This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Music Education. Ms. Mason studies oboe with Elizabeth Tiscione.https://digitalcommons.kennesaw.edu/musicprograms/1292/thumbnail.jp

Jackson, Gail

Mason, Lisa

English

DigitalCommons@Kennesaw State University

Kennesaw State UniversityCollege of the ArtsSchool of MusicpresentsSenior RecitalLisa Mason, oboeGail Jackson, pianoSaturday, October 26, 2013 7:00 p.mMusic Building Recital Hall Twenty-fifth Concert of the 2013-14 Concert SeasonProgramThis recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Music Education.Ms. Mason studies oboe with Elizabeth Tiscione.BENJAMIN BRITTEN (1913-1976)Six Metamorphoses after Ovid Opus 49I. PanII. PhaetonIII. NiobeIV. BacchusV. NarcissusVI. ArethusaJEAN SIBELIUS (1865-1957)The Swan of TuonelaIntermissionFRANCIS POULENC (1899-1963)Sonata for Oboe and PianoProgram NotesSix Metamorphoses after Ovid Opus 49BENJAMIN BRITTEN Born November 22, 1913, Lowestoft, United KingdomDied December 4, 1976, Aldeburgh, United KingdomIn 1951 Benjamin Britten composed six pieces for solo oboe dedicated to and performed by Joy Boughton (daughter of Britten’s friend and fellow composer Rut-land Boughton) during the 1951 Aldeburgh Festival. Britten’s inspiration was Ovid, the Roman poet who died in 17AD in exile on the coast of the Black Sea. Ovid’s greatest work is Metamorphoses, a fifteen-volume treatise of the disillusionment of his generation. Britten used six legendary figures who appear in Ovid’s treatise as inspiration for his work. I. PAN, who played upon the reed pipe, which was Syrinx, his beloved. Depicting this free-spirited mythological figure, the first movement is marked Sen-za misura or ‘without measure.’ This combined with frequent fermatas gives the piece an ad libitum feel. II. PHAETON, who rode upon the chariot of the sun for one day and was hurled into the river Padus by a thunderbolt. Marked Vivace ritmico, the second movement depicts Phaeton's ride on the chariot of his father, the sun god Helios. As the rhythmic music ascends, Phaeton soars too high toward the sun. Then as the music descends, Phaeton plummets toward the Earth. III. NIOBE, who, lamenting the death of her fourteen children, was turned into stone. In contrast to the previous movement, Niobe takes a slower Andante tempo. Meant to evoke images of Niobe’s tears, this movement is marked piangendo, or ‘weep-ing.’ IV. BACCHUS, at whose feasts is heard the noise of gaggling women's tattling tongues and shouting out of boys. This lively movement is divided into four sections marked Allegro pesante, Più vivo, Tempo primo, and Con moto, respectively. V. NARCISSUS, who fell in love with his own image and became a flower. The fifth and longest movement is marked Lento piacevole, or 'slow and pleasant', and depicts Narcissus’ self absorption and fixation on his own image. The music frequently switches style between Narcissus’ actual self and the depiction of how he views himself. VI. ARETHUSA, who, flying from the love of Alpheus the river god, was turned into a fountain. The work is concluded with a piece that evokes pleasant images of the beautiful Arethusa and the flowing water she became.The Swan of TuonelaJEAN SIBELIUSBorn December 8, 1865, Tavastehus, Finland Died September 20, 1957, Järvenpää, FinlandAs a student of the first ever Finnish-language grammar school in Hämeenlinna, Finland, Jean Sibelius studied the Kalevala, a collection of verses from ancient Finnish mythology. Compiled in 1849 by Elias Lönnrot, the Kalevela is the epic poem of Finland. Inspired by this work, Sibelius dreamed of writing an opera based on this legend which he entitled The Building of the Boat. The opera was modeled after Richard Wagner’s opera cycle The Ring of Nibelung, based on the Middle High German epic poem Nibelungenlied. Although this work was never fully com-pleted, the prelude of this opera remains: The Swan of Tuonela.In 1896 Sibelius incorporated The Swan of Tuonela into a new symphonic suite: The Lemminkäinen Legends, otherwise know as the four tone poems of the Four Pieces from the Kalevala. The Legends revolve around the figure of Lemminkäin-en, a young and powerful hero- not unlike Wagner’s Siegfried. Each of the four tone poems depicts a moment in Lemminkäine’s adventures- hunting, seducing, fighting, and even overcoming his own death. If played in their original order, the four pieces do not tell the epic in chronologi-cal order. In fact The Swan of Tuonela was originally composed to be the third movement of the work, but was moved to the second movement where it fits the standard place in a symphony for a slow movement.The Swan of Tuonela vividly paints the scene as a plaintive english horn mel-ody rides serenely over deep string sonorities. This movement recounts Lem-minkäine’s adventure into the underworld. The underworld is represented by the strings which are muted throughout and are subdivided into over thirteen separate lines. In order to win the love of a Goddess’s daughter, Lemminkäin is told he must kill a swan that swims in Tuonela’s waters. However as Lemminkäin approaches the water, the swan sings its mournful song, which is played by the english horn whose dark sound is reinforced by the absence of the brighter flutes and trumpets. Lemminkäin is moved by the swan’s song and cannot complete his quest.“Tuonela, the land of death, the hell of Finnish mythology, is surrounded by a large river of black waters and a rapid current, in which The Swan of Tuonela glides majestically, singing.”- Jean SibeliusSonata for Oboe and PianoFRANCIS POULENCBorn January 7, 1899, Paris, FranceDied January 30, 1963, Paris, FranceFrancis Poulenc’s last composition, Sonata for Oboe and Piano, was premiered after his death in 1963. The work was written in memory of Russian composer, pia-nist and conductor Sergei Prokofiev who died in 1953. Despite Poulenc’s religious-ness, in this work Poulenc creates an atmosphere that offers no consolation when faced by death. In this sonata the traditional sequence of movements is inverted resulting in a slow-fast-slow pattern. The first movement, Elégie, is written in modified ABA form following a pastorale, short, unaccompanied fragment played by the oboe. The mood of this movement begins with a melancholy tone but shifts into an explosive minor section to signify a battle against the reality of death. The second movement, Scherzo, is marked Très animé and provides an abrupt change in mood. This movement introduces a perpetual motion that is perhaps a nod to Prokofiev. The motion is a bit off, interspersing 9/8 into a 6/8 theme and clipping or adding notes to ends of phrases. However, there is a gentle, tonal contrast in the middle of the movement that is a reprieve that features an expan-sive, peaceful melody. This reprieve is short lived when the A theme returns for a whirlwind ending. In another dramatic change, Déploration takes the B theme featured in Scherzo and condenses it. The high tessitura melody begins the movement in a pensive and grieving way. This movement features wide ranges in dynamics and key. The final statement of the work is contained within a diminished fourth and the music dies away harmonically unresolved.BiographyLisa Mason is currently a Senior Music Education Major at Kennesaw State University. She has served as Principle Oboe and Principle English Horn of the Kennesaw State University Orchestra and Wind Ensemble. As a student of Elizabeth Tiscione, Principle Oboist of the ASO, Ms. Mason performs in many small ensembles and as a freelance artist, including various operas, substituting for the Georgia Symphony Orchestra, and performing alongside the band Kansas with the KSU Orchestra. Ms. Mason has also taken various masterclasses with Dane Philipsen, principal oboist for the Georgia Symphony Orchestra, and Stephen Taylor, member of the Chamber Music Society of Lincoln Center. Ms. Mason is currently studying conducting with Dr. David Kehler, Director of Bands at Kennesaw State University. Along with performing, Ms. Mason teaches a local oboe studio. She has also appeared as a clinician for middle school band clinics, and has worked with the Effingham County High School Front Ensemble during their 2012 season. Ms. Mason was recently selected to write program notes for select KSU Premiere Series concerts for 2013-2014. She will also present her paper on Richard Wagner’s influence on Adolf Hitler at the 2014 Symposium of Student Scholars at Kennesaw State University. Ms. Mason currently conducts the Kennesaw State University Concert Band as one of two student conductors.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, 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 Douglas Sommer, Double Bass 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 ChoirRussell Young, Opera & Musical TheatreEileen Moremen, OperaMichael Alexander, OrchestrasCharles Laux, OrchestrasJohn Culvahouse, Wind EnsemblesDavid T. Kehler, Wind EnsemblesWes Funderburk, Jazz EnsemblesSam Skelton, Jazz EnsemblesJustin Chesarek, Jazz CombosMarc Miller, Jazz CombosTrey Wright, Jazz CombosVoiceCarolyn DorffAdam KirkpatrickEileen MoremenOral MosesLeah PartridgeValerie WaltersJana YoungRussell Young, Vocal CoachPianoJudith Cole, Collaborative PianoRobert HenryTyrone Jackson, Jazz PianoJohn Marsh, Class PianoDavid WatkinsSusan White, Class PianoSoohyun 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 StaffUpcoming EventsUnless otherwise noted, all events will take place at 8:00 pm in Morgan Concert Hall.We welcome all guests with special needs and offer the following services: easy access, companion seating locations, accessible restrooms, and assisted listening devices. Please contact a patron services representative at 770-423-6650 to request services.Monday, October 28Faculty Recital: Robert Henry, pianoTuesday, October 29KSU Chamber Singers andMen’s EnsembleMonday, November 4Faculty Recital: Doug Lindsey, trumpetTuesday, November 5Jazz Guitar Ensemble and Jazz CombosWednesday, November 6Gospel ChoirThursday, November 7Classical Guitar EnsembleSaturday, November 9Trumpet Ensemble and Trombone ChoirMonday, November 11Jazz CombosKennesaw 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 fa-cilities 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 en-ergy and excitement that our students exude. We are fully committed to our pur-pose 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 web-sites 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: Lisa Mason, oboe

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Senior Recital: Lisa Mason, oboe

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