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 |
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Polonaise in C Major, Op. 49 | Anatol Liadov | |||
Intermission | ||||
Requiem in D minor, K. 626 | Wolfgang Amadeus Mozart | |||
I. Introitus: Requiem |
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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 |
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Program Notes by James R. C. Adams |
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Reflections on Peace |
Timothy Reed (b. 1976) |
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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 timreedmusic.com. 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)." |
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Polonaise in C Major, Op. 49 |
Anatol Liadov (1855-1914) |
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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. |
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Requiem in D minor, K. 626 |
Wolfgang Amadeus Mozart (1756-1791) |
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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. |
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Manchester Symphony Orchestra Personnel |
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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 Viola Julie Sadler * Carrie Shank +^ Margaret Sklenar Renée Neher +^ Colleen Phillips Cello Robert Lynn * Michael Rueff +^ Jade Keane +^ Robert Hudson Bass Darrel Fiene * Katie Huddleston +^ Brad Kuhns Piccolo/Flute Kathy Davis * Kathy Urbani Alyssa Rocheck + Oboe George Donner * Nyssa Tierney Abigail Lynn Clarinet Lila D. Hammer * Mark W. Huntington Sarah Leininger +^ |
Bass Clarinet Sarah Leininger +^ Bassoon Erich Zummack * Elena Bohlander + Horn Christen Adler * Kristen Hoffman +^ Michael Paynter +^ Dana Dillon +^ Trumpet Steven Hammer * Mykayla Neilson +^ Dennis Ulrey Trombone Jon Hartman * Chris Hartman +^ James Kraft Tuba Caleb Dehning Timpani Dave Robbins * Percussion Dave Robbins * Mackenzi Lowry +^ Katie Lowther ++ Kevin Friermood + Austin Sommers + Keyboard Tim Reed Piano Pamela Haynes * Denotes principal + Denotes MU student ^ Denotes Keister Scholarship recipient ** Denotes assistant principal ++ Denotes Assistant to the Conductor |
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Manchester University A Cappella Choir |
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Soprano Megan Garner *+ Emilie Hunt Aliyah Johnson Caitlin Kessler * Ashlea Koehl + Cally Miller + Erika Reffitt + Alto 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 |
Tenor Lucas Al-Zoughbi Angela Ebert Joseph Myers * Adam Ousley *+ Riley Wallace + Donnie Watkins Bass Jacob Archambault + David Dicken Joshua Dold Grant Ebert + Scott Humphries Caleb Hoffsinger + Josh Plank Bennett Ritchie Michael Rueff + Jeremiah Sanders * Directors Debra Lynn, conductor Alan Chambers, pianist Elizabeth Smith, pianist |
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Manchester Symphony Chorus |
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Soprano Leslie Butterbaugh Kathy Fry-Miller Karen Hartman Rachael Heath * Acacia Lliorica Tamara Sriver Sabine Thomas Alto Marjan Boogert Lydia Cartwright Beverly Eikenberry Sandy Funk Sara Gable Lana Groombridge Katherine Haff * Pat Hoover Joy Stifler Janina Traxler |
Tenor Ron Finney Paul Fry-Miller John Planer * Andrew Rich Jon Shafer Mark Schwartz Joel Waggy Bass Andrew Haff * Ham Sadler Steve Weissert * denotes section leader Directors Debra Lynn, conductor Pamela Haynes, pianist |
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Fairfield High School Advanced Choir |
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Soprano 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 Alto 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 |
Tenor Isaiah Brown Brant Gingerish Bryan Miller Isaac Miller Lucas Miller Zachary Munn Raymundo Rios Spencer Roose Alex Yoder Chandler Yoder Bass Kyle Comino Wynton Edwards Brock Goeglein Aaron Miller Scott Sams Aaron Skibbe Kyle Stingel Patrick Webb Christian Wright Directors Benjamin Kambs, director Larry Becker, pianist |
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Honeywell Center Vocal Impact Youth Choir |
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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 |
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![]() ![]() ![]() 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. ![]() Huntington currently performs in classical ensembles with Soprani Compagni (www.sopranicompagni.com) 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. ![]() 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. ![]() 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. ![]() 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. |
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