This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Mr. Martin studies piano with Robert Henry.https://digitalcommons.kennesaw.edu/musicprograms/1491/thumbnail.jp

Martin, Joshua

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Friday, May 3, 20134:00 p.m.Dr. Bobbie Bailey & Family Performance CenterMorgan Concert HallOne Hundred Forty-first Concert of the 2012-2013 SeasonCapstone Senior RecitalJoshua Martin,piano  presentsKennesaw State UniversityCollege of the Arts School of MusicKennesaw State UniversitySchool of MusicAudrey B. and Jack E. Morgan, Sr. Concert HallMay 3, 2013       Estampes                                                                                   Claude Debussy                                                                                                             (1862–1918)     III. Jardins sous la pluiePiano Sonata No. 7 in D Major, Op. 10, No. 3        Ludwig van Beethoven                                                                                                              (1770–1827)     I. Presto     II. Largo e mesto     III. Menuetto e trio     IV. RondoPrelude and Fugue in F Minor, WTC Book II, BWV 881               J. S. Bach                                                                                                             (1685–1750)     I. Praeludium     II. FugeIntermission Les Cyclops                                                                    Jean-Philippe Rameau                                                                                                            (1683–1764)Fantasie-Impromptu, Op. 66                                                 Frederic Chopin                                                                                                             (1810–1849)Jeux d’eau                                                                                     Maurice Ravel                                                                                                             (1875–1937)L’Alouette                                                                                   Mikhail Glinka                                                                                                             (1804–1857)                                                                                                arr. Mily Balakirev                                                                                                              (1837–1910)Petite Valse, Op. 36                                                          Alexander Glazunov                                                                                                             (1865–1936)This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance.Mr. Martin studies piano with Robert Henry.Claude Debussy - Jardins sous la pluie, EstampesOne of the singular revolutionaries in the shift of musical thought, French com-poser Claude Debussy applied the paradigm of Impressionist painters to his mu-sic, striving to achieve color and atmosphere more than lush themes and clever form. Jardins sous la pluie, meaning “Gardens in the rain,” portrays elements of a rain shower, painting images of tinkling drops, tides, and mist tossed by the gales. Throughout the piece, Debussy makes use of whole tone scales (an entirely new concept at his time) and chromaticism to create dreamy passages without relying on a specific key.Ludwig van Beethoven - Piano Sonata No. 7 in D Major, Op. 10, No. 3Beethoven’s 7th sonata represents his earlier Classical style as a composer, though hinting at his stormy writing style to mature in later years. The first movement (Presto) is in a standard sonata form, tossing a four-note de-scending line throughout. The movement is an archetypal representative of Clas-sical writing, maintaining a light and bouncy demeanor.The second movement (Largo e mesto) carries the strong pathos found in Beethoven’s later sonatas, steadily growing to a frightening climax where the main theme is overshadowed by running arpeggios in the right hand.The contrasting third movement (Menuetto e trio) provides a delightful relief from the dark second movement with easy, legato lines, though sprinkled with ram-bunctious interjections, both in the beginning and trio section.The fourth movement (Rondo), somewhat a continuation of the third movement, preserves the light, animated character with a three-chord motif, purposefully in-terrupted by a variety of less important music. Humor is integral to the move-ment, with the motif always returning like a sneer, sometimes with capricious ac-companiment, and often in a different key. The anticlimactic ending of the sonata (piano dynamic) seems to be Beethoven’s final jest at the listener.J. S. Bach - Prelude and Fugue in F Minor, WTC Book II, BWV 881Johann Sebastien Bach’s hallmark work Well Tempered Clavier is possibly the most foundational and influential collection for the keyboard in history. His 48 sets of preludes and fugues in all 24 keys celebrate the revolution in keyboard tuning (al-lowing performers to play in any key with pleasing and consistent tuning between intervals) and have long been a staple of every serious pianist and composer for piano.The F Minor Prelude presents a sighing three-note figure gradually blossoming into a chromatic chain of sequences, prolongations, and resolutions. Though distinctly Baroque in its binary form, the Prelude certainly contains a foreshadowing of Ro-mantic flair with the myriads of stabbing harmonies in the latter half.The Fugue begins with a military theme, stated in both hands and all voices in me-chanical perfection. Though interspersed with allusions to the relative major key, the piece maintains a firm F Minor stance to its end. Jean-Philippe Rameau - Les CyclopsEven in the Baroque period, programmatic music (music that conveys an object, idea, or setting) was explored in abundance. Jean-Philippe Rameau’s short rondo  UPCOMING EVENTSSaturday, May 4, 2013Community and Alumni ChoirMorgan Concert Hall • 8 pmFor the most current information, please visithttp://calendar.kennesaw.eduLes Cyclops - literally, “The Cyclops” - comes from his collection Pièces de Clavecin, possessing an almost improvisatory spirit. Rameau makes frequent use of repeat-ed notes between the hands, imitating the clumsy gait of this mythological beast.Frederic Chopin - Fantasie-Impromptu, Op. 66A virtuosic work in three distinct sections, Chopin’s masterpiece deeply contrasts a perpetual flurry of sixteenth notes with a lyric, soulful middle section immedi-ately characteristic of the composer’s signature writing style, which sews emotion-ally raw melodies with intimate harmonies in the accompaniment. The furious coda in the style of the first and third section is subdued by the quiet reentrance of the middle theme in the left hand, ending the C-sharp minor turmoil with a Picardy third to D-flat major.Maurice Ravel - Jeax d’eauBoth the orchestral and solo piano writings of Impressionist composer Maurice Ravel provide a luxurious source for study. Like Debussy, he aimed for unique colors of note/instrument combinations, sometimes at the price of clear harmonies and a stable tonal center. Jeax d’eau (“Jest of the Waters”) explores water sounds like torrents, waves, and rain drops, and makes heavy use of seventh chords to establish tonality. Hints of early jazz permeate the entire work.Mikhail Glinka - L’AlouetteMily Balakirev’s transcription of “The Lark” comes from a 12-song collection written by Glinka called “Farewell to St. Petersburg.” The piece opens with three simple lines of the melody, adding accompaniment, then growing in complexity with accompanying motives, rapid scales, and acrobatic chord sequences as a sort of theme and variations.Alexander Glazunov - Petite Valse, Op. 36This short waltz (now out of print) is a delightful late-Romantic work by Russian composer Alexander Glazunov, packaging thick textures and flowing lines into light, al-dente music. 

Capstone Senior Recital: Joshua Martin, piano

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Capstone Senior Recital: Joshua Martin, piano

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