University of North Carolina School of the Arts: Concert

Tuesday @ 7:30 pm

Winston Salem, NC

Gig Details

Venue Details

Watson Hall 1533 S Main St
Winston Salem, NC


Marc Mellits (1966)
Splinter (2014)
Scarlet Oak
Sugar Maple
River Birch
Red Pine
Stacy Garrop (1969)

Rites for the Afterlife (2018)

Inscriptions from the Book of the Dead

Passage through the Netherworld

The Hall of Judgement

The Field of Reeds



Theo Chandler (1991)
Seed to Snag… (2018) 

Jeff Scott (1967)

Homage to Paradise Valley (2019)

Ghosts of Black Bottom

Hastings Street Blues

Roho, Pumzika kwa Amani (Spirits, Rest Peacefully)

Club Paradise Jump!


Splinter, by Chicago-based composer Marc Mellits, is probably the most popular work of the reed quintet repertoire. Composed in 2014 expressly for the reed quintet instrumentation of clarinet, oboe, saxophone, bass clarinet, and bassoon, Mellits delivers a work suitable for introducing the reed quintet to ears which may never have heard it before. Splinter is comprised of short “miniatures,” each with their own personality. Combined, they each express unique emotional qualities through hocketing rhythms and colorful orchestrations. Mellits often composes for amplified acoustic instruments, including percussion, piano, and strings. Rhythmic drive and development is a major component to his music, but does not overshadow his use of elongated phrases, subtle and effective harmonic motion, and beautiful textural creations. 

Rites for the Afterlife
After Akropolis and two other reed quintets chose Stacy Garrop as winner of the 2018 Barlow Prize for music composition, she was granted the Barlow Endowment’s prestigious prize to compose her first reed quintet, which Akropolis premiered in 2018. It was the first time the Endowment chose the reed quintet to award this prize for a new composition. Stacy chose for her subject matter the Egyptian’s beliefs about the afterlife. The piece follows the soul into and through the afterlife, including the spells and enchantments contained in The Book of the Dead, the funerary barque which tows the soul through the Netherworld, its arrival in the Hall of Judgement to be weighed against a feather from Maat—the goddess of truth—and its final resting place at the field of reeds where it is united with family members, harvesting plentiful crops along the Nile under a brilliant blue sky forever. 
Seed to Snag…
Seed to Snag…is paired with Mellits’ Splinter as a presentation of two contrasting works which reflect upon nature through music. Composer Theo Chandler has a diverse musical and educational background for a traditionally-trained classical composer (Oberlin, Juilliard, Rice), and so he explores textures in more ways than other composers might think to. If we define texture in music as the way two or more instruments’ sounds combine to create new sounds, Chandler is able to do this not just through various registers and chords, but through rapid scalar runs which weave different instruments together in the first movement, through layers of loud and quiet sounds such as in the second movement bassoon solo, and in the third movement through a playful but unorthodox canon. Seed to Snag… was commissioned by Akropolis and the I-Park Foundation. 
Homage to Paradise Valley
Homage to Paradise Valley was commissioned by and composed for Akropolis in 2019, with support from the Chamber Music America Classical Commissioning Program, with generous funding from The Andrew W. Mellon Foundation. Paradise Valley, a now-displaced neighborhood of Detroit, Michigan, became of interest to Jeff Scott after he and Akropolis visited the Charles H. Wright Museum of African American History in Detroit, while Jeff’s quintet, Imani Winds, was passing through Detroit on tour. Homage to Paradise Valley utilizes Jeff’s diverse musical background as a jazz and studio musician in New York City. 
Comprised of 4 movements, Jeff Scott provides these notes about each movement:
“1. Black Bottom was a predominantly black neighborhood in Detroit, Michigan. The term has sometimes been used to apply to the entire neighborhood including Paradise Valley, which reached from the Detroit River north to Grand Boulevard. In the early 20th century, African-American residents became concentrated here during the first wave of the Great Migration to northern industrial cities. Informal segregation operated in the city to keep them in this area of older, less expensive housing. The name of the neighborhood is often erroneously believed to be a reference to the African-American community that developed in the 20th century, but it was named during the colonial era by the early French settlers because of its dark, fertile topsoil (known as river bottomlands). Black Bottom/Paradise Valley became known for its African American residents’ significant contributions to American music, including Blues, Big Band, and Jazz, from the 1930s to ’50s. Black Bottom’s substandard housing was eventually cleared and redeveloped for various urban renewal projects, driving the residents out. By the 1960s the neighborhood ceased to exist. 
2. Hastings Street ran north-south through Black Bottom and had been a center of Eastern European Jewish settlement before World War I, but by the 1950s, migration transformed the strip into one of Detroit’s major African-American communities of black-owned businesses, social institutions, and nightclubs. Music was the focal point of Hastings Street, with world-famous jazz and blues artists visiting almost daily. 

3. From the Bantu language of Swahili, “Roho, Pumzika kwa Amani” (Spirits, Rest Peacefully) is a lullaby. My humble offering to the many souls who came before me, and preserved through the middle passage, decades of slavery, disenfranchising laws, and inequality. I am who I am because of those who stood before me. May their spirits rest peacefully. 
4. Orchestra Hall where the Detroit Symphony Orchestra now performs closed in 1939, but reopened in 1941 as the Paradise Theater. For 10 years it would then offer the best of African-American musicians from around the country. Duke Ellington opened Christmas week with his big band, admission was 50 cents, and patrons could stay all day. There were 3 shows every day and 4 on weekends. “B” movies where shown between acts. During the glory days of jazz the Paradise Theater saw Ella Fitzgerald, Billy Eckstine, Billie Holiday, and many more. “Paradise Theater Jump” is dedicated to the famed theater and harkens to the up-tempo style of “jump blues,” usually played by small groups and featuring saxophone or brass instruments.” 
One can learn more about this part of Detroit’s history by visiting the Detroit Historical Society website at