othalie Graham\, Raehann Bryce-Davis\, Cooper Nolan\, and Daniel Rich . \n\n\n\n\n Buy\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSymphony by the Glass\n\n\n\nThursday\, Apr 24 at 5pmThe Caviste1100 Reynolda Rd \n\n\n\nStop by for an afterwork glass from a selection of wines specifically paired to this week’s program! Enjoy music by WSS musicians and casual conversation with other Symphony goers. The event is free to attend; wines are available for purchase. URL:https://www.wssymphony.org/event/verdis-requiem/2025-04-27/ LOCATION:Wait Chapel\, 2625 Wake Forest Rd.\, Winston-Salem\, NC\, 27106 CATEGORIES:Classics Series,Symphony Chorus ATTACH;FMTTYPE=image/webp:https://www.wssymphony.org/wp-content/uploads/2024/07/012_20240414-DSC06179-HDR_JFarleyPhotography_EDIT.webp GEO:36.1353994;-80.2797555 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Wait Chapel 2625 Wake Forest Rd. Winston-Salem NC 27106;X-APPLE-RADIUS=500;X-TITLE=2625 Wake Forest Rd.:geo:-80.2797555,36.1353994 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250426T193000 DTEND;TZID=America/New_York:20250426T220000 DTSTAMP:20250424T140322Z CREATED:20240729T195548Z LAST-MODIFIED:20250424T140322Z UID:10000090-1745695800-1745704800@www.wssymphony.org SUMMARY:Verdi's Requiem DESCRIPTION:Verdi’s Requiem\n\n\n\nLarge orchestra and chorus | Powerful drama \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayApril 26\, 20257:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayApril 27\, 20253:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusOthalie Graham SopranoRaehann Bryce-Davis Mezzo SopranoCooper Nolan TenorBill McMurray BassMichelle Merrill ConductorChris Gilliam Chorus Director \n\n\n\nGiuseppe VerdiRequiem \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\n\n\nRenowned for its dramatic intensity and profound emotional depth\, Verdi’s concert-stage masterpiece will be brought to life by a symphony orchestra\, chorus\, and a quartet of soloists whose voices will soar through the hall. \n\n\n\nFrom the powerful and haunting “Dies irae” to the tender “Agnus dei\,” each movement unfolds with gripping fervor\, showcasing Verdi’s unparalleled ability to blend grandeur with intimacy. Join us for a performance that will resonate long after the final note\, as we embark on a journey through the depths of human emotion and spiritual contemplation with Verdi’s Requiem. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in Room 302 of Wait Chapel\, accessed from the north atrium of the building\, for a lively discussion about the music and surrounding context. Musicologist Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayApr 267:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayApr 273:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nOthalie Graham\, soprano\n\n\n\nCanadian-American soprano Othalie Graham continues to receive critical acclaim throughout North America and is widely known for her interpretations of the title roles in Turandot and Aida and her commitment to Wagnerian repertoire. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRaehann Bryce-Davis\, mezzo-soprano\n\n\n\nRaehann Bryce-Davis has been hailed by The New York Times as a “striking mezzo soprano” and by the San Francisco Chronicle for her “electrifying sense of fearlessness.” \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nCooper Nolan\, tenor\n\n\n\nTenor Cooper Nolan\, praised for his “bright\, shining\, tenor” (Musical America) and his “powerhouse voice” (Opera News)\, is increasingly making a name for himself as an important interpreter of some of opera’s most demanding tenor roles. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nBill McMurray\, baritone\n\n\n\nWith more than forty operatic roles to his credit\, Bill McMurray has been described as “A baritone with warm\, rich tones and superb stage presence” by the Durham Herald Sun. Roles to his credit include Figaro (Il Barbiere di Siviglia)\, Marcello (La bohème)\, Dulcamara (L’elisir d’amore)\, Count Almaviva (Le nozze di Figaro)\, and Escamillo (Carmen). \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMichelle Merrill\, conductor\n\n\n\nWSS Music Director Michelle Merrill served four years as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra and also serves as the Music Director of the Coastal Symphony of Georgia\, where she has ignited the growth and expansion of the orchestra’s offerings both on and off the stage.  Ms. Merrill is a proud recipient of a 2016 Solti Foundation U.S. Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship as awarded by members of the Vienna Philharmonic and the American Austrian Foundation\, which enabled her to be in residence at the world-renowned Salzburg Festival. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nChris Gilliam\, chorus director\n\n\n\nA conductor praised for his “precision and clarity\,” and performances hailed as “enlightened\,” Chris Gilliam is the Director of Choral Activities at Wake Forest University\, director of the Winston-Salem Symphony Chorus\, the artistic director and conductor for the Winston-Salem Choral Artists\, and Director of Music at Highland Presbyterian Church in Winston-Salem. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nWait ChapelWake Forest University2625 Wake Forest Rd.Winston-Salem\, NC 27106 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRelated Events\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMusic Lovers’ Luncheon\n\n\n\nFriday\, Apr 25 at NoonForsyth Country Club3101 Country Club Rd.\, Winston-Salem \n\n\n\nEnjoy lunch with a side of interesting conversation! Michelle Merrill discusses Verdi’s Requiem with the work’s soloists: Othalie Graham\, Raehann Bryce-Davis\, Cooper Nolan\, and Daniel Rich . \n\n\n\n\n Buy\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSymphony by the Glass\n\n\n\nThursday\, Apr 24 at 5pmThe Caviste1100 Reynolda Rd \n\n\n\nStop by for an afterwork glass from a selection of wines specifically paired to this week’s program! Enjoy music by WSS musicians and casual conversation with other Symphony goers. The event is free to attend; wines are available for purchase. URL:https://www.wssymphony.org/event/verdis-requiem/2025-04-26/ LOCATION:Wait Chapel\, 2625 Wake Forest Rd.\, Winston-Salem\, NC\, 27106 CATEGORIES:Classics Series,Symphony Chorus ATTACH;FMTTYPE=image/webp:https://www.wssymphony.org/wp-content/uploads/2024/07/012_20240414-DSC06179-HDR_JFarleyPhotography_EDIT.webp GEO:36.1353994;-80.2797555 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Wait Chapel 2625 Wake Forest Rd. Winston-Salem NC 27106;X-APPLE-RADIUS=500;X-TITLE=2625 Wake Forest Rd.:geo:-80.2797555,36.1353994 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241103T150000 DTEND;TZID=America/New_York:20241103T150000 DTSTAMP:20241025T194534Z CREATED:20240725T124218Z LAST-MODIFIED:20241025T194534Z UID:10000053-1730646000-1730646000@www.wssymphony.org SUMMARY:Light\, Love\, and Joy DESCRIPTION:Light\, Love\, & JoyA Choral Kaleidoscope\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayNov 3\, 20243:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem Symphony ChorusWinston-Salem State University Singing RamsChristopher Gilliam ConductorD’Walla Simmons Burke ConductorVytautas MiškinisLight Mass \n\n\n\nAndré ThomasA Celebration of Love and Joy \n\n\n\n\n\n\n\n This concert is expected to last approximately one hour and 40 minutes with no intermission. Restrooms are located in the Brendle Recital Hall lobby. \n\n\n\n\n\nEnjoy two innovative choral settings of the mass—one in jazz\, one in gospel—as the Symphony Chorus is joined by the Singing Rams from Winston-Salem State University and an instrumental jazz trio to celebrate light\, love\, and joy through music. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSymphony Chorus:Light\, Love\, & Joy \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayNov 33:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nBrendle Recital HallScales Fine Arts Center\, Wake Forest UniversityWinston-Salem\, NC \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nChristopher GilliamSymphony Chorus Director\n\n\n\nA conductor praised for his “precision and clarity\,” and performances hailed as “enlightened\,” Christopher Gilliam is the Director of the Winston-Salem Symphony Chorus\, Director of Choral Activities at Wake Forest University\, and Director of Music at Highland Presbyterian Church in Winston-Salem. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem Symphony Chorus\n\n\n\nThe Winston-Salem Symphony Chorus traces its beginnings to the 1940’s when there were three separate choral ensembles in Winston-Salem. The three ensembles merged in 1960 to the Singers’ Guild. In the years following their union\, the Singers’ Guild collaborated frequently with the Symphony\, and in the fall of 1971 merged with the Symphony to become known as the Winston-Salem Symphony Chorale. In 2018 the organization became known as the Winston-Salem Symphony Chorus.  \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nOn Video\n\n\n\n\n\n\n\n\n\nSymphony Chorus members discuss their experiences in preparing Considering Matthew Shepard.\n\n\n\n\n\n\n\n\n\n\n\nComposer Craig Hella Johnson: The meaning behind the title “Considering Matthew Shepard”\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhy Matthew Shepard’s story is relevant today \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHow performance and participation help a work evolve \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHow we can move forward during dark times \n\n\n\n\n\n\n\n\n\n\n\nProgram Note\n\n\n\n\n\nAmerican composer\, choral conductor\, and arranger\, Craig Hella (né Morris) Johnson was born on June 15\, 1962 in Crow Wing County\, MN. He and his sister adopted the middle name\, Hella\, after his ancestral village in Norway. He attended St. Olaf College\, where he studied piano and sang in the famous St. Olaf Choir. He continued his musical studies at Juilliard\, the University of Illinois at Urbana–Champaign\, and Yale University\, from which he received his Doctor of Musical Arts degree. Johnson has directed several choral ensembles\, including Texas State University\, the Houston Masterworks Chorus\, and the University of Texas Chorus. He founded the choral ensemble\, Conspirare\, at the University of Texas in 1991. In May 2013\, Johnson was named Music Director and Conductor of Vocal Arts Ensemble in Cincinnati\, Ohio. Considering Matthew Shepard is a “fusion oratorio” inspired by the brutal murder of the young gay man of the same name in Wyoming in 1998 and was commissioned by Conspirare in 2016. Johnson’s libretto was co-authored by Michael Dennis Browne. First performed in 2016\, Considering Matthew Shepard is scored for chorus\, solo voices\, cello\, piano\, violin\, clarinet\, double Bass\, viola\, guitar\, and percussion. \n\n\n\n\n\nThe savage beating and murder of Matthew Shepard in Laramie\, Wyoming in October 1998 was an unspeakably shocking event that shook the conscience of the nation. His loss has become an emblem how mindless\, as well as intentional hate has confronted\, and continues to confront the LGBTQ+ community. His mutilated body hanging on a fence\, discovered the next day by a fellow student at the University of Wyoming\, has also become a symbol. This\, of course\, is a reminder of the figure of Jesus on the Cross. How\, one might ask\, can anyone bring art as a means of addressing truth\, grief\, loss\, anger\, hate\, hope and redemption be woven into a fabric of music and words that can begin to do justice to the event that sparked its creation? \n\n\n\nCraig Hella Johnson\, himself a sensitive gay man\, felt compelled to try to find a way. By weaving together a wide range of poetic and soulful texts by poets including Hildegard of Bingen\, Lesléa Newman\, Michael Dennis Browne\, and Rumi\, Johnson created a work that has touched\, and continues to touch\, the souls—as well as pricking the conscience—of all who experience Considering Matthew Shepard. It is part elegy\, part Passion play\, part drama\, that at times gently\, and at times forcefully\, fashions a memorial that keeps the flame of Matthew Shepard’s life and death alive. Using passages from Matt’s personal journal\, interviews and writings from his parents Judy and Dennis Shepard\, newspaper reports\, as well as additional texts Johnson has created a musical tapestry that cannot fail but to touch our souls. \n\n\n\nProgram Note by David B. Levy\, © 2023 \n\n\n\n\n\n\n\n\n\n\n\nYou May Also Like…\n\n\n\n\n\n\n\n\n\n\nHandel‘s MESSIAH\n\n\n\nMichelle Merrill leads the Symphony and Chorus in this holiday tradition: Handel’s oratorio tells music’s greatest message of faith. \n\n\n\n\nDec 12\, 2023\n\n\n\n\n\n\n\n\nTHE NINTH\n\n\n\nBeethoven’s glorious “Choral” symphony\, beloved for its Ode to Joy\, is paired with a recent Beethovenian piece by Carlos Simon. \n\n\n\n\nApr 13 & 14\, 2024 URL:https://www.wssymphony.org/event/light-love-joy/ LOCATION:Brendle Recital Hall\, 2629 Wake Forest Rd.\, Winston-Salem\, NC\, 27109 CATEGORIES:Special Concerts,Symphony Chorus ATTACH;FMTTYPE=image/webp:https://www.wssymphony.org/wp-content/uploads/2024/07/ChorusNov3.webp GEO:36.134302;-80.2805279 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Brendle Recital Hall 2629 Wake Forest Rd. Winston-Salem NC 27109;X-APPLE-RADIUS=500;X-TITLE=2629 Wake Forest Rd.:geo:-80.2805279,36.134302 END:VEVENT END:VCALENDAR