SOLOISTS
Laquita Mitchell | soprano
Kate Jackman | mezzo-soprano
DeAndre Simmons | baritone

GUEST
William Burgess | Chorusmaster

Samuel Barber (1910 -1981)
Adagio for Strings

Aaron Copland (1900 -1990)
Old American Songs
     Set 1
     The Dodger
     Long Time Ago
     Simple Gifts
     I Bought Me a Cat
     Set 2
     The Little Horses
     At the River
     Ching-a-Ring Chaw

    First half 25 minutes

INTERMISSION

George Gershwin (1898 -1937)
Porgy and Bess: A Concert of Songs

     I.    Introduction
     II.    Summertime
     III.    A woman is a some-time thing
     IV.    Gone, gone, gone
     V.    My man's gone now
     VI.    The promise' lan'
     VII.    I got plenty o' nuttin'
     VIII.    Bess, you is my woman now
     IX.    Oh, I can't sit down
     X.    It ain't necessatily so
     XI.    There's a boat dat's leavin' soon for New York
     XII.    Oh Lawd, I'm on my way

Second half 38 minutes

Alma Smiley
Aminah Richburg
Eula Duncan
Dicie Thompson
Sonya Owens
Quandra Battle
Phillip Martin
Carmella Wright
Alexis Collins
Ernestine Dixon
Mark Brock*
Kristen Brock
Sharai Brock
Manny Ventura
Anabelle Ventura
Michelle Lucas
Salleigh Harvey
Chantia Battle*
Hoopes Stevens
Danterrio Oliver
Tony Griffin*
Carlesia Tucker
Teisha Croft
Louise Finely
Bridget Burgess*
William Burgess
Velita Jones
Russelle Keese

*denotes section leader

Adagio for Strings
Samuel Barber (1910-1981)

Samuel Barber’s Adagio for Strings is one of the most instantly recognizable and emotionally charged works in the orchestral repertoire. Composed in 1936 as the slow movement of Barber’s String Quartet, Op. 11, it was later arranged for string orchestra, a version that brought the piece international fame.

Arturo Toscanini premiered the orchestral Adagio in 1938, helping to establish Barber, then in his late twenties, as a major American composer.

The music unfolds as a single, arching span built from a simple, stepwise melody that rises gradually through overlapping string lines. Barber’s mastery lies in his control of pacing: the harmony shifts slowly, tension accumulating almost imperceptibly as the melody climbs higher and higher.

At its emotional peak, the music seems to cry out in anguish before collapsing into silence, followed by a hushed, resigned return of the opening material.

The Adagio’s expressive power has made it a frequent choice for moments of collective mourning. It has been performed at state funerals, memorial services, and commemorations of national tragedy, reinforcing its association with grief and reflection. 

Yet the piece is not merely sorrowful; many listeners hear in it a sense of dignity, compassion, and quiet transcendence. Through restraint and lyrical intensity, Barber created a work that speaks across generations with rare directness and sincerity.

Old American Songs
Aaron Copland (1900-1990)

Aaron Copland’s Old American Songs stand among his most beloved works, distilling the spirit of American folk music through the voice of a modern composer who valued clarity, directness, and emotional honesty.

Written in two sets (1950 and 1952), the songs are arrangements of traditional tunes Copland encountered in early American song collections. Rather than treating these melodies as museum pieces, Copland reimagined them with fresh harmonies, subtle rhythmic twists, and accompaniments that reveal both wit and deep affection for the source material.

“The Dodger,” a satirical street song, opens the first set with sly humor. Each verse skewers a different profession, and Copland’s jaunty writing and mock-serious tone heighten the song’s playful cynicism.

In contrast, “Long Time Ago” is tender and introspective. Its simple, flowing melody is supported by spare harmonies that allow a feeling of wistful nostalgia to emerge without sentimentality.

“Simple Gifts,” perhaps the most famous tune in the collection, is treated with remarkable restraint. Copland lets the Shaker melody speak plainly, surrounding it with gentle, luminous harmonies that suggest humility, balance, and quiet joy — values at the heart of the song’s text.

“I Bought Me a Cat” shifts the mood again, offering exuberant humor. This cumulative barnyard song builds in energy as each new animal sound is added, and Copland’s bright, rhythmic accompaniment gives performers ample opportunity for theatrical flair.

The second set opens with “The Little Horses,” a Southern lullaby. Copland’s rocking accompaniment and modal inflections create a dreamy, hypnotic atmosphere, perfectly suited to the song’s soothing imagery.

“At the River,” drawn from a hymn by Robert Lowry, is reverent and spacious. Copland’s setting evokes the calm flow of water and the spiritual serenity of the text, achieving a sense of communal reflection.

The cycle concludes with “Ching-A-Ring Chaw,” a jubilant African American children’s song. Bursting with rhythmic vitality, syncopation, and call-and-response gestures, it ends the collection in a blaze of energy and joy.

Together, the Old American Songs reveal Copland’s unique ability to honor folk traditions while shaping them into art music of lasting sophistication and warmth.

Porgy and Bess: A Concert of Songs
George Gershwin (1898-1937)

George Gershwin’s Porgy and Bess (1935) occupies a singular place in American music, standing at the crossroads of opera, jazz, blues, and Broadway.

Gershwin called it a “folk opera,” and with it he sought to create a serious operatic work rooted in African American musical idioms and the everyday life of Catfish Row, a Black community in Charleston.

Though controversial at its premiere, the work has since come to be recognized as one of the most important American operas of the 20th century.

The opera opens with “Summertime,” one of the most famous melodies ever written by an American composer. Sung as a lullaby, it blends blues-inflected harmony with a floating, almost classical lyricism, establishing both the tenderness and fragility of life in Catfish Row. 

That serenity is undercut by “A Woman Is a Some-Time Thing,” in which the character Jake delivers a sharply cynical view of relationships, driven by jaunty rhythms and biting irony.

Violence and loss arrive forcefully in “Gone, Gone, Gone” and “My Man’s Gone Now.” The former is raw and explosive, capturing communal grief and rage after a murder, while the latter is a searing lament in which Serena’s operatic intensity fuses spiritual fervor with personal devastation.

“The Promise’ Lan’,” sung by Crown, darkly parodies the idea of salvation, using swaggering rhythms to convey menace rather than hope.

Gershwin balances tragedy with moments of buoyant optimism. “I Got Plenty o’ Nuttin’” is Porgy’s declaration of contentment, its relaxed, folk-like tune expressing dignity and joy in simplicity.

That optimism blossoms into intimacy in “Bess, You Is My Woman Now,” a tender love duet that combines lyrical warmth with understated emotional depth.

Community energy returns in “Oh, I Can’t Sit Down,” a vibrant ensemble number infused with gospel spirit and rhythmic drive.

One of the opera’s most provocative moments follows in “It Ain’t Necessarily So,” where Sporting Life gleefully questions biblical stories through jazzy syncopation and sly humor. His manipulative charm resurfaces in “There’s a Boat Dat’s Leavin’ Soon for New York,” a seductive, bluesy enticement aimed at pulling Bess away.

The opera closes with “Oh Lawd, I’m on My Way,” as Porgy sets out in determined hope. Despite hardship and loss, the final music affirms resilience, making Porgy and Bess a powerful portrait of suffering, love, and perseverance in American life.

© 2025 Paul Hyde

Paul Hyde, a longtime arts journalist, is an English instructor at Tri-County Technical College. He writes regularly for the Greenville Journal, the S.C. Daily Gazette, EarRelevant, ArtsATL, and the Atlanta Journal-Constitution. Readers may write to him at paulhydeus@yahoo.com.

The Dodger
The Dodger, from Old American Songs, Set 1 (1950)
Music: Aaron Copland (1900-1990)
Text: Traditional
German Translation by Robert Gisshammer/English Elements
Yes the candidate’s a dodger, yes a well known dodger,
Yes the candidate’s a dodger, yes and I’m a dodger too.
He’ll meet you and treat you and ask you for your vote
But look out boys he’s a dodgin’ for a note,
Yes we’re all dodgin’, a dodgin’, dodgin’, dodgin
Yes we’re all dodgin’ out away through the world

Yes the preacher he’s a dodger, yes a well known dodger,
Yes the preacher he’s a dodger yes and I’m a dodger too.
He’ll preach you a gospel and tell you of your crimes
But look out boys he’s a dodgin’ for your dimes,
Yes we’re all dodgin’, a dodgin’, dodgin’, dodgin
Yes we’re all dodgin’ out away through the world

Yes the lover he’s a dodger, yes a well known dodger,
Yes the lover he’s a dodger yes and I’m a dodger too.
He’ll hug you and kiss you and call you his bride
But look out girls he’s a tellin’ you a lie.
Yes we’re all dodgin’, a dodgin’, dodgin’, dodgin
Yes we’re all dodgin’ out away through the world

Long Time Ago
Long Time Ago, from Old American Songs, Set 1 (1950)
Music: Aaron Copland (1900-1990)
Text: Traditional
Anonymous German Translation
On the lake where droop’d the willow
Long time ago,
Where the rock threw back the billow
Brighter than snow.
Dwelt a maid beloved and cherish’d
By high and low,
But with autumn leaf she perished
Long time ago.
Rock and tree and flowing water
Long time ago,
Bird and bee and blossom taught her
Love’s spell to know.
While to my fond words she listen’d
Murmuring low,
Tenderly her blue eyes glisten’d
Long time ago.

Simple Gifts
Simple Gifts, from Old American Songs, Set 1 (1950)
Music: Aaron Copland (1900-1990)
Text: Traditional (Shaker Song)
Anonymous German Translation
‘Tis the gift to be simple ’tis the gift to be free
‘Tis the gift to come down where you ought to be
And when we find ourselves in the place just right,
‘Twill be in the valley of love and delight.
When true simplicity is gained
To bow and to bend we shan’t be ashamed
To turn, turn will be our delight.
‘Till by turning, turning we come round right.
‘Tis the gift to be simple ’tis the gift to be free
‘Tis the gift to come down where you ought to be
And when we find ourselves in the place just right,
‘Twill be in the valley of love and delight.

I Bought Me a Cat
I Bought Me a Cat, from Old American Songs, Set 1 (1950)
Music: Aaron Copland (1900-1990)
Text: Traditional
I bought me a cat, my cat pleased me,
I fed my cat under yonder tree.
My cat says fiddle eye fee.
I bought me a duck, my duck pleased me.
I fed my duck under yonder tree.
My duck says, ‘Quaa, quaa’,
My cat says fiddle eye fee.
I bought me a goose, my goose pleased me.
I fed my goose under yonder tree.
My goose says, ‘Quaw, quaw’,
My duck says, ‘Quaa, quaa’,
My cat says fiddle eye fee.
I bought me a hen, my hen pleased me.
I fed my hen under yonder tree.
My hen says, Shimmy shack, shimmy shack’,
My goose says, ‘Quaw, quaw’,
My duck says, ‘Quaa, quaa’,
My cat says fiddle eye fee.
I bought me a pig, my pig pleased me.
I fed my pig under yonder tree.
My pig says, ‘Griffey, griffey’.
My hen says, Shimmy shack, shimmy shack’,
My goose says, ‘Quaw, quaw’,
My duck says, ‘Quaa, quaa’,
My cat says fiddle eye fee.
I bought me a horse, my horse pleased me.
I fed my horse under yonder tree.
My horse says, ‘Neigh, neigh’,
My pig says, ‘Griffey, griffey’.
My hen says, Shimmy shack, shimmy shack’,
My goose says, ‘Quaw, quaw’,
My duck says, ‘Quaa, quaa’,
My cat says fiddle eye fee.
I bought me a cow, my cow pleased me.
I fed my cow under yonder tree.
My cow says ‘Moo, moo’,
My horse says, ‘Neigh, neigh’,
My pig says, ‘Griffey, griffey’.
My hen says, Shimmy shack, shimmy shack’,
My goose says, ‘Quaw, quaw’,
My duck says, ‘Quaa, quaa’,
My cat says fiddle eye fee.
I bought me a wife, my wife pleased me.
I fed my wife under yonder tree.
My wife says, ‘Honey, honey’,
My cow says ‘Moo, moo’,
My horse says, ‘Neigh, neigh’,
My pig says, ‘Griffey, griffey’.
My hen says, Shimmy shack, shimmy shack’,
My goose says, ‘Quaw, quaw’,
My duck says, ‘Quaa, quaa’,
My cat says fiddle eye fee.

The Little Horses
The Little Horses, from Old American Songs, Set 2 (1952)
Music: Aaron Copland (1900-1990)
Text: Traditional
Anonymous German Translation
Hush you bye,
Don’t you cry,
Go to sleepy little baby.
When you wake,
You shall have,
All the pretty little horses.
Blacks and bays,
Dappls and grays,
Coach and six-a little horses.
Blacks and bays,
Dapples and grays,
Coach and six-a little horses.
Hush you bye,
Don’t you cry,
Go to sleepy little baby.
When you wake,
You’ll have sweet cake and
All the pretty little horses.
A brown and gray and a black and a bay and a
Coach and six-a little horses.
A black and a bay ad a brown and a gray and a
Coach and six-a little horses.
Hush you bye,
Don’t you cry,
Oh you pretty little baby.
Go to sleepy little baby.
Oh you pretty little baby.

At the River
At the River, from Old American Songs, Set 2 (1952)
Music: Aaron Copland (1900-1990)
Text: Robert Lowry (1826-1899)
German Translation by Kurt Albert Mayer
Watch and listen to a recording of this song here.
Shall we gather by the river,
Where bright angel’s feet have trod,
With its crystal tide forever
Flowing by the throne of God.
Yes, we’ll gather by the river,
The beautiful, the beautiful river,
Gather with the saints by the river
That flows by the throne of God.
Soon we’ll reach the shining river,
Soon our pilgrimage will cease,
Soon our happy hearts will quiver
With the melody of peace.
Yes, we’ll gather by the river,
The beautiful, the beautiful river,
Gather with the saints by the river
That flows by the throne of God.

Ching-a-Ring Chaw
Ching-a-ring-a ring ching ching
Hoa dinga ding kum larkee
Ching-a-ring-a ring ching ching
Hoa ding kum larkee

Brothers gather round
Listen to this story
‘Bout the promised land
An’ the promised glory

You don’ need to fear
If you have no money
You don’ need none there
To buy you milk and honey

There you’ll ride in style
Coach with four white horses
There the evenin’ meal
Has one two three four courses

Nights we all will dance
To the harp and fiiddle
Waltz and jig and prance
“Cast off down the middle!”

When the mornin’ come
All in grand and spendour
Stand out in the sun
And hear the holy thundеr

Porgy and Bess: A Concert of Songs lyrics
Summertime:
Summertime,
An' the livin' is easy
Fish are jumpin'
And de cotton is high

Oh yo' daddy's rich
An' yo' ma is good lookin'

So hush little baby
Don' you cry

One of these mornin's
You goin' to rise up singin'
Den you'll spread yo' wings
An' you'll take the sky

But till dat mornin'
Dere's a'nothin' can harm you
With daddy and mammy standin' by

A Woman is a Sometime Thing:
Listen to yo' daddy warn you
Fore you start a-traveling
Woman may born you, love you an' mourn you
But a woman is a sometime thing
Yes a woman is a sometime thing

Yo' mammy is the first to name you
An' she'll tie you to her apron string
Then she'll shame you an' she'll blame yo'
Till yo' woman comes to claim you
Cause a woman is a sometime thing
Yes a woman is a sometime thing

Don't you never let a woman grieve you
Jus' 'cause she got yo' weddin' ring

She'll love you and deceive you
Then she'll take yo' clo'es and leave you
Cause a woman is a sometime thing
Yes a woman is a sometime thing
Yes a woman is a sometime thing
Yes a woman is a sometime thing

Gone, gone, gone
Where is brother Robbins?
He's a gone, gone, gone
I seen him in de mornin' wid his work clo'es on,
But he's gone, gone, gone,
An' I seen himin de noon-time straight an' tall
But death a come a walkin in de evenin' fall
An' he's gone, gone, gone
An death touched Robbins wid a silver knife
An' he's gone, gone, gone
An' he's sittin' in de garden by de tree of life
An' he's gone, gone, gone
Oh he's gone. Robbins is gone
Gone, gone, gone
Come on, sister, come on, brother, fill up de saucer till it overflow
Yes, my Jesus, overflow
Cause de Lawd will meet you
Yes de Lawd will meet you at de courthouse do'
Overflow, overflow, oh, fill up de saucer till it overflow
Ev'rybody helpin' now, sendin' our brudder to Heaven
Lawd, oh Lawd, send down yo' blessing!
Overflow, overflow, oh, fill up de saucer till it overflow
Ev'rybody helpin' now, sendin' our brudder to Heaven
Lawd, oh Lawd, send down yo' blessing!

My man's gone now
My man's gone now
Ain't no use a listenin'
For his tired footsteps
Climbin' up the stairs
Old man sorrow's
Come to keep me company
Whisperin' beside me
When I say my prayers
When I say my prayers
He come aroud
He come up, he come around
Ain't that I mind workin'
Workin' means travelers
Journeyin' togheter
To the promised land
But old man sorrow
Mountin' all the way with me
Tell' me that I'm old now
Since I lose my man
Since I lose my man
Since I lose my man

My man's gone now
Ain't no use a listenin'
For his tired footsteps
Climbin' up the stairs
Old man sorrow's
Come to keep me company
Whisperin' beside me
When I say my prayers
When I say my prayers
He come aroud
He come up, he come around
Ain't that I mind workin'
Workin' means travelers
Journeyin' togheter
To the promised land
But old man sorrow
Mountin' all the way with me
Tell' me that I'm old now
Since I lose my man
Since I lose my man
Since I lose my man

The Promise' lan'
Oh, the train is at the station and you better get on board
Cause it's leavin' today
Leavin' today, leavin' today
Oh, the train is at the station and you better get on board
Cause it's leavin' today, and it's
Heading for the Promised Land
Oh, we're leavin' for the Promised Land
Leavin' for the Promised Land
Keep that drivin' wheel a-rollin', rollin', rollin', rollin'
Rollin', rollin', let it roll
Until we meet our brother in the Promised Land
In the Promised Land, Promised Land
Oh, I got my ticket ready and the time is gettin' short
Cause we're leavin' today
Leavin' today, leavin' today
Oh, I got my ticket ready and the time is gettin' short
Cause we're leavin' today, and we're
Headed for the Promised Land
Oh, we're leavin' for the Promised Land
Leavin' for the Promised Land
Keep that drivin' wheel a-rollin', rollin', rollin', rollin'
Rollin', rollin', let it roll
Until we meet our brother in the Promised Land
In the Promised Land, Promised Land
Oh, we're leavin'
For the Promised Land and you better get on board
All you sinners, oh, you better get on board
Cause we're (Oh, we're) leavin'
For the Promised Land and you better get on board
All you sinners, oh, you better get on board
Cause we're leavin'
For the Promised Land and you better get on board
All you sinners, oh, you better get on board

I got plenty o' nuttin'
Oh, I got plenty o' nuttin'
And nuttin's plenty for me
I got no car, got no mule
I got no misery

De folks wid plenty o' plenty
Got a lock on de door
Fraid somebody's a-goin' to rob 'em
While dey's out a-makin' more
What for

I got no lock on de door
Dat's no way to be
Dey kin steal de rug from de floor
Dat's okeh wid me
Cause de things dat I prize
Like de stars in de skies
All are free

(Refrain:)
Oh, I got plenty o' nuttin'
And nuttin's plenty for me
I got my gal, got my song
Got Hebben the whole day long
No use complaining
Got my gal, got my Lawd
Got my song

Oh, I got plenty o' nuttin'
And nuttin's plenty for me
I got the sun, got the moon
Got the deep blue sea

De folks wid plenty o' plenty
Got to pray all de day
Seems wid plenty you sure got to worry
How to keep the debbel away
Away

I ain't frettin 'bout hell
Till de time arrive
Never worry long as I'm well
Never one to strive
To be good, to be bad
What the hell
I is glad I's alive

Bess, you in my woman now
Bess, you is my woman now, you is, you is!
An' you mus' laugh an' sing an' dance for two instead of one.
Want no wrinkle on yo' brow,
Nohow,
Because de sorrow of de past is all done done
Oh, Bess, my Bess!
Porgy, I's yo' woman now,
I is, I is!
An' I ain't never goin' nowhere 'less you shares de fun.
Dere's no wrinkle on my brow,
Nohow,
But I ain't goin'! You hear me sayin',
If you ain' goin', wid you I'm stayin'!

Porgy, I's yo' woman now!
I's yours forever -
Mornin' time an' evenin' time an'
summer time an' winter time.

Mornin' time an' evenin' time an'
summer time an' winter time.
Bess, you got yo' man.

Bess, you is my woman now and forever.
Dis life is jes' begun,
Bess, we two is one
Now an' forever.
Oh, bess, don't min' dose women.
You got yo' Porgy.
I knows you means it,
I seen it in yo' eyes, Bess.
We'll go swingin'
Through de years a-singin'.

Mornin' time an' evenin' time an' summer time an' winter time.

Mornin' time an' evenin' time an' summer time an' winter time.

Oh, my Porgy, my man, Porgy.

My bess, my Bess.

From dis minute I'm tellin' you, I keep dis vow:
Porgy, I's yo' woman now.

From dis minute I'm tellin' you, I keep dis vow:
Oh, my Bessie, we's happy now. We is one now.

Oh I can't sit down
I can't sit down
Oh I can't sit down
I gotta keep a goin' like the flowin' of a song
Oh I can't sit down
I guess I'll take my honey an' her sunny smile along

Today I am gay an' I'm free
Oh just a bubblin,' nothin' troubblin' me
Oh I can't sit down
I can't sit down

Happy feelin' in my bones astealin',
No concealin' det is picnic day!
Yeah I'm feelin' happy,
I'm feelin' happy, so happy, det is picnic day!
Sure is dandy, got de likker handy, Me an' Mandy
Sure I'm feelin' happy, I'm feelin' happy, so happy
We are on de way because it's picnic day!

Oh I can't sit down
I gotta keep a jumpin' like de thumpin' of a drum
Oh I can't sit down
I'm full of all commotion like an ocean full of rhum!

Today I am gay an' I'm free
Oh just a bubblin' nothin' troubblin' me
Oh I'm goin' to town
I can't sit down

I can't sit down

Oh baby I can't sit down
Oh baby I can't sit down
Gotta keep agoin'
Keep agoin' like a song'

It ain’t necessarily so
It ain’t necessarily so
It ain’t necessarily so
De things dat yo’ liable to read in de Bible
It ain’t necessarily so
Li’l David was small but oh my
Li’l David was small but oh my
He fought big Goliath who lay down and dieth
Li’l David was small but oh my
Oh Jonah he lived in de whale
Oh Jonah he lived in de whale
For he made his home in dat fish’s abdomen
Oh Jonah he lived in de whale
Li’l Moses was found in a stream
Li’l Moses was found in a stream
He floated on water ‘til ole Pharaoh’s daughter
She fished him she says from that stream
It ain’t necessarily so
It ain’t necessarily so
Dey tell all you chillun de debble’s a villain
But ‘taint necessarily so
To get into Hebben don’ snap for a sebben
Live clean, don’ have no fault
Oh I takes de gospel whenever it’s pos’ble
But wid a grain of salt
Methus’lah lived nine hundred years
Methus’lah lived nine hundred years
But who calls dat livin’ when no gal’ll give in
To no man what’s nine hundred years?
I’m preachin’ dis sermon to show
It ain’t nessa, ain’t nessa
Ain’t nessa, ain’t nessa
It ain’t necessarily so

There's a boat dat's leavin' soon for New York
There's a boat dat's leavin' soon for New York.
Come wid me, dat's where we belong, sister.
You an' me kin live dat high life in New York.
Come wid me, dere you can't go wrong, sister.
I'll buy you de swellest mansion
Up on upper Fi'th Avenue
An' through Harlem we'll go struttin',
We'll go astruttin',
An' dere'll be nuttin'
Too good for you.
I'll dress you in silks and satins
In de latest Paris styles.
And de blues you'll be forgettin',
You'll be forgettin',
There'll be no frettin'
Jes nothin' but smiles.
Come along wid me,
Hey dat's de place,
Don't be a fool, come along, come along.
There's a boat dat's leavin' soon for New York
Come wid me, dat's where we belong, sister,
Dat's where we belong!
Come on, Bess!
You low, crawlin' hound!
Get away from my door,
I tells you, leave it, you rattlesnake.
Dat's what you is, a rattlesnake!

Oh, Lawd, I`m on my way,
Oh, Lawd, I`m on my way,
I`m on my way to a Heavenly Land,
I`ll ride that long, long road.
If you are there to guide my hand.
Oh, Lawd, I`m on my way,
I`m on my way to a Heavenly Land -
Oh, Lawd. It`s a long, long way, but
You`ll be there to take my hand.

Concert Hall Series
Saturday performances at 7:30
Sunday at 3:00 pm

Opening Night: Hollywood Retrospective
October 4 & 5

An American in Paris
November 22 & 23

Dvořák’s Cello Concerto
February 7 & 8

Grand Canyon Suite + Rachmaninoff 2
March 14 & 15

West Side Story Symphonic Dances 
+ Fanfare for the Common Man
April 11 & 12

Season Finale: Porgy and Bess
May 16 & 17

Gunter Theatre Series
Peter and the Wolf
November 1 at 3:00 pm
November 2 at 3:00 pm

Dvořák’s American String Quartet
February 14 at 7:30 pm 
February 15 at 3:00 pm

The Last Five Years:
American Music Now
March 28 at 7:30 pm
March 29 at 3:00 pm

Dicey Langston: 
The South Carolina Girl Who Defied an Army
April 25 at 3:00 pm
April 26 at 3:00 pm

Special Concerts
Holiday at Peace
December 12 at 7:00 pm
December 13 at 7:00 pm
December 14 at 2:00 pm
Peace Center

Harry Potter and the Goblet of Fire™ in Concert
January 10 at 1:00 pm and 7:00 pm 
January 11 at 2:00 
Peace Center

Chamber Music Series
American Echoes: from Apollo to Bluegrass
September 23 at 5:30 pm, Warehouse Theatre
September 24 at 7:00 pm, Hotel Hartness

Rhythms of the Night: A Tango Affair
February 24 at 5:30 pm, Centre Stage

Details and tickets available at greenvillesymphony.org