How can the way we listen change when music is presented as part of a continuing story, rather than one moment in time? Does it make us feel more open, flexible, or curious? Being in the audience for Shifting Ground might feel a bit like standing on the bank of a flowing river: being able to look toward what is coming or to turn and see what has passed, all from one vantage point. Violinist Alexi Kenney invites audiences into this time-traveling musical journey which includes works by J.S. Bach interwoven with those of contemporary creators, including Rafiq Bhatia, Kaija Saariaho, Paul Wiancko, Salina Fisher and Angélica Negrón—all accompanied by projection art by Xuan. Along the way, audiences encounter deeply affecting moments including a work that pairs solo violin with the recorded sounds of a melting glacier. As music and imagery unfold together, familiar sounds take on new meaning and unexpected connections emerge. The result is an experience of music as a living conversation across generations that rewards deep listening. Student tickets always $11. Eligible for CLE. Find out more and buy tickets at:

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 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 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 Grace Anderson, cello Nicholas DiEugenio, violin Simon Ertz, viola Leonid Finkelshteyn, bass Eunho Kim, violin Jessica Kunttu, bassoon Anna Lampidis, oboe Rachel Niketopoulos, horn Donald Oehler, clarinet PROGRAM Franz Schubert Octet in F major, D. 803 W.A. Mozart Oboe Quartet in F major, K. 370/368b 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 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!