FSU PERCUSSION ENSEMBLE - DR. MACKENZIE JACOB LAMONT, CONDUCTOR FSU CHORAL ARTISTS - FROSTBURG STATE UNIVERSITY
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DEPARTMENT OF MUSIC
FSU PERCUSSION ENSEMBLE
Dr. Mackenzie Jacob LaMont, conductor
FSU CHORAL ARTISTS
Dr. Scott Rieker, conductor
DR. JOSEPH YUNGEN
Piano
Friday
April 30, 2021 Pealer Recital Hall
7:30 p.m. Woodward D. Pealer Performing Arts CenterPROGRAM
Angels of the Apocalypse David Gillingham
(b. 1947)
FSU Percussion Ensemble
The Lord’s Prayer Mackenzie Jacob LaMont
(b. 1989)
FSU Percussion Ensemble and Choral Artists
INTERMISSION
Ave Maria Franz Biebl
(1906-2001)
FSU Choral Artists
Chichester Psalms Leonard Bernstein
(1918-1990)
I. Psalm 108:2
Psalm 100, complete
II. Psalm 23, complete
Psalm 2:1-4
Andrew Hartnett, countertenor
III. Psalm 131, complete
Psalm 133:1
FSU Percussion Ensemble and Choral ArtistsTEXTS & TRANSLATIONS
The Lord’s Prayer (by Mackenzie LaMont)
Libera me, Domine Deliver me, O Lord
Tremens factus sunt ego For I am made to tremble
In te Domine speravi In Thee, O Lord, have I trusted
Non confundar in aeternam Let me never be confounded
Allahu Akbar God is the Greatest
La ilaha Illa Allah and to God belongs all praise
Dona eis Requiem Grant him rest
Et lux perpetua luceat eis And let perpetual light shine upon him
De morte transire ad vit[am] Pass from death to [life]
Avinu shebashamayim Our Father in heaven, hallowed be thy name
Yitkadesh shimcha Your kingdom will come
Ave Maria (by Franz Biebl)
Angelus Domini nuntiavit Mariae The Angel of the Lord declared unto Mary
et concepit de Spiritu Sancto. And she conceived by the Holy Spirit
Ave Maria, gratia plena, Hail Mary, full of grace
Dominus tecum, The Lord is with you.
benedicta tu in mulieribus, Blessed are you among women,
et benedictus fructus ventris tui, Jesus. And blessed is the fruit of your womb, Jesus.
Maria dixit: Ecce ancilla Domini Mary said: behold, I am the handmaiden of the Lord.
Fiat mihi secundum verbum tuum. Be it done unto me according to thy word.
Ave Maria ... Hail Mary…
Et verbum caro factum est The Word was made flesh
Et habitavit in nobis. And dwelt among us.
Ave Maria ... Hail Mary…
Sancta Maria, mater Dei, Holy Mary, mother of God
ora pro nobis peccatoribus. Pray for us sinners
Sancta Maria, ora pro nobis Holy Mary, pray for us
nunc et in hora mortis nostrae. Amen. Now and at the hour of our death. Amen
Chichester Psalms (by Leonard Bernstein)
Mvt. 1
Psalm 108:2
Ura hanevel v’chinor Awake, psaltery and harp:
aira shachar I will rouse the dawn
Psalm 100
Hariu l’Adonai Make a joyful noise unto the Lord,
kol haarets all the Earth
Iv’du et Adonai b’sim’cha Serve the Lord with gladness
Bou l’fanav bir’nana Come into His presence with singingD’u ki Adonai Hu Elochim Know ye that the Lord, He is God
Hu asanu v’lo anachnu It is He that has made us and not we ourselves
Amo v’tson mar’ito We are His people and the sheep of His pastures
Bou sh’arav b’todah, Enter into His gates with thanksgiving
Chatseirotav bit’hilah And into His courts with praise
Hodu lo, bar’chu sh’mo Be thankful until Him and bless His name
Ki tov Adonai, l’olam chas’do For the Lord is God; His mercy is everlasting
V’ad dor vador emunato And His faithfulness endures for all generations
Mvt. 2
Psalm 23
Adonai roi, lo echsar The Lord is my shepherd; I shall not want
Bin’ot deshe yarbitseini He makes me to lie down in green pastures,
Al mei m’nuchot y’nahaleini He leads me beside the still waters,
Naf’shi y’shovev, He restores my soul.
Yan’cheni b’ma’aglei tsedek He leads me in the paths of righteousness
L’ma’an sh’mo For His names sake.
Gam ki elech b’gei tsalmavet, Even though I walk through the valley of the shadow of death,
Lo ira ra ki a’ta imadi I will fear no evil, for You are with me.
Shiv’t’cha umishan’techa hemah y’nachamuni Your rod and Your staff, they comfort me.
Ta’aroch l’fanai Shulchan neged tsor’rai You prepare a table before me in the presence of my enemies.
Dishanta vashemen roshi cosi r’vayah. You anoint my head with oil; my cup overflows.
Ach tov vachesed yird’funi Surely goodness and mercy shall follow me
Kol y’mei chayai All the days of my life,
V’shav’ti b’veit Adonai l’orech yamim. And I will dwell in the house of the Lord forever
Psalm 2: 1–4
Lama rag’shu goyim Why do the nations rage,
ul’umim yehgu rik And the peoples imagine a vain thing?
Yit’yats’vu malchei erets, The kings of the earth set themselves
V’roznim nos’du yachad And the rulers take counsel together
Al Adonai v’al m’shicho Against the Lord and against His anointed,
N’natkah et mos’roteimo, Saying, “let us break their bands asunder,
V’nashlicha mimenu avoteimo And cast away their cords from us.”
Yoshev bashamayim yis’chak He that sits in the heavens laughs,
Adonai yil’ag lamo! And the Lord mocks them!
Mvt. 3
Psalm 131
Adonai, Adonai, lo gavah libi Lord, Lord, my heart is not proud,
V’lo ramu einai, v’lo hilachti Nor my eyes lofty; neither do I aspire
Big’dolot uv’niflaot mimeni To things too great and too wonderful for me
Im lo shiviti v’domanm’ti nafshi Surely I have calmed and quieted my soul.
K’gamul alei imo As a child that is weaned of his mother,
Kagamul alai nafshi. My soul is even as a weaned child.
Yachel Yi’rael El Adonai me’atah v’ad olam
Psalm 133:1
Hineh ma tov, umah naim Behold how good, and how pleasant it is,
Shevet achim gam yachad. Amen For brothers to dwell together. Amen.PROGRAM NOTES Two notes on language and pronunciation: (1) Much of tonight’s sung text is in Hebrew. Since Hebrew uses its own alphabet (or aleph- bet, if you will), we have sung from transliterations and based our pronunciations upon Ethan Nash and Joshua Jacobson’s International Phonetic Alphabet renderings in Translations and Annotations of Choral Repertoire, volume IV: Hebrew Texts, Corvalis, OR: earthsongs (2009). (2) There is a custom in Judaism that words that refer to G-d, such as “Adonai” and “Elochim,” should only be spoken in the context of worship, and reverently. Since tonight’s concert is just that—a concert—we have elected to substitute the syllables “adoshem” and “elokim” for these references to the Divine, respectively. This retains the correct number of syllables while respecting this reverent custom. Angels of the Apocalypse David R. Gillingham (b. 1947) has an international reputation for the works he has written for band and percussion. Many of these works are now considered standards in the repertoire. Over sixty of his works for band, choir, percussion, chamber ensembles, and solo instruments are available from numerous publishers. Dr. Gillingham is a Professor of Music at Central Michigan University. His Angels of the Apocalypse “was inspired by the Biblical book of Revelation,” and contains sections inspired by the opening of the Seventh Seal, as well as angels blowing trumpets to bring about the end of the world. It ends, however, in a positive light, representing a religious apotheosis. The Lord’s Prayer Dr. Mackenzie Jacob LaMont (b. 1989) wrote The Lord’s Prayer 10 years ago in 2011. It was designed to give listeners of different religious/secular backgrounds the ability to hear a variety of messages. It can be taken as a “call to reason,” for practitioners to listen to what their faiths actually preach (caring for others, being good citizens), a critique of Christianity, or a programmatic story of a group’s journey through faith, doubt, and resolution. It follows the Our Father prayer – The Lord’s Prayer – as a group tries to complete it. They are continuously interrupted, and require support from various other religious texts (Latin, Jewish, Islamic) to get back on track. Ave Maria Prolific, but obscure Bavarian composer, Franz Biebl (1906–2001), composed his Ave Maria for seven-part men’s choir, probably for the choir of his local fire brigade in suburban Munich. This setting of the Latin text of the Angelus prayer has become a staple of choral repertoire for its lyric beauty and lush harmonies, and Biebl eventually arranged it for mixed and treble choirs. Even in his SAB/SATB arrangement, the three-fold invocations of the prayer are retained as tenor/bass solos. In between the invocations, the text of the Ave Maria prayer is truncated (comprising only the first half) until after the third invocation. The trio of soloists provide lyric counterpoint to the inexorable chordal movement of the larger ensemble, all of which are designed to draw the listener into a deeper relationship with the Divine. Chichester Psalms Amid frantically polite letters from Walter Hussey, Dean of Chichester Cathedral, American composer, Leonard Bernstein (1918–1990) finally turned his attention toward his commission for Chichester Cathedral mere months before it was due. In a remarkable feat of musicianship, Bernstein repurposed unused musical materials that he had previously composed, including two movements from his abortive collaboration on a musical rendition of Wilder’s The Skin Of Our Teeth, and the unused original opening for West Side Story. The resulting musical journey: from unreflective and simplistic religion through trial and anguish to arrive at a place of humbleness before the Divine summarizes Bernstein’s attitudes toward belief. He held that true spirituality is found in humility and simplicity, and Chichester Psalms reflects that. Program Notes Copyright © 2021, Dr. Scott Rieker
PERSONNEL
FSU PERCUSSION ENSEMBLE
Ryan Barber; Music Industry; Glen Burnie, MD
Jacob Hunt; Biology; Mount Savage, MD
Kamonte Johnson; Music Industry; Baltimore, MD
Nora Kopit; Music Studies; Frederick, MD
Joseph Louie; Music Education; Oakland, MD
Matthew Payne; Wildlife & Fisheries; Suitland, MD
Deandre Cook; Community Member; Waldorf, MD
Cheyenne Jeffries; Community Member; Frostburg, MD
Julia Seddon; Cultural Anthropology; Frostburg, MD
FSU CHORAL ARTISTS
Ashley Armbruster; Mathematics & Secondary Education; Cumberland, MD
Sebastien Couvreur; Liberal Studies; Frostburg, MD
Hayden Davis; Theatre; Cumberland, MD
Sara DiDonato; Music Education; Pasadena, MD
Benjamin Doggett; Earth Science; Silver Spring, MD
Jessica Farrell; Mathematics & Secondary Education; Frostburg, MD
Kristen Feaster; Music Education; Waldorf, MD
Ivan Godoy; Music Performance – Voice; Bedford, PA
Andrew Hartnett; Music Performance–Piano; Frederick, MD
Stephen Hess; Engineering; Cumberland, MD
Andrew Kastner; Computer Science and Mathematics; Elkridge, MD
Zhicen Luke Liu; Music Performance–Piano; Chongqing , CHINA
Arran Mills; Music Industry; Ocean Pines, MD
Hunter Morris; Music Studies; Berlin, MD
Jeremiah Mudge; Community Member; Cumberland, MD
Hannah Polk; Music Education; Fairfax, VA
Dillon Redwine; Music Education; Glen Burnie, MD
Christopher Reed; Engineering; Cumberland, MD
Nathan Richards; Music Education; Ellicott City, MD
Taber Robinette; Community Member; Cumberland, MD
Caitlyn Rund; Music Education and Saxophone Performance; Elkton, MD
Christian Scott; Theatre; Upper Marlboro, MD
Tucker Sensabaugh; Engineering; Cumberland, MD
Evelyn Shanholtz; Secondary Education–History; Hagerstown, MD
Krystal Stewart; Undecided; Waldorf, MD
Casey Swartz; Music Education; Severna Park, MD
Miranda Teats; Earth Science; Cumberland, MD
Courage Tikum; Computer Science; Berwyn Heights, MD
Ed Thompson; Community Member; Frostburg, MD
Laurel Underwood; Community Member; Frostburg, MDBIOGRAPHIES
Dr. SCOTT RIEKER is Director of Choral Activities and Choral Music Education at Frostburg State
University, where he conducts the Chamber Singers, University Chorale, Vocal Jazz Ensemble,
Troubadours tenor/bass choir, as well as teaching conducting and coursework in music education
and student-teacher supervision. Rieker received his doctorate in Choral Music at the University
of Southern California (USC) with specializations in Music Teaching and Learning, Vocology, and
Composition. Prior to coming to FSU, he served as the Artistic Director for the Torrance
(California) Civic Chorale and Treasurer of the Santa Monica Youth Orchestra, a 501(c)(3) non-
profit providing free music lessons and ensemble experiences to underserved youth. Rieker
earned a master’s degree in Choral Conducting from the University of Nebraska–Lincoln. Prior to
attending UNL, Rieker taught music in the Des Moines (Iowa) Public Schools for eight years at
the elementary, middle, and high school levels. An active composer and arranger, with his works
performed by choirs around the world and a composition published with Santa Barbara Music Publishing, Rieker studied composition
with Drs. Morten Lauridsen and Veronika Krausas, among others. He is now a Past-President of the Iowa Music Educators Association
(IMEA) and engaged in groundbreaking research on the implementation of strategic risk-taking in the choral ensemble.
JOSEPH YUNGEN is a musician who happens to play the piano. He enjoys a music-filled life of continuous
growth and discovery, and has established a reputation for his consistent excellence as a soloist and
collaborator in a wide variety of musical contexts and repertoire, including chamber music, art song, new
music, as well as choral and orchestral music. His performances and teaching appearances have been met
with acclaim across the United States, Europe, and Asia.
Joseph holds the Doctor of Musical Arts degree from The Juilliard School, where he studied with Jonathan
Feldman as a C.V. Starr Doctoral Fellow. He earned Master of Music degrees in Piano Performance &
Literature and in Accompanying & Chamber Music from the Eastman School of Music, where he studied with
Jean Barr and Douglas Humpherys. He completed his Bachelor of Arts degree in Piano Performance at
Southern Oregon University under the instruction of Alexander Tutunov.
Winner of the “Audience Favorite” and “Best Performance of the Music of Szymanowski” awards in the 2008 Seattle International Piano
Competition, Joseph received First Prize in the 88th Annual Bruce P. Carlson Schubert Club Piano Competition in Minneapolis, the Ann
Fehn Pianist’s First Prize in the 14th Annual Jessie Kneisel Lieder Competition, and the Barr Award for Excellence in Accompanying. He
attended the Music Academy of the West as a Collaborative Piano Fellow in 2012.
In 2013, Joseph was the featured soloist in the Hans Abrahamsen Concerto for Piano and Orchestra (Musica Nova/Brad Lubman,
director), with the composer in attendance. He has also performed regularly with the New Juilliard Ensemble and AXIOM.
Joseph cofounded and taught master classes for the New Jersey Young Artist Piano Competition in 2014. He joined Frostburg State
University as a full-time music faculty member in 2016.
MACKENZIE (MACK) JACOB LAMONT (b. 1989) is an active composer, performer (percussion), music
educator, music copyist and arranger, and owner/operator of a small music recording company. His recent
music has been focused on the environment as well as political and philosophical issues, with the sound
world inhabiting a space somewhere between minimalism and post-progressive rock (with dashes of
randomness here and there). Mack has a DMA in music composition with a cognate in percussion from the
University of Cincinnati, College-Conservatory of Music where he studied composition with Michael Fiday, Joel
Hoffman, and Douglas Knehans, and percussion with James Culley and Allen Otte. He holds prior degrees in
composition, percussion performance, and music technology/recording, and previously studied composition
and percussion at the University of Indianapolis with John Berners and Paul Berns respectively. You can find
out more at mackenziejacoblamont.comFRIENDS OF MUSIC AT FROSTBURG (FMF) acknowledges the Fiscal Years 2020 and 2021 support of
the following:
VIRTUOSO (Lifetime commitments of $5,000 or more)
FSU Foundation Annual Fund Timothy Maloy & Renee Pelletier
Sharon Antonioli Betsy Maxfield
Carl, Jr. & Jane A. Belt Sibyl Mierley
Craig Bowman ‘92 & Alison Combes ‘93 Darlene Miller
Combes-Bowman Presidential Merit Scholarship Beverly Morton
Drs. Alvin C. Broyles & Joan DeVee Dixon Jean Myers
Exxon Mobil Foundation Mabel Myers Scholarship
Arthur & Bernice ‘97 Friedland Kenneth Oldham Jr ’98 & Melissa Bennett
Dr. Mark A. Gallagher Dr. Robert Pusey Scholarship
Dr. Jonathan & Laurie Gibralter Douglas & Deborah Richards
Dr. Catherine Gira Tom & Ellen Richards
Nadeane A. Gordon Marguerite Witwer Richards Scholarship
Nadeane A. Gordon Presidential Merit Scholarship Sandra K. Saville
Dr. Nelson & Maggie Guild Saville Presidential Merit Scholarship in the Arts
Margaret G. Guild Vocal Scholarship Henry ‘75 & Donna Rae Smith
Iris Halmos Presidential Merit Scholarship Henry Smith, Jr. Music Management Scholarship
Dr. Peter & Iris Halmos Margaret Ager Smith Scholarship
Joan Heald Southwestern Bell Foundation
Lois Williams Hedrick ‘39 Charlie & Wanda Steiner Scholarship
Dr. Gary S. Horowitz Mark W. Steiner ‘78
Jim & Sharon Jaklitsch Kevin Telford
Textron The Trevaskis Scholarship & Endowment
William & Marty ’67 Kump Dr. Richard & Marion ‘65 Trevaskis
Aden Lewis Scholarship
CONCERTO ($500 or more) ALLEGRO (cont.) ALLEGRETTO ($10 to $99)
JoAnn Condry ‘99 David Kuhn ‘74 Lynann Adams
Gladys Faherty ‘55 William Moon ‘99 Jonathan Archer ‘15
Gary Phillips & Ann Townsell ’87 Dr Michael & Abbie ‘10 Dausen Matt Eary & Lindy Moebs
Dr. Ronald Nowaczyk & Joyce Middleton ‘80
Maureen Lavan Dr. Lyle & Patricia Nordstrom
ALLEGRO ($100-$499) Potomac Packers Otega Okurume ‘14
Daniel ‘07 & Teresa ‘05 Abbott Dr. Scott Rieker Bruce ’71 & Linda Perrygo
BSI Robert Riggs Mary Stakem ‘62
Joshua Bernstein ‘09 Sharon Robinson
Frank Caponiti ‘76 John Short Jr & Clara Porcello
Michael & Abbie ’10 Dausen Drs. Brent Weber & Karen Lau
Dr. Jay DeWire Pamela Williams ’70 ‘81
Flight 93 Memorial Chorus Daniel & Florence ’94 ’98 ’01 Young
Cindy Herzog Christian ’90 & Lauri Zembower
Adele Knott ‘69You can also read
