- One ticket to a select Greensboro Symphony Orchestra concert
- Door time: one hour before showtime
- Full offer value includes ticketing fees
Performance and Seating Options
Masterwork Series: “Haydn – The Creation”:
- $18 for rear-balcony or rear-orchestra seating (up to $41.21 value)
- $21 for mid-orchestra or mid-balcony seating (up to $47.64 value)
- $25 for mezzanine or front-orchestra seating (up to $53.85 value)
- Within each option, available sections vary by concert.
For each option, choose between the following venues and showtimes:
- Aycock Auditorium on Thursday, February 26, at 7:30 p.m.
- Dana Auditorium at Guilford College on Saturday, February 28, at 8 p.m.
Chamber Series: String Quartet:
- $18 for general admission at UNCG Recital Hall on Friday, February 27, at 8 p.m. (up to $39.16 value)
Masterwork Series: “Haydn – The Creation”
In scope and theme, The Creation is as about as ambitious as a composition can get: it takes on nothing less than the development of the world out of nothingness. For a chorus, there are archangels Gabriel, Uriel, and Raphael, who sing as if watching the stirrings of creation from afar. Of course, not all of it is human, and it’s up to the orchestra to evoke pre-big bang chaos, light and water, and the many animals that flit through the sky and creep over the earth in grand, poetic washes of sound.
Haydn didn’t rest upon finishing The Creation. In fact, he made the three-part, 34-movement epic even larger and more powerful after hearing it himself for the first time, expanding the personnel to 120 instrumentalists and 60 singers between its private and public premieres.
Chamber Series: String Quartet
During Lent of 1783 at the Cathedral of Cadiz, the worshippers sat in nearly total darkness. Massive swaths of jet-black cloth draped the walls and windows. The only source of light was a single lamp, suspended from the very peak of the high ceiling. Those in attendance were, in effect, alone with the last remarks of Christ (as delivered by their bishop)—and with the moving new music written for the occasion by Joseph Haydn, performed in 10-minute segments after each of the bishop’s remarks.
The format was strict. In a preface to a print edition of Seven Last Words of Christ on the Cross, Haydn confessed, “Indeed, I found it quite impossible to confine myself to the appointed limits.” He also seems to have found it impossible to put the work away: although initially composed as a solely orchestral piece—albeit one built on melodies that would “echo” the Latin text of each piece of scripture—he later added voices to a concert version. Later, he compacted it into a string quartet, performed this evening. Ches Kennedy will deliver narration to stir some of the spiritual intensity the listeners at Cadiz must have once felt.
Greensboro Symphony Orchestra
The Greensboro Symphony’s mighty oak has grown from the most acornic of beginnings—its story started in the 1920s with a group of musicians at Woman's College. Over the years, the symphony has grown into a cultural cornerstone of the community, with community-outreach programs, youth-involvement events, a secret volcano headquarters, and an endowment fund.