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Concert Program Cover

Third Concert of the 75th Season


Sunday, April 6, 2014
Honeywell Center, Wabash
Scott Humphries, Conductor

  Reflections on Peace Timothy Reed  
  Honeywell Center Vocal Impact Youth Choir
Emily France, director
Manchester University Chamber Singers
Dr. Debra Lynn, director
  Polonaise in C Major, Op. 49 Anatol Liadov  
  Requiem in D minor, K. 626 Wolfgang Amadeus Mozart  

I. Introitus: Requiem
II. Kyrie
III. Sequenz: Dies irae - Tuba mirum - Rex tremendae - Recordare - Confutatis
IV. Offertorium: Domine Jesu - Hostias
V. Sanctus
VI. Benedictus
VII. Agnus Dei
VIII. Communio: Lux aeterna

  Dr. Debra Lynn, conductor
Tammie Huntington, soprano
Hillary Blake, mezzo-soprano
Benjamin Kambs, tenor
David Govertsen, bass-baritone

Manchester Symphony Chorus
Manchester University A Cappella Choir
Fairfield High School Advanced Choir

Program Notes by James R. C. Adams

  Reflections on Peace Timothy Reed
(b. 1976)

Tim Reed grew up in Alabama and did his doctoral studies in Florida before moving north. Tim is currently Assistant Professor of Music Theory and Composition at Manchester University. He holds degrees from the University of Florida, Illinois State University, and LaGrange College.

Reflections on Peace is a new work scored for children's chorus, antiphonal choir, and orchestra. The music is intended to be satisfying as a piece in its own right, but Dr. Reed also intended it to be a special experience for the children who collaborated in its creation. The work was composed specifically for this performance and specifically for the Vocal Impact Youth Chorus.

The composer writes, "I wanted to involve the kids in the composition process, so I asked them to collaborate with me in writing the text. I visited a Vocal Impact rehearsal in October and asked the kids the question, 'What is peace? What does peace mean to you?' I took the responses and formatted them into a simple poem. Within the piece, the text of that poem is presented in alternation with phrases from the St. Francis Prayer. The main focus in the piece is the children's chorus, and the orchestra is (for the most part) in a supporting role."

Dr. Reed's music is available through Dorn, Trevco, Lonely Whistle, Centaur, and at If you go there, you will discover that Tim has a sense of humor. I was tempted to begin his biography with, "Tim Reed was born at an early age," but I had already used that opening in my own memoir, so I'll leave that out and let you enjoy Tim's whimsical sense of humor directly. On his web site, he provides the following intimate description of his life from birth:

"Tim Reed was born in May of 1976 weighing 11 pounds and 9 ounces. During the following fifteen years, his weight steadily increased, reaching approximately 170 pounds in 1991. Tim's height also increased during this time, reaching 6 feet and 4 inches in 1991. Between 1991 and 2007, his height remained steady at 6 feet and 4 inches while his weight fluctuated between 165 and 210 pounds. Tim is currently 6 feet and 4 inches in height and weighs 175 pounds (April 2011)."

  Polonaise in C Major, Op. 49 Anatol Liadov

By almost any standards, including his own, Liadov (also spelled Lyadov) would be considered a minor composer. He was notoriously lazy, and rarely tackled any project as demanding as an opera or a symphony. He never finished even the few such projects he had contemplated. For a while, he played the violin, then gave it up. He played the piano, but gave that up as well.

He was so aware of his chronic procrastination that on one occasion when he had been given an assignment to write a fugue, he told his sister, with whom he was living, not to give him dinner until the fugue was written. According to Shostakovich, who reports the story, dinner time rolled around, and the fugue was not written. "I won't feed you because you haven't completed the assignment. You asked me to do that yourself," said the sister. "Very well," said Liadov, "I'll dine with Auntie."

At the St. Petersburg Conservatory, his tardiness in completing assignments and his failure even to attend classes resulted in his expulsion by the director. Azanchevsky. When he asked the teacher whose class he had been skipping to intercede on his behalf, his plea was brusquely rejected. The teacher, Rimsky-Korsakov, later regretted the dismissal of a student he considered "talented past telling," and blamed himself for his bureaucratic inflexibility. Rimsky suspected that his own "inhuman regard for forms" was the result of his study of counterpoint!

Liadov was a dreamer, enchanted by the world of fantasy, and eager to escape the world around him, which he found to be "tedious, trying, purposeless, terrible." His best-known works, Kikimora, Baba-Yaga, The Enchanted Lake, and Eight Russian Folk Songs exemplify this love of fantasy, as well as his love of Russian folk music.

After his reinstatement at the Conservatory, his skill at orchestration became apparent, and his first orchestral work, The Bride of Messina, so impressed his professors that he was appointed professor of harmony and theory. One of Liadov's famous students, Sergei Prokofiev, reports that he was less interested in teaching than he was in pursuing his own interests. However, he was very active as conductor of the Musical Society, and championed the works of young Russian composers.

A Polonaise is a dance with three beats to the measure. It is of Polish origin, and the word is French for "Polish." It is doubtful that anyone actually danced to the typical polonaise. Several authroties suggest that it should be considered more of a processional. Niecks, in his book Chopin, says that "Strictly speaking, the Polonaise, which has been called a marche dansante, is not so much a dance as a figured walk, or procession, full of gravity and a certain courtly etiquette."

The choice by Liadov of the polonaise form (he wrote several) is typical of his interest in Slavic folk music. He was an important collector of folk music, which he incorporated into his attractive (and short) compositions.

  Requiem in D minor, K. 626 Wolfgang Amadeus Mozart

In the summer of 1791, Mozart was commissioned to write the Requiem, which turned out to be his last composition. The circumstances of the commission, as well as the fact that Mozart died before completing it, have resulted in a virtual mythology binge. The film Amadeus capitalized on the conflicting reports and lack of scholarly skepticism to suggest that Mozart was poisoned by his rival, Salieri. There is no credible evidence that justifies that conclusion.

It is true that Mozart thought he was dying, and that the Requiem would be his own funeral music. It is true that Mozart thought he had been poisoned. It is true that he spoke of the "mysterious stranger" who was virtually stalking him. However, we now know who that mysterious stranger was, and why he was pestering Mozart.

Count Franz von Walsegg was an amateur musician who held weekly concerts on Tuesdays and Thursdays, where he and his friends performed music ostensibly written by the count, but actually commissioned from other composers, whom he paid very well for their work. In 1791, his wife, Anna, died at the age of twenty, and the count was devastated. He wanted to honor his young wife with a requiem, and wanted Mozart to compose it. To preserve his anonymity when commissioning composers to provide him with music he could pass off as his own, he sent an emissary to make the arrangements. That emissary was the "mysterious stranger."

Apparently, Mozart was resistant to the pleas, so the emissary kept pestering him until he agreed. The commission had come at a time when Mozart was otherwise occupied in writing two operas (La Clemenza di Tito, and Die Zauberflöte), plus a concerto for clarinet. During that period, Mozart had to be reminded repeatedlyt by the "mysterious stranger." In fact Mozart DIDN'T finish the work, though he had made copious notes, and had finished the orchestration for some bits of it.

When Mozart died in December of 1791, he left a debt-ridden wife with children. He had been paid a certain amount up front, as they say, with the balance to be paid upon completion. His wife and his assistant, who had worked with Mozart throughout the time he was fitfully putting his ideas for the Requiem on paper, decided to finish the work in order to collect the payment.Eventually, the assistant, Franz Xaver Süssmayr, admitted to having written a large part of the work. In fact, he claimed to have written a lot more than most analysys are willing to accept. Quite a number of versions of the Requiem exist with parts written by other composers, including Benjamin Britten, and, most recently in 1971, with a version by Franz Beyer. This latter versions is much admired by modern musicologists, but the Süssmayr version is the one most often performed.


Manchester Symphony Orchestra Personnel

  Violin I
Elizabeth Smith, Concertmaster
Thomas Dean +^
Ilona Orban
Kristine Papillon
Lois Clond

Violin II
Joyce Dubach *
Rachel Nowak
Paula Merriman
Emily Lynn
Linda Kummernuss
Will Stanley

Julie Sadler *
Carrie Shank +^
Margaret Sklenar
Renée Neher +^
Colleen Phillips

Robert Lynn *
Michael Rueff +^
Jade Keane +^
Robert Hudson

Darrel Fiene *
Katie Huddleston +^
Brad Kuhns

Kathy Davis *
Kathy Urbani
Alyssa Rocheck +

George Donner *
Nyssa Tierney
Abigail Lynn

Lila D. Hammer *
Mark W. Huntington
Sarah Leininger +^
Bass Clarinet
Sarah Leininger +^

Erich Zummack *
Elena Bohlander +

Christen Adler *
Kristen Hoffman +^
Michael Paynter +^
Dana Dillon +^

Steven Hammer *
Mykayla Neilson +^
Dennis Ulrey

Jon Hartman *
Chris Hartman +^
James Kraft

Caleb Dehning

Dave Robbins *

Dave Robbins *
Mackenzi Lowry +^
Katie Lowther ++
Kevin Friermood +
Austin Sommers +

Tim Reed

Pamela Haynes

* Denotes principal
+ Denotes MU student
^ Denotes Keister Scholarship recipient
** Denotes assistant principal
++ Denotes Assistant to the Conductor

Manchester University A Cappella Choir

Megan Garner *+
Emilie Hunt
Aliyah Johnson
Caitlin Kessler *
Ashlea Koehl +
Cally Miller +
Erika Reffitt +

Hannah Glenn
Aimee Hoffbauer +
Kelly Iler *+
MacKenzi Lowry
Britney March *
Chris Minter
Mykayla Neilson +
RaeAnne Schoeffler +
Kandace Terry

* denotes section leader
+ denotes Chamber Singers member
Lucas Al-Zoughbi
Angela Ebert
Joseph Myers *
Adam Ousley *+
Riley Wallace +
Donnie Watkins

Jacob Archambault +
David Dicken
Joshua Dold
Grant Ebert +
Scott Humphries
Caleb Hoffsinger +
Josh Plank
Bennett Ritchie
Michael Rueff +
Jeremiah Sanders *

Debra Lynn, conductor
Alan Chambers, pianist
Elizabeth Smith, pianist

Manchester Symphony Chorus

Leslie Butterbaugh
Kathy Fry-Miller
Karen Hartman
Rachael Heath *
Acacia Lliorica
Tamara Sriver
Sabine Thomas

Marjan Boogert
Lydia Cartwright
Beverly Eikenberry
Sandy Funk
Sara Gable
Lana Groombridge
Katherine Haff *
Pat Hoover
Joy Stifler
Janina Traxler
Ron Finney
Paul Fry-Miller
John Planer *
Andrew Rich
Jon Shafer
Mark Schwartz
Joel Waggy

Andrew Haff *
Ham Sadler
Steve Weissert

* denotes section leader

Debra Lynn, conductor
Pamela Haynes, pianist

Fairfield High School Advanced Choir

Breanna Bloss
Catherine Davidhizar
Taylor Graber
Calyn Howell
Tori Layman
Kadijah Manges
Aimee Miller
Lauren Parcell
Trae Penner
Kassi Rosenberry
Miranda Scheffers
Bridgette Webb
Ashley Williams
Kristina Yoder

Sheryl Brandenberger
Kirene Hidalgo
Hannelore Jones
Lairen Miller
Madeline Miller
Samantha Miller
Elizabeth Nicolai
Breana Penner
Samantha Shank
Hannah Siegel
Morgenne Stutzman
Atlanta Swank
Emily Turner
Mickayla Wallace
Isaiah Brown
Brant Gingerish
Bryan Miller
Isaac Miller
Lucas Miller
Zachary Munn
Raymundo Rios
Spencer Roose
Alex Yoder
Chandler Yoder

Kyle Comino
Wynton Edwards
Brock Goeglein
Aaron Miller
Scott Sams
Aaron Skibbe
Kyle Stingel
Patrick Webb
Christian Wright

Benjamin Kambs, director
Larry Becker, pianist

Honeywell Center Vocal Impact Youth Choir

  Anna Blevins
Morgan Butcher
Olivia Cummins
Toby Cummins
Ellie Daniel
Emily Daniel
Zoe Denney
Isabel France
Maggie France
Solomon France
Josiah Freeman
Rebekah Freeman
Mikayla Genovese
Emma Holloway
Zayne Hunter
Eli Kroh
Cali Kugler
Camille Kugler
Coleson Kugler
Corinne Kugler
Josh Maggart
Quinn Maggart
Jordan McCord
Kaitlyn McKernan
Hannah Miller
Jacob Parker
Jessica Parker
Nick Perkins
Libee Price
Michal Rensberger
Timothy Rensberger
Paige Ritzema
Preston Ritzema * (soloist)
Christopher Rowe
Dakota Rowe
Drayton Rowe
Eva Sears
Paloma Shull
Yzabelle Stangl
Isabella Vail

Emily France, director
  Vocal Impact  
Emily FranceEmily France was born and raised in Wabash, Indiana. She began studying piano at the age of six with Mrs. Dorothy Anderson and studied under her direction for twelve years. She received a Bachelor of Music degree in Music Education with a concentration in piano from Saint Mary's College, Notre Dame, Indiana. Emily began teaching private piano lessons in 1996 and continued to do so until 2010. She was also a choral music teacher for eleven years before leaving the field to raise her four children, Isabel, Maggie, Solomon, and Sophia. In February, 2013, she founded the Honeywell Center Vocal Impact Youth Choir and serves as its director and conductor. She is a middle school/high school theatrical director for Wabash County VPA Summer Theatre, has been a member of Wabash Musicale since 2001, and currently resides in Wabash with her husband, Brandon, and their four children.
Dr. Tim ReedDr. Tim Reed, MU Music Department Chair, graduated with a B.A. in Creative Music Technologies from LaGrange College in 1999 and subsequently attended the Dallas Sound Lab School for the Recording Arts in the fall of 2000. Tim completed his M.M. in composition/theory at Illinois State University in 2004, and his PhD in composition at the University of Florida in 2008. Tim has received awards in the Goliard Ensemble Composition Competition, the LaGrange Symphony Young Artist Composition Competition, and the 2004 Pedrick-Hutson Guitar Duo Commission Contest. Tim's compositions have been performed at various festivals including Music '04 (Cincinnati Conservatory), the 2005 Nong Project, The Kentucky New Music Festival, Electronic Music Midwest, Electro-acoustic Juke Joint, SEAMUS, and by the string orchestra, R20, in Wroclaw, Poland. His music has also been featured on radio programs including No Pigeonholes, Difficult Listening, Furthernoise Radio, and Foldover. His compositions have been published by Trevco Music and by Lonely Whistle.
Dr. Debra LynnDr. Debra Lynn is in her sixteenth year at Manchester University where she serves as Director of Choral Organizations and Vocal Studies. She teaches applied voice, conducting, vocal pedagogy, opera workshop, and music for stage and film. Choral ensembles under her direction include the A Cappella Choir, Chamber Singers, and Manchester Symphony Chorus. Her ensembles have performed at various locations throughout the U.S., including Carnegie Hall in New York, Sacred Heart Basilica at Notre Dame University, and Walt Disney World in Orlando, Florida. Her A Cappella Choir has traveled to Italy, Austria, and London. Whether domestic or international, her tours carry a theme of world peace.

Debra holds a Doctor of Arts in Music degree with an emphasis in choral conducting and voice performance from Ball State University in Muncie, Indiana. Prior degrees from Truman State University and William Jewell College include emphases in choral conducting, voice performance, and music education. Before moving to North Manchester, Dr. Lynn held teaching and conducting positions at Northeast Missouri State University, William Jewell College, and Mid-America Nazarene College. She has worked with Metropolitan Opera singers Nicholas DiVirgilio and Mignon Dunn as opera chorus director for Illinois Opera Theatre - based at University of Illinois at Champaign-Urbana.

Dr. Lynn has studied conducting under the tutelage of maestros Paul Vermel, Douglas Amman, Fred Stoltzfus, Paul Crabb, and Arnold Epley. As a composer, Dr. Lynn writes both instrumental and vocal music, and has received several commissions including Lily and Plowshares Foundation requests. She is in demand as a guest conductor and clinician for various composer forums, choral festivals, and voice and conducting master classes. She is married to cellist and tubist, Robert Lynn. They reside in North Manchester with their four daughters, Bethany, Abby, and twins Emily and Eryn.
Tammie HuntingtonTammie Huntington, soprano, has enjoyed a variety of opera/operetta performances, including the roles of Lucy in Menotti's The Telephone, Papagena in Mozart's Die Zauberflöte, Despina in scenes from Mozart's Così fan tutte, Josephine in Gilbert & Sullivan's H.M.S,. Pinafore, Suor Genovieffa in Puccini's Suor Angelica, Laetitia in scenes from Menotti's The Old Maid and the Thief, and Adele in scenes from Strauss' Die Fledermaus. Huntington has also appeared as guest soprano soloist in orchestral productions of Haydn's Creation, Mendelssohn's Elijah, Bach's Magnificat, Bach's Cantata No. 51, Mozart's Requiem, Vivaldi's Gloria, Handel's Messiah, and Schubert's Mass in G Major, No. 2.

Huntington currently performs in classical ensembles with Soprani Compagni ( with Drs. Lisa Dawson and Phoenix Park-Kim. Soprani Compagni had their Carnegie Hall debut at Weill Recital Hall in March, 2012, and have performed numerous recitals around Indiana; Portland, OR; Amarillo, TX; and in Buenos Aires, Argentina. Huntington has a Doctor of Arts degree, with performance emphases in voice, opera, and opera direction from Ball State University, where she produced and directed the world premiere of Fifty-Third Street, a new American opera by composer Jody Nagel. Huntington is an Associate Professor of Music, teaching voice and opera studies at Indiana Wesleyan University, and resides in Marion, IN, with her husband, Ben, three sons, and a daughter.
Hillary BlakeHillary Blake, mezzo-soprano, is a graduate of Manchester University where she received a Bachelor's degree in Applied Music in 2001. Hillary has remained active as a recitalist and most recently performed a benefit recital for Restoration Gateway featuring musical theater, African-American spirituals, and Mozart arias. Hillary is Director of Music Education at Meridian Music in Carmel, Indiana. In addition, she maintains a private voice studio and teaches Harmony Road, an early childhood music program. Hillary is a member of Holy Family Episcopal Church in Fishers, Indiana, where she directs a children's choir and frequently performs as a soloist.

Most recently she performed the soprano solo in Fauré's Requiem with the Holy Family Choir. She has directed children's choirs at Culver Summer Camps and Northminster Presbyterian Church. Hillary resides in Fishers, Indiana, with her husband and two daughters.

Benjamin KambsBenjamin Kambs began teaching in Davenport, Iowa, in 2001 and has been the director of choirs at Fairfield Junior/Senior High School since 2003. Kambs recently completed a Master's degree in Music Education at Western Michigan University. As an undergraduate, he attended St. Olaf Collage and received a B.M. in Music Education.

As a tenor soloist, he has sung under the baton of Vance George and the Toledo Symphony Orchestra in the Haydn Lord Nelson Mass and performed numerous times with the Manchester Symphony Orhcestra, most recently in the Vaughan Williams Hodie. His advanced high school chorus is a three-time state finalist in the ISSMA Concert Choir competition, placing as high as sixth in 2012. In March, 2012, Kambs led his Jr. High Chorus at the Regional Convention of the American Choral Director's Association in Fort Wayne, Indiana.
David GovertsenChicago native David Govertsen recently completed his tenure as a member of the Ryan Center at Lyric Opera of Chicago where his mainstage assignments included roles in The Magic Flute, Boris Godunov, Werther, and Die Meistersinger von Nürnberg. He returned to Lyric this season to sing the Bonze in Madama Butterfly.

Mr. Govertsen made his Carnegie Hall debut in 2011 as the Herald in Otello with the Chicago Symphony Orchestra conducted by Riccardo Muti. He is an alumnus of both the Santa Fe Opera and Central City Opera apprentice programs and holds degrees from Northwester University, Northern Illinois University, and the College of DuPage. Upcoming engagements include returns to Lyric and Santa Fe, as well as a debut with the Chicago Opera Theater.