AUSTRALIAN CHAMBER · PDF fileAUSTRALIAN CHAMBER CHOIR directed by DOUGLAS LAWRENCE ... Lassus (also known as Orlando di Lasso) ... Kyrie Kyrie eleison

AUSTRALIAN CHAMBER CHOIR directed by

DOUGLAS LAWRENCE with

ROBIN BATTERHAM - Organ Our Lady of Mt Carmel, Middle Park

Sunday 23 May 2010 at 3 p.m.

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1. Missa Bell’ Amfitrit’ altera Lassus

ORLANDE DE LASSUS : Born 1530 or 1532, Mons, Belgium; died 14 June 1594, Munich.

Born in the Franco-Flemish province of Hainaut, a province notable for the number of distinguished musicians born and trained there during the Renaissance, Lassus (also known as Orlando di Lasso) became one of the most prolific and versatile composers in the 16th century, as well as being a widely admired musician. He spent his youth in Italy, but he was in a sense German by adoption, for he spent the greater part of his life in the service of the Bavarian court at Munich, where as Kapellmeister for over 30 years he built up the Kantorei to a peak of expertise and international fame. He produced a vast output of vocal works in French, German, Italian and Latin, both sacred and secular, including about 60 authenticated masses, some 530 motets and about 100 Magnificats. Most of the masses are so-called parody masses, i.e. based on pre-existing works such as motets, French chansons or Italian madrigals. The Missa Bell’ Amfitrit’ altera, for eight voices, was not published during the composer’s lifetime “but comes from a Munich court chapel manuscript dated 1583. It is presumably based on a madrigal that has so far remained unidentified but may be Venetian, since Amphitrite was a sea-nymph. People often look in the Mass for the pure antiphonal Venetian dialogue of two divided choirs, but in fact Lassus tends to avoid these straight contrasts, preferring interplay between groups drawn from both choirs for much of the time. All this suggests that in performance Lassus did not space his choirs too far apart, as is indeed confirmed by some of the beautiful pictures of Lassus and his musicians by the court illustrator of manuscripts.” (Jerome Roche)

Kyrie Kyrie eleison. Christe eleison. Kyrie eleison. Lord have mercy. Christ have mercy. Lord have mercy. Gloria Gloria in excelsis Deo. Et in terra pax hominibus Glory to God in the highest, and on earth peace bonae voluntatis. Laudamus te, benedicimus te, to men of good will. We praise you, we bless you, adoramus te, glorificamus te. Gratias agimus tibi we worship you, we glorify you. We give thanks to propter magnam gloriam tuam. Domine Deus, Rex you for your great glory. O Lord God, Heavenly coelestis, Deus pater omnipotens. Domine fili King, God the Father Almighty. O Lord, the unigenite Jesu Christe. Domine Deus, agnus Dei, only-begotten Son Jesus Christ. O Lord God, Lamb filius patris. of God, Son of the Father. Qui tollis peccata mundi, miserere nobis. Qui tollis You who take away the sins of the world, have mercy peccata mundi, suscipe deprecationem nostram. on us. You who take away the sins of the world, hear Qui sedes ad dexteram patris, miserere nobis. our prayer. You who sit at the right hand of the Father, Quoniam tu solus sanctus, tu solus Dominus, tu solus have mercy on us. For you alone are holy, you alone are altissimus, Jesu Christe, cum Sancto Spiritu in gloria Lord, you alone are the Most High, Jesus Christ, with the Dei patris. Amen. Holy Spirit in the glory of God the Father. Amen. Credo Credo in unum Deum, patrem omnipotentem, factorem I believe in one God, the Father Almighty, maker of coeli et terrae, visibilium omnium et invisibilium. heaven and earth, of all things visible and invisible, Et in unum Dominum Jesum Christum, filium Dei and in one Lord, Jesus Christ, the only-begotten Son unigenitum, et ex patre natum ante omnia saecula. of God, born of the Father before all worlds. God from Deum de Deo, lumen de lumine, Deum verum de Deo God, light from light, true God from true God, begotten,

vero, genitum non factum, consubstantialem patri, not made, of one substance with the Father, by whom all per quem omnia facta sunt, qui propter nos homines all things were made; who for us men and for our et propter nostram salutem descendit de coelis. Et salvation descended from heaven and became flesh of the incarnatus est de Spiritu sancto ex Maria Virgine, et Holy Spirit, born of the Virgin Mary, and was made man. homo factus est. Crucifixus etiam pro nobis, sub Pontio Pilato passus He was crucified for us, suffered under Pontius Pilate and et sepultus est. Et resurrexit tertia die secundum was buried. And he rose again on the third day, in scripturas, et ascendit in coelum, sedet ad dexteram accordance with the scriptures, and ascended to heaven, patris. and sits at the right hand of the Father. Et iterum venturus est cum gloria iudicare vivos et And he will return again in glory to judge the living and mortuos, cuius regni non erit finis. Et in Spiritum the dead, and his kingdom will know no end. And (I sanctum, Dominum et vivificantem, qui ex Patre believe) in the Holy Spirit, Lord and Giver of Life, who Filioque procedit, qui cum Patre et Filio simul adoratur proceeds from the Father and the Son, who with the et conglorificatur, qui locutus est per prophetas. Et Father and Son together is worshipped and glorified, unam sanctam catholicam et apostolicam ecclesiam. and who spoke through the Prophets. And (I believe) in Confiteor unum baptisma in remissionem peccatorum, one Holy Catholic and Apostolic Church. I acknowledge et exspecto resurrectionem mortuorum, et vitam one baptism for the remission of sins, and I await the venturi saeculi. Amen. resurrection of the dead, and the life of the world to come.

Amen. Sanctus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Holy, holy, holy, Lord God of Hosts. Pleni sunt caeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Benedictus Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Hosanna in excelsis. Hosanna in the highest. Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis. O Lamb of God, who takes away the sins of the world, Agnus Dei, qui tollis peccata mundi, dona nobis pacem. have mercy on us. O Lamb of God, who takes away the sins of the world, grant us peace. 2. Pater Noster Handl

JACOB HANDL : Born 15 April 1550, Ribnica, Yugoslavia; died 31 July 1591, Prague.

Also known as Jacobus Gallus, Handl was a monk who spent much of his time in various monasteries, to take the opportunity, as he put it, “to understand the muse and meditate on the shepherd's pipe”. In about 1586 he was Kantor at a Prague church, where he supervised the publication of his Opus musicum (four volumes, 1586-91), a collection of 445 motets, at least one for each day of an entire liturgical year. His works were generally popular, although their complexity caused some criticism by his contemporaries. The Lord’s Prayer (Matthew 6:9-13, a slightly different version in Luke 11:2-4), perhaps the best-known prayer in Christianity, has been set in Latin and in English by many composers. In his setting Handl “uses the polychoral style, a four-part women’s chorus alternating and responding to a four-part male chorus, as each phrase is elaborated until all voices unite in the last lines”.

Pater noster, qui es in caelis, Our Father, which art in heaven, sanctificetur nomen tuum; hallowed be thy Name. adveniat regnum tuum; Thy kingdom come; fiat voluntas tua, thy will be done, sicut in caelo, et in terra. in earth as it is in heaven. Panem nostrum quotidianum da nobis hodie; Give us this day our daily bread, et dimitte nobis debita nostra, and forgive us our trespasses sicut et nos dimittimus debitoribus nostris; as we forgive them that trespass against us. et ne nos inducas in tentationem; And lead us not into temptation, sed libera nos a malo. Amen. but deliver us from evil. Amen.

3. John Shaw Neilson Triptych Willcock CHRISTOPHER WILLCOCK : Born 8 February 1947, Sydney; now living in Melbourne.

Christopher Willcock, a Jesuit priest ordained in 1977, is a leading Catholic composer of liturgical music;

he also has a wide range of concert works to his credit. He studied piano at the Sydney Conservatorium of Music and composition with Peter Sculthorpe, and in 1987 he completed a doctorate in liturgical and sacramental theology in Paris. He now teaches at the United Faculty of Theology in Melbourne. Among his published liturgical music are two volumes of psalm settings and a collection of music for funeral rites. In 1999 he was commissioned to write a piece, entitled Gospel Bestiary, which the Tallis Scholars performed during an Australian tour the following year and which was subsequently sung in Great Britain. He won the 2006 Classical Music Award for Choral or Vocal Work of the Year with Southern Star, a cycle of nine Christmas carols composed in collaboration with the author and cartoonist Michael Leunig.

The John Shaw Neilson Triptych (1995) is a work for unaccompanied choir that was first performed by the

Ormond College Choir conducted by Douglas Lawrence. The text consists of three short poems (Song Be Delicate, The Hour of the Parting and Say Summer Shall Not Die) by the Australian lyric poet John Shaw Neilson (1872-1942) plus the Latin plainchant antiphon Vox in Rama. “The first poem moves from the cloudless opening of Spring to an intimation of death at its kernel. The plainchant comes from the Mass of the Holy Innocents (28 December) and tells of Rachel, weeping and lamenting her children, inconsolable since they are no more. It is sung on both sides of the second poem which confronts the experience of death more closely than the first poem. The final poem denies the last word to all the death-dealing forces in human existence. ‘Summer’, says the poet, ‘shall not die’. Much of the musical material is drawn from the Latin chant, particularly the rocking interval of the second. This motif both expresses Rachel’s keening and drives the hypnotic dance rhythm of the more confident final section.” (Christopher Willcock)

Let your song be delicate. Too well they know the tremble The skies declare Of the hollow year. No war – the eyes of lovers Wake everywhere. Let your voice be delicate. The bees are home: Let your voice be delicate. All their day’s love is sunken How faint a thing Safe in the comb. Is Love, little Love crying Under the Spring. Let your song be delicate. Sing no loud hymn: Let your song be delicate. Death is abroad … Oh, the black season! The flowers can hear: The deep – the dim! Vox in Rama audita est, A voice was heard in Rama, ploratus et ululatus, wailing and bitter lamentation Rachel plorans filios suos, Rachel weeping for her children; noluit consolari quia non sunt. she refused to be consoled because they are no more.

(Jeremiah 31:15) Shall we assault the pain? The blue smoke of the mind, It is the time to part: The gray light on the ship. Let us of Love again Eat the impatient heart. Parting is of the cold That stills the loving breath, There is a gulf behind Dimly we taste the old Dull voice and fallen lip, The pitiless meal of Death. Say as the seasons pass All dried-up laws defy: Say to the living tree, Say while the eyes recede All movements on the grass, That summer shall not die. To all who toil for fee, Unto the last good-bye Though Reason in the cold Say loud to all who pass Sit as an emperor, That summer shall not die. Say loudly it is gold, My thoughts are gossamer;

Say as the hands recede, With loveless lips and dry Say as the feet default, Say to that emperor Let no too cautious creed That summer shall not die. Counsel your soul to halt; I N T E R V A L 4. O Jesu Christ, meins Lebens Licht, BWV 118 Bach JOHANN SEBASTIAN BACH : Born 21 March 1685, Eisenach; died 28 July 1750, Leipzig.

The word motet has been used over the centuries for widely differing purposes. Bach applied it to works for choir alone (i.e. without solo voices) in which the writing is predominantly contrapuntal (meaning that each part carries its own melodic strength). The six works normally called motets rank among his finest vocal works. Tonight we hear a work that is often overlooked, a work explicitly described by Bach on its title page as “motetto” but mistakenly included among his cantatas in the old Bach-Gesellschaft edition. As a result it lay hidden among the 200 or so real cantatas, and even now it is usually omitted from recordings and publications of the other six motets. It was written in about 1736, possibly for the funeral of the pastor of St Thomas' Church, Christian Weiss. The accompaniment was originally scored for an outdoor ensemble comprising two litui (curved trumpets used at funerals), a cornetto and three trombones, which suggests processional performance. Only one verse of the hymn text is given in Bach's manuscript, but the hymn by Martin Behm (1557-1622) has fourteen more, enough for even the longest procession. Ten years later Bach rescored the work for indoor use. The choral melody on which the motet is based comes from a Leipzig hymnal of 1625, As hymnodus sacer. Mendelssohn later used the melody in his oratorio St Paul, and his version, with an altered last line, is found in some hymnals under the name Breslau.

O Jesu Christ, meins Lebens Licht, O Jesus Christ, light of my life, mein Hort, mein Trost, mein Zuversicht, my refuge, my solace, my trust, auf Erden bin ich nur ein Gast, here on I am only a guest und drückt mich sehr der Sünden Last. and greatly oppressed by the weight of my sins 5. Le Banquet céleste Messiaen

OLIVIER MESSIAEN : Born 10 December 1908, Avignon, France; died 27 April 1992, Paris. Olivier Messiaen was one of the most important and influential French composers of the 20th century. He began to compose when he was about eight and he entered the Paris Conservatoire at the age of eleven, later becoming a teacher there and in 1966 professor of composition. He was appointed organist of the Église de la Sainte Trinité in Paris in 1931, an appointment he held for the remainder of his life, and he was one of the few important composers last century to have made a significant contribution to the literature of the organ. He visited Australia for the first and only time in 1988, a bicentennial gift from the French government.

Le Banquet céleste (The celestial Banquet), a piece only 25 bars long but lasting more than seven minutes, was written in 1926 when the composer was a student and it was his first published work. It contains the essence of three characteristics of Messiaen's general style: slow, sustained movement, rich chromatic harmony and unusual colouring. The extremely slow phrases here create a feeling of eternity. It is a meditation on “He who eats my flesh and drinks my blood, dwells in me and I in him” (John 6:56) “It is a piece with two themes. The first, slow, sustained, far away, mysterious, represents most of all the love God has for us by sacrificing his Son; the second, a melody played by the feet like 'drops of water', represents Christ's blood 'that was shed for us for the remission of sins'. Over this second theme, the first theme is developed in an orchestral crescendo and diminuendo."” (Jon Gillock)

6. Salve Regina Poulenc

FRANCIS POULENC : Born 7 January 1899, Paris; died there 30 January 1963. Largely self-taught, Francis Poulenc was a member of “Les Six”, a title invented by a Paris music critic

for five young French composers and one Swiss. [The others were Auric, Durey, Honegger, Milhaud and Tailleferre, of whom Milhaud would now be considered nearly as well known as Poulenc, followed at some distance by Honegger.] The six shared a desire for simplicity and freedom, and a fondness for jazz, but otherwise they had different aims and they drifted apart. Poulenc was a prolific composer, and his output of some 160 works includes piano suites, keyboard concertos (in which, as pianist, he often performed as soloist), ballets, chamber music, sacred music, song cycles and two operas. Following the death of a friend in a car accident, Poulenc began in 1936 a series of sacred choral works. These contain some of his finest music, and the composer said: “I think that I’ve put the best and most genuine part of myself into them. I have a feeling that I’ve really produced something new.”

Salve regina is one of the four large-scale Marian antiphons, and is now sung at the end of Compline

from Trinity Sunday to the Saturday before the first Sunday in Advent. Poulenc’s calm setting (1941) “never deviates from a simple four-part texture, and perhaps most strikingly uses the final nineteen bars intoning only the words ‘dulcis Virgo Maria’.”

Salve regina, mater misericordiae; Hail queen, mother of mercy; vita dulcedo et spes nostra, salve. hail, our life, our sweetness, and our hope. Ad te clamamus, exsules filii Evae. We cry to you, poor banished children of Eve; ad te suspiramus, gementes et flentes, to you we send our sighs, mourning and weeping in hac lacrimarum valle. in this valley of tears. Eia ergo, advocata nostra, Turn then, our advocate, illos tuos misericordes oculos ad nos converte. your merciful eyes towards us. Et Jesum, benedictum fructum ventris tui, And show us Jesus, the blessed fruit of thy womb, nobis post hoc exsilium ostende, after this exile. O clemens, O pia, O dulcis Virgo Maria. O merciful, O pious, O sweet Virgin Mary. 7. Feather Ostrzyga

FIRST AUSTRALIAN PERFORMANCE Michael Ostrzyga (b. 1975) is a German composer, conductor and pianist who has been active in the

Cologne area. He studied at the Hochschule für Musik und Tanz in Cologne, where his voice teachers included the former Sydney baritone Philip Langshaw. Since 2008 he has taught choral and ensemble conducting at the University of Siegen and music theory/composition at the Hochschule in Cologne. His considerable output as a composer includes several works for unaccompanied chorus. Feather (2006) is a short work for 8-part choir, using a text by Bernadette Lieder.

One winter day, a soaring crow lost one dark feather in the white and thus somehow changed my heart - I briefly glimpsed life's other part. 8. Magnificat, Op 164 Stanford

CHARLES VILLIERS STANFORD : Born 30 September 1852, Dublin; died 29 March 1924, London.

Stanford, a conductor, teacher and prolific composer, was the most influential British musician of his

time. He wrote some 200 works in nearly every form and medium, including symphonies, concertos, operas, collections of songs and more than 40 choral works. Apart from his Anglican church music, few of these works are heard in live performances now (although an expanding CD catalogue provides an opportunity for much reassessment), and even during his lifetime he was overshadowed by the more original composing genius of Elgar, five years his junior. He was knighted in 1902, and he was buried next to Purcell in Westminster Abbey.

The Magnificat (or “Canticle of the Virgin Mary”) is a hymn of praise and thanksgiving (Luke 1:46-55)

sung by the Virgin Mary after she has received the angel’s message of her great destiny. As well as being sung at

the Roman Catholic service of vespers, it is sung at Evensong in the Anglican church (where it retains its Latin title). Numerous composers over several centuries have made musical settings of the Latin and the English texts. In addition to several settings in English, Stanford completed his only Latin setting of the Magnificat shortly before the death in early October 1918 of Sir Hubert Parry. He had intended to dedicate the work to Parry; instead it bears a posthumous inscription: “To this work, which his death prevented me from handing Charles Hubert Hastings Parry in life, I prefix his name in grief”. An optimistic piece for eight-part chorus, “it draws heavily on Baroque antiphonal tradition, perhaps as a recognition of Parry’s interest in music of the period. The work is episodic, each verse introducing a new theme (apart from the recall of the opening at the doxology), and exploits other baroque devices. Despite this antiquarian framework, the piece is very much Stanford’s own – it is expressed throughout in his own tonality and is a vocal tour de force, a declamatory and exuberant interpretation of the text, operatic in its drama and completely removed from his poised Anglican settings.” (Paul Rodmell)

Magnificat anima mea Dominum. My soul magnifies the Lord, et exultavit spiritus meus in Deo, salutari meo. and my spirit rejoices in God my saviour. Quia respexit humilitatem ancillae suae: For he has regarded the low estate of his handmaiden: ecce enim ex hoc for behold, henceforth beatam me dicent omnes generationes. all generations shall call me blessed. Quia fecit mihi magna qui potens est, For he that is mighty has done great things for me, et sanctum nomen eius. and holy is his name. Et misericordia eius a progenie in progenies And his mercy is on those who fear him timentibus eum. from generation to generation. Fecit potentiam in bracchio suo: dispersit He has shown strength with his arm, he has scattered superbos mente cordis sui. the proud in the imagination of their hearts. Deposuit potentes de sede, He has put down the mighty from their thrones, et exaltavit humiles. and has exalted those of low degree. Esurientes implevit bonis: He has filled the hungry with good things, et divites dimisit inanes. and the rich he has sent empty away. Suscepit Israel, puerum suum, He has helped his servant Israel, recordatus misericordiae suae. In remembrance of his mercy. Sicut locutus est ad patres nostros, As he promised to our forefathers, Abraham, et semini eius in saecula. Abraham and his posterity for ever. Gloria Patri, et Filio, et Spiritui Sancto. Glory be to the Father, and to the Son, and to the Holy

Spirit, Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and ever shall be, et in saecula saeculorum. Amen. world without end. Amen.

* * * * * The program notes were compiled by Michael Edgeloe. The AUSTRALIAN CHAMBER CHOIR is a choir of eighteen voices (six sopranos, four altos, four tenors and four basses) formed in March 2007. Following two preliminary performances in the Promenade of Sacred Music in Hamilton and nearby towns in April of that year, the choir undertook a highly successful tour of Europe, with some 20 concerts in Denmark, Germany and Poland. “Europeans are fascinated by Australian music”, Douglas Lawrence says. “The music Australians are writing is different. I can't say how, but there's a freedom about the way Australians write. They are not really constrained by European models. And Australian choirs are fresh and distinctive. The choir’s first concert as an independent entity took place in Central Hall, Australian Catholic University, on St Cecilia’s Day 2007, with another concert in the same venue in May the following year. A second European tour (mostly Germany, also Denmark) took place in July 2009, with concerts in Bayreuth, Berlin, Bonn, Darmstadt, Hjorring, Konstanz, Norden, Nördlingen, Soroe, Tübingen and Wangen. The choir performs music from all periods, with special attention given to new Australian works. The choir aims to establish an Australia-wide touring program as soon as the necessary funds are available. We welcome your support and would like to thank our first Diamond ($15,000 or more) donor, Mr Bob Henderson. Donations to the Australian Chamber Choir Support Fund are tax deductible. If you would like to assist the choir, please contact us through www.auschoir.org or telephone (03) 9387 3004. The singers today are Sopranos : Taya Annable, Felicity Bolitho, Bronwyn Jones, Myfanwy McIndoe, Leonie Millard, Nicole Spicer Altos : Elizabeth Anderson, Amelia Ballard, Leonie Tonkin, Zoe Wong Tenors : Robin Czuchnowski, Thomas Kristof, Timothy Reynolds, Vaughan McAlley Basses : Simon Gannon, Steven Hodgson, Andrew Moffat, Kieran Rowe

Director: Douglas Lawrence OAM Chairman: Dr Robin Batterham AO Patrons: Barry Jones AO, Prof John Griffiths, Oficial de la Orden de Isabel la Católica DOUGLAS LAWRENCE OAM, Director of Music at Scots' Church since 1984, has performed widely as organist or conductor in Australia, many European countries, New Zealand, Hong Kong, Japan, Singapore and North America. Educated at the University of Melbourne and the Musikhochschule in Vienna (studying with Anton Heiller), he founded the renowned Choir of Ormond College and has given, with that choir and as organist, more than 100 first performances of works by Australian composers. For 16 years he was Artistic Director of the Melbourne International Festival of Organ and Harpsichord and he now directs the Southern Grampians Promenade of Sacred Music. He was responsible for the tonal design of the Rieger organ (1999) in Scots' Church as well as for several other Melbourne organs. MUSIC E-MAIL LIST : If you would like to receive occasional announcements about classical concerts (you would have received these notes several days in advance, for example), please send your email address to <[email protected]>. There are separate lists for Melbourne and Sydney, and you can join either orbothof these lists. COMING ACC PERFORMANCES Victorian Country Tour: Concerts in the Holy Trinity Cathedral, Wangaratta on Friday 28 May at 8 p.m., St Brendan’s, Shepparton on Saturday 29 May at 3 p.m. and Christ Church, Castlemaine on Sunday 30 May at 3 p.m. Music by Byrd, Palestrina, Handl, Bach and Poulenc, plus spirituals.

On Sunday 6 June at 9 a.m. at St John’s Southbank, Bach Cantata No 27 and the motet “Fürchte dich nicht”, performed in a liturgical context. Admission is free.

On Sunday 22 August at 3 p.m. at Our Lady of Mount Carmel: MISERERE (Allegri), Selig sind die Toten (Schütz), Ave verum corpus (Byrd), I heard the owl call my name (Nunn), Geistliches Lied (Brahms), Plainte (Langlais, for organ), Lament for Dunblane (Fowler), Abendlied (Rheinberger), Motet “Der Geist hilft unser Schwachheit auf” (Bach). On Sunday November 21 at 3 p.m. the ACC will give the final concert in its 2010 series, entitled THE BELLS OF CHRISTMAS: The Bell Anthem (Purcell), O Magnum Mysterium (Victoria), Beatus Vir (Monteverdi), Lobet den Herren (JS Bach), In Dulci Jubilo (Buxtehude), A Hymn to the Virgin (Britten), What sweeter music (Bennett), O Magnum Mysterium (Kristof), I sing of a maiden (Biazeck), and a new work by Steven Hodgson. Swap your ticket to today’s concert for a Special Season Ticket to our concerts on August 22 and November 21 and pay only an additional $30 (adult) or $20 (concession). Avoid internet booking fees. Just ask our ticket desk personnel at interval. New CD of the ACC live in Europe, recorded during our 2009 European tour. Available today $15 Our thanks this afternoon to Our Lady of Mt Carmel, Scots’ Church, Michael Edgeloe OAM, www.coremind.com.au IT Consulting Management and Support, Move Records, 3MBSFM, Mini Maestros, Counterpoint Wines and Emma and Tom’s fruit juices.