FEATURING Yuki Negishi, piano Clara Yang, piano with Kenan Music Scholar Anna Bray, piano PROGRAM Francis Poulenc Sonata for Piano 4 Hands Igor Stravinsky Petrushka, First Tableau for 4 Hands Franz Schubert Fantasie in F minor for 4 Hands George Gershwin Rhapsody in Blue for 4 Hands Bernstein/Duarte “America” from West Side Story with Kenan Music Scholar Anna Bray TICKETS $10-30 Available for purchase online by Mallarmé Music, or at the door 30 minutes prior to the concert start time. Free UNC Music students, faculty, and staff (OneCard ID required) PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. This event is part of the 2026-2027 William S. Newman Artists Series, a series of select concerts celebrating the alliance of scholarship and performance that animates the lives of music faculty and students at Carolina. This concert is co-hosted by Mallarmé Music. Tickets can be purchased from Mallarmé or at the door that afternoon.

FEATURING Kelariz Keshavarz, flute Suzanne Polak, piano Luke Ellard, clarinet Jessica Kunttu, bassoon Jeanne Fischer, voice Heidi Radtke, saxophone Brian Seaton, English horn ABOUT THE PROGRAM In celebration of the 250th anniversary of the United States, this chamber music concert brings together UNC faculty and guest artists to celebrate the creativity and contributions of American women composers. Featuring works for flute in a variety of chamber settings, the program highlights the breadth and diversity of American chamber music across generations. Program Jennifer Higdon Song (1995) for solo flute Amy Beach Three Compositions, Op. 40 (1898) for flute and piano Valerie Coleman Rubispheres (2012) for flute, clarinet, and bassoon Intermission Katherine Hoover Seven Haiku (1973) for flute and voice Catherine Rollin Suite Detroit (2018) for flute, saxophone, and piano Amanda Harberg Crossroads (2022) for flute, English horn, and piano PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus.

FEATURING Diya Kayaleh, soprano Beth Allen-Gardner, mezzo-soprano Henry Reacher, tenor Liam O’Laughlin, baritone C. Leonard Raybon, baritone Danny Spiegel, piano PROGRAM Sacred Nine Project: Mending Sampler Sacred Nine Project is excited to celebrate John Wood Sweet’s, The Sewing Girl’s Tale, with a curated vocal concert at The University of North Carolina, Chapel Hill, where he is Professor of History. Content warning: descriptions of rape and suicide “Cost of courage,” is Sweet’s turn of phrase. He writes: As a young woman, Lanah Sawyer had a rare kind of courage. Only seventeen, a stepchild in a working family, she was easy to dismiss as a mere “sewing girl.” Yet, when an affluent gentleman showed an interest in her, she dared to image that he might really be interested in her. Violently, he dashed that dream—leaving her disoriented, distressed, and unmoored. Then, she gathered her courage and did what no one else in the nation’s biggest city had done in half a century: she charged a gentleman with rape. Then, as now, most survivors of sexual assaults by acquaintances don’t make any official complaint—and for good reason. But Lanah Sawyer refused to be shamed. She refused to be silenced. What followed was a harrowing ordeal—and a remarkable vindication. THE SEWING GIRL’S TALE is the story of this remarkable young woman’s search for justice, her determination to move beyond what had been done to her, to rebuild her life—to live with the courage of her conviction that she, too, was someone who mattered. Raybon is drawing on historical sources, early American music, and newly written poetry for the presentation. One historical source is Report of the Trial of Henry Bedlow for Committing a Rape on Lanah Sawyer, New York, 1793, by William Wyche; this is a first-hand account of the trial. Charlotte Temple: A Tale of Truth (1791) by Susanna Rowson, containing a narrative not unlike the present account, is a further historical writing. Still another early text, The American Spelling Book (originally published in 1783) by Noah Webster, offers poetry and prose that might shed light on the kind of shame-and-gender-based education that a girl like Lanah would have received. A 1794 tune book, The Harmony of Maine (1794), compiled by Supply Belcher, offers inspiration from the Song of Songs, in which “the voice of my beloved” is seductive, and in our case, dangerous. Finally, Lanah’s story will incite brand new verse to honor her and her legacy. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. This event is co-sponsored by the Department of Music and the Department of History.

FEATURING Diya Kayaleh, soprano Beth Allen-Gardner, mezzo-soprano Henry Reacher, tenor Liam O’Laughlin, baritone C. Leonard Raybon, baritone Danny Spiegel, piano PROGRAM Sacred Nine Project: Mending Sampler Sacred Nine Project is excited to celebrate John Wood Sweet’s, The Sewing Girl’s Tale, with a curated vocal concert at The University of North Carolina, Chapel Hill, where he is Professor of History. Content warning: descriptions of rape and suicide “Cost of courage,” is Sweet’s turn of phrase. He writes: As a young woman, Lanah Sawyer had a rare kind of courage. Only seventeen, a stepchild in a working family, she was easy to dismiss as a mere “sewing girl.” Yet, when an affluent gentleman showed an interest in her, she dared to image that he might really be interested in her. Violently, he dashed that dream—leaving her disoriented, distressed, and unmoored. Then, she gathered her courage and did what no one else in the nation’s biggest city had done in half a century: she charged a gentleman with rape. Then, as now, most survivors of sexual assaults by acquaintances don’t make any official complaint—and for good reason. But Lanah Sawyer refused to be shamed. She refused to be silenced. What followed was a harrowing ordeal—and a remarkable vindication. THE SEWING GIRL’S TALE is the story of this remarkable young woman’s search for justice, her determination to move beyond what had been done to her, to rebuild her life—to live with the courage of her conviction that she, too, was someone who mattered. Raybon is drawing on historical sources, early American music, and newly written poetry for the presentation. One historical source is Report of the Trial of Henry Bedlow for Committing a Rape on Lanah Sawyer, New York, 1793, by William Wyche; this is a first-hand account of the trial. Charlotte Temple: A Tale of Truth (1791) by Susanna Rowson, containing a narrative not unlike the present account, is a further historical writing. Still another early text, The American Spelling Book (originally published in 1783) by Noah Webster, offers poetry and prose that might shed light on the kind of shame-and-gender-based education that a girl like Lanah would have received. A 1794 tune book, The Harmony of Maine (1794), compiled by Supply Belcher, offers inspiration from the Song of Songs, in which “the voice of my beloved” is seductive, and in our case, dangerous. Finally, Lanah’s story will incite brand new verse to honor her and her legacy. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus.

Violinist Alexi Kenney and pianist Janice Carissa invite audiences to hear familiar works with fresh ears. At the center of the program is The Wild Yes by composer and violinist Michi Wiancko, surrounded by music that spans geography, time, and tradition. The musical voices of composers Sibelius, Piazzolla, and inti figgis-vizueta enter the conversation, creating surprising relationships between sounds that might otherwise seem worlds apart. Kenney and Carissa guide audiences through this remarkable musical landscape and remind us that great music is never fixed in time. Rather, it is continually revitalized by new listeners and fresh perspectives. Student tickets always $11. Eligible for CLE. Find out more and buy tickets at:

FEATURING Nicholas DiEguenio, violin Mimi Solomon, piano PROGRAM Featuring Allen Anderson’s “Linen,” plus Beethoven Violin Sonatas Nos. 6 and 7 This season, Gut Instinct takes on the large-scale project “To Beethoven Rather Than To Seem,” marking 200 years since Beethoven’s death and 250 since the U.S. Declaration of Independence. Over the course of five concerts, Nicholas DiEugenio and pianist Mimi Solomon will present all ten Beethoven Sonatas on period instruments along with five commissioned works written expressly for them. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. The Gut Instinct Chamber Music Project, now in its third season, is a concert series in the Triangle area which brings UNC-Chapel Hill and Duke University’s historical instrument collections together with artists committed to presenting inspired, visceral, historically informed performances of the 19th-century chamber music repertoire. The series features music of female composers and their artistic circles. The name “Gut Instinct” is a play on words. In 19th-century Europe, the violin, viola, and cello were strung with (sheep) gut. All of the artists collaborating with the Pleyel and Graf pianos at UNC-Chapel Hill (built in 19th-century Paris and Vienna, respectively), as well as the Clementi piano at Duke (early 19th-century England) use these gut string materials. The turn of phrase “gut instinct” also refers to the visceral, accessible nature of the musical performances that this series presents. Our mission is to make “Historically Informed Performance” accessible, relatable, and culturally relevant! We also want to feature these special pianos that are rarely heard by the public, along with great music by female composers which has remained lesser known to the greater public for far too long, and living composers who are keeping our art form alive!

FEATURING Paul Sánchez, piano UNC Piano students PROGRAM TBA PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus.

FEATURING Paul Sánchez, piano PROGRAM TBA PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus.

FEATURING Nicholas DiEugenio, violin Mimi Solomon, piano ADMISSION Free, no reservation required. PROGRAM An evening of violin and piano works by DK Garner, Brahms, and Szymanowski PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus.

FEATURING UNC Piano Ensemble, directed by Clara Yang ADMISSION Free, no reservation required. PROGRAM TBA PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus.

FEATURING Nicholas DiEguenio, violin Mimi Solomon, piano PROGRAM Featuring Beethoven’s heroic and youthful Violin Sonata No. 3 and the Jesse Jones Scherzo it inspired This season, Gut Instinct takes on the large-scale project “To Beethoven Rather Than To Seem,” marking 200 years since Beethoven’s death and 250 since the U.S. Declaration of Independence. Over the course of five concerts, Nicholas DiEugenio and pianist Mimi Solomon will present all ten Beethoven Sonatas on period instruments along with five commissioned works written expressly for them. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. The Gut Instinct Chamber Music Project, now in its third season, is a concert series in the Triangle area which brings UNC-Chapel Hill and Duke University’s historical instrument collections together with artists committed to presenting inspired, visceral, historically informed performances of the 19th-century chamber music repertoire. The series features music of female composers and their artistic circles. The name “Gut Instinct” is a play on words. In 19th-century Europe, the violin, viola, and cello were strung with (sheep) gut. All of the artists collaborating with the Pleyel and Graf pianos at UNC-Chapel Hill (built in 19th-century Paris and Vienna, respectively), as well as the Clementi piano at Duke (early 19th-century England) use these gut string materials. The turn of phrase “gut instinct” also refers to the visceral, accessible nature of the musical performances that this series presents. Our mission is to make “Historically Informed Performance” accessible, relatable, and culturally relevant! We also want to feature these special pianos that are rarely heard by the public, along with great music by female composers which has remained lesser known to the greater public for far too long, and living composers who are keeping our art form alive!

FEATURING earspace earspace is an ensemble consisting of violin, viola, cello, flute, oboe, clarinet, piano, and percussion that performs a combination of conducted and unconducted chamber music of a wide variety of scopes. Passionate producers, the ensemble is dedicated to both commissioning new, immersive works and amplifying rarely-performed gems of the repertoire. Founded in North Carolina, the group is now based across the US and performs regularly around the east coast, collaborating with organizations including the Southern Exposure New Music Series, Towson University, Duke University, UNC Chapel Hill, the Peabody Institute, Asheville Ballet, Carolina Performing Arts, and others. The ensemble seeks to expose the inherent potentials within every moment and space, cultivating visceral reactions unique to every manifestation. Through their projects, they explore the extremities of contemporary performance and work to bring audiences closer to the music they experience. PROGRAM TBA PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. This performance is part of the 2026-2027 Conversations in Modern Music series and is funded by the Jaroslav F. and Barbara S. Hulka Fund for Music in the Chapel Hill community.

FEATURING Victor Rosenbaum, piano PROGRAM “LAST WORDS, LAST WORKS: The Final Solo Piano Pieces of Beethoven, Brahms, and Schubert” Ludwig van Beethoven Six Bagatelles, Opus 126 Johannes Brahms Four Piano Pieces, Opus 119 Franz Schubert Sonata in B-flat Major, D. 960 TICKETS $15 general admission $10 students, faculty, and staff Free UNC Music students, faculty, and staff Purchase tickets online. Tickets are also available at the door, 30 minutes prior to the concert start time. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. This event is part of the 2026-2027 William S. Newman Artists Series, a series of select concerts celebrating the alliance of scholarship and performance that animates the lives of music faculty and students at Carolina.

FEATURING Nicholas DiEguenio, violin Mimi Solomon, piano PROGRAM Featuring Beethoven’s final Violin Sonata, the elegiac and enigmatic op. 96, along with Tonia Ko’s Tribute: Axis II This season, Gut Instinct takes on the large-scale project “To Beethoven Rather Than To Seem,” marking 200 years since Beethoven’s death and 250 since the U.S. Declaration of Independence. Over the course of five concerts, Nicholas DiEugenio and pianist Mimi Solomon will present all ten Beethoven Sonatas on period instruments along with five commissioned works written expressly for them. This concert is presented as part of the NCHIP Festival. ADMISSION Free, no reservation required. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. The Gut Instinct Chamber Music Project, now in its third season, is a concert series in the Triangle area which brings UNC-Chapel Hill and Duke University’s historical instrument collections together with artists committed to presenting inspired, visceral, historically informed performances of the 19th-century chamber music repertoire. The series features music of female composers and their artistic circles. The name “Gut Instinct” is a play on words. In 19th-century Europe, the violin, viola, and cello were strung with (sheep) gut. All of the artists collaborating with the Pleyel and Graf pianos at UNC-Chapel Hill (built in 19th-century Paris and Vienna, respectively), as well as the Clementi piano at Duke (early 19th-century England) use these gut string materials. The turn of phrase “gut instinct” also refers to the visceral, accessible nature of the musical performances that this series presents. Our mission is to make “Historically Informed Performance” accessible, relatable, and culturally relevant! We also want to feature these special pianos that are rarely heard by the public, along with great music by female composers which has remained lesser known to the greater public for far too long, and living composers who are keeping our art form alive!

FEATURING Axel Gremmelspacher, piano PROGRAM TBA ADMISSION FREE, No reservation required PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus.

To be in the room when Yo-Yo Ma and Emanuel Ax perform together is to witness a musical relationship shaped by more than four decades of friendship, trust, and curiosity. Ax has described their collaboration as one in which the music leads and the musicians follow. Their performances carry an ease and intimacy that only comes from years of listening closely to one another, responding in the moment, and returning again and again to the joy of making music together. What makes this collaboration remarkable is not simply technical mastery. It is the sense of connection that runs through every note. Audiences can hear it in the way one musician follows the other’s lead, anticipates a phrase, or finds space for an unexpected idea to emerge. Both artists are familiar faces at Carolina Performing Arts; Ma through multiple appearances with the Silkroad Ensemble and Ax through recitals and orchestral performances. Experiencing them together offers a rare opportunity to witness two lifelong friends in conversation through music. Student tickets always $11. Eligible for CLE. Find out more and buy tickets at:

FEATURING Nicholas DiEguenio, violin Mimi Solomon, piano PROGRAM Featuring Beethoven’s “Spring” Sonata and Robert Honstein’s Olmsted This season, Gut Instinct takes on the large-scale project “To Beethoven Rather Than To Seem,” marking 200 years since Beethoven’s death and 250 since the U.S. Declaration of Independence. Over the course of five concerts, Nicholas DiEugenio and pianist Mimi Solomon will present all ten Beethoven Sonatas on period instruments along with five commissioned works written expressly for them. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. The Gut Instinct Chamber Music Project, now in its third season, is a concert series in the Triangle area which brings UNC-Chapel Hill and Duke University’s historical instrument collections together with artists committed to presenting inspired, visceral, historically informed performances of the 19th-century chamber music repertoire. The series features music of female composers and their artistic circles. The name “Gut Instinct” is a play on words. In 19th-century Europe, the violin, viola, and cello were strung with (sheep) gut. All of the artists collaborating with the Pleyel and Graf pianos at UNC-Chapel Hill (built in 19th-century Paris and Vienna, respectively), as well as the Clementi piano at Duke (early 19th-century England) use these gut string materials. The turn of phrase “gut instinct” also refers to the visceral, accessible nature of the musical performances that this series presents. Our mission is to make “Historically Informed Performance” accessible, relatable, and culturally relevant! We also want to feature these special pianos that are rarely heard by the public, along with great music by female composers which has remained lesser known to the greater public for far too long, and living composers who are keeping our art form alive!