Inventory of the Dept. of Music of the University of North Carolina at Chapel Hill Records, 1950-1983

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Historical Note

The University of North Carolina at Chapel Hill Department of Music was established in 1919 with the appointment of Paul John Weaver as Professor of Music. Prior to that time the study and performance of music in the University had been sporadic. Before 1900, according to L. R. Wilson, "there had been an occasional glee club, a University quartet, and late in the 1890s a choral group directed by Dr. Karl P. Harrington, Professor of Latin." For music at events such as commencements, the University had to rely on guest bands. Dissatisfied with this state of affairs, President Venable asked his secretary, Charles T. Woollen, who had come to the campus in 1901, to promote musical activities. By 1903 Woollen was directing the first University Band. He also was instrumental in the formation of the Guitar and Mandolin Club, the Glee Club, the Orchestra, and the University Musical Association. Plans for the formal establishment of a music department were being developed when the advent of World War I forced the University to put them on hold. The war also caused the temporary disbanding of the musical organizations that Woollen had fostered.

When President Chase took office in 1919, he made the establishment of a music department a priority and promptly hired Paul John Weaver. The department's initial course offerings included Appreciation of Music, History of Music, Sight Singing and Ear Training, and Harmony, all taught by Professor Weaver. Weaver reorganized the Band, the Orchestra, and the Glee Club and inaugurated a series of concerts by noted guest artists. Under his direction the Glee Club became quite accomplished and toured extensively in 1925, 1926, and 1927; the 1927 tour included concerts in London and Paris. In addition to his other duties, Weaver also was in charge of the Bureau of Community Music in the Extension Division. The Bureau, in cooperation with the Department of Music, sought to stimulate the formation of local choruses and instrumental ensembles and to foster the public appreciation of music. Later it provided administrative assistance to the Institute of Folk Music (est. 1931), the North Carolina Symphony Society (1932), and the Carolina Opera School (1951).

Professor Weaver left the University in 1929 to become head of the School of Music at Cornell University. He was succeeded by Harold S. Dyer of Kansas. Between 1919 and 1929 the department's faculty had increased to four, and its course offerings had more than doubled. In 1929, just prior to Professor Weaver's departure, two milestones were reached: the department began offering the A.B. degree in music; and the University made the decision to convert the Carnegie Library, which was vacated when library staff and collections moved to the newly completed Wilson Library, to space for the Department of Music. John Sprunt Hill, University trustee and benefactor, facilitated the conversion of the Carnegie Library by offering to add $40,000 to the $30,000 he had pledged earlier for the purchase of a pipe organ for the University if the Board of Trustees would allow him to add an auditorium to the building. The Trustees enthusiastically agreed and voted to allocate $44,000 for the renovation of the main portion of the building. Other conditions of Hill's gift were, in L. R. Wilson's words, "that the building should be used almost exclusively for musical purposes and that concerts and recitals would be given frequently for the benefit of all the students." The new auditorium with its Reuter organ was dedicated on November 14, 1930. The enlarged and refurbished building was later named Hill Music Hall.

Though the department now had adequate space, Professor Dyer complained of a lack of equipment. Writing to President Graham in 1931, he said that the department had lost registrations due to inadequate piano practice equipment. However, the University soon began to lose faith in Dyer's leadership. In the spring of 1933, on behalf of the College Music Study of the Association of American Colleges, Randall Thompson visited the University. President Graham subsequently wrote to him asking for his assessment of the Department of Music. Thompson replied candidly, telling Graham that the department's students were exceptionally intelligent and eager to learn but that the quality of the instruction did not match the caliber of the students; he found Dyer poorly equipped for his job. Thompson added that he did not intend anything he had written as a criticism of the University of North Carolina. Rather "it is a criticism of the state of musical education in this country and of those of its purveyors who, through a lack of knowledge or interest or integrity or a combination of these qualities, fail to produce the goods." Dyer resigned later that summer, and University administrators began a search for someone who could take the Department of Music to a higher level. After nearly a year, they hired Glen Haydon, who assumed the duties of Director of Music in September 1934.

Haydon was a musicologist and clarinetist. He had studied at the University of California and had received his Ph.D. from the University of Vienna. From 1920 to 1934 he had been on the faculty of the University of California. He remained head of the Department of Music at UNC for nearly 32 years, overseeing steady growth in the department's enrollment, curriculum, and faculty and building its reputation for strength in musicology.

During Haydon's first year, the department undertook a revision of its A.B. curriculum, aiming to combine the study of music with a good liberal arts education. Henceforth students majoring in music would complete the same general requirements as all other students in the College of Liberal Arts. In the fall of 1935 the department began offering the M.A. degree in music with a major in musicology. The department awarded its first Ph.D. in musicology in 1939. In 1946 the B.M. was instituted and, in 1949, the M.M. with a major in composition. To receive the B.M. degree, students completed the requirements for the A.B. and then spent a fifth year in the further study of applied music. During the 1951-1952 academic year the department introduced a basic course for students planning to teach elementary school music; these students chose to pursue either the A.B. in music or the A.B. in education, the latter requiring fewer music courses. Throughout the 1950s the department worked with the School of Education to develop a more rigorous program in music education, and in 1964 the B.M.Ed. degree was approved.

Haydon's first annual report noted that the faculty had been strengthened by the addition of Benjamin F. Swalin and Jan Philip Schinhan. Like Haydon, both Schinhan and Swalin had earned the Ph.D. degree at the University of Vienna. Swalin would go on to found and direct the North Carolina Symphony. In 1946, while Swalin was on indefinite leave with the Symphony, the department hired William S. Newman, a prolific scholar known later for his work on the history of the sonata. As the department produced graduates in musicology, it also began to hire them for faculty positions. Two such graduates were Wilton Mason and Edgar Alden, both of whom joined the faculty in 1949 and later chaired the department.

In support of the department's curriculum, Haydon also promoted the development of the Music Library. One of his first actions as chair was to convince the Carnegie Corporation that the UNC Music Library should be one of the recipients of its College Music Set, which included "some 128 books, 850 records, and 250 scores, together with the Capehart phonograph." Further careful collecting resulted in a library that has come to be widely considered the best music library in the Southeast. But, as the collection grew, the facilities in Hill Hall became increasingly inadequate. During the 1954-1955 year, a large part of the basement was excavated for additional library stacks. But stack areas in the basement had hardly any headroom and were prone to flooding during heavy rains. Overhead steam pipes posed an additional threat to the collections.

Beginning in the mid-1940s, Haydon reiterated yearly in his annual report the need for an addition to the building. In the forties and fifties surplus Army barracks were used to provide additional space, but it was not until 1963 that an addition to Hill Hall was completed and occupied. The addition, which included faculty offices, practice rooms, additional library space, and a large rehearsal hall, temporarily solved the department's space problem. However, it was poorly designed in several respects. Practice rooms were clustered in the basement, where ventilation was poor and where security became a concern. The acoustics of the recital hall were poor (as were those of the auditorium). The additional library space was quite small and did nothing to correct conditions in the stacks.

Between the early 1950s and mid-1960s the department expanded its performance programming and extension activities significantly. Wilton Mason became active in the production and direction of opera on campus and in 1955 directed a full-length production of The Marriage of Figaro that included faculty and student soloists. In 1961 he designed, produced, and directed a performance of La Traviata that starred Phyllis Curtin of the New York City Center Opera and the Vienna Opera. In the fall of 1963 he organized the Opera Workshop, an opera company that drew on regional talent as well as students. The course catalog listed it among the ensemble groups of the Department of Music, and students who participated in it received one hour of credit per semester. The Opera Workshop, later known as the Opera Theater, presented numerous fully-staged works including two sell-out performances of La Bohème during the 1965-1966 year. Other notable developments in the 1950s and 1960s included the department's hosting of the All-State High School Band Clinic and piano clinics for teachers; presentation by departmental faculty and students of a music appreciation course on WUNC-TV; and broadcast by WUNC-TV of the department's Tuesday Evening Concert Series.

Glen Haydon died on May 8, 1966, and Wilton Mason was named acting chair and later chair of the department. In his annual report for the year 1966-1967, Mason made this statement: "Historically, the Department has been oriented toward the achievement of national eminence in the field of musicology, a goal which was fully realized under the long and wise guidance of the former chairman ... Its present goal may be defined as the achievement of equal excellence in the performing arts and in composition without in any way diminishing the extent or depth of its scholarly work. Indeed, it is hoped that the latter will enter a new period of expansion and achievement under the stimulus of an aggressive program of professional performance standards."

Mason's vision for the department was largely realized. Tracks in performance and choral arts were established in the M.M. program as was a track in composition in the B.M. The Opera Theater continued to flourish. The Jazz Lab Band was organized during the 1969-1970 year. The Carolina Choir, under the direction of Lara Hoggard, achieved greater excellence and was named the resident choir for the 1972 International Youth Music Festival in Graz, Austria. Departmental performances and other educational programs continued to be broadcast on WUNC-TV. In 1977-1978 the department sponsored an Electronic Music Plus Festival.

Enrollment in music increased dramatically. In 1963 there were 25 undergraduate music majors and 30 graduate students. By 1972 those numbers had risen to 104 and 68 respectively. During the same period registrations of non-music majors in music courses rose from 454 to 4450. In his 1972-1973 annual report Chair Edgar Alden wrote that the saturation point had been reached in terms of undergraduate majors and graduate performance majors; given its space and resources, the department simply could not accept more students. Yet enrollment continued to increase, reaching 145 undergraduate majors and 89 graduate students in 1978-1979. In 1977 the newly renovated Person Hall and the former Orange County Health Department building (the old DKE fraternity house) were assigned to the Department of Music, alleviating somewhat the overcrowding in Hill Hall. The former Health Department building was completely unsuitable for musical activities; officially it became known as Hill Hall Annex, but students and faculty referred to it as Splinter Hall. Nevertheless, Chair James Pruett ended the 1977-1978 annual report on a positive note, stating that the year had been very successful and the "department's mission of combining performance and scholarship with service is being carried out to the benefit of the University community, the state, region, and beyond."

Not long after Pruett wrote these words, enrollment in the department began to decline. Undergraduate enrollment decreased gradually through the 1980s; but graduate enrollment, particularly in the M.M. program, dropped off precipitously. There were several reasons for this. Increasingly performance students were attending schools that specialized in performance. Within North Carolina, Appalachian State University, East Carolina University, the School of the Arts, and UNC-Greensboro all had music programs that emphasized performance. Moreover, the M.M. was no longer the terminal degree in music performance. The School of Music at UNC-Greensboro would begin offering the Doctor of Musical Arts (D.M.A.) degree in the early 1990s.

When Pruett's tenure as chair ended in 1986, the Dean of the College of Arts and Sciences, Gillian Cell, appointed a committee to search for a new leader for the department. Two external candidates were offered the position, and both declined it. The search process took two years, during which Tom Warburton served as acting chair. In September 1988 Ann Woodward, a member of the performance faculty, agreed to serve as chair. In her 1989-1990 annual report she noted that few, if any, schools besides UNC attempted to maintain equal strength in all areas of music. She also stressed that the M.M. program could become competitive only if it could provide its students with adequate financial assistance. But the 1990s began with a crisis in the state budget and a series of budget cuts that affected the availability of financial assistance for graduate students. Woodward's tenure was marked by difficult discussions on whether to maintain the M.M. program.

Meanwhile the Music Library was increasingly described as a disaster waiting to happen. Two incidents illustrate why. On July 16, 1989, the basement of Hill Hall flooded after a heavy rain. A few days later several sections of shelves holding records collapsed. In 1987 the University had submitted a capital improvement project request for a library addition to Hill Hall, but it was not until 1994 that the General Assembly appropriated funds to plan such a project. On the brighter side, the Arts and Sciences Foundation made the Music Library a priority in its Bicentennial fundraising, and a considerable sum was pledged for the construction of a new library. The Foundation also came to the library's aid when its book budget was cut in half because of the budget crisis. In January 1995 an inspector from the State Department of Insurance ordered the Music Library to submit a date by which it would vacate the basement. The Wilson Libray Space Planning Task Force had expressed willingness to have the Music Library relocate temporarily to Wilson, but the move would have to wait until the appropriate areas in Wilson were vacated by the department then occupying them. Planning for an addition to Hill Hall continued, but the project plan submitted to the General Assembly in the summer of 1997 was not funded.

The M.M. program was dealt a severe blow in February 1993 following the graduate program review of the Department of Music conducted by the Graduate School. The external review committee recommended the elimination of the M.M. program because of its small size, its duplication of other programs in the UNC system, and its non-competitiveness with D.M.A. programs. A study of low productivity degree programs conducted by the Board of Governors of the UNC system reached the same conclusion. It identified both the B.M. and M.M. programs at Chapel Hill for possible elimination. Ultimately the B.M. program, with tracks in performance, composition, and music education, was saved and strengthened, but the M.M. was eliminated in 1996. (The B.M.Ed. program had been discontinued in November 1994 and replaced by the five-year M.A.T. program.)

Following these difficult events, the department entered a new period of growth. Still renowned for its musicology curriculum and library collections, it expanded its offerings in jazz studies, popular music, rock music, and ethnomusicology while it continued to support a wide variety of performance activities, such as the annual Jazz Festival and the Opera Workshop. Its facilities needs are being addressed by the University's 2001 master plan, which calls for the creation of an Arts Common on the northwest corner of the campus. The Arts Common is planned to include a new building for the Department of Music, and Hill Hall is to be renovated for the Music Library.

Individuals who have chaired the Department of Music and their tenures are listed below.

Sources used in compiling this historical note include The University of North Carolina, 1900-1930: The Making of a Modern University by Louis R. Wilson (Chapel Hill: University of North Carolina Press, 1957); The University of North Carolina at Chapel Hill Undergraduate Bulletin; North Carolina Collection Clipping File; "Culture Block" by David E. Brown (Carolina Alumni Review, November/December 2004, pp. 36-44); Records of the Office of the President: Frank Porter Graham Files, 1930-1932; Records of the Office of the President (UNC System): Frank Porter Graham Files, 1932-1949; Records of the Office of Chancellor: Robert Burton House Series, 1919-1957; Records of the Office of Chancellor: Michael Hooker Series, 1995-1999; and Records of the Office of the Dean of the College of Arts and Sciences, 1917-1996.

Collection Overview

This collection consists of sound recordings and documentation of select University of North Carolina at Chapel Hill Department of Music concerts and recitals, 1954-1983, as well as administrative records of the department, 1950-1977. The sound recordings feature not only departmental faculty and students but also guest artists. Numerous ensembles are represented, including the Carolina Choir, Early Music Ensemble, Friends of Chamber Music, North Carolina String Quartet, UNC Jazz Lab Band, UNC Opera Theater, UNC Wind Ensemble, University Chorus, University Chamber Singers, University Men's Glee Club, University Women's Glee Club, and University Symphony Orchestra. There is also a number of recordings of composer Roger Hannay conducting the New Music Ensemble.

The sound recordings consist of open reel tapes. The documentation is made up of the concert programs for the seasons 1953-1954 to 1982-1983 (missing all but one program for the 1979-1980 season).

The administrative records consist mainly of faculty meeting minutes, files related to curriculum planning, and files related to departmental concerts and recitals.

Arrangement of Collection

Detailed Description of the Collection

University Chorus, Part I. Wilton Mason, director; Robert Steelman, accompanist. Claudio Monteverdi: Lamento D'Arianna; Ralph Vaughan Williams: Five Mystical Songs; Edwin J. Stringham: Ave Maria; Edward Boatner (arranger): Oh, What a Beautiful City!; Undine S. Moore (arranger): I Just Come From the Fountain; George W. Kemmer (arranger): There is a Balm in Gliead, Quillian White, soprano soloist; Lyn Murray (arranger): Little Black Train; Raymond Rhea (arranger): My Soul Is a Witness for My Lord; Jacques Offenbach: Tales of Hoffman, Act I. 14 May 1957.

University Chorus. Wilton Mason, director. Josquin des Prés: Tu pauperum refugium; Antonio Lotti: Surely He Hath Borne Our Griefs; Thomas Tallis: Hear the Voice and Prayer; Tomás Victoria: Jesu dulcis memoria; William Byrd: Ave verum Corpus; Anton Bruckner: Two Motets for Mixed Voices and Three Trombones, Edward Kottick, John Sharp, and Jay Lambeth, trombones, James Holmes, organ; Charles Gounod: Final trio from Faust, Anges purs, anges radieux; George Frederick McKay: Lincoln Lyrics. 25 April 1961.

Summer Session Chorus. Edward L. Kottick, director; William Bennett, assistant director; Isabel Fourqurean, accompanist. Ralph Vaughan Williams (arranger): Just As the Tide was Flowing, Joy Brown, soprano; Ralph Vaughan Williams (arranger): Brushes and Briars, Joy Brown, soprano; Ralph Vaughan Williams (arranger): The Turtle Dove, Joy Brown, soprano; Constanzo Porta: Haec dies exultemus; Constanzo Porta: Audi filia et vide; Henry Purcell: Dido and Aeneas, Rebecca Carnes, soprano; Quillian White, soprano; Helena Brigman, soprano; Joy Brown, soprano; S. Philip Kniseley, tenor. 11 July 1961.

The North Carolina String Quartet. Edgar Alden, violin; Dorothy Alden, violin; Ann Woodward, viola; Charles Griffith, violoncello. Haydn: Quartet in F Major, Op. 77, No. 2; Beethoven: Quartet in F minor, Op. 95; Debussy: Quartet in G minor, Op. 10. 25 March 1964.

North Carolina String Quartet. Edgar Alden, violin; Earl Wolslagel, violin; Dorothy Alden, viola; Charles Griffith, cello. Haydn: Quartet in D Major, Op. 20, No. 4; Sibelius: Quartet in D minor, Op. 56; Mendelssohn: Quartet in E minor, Op. 44, No. 2. 9 November 1965.

Contemporary Music Festival, 1966. Smith-Wesleyan Choir, directed by Iva Dee Hiatt and Richard K. Winslow. Presented by Alpha Rho of Phi Mu Alpha Sinfonia in cooperation with the UNC Music Department. 24 March 1966.

University Symphony Orchestra. Earl Slocum, conductor; Edgar Alden, associate conductor. Mozart: Adagio and Fugue in C minor for String Orchestra, K. 546; Mozart: Symphony No. 38, K. 504; Sibelius: Finlandia, Op. 62, No. 7; Debussy: Nocturnes; Johann Strauss: An der schönen blauen Donau, Op. 314. Possibly a Glen Haydon Memorial Orchestra Concert. 10 May 1966.

The North Carolina String Quartet. Edgar Alden, violin; Earl Wolslagel, violin; Dorothy Alden, viola; and Charles Griffith, cello. Mozart: Quartet in D minor, K. 421; Roger Hannay: String Quartet No. 2; Beethoven: Quartet in B-flat Major, Op. 130. 1 November 1966.

Concert of new works by Roger Hannay. Chamber ensemble conducted by Roger Hannay. Hannay: Sonata for piano; Hannay: The Fruit of Love (a cycle of six songs, texts by Edna St. Vincent Millay), Gretchen d'Armand, soprano, Roger Hannay, piano; Hannay: America Sing!!; Hannay: Segmential Autonomous Durational Vibratoric Non-Perametered Contextual Combinatorial Aleatoric Indeterminacies and/or Permutational Simultaneities? - The perspective from here; Hannay: Marshall's Medium Message. 11 April 1967.

University Symphony Orchestra. Earl Slocum, conductor; Edgar Alden, associate conductor. Goldmark: Sakuntala Overture, Op. 13; Debussy, Büsser (orchestrater): Petite Suite; Wagner: Siegfried's Rhine Journey, from Die Götterdämmerung; Saint-Saëns: Symphony No. 3 in C minor, Op. 78 (Organ Symphony). 9 May 1967.

Commencement Concert, The Chapel Hill Choral Club. The University Symphony Orchestra. Wayne Zarr, director; Bethany Beardslee, guest soprano soloist; Roger Hannay, guest conductor. Schubert: Miriam's Song of Triumph; Roger Hannay: Requiem. 4 June 1967.

Sidney Foster, piano. William S. Newman, conductor. Mozart: Sonata in G Major, K. 283; Brahms: Sonata in F minor, Op. 5; Rachmaninoff: Sonata No. 2, in B-flat minor, Op. 36; Chopin: Prelude, Op. 45; Prokofiev: Sonata No. 3 in A minor (Allegro tempesto). 27 June 1967.

North Carolina String Quartet. Edgar Alden, violin; Earl Wolslagel, violin; Dorothy Alden, viola; Charles Griffith, violoncello. Mozart: Quartet in A Major, K. 464; Lamar Stringfield: Quartet, Moods of a Moonshiner; Mendelssohn: Quartet in D Major, Op. 44, No. 1. 25 July 1967.

Wilton Mason, piano. Beethoven: Sonata in F Major, Op. 10, No. 2; Beethoven: Sonata in A-flat Major, Op. 110; Sonata in A Major, Op. 2, No. 2; Sonata in F minor, Op. 57. 8 October 1967.

Roman Totenberg, violin; Clifton Matthews, piano. Beethoven: Sonata in G Major, Op. 96; Couperin: Concert Royal No. 4; Prokofiev: Sonata in D Major, Op. 94; Paganini: Caprice No. 24 for violin alone; Webern: Four Pieces, Op. 7; de Falla-Kochanski: Suite populaire espagnole; Wieniawski: Polonaise in D Major. 25 October 1967.

Clifton Matthews, piano. Beethoven: Sonata in G Major, Op. 14, No. 2; Beethoven: Sonata in D minor, Op 31, No. 2; Beethoven: Sonata in F minor, Op. 2, No. 1; Beethoven: Sonata in A Major, Op. 101. 5 November 1967.

Roger Hannay, composer. Sonorities; Rhapsody for Flute and Piano; Designs (String Quartet No. 3); Divertimento for Woodwind Quintet; To His Coy Mistress; Fantôme; Live And In Color!! 14 November 1967.

Barbara Rowan, piano. Beethoven: Sonata in C Major, Op. 2, No. 3; Beethoven: Sonata quasi una fantasia, in C-sharp minor, Op. 27, No. 2, Moonlight; Beethoven: Sonate facile, in G minor, Op. 49, No. 1; Beethoven: Sonate facile, in G Major, Op. 49, No. 2; Beethoven: Sonata in E Major, Op. 109. December 1967.

Clifton Matthews, piano. Beethoven: Sonata in C minor, Op. 10, No. 1; Beethoven: Sonata in D Major, Op. 10, No. 3; Beethoven: Sonata in F Major, Op. 54; Beethoven: Sonata in G Major, Op. 31, No. 1. 11 February 1968.

Peter Schuetz, baritone; Michael Zenge, piano. Henri Duparc: La Vie Antérieure; Duparc: Sérénade Florentine; Duparc: Le Manoir de Rosemonde; Duparc: Extase; Duparc: L'invitation au Voyage; Vaughan Williams: Songs of Travel; Schubert: Mein; Schubert: Der Doppelgänger; Schubert: Im Frühling; Schubert: Der Musensohn; Schubert: Erlkönig; Schubert: Ständchen; Schubert: Seligkeit. 13 February 1968.

The North Carolina String Quartet. Edgar Alden, violin; Earl Wolslagel, violin; Dorothy Alden, viola; Charles Griffith, violoncello; with Ann Woodward, viola. Bartók: Quartet No. 2, Op. 17; Mozart: Quartet in F Major, K. 590; Brahms: Quintet in G Major, Op. 111. 5 March 1968.

Sharon Bennet, soprano; Michael Kelly, piano. Handel: Qual Farfaletta; Handel: Allelujah; Schubert: La Pastorella; Schubert: Die Forelle; Schubert: Frühlingsglaube; Schumann: Schneeglöckchen; Schumann: Marienwürmchen; Schumann: Aufträge; Heinrich Proch: Theme and Variations (Deh torna mio bene); Darius Milhaud: Chansons de Ronsard; Samuel Barber: Nuvoletta; Paul Hindemith: Two Songs; John Duke: A Piper. 11 June 1968.

Roman Totenberg, violin; Barbara Rowan, piano. J.S. Bach: Sonata in G minor, for unaccompanied violin; Brahms: Sonata in D minor, Op. 108; Schoenberg: Phantasy for Violin with Piano Accompaniment; Joaquin Nin: Three Spanish Songs; Ravel: Tzigane; Paganini: Hunt Caprice; Bartók: Rumanian Dances. 9 July 1968.

North Carolina String Quartet. Edgar Alden, violin; Earl Wolslagel, violin; Dorothy Alden, viola; Charles Griffith, violoncello. Haydn: Quartet in G Major, Op. 54, No. 1; Darius Milhaud: Quartet No. 12; Borodin: Quartet No. 2, in D Major. 23 July 1968.

Phyllis Bryn-Julson, soprano; Donald S. Sutherland, organ and piano. Buxtehude: Singet dem Herrn, Mary Frances Boyce, violin; J.S. Bach: Wir glauben all' an einen Gott, Vater; J.S. Bach: Prelude and Fugue in G Major, BWV 541, Donald Sutherland, organ; Flor Peeters: Speculum Vitae (Mirror of Life), Op. 36; A.E.M. Gretry: Ariette et Air from Zémire et Azor; R. Strauss: Du meines Herzens Krönelein, Op. 21, No. 2; R. Strauss: Nach, Op. 10, No. 3; R. Strauss: Schlagende Herzen, Op. 29, No. 2; R. Strauss: Zueignung, Op. 10, No. 1; Earl George: What soft cherubie Creatures; Charles Ives: Serenity; Charles Ives: Memories; John Duke: Just-Spring. 6 August 1968.

Rudolph Kremer, organ. Dedication of the Schlicker organ in Hill Hall. Girolamo Frescobaldi: Tocatta prima and Tocatta settima from Il secondo libro di toccata; Domenico Zipoli: Offertorio from Sonate d'intavolatura per organo e cimbalo; J.S. Bach: Sonata I in E-flat Major, BWV 525; J.S. Bach: O Mensch, bewein' dein' Sünde gross, BWV 622; J.S. Bach: Prelude and Fugue in E minor, BWV 548; Mendelssohn: Prelude and Fugue in C minor, Op. 37, No. 1; Rudolph Kremer: Sonata for Organ; Encore. 1 October 1968.

Michael Zenge, piano. Schubert: Sonata in E-flat Major, D. 568; J.S. Bach: Italian Concerto from Klavierübung, Part II, BWV 971; Chopin: Barcarolle, Op. 60; Kirchner: Sonata. 8 October 1968.

Concert of Chamber Music. Jane Bowers, flute; Edgar Alden, violin; Charles Griffith, violoncello; Michael Zenge, harpsichord and celesta; David Serrins, oboe; Ann Woodward, viola; Mary Burgess, mezzo-soprano; Clifton Matthews, piano; Barbara Rowan, piano. J.S. Bach: Trio Sonata from the Musical Offering; Mozart: Adagio and Rondo for glass harmonica, flute, oboe, viola, and violoncello, K. 617; Brahms: Two Songs, with viola and piano, Op.; Fauré: Quartet in C minor for piano, violin, viola, and violoncello, Op. 15. 15 October 1968.

John Harding, trumpet; Barbara Rowan, piano. Bernard Fitzgerald: Concerto in A-flat minor; Paul Hindemith: Sonata; Halsey Stevens: Sonata for Trumpet and Piano; John Harding: Study in Moods. 29 October 1968.

UNC Varsity Men's Glee Club. Robert P. Porco, director; Donald L. Mannon, accompanist. Bernard FitzgeraldFratres in unum; Giovanni Maria Nanino: Diffusa est gratia; Jacob Handl: O magnum mysterium; Victoria: Ave Maria; Byrd: I Will Not Leave You Comfortless; Francisco Guerrero: Ojos claros y serenos; Thomas Morley: My Bonny Lass; Robert Schumann: Lieder für vierstimmigen Männerchor, Op. 33; Norman Dello Joio: O Sing Unto the Lord; Leonard Kastle: Three Whale Songs from Moby Dick; Ralph Vaughan Williams (arranger): Down Among the Dead Men; Vincent Persichetti: dominic has a doll; Gail Kubik: Oliver de Lancey; John W. Work (arranger): This Ol' Hammer; William L. Dawson (arranger): Soon - Ah Will Be Done; Encore: Hark, the Sound. 26 November, 1968.

University Symphony Orchestra. David Serrins, conductor; Edgar Alden, associate conductor; Clifton Matthews, piano soloist; Roger Hannay, guest conductor. Berlioz: Roman Carnival Overture, Op. 9; Mozart: Concerto No. 9 in E-flat Major, K. 271; Roger Hannay: Sonorous Image; Prokofiev: Symphony No. 6 in E-flat minor, Op. 111. 10 December, 1968.

Sue Guerry, organ. Master of Music recital. François Couperin: Offertoire sur les grands jeux, from Messe pour les paroisses; J.S. Bach: Nun komm' der Heiden Heiland, BWV 659; J.S. Bach: Prelude and Fugue in D Major, BWV 532; Franck: Chorale in A minor; Krenek: Sonata, Op. 92; Ives: Variations on America. 16 February 1969.

Jane Bowers, flute; Susan Webb, harpsichord; Charles Griffith, cello; Clifton Matthews, piano. Handel: Sonata in G Major, Op. 1, No. 5; François Couperin: Le Rossignol-en-amour; J.S. Bach: Sonata in B minor; Messiaen: Le merle noir; Prokofiev: Sonata in D Major, Op. 94. 18 February 1969.

Robert O. Griffin, piano. Senior recital. J.S. Bach: English Suite in D minor; Beethoven: Sonata in C minor, Op. 111; Copland: Piano Variations; Ravel: Gaspard de la nuit. 7 March 1969.

Varsity Men's Glee Club. Robert P. Porco, director; Donald L. Mannon, accompanist; Donnie L. Simmons, piano. Gregorian chant: Antiphon: Regina Coeli; Jacobus Kerle: Missa Regina Coeli; Vaughan Williams: Drinking Song (adapted from Sir John in Love); Vaughan Williams (arranger): The Turtle Dove; Fenno Heath (arranger): Didn't My Lord Deliver Daniel; George Mead (arranger): Down in the Valley; Ernest Gold: Now You Are Departed; Copland: Stomp Your Foot from The Tender Land; Gershwin, R.P. Porco (arranger): Porgy and Bess Medley. 15 April 1969.

Ira Schantz, tenor; Elizabeth Tanner, soprano; Jefferson Ishee, baritone; William Stevens, tenor; Clinton Parker, tenor. The Carolina Choir; Varsity Men's Glee Club; Women's Choral Club. Lara Hoggard, conductor. Orff: Carmina Burana. 22 April 1969.

Handel: Concerto Grosso in B-flat Major, Op. 3, No.; Mozart: Allegro from the Concerto in A Major for Clarinet and Orchestra, K. 622; Haydn: Symphony No. 103 in E-flat Major. UNC Chamber Orchestra; David Serrins, conductor. 30 April 1969.

Caroline Bell, soprano; Gloria Huffman, piano; Robert Daniel, baritone; Earl Myers, piano. J.S. Bach: Aria: Jauchzet Gott in allen Landen, from Cantata No. 51; J.S. Bach: Aria: Endlich wird mein Joch, from Cantata No. 56; Schubert: Nachtviolen; Schubert: Heidenröslein; Brahms: Wie Melodien zieht es mir; Ravel: Don Quichotte à Dulcinée; Verdi: Aria: Caro nome, from Rigoletto; Rossini: Aria: Largo al factotum, from Il Barbiere di Siviglia; Rossini: Duet: Dunque io son, from Il Barbiere di Siviglia. Junior recital. 7 May 1969.

University Chamber Singers. Peter Schuetz, director. Hindemith: Six Chansons (texts by Rilke); Four Italian madrigals; Lasso: Ola! O che bon eccho; Monteverdi: Amor, lamento della nympha, from Book VIII; Giacomo Carissimi: Il mio core; Monteverdi: Si ch'io vorrei morire, from Book IV; J.S. Bach: Cantata No. 11, for Ascension Day (Lobet Gott in seinen Reichen). 7 May 1969.

Ann Marie Werz, piano. Senior recital. Brahms: Klavierstücke, Op. 118; Haydn: Sonata in D Major, H. XVI/19; Berg: Sonata, Op. 1; Debussy: Cloches à travers les feuilles, Et la lune descend sur le temple qui fut, and Poissons d'or from Images, Book 2. 9 May 1969.

Donna Laney, mezzo-soprano; Wilton Mason, piano. Master of Music recital. Handel: V'adoro pupille, from Julius Caesar; Handel: Stille amare, from Tolomeo; Handel: Furibondo spira il vento, from Partenope; Schumann: Dein Angesicht; Schumann: Widmung; Schumann: Die Kartenlegerin; Brahms: Botschaft; Michael Head: Sweet Chance That Led My Steps Abroad; Michael Head: The Ships of Arcady; Vaughan Williams: Linden Lea; Arnold Bax: Oh Dear, What Can the Matter Be?; Grieg: Haugtussa Cycle; Massenet: The Letter Scene, from Werther. 11 May 1969.

University Symphony Orchestra. David Serrins, conductor; Edgar Alden, associate conductor; Ann Woodward, viola; Donna Laney, mezzo-soprano. Mozart: Symphony in C Major, K. 551 (Jupiter); Bartók: Concerto for Viola and Orchestra, Op. Posth.; Falla: El Amor brujo, Donna Laney, mezzo-soprano. 13 May 1969.

Wednesday afternoon recital. Poulenc: Sonata (Vivace); Handel: Recitative: Thus Saith the Lord; Handel: Air: But Who May Abide the Day of His Coming; Wolf: In der Frühe; Wolf: Seufzer; Wolf: Verborgenheit; Wolf: Fussreise; Bizet: Votre toast, je peux vous le rendre from Carmen; Schubert: Sonata in A minor, D. 845; Fred McAfee: 6.61; Fred McAfee: Polarizations; Ives: Hawthorne from Second Pianoforte Sonata, Concord, Massachusetts, 1840-1860. 14 May 1969.

The North Carolina String Quartet. Edgar Alden, violin; Dorothy Alden, violin; Ann Woodward, viola; Charles Griffith, violincello. Mozart: Quartet in G Major, K. 387; Roger Hannay: String Quartet No. 2 (Lyric); Schumann: Quartet in A minor, Op. 41, No. 1. 22 July 1969.

Donna Forbes, soprano; Wilson Nichols, piano. Mozart: Alleluja, from Exsultate, jubilate; Berlioz: Les Nuits D'Ete; Puccini: Donde lieta from La Boheme; Schubert: Dir Hirt auf dem Felsen; Ives: Two Little Flowers; Ives: Ann Street; Bernstein: Glitter and Be Gay from Candide. 29 July 1969.

Concert of Chamber Music. Johann Pezel: Sonata No. 2, from Hora Decima; William Brade: Two Pieces for Brass Quintet; Vaughan Williams: Four Hymns, for tenor, viola, and piano; Othmar Schoeck: Notturno, Op. 47, for baritone and string quartet; Telemann: Concerto Secondo in D Major from Parisian Quartet No. 2, for flute, violin, violoncello, and basso continuo. 28 October 1969.

Varsity Men's Glee Club. Robert P. Porco, director; Donald L. Mannon, accompanist. Healy Willan (arranger): The Agincourt Song; Josquin: Ave, Verum Corpus Christi; Victoria: O Vos Omnes; Grieg: Ave Maris Stella; Cherubini: Pie Jesu, from Requiem in D minor; Villa Lobos: Benedictus from Mass in Honor of Saint Sebastian; Schumann: Ritornelle, Op. 65; George Mead (arranger): Once to Every Man and Nation; Gustav Holst (arranger): Swansea Town; Shaw-Parker (arranger): Lowlands; Vincent Persichetti: Sam Was a Man; Gail Kubik: Johnny Stiles; Halsey Stevens: As I Out Rode This Enderes Night; Halsey Stevens: All This Night Shrill Chanticleer; Fenno Heath (arranger): Sometimes I Feel Like a Motherless Child; Fenno Heath (arranger): This Train. 25 November 1969.

Ann Woodward, viola; Calvin Bower, harpsichord; Marvin Blickenstaff, piano. Marin Marais: Suite from Pieces de Viole, Book V; Schumann: Märchenbilder, Op. 113; Bloch: Suite. 24 February 1970.

Elaine Richey, violin; Richard Corbett, piano. Mozart: Adagio in E Major; Mozart: Rondo in C Major; Beethoven: Sonata in C minor, Op. 30, No. 2; Eugène Ysaÿe: Ballade, Op. 27; Prokofiev: Sonata in D Major, Op. 94A. 24 March 1970.

Carolina Choir I. Loretta James, director; Robert Steelman, accompanist. Carolina Choir II. R. Clinton Parker, director; Larry Peterson, accompanist. Master of Music recital. Mozart: Vesperae Solennes de Confessore, K. 339; Anonymous: Rejoice in the Lord Alway; Thomas Tallis: If Ye Love Me; Purcell: Rejoice in the Lord Alway (The Bell Anthem); Randall Thompson: The Road Not Taken, from Frostiana; Charles Ives: The Sixty-Seventh Psalm; Haydn: Missa Brevis Sancti Joannis de Deo (Kleine Organmesse); Brahms: Schaffe in mir, Gott, ein rein Herz, Op. 29, No. 2; Daniel Pinkham: Three Lenten Poems of Richard Crashaw; Daniel Pinkham: Here Repose, O Broken Body; Randall Thompson: Choose Something Like a Star, from Frostiana. 14 May 1970.

Ann Woodward, viola; Marvin Blickenstaff, piano; Donald Oehler, clarinet. J.S. Bach: Sonata in G Major, BWV 1027; Brahms: Sonata in E-flat Major, Op. 120, No. 2; Mozart: Trio in E-flat Major, K. 498; Hindemith: Sonata, Op. 11, No. 4. 23 February 1971.

Jazz Laboratory Band. John R. Harding, director. Bob Seibert: Jazz Suite; Sammy Nestico: What am I Here For; Neil Hefti: Fantail; Quincy Jones: Comin' Home Baby; J. Holton (arranger): The Look of Love; Dick Mathias: Trombone Four; Lennon and McCartney: Let It Be; Sammy Nestico: Small Talk; Paul Simon, Dan Burdette (arranger): Bridge Over Troubled Water; Dave Eschelman: Quebec City; Bill Holman, Lennie Niehaus (arranger): Theme and Variations; Dan Haerle: Concertino; Bacharach-Davis, G. Lonon (arranger): Butch Cassidy Medley; George Harrison: Something; Grady Lonon: Tune I; Sammy Nestico: Basie Straight Ahead; Bob Morgan: Anadge. 9 March 1971.

University Chamber Singers. Stafford Wing, director. John Dowland: Three Madrigals (What If I Never Speed, Weep You No More Sad Fountains, Say, Love, If Ever Thou Didst Find); Josquin: Missa de Beata Virgine; Hindemith: Three Songs on Old Texts'; Samuel Barber: Reincarnations; Ravel: Trois Chansons (Nicolette, Trois beaux oiseaux du Paradis, Ronde). 23 March 1971.

Stravinsky Memorial Concert. Stravinsky: Three Pieces for Clarinet; Stravinsky: Sonata; Stravinsky: Septet (First Movement); Stravinsky: Concerto for Piano and Winds; Stravinsky: Mass (1948). 13 April 1971.

Michael Zenge, piano. J.S. Bach: Partita in C minor; Leon Kirchner: Sonata (1948); Brahms: Three Intermezzi, Op. 117; Brahms: Variations on a Theme by Paganini, Op. 35, Book II; Liszt: Années de Pèlerinage, Seconde année: Italie. 27 April 1971.

Carolina Choir. Lara Hoggard, director; Robert Steelman, accompanist. UNC Brass Ensemble. John Harding, director. Duke University Chapel. Don Malin: Let the Song Be Begun (text from Piae Cantiones, 1582); Randall Thompson: Pueri Hebraeorum; Palestrina: Tria Responsoria; Hans Leo Hassler: Christ ist erstanden; Poulenc: Vinea mea electa; Schütz: Psalm 150, from Psalmen Davids, Dresden, 1619; J.S. Bach: Motet: Singet dem Herrn ein neues Lied; Daniel Pinkham: Christmas Cantata; Ives: Psalm 90. 16 May 1971.

Christmas Concert. The Carolina Choir. Lara Hoggard, director; Robert Steelman, accompanist. UNC Brass Ensemble. Don Malin: Personent hodie (text from Piae cantiones nativitate, 1582); Richard Dirksen: Nowell Sing We; Poulenc: Motets for the Season of Christmas; Verdi: Te Deum; Berlioz: Shepherds' Farewell, from L'enfance du Christ; Britten: Choruses from A Ceremony of Carols (Wolcum Yole!, There Is No Rose, This Little Babe); Daniel Pinkham: Christmas Cantata. 7 December 1971.

Concert of Chamber Music. North Carolina String Quartet. Edgar Alden, violin; Dorothy Alden, violin; Ann Burnham, viola; Charles Griffith, violoncello. Stafford Wing, tenor; Thomas Warburton, piano; Marvin Blickenstaff, piano; Kathryn Logan, violoncello. Vaughan Williams: On Wenlock Edge (texts from A Shropshire Lad by A. E. Houseman); Brahms: Quintet in F minor, Op. 34; Schubert: Quintet in C Major, Op. 163. 25 January 1972.

Americana: Music and Poetry. Carolina Choir. Lara Hoggard, director. Paul Christiansen: Wondrous Love; Roy Ringwald (arranger): Deep River; Jester Hairston, arranger: Elijah Rock; Joseph W. Clokey, arranger: He's Gone Away; Vaclav Nelhybel: The Gallows-Tree; Gail Kubik: Oh, dear! What Can the Matter Be?; Charles Ives: Psalm 90; Roy Ringwald: God's Trombones (Poems by James Weldon Johnson based on African-American folk sermons). 13 February 1972.

Men's Glee Club. Robert P. Porco, director; Robert Parris, accompanist. Palestrina: Pueri Hebraeorum; Allegri: Miserere; William Byrd: I Will Not Leave You Comfortless; Schubert: Im Gegenwärtigen Vergangenes; Schubert: Liebe; Roger Hannay: Shakespeare Songs (1961). 21 March 1972.

UNC Jazz Laboratory Band. John R. Harding, director. Dan Haerle: Jes Fine; Dan Haerle: Phrygian at 114o; Dan Haerle: Happy Little Feeling; Chicago: Does Anybody Really Know What Time It Is?; Dan Haerle: Famus Gramus; Bennett Friedman: Ask Frog; Donnie Weaver, Tommy Tyson (arranger): Happy; Bob Seibert: Exit Swinging; Roger Hannay: To His Coy Mistress; Dan Haerle: Modal Excursion; Dave Eshelman: Number One; Bennett Friedman: Concert Score; Robert Curnow: Festival Piece; Carole King, Dave Almond (arranger): It's Too Late Now; J. Hill: P.C. Wallbanger. 28 March 1972.

University Chorus. Bebe Snyder, conductor. Spring Concert and Master of Music recital for Snyder. Lasso: Jubilate Deo; Orlando Gibbons: O Lord, Increase My Faith; Josquin: El Grillo; Mozart: Laudate Dominum, from Vesperae Solennes de Confessore; Haydn: Eloquence; Randall Thompson: Two selections from Frostiana (The Road Not Taken, Choose Something Like a Star); Jack M. Jarrett: It Was a Lover and His Lass; Schubert: Mass in G Major, No. 2. 13 April 1972.

Carolina Choir. Lara Hoggard, director; Robert Steelman, accompanist. William Byrd: Motet: Ave Verum Corpus; Poulenc: Motets for a Time of Penitence; Schütz: Motet: Lord, Who Is My Guide But Thee?; Rachmaninoff: Bogoródjitse Djévo, Maríje (Ave Maria), from the Russian Orthodox All-Night Vigil; Brahms: Motet: O Heiland, reiss die Himmel auf; Orazio Vecchi: Fa una canzone; Orlando Gibbons: The Silver Swan; Passereau: Il est bel et bon; Lasso: Three madrigals (Baur, was tregst im Sacke, Mon coeur se recommande a vous, O la! O che bon eco!). 25 April 1972.

Mary Edith McClintock, piano. Senior recital. Margaret Proctor, violin; David Duke, violin; Holladay Worth, viola; Wilson Hayman, cello. Brahms: Variations on a Theme by the Composer, Op. 21, No. 1; Ravel: Valses Nobles et Sentimentales; J.S. Bach: Concerto in D minor, BWV 1052. 28 April 1972.

Barbara Schlageter, soprano; James Clyburn, piano. Gasparo Spontini: O Nume Tutelar, from La Vestale, Act II; Rossini: Selve Opaca, from William Tell, Act II; Schubert: Auf dem Wasser zu singen; Schubert: Gute Nacht; Schubert: Die Post; Schubert: Auflosung; Berlioz: Les Nuits D'été, Op. 7; Milhaud: Two Poems of Coventry Patmore. 8 August 1972.

University Chamber Singers. Stafford Wing, director; Michael Zenge, guest pianist. Brahms: Motet, Op. 29, No. 2; Monteverdi: Bel Pastore; Monteverdi: Lamento della Ninfa; Monteverdi: Gira il nemico insidioso; Ten catches and rounds; Thomas Warren: To Our Musical Club; Purcell: At the Close of the Evening, from The Knight of Malta, Act III; Purcell: I Gave Her Cakes; Purcell: Sir Walter Enjoying; John Jackson: When a Woman That's Buxom; Michael Wise: Counsel for Married Folks; Orlando Gibbons: The Silver Swan; Purcell: An Ape, a Lion, a Fox, and an Ass; Purcell: Under This Stone Lies Gabriel John; Thomas Warren: To Our Musical Club; Brahms: Zigeunerlieder, Op. 103. 24 October 1972.

Chamber ensembles. Stephanie Melvin, mezzo-soprano; Susan Oehler, flute; Donald Oehler, clarinet; Edgar Alden, violin; Dorothy Gilmore, cello; Barbara Rowan, piano and harpsichord. Roger Hannay: Rhapsody for Flute and Piano; Lester Trimble: Four Fragments from the Canterbury Tales; Ravel: Chansons Madécasses; Bartók: Contrasts. 7 November 1972.

Ann Burnham, viola; Marvin Blickenstaff, piano. J.S. Bach: Sonata in G Major, BWV 1027; Hummel: Sonata in E-flat Major, Op. 5, No. 3; Reger: Suite in G minor, Op. 131d, No. 1, for viola solo; Roger Hannay: Elegy (Peace for Dawn), for viola and tape; Hindemith: Sonata, Op. 11, No. 4, for viola and piano. 12 November 1972.

Men's Glee Club. Robert P. Porco, director; Robert Parris, accompanist. Poulenc: Quatre Petites Prieres De Saint Francois D'Assise; Thomas Tallis: The Lamentations of Jeremiah; Schubert: Geist der Liebe; Schubert: Standchen; Beethoven: O welche Lust (Chorus of Prisoners from Fidelio); Work (arranger): This Ol' Hammer; Bartholomew (arranger): Shenandoah; Halsey Stevens: Three Carols; Copland: Stomp Your Foot, from The Tender Land. 14 November 1972.

UNC Symphonic Wind Ensemble. Boris Rybka, music director. Roy Harris: Fantasy for Organ, Brasses, and Timpani; Mozart: Serenade No. 11 in E-flat Major, K. 375; Mendelssohn-Bartholdy: Overture for Wind Instruments, Op. 24; Vincent Persichetti: Symphony No. 6; Gerald Kechley: Antiphony for Winds. 5 December 1972.

UNC Women's Glee Club. Bebe Snyder, conductor; Robert Steelman, accompanist. Antonio Lotti: Miserere Mei; Alessandro Costantini: Confitemini Domino; Brahms: Ave Maria; Vaughan Williams: Magnificat; Emma Lou Diemer: Fragments from the Mass; Mendelssohn: Laudate Pueri; Debussy: La Damoiselle élue; Norman Dello Joio: A Christmas Carol; Ulysses Kay: Christmas Carol; Katherine K. Davis: As It Fell Upon a Night. 7 December 1972.

Peggy Senter, piano. Senior recital. J.S. Bach: Chromatic Fantasy and Fugue; Beethoven: Sonata in E-flat Major, Op. 27, No. 1; Chopin: Etude in C-sharp minor, Op. 25, No. 7; Chopin: Scherzo in B minor, Op. 20; Prokofiev: Sonata in D minor, Op. 14. 8 December 1972.

Michael Zenge, piano. Clementi: Sonata in G minor, Op. 50, No. 3 (Didone abbandonata, Scena tragica); Weber: Sonata in C Major, Op. 24; Schumann: Sonata in F-sharp minor, Op. 11. 16 January 1973.

Scholarship Benefit Concert. UNC Symphony Orchestra and Chamber Orchestra. David Serrins, conductor. Mozart: Motet: Exsultate, jubilate, K. 165; Mozart: Allegro from Concerto in B-flat Major, K. 595; Stravinsky: Concerto for Piano and Wind Instruments; Saint-Saëns: Morceau de Concert for Horn and Orchestra, op. 94; Handel: Si, tra I ceppi, from Berenice; Massenet: Salome from Herodiade; Franck: Symphonic Variations for Piano and Orchestra. 20 February 1973.

University Chamber Singers. Stafford Wing, director. Ross Lee Finney: Spherical Madrigals; Ned Rorem: Four Madrigals; Poulenc: Chansons Francaises; Handel: Ode for the Birthday of Queen Anne. 27 February 1973.

UNC Women's Glee Club. Holst: Ave Maria; William Schuman: Requiescat; Britten: Missa Brevis in D, Op. 63; Vaclav Nelhybel: Peter Gray; Poulenc: Petites Voix; Palestrina: Rorate Coeli. University Choir. Mendelssohn: Heilig; Howard Hanson: One Hundred-Fiftieth Psalm; Norman Dello Joio: To Saint Cecilia (text by John Dryden). 4 March 1973.

Cornelia Heard, violin; Robert Steelman, piano. G. Tartini: Sonata in G minor; Brahms: Sonata No. 1 in G Major; J.S. Bach: Concerto No. 2 in E Major; Bartók: Roumanian Dances; Tommaso Vitali, Leopold Charlier (arranger): Ciaccona in G minor. 25 March 1973.

Carol Lei Post, piano. Beethoven: Sonata in F minor, Op. 57; Brahms: Variations and Fugue on a Theme by Handel, Op. 24; Ravel: Toccata from Le Tombeau de Couperin; Rachmaninoff: Rhapsody on a Theme by Paganini. 30 March 1973.

Vicki Harrison, soprano; Robert Steelman, piano. Senior recital. Handel: Two arias from Guilio Cesare; Poulenc: Fiancailles pour rire; Brahms: Die Sonne scheint nicht mehr; Richard Hundley: Spring. 6 April 1973.

UNC-Greensboro Women's Choir. Richard Cox, director. Jacobus Gallus: Haec est dies; Lasso: Adoramus te Christe; Palestrina: Jesu, Rex admirabilis; Jacobus Gallus: O beata Trinitas; Kirke Mechem: The Winged Joy; Gershwin-Rizzo: The Man I Love; Gershwin-Thompson: 'S Wonderful. UNC-Chapel Hill Men's Glee Club. Robert Porco, director. Poulenc: Quatre Petites Prieres De Saint Francois D'Assise; Antoine Brumel: Motet: Mater Patris et Filia; Josquin: Missa Mater Patris; Schubert: Nachthelle, D. 892; Britten: Ballad of Little Musgrave and Lady Bernard; Bernstein, R. Porco (arranger): West Side Story Medley. Combined choirs. Richard Cox, conductor; Gail Allen, accompanist. Brahms: Nänie, Op. 82. 17 April 1973.

James Fogle, piano. Clementi: Sonata, Op. 26, No. 2; Ravel: Valses Nobles et Sentimentales; Chopin: Polonaise-Fantasie; J.S. Bach: Overture in the French Manner (Partita in B minor). 10 June 1973.

Carrol Cox, mezzo-soprano; Frank Glass, baritone; Linton Powell, piano. Mendelssohn: Four duets; Purcell: Two duets; Poulenc: Cinq Poemès de Paul Eluard; Haydn: Two Italian Duets; Frescobaldi: Two duets; Monteverdi: L'Incoronazione di Poppea, Act II, Scene 5 (Sento un certo non so che); Ravel: Don Quichotte à Dulcinée; Brahms: Four duets, Op. 28. 21 June 1973.

Chris Hatfield, piano. Senior recital. Haydn: Sonata in C Major, XVI/50; Beethoven: 32 Variations in C minor; Ravel: Ondine from Gaspard de la Nuit; Prokofiev: Sonata No. 7 in B-flat, Op. 83. 8 July 1973.

Music for Voice and Guitar. Stephanie Melvin, mezzo-soprano; David Barison, guitar; Susan Oehler, flute. Luis de Narváez: Villancicos; Luis de Narváez: Variations on Guárdame las Vacas; Poulenc: Sarabande (for Ida Presti); Albeniz: Granada; Campina Enrigue Granados, D. Barison (arranger): La Maja Dolorosa; M. Valls (arranger): Sephardic Songs; J.S. Bach: First Lute Suite; Domenico Scarlatti: Sonata in E minor; Rabindranath, Tagore D. Barison (arranger): Alo amar alo ogo; Rabindranath, Tagore D. Barison (arranger): Aphi amor konkhane; Rabindranath, Tagore D. Barison (arranger): Akashe for temni ache chuti; Arminio Enrichi: Quatre Chanson, Op. 58. 18 September 1973.

Twentieth-Century Flute Music. Susan Oehler, flute; Barbara Rowan, piano; Kathy Logan, cello. Mario Davidovsky: Synchronisms No. 1 for Flute and Electronic Sounds; Walter Piston: Sonata for Flute and Piano; Villa-Lobos: Assobio a Játo; Alan Hovhaness: Sonata for Flute Solo, Op. 188; Copland: Duo for Flute and Piano. 25 September 1973.

The Composer Concerts, 1973-74, no. 1. New Music Ensemble. Roger Hannay, director. Thomas Brosh: Music for Six Instrumets and Prepared Tape; Brosh: Spectrum; Betty Wishart: Experience; Wishart: Memories of Things Unseen; Wishart: The Kohinoor Sonata; William Duckworth: Sequence One for Trombone and Percussion; Duckworth: Sound World I; Duckworth: Gambit for Solo Percussion and Tape; Duckworth: Western Exit. 27 September 1973.

Martha Flowers, soprano; Wilton Mason, piano. J.S. Bach: Liebster Jesu, mein Verlangen; Gluck: Einem Bach, der Fliesst; Vivaldi: La Pastorella sul primo Albore; Wolf: Bedeckt mich mit Blumen; Wolf: In dem Schatten meiner locken; Wolf: In der Fruhe; Wolf: Geh, Geliebter; Puccini: Aria: Addio from La Bohème; Poulenc: Le Pont; Poulenc: Un Poème; Poulenc: Attributs; Poulenc: Miroirs Brulants; Hall Johnson (arranger): Ev'ry Time I Feel de Spirit; Hall Johnson (arranger): City Called Heaven; Hall Johnson (arranger): My God Is So High. 2 October 1973.

The Lucktenberg Duo. Jerrie Cadek Lucktenberg, violin; George Lucktenberg, harpsichord and piano. Jean-Marie Leclair l'ainé: Sonata in G Major, Op. V, No. 12; Rameau: La Livri; Rameau: Les Cyclopes; Jere Hutcheson: Wonder Music; Haydn: Sonata in D Major, Op. 30; Mozart: Sonata in B-flat Major, K. 378. 7 October 1973.

An Evening of Lieder. Stafford Wing, tenor; Thomas Warburton, piano. Beethoven: Adelaide; Britten: Sechs Hölderlin Fragmente; Richard Strauss: Morgen; Richard Strauss: Allerseelen (text by Gilm); Richard Strauss: Ich trage meine Minne; Richard Strauss: Traum durch die Dämmerung; Richard Strauss: Zueinung; Schumann: Dichterliebe. 16 October 1973.

North Carolina Music Teachers Association Theory and Composition Division concert. Donna Robertson: Recitation with Five Reflections; Ilene Hanson Sears: Lullabye Carol; Harvey Miller: Trio for Strings; J. Ross Albert: Progress Desolation; Marvin Lamb: Phonemes; William Duckworth: A Mass For These Forgotten Times. 20 October 1973.

Rudolph Kremer, organ. Georg Muffat: Toccata sesta and Passacaglia from Apparatus musico-organisticus; J.S. Bach: Prelude and Fugue in E minor, BWV 548; Johann Nepomuk David: Es sungen deri Engel ein' süssen Gesang: Geistliches Konzert für Orgel. 23 October 1973.

The Composer Concerts, 1973-74, no. 3. The New Music Ensemble. Roger Hannay, director. Jim Burton: Musical Analysis; Jim Burton: A Little Bicycle Ditty for Harry Partch; Jim Burton: Garrett's Greens (for trombone and tape); Jim Burton: Duet for Trombone and Spring Instrument; Jim Burton: Serial Music Mechanisms; Jim Burton: Fairy Tale; Jim Burton: Veedauwoo: Wyoming, A Pastorale: Far From the Fold Have I Wander'd. 25 October 1973.

North Carolina String Quartet. Edgar Alden, violin; Dorothy Alden, violin; Ann Burnham, viola; Charles Griffith, violoncello. Haydn: Quartet in D Major, Op. 76, No. 5; Roger Hannay: Designs; Brahms: Quartet in A minor, Op. 51, No. 2. 30 October 1973.

The Composer Concerts, 1973-74, no. 4. The New Music Ensemble. Roger Hannay, director. William Albright: Pianoagogo; Father, We Thank Thee; William Albright: An Alleluia Super Round; William Albright: Stipendium Peccati; William Albright: Ragtime Turtle Dove and Behemoth Two Step from The Grand Sonata in Rag; William Albright: Organbook I. 1 November 1973.

The Composer Concerts, 1973-74, no. 5. The New Music Ensemble. Roger Hannay, director. Jackson Hill: Serenade; Jackson Hill: From Six Mystical Songs; Jackson Hill: Dark Litany; Jackson Hill: Syncrony; Fred McAfee: Polarizations; Fred McAfee: Abscissa; Fred McAfee: Scenerio II; Fred McAfee: Bag. 8 November 1973.

Jim Croom, tenor; Wilton Mason, piano. Senior recital. Mozart: Dalla sua pace and Il mio tesoro from Don Giovanni; Richard Strauss: Nacht; Richard Strauss: Nichts; Richard Strauss: Heimliche Aufforderung; Richard Strauss: Du meines Herzens Krönelein; Richard Strauss: Cäcilie; John Duke: Loveliest of Trees; John Duke: Wild Swans; John Duke: Morning in Paris; Tchaikovsky: The Fool; Tchaikovsky: Don Juan's Serenade; Rachmaninoff: O Cease Thy Singing, Maiden Fair; Rachmaninoff: The Island; Rachmaninoff: Floods of Spring; Gounod: Salut demeure from Faust. 15 November 1973.

Women's Glee Club. Lara Hoggard, conductor; Scott Hill, accompanist; Thomas Waburton and Judy Warburton, duo-pianists. Gregor Aichinger: Duo Seraphim; Niccola Porpora: Lauda Jerusalem; Verdi: Laudi alla vergine Maria; Maurice Duruflé: Motet: Tota pulchra es, Maria; Britten: Missa Brevis in D, Op. 63; Brahms: Vier Gesänge, Op. 17, No. 2; Rachmaninoff: Tears, Op. 5, No. 2; Norman Dello Joio: A Jubilant Song. 27 November 1973.

Pamela White, soprano; Wilton Mason, piano. Master of Music. Haydn: With Verdure Clad, from The Creation; Fernando Obradors: Al Amor; Fernando Obradors: Con amores, la mi madre; Fernando Obradors: Corazon, porqué pasáis; Fernando Obradors: Del cabello mas sutil; Fernando Obradors: Chiquitita la Novia; Massenet: Il est doux, il est bon, from Herodiade; Ernest Chausson: Poème de l'amour et de la mer; Louis Campbell-Tipton: A Spirit Flower; Richard Hageman: Christ Went Up Into the Hills; Richard Hageman: At the Well; Puccini: Sola, perduta, abbondonata, from Manon Lescaut. 28 November 1973.

Carolina Choir. Lara Hoggard, conductor; Rudolph Kremer, organ; Paula Forrest, accompanist. Personent hodie from Piae cantiones nativitate; Josquin: Motets from Missa D'ung Aultre Amer; Ludwig Senfl: Fecit potentiam from Magnificat Primi toni; Hans Leo Hassler: Verbum caro factum est from Cantiones sacrae; Palestrina: Hodie Christus natus est; Sweelinck: Hodie Christus natus est; Healey Willan: Hodie Christus natus est; Healey Willan: The Three Kings; Bruckner: Ave Regina coelorum; Grieg: How Fair Is Thy Face, Op. 74, No. 1; Rachmaninoff: Bogoródjitse Djévo, from the All-Night Vigil, Op. 37, No. 6; Howard Hanson: Psalm VIII; Ron Nelson: Glory to God, from The Christmas Story. 2 December 1973.

University Wind Ensemble. Boris Rybka, conductor. Giovanni Gabrieli: Canzon Quarti Toni; Hindemith: Sonata for Four Horns; Dvorák: Serenade in D minor, Op. 44; Norman Dello Joio: The Louvre; Bernstein: Danzon from the Ballet Fancy Free; Ginastera: Danza Final from the Ballet Estancia. 4 December 1973.

Edgar Alden, violin; Francis Whang, piano. Handel: Sonata in G minor, Op. 1, No. 10; Beethoven: Sonata in A Major, Op. 47 (Kreutzer); Hindemith: Sonata in E; Brahms: Sonata in D minor, Op. 108. 15 January 1974.

Charles Fuller, cello; James Clyburn, piano. Hovhaness: Yakamochi (Suite in Praise of a Poet), Op. 193, No. 2; Debussy: Sonata No. 1 in D minor; Beethoven: Sonata No. 3 in A Major, Op. 69. 27 January 1974.

The Early Music Ensemble. Calvin Bower and Philip Warren, directors. Purcell: An Ape, a Lion, a Fox, and an Ass and Under This Stone Lies Gabriel John from The Second Book of the Pleasant Musical Companion; Purcell: Music for a While from Incidental Music for Oedipus; Selections from The Second Part of Musick's Hand-Maid, edited by Henry Purcell: William Turner: Ayre, John Blow: Gavotte, John Blow: Sarabande, Purcell: A New Scotch Tune, Purcell: Minuet, Richard Motley: Motley's Maggot, Purcell: A New Irish Tune, Purcell: Riggadoon; Purcell: Ah! How Pleasant 'Tis to Love; Purcell: Turn, Then Thine Eyes; Christopher Simpson: Divisions for the Practice of Learners from The Division-Viol; Purcell: How Pleasant Is This Flow'ry Plain; Purcell: Fantasia: Three Parts Upon a Ground; John Blow: An Ode on the Death of Mr. Henry Purcell; John Blow: On the King's Coming Home: 'Ring the Bells'. 29 January 1974.

Peggy Russell, soprano; Constance Kotis, piano. Dietrich Buxtehude: Herr, auf Dich traue ich; Barbara Hulka, violin; Dorothy Alden, violin; Jane Salemson, cello; Lee Orr, harpsichord; Schubert: Lachen und Weinen; Schubert: Auf dem Wasser zu Singen; Schubert: Nacht und Träume; Schubert: Suleika; Wolf: Auf einer Wanderung; Wolf: Ach, des Knaben Augen; Wolf: Herr, was trägt der Boden Hier; Wolf: Gretchen vor dem Andachtsbild der Mater Dolorosa, from Goethe's Faust; Rossini: La Regata Veneziano; Carlisle Floyd: Ain't It a Pretty Night from Susannah. 3 February 1974.

Carolina Choir. Lara Hoggard, director. Rudolph Kremer, organ; Paula Forrest and Sandra Snidow, duo-pianists. Zoltan Kodály: Missa Brevis; Carl Orff: Carmina Burana. 19 February 1974.

The Composer Concerts, 1973-1974, No. 6. New Music Ensemble. Roger Hannay, director. Frank Wiley: Fantasia Super Bach; Marvin Lamb: Intonazione; Peter Michalove: Ramifications; Peter Michalove: Ballade des Pendus; Marvin Lamb: In Memoriam, Benjy; Frank Wiley: Romance del Prisionero (Lorco); Peter Michalove: Far Out in Fa; Marvin Lamb: Woodwind Quintet; Frank Wiley: Encounters (A Fantasy of Fragmented Images). 21 February 1974.

Katherine Posner, soprano; Wilton Mason, piano. Dvorák: Zigeunermelodien; Norman Dello Joio: Three Songs of Adiew; Mozart: Tenerari (recitative) and Come scoglio (aria), from Cosi Fan Tutte; Debussy: Fétes Galantes; Joaquin Turina: Tres Poemas; Verdi: Ernani, involami, from Ernani. 24 February 1974.

UNC Jazz Laboratory Band. John R. Harding, director. Richard Strauss, Don Schamber (arranger): Also Sprach Zarathustra; Alf Clausen: Blues for a Graying Walrus; Leonard Moss: Minion; Alf Clausen: Ode to an East Boston Ferry; Legrand-Gimbel: Watch What Happens; Loren Smith: Blue Lawton; Ladd McIntosh: Gotta Get Away; Bill Cowling: Wild Wench; Frank Fisher: Blues for Miz Charlie; Adrian Drover: Stony End; Sammy Nestico: Persuasion; Gordy, Holloway, Wilson: You've Made Me So Very Happy; Adrian Drover (arranger): Eli's Comin'; John Prince: Neophonic Funk. 26 February 1974.

Marvin Blickenstaff, piano. Mozart: Adagio in B minor, K. 540; Mozart: Minuetto in D Major, K. 355; Mozart: Gigue in G Major, K. 574; Brahms: Sonata in F minor, Op. 5; Ravel: Miroirs; Ginastera: Sonata para Piano. 3 March 1974.

A Program for Clarinet, Piano, and Tape. Donald Martino: A Set for Clarinet; Alec Wilder: Sonata for Clarinet and Piano; Elliot Schwartz: Dialogue No. 2 for Clarinet and Tape; William Sydeman: Piece for Clarinets and Tape. 19 March 1974.

The Composer Concerts, 1973-1974, No. 7. Elliott Schwartz and the New Music Ensemble. Roger Hannay, director. Elliot Schwartz: Music for Prince Albert; Elliot Schwartz: Sibling Suite; Elliot Schwartz: Dialogue for Clarinet and Tape; Elliot Schwartz: Essays; Elliot Schwartz: Textures; Elliot Schwartz: Music for Napoleon and Beethoven; Elliot Schwartz: Grand Concerto. 21 March 1974.

Ann Burnham, viola; Marvin Blickenstaff, piano; Thomas Brosh, electronic piano. Britten: Lachrymae (Reflections on a Song of Dowland), Op. 48; Henry Woodward: Suite for Viola and Piano; Hindemith: Sonata for Viola Alone, Op. 25, No. 1; Thomas Brosh: Innerchange I for Viola and Amplified Electronic Piano; Arthur Honegger: Sonata for Viola and Piano. 24 March 1974.

University of North Carolina at Greensboro Women's Choir. Richard Cox, director. University of North Carolina at Chapel Hill Men's Glee Club. Robert Porco, director; Robert Parris, accompanist. Haydn: Te Deum; Purcell: Sound the Trumpet; Victoria: Duo Seraphim; Palestrina: Adoramus Te Christe; Thomas Weelkes: The Nightingale; Vincent Persichetti: Spring Cantata; Schubert: Nachtgesang in Walde; Josquin: Ave Verum; Giovanni Nanino: Diffusa est Gratia; Jacob Handl: Pueri Concinite; Ralph Vaughan Williams (arranger): The Turtle Dove; Gail Kubik: Oliver de Lancey, R.P. Porco (arranger): Porgy and Bess Medley; Schoenberg: Friede auf Erden. 26 March 1974.

Francis Whang, piano. Mendelssohn: Andante con moto, Op. 19, No. 1; Mendelssohn: Variations Serieuses, Op. 54; Messiaen: le courlis cendré and l'alouette lulu, from Catalogue d'oiseaux; Ravel: Sonatine; Schumann: Fantasiestücke. March 28, 1974.

UNC Wind Ensemble. Boris Rybka, conductor. Bastien Chilese: Canzon trigesimaseconda (32) for Antiphonal Brasses; Karel Husa: Divertimento for Brass and Percussion; Carlos Surinach: Sinfoniette Flamenca; Berlioz: Overture, Le Corair. 2 April 1974.

Stephanie Melvin, mezzo-soprano; Michael Zenge, piano; Susan Oehler, flute. Ives: Canon; Ives: There Is a Lane; Ives: Two Little Flowers; Ives: Autumn; Poulenc: Calligrammes; Ives: The Circus Band; Ives: The Side Show; Ives: At the River; Ives: They are There; Schoenberg: Das Buch der hängenden Gärten, Op. 15. 4 April 1974.

Women's Glee Club. Lara Hoggard, conductor; Sandra Snidow, accompanist. Duruflé: Motet, Tota pulchra es, Maria; Brahms: Three Sacred Choruses, Op. 37; Houston Bright: Four Sacred Songs of the Night; Debussy: Beau Soir; Schumann: Tambourine; Brahms: Ode, Op. 94, No. 4; Alexander Koshetz (arranger): A Violin is Singing in the Street (Ukraine); Deems Taylor (arranger): Tece Voda, Tece (Czechoslovakia); Leslie Bell (arranger): Follow Me Down to Carlow (Scotland); Leslie Bell (arranger): Bonnie Doon (Scotland); Josef Marais (arranger): A-round the Corner (British South Africa); Ron Nelson (arranger): He's Gone Away (Appalachian); Leslie Bell (arranger): Lollytoodum (Appalachian); Henry Campbell: Little Bird (Southern play-party song). 9 April 1974.

Robert Stine and Howard Wershil, composers. Senior recital. Robert Stine: Airscape; Howard Wershil: Piano Suite; Wershil: Ice Child; Stine: Death of Innocence; Stine: Piece for Piano; Stine: Chrysalis (in four movements); Wershil: Composition for Tape; Wershil: Serenade - Streetlights, 12:17-6:41 a.m. 11 April 1974.

Friends of Chamber Music. Brahms: Variations on a Theme by Schumann, Op. 23; George Crumb: Eleven Echoes of Autumn; Schoenberg, transcribed by Webern: Chamber Symphony in E Major, Op. 9. 14 April 1974.

Chamber Singers. Stafford Wing, director. Schütz: Italian Madrigals; Schütz: Small Sacred Concertos; Duruflé: Four Motets; Halsey Stevens: Campion Suite; Copland, Irving Fine (arranger): Old American Songs; Peter Schickele: Three Choruses from E.E. Cummings; J.S. Bach, Ward Swingle (arranger): Fugue in D Major, from the Well-Tempered Clavier; J.S. Bach, Ward Swingle (arranger): Fugue in D minor, from Art of Fugue. 16 April 1974.

Joy Glazener, piano. Senior recital. Poulenc: Suite Française; Schubert: Sonata, Op. 164; J.S. Bach: Aria Variata alla maniera italiana; Bartók: Suite, Op. 14; Bartók: Six Dances in Bulgarian Rhythm. 17 April 1974.

Robert Parris, organ. Messiaen: L'Ascension (Quatre Méditations Symphoniques); Jackson Hill: Dark Litany (organ and tape); Frank Wiley: Fantasia Super Bach; Ives: Variations on America. 18 April 1974.

Fiori Musicali. Maynard Goldman, baroque violin; Nancy Joyce, baroque flute, recorder; Kenneth Roth, baroque oboe; Betsy Moyer, harpsichord; Margaret Panofsky, viola da gamba. Johann Friedrich Fasch: Sonata in B-flat Major; François Couperin: Le Rossignol en amour from Troisième Livre de Pièces de Clavecin; J.S. Bach: Sonata in G Major; Handel: Trio Sonata in C minor, Op. 2, no. 1; Marin Marais: Le Tableau de l'Opération de la Taille; Johann Christian Bach: Quintet in D Major. 20 April 1974.

Carol Lei Post, piano. Master of Music recital. Haydn: Sonata in A-flat Major, Hob. XVI/46; Prokofiev: Sonata in B-flat Major, Op. 84; Ravel: Jeux d'Eau; Scarlatti: Sonata in A Major, L. 395; Scarlatti: Sonata in F Major, L. 432; Scarlatti: Sonata in G minor, L. 338; Chopin: Ballade in F minor, Op. 52. 21 April 1974.

Tereather Dianne Bellamy, soprano; Sharon Stanley, piano. Antonio Secchi: Lungi Dal Caro Bene; Mozart: Als Luise die Briefe ihres ungetreuen; Mozart: Un Moto di Joya; Schubert: Fischerweise; Schubert: Lied der Mignon (Nur Wer die Sehnsuch); Schubert: Seligkeit; Ernest Chansson: Le Temps des Lilas; Fauré: Prison; Fauré: Fleur Jetée; Mozart: Aria: Non So Più, from La Nozze di Figaro; Cecil Cohen: Epitaph; Frederick Hall: Dawn; Margaret Bonds: To a Brown Girl Dead; Cecil Cohen: Four Winds; Harry Burleigh (arranger): Stand Still Jordan; Hall Johnson (arranger): Swing Low Sweet Chariot; Harry Burleigh (arranger): Wade in de Water. 21 April 1974.

Patricia Lee Robinson, soprano. Master of Music recital. From Cantigas de Santa Maria: Como poden per sas culpas; Anonymous: Worldes blis ne last no throwe; From Jungenheimer Liederblatt: Maria durch ein Dornwald ging; Minnesinger Song: Der Kunnic Rodolp; Franco Alfano: Dieu de grâce, from Resurrection; Debussy: Chansons de Bilitis; H. Hughes (arranger): I Know Where I'm Goin'; H. Hughes (arranger): A Ballynure Ballad; H. Hughes (arranger): Down by the Sally Gardens; H. Hughes (arranger): The Maids of Mourne Shore; H. Hughes (arranger): The Verdant Braes of Skreen; Tchaikovsky: Adieu, Forêts, from Jeanne d'Arc; de Falla: Seven Spanish Folk Songs (El Paño moruno, Seguidilla muriciana, Asturiana, Jota, Nana, Canción, Polo); Menotti: To This We've Come from The Consul. 30 April 1974.

Kent Moore, tenor. Junior recital. Mendelssohn: If With All Your Hearts, from Elijah; Handel: Come, My Beloved; Vaughan Williams: Linden Lea; Schubert: Die Liebe hat gelogen; Schubert: Who Is Sylvia; Schubert: Im Abendrot; Schubert: Die Forelle; Schubert: Wanderers Nachtlied; Donizetti: Spirto gentil, from La Favorita; H. Hughes (arranger): Kathleen O'More, I'm Not Myself at All, A Young Maid Stood in Her Father's Garden, Kitty, My Love, Will You Marry Me, Francesco Cilea: Lamento di Federico, from L'Arlesiana. 2 May 1974.

Program of Woodwind Chamber Music. Susan Oehler, flute; Donald Oehler, clarinet; John Pederson, bassoon. G. Simone Mayr: Bagatelle a 3; Stephan de Haan: Trio; J.S. Bach: Partita in A minor for solo flute; Walter Piston: Three Pieces. 28 May 1974.

Stephanie Melvin, mezzo-soprano; Robert Daniel, baritone; Jane Whang, piano. Purcell: Sound the Trumpet, from Ode for the Birthday of Queen Mary, 1694; Purcell: Let Us Wander; Purcell: My Dearest, My Fairest, from Incidental Music to Norton's Pausanias; Purcell: Shepherd, Shepherd Leave Decoying, from Dryden's King Arthur; Milhaud: Chants Populaires Hébraïques; Brahms: Four Duets, Op. 28; Handel: Duet Cantata: Giù nei Tartarei; Henri Duparc: Extase; Henri Duparc: Sérénade Florentine; Henri Duparc: La Vie Anterieure; Henri Duparc: Chanson Triste; Rossini: Recitative and Duet: Dunque io son (in English translation) from The Barber of Seville. 4 June 1974.

Leslie Aldridge, soprano; Annette Kamienski, piano. Senior recital. Berg: Sieben Frühe Lieder; Ravel: Cinq Melodies Populaires Greques; Copland: Twelve Poems of Emily Dickenson. 6 June 1974.

Jane Magrath, piano. Master of Music recital. Haydn: Sonata in E-flat Major, Hob. XVI/52; Brahms: Klavierstücke, Op. 118; Bartók: Improvisations, Op. 20; Chopin: Sonata in B-flat minor, Op. 35. 9 June 1974.

UNC piano majors. 24th annual UNC Piano Clinic. Beethoven: 32 Variations on an Original Theme (WoO 80); Debussy: Le vent dans la plaine; Debussy: Minstrels; Prokofiev: March, Op. 12, No. 1; Prokofiev: Scherzo, Op. 12, No. 10; Brahms: Sonata No. 1 in C Major, Op. 1; Liszt: Sonata in B minor. 10 June 1974.

Music of Charles Ives. Jeanine Zenge, violin; Stephanie Melvin, mezzo-soprano; Michael Zenge, piano. Ives: Canon; Ives: There Is a Lane; Ives: Two Little Flowers (and dedicated to them); Ives: Autumn; Ives: They Are There; Ives: Tom Sails Away; Ives: In Flanders Fields; Ives: Sonata No. 2 (Concord, Massachusetts, 1840-1860); Ives: Charlie Rutlage; Ives: At the River; Ives: The Side Show; Ives: The Circus Band; Ives: Sonata No. 3 for Violin and Piano. 13 June 1974.

Elva Hartley, piano; Ann Attayek; Stephen Lee; Mary Jo Lorek; Beth Perry. Junior recital. J.S. Bach: French Suite in C minor; Chopin: Four Mazurkas (Op. 17, No. 4, Op. 24, No. 4, Op. 33, No. 1, Op. 33, No. 2); Norman Dello Joio: Sonata No. 3; Chopin: Nocturne in C-sharp minor, Op. 27, No. 1; Haydn: Sonata in D major, Hob. XVI/33; Schumann: Papillons, Op. 2. 3 July 1974.

Janice Harsanyi, soprano; Bruce Moss, piano. Fauré: Nell; Fauré: Mandoline; Fauré: Prison; Fauré: Fleur Jetée; Wolf: Verborgenheit; Wolf: Ich hab in Penna; Richard Strauss: Zueignung; Richard Strauss: Ich trage meine Minne; Richard Strauss: Caecilie. 9 July 1974.

Susan Oehler, flute; Donald Oehler, clarinet; Francis Whang, piano. Bartók: Suite Paysanne Hongroise for flute and piano; Brahms: Sonata for Clarinet and Piano in F minor, Op. 120, No. 1; William O. Smith: Five Pieces for Clarinet Alone; Prokofiev: Sonata in D minor, Op. 94, for flute and piano. 18 July 1974.

Summer Chorus. Gerald Sousa, director; Anna Briscoe, accompanist. J.S. Bach: Cantata No. 4, Christ Lag in Todesbanden; Schumann: Requiem für Mignon, Op. 98b; Handel: Coronation Anthem No. 1, Zadok the Priest; Vaughan Williams: Serenade to Music. 28 July 1974.

Jerry W. Solomon, trumpet; Ross W. Ellison, organ. Marie-Claire Alain (editor): Three Renaissance Dances; J.S. Bach: An Wasserflüssen Babylon; Buxtehude: Ciacona in E minor; Johann Ludwig Krebs: O Gott, du frommer Gott; J.S. Bach: Prelude and Fugue in C Major; Tommasso Albinoni: Sonata in C Major; Schumann: Two Canonic Studies for Pedal Piano; Hans Ludwig Schilling: Canzona für Trompete und Orgel über Christ ist erstanden; Reger: Introduktion und Passacaglia (D minor); David N. Johnson: Processional. 8 September 1974.

Kenneth R. Bruggers, harpsichord. François Couperin: Pieces from the Sixth Ordre; Rameau: Les Nais de Sologne; Louis Couperin: Tombeau de Mr. de Blancrocher; Ruby Shackelford: Le Tombeau de Igor Stravinsky; Herbert Howells: Howells' Clavichord; D.C. Isele: Prologue, Aliment, and Zempoch; Jacques Duphly: Pieces Pour Clavecin. 24 September 1974.

Early Music Ensemble. Phil Warren, director. Secular music from the prints of Ottaviano Petrucci. Marco Cara: S'io sedo a l'ombra, amor giù pone el strale; Johannes Ghiselin: La Spagna, a4; Anonymous: Je suis d'Alemagne; Johannes Stokhem: Je suis d'Alemagne; Heinrich Isaac: La Morra; Jacob Obrecht: T'sat een meskin; Jean Mouton: Jamais, jamais; Anonymous: Dit le burguygnon; Michele Pesenti: Deh chi me sa dir novella; Marco Cara: Non e tempo d'aspetare; Joan Ambrosio Dalza: Pavanna alla ferrarese; Bartolomeo Tromboncino: Se per colpa del vostro altiero sdegno; Josquin: La Bernardina; Erasmus Lapidica: Tandernaken; Josquin: Vive le roy; Anonymous: La Spagna, a3; Bartolomeo Tromboncino: Vale diva mia, vale in pace; Anonymous: L'amor donna ch'io te porto; Josquin: La Spagna, a5. 27 September 1974.

Jane Dimmock Cain, organ. Master of Music recital. J.S. Bach: Prelude and Fugue in B minor, BWV 544; J.S. Bach: Three Chorale Preludes on Allein Gott in der Hoh' sei Ehr; Mozart: Andante, K. 616; Mendelssohn: Sonata in D minor, Op. 65, No. 6; Anton Heiler: Tanz-Toccata. 29 September 1974.

Stafford Wing, tenor; Thomas Warburton, piano. Wolf: Eight Mörike Lieder; Rachmaninoff: O Cease Thy Singing; Rachmaninoff: Lilacs; Rachmaninoff: It's Lovely Here; Rachmaninoff: The Harvest of Sorrow; Ned Rorem: Early in the Morning; Ned Rorem: See How They Love Me; Ned Rorem: Three Poems of Paul Goodman (For Susan, Clouds, What Sparks and Wiry Cries); Erik Satie: Trois Mélodies (Le Statue de bronze, Daphénéo, Le Chapelier); Britten: Seven Sonnets of Michelangelo. 3 October 1974.

John R. Harding, trumpet; Carolyn Bridger, piano. Domenico Gabrielli: Sonata No. 2 in D for trumpet, strings, and continuo; Daniel Purcell: Sonata in C Major; Anonymous: March for two natural trumpets in D and percussion; Handel: Suite in D Major from Water Music for trumpets, strings, and continuo; Henry Purcell: Sonata for Trumpet and Organ; Saint-Saëns: Fantasie en Mi Bemol pour Cornet in Si-flat et Piano; Theodore Holdheim: Sonata for Trumpet and Piano; Roger Hannay: Sphinx for C trumpet and quadraphonic tape; John R. Harding: Jazz Suite. 8 October 1974.

UNC Jazz Laboratory Band. John R. Harding, director. Evel Box: Key Trip; Al Cobine: The Heaviness of Blue; Adrian Drover (arranger): MacArthur Park; Thad Jones: Dedication; Woody James: Crawfish; Alan Foust: Truth Serum; Greg Hopkins: Twelve-Seventeen; Don Menza: Dizzyland; Tom Wirtel: Prelude and Improvisation; Thad Jones: Backbone; Stevie Wonder: You Are the Sunshine of My Life; Frank Fisher: Ain't No Way; Dick Mathias: 3 on 9; Ladd McIntosh: Quivira. 20 October 1974.

Susan Oehler, flute; Donald Oehler, clarinet; Susan Black, violin; Barbara Rowan, piano. Preston Trombly: Kinetics III, Flute and Electronic Sounds; Stephan Wolpe: Piece in Two Parts for Flute and Piano; Boulez: Sonatine for Flute and Piano; Milhaud: Suite for Violin, Clarinet, and Piano; Sigfrid Karg-Elert: Sonata für Klarinette Solo, Op. 110; George Crumb: Eleven Echoes of Autumn, 1965. 22 October 1974.

David Barison, guitar. Luis Milan: Pavin; John Dowland: The Earl of Essex' Galliard; John Dowland: Captain Piper's Galliard; Anthony Holborn: Unnamed Piece; John Dowland: Queen Elizabeth's Galliard; Gregory Howett: Fantasia; Handel: Sarabande and Variations; J.S. Bach: Allemande from the First Lute Suite; J.S. Bach: Sarabande from the Second Lute Suite; J.S. Bach: Prelude from the Fourth Lute Suite; Manuel Ponce: Sonatina Meridional; Francisco Tárrega: Capricho Arabe; Antonio Lauro: Valse Venezolano #3; Mario Castelnuovo-Tedesco: Minuet; Mario Castelnuovo-Tedesco: Vivo Energico. 27 October 1974.

University Chamber Singers. Robert P. Porco, director; Paula Forrest, accompanist. Anonymous (16th century): Three Spanish Christmas Carols (Riu, Riu, Chiu, Dadme albricias, hijos d'Eva, E la don don, Verges Maria); Victoria: Motet: O Magnum Mysterium; Victoria: Mass: O Magnum Mysterium; Brahms: Vier Quartette, Op. 31; No. 1, Op. 31, No. 2, Op. 31, No. 3, Op. 64, No. 2; Ravel: Trois Chansons (Nicolette, Trois beaux oiseaux du Paradis, Ronde); Britten: Five Flower Songs. 29 October 1974.