FROSTBURG STATE UNIVERSITY

DEPARTMENT OF MUSIC

“THE ANTIPHONAL MUSIC OF GIOVANNI GABRIELI”

Dr. Donny Albrecht, conductor

“PRESENCE”

Peter B. Lewis, conductor

Saturday, December 7, 2024

Woodward D. Pealer Performing Arts Center
Pealer Recital Hall
7:30 p.m.
 PROGRAM

FSU BRASS ENSEMBLE

Canzon Seconda a Quattro Giovanni Gabrieli

(c. 1554/1557-1612)
arr. Raymond Horton

Canzon per Sonare Giovanni Gabrieli

arr. Michael Rondeau

Canzon VI from “Sonata e Canzoni” Giovanni Gabrieli

arr. Mike Magatagan

Sacre Symphonia Giovanni Gabrieli

arr. Serban Nichifor

Triumphal March Giuseppe Verdi

from Aida (1813-1901)
arr. Clair W. Johnson

Fanfare for the Common Man Aaron Copland

(1900-1990)

INTERMISSION

FSU WIND ENSEMBLE

Give Us This Day David Maslanka

(1943-2017)

“X” Daniel Montoya

(b. 1978)

William Byrd Suite Gordon Jacob

(1895-1984)

March from “Symphonic Metamorphosis” Paul Hindemith

(1895-1963)

Bugler's Holiday Leroy Anderson

(1908-1975)
 DIRECTOR’S BIOGRAPHIES

DONNY ALBRECHT enjoys an active career balancing his love of teaching and performing as a
freelance trumpet player in the Washington, DC, area. Dr. Albrecht is the Adjunct Professor of
Trumpet at Frostburg State University. He has held teaching positions at several musical institutions
over his 14-year teaching career from coast to coast. Dr. Albrecht's students have had many careers
as professional musicians.

Dr. Albrecht has had the privilege of freelancing all over the US, from coast to coast, performing
with groups at the Kennedy Center, Boston Symphony Hall, Kupferberg Center for the Arts,
Mondavi Center, Krannert Center, Beantown Performance Center, Murchison Performing Arts
Center, JEN Conferences, NTC Conferences, ITG Conferences, Red clay Jazz Festival, Monterey
Jazz Festival, Bean Town Jazz Festival, Notre Dame Latin Jazz Festival, Isabella Stewart Gardner
Museum, Louis Armstrong Museum, and others. Dr. Albrecht has performed at jazz clubs like Blue
Note Nappa, Mr. Henry's, Ryles Jazz Club, Scullers Jazz Club, Wally's Café, The Beehive, Scat Jazz
Lounge, Jazz UpFront, The Canopy Club, and others.

Dr. Albrecht is a graduate of Berklee College of Music. At Berklee, he studied with Charlie Lewis and Lin Biviano. Upon
leaving Berklee, Dr. Albrecht moved to study with Jay Saunders at the University of North Texas. Dr. Albrecht continued
his musical studies in New York City, attending the Aaron Copland School of Music under the tutelage of Michael Philip
Mossman with additional studies with Tony Kadleck and Nick Marchione. Upon graduating with his Master's in Music
from Aaron Copland School of Music, he would earn his Doctoral Music degree at the University of Illinois Urbana
Champaign under Tito Carrillo, Ronald Romm, and Charles Daval. Dr. Albrecht would also start to study with Bobby Shew
at this time.

Dr. Albrecht's dissertation entitled “Lead Trumpet Style: A stylistic Analysis of Modern Lead Trumpet Playing through the
Examination of Five Prominent Lead Trumpet Players” features the stylistic analysis and interviews of Wayne Bergeron,
Tanya Darby, Jon Faddis, Tony Kadleck, and Bobby Shew.

PETER B. LEWIS is the Director of Bands at Frostburg State University and conducts the
Marching Bobcats, Chamber Orchestra, and Wind Ensemble, as well as teaches coursework in
conducting and music education. Previously, he served as the Assistant Director of Bands at the
SUNY Potsdam Crane School of Music. He holds dual bachelor's degrees in performance
(percussion) and music education from Kent State University where he studied conducting with
Wayne Gorder, and dual Masters of Music degrees in research in music education and wind
conducting from UMass Amherst where he studied with Malcolm W. Rowell, Jr. He has
additional study in conducting with Shanti Simon, Mark Davis Scatterday, Courtney Snyder,
Craig Kirkhhoff, Michael Haithcock, Emily Thrienen, Col. Jason Fettig, and H. Robert Reynolds.

He is the founder of the chamber wind ensemble, Bay State Winds, and served as their artistic director and conductor from
2016 until 2022. As a champion of new music for winds and percussion he commissioned several new works for chamber
winds including compositions by composers Robert Spittal (Winsome Variations - 2020) which premiered in Boston, and
Jake Gunnar-Walsh (Tower of the Winds - 2018).

During his tenure as a public high school music educator, his ensembles performed at Boston Symphony Hall (2014),
Chicago Symphony Center (2014, 2018), and the John F. Kennedy Center for the Performing Arts in Washington, D.C.
(2015). His ensembles also had the privilege to work with composers/conductors John Mackey, Frank Ticheli, Brian
Balmages, Robert Spittal, Anthony Maiello, Malcolm W. Rowell, Jr., and Lt. Col. Arnold Gabriel.

Peter has had the distinct privilege to share the stage with performers such as jazz piano legend Hank Jones, Irish Tenor
Ronan Tynan, and Nexus Percussion Ensemble founding member Bob Becker. Many of his students have enjoyed
successful careers in music including Sean Rosati, guitarist for pop music stars Ava Max and Doja Cat.
 WIND ENSEMBLE PROGRAM NOTES

Give Us This Day (2005) – David Maslanka (1943-2017)

Give us This Day was commissioned by Eric Weirather, Director of Bands at Rancho Buena Vista High School in Oceanside,
Calif., which is in the greater San Diego area. Eric put together a consortium to support the commission. The score was
finished in October of 2005, and the premiere performance was done at Eric's school in the spring of 2006. Since then, with
publication of the piece, and a lot of word of mouth, Give Us This Day has literally taken off. It continues to be performed
all over the U.S., and many places around the world.
The words "give us this day" are, of course, from the Lord's Prayer, but the inspiration for this music is Buddhist.
I have recently read a book by the Vietnamese Buddhist monk Thich Nhat Hanh (pronounced "Tick Not Hahn") entitled
For a Future to be Possible. His premise is that a future for the planet is only possible if individuals become deeply mindful
of themselves, deeply connected to who they really are. While this is not a new idea, and something that is an ongoing
struggle for everyone, in my estimation it is the issue for world peace. For me, writing music, and working with people to
perform music, are two of those points of deep mindfulness.
Music makes the connection to reality, and by reality, I mean a true awakeness and awareness. Give Us This Day
gives us this very moment of awakeness and aware aliveness so that we can build a future in the face of a most dangerous
and difficult time. I chose the subtitle "Short Symphony for Wind Ensemble" because the music really isn't programmatic
in nature. It has a full-blown symphonic character, even though there are only two movements
- Program Note by composer
The composition is written in two movements that are through composed; the first movement begins in a deeply meditative
fashion with a chiming of the piano and sustained perfect fifth in the clarinets, the clarinet soloist plays a melody that is
deeply searching. As the first movement unfolds, the music reveals moments of epiphany and by measure fifty-five, a true
sense of purpose has been discovered. The music continues to weave a colorful sonic tapestry and embody the sense that
convictions have become stronger, belief is transforming into reality. The first movement closes as it began, deeply
meditative and somewhat pensive, almost as if doubt has crept in. The final chord of the first movement confirms our
doubts and offers no resolution.
The second movement launches with the ferocity of certainty, we are taken on a ride for which we do not know
where we are going, only that we are, going. While the second movement lives almost entirely in minor modalities, it still
conveys joy and often being sternly sober. The relentless energy of the second movement is interrupted by an ethereal
middle section, harkening back to the meditative nature of the first movement while the motor-rhythmic undercurrent of the
piano reminds us that we are still, going. It’s as if time has stood still and we are able to clearly despite the rapid pace of
our journey. We are once again thrust back into the relentless ostinato of the opening of the movement, this time however,
it is interrupted by a modal setting of the chorale melody, Vater Unser in Himmelreich ("Our Father in Heaven"), #110 from
the “371 Four-Part Chorales” by J.S. Bach.

X (2013) – Daniel Montoya, Jr. (b.1978)

Daniel Montoya, Jr.’s X is an essay in abstraction; though most of Mr. Montoya’s works have some sort of programmatic
influence (a characteristic he describes himself as generating from a combination of his love for film scores and marching
bands), this piece carries no story or overarching imagery. It is, from a fundamental perspective, absolute music, as opposed
to the dramatic idée fixe of Hector Berlioz’s Symphonie Fantastique.
This isn’t to say, however, that X is free from external influence (indeed, how can any piece of music be in a world
as saturated in background music as the early twenty-first century?). The title, initially more of a placeholder than anything,
began to take on symbolic meaning for its representation of an unknown, like an algebraic variable or the demarcation of
hidden treasure on a pirate map. In his search for finding meaning to inspire the composition, he found the opposite: that
his composition, in and of itself, created its own meaningful existence.
“At some point I realized that I just wanted to write a cool piece. A piece of music that people, hopefully, would
enjoy without having a pre-conceived idea of what it’s supposed to be ‘about.”’
A secondary game plays out in the course of X. Freely exploring the notion of the influence of others’ music on his
own, Mr. Montoya summons forth the voice of nine other composers besides himself (totaling ten, numerically represented
by the Roman “X”) with hidden references woven into the tapestry of sound. The identities of these nine (in a literary twist)
are left to the listener to discover – some are more obvious than others.
 Although the same basic musical materials are explored throughout the piece, they fall into a series of virtuosic
mutations through a flurry of mixed meters. The playful opening motif—shared by bassoon and bass clarinet—is
metamorphosed into full-blown themes throughout the orchestration, allowing the composer to evoke the styles of other
artists. There are three major sections to the work: a vivace opening that percolate with complicated rhythms and
syncopations, a somber midpoint ushered in by a wistful euphonium solo, and a conclusion that weaves the two together
(along with some extra fireworks). Each section is concluded by an explosive shout section that provides emphatic
punctuation to the musical statement. In the end, X, despite representing an unknown quantity, is a playful and spirited
romp, free of the limitations of a fixed label.
X is Montoya’s tenth work for symphonic winds and is dedicated to his parents, Dan and Maria.
- Program Notes by Jake Wallace

William Byrd Suite (1924/1960) – Gordon Jacob (1895-1984)

Keyboard music formed one of Byrd's main compositional endeavors, and the fruit of these labors provided the impulse for
an entire school of Elizabethan keyboard composition. Most of these works were intended for performance at the virginal,
a small relative of the harpsichord in many timbral and mechanical aspects (so named because it was often found in the
bedrooms of unmarried young 17th century ladies). Although Byrd's keyboard works first appear in the 1570s, they only
circulated in manuscript until the publication of My Ladye Nevells Booke (1591) and Parthenia (1611). However, the
Fitzwilliam Virginal Book languished in obscurity until 1899 before receiving publication. This collection comprises the
largest set of Byrd's keyboard works -- around seventy -- and is also regarded as England's foremost collection of keyboard
works. All of the movements Gordon Jacob set in William Byrd Suite have the Fitzwilliam Virginal Book as their source.
Gordon Jacob considered William Byrd Suite "freely transcribed," as virginal players had no means of creating
dynamic shading or timbral contrast on their instrument. Composers created dynamic intensity by adding voices above
and/or below the melody. Similarly, composers created musical intensity by adding lines of increasing complexity,
ornamenting the melody. Jacob remained mostly faithful to Byrd's original melody, harmony, form and figuration, but
added his own orchestrational color and dynamic shading to intensify the aforementioned expressive qualities of the music.
- Program Note Brian K. Doyle

March from “Symphonic Metamorphosis” – Paul Hindemith (1895-1963)

The March from “Symphonic Metamorphosis” is the fourth movement of a larger work entitled, “Symphonic Metamorphosis
on Themes of Carl Maria von Weber”, composed in 1943 and then later revised in 1972. The original composition was
premiered by the New York Philharmonic in 1944 with Arthur Rodzinski conducting. It has since become one of
Hindemith's more popular and enduring works. It was inspired in part by choreographer and dancer Léonide Massine, who
suggested to Hindemith that he compose a ballet based on Weber’s music. However, after watching one of Massine’s ballets
and discovering that Massine intended to use sets and costumes designed by Salvador Dali (an artist whom Hindemith
disliked), Hindemith decided to part ways with Massine, and the project was dropped. A few years later, Hindemith decided
to salvage the music and write a set of variations or metamorphoses instead
Hindemith composed this work in 1943 while teaching at Yale University. Believing strongly that the work should
be made available in a band version, he asked his Yale colleague Keith Wilson to make a transcription. After permission
was finally granted by the publisher in 1960, Wilson worked on this arrangement for 18 months. He regarded it as his
largest and most significant transcription. The important two-bar fragment which is stated by the brass at the outset
reappears and is developed at different points of punctuation throughout the movement. There is also a more lyrical "trio"
theme which is repeated and developed. The form is somewhat different from that of a standard march. The original theme
was meant to be a funeral march; Hindemith doubles the tempo to give the previously morbid tune a jaunty, catchy feel.
The themes Hindemith used are from some of Weber’s most obscure works and came to Hindemith’s attention
because they could all be found in one volume of piano duets that he owned. Hindemith not only retained all but one of the
themes almost exactly as Weber wrote them but also preserved much of the formal structure of the pieces as well, so that it
is possible to follow the general outlines of Hindemith’s score while listening to Weber’s music, or vice versa, and have a
pretty good idea of what’s going on. Hindemith alters nearly everything else, making radical changes to the harmony and
adding to the music both vertically (with different harmonies and new countermelodies) and horizontally (extending phrases
or entire sections)
Buglers Holiday (1954) – Leroy Anderson (1908-1975)
Bugler’s Holiday is a virtuoso composition that features a trio of “buglers” and has become one of Leroy Anderson’s most
well-known works. The piece was first performed on December 31st, 1954, by the Cincinnati Symphony Orchestra,
however, it was Leroy Anderson’s time with the Boston Pops Orchestra where the impetus for Bugler’s Holiday began. In
1945, the Boston Pops lead trumpet player, Roger Voisin, requested that Mr. Anderson compose an original piece for
trumpet, even though it was almost a decade later that Bugler’s Holiday was presented to the world. Leroy Anderson was
hopeful that the work would become a hit and was recorded on the Decca Record Label in June of 1954.
Since its first performance, Bugler’s Holiday has become a part of many Fourth of July celebrations each year, and
is certainly, a “hit” among the canon of Leroy Anderson’s compositional library.

FSU BRASS ENSEMBLE PERSONNEL

Daniel Coughenour - horn

Alex Frye - trombone
Patrick Godfrey - trumpet
Martin Harden - trumpet
Jacob Hunt - percussion
Douglas Holtz - tuba
Zachary Inglish - bass trombone
Morgan Tichnell - trumpet

FSU WIND ENSEMBLE PERSONNEL

PICCOLO BASS CLARINET TRUMPET PERCUSSION

Greta Hulterstrum ~ Gracie Doman Patrick Godfrey * Bryce Campbell
Martin Harden Jacob Deaver
FLUTE ALTO SAXOPHONE Morgan Tichnell Jacob Hunt
Courtney Sechler Gwen Fazenbaker Sam White Daniel Hicks
Ny’Lah Green B. Eileen Martin Gavin Baker
Hailey Beining TROMBONE Jelynna Horsey
OBOE Blake Burhoe Jeremiah Twigg Catherine Owens
Chase Kennedy ~ Christopher Wroten Connor Curtis Abigail McDanal
Erin Rideout
BASSOON TENOR SAXOPHONE
Joe McDaniels ~ Max Partlow * BASS TROMBONE
Brent Weber ! Samuel Wade Zach Inglish

E-FLAT CLARINET BARITONE EUPHONIUM

Doug Nash ~ SAXOPHONE Alex Frye #
Vincent Hangarter Lauren Hataway
CLARINET
Lucas Lusby * FRENCH HORN TUBA * Section Leader
Doug Nash Alison Kitchell * Doug Holtz ! Faculty Member
Brandon Little Daniel Coughenour ~ Community
Madelyn Tseng Leah Boggs STRING BASS Member/Guest
Mark Gallagher ! Zoe Welsch Evie Shanholtz # Band Assistant
Dahlia Skopek Nicholas Mellen
Tori Shaffer
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