David Galan

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About the Piece:
When arranging this piece, I tried to stay true to the original voicing and also tried to incorporate "mini choirs" within the piece for added color and textural effects. This all starts with a solo euphonium acting as the original "bass voice" with the rest of the ensemble as the two antiphonal choirs. Listeners will notice a pattern throughout; solo, choir, solo, choir, solo, choir. The second solo has a good range for either a baritone or a tenor voice. Again, the main melodic section the rest of the ensemble plays repeats. Finally, a higher tenor voice solo comes in. This is featured by a solo French horn. The ensemble repeats the melodic theme one final
time and hen transitions to the final part of the prayer and ends with a series of "amens". The "mini choirs" as mentioned before are represented at the beginning of the second melodic idea as led by the French horns with brief moments from the low brass acting as its own choir. The second and third trumpet serve as the lead voices of the ensemble with the first trumpet acting as a descant voice sitting on top of the ensemble. When ultimately the ensemble reaches the "amen" section, this should end with a triumphant sounding "amen" as opposed to a
meditative feeling. It should slowly build to the final chord as if one gives thanks to the Lord.

About the Composer:
(From LAPhil.com)
German composer and arranger Franz Biebl studied music at the Humanistic Gymnasium in Amberg and received Master of Music degrees in composition and choral conducting at the State Music Academy in Munich. Biebl was employed as the choral music consultant to the Bavarian State Radio, where he worked relentlessly to fill the station's archives with popular choral music, listening to and encouraging small choral groups all over Germany. 

About the Arranger:
A native of Lafayette, Louisiana, David is a freelance musician, conductor, teacher, and composer. He holds the bachelor's in Contemporary and Popular Music specializing in music composition from the University of Maine at Augusta having studied under the tutelage of Mr. John Merhmann, composer in residence. David primarily writes music wind band, orchestra, and choral settings. He has been commissioned by local high schools, the local university (ULL) and for professor of euphonium Algirdas Matonis at Seton University (PA). Further, he has written music for the independent films "Bettles on a Billboard" (CJ Metrejean Productions) and "Gumbo 2" (Caldwell Winn Productions).

David is also an active performer having performed all over the United States including a performance at Carnegie Hall, has performed with the Acadian Winds Symphony and Lafayette Concert Band, the University of Louisiana at Lafayette Community Trombone Choir and Tuba-Euphonium Choir. He is also a tenor vocalist for the Cathedral of St John the Evangelist. David's profession affiliations include Phi Mu Alpha Sinfonia, Lafayette Concert Band, Acadian Wind Symphony, St. John the Evangelist, and MusicMakers2U.

Ave Maria (Angelus Domini)

Brass Ensemble

Format

"Happy Birthday for the Ages", was commissioned by Mr. Gerald J. Guilbeaux, principal conductor of the Lafayette Concert Band (LA) and founder/conductor of the Acadian Wind Symphony (LA). Mr. Guilbeaux wanted a piece to be used for the Lafayette Concert Band and for any band wanting to wish someone a special happy birthday. 

This piece for band depicts a person's birthday through the ages. Starting from birth/early childhood as depicted by high woodwinds, piano, and glockenspiel in the opening few bars, to present day. We hear everything from a party to even the brief disappointment of receiving a gift you didn't want. We then hear the group of party goers rushing to sing "Happy Birthday" (as heard in four part harmony and then finally ending with a bombastic "firework display" ending.

Happy Birthday for the Ages

Concert Band Score & Parts

Mount Hood is based on the oil painting of the same title by Lacie Esteve Landry. The oil painting is a painting of the actual Mount Hood in between Clackamas and Hood River counties in Oregon. In speaking with the artist, it was mentioned she took a trip to Oregon where she discovered the mountain and fell in love with the scenery. She mentions while there, that she has never felt more at peace and happy. The piece utilizes three tenor trombones and a bass trombone forming a quartet as the trombone's natural sound and characteristics not
only give a close sound to the male human voice, but can give the dark, rich, deep tones that can best personify a mountains aura. The piece was composed in the thought of how one would become at peace at the mountain and breathing out warm air on a crisp day. The suspended chords would represent the inhale and the resolve being the exhales. Each new theme and idea represent the mind slowly relaxing and wondering as the body relaxes.

Mount Hood

Trombone Quartet

Instrument Type

Didziausia Meile roughly translates to "A Love Most Supreme" in Lithuanian. The title is Lithuanian due to the fact that the piece was written for Algirdas Matonis and his wife Birute Stundziaite, in honor of their anniversary. Both moved from Lithiuania to the Unites States where they live today. The piece is meant to further compliment the couple dur to the fact that Algirdas plays euphonium and his wife the piano.

When the euphonium enters, the piano is already playing. This is meant to represent an almost slow stride to the other (Birute) and in a serenading way saying "I love you". Later, the piano takes the lead. When this happens, this is to represent the natural response of, "I love you too". The melody is repeated in the left hand to symbolize the natural more mellow sound of the euphonium and blend to it. This is to symbolize the pair becoming one.

Next we hear the pair together. The piano playing the melody and this time the euphonium playing sort of an accompanied figure. This should feel like a slow dance. One that feels almost like drifting off to sleep. Inspiration was taken from several Lithuanian lullabies parents sing their children to sleep. Therefore, a rubato feel is not necessarily out of the question. Ritardandos should also almost be exaggerated. Finally, at the rallentando should be stretched and most certainly exaggerated.

Didziausia Meile

Euphonium Solo

Voice

We Wear the Mask
Words: Paul Laurence Dunbar | Music: Adapted for Tenor/Lyric Baritone &amp; Piano
Solo Voice &amp; Piano | Art Song | Approx. 34 minutes | Grade 56

About:
We Wear the Mask is a poignant art song adaptation of Paul Laurence Dunbar's powerful poem, arranged for tenor or lyric baritone with piano accompaniment. This intimate performance delivers deep emotional impact through its nuanced text setting, expressive vocal line, and supportive piano harmonies.

About the Poem:
Dunbar's poem begins by stating that people often wear a "mask" that smiles outwardly while concealing pain, frustration, and sorrow underneath. The mask is a symbol of survival, a facade of happiness and composure maintained to cope with a society that does not allow vulnerability or truthespecially for marginalized people.

Lyrics (Poem):
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.

Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
       We wear the mask.

We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
       We wear the mask!

Copyright Credit: Paul Laurence. Dunbar, ""We Wear the Mask."" from The Complete Poems of Paul Laurence Dunbar. (New York: Dodd, Mead and Company, )

We Wear the Mask - Tenor (Baritone) and Piano

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Ave Maria (Angelus Domini)

Happy Birthday for the Ages

Mount Hood

Didziausia Meile

We Wear the Mask - Tenor (Baritone) and Piano