California Polytechnic State University San Luis Obispo James Ga�ardo • string bass • A Senior Recital in Partial Fulfillment of the Requirements for a Bachelor of Arts in Music Paul Woodring, accompanist May 26, 2017 Friday at 7 p.m. Davidson Music Center Room 218 Sponsored by Cal Poly’s Music Department and College of Liberal Arts Program Senior Recital James Gallardo, string bass and five-string bass Paul Woodring, piano Romance and Rondo . Franz Anton Leopold Joseph Keyper (c . 1756-1815) Adagio Allegretto Ode d’Espagne . François Rabbath (b . 1931) Violin Sonata in E minor, Op . 5, No . 8 . Arcangelo Corelli (1653-1713) Preludio arr . by Fred Zimmermann Allemanda Sarabanda Giga — Intermission — Day After Thanksgiving . Sean Collins (b . 1992) and Josh Collins (b . 1994) arr . by James Gallardo (Rise) Miley the Cyrus . James Gallardo (b . 1990) James Gallardo, electric bass, fretless bass, and five-string bass Ron McCarley, tenor saxophone and effects Matthew Seno, electric and acoustic piano Darrell Voss, drums Cantaloupe Island . Herbie Hancock (b . 1940) . arr . by Gallardo Talia Ortega, vocals and flute Trent Braswell, alto saxophone Text Cantaloupe Island by Herbie Hancock Lyrics by James Gallardo Verse island this lovely place secluded with you lady angelic grace i think of you (Chorus) secret shores of heaven bear our fruit of passion Verse island this perfect space alone with you lady luscious face i see in you Program Notes “Knowledge will set you free” —John Coltrane (1926-1967) Romance and Rondo Although little is known about the Danish double bassist and composer Franz Anton Leopold Joseph Keyper, we do know he was born in Silesia and was a father of two sons . Keyper would eventually become the first contrabassist at the Danish Royal Chapel from 1788 right up until his death in 1815 . TheRomance and Rondo, written two years before Keyper’s acceptance into the Danish Royal Chapel (1786), is a compilation of the second movement of Keyper’s Double Bass Concerto No . 1 in G major and the last movement of his Double Bass Concerto No . 2 in G major . However, the Romance and Rondo was manipulated for different solo instruments such as cello or viola, as well as for double bass with orchestra . This flexibility was possible because the work showcases two technically challenging performance aspects . Similar to real human romances, Keyper’s first movement undergoes contrasting moods . TheRomance has a sensual legato bass melody in the first section with an expressive dolce or “sweetly” somber introduction . However, the second section has a boisterous and confident quality expressed in the bass melody accompanied by a responsive chordal piano . The first section then returns, making the firstRomance movement an “ABA” or ternary form . TheRondo conveys a distinct lighthearted and whimsical emotion with flashy precision . The art of harmonics—a specialized technique requiring the performer to touch the string lightly above the finger-board while playing closer to the bridge with the bow—makes the bass sound like a flute . The tempo of this piece is faster in comparison to the Romance . However, this movement is distinguished by its heavy or more rhythmic melody and accompaniment parts . The bass melody contains quick, solemn inflections that also contrast with theRomance . Moreover, there are certain measures in which the piano and bass create a call-and-response alternation . Ode d’ Espagne After François Rabbath received his first double bass at age thirteen, to thwart his brother’s temptation to touch or steal the instrument, Rabbath slept with his bass . He was born into a musical family of six boys and three girls in Aleppo, Syria . In 1945, the family moved to Beirut, Lebanon, where Rabbath later found an old copy of Edouard Nanny’s contrabass method in a local tailor shop . Through persistence and dedication, Rabbath, since he read neither music nor French, began to teach himself . His American debut was in Carnegie Hall in 1975, and Rabbath is now known for his virtuosity as a double bassist as well as being a gifted teacher . Rabbath acknowledges he is primarily “self-taught” and “proud of it ”. He plays a variety of styles, including classical, folk, and jazz . In the Art of the Bow DVD, Rabbath claims, “Music that sounds good is a miracle and should be celebrated ”. In performance, Rabbath “throws his ego away” and “plays from his heart ”. Despite his early virtuosity, Rabbath didn’t record and release his first album The Sound of Bass until 1963, at age thirty-two . His Ode d’ Espagne, for solo bass, has an expressive-flamenco tone and is marked “quasi ad lib,” which means to play freely at the performer’s discretion . As indicated by the title, Rabbath wrote this unaccompanied piece for Spain . Percussive techniques plus passionate and bold sounds help connect this piece to that country . The performer should accentuate different articulations commonly used for finger-style guitar performance practice . This piece is broken up into two contrasting sections that explore the colorful tones and techniques of the bass guitar . Violin Sonata in E minor, Op. 5, No. 8 While there is little evidence about Arcangelo Corelli’s upbringing, he was one of Rome’s foremost violin virtuosos who composed solo sonatas for his own use . John Hawkins, who wrote A General History of Science and Practice of Music, describes Corelli as “remarkable for the mildness of his temper and the modesty of his deportment ”. A contemporary portrait by the Irishman Hugh Howard, who visited Italy during 1697-1700, emphasizes the composer’s archangel-like serenity . Corelli’s influence and reputation spread as much through the publication of his works as through his teaching . He is often credited with the clearest exposition of the difference between the “church” and “chamber” varieties of sonata, and the establishment of four movements as the norm in both . Corelli’s sonatas would eventually be valued throughout the eighteenth century and into the nineteenth as the supreme study material for the violinist . Corelli’s Op . 5, “The Solo Sonatas,” was written and dedicated in 1700 to the Electress Sophie Charlotte of Brandenburg and privately published the same year by Corelli . Corelli intended the Sonata in E minor, No . 8, to consist of a duo: violin and violone (similar to a double bass) . Number 8 is a sonata da camera, or “chamber sonata,” consisting of a suite (or collection) of seventeenth-century Baroque dances . The Preludio, or prelude, starts Largo (slowly) and introduces the suite in a bold and satisfying mood . The second section has similar melodic material to that found in the first section but it is in a lighter character, building tension as it moves towards the end of the piece . Corelli indicates that the performer should add musical ornaments such as trills, which consist of a rapid alternation between two adjacent notes . Trills are found in all four movements, including the Preludio . However, a Baroque-style trill requires the performer to play a whole or half step above the given pitch when the trill is indicated . Allegro, meaning to play briskly, starts this Allemanda dance . However, because of this increased tempo, this two-section movement drastically changes moods . The first section has a bouncy rhythmic structure, with emphasis on strong beats and pick-up notes . The second section has a cheerful tone and an eloquent attitude . There are a few repeated melodic devices played in the main bass melody; when this happens, the piano accompaniment plays beautiful supportive chords that sometimes enter as a response to the main melody . Though this third movement is rhythmically changed, the main theme from the Prelude returns and is played by the soloist . In contrast to the previous movement, this dance movement is felt in triple meter (three beats in every measure) . Furthermore, a stronger pulse or feeling should be heard on beat two of every beat . The Sarabanda dance also contains two sections . To help keep the sense of time, the left hand of the piano plays a continuous walking bass pattern . The right hand of the piano also plays two-note voicings, particularly on beats two and three, to help sustain the pulse . The Giga movement is somewhat distinctive from the earlier movements, as this dance is found usually at the end of a large suite or piece, and its emphasis is always on strong beats . The main pulse is felt on beat one of every first group of three short notes . The Allegro tempo makes this the fastest movement of the sonata . The Giga dance, split up into two sections, is also distinguished by wide leaps in the melody . However, the second section is slightly different because the main melody repeats itself in an ascending pattern and then descends towards the end of the section . For variety, the piano’s left and right hands switch their roles during each section . Day After Thanksgiving Despite Sean and Josh Collins having separate reasons for playing music, they each hold true to both clarity and honesty . Sean told Will Jones in Journal Plus: People of the Central Coast, “I didn’t really start taking music serious until I graduated high school ”. In contrast, Josh wanted to express himself through music and started practicing many hours every day . Josh credits fellow San Luis Obispo high school student and dear friend Caleb Hensinger, stating, “He introduced me to jazz and practiced all the time for the right reasons, because it was fun and he wanted to improve . I had to learn how to build a good relationship with practicing ”. Josh received his first guitar when he was eight and starting taking lessons from jazz guitarist Gary Drysdale . In 2017, he recorded a bebop album with renowned jazz vibraphonist Charlie Shoemake and bassist Keegan Harshman .