This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Mr. Boles studies doiuble bass with Joseph McFadden.https://digitalcommons.kennesaw.edu/musicprograms/1524/thumbnail.jp

Boles, Jarod Dylan

Brookins, Justin

Gregory, Ryan

Ng, Stephanie

Silva, Dorian

Urizar, Jonathan

English

DigitalCommons@Kennesaw State University

Kennesaw State UniversityCollege of the ArtsSchool of MusicpresentsSenior RecitalJarod Dylan Boles, double bassStephanie Ng, pianoTuesday, May 6, 2014 4:00 p.m.Music Building Recital HallOne Hundred Thirty-eighth Concert of the 2013-14 Concert SeasonProgramThis recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance.Mr. Boles studies doiuble bass with Joseph McFadden.ZOLTÁN KODÁLY (1882-1967)Epigrams 1. Lento2. Andantino3.4. Moderato5. Allegretto6.7. Con motoDMITRI SHOSTAKOVICH (1906-1975)Adagiofrom Unforgettable 1919 MAX BRUCH (1838-1920)Kol Nidrei IntermissionANTONÍN DVOŘÁK (1841-1904)String Quintet No. 2 in G Major, Op. 77 I. Allegro con fuocoII. Scherzo. Allegro vivaceIII. Poco andanteIV. Allegro assaiRyan Gregory, violinJonathan Urizar, violinJustin Brookins, violaDorian Silva, celloProgram NotesEpigramsZOLTÁN KODÁLY (1882-1967)The nine Epigrams (Epigrammák) were composed in 1954 along with several oth-er educational works designed to exemplify Kodály’s method of musical education. They were originally conceived as vocalises, for a wordless voice and piano ac-companiment, but the voice part can be adapted to almost any instrument. In these little pieces, grave, gay or lyrical, with their discreet polyphonic imitations between melody and accompaniment, the Hungarian accent is so perfectly absorbed into Kodály’s habit of discourse that there is hardly a hint of the exotic about them: they simply testify to a rare serenity of spirit and delight in music-making.- notes by Calum MacDonald © 2010http://www.hyperion-records.co.uk/dw.asp?dc=W12994_67829&vw=dcAdagio from Unforgettable 1919 DMITRI SHOSTAKOVICH (1906-1975)After being virulently condemned as a "formalist," at the 1948 Composers' Union Congress, Shostakovich could not possibly continue composing large scale, ab-stract symphonic canvases. Survival called for the production of patriotic oratorios like the Song of the Forests (1949), popular film scores based on the lives of Soviet heroes like Michurin (1948) and a series of light, entertaining ballet suites.The second of these ballet suites was compiled and arranged by Levon Atovmyan in 1951. The music is indeed light and entertaining to the point of banality, even triviality. To say that the blandly trite music of the suite could have been composed by a modern-day Delibes with a more lurid palette or a Russian Offenbach with-out a sense of irony just about catches the spirit of the works. The amazing thing about the suite, however, is that much of the music is drawn for the most part from Shostakovich's ballet, The Limpid Stream of 1935, a work which had been con-demned by Pravda in 1936. Recycled and re-named, however, the music, amaz-ingly, became acceptable to the Party.The Second Suite's six movements are as follows: Waltz, Adagio (from Act II of The Limpid Stream), Polka, (from Jazz Suite No. 1), Sentimental Romance, Spring Waltz (from Michurin), and Finale.- James Leonardhttp://www.allmusic.com/composition/ballet-suite-no-2-for-orchestra-assembled-by-atovmyan-mc0002355746Kol Nidrei MAX BRUCH (1838-1920)Max Bruch’s Kol Nidrei, like Prokofiev’s overture, is a piece of ersatz Judaica, but one that has achieved such prominence among the composer’s works that he has occasionally been mistakenly called a “Jewish composer,” which he decidedly was not. He was actually a German Lutheran who is known to have expressed anti-Semitic sentiments, but he was also a confirmed musical armchair traveler, fond of using “exotic” ethnic melodic material. His Scottish Fantasy for violin and orchestra is a similar venture into foreign folk music, and is similarly one of the works for which he is best known, though he is seldom mistaken for a Scot.The Kol Nidre melody was as exotic a tune as a German Protestant was likely to come across, and Bruch got it more or less the same way Prokofiev got his “He-brew themes”: it was handed to him by a member of a choir that he directed. He composed this work for cello and orchestra in 1881, the year he went to England to take up the post of director of the Liverpool Philharmonic.http://www.laphil.com/philpedia/music/kol-nidrei-for-cello-and-orchestra-max-bruchString Quintet No.2 in G Major, Op. 77 ANTONÍN DVOŘÁK (1841-1904)The String Quintet in G Major, Op. 77 was written much earlier in his career than its opus number would suggest. It is written in 1875, when Dvořák was 32 years old, originally numbered op 18. It lay, unknown, for over a decade, until Dvořák returned to some of his earlier unpublished work to polish and print in order to keep up with the demands of his well established fame. Though it is an early chamber work, it is unmistakably Dvorak.The string instrument that turns a quartet into a quintet varies with each composer or work; Mozart added a viola, Schubert, a cello. Most string quintets feature one or the other. In this case, Dvořák chose the double bass, selecting an infrequent guest in the chamber ensemble but thereby matching the full palette of the sym-phony orchestra. The breadth and range of sound is notable in this lush quintet in at least three ways: the surprisingly deep baselines, the liberation of the cello, and the sheer fullness of sound. With Dvořák’s skill, what borders on the edge of a chamber orchestra maintains a rich chamber texture throughout.The first movement is an energetic (con fuoco or with fire) sonata with crystal clear themes and a powerful development. The second movement comes closest to Dvořák’s later style characterized by lively folk dance and his ability to expand the scherzo form with cogent variety. The third movement slows into a lyrical song, tinged with a blend of melancholy and nobility that earned Dvořák comparisons with Schubert. The finale restores the drive and drama of the earlier movements with yet more winning melodies, the fullest textures and the most prominent parts for the mighty groundswell of the bass.http://earsense.org/chamberbase/works/detail/?pkey=807BiographiesJarod Boles began his studies at Kennesaw State University in 2010. He has been a member of the KSU Symphony Orchestra since his arrival and has served as Principal Bass since 2012. He has also played alongside the KSU Wind Ensemble, as well as chamber ensembles in both classical and jazz settings. Inter-national performances have brought him on tour with the KSU Symphony Orches-tra to Beijing and Xi’an. Jarod was selected to perform with the GMEA All College Orchestra in 2012 and attended the Eastern Music Festival for summer study in 2012. Recently, he has performed with the Georgia Symphony Orchestra, and North Georgia Symphony Orchestra.Jarod currently studies with Joseph McFadden of the Atlanta Symphony Orchestra and will continue his studies as a Master’s student at Indiana University’s Jacobs School of Music under Bruce Bransby in the fall. Stephanie Ng began playing piano when she was 10 years old and studied with Dr. Rima Anatolievna at the Moscow Conservatory in Moscow, Russia, and Professor David Watkins at Kennesaw State University. She made her first orches-tral appearance when she was 13, playing Rachmaninoff’s Second Piano Concerto with the Ludwig Symphony Orchestra. In December 2008, she performed Dvorak’s Second Piano Quintet with the Halcyon Quartet in the Midwest Clinic in Chicago. In 2009, she performed Chopin’s First Piano Concerto with the Atlanta Community Symphony Orchestra as a winner of the 35th Annual ACSO Ruth Kern Young Art-ists Concerto Competition. She was selected as the recipient of the Emanuel Ax Piano Scholarship in honor of Dean Joseph Meeks in 2010.Most recently, Stephanie won The American Prize in Piano Concerto Performance. She has performed in many master classes with internationally acclaimed artists including Grammy Award-winning contemporary music sextet eighth blackbird, Alessio Bax, Robert Henry, Marianne Jacobs, Roberto Plano, and Orion Weiss. In addition to playing classical music, she plays piano for several local theatre pro-duction companies. Some musicals she has played in include Fame, Little Shop of Horrors, and Once Upon a Mattress. Apart from her music, Stephanie enjoys web designing and spending time with her family and friends."In Loving Memory of Douglas Sommer."Interim DirectorMichael AlexanderWoodwindsCecilia Price, FluteTodd Skitch, Flute Christina Smith, Flute Elizabeth Koch Tiscione, Oboe Dane Philipsen, Oboe John Warren, Clarinet Laura Najarian, Bassoon Sam Skelton, SaxophoneBrass and PercussionDoug Lindsey, TrumpetLester Walker, Jazz TrumpetJason Eklund, HornThomas Witte, HornTom Gibson, TromboneWes Funderburk, Jazz TromboneBrian Hecht, Bass Trombone Bernard Flythe, Tuba/EuphoniumMichael Moore, TubaJustin Chesarek, Jazz PercussionJohn Lawless, PercussionStringsHelen Kim, Violin Kenn Wagner, ViolinCatherine Lynn, Viola Allyson Fleck, Viola Charae Krueger, Cello Joseph McFadden, Double BassElisabeth Remy Johnson, Harp Mary Akerman, Classical GuitarTrey Wright, Jazz GuitarMarc Miller, Jazz BassEnsembles & ConductorsLeslie J. Blackwell, Choral ActivitiesAlison Mann, Choral ActivitiesOral Moses, Gospel ChoirEileen Moremen, OperaMichael Alexander, OrchestrasCharles Laux, OrchestrasJohn Culvahouse, Concert BandDavid T. Kehler, Wind EnsembleWes Funderburk, Jazz EnsemblesSam Skelton, Jazz EnsemblesJustin Chesarek, Jazz CombosMarc Miller, Jazz CombosTrey Wright, Jazz CombosVoiceCarolyn DorffAdam KirkpatrickEileen MoremenOral MosesLeah PartridgeValerie WaltersJana YoungPianoJudith Cole, Collaborative Piano & Musical  TheatreRobert HenryTyrone Jackson, Jazz PianoJohn Marsh, Class PianoDavid WatkinsSoohyun YunMusic History & AppreciationDrew DolanEdward Eanes Doug LindseyJohn MarshKatherine MorehouseHarry PriceTrey WrightMusic EducationJanet BonerKathleen CreasyJohn CulvahouseMargaret GrayburnCharles JacksonCharles LauxAlison MannAngela McKeeRichard McKeeHarry PriceTerri TalleyAmber Weldon-StephensMusic Theory, Composition & TechnologyJudith ColeKelly FrancisJennifer Mitchell Laurence SherrBenjamin WadsworthJeff YunekChamber MusicAllyson Fleck Bernard FlytheCharae KruegerCatherine LynnJoseph McFaddenHarry PriceKenn WagnerJohn WarrenSoohyun YunEnsembles in ResidenceAtlanta Percussion TrioFaculty Jazz ParliamentGeorgia Youth Symphony Orchestra & ChorusKSU Faculty Chamber PlayersKSU Faculty String Trio  ,School of Music StaffJulia BeckerBob BeckleanDominic BrunoSteve BurtonDavid DalySusan M. Grant RobinsonJoseph GreenwayDan HeskethJune MauserSchool of Music Faculty and StaffKennesaw State University School of MusicThe School of Music at KSU has dedicated, vibrant, and talented faculty and staff that are completely devoted to teaching, performing, scholarship, and serving our community. It is an incredibly exciting place to study, boasting state-of-the-art facilities with opportunities to produce and explore music in a dynamic place that is ahead of the curve for what it means to be a musician in the 21st century. Our students come from the leading musical honor organizations across the region and are poised to lead the cultural offerings and musical education in our area and beyond for years to come. We welcome you to attend a concert, meet our faculty and staff, and feel the energy and excitement that our students exude. We are fully committed to our purpose as educators, performers, and scholars. We hope that you will find as much enjoyment in our product as we do in producing it. Connect with the School of MusicFor more information about the School of Music, connect with us online at the websites below. Tweet at us during tonight’s concert from Morgan Hall’s Tweet Seats to connect with fellow concertgoers during the performance.facebook.com/musicKSU     twitter.com/musicKSU     youtube.com/musicKSUksutv.kennesaw.edu/musicKSU      musicKSU.comPlease consider a gift to the Kennesaw State University School of Music. http://community.kennesaw.edu/GiveToMusic 

Senior Recital: Jarod Dylan Boles, double bass

https://digitalcommons.kennesaw.edu/cgi/viewcontent.cgi?article=1524&amp;context=musicprograms

Senior Recital: Jarod Dylan Boles, double bass

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