The Choir of King’s College, Cambridge · Our reunion with the Choir of King’s College, Cambridge brings some of the world’s best singers to Australia where, once again, they

Musica VivaInternational Concert Season 2019

The Choir ofKing’s College,

Cambridge

ADELAIDEADELAIDE TOWN HALL MONDAY 22 JULY, 7.30PM Pre-concert talk, 6.45pm (Prince Alfred Room) CD signing after concert

TUESDAY 23 JULY, 7.30PMPre-concert talk, 6.45pm (Prince Alfred Room) CD signing after concert

BRISBANEQUEENSLAND PERFORMING ARTS CENTRE THURSDAY 1 AUGUST, 7PMRecorded for delayed broadcast on 4MBSPre-concert talk, 6.15pm(Concert Hall Balcony Foyer)Meet the Artists after concert

CANBERRALLEWELLYN HALL, ANU SCHOOL OF MUSIC

THURSDAY 25 JULY, 7PMPre-concert talk, 6.15pm (Athenaeum [foyer])CD signing after concert

MELBOURNEHAMER HALL, ARTS CENTRE MELBOURNE SATURDAY 27 JULY, 7PMRecorded for delayed broadcast on ABC ClassicPre-concert talk, 6.15pm (Foyer)

ELISABETH MURDOCH HALL, MELBOURNE RECITAL CENTRE TUESDAY 6 AUGUST, 7PMPre-concert talk, 6.15pm (Boardroom, Level 2)Meet the Artists after concert

PERTHPERTH CONCERT HALL SATURDAY 20 JULY, 7.30PMPre-concert talk, 6.45pm (Corner Stage Riverside, Terrace Level)Meet the Artists after concert

SYDNEYCITY RECITAL HALL MONDAY 29 JULY, 7PMRecorded for delayed broadcast on Fine Music 102.5 FM Pre-concert talk, 6.15pm (Foyer, Level 3)Meet the Artists after concert

CONCERT HALL, SYDNEY OPERA HOUSE SATURDAY 3 AUGUST, 2PMRecorded for delayed broadcast on ABC ClassicPre-concert talk, 1.15pm (Northern Foyer)

Daniel Hyde directorAlice Giles harp*

Umberto Clerici cello*

Musica Viva is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. Musica Viva is assisted by the NSW Government through Create NSW.

The Choir of King’s College,

Cambridge

1341_WESF - Arts Sponsorship Campaign 2014 - Musica Viva_Ad 2015_240x150_V2_UPDATE 03.02.15.indd 1 3/02/15 9:51 AM

*Program 2 only

Continuo organ by Henk Klop, Garderen, Netherlands, 2004. Supplied and prepared by Carey Beebe Harpsichords.

These performances of A Ceremony of Carols by Benjamin Britten are given by permission of Hal Leonard Australia Pty Ltd, exclusive agent for Boosey & Hawkes music publishers of London.

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ADDITIONAL ACTIVITYDaniel Hyde will present the following masterclasses as part of this tour:

Brisbane: Tuesday 30 July, 6.30–8pm at St Peter’s Lutheran CollegeMelbourne: Monday 5 August, 6–7.30pm

For further details, please visit musicaviva.com.au/masterclasses

The Musica Viva Masterclass program is supported by principal patrons Stephen Johns & Michele Bender, Wesfarmers Arts (WA), Sydney Conservatorium Association (NSW), Anonymous Donor (SA) and Caroline & Robert Clemente (VIC).

FROM THE ARTISTIC DIRECTORThe Choir of King’s College, Cambridge became known to Australian audiences through its Festival of Nine Lessons and Carols, celebrating Christmas every year since 1918. The service has been broadcast internationally since 1928, is still distributed through the BBC World Service, and until recently was relayed by the ABC. This national tour is especially significant as it was supposed to mark the final international performances to be conducted by Sir Stephen Cleobury CBE, the choir’s Director of Music since 1982. Owing to ill health, Stephen is unable to travel and will sadly have to miss this remarkable milestone. Fortunately Stephen’s successor, Daniel Hyde, is available and will conduct the choir on this, his maiden voyage as Director.

Fully cognisant of the intriguing implications both political and musical, this choir is one of the few in the world maintaining the ancient English tradition of an all-male group with boy sopranos. The sound has a distinct ‘purity’, if achieved at the expense of the richer texture and greater volume range afforded by female sopranos and altos. An added advantage is the consummate musical education provided to the boy choristers at King’s College School, across the river Cam from King’s College.

The choir’s special sonority as always informs the repertoire chosen for this tour. The program in venues containing a suitable pipe organ centres around core works of the English choral canon including Lo, the Full, Final Sacrifice by Gerald Finzi, The Wilderness by Samuel Wesley and I Was Glad by Hubert Parry.

CARL VINE aoARTISTIC DIRECTOR MUSICA VIVA AUSTRALIA

The program in other venues relies on a smaller portable ‘chamber’ organ, and includes a special feature on the boy sopranos in Benjamin Britten’s Ceremony of Carols, with the addition of harpist Alice Giles. Cellist Umberto Clerici also joins to present the Australian premiere of a new work by Judith Weir CBE, Master of the Queen’s Music, commissioned by the choir. Both programs feature the premiere performances of a setting of Psalm 100 by Ross Edwards AM, entitled Singing the Love, generously commissioned for Musica Viva by Jennifer Seabrook to celebrate Ray Turner’s 75th birthday.

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FROM THE CHIEF EXECUTIVE OFFICERThere’s nothing like a young voice to lift the heart.

Our reunion with the Choir of King’s College, Cambridge brings some of the world’s best singers to Australia where, once again, they will delight us with a unique sound developed over many centuries.

Musica Viva In Schools artists hear young voices every day. Walk into any one of the thousands of classrooms we visit annually, and you’re likely to meet a wall of sound – and much singing!

I recently visited the School of the Air in Alice Springs for a performance by Doctor Stovepipe, one of the 15 groups – comprising a total of 60 musicians – that we send into Australian schools every year. As the ensemble performed, the teacher’s screens lit up with video links from the school’s students, some of whom live thousands of kilometres away. I watched with amazement as children (with whom the school’s teachers had spent a term working through our educational materials) lit up with joy – dancing and singing along with the artists in the studio.

Their young voices filled the air, bringing the children, the artists and their teachers together across enormous distance. We exist to make Australia a more musical place; that was certainly happening at the School of the Air.

As ever, I’m glad you are with us at this concert and we hope that you leave with spirits lifted after an immersion in the glory, wonder and hope present in the young voices you are about to enjoy.

HYWEL SIMSCHIEF EXECUTIVE OFFICER MUSICA VIVA AUSTRALIA

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MEET THE ARTISTS

The Choir of King’s College, Cambridge is one of the world’s best-known choral groups. Every Christmas Eve millions of people worldwide tune into A Festival of Nine Lessons and Carols, which is the longest established annual broadcast in history, reaching 90 years in 2018. Additionally, Carols from King’s, a televised Christmas service also broadcast on Christmas Eve, celebrated its 60th anniversary in 2014. The Choir’s international fame and reputation, enhanced by an extensive recording catalogue, has led to invitations to perform around the world.

The Choir exists thanks to King Henry VI who, in founding the College in 1441, envisaged

THE CHOIR OF KING’S COLLEGE, CAMBRIDGE

the daily singing of services in its magnificent Chapel, which remains the primary purpose of the Choir’s 16 choristers, 14 choral scholars and two organ scholars. A number of famous people have attended the Choir’s services including British monarchs, from Elizabeth I to the present Queen; political leaders such as Winston Churchill and Mikhail Gorbachev; and Charles Darwin, who loved the Choir so much that he engaged the Choristers to come and sing in his rooms when he was at Cambridge.

The Choir owes much to the five musicians who have maintained its consistently high standards over the course of the last 140 years: A.H. Mann (1876), Boris Ord (1929),

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DANIEL HYDE

David Willcocks (1957), Philip Ledger (1974) and from 1982 to 2019, Sir Stephen Cleobury. Since 1870, the boy choristers have been educated across the river from the College at King’s College School and receive scholarships from King’s College to help pay for their education. By the time they leave the Choir they are able to take with them valuable musical skills, with many aspiring to return to the Choir as choral scholars. The choristers are selected at audition when they are in Year 2, 3 or 4 (ages 6 to 9) at their school. Boys usually enter the Choir in Year 4 (ages 8 to 9).

Daniel Hyde is a versatile musician: a conductor of orchestras and choirs, a world-class organist, a natural leader and a broad-minded academic. With this tour, he takes up what is arguably the most prestigious post in British choral music: Director of Music at King’s College, Cambridge. This position is a nurturing and inspirational role to which he will give himself generously. It is these qualities he brings, in abundance, to all his music-making.

Born in the UK, schooled as a chorister at Durham Cathedral, he was made a Fellow of the Royal College of Organists at the age of 17 and won the organ scholarship to King’s College, Cambridge, later taking up the position of Director of Music at Jesus College, Cambridge. In 2009, he became Informator Choristarum at Magdalen College, Oxford, where he was also an Associate Professor. In 2016 Daniel moved to the USA where he was Organist and Director of Music at Saint Thomas Church, Fifth Avenue, New York City.

The Choir of King’s College, Cambridge has made seven previous national tours for Musica Viva. Sir Stephen Cleobury is sadly unable to tour in 2019 due to ill health. The incoming Director, Daniel Hyde, is one of his former organ scholars.

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PROGRAMSProgram 1 (Adelaide, Brisbane, Sydney 3 August, Perth)

Henry PURCELL (1659–1695)I Was Glad 4 minThy Word is a Lantern 4 minRemember Not, Lord, Our Offences 3 minJehova, quam multi sunt hostes mei 6 min

Johann Sebastian BACH (1685–1750)Kyrie, Gott heiliger Geist, BWV671 (c 1736) 5 min

Ross EDWARDS (b 1943)Singing the Love (2018) 6 min

World premiere performances

Commissioned for Musica Viva Australia by Jennifer Seabrook, celebrating Ray Turner’s 75th birthday and his life-long love of music.

Gerald FINZI (1901–1956)Lo, the Full, Final Sacrifice (1946) 14 min

I N T E R V A L

Samuel Sebastian WESLEY (1766–1837)The Wilderness (1832) 15 min

Felix MENDELSSOHN (1809–1847)Organ Sonata no 3 in A major, op 65 (1844–45) I Con moto maestoso (Moving along, majestic) 8 min

Charles Villiers STANFORD (1852–1924)For Lo, I Raise Up, op 145 (1914) 7 min

Lennox BERKELEY (1903–1989)The Lord is my Shepherd (1975) 5 min

Charles Hubert Hastings PARRY (1848–1918)I Was Glad (1902) 6 min

Program 2 (Canberra, Melbourne, Sydney 29 July)

Claudio MONTEVERDI (1567–1643)Cantate Domino, SV293 (1620) 3 min

Johann Sebastian BACH (1685–1750)Komm, Jesu, komm, BWV229 7 min

Francesco CAVALLI (1602–1672)Salve Regina (1656) 7 min

Benjamin BRITTEN (1913–1976)A Ceremony of Carols, op 28 (1942) 25 min I Procession II Wolcum Yole! III There is no Rose IV That Yongë Child – Balulalow V As Dew in Aprille VI This Little Babe VII Interlude VIII In Freezing Winter Night IX Spring Carol X Deo Gracias – Adam Lay i-Bounden XI Recession

I N T E R V A L

William BYRD (1538–1623)Laudibus in sanctis (1591) 6 min

Thomas TALLIS (1505–1585)Loquebantur variis linguis (c 1540–1560) 6 min

Orlando GIBBONS (1583–1625)Hosanna to the Son of David (c 1610) 3 min

Carlos SALZEDO (1885–1961)Variations sur un thème dans le style ancien (1914) 7 min

Ross EDWARDS (b 1943)Singing the Love (2018) 6 min

World premiere performances

Commissioned for Musica Viva Australia by Jennifer Seabrook, celebrating Ray Turner’s 75th birthday and his life-long love of music.

Judith WEIR (b 1954)O Mercy Divine (2018) 4 min

Errollyn WALLEN (b 1958)Pace (2017) 6 min

Ralph VAUGHAN WILLIAMS (1872–1958)Valiant-for-truth (1940) 6 min

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ABOUT THE MUSICProgram 1 (Adelaide, Brisbane, Sydney 3 August, Perth)

Henry PURCELL (1659–1695)I Was Glad Thy Word is a LanternRemember Not, Lord, Our Offences Jehova, quam multi sunt hostes mei

Many a music lover has lamented the untimely death of Mozart at the age of 35, and wondered what miracles he might have created had he been granted a fuller span of years. The same question might be asked of the English Baroque genius Henry Purcell, who lived just four months longer than Mozart, and wrote more than 800 works, including masterpieces for the theatre, the court and the church. His music is a distinctly English fusion of the polyphony of the late Renaissance, the dramatic expressive power of the Italian and French Baroque, and his own unique harmonic daring.

I Was Glad was written for the coronation of James II in 1685, sung as the king and queen entered the Abbey. Fittingly bright and buoyant with its dotted rhythms at the opening, the anthem becomes more subdued, even hesitant, at ‘O pray for the peace of Jerusalem’. All doubts are swept away at ‘Glory be to the Father’ – Purcell repeats the word ‘Glory’, just to be sure – and the anthem closes with a tour de force of counterpoint, as the simple falling and rising motif being passed from voice to voice on ‘World without end, amen’ is first inverted (turned upside down, so it rises where the original melody fell, and vice versa), then augmented (stretched out in notes twice as long) and finally augmented again, all locking in together to sound at the same time.

© Natalie Shea

We don’t know exactly when Thy Word is a Lantern was composed, but it’s likely that it’s a later work, popular amongst British cathedral choirs in its day. Distinct from the other three Purcell works in this bracket, this is a ‘verse anthem’, with the majority

of the material performed by a small group of soloists – alto, tenor and bass. Purcell’s marvellous word-painting is brought to the fore; rising chromatic lines at ‘I am troubled above measure’ are compressed into bright, crisp figures at ‘Quicken me’, echoed by the full chorus. The alto soloist gets a chance to shine in a short recitative, before joyously flowing quavers and triumphant Hallelujahs complete the anthem.

Remember Not, Lord, Our Offences is Purcell’s best-known anthem. Though influenced by the Tudor style of Byrd and Tallis, the music is steeped in Purcell’s own brand of chromaticism and dissonance, the serene cadence points all the more relieving amidst the harmonic tension.

© Luke Iredale

Jehova, quam multi sunt hostes mei is something of an oddity in Purcell’s œuvre: one of only two motets in the Latin language. It’s an early work, written around the time of Purcell’s appointment as Organist at Westminster Abbey in 1679, but it can’t have been performed in that Anglican institution; mostly likely it was written for private performance, perhaps in the Catholic chapel of Queen Catherine, in St James’ Palace. Purcell’s genius for text setting is just as remarkable in Latin as in English: the hushed apprehension, rising to anger – or is it panic? – of the opening; the warlike bass solo with its jagged contours at Dentes improborum confregisti (‘You have broken the teeth of the ungodly’); and most strikingly of all, the tender calm of Ego cubui et dormivi as the psalmist lies down to sleep, secure in the knowledge that God is protecting him.

© Natalie Shea

O Jehovah, how many are my foes! How many rise up against me! How many say of my soul: There is no help for him in his God. But you, O Jehovah, are a shield around me, you are my glory and you lift up my head. My voice cried to Jehovah and he answered me from his most holy mountain. I lay down

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and slept, and I rose up again, for Jehovah sustains me. I shall not fear the multitudes drawn up against me on every side. Rise up, Jehovah, save me, O my God; for you have struck all my enemies on the jaw, you have shattered the teeth of the ungodly. Salvation belongs to the Lord. May your great blessing be upon your people.

(Psalm 3)

Johann Sebastian BACH(1685–1750)Kyrie, Gott heiliger Geist (Lord, God the Holy Ghost), BWV671 This short chorale prelude for organ solo is a setting of a Lutheran chorale tune, being the third part of the Kyrie, which would have been sung congregationally on Sunday mornings in Leipzig. Listen for the semibreves when they appear in the pedals – this is the tune (the ‘cantus firmus’), which always appears in the lowest voice while the four voices in the keyboard manuals fill in the space and add the contrapuntal interest: rhythm, imitation, inversion and all sorts of clever variations on the tune. The harmony is remarkably complex and, as in all Bach, near miraculous in its adhesion to the rules of strict counterpoint while simultaneously remaining musically pleasing and expressive. The teasing out of the harmony over a long-held bass note at the conclusion of the prelude is especially memorable.

© Luke Iredale

Ross EDWARDS (b 1943)Singing the Love (2018) World Premiere Performances One of Australia’s best-known and most performed composers, Ross Edwards am has created a distinctive sound world based on deep ecology and awareness of the need to reconnect music with elemental forces and restore its traditional association with ritual. His music, universal in that it is concerned with age-old mysteries surrounding humanity, is at the same time connected to its roots in Australia, whose cultural diversity it celebrates, and from

whose natural environment it draws inspiration, especially birdsong and the mysterious patterns and drones of insects. As a composer living and working on the Pacific Rim, Ross is conscious of the exciting potential of this vast region.

The composer writes:

A dancing, swaying setting of the joyful Psalm 100 from the King James Bible gradually takes on attributes of traditional ritual chant seeking absorption into the unfathomable mystery of life. I think the Lord who is praised here (in all the lands) may be seen as a universal symbol of wholeness: of an all-embracing love capable of binding together and harmonising everything in the universe. The text is progressively splintered, with some elements playfully subjected to varied repetition, and others stretched out to suggest pools of quiet contemplation. The opening lines, with their exhortation to sing, recur as a refrain.

Singing the Love is intended as a celebration of the whole of life, and in particular the love between Ray Turner and Jennifer Seabrook. Jennifer generously funded the commission for the Choir of King’s College, Cambridge and Musica Viva Australia, in honour and celebration of Ray’s 75th birthday.

© Ross Edwards 2018

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Gerald FINZI (1901–1956)Lo, the Full, Final Sacrifice (1946)Gerald Finzi was a solitary, introspective soul drawn to the music of his native England – Elgar, Vaughan Williams, Walton and Parry. He was also deeply attracted to English poetry, and for Lo, the Full, Final Sacrifice, he turned to the 17th-century metaphysical poet Richard Crashaw, an Anglican priest and later Catholic convert, widely praised and admired for his mastery of the intricate rhetoric and imagery prized by the poets of the day. The work was commissioned by Walter Hussey, vicar of an otherwise unremarkable parish church in Northampton. His passion about the place of the arts, and especially the contemporary arts, in worship led him to commission, among more than a dozen others, Benjamin Britten’s Rejoice in the Lamb and Leonard Bernstein’s Chichester Psalms.

Finzi himself was an agnostic, but in this work, the poet’s burning desire to be united with God through the eucharist is expressed by the composer in music of great beauty and strength, though also of great sadness, as if in full awareness of a paradise lost.

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Samuel Sebastian WESLEY (1766–1837)The Wilderness (1832)S.S. Wesley is one of British church music’s best-loved figures. His career as an organist and choir master took him to posts including the cathedrals of Exeter, Winchester and Gloucester, and many of his anthems and hymn tunes have remained in the repertoire.

The verse anthem The Wilderness, a setting of verses from the Old Testament book of Isaiah, is one of Wesley’s most substantial works. Sections are clearly defined, contrasting the full chorus with soloists and smaller groups. The slow first verse is handled by a solo quartet; verse two is for bass solo, cast in long, expressive lines and supported by broken chords in the organ pedals. A short tenor recitative introduces the next verse,

bookended by the solo quartet, the full choir finally emerging to weigh in on the same piece of text in the middle. Unison statements by the choir (‘And a highway shall be there’) are sung as the organ part unfolds below; the following chorus then pays heed to Handel in its imitative part-writing and laughter-like vocal melismas. Wesley throws an additional tenor into the final verse for the soloists, almost reminiscent of Barbershop singing in its carefully crafted twists of harmony, before concluding quietly with the full chorus.

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Felix MENDELSSOHN (1809–1847)Organ Sonata no 3 in A major, op 65 I Con moto maestoso (Moving along, majestic)

The popularity that J.S. Bach enjoys today eluded him during his lifetime. For the re-ignited interest in his life and his music, we partly have Felix Mendelssohn to thank: a particularly enthusiastic exponent of Bach’s many remarkable talents. And as it was for Bach, the music of the Lutheran Reformation was one source of inspiration for Mendelssohn. In particular, Martin Luther’s penitential hymn Aus tiefer Not schrei ich zu dir (‘Out of the depths I cry unto you’) inspired the third of the six sonatas within Mendelssohn’s op 65 set. Bach had used the same tune previously for his Cantata BWV38.

Being such a keen admirer of Bach, the Baroque composer’s presence is ever clear in Mendelssohn’s sonata. The majestic opening, which returns towards the end, frames a contrapuntal middle section which places Mendelssohn firmly within the pantheon of worthy successors to Bach. (See if you can spot the chorale tune, which appears in the pedals about two and a half minutes in.) The music is nothing short of monumental in its complexity and sheer volume, a melange of constant motion and colour which fully exploits the overwhelming, bone-rattling sound that a great organ is capable of producing.

© Luke Iredale

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Charles Villiers STANFORD (1852–1924)For Lo, I Raise Up, op 145 (1914) In the latter half of the 19th century, Charles Villiers Stanford was Director of Music at another of the Cambridge colleges, Trinity. As a composer, Stanford is responsible for many of the most popular anthems and settings of the evening canticles, the Magnificat and the Nunc Dimittis, which to this day are performed frequently by Anglican church choirs all over the world.

The 1914 anthem For Lo, I Raise Up is Stanford at his most cinematic. A setting of text from the Old Testament book of the prophet Habbukuk, Stanford’s hope for British deliverance from the war unfolding around him resulted in music of vehemence, power and steadfastness amidst unrest. The vocal writing is muscular, the choir digging into such marvellous lines as ‘Their horses also are swifter than leopards and are more fierce than the evening wolves’. The organ thunders away underneath it all, relaxing briefly as short solos from treble and tenor offer respite, before Stanford re-starts the engine with ‘For the earth shall be filled with the knowledge of the glory of the Lord.’ The anthem concludes serenely with an acknowledgement: ‘But the Lord is in his holy temple: let all the earth keep silence before Him.’

© Luke Iredale

Lennox BERKELEY (1903–1989)The Lord is my Shepherd (1975) In his student years, Lennox Berkeley was introduced to music from further afield than many of his contemporaries. In addition to the influences of Britten and his organ teacher William Henry Harris (who composed many of the most enduring anthems of the Anglican tradition), Berkeley’s studies in Paris with Nadia Boulanger gave him a firm grounding in strict counterpoint which would inform his unique, cosmopolitan style.

The mood of this anthem is gentle and pastoral, an ideal match for the text: the

enduring message of comfort that is Psalm 23. The treble voices alone, accompanied by organ, sing the Psalm’s first two verses, displaying Berkeley’s faculty for a simple, clean melody. The harmonic language becomes more complex as the remaining voices are introduced at ‘He restoreth my soul’, the composer weaving four independent vocal lines together into rather a dense web, before the trebles and organ return to conclude the anthem with a restful character.

© Luke Iredale

Charles Hubert Hastings PARRY (1848–1918)I Was Glad (1902) At the time of the coronation of Edward VII in 1902, Hubert Parry was one of the most respected figures in British musical life. He was Heather Professor of Music at Oxford University, and has wittily been characterised by Wilfrid Mellers as ‘an Etonian English Gentleman of considerable cultivation and an agnostic with Christian aspirations.’ He was a natural choice for new repertoire for the coronation to be held at Westminster Abbey on 9 August 1902. He was commissioned to compose an anthem for the entrance of the monarch, to the traditional psalm text ‘I was glad’. A contemporary who had heard the piece before the service commented, ‘I’m inclined to think that the anthem which Sir Hubert Parry has written for this will make a great effect, and make everyone who knows what music is think it a great, noble and novel setting.’

These words proved to be prescient, as the anthem has been heard at every coronation since 1902, being the only work apart from Handel’s Zadok the Priest to be so favoured. A new introduction, though, was added by Parry for the Coronation of George V in 1911. The work is conceived on a grandiose scale with rich vocal scoring and impressive ritornellos for the organ. The middle section, ‘O pray for the peace of Jerusalem’, forms a lyrical and expressive contrast, before

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the return of grandeur and splendour at the conclusion, notable for its treble line soaring up to a high B-flat.

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Program 2 (Canberra, Melbourne, Sydney 29 July)

Claudio MONTEVERDI (1567–1643)Cantate Domino, SV293 (1620) Monteverdi is best remembered for his operas Orfeo (the earliest example of the genre which is still regularly performed today) and The Coronation of Poppea, his Vespers of 1610, and for his eight books of Madrigals. For the final thirty years of his life, Monteverdi held the position of maestro di cappella at the Basilica di San Marco, where, in addition to composition duties, he was responsible for recruiting and training the chapel musicians. Cantate Domino is a short motet combining text from Psalms 96 and 98, the crisp bounce of its triple time signature typical of the composer’s Venetian style. The text Quia mirabilia fecit (‘For he hath done marvellous things’) is treated with a steadier hand, before the first tenors and altos introduce Cantate exultate (‘Sing, rejoice’) with an exuberant figure in parallel thirds.

© Luke Iredale

Sing to the Lord a new song, sing and give praise to his name, for he has done marvellous deeds. Sing and exult and praise in songs with the harp and the voice, for he has done marvellous deeds.

(Psalms 96 and 98)

Johann Sebastian BACH (1685–1750)Komm, Jesu, komm, BWV229 By the time Bach wrote his motets, the motet genre was falling out of fashion in Lutheran Germany, relegated to the role of introit while the multi-movement cantata took over as

the musical core of the liturgy. As director of music for all four of the churches in Leipzig from 1723 until his death in 1750, Bach wrote over 200 cantatas – a new one almost every week during his first years in the job – but only a handful of motets, apparently for special occasions, although he made no note of what those occasions were.

The text of Komm, Jesu, komm (Come, Jesus, come) suggests that it was written for a funeral; the two choirs cry the opening invocation one to another, the silences between the chords emphasising the sense of profound longing for deliverance from the burdens of this life. At Die Kraft verschwindt je mehr und mehr (‘My strength fails me more and more’), the melody leaps up then falls away exhausted to nothing; the dissonant, angular line is full of bitterness at Der saure Weg (‘The bitter path’); the metre shifts to a jaunty 4/4 at the more hopeful Ich will mich dir ergeben (‘I want to surrender myself to you’); and the verse finishes in a joyous dance affirming Christ as the way, the truth and the life. The motet concludes not with a chorale, but with an ‘aria’: though certainly more chorale-like than the counterpoint of the rest of the motet, its tune is more fluid and melismatic than a chorale. The lightness and grace of this aria reflect the poet’s image of the soul soaring to meet its Creator.

© Natalie Shea 2005

Come, Jesus, come, my body is weary, my strength fails me more and more, I long for your peace; the bitter path is growing too hard for me! Come, come, I want to give myself to you; you are the right Way, the Truth and the Life.

So I give myself into your hands, and bid good night to the world. Although my life rushes to its end, yet my soul is safe. It will fly to its Creator, for Jesus is and remains the true way to life.

Paul Thymich

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Francesco CAVALLI (1602–1672)Salve Regina (1656) Cavalli had quite the career trajectory. In the beautiful Basilica di San Marco in Venice, he began his career in 1616 as a 14-year-old boy soprano under the tutelage of maestro di cappella Claudio Monteverdi, ascending in later years to organist posts and finally to that of maestro di cappella himself. During his long career he composed more than 40 operas as well as sacred music for use in liturgical services, including this Salve Regina (‘Hail, Holy Queen’), a setting of one of the four Marian antiphons which have been sung in various forms since the 13th century.The setting is for men’s voices only – alto, two tenor parts and bass, accompanied by chamber organ. The overall mood is one of quiet contemplation, though Cavalli does spice things up with sudden changes of time signature, dynamic and tempo, notably at Ad te clamamus (‘To thee do we cry’). The minor key and slowly ascending chromatic harmony create effective points of tension, with contrast between polyphony and homophony (that is, the four parts singing independently of one another, or together) assisting to further illustrate the text.

© Luke Iredale

Benjamin BRITTEN (1913–1976)A Ceremony of Carols, op 28 (1942) In 1942, at the height of the Second World War, the English composer Benjamin Britten was on his way home from the United States, aboard the Swedish cargo vessel MS Axel Johnson – a month-long journey through submarine-infested waters – when the ship put in at Halifax in Nova Scotia. There Britten picked up a copy of The English Galaxy of Shorter Poems. Always attracted to medieval texts, the composer found in this anthology six early Christmas carol texts which inspired him to create A Ceremony of Carols. With an unfulfilled commission for a harp concerto hanging over his head, Britten just happened to have two manuals on harp technique with him on the boat...

Plainsong sets the stage for the ceremony, as if marking out a ritual space: Hodie Christus natus est (Today Christ is born). The plainsong melody returns in the Interlude for solo harp, but there is nothing rarified or ‘churchy’ about the carols. The opening chorus, Wolcum Yole! (‘Welcome, Yule!’), is filled with simple joy at the coming of Christmas and the turning of the new year. The next movement, by contrast, is filled with wonder at the mystery of the Nativity: ‘There is no Rose of such vertu [virtue or potency], as is the Rose that bare [gave birth to] Jesu.’ The image of Mary as a rose was very powerful in medieval theology, merging concepts of beauty and purity with the Old Testament prophecies of Jesus springing forth as branch and flower of the family tree of Jesse and King David.

That Yongë [Young] Child makes use of a simple, repeated melodic cell: a haunting figure from the harp, a falling semitone. This, and the sinuous vocal line, seem to recall the musical world of the orient. It is paired with the gently rocking cradle-song Balulalow: Mary singing her baby to sleep.

As Dew in Aprille again praises the virgin Mary, she who is ‘makèles’: matchless, mateless and immaculate. In Britten’s setting, the miraculous conception happens as softly and gently as dew in spring, over a delicate flow of hushed quavers. Paradoxically, This Little Babe is able to defeat Satan himself; his infant weakness confounds hosts of hell. Calm is restored by the harp Interlude.

In Freezing Winter Night uses the shivering of a trill resolving into two staccato notes in the harp to evoke the icy cold of winter. The duet Spring Carol is pure innocence and joy; Adam Lay i-Bounden throbs with a suppressed energy that erupts into joyous shouts of Deo gracias – Thanks be to God – before the Ceremony draws to a close with a return to the opening plainsong.

© Natalie Shea 2005

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William BYRD (1538–1623)Laudibus in sanctis (1591)William Byrd’s legendary collections of Latin motets, the Cantiones sacrae, were published in two volumes, the first in 1589 and the second in 1591; Laudibus in sanctis is a three-part motet from the second volume. The text is a paraphrase of Psalm 150, ‘Celebrate the Lord most high in holy praises’, a joyous exultation filled with references to musical instruments, including trumpets, organs, strings and clashing cymbals. As such, Byrd’s music is suitably exuberant, full of imitative entries which recall the pealing of bells. Though in his day Byrd’s Latin motets were published chiefly for domestic music making rather than liturgical use (Roman Catholicism being illegal under the Protestant Elizabeth I), Laudibus in sanctis remains popular amongst church choirs today as an anthem of utmost joy.

© Luke Iredale

Celebrate the Lord most high in holy praises, let the firmament echo the glorious deeds of God. Sing the glorious deeds of God, and with holy voice sound forth again and again the power of his mighty hand.

Let the warlike trumpet sing the great name of the Lord, celebrate the Lord with the Pierian lyre. Let resounding timbrels ring to the praise of the most high God, let lofty organs peal to the praise of the holy God.

Let melodious psalteries sing him with fine string, let joyful dance praise him with nimble foot. Let hollow cymbals pour forth living praises, sweet-sounding cymbals filled with the praise of God. Let everything in the world that feeds upon the air of heaven sing Alleluia to God for evermore.

(After Psalm 150)

Thomas TALLIS (1505–1585)Loquebantur variis linguis (c 1540–1560)One of Tudor composer Thomas Tallis’ most harmonically rich and full-blooded motets, Loquebantur is a polyphonic responsory, meaning that there are verses sung by a soloist or a small group, with a refrain sung by the full choir. The energetic refrain reduces in length each time it repeats, culminating in a gloriously gutsy ‘Alleluia’.

The text is based on a passage from the New Testament book of the Acts of the Apostles, where the Holy Spirit descends on the apostles and enables them to speak in foreign languages, so that everyone who hears can understand them.

© Luke Iredale

The Apostles spoke in many languages of the great works of God, as the Holy Spirit gave them the gift of speech, alleluia.

They were all filled with the Holy Spirit and began to speak.

(After Acts 2:4)

Orlando GIBBONS (1583–1625)Hosanna to the Son of David (c 1610)Orlando Gibbons had been a chorister at King’s College, Cambridge and organist at the Chapel Royal before being appointed organist at Westminster Abbey in 1623. His anthem Hosanna to the Son of David is scored for six voices and is one of his most complex contrapuntal works. It was probably written in honour of James I or one of his sons. It is ceremonial in idiom, suggestiong the close ties between earthly and heavenly kingship, a doctrine dear to the Stuart dynasty. The continuous imitative counterpoint is briefly abandoned at the words ‘peace in heaven’ for an antiphonal dialogue between upper and lower voices, thereby creating a striking sense of repose.

© Robert Forgacs 2007

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Carlos SALZEDO (1885–1961)Variations sur un thème dans le style ancien (1914) Carlos Salzedo was a musician of all-round creative genius and a great innovator. He was a virtuoso harpist and pianist, a renowned composer, teacher and conductor, and a dynamic force in the contemporary music of his day – the harp equivalent of Paganini for the violin or Liszt for the piano. His approach to the instrument brought it into the 20th century, to its rightful place as a powerful and colourful solo instrument.

In 1911 Salzedo had recently finished his studies at the Paris Conservatoire. A few years later, after his move to the USA on the invitation of Toscanini, he became famous for his revolutionary approach to composition for the harp; but in the joyous and youthful Variations on a Theme in Ancient Style he exploits the brilliance of harp colours in a traditional way, with each variation focusing on a different aspect of harp technique. The piece is dedicated ‘with affection’ to a fellow graduate from the Conservatoire, the brilliant and beautiful Italian harpist Ada Sassoli.

© Alice Giles

Ross EDWARDS (b 1943)

Singing the Love (2018) World Premiere PerformancesSee note on page 8.

Judith WEIR (b 1954)O Mercy Divine (2018) Judith Weir cbe currently holds the coveted post of Master of the Queen’s Music, a position she has held since 2014, succeeding Sir Peter Maxwell Davies. Weir is the first woman to serve in the role and is in remarkably good company – past Masters include Sir Arnold Bax, Sir Arthur Bliss, and Sir Edward Elgar.

O Mercy Divine, for SATB chorus and solo cello, is a setting of a 1745 hymn by Charles Wesley, a leader of the English Methodist movement who penned over 6,000 hymns. The carol was commissioned by the Choir of King’s College, Cambridge to mark the centenary of A Festival of Nine Lessons and Carols, and received its first performance on Christmas Eve 2018. Weir’s quietly joyous

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carol sets pairs of rhyming couplets in call-and-response, with blocks of chords in the upper voices followed by the lower. The accompanying solo cello bookends the carol, and dances in the space between the voices, with the overall effect being of a luminosity custom-made for King’s at Christmas.

© Luke Iredale

Errollyn WALLEN (b 1958)Pace (2017) Belize-born British composer Errollyn Wallen is as respected as a singer-songwriter of pop songs as she is as a composer of contemporary new music. She has composed for the Tallis Scholars, the BBC Singers, the Royal Opera House and many more, garnering an MBE for her services to music in the Queen’s birthday honours list in June 2007.

The composer writes:

I think of Pace (Peace) as a single human breath, as a single line, as a world’s long, long journey to light. The work is dedicated to my friend Ruari Murchison on the occasion of his 60th birthday in July 2017.

The BBC Singers gave Pace its first public performance in 2017 which was later broadcast on BBC Radio 3. The Choir of King’s College, Cambridge will be recording Pace for a forthcoming release of my choral and organ works on the King’s College Recordings label.

© Errollyn Wallen

Ralph VAUGHAN WILLIAMS

(1872–1958)Valiant-for-truth (1940) John Bunyan’s 1678 Christian allegory The Pilgrim’s Progress is often cited as the first novel written in English. In this anthem, Vaughan Williams sets the dying words of Mr Valiant-for-Truth, who is welcomed into the court of heaven bearing the battle scars from his victorious encounter with three assailants who had tried to prevent his pilgrimage. The treble voices act as the voice of the omniscient narrator, with the hero’s words sung first by the basses, and later the full choir. Rich in character and atmosphere, Vaughan Williams’ music beautifully colours the prose, culminating in the brassy sound of trumpets at ‘All the trumpets sounded for him on the other side.’

© Luke Iredale

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EmersonString Quartet

TOURING 7 - 21 SEPTEMBER

The group remains one of the best chamber ensembles,not merely precise but expressive and intelligent to the last ounce.

OC REGISTER

TICKETS: musicaviva.com.au/emerson or call 1800 688 482

Musica VivaInternational Concert Season 2019

17

Musica Viva is one of Australia’s most enduring music organisations. Leaving a gift in your Will is one of the best ways to ensure that this legacy continues and that we can impact the lives of future generations through the joy of music.

We will treat your life savings as our life savings and look after your gift with respect, sensitivity, efficacy and accountability. Our well-respected team is known for its efficient management of resources and exceptional artistic abilities, meaning a bequest to Musica Viva is a sure investment in the future of Australian music.

If you are intending to make a gift in your Will, we would like to know so we can say thank you, keep you abreast of our work and invite you to special Musica Viva events. Of course, we will also honour the wishes of those who prefer to remain anonymous.

For a confidential conversation abouthow to leave a musical legacy, contact:

Jaci [email protected] call 03 9645 5088

Cellar Door Open 7 days

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NevermindTOURING 10 - 26 OCTOBER

‘Never mind’ means the very opposite of what the musicians createin effortless but focused and perfect coexistence...

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Musica VivaInternational Concert Season 2019

Cellar Door Open 7 days

10.00 - 4.30pm

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are grown on a certified

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MUSICA VIVA PATRONSWe thank the generous individuals and families who make an important contribution to our activities each year. Every gift is important, ensuring that Musica Viva remains at the forefront of artistic excellence and that our award-winning education program continues to reach children who would otherwise have no access to the inspirational experience of live music. To make a gift to Musica Viva, please contact the philanthropy team on (02) 8394 6619 or [email protected]

CUSTODIANSACTGeoffrey & Margaret Brennan Clive & Lynlea RodgerRuth WeaverAnonymous

NSWJennifer Bott ao

Catherine Brown-Watt psm & Derek WattLloyd & Mary Jo Capps am

Andrew & Felicity CorkillLiz GeeSuzanne GleesonDavid & Christine Hartgill Annie HawkerElaine LindsayTrevor NoffkeDr David SchwartzMary Vallentine ao

Deirdre Nagle WhitfordKim Williams am

Ray Wilson oam

Anonymous (11)QLDAnonymous (3)SA Anonymous

TASKim Paterson qc

VICJulian Burnside ao qc

Ms Helen DickAnonymous (6)

WAAnonymous (3)

BEQUEST DONORS

ACTThe late Ernest Spinner

NSWThe late Sibilla BaerThe late Charles BergThe late Dr Anthony J BookallilThe late Moya Jean CraneThe late Paul Louis de LeuilThe late Janette HamiltonThe late Margaret HedvigThe late Dr Ralph Hockin, in memory of Mabel HockinThe late Irwin ImhofThe late Joyce MarchantThe late Suzanne Meller

The late Dr Bela MezoThe late Beryl RaymerThe late John RobsonThe late Alison TerryThe late Kenneth W Tribe ac

The late Elisabeth Wynhausen

QLDThe late Miss A Hartshorn The late Steven Kinston

SAThe late Ms K Lillemor Andersen The late Patricia Baker The late Edith Dubsky Anonymous

VICIn memory of Anita Morawetz The family of the late Paul Morawetz The late Elizabeth Oakes The late Mrs Catherine Sabey The late Mrs Barbara Shearer The late Felicity TeagueThe late Albert Ullin oam The late Dr G D Watson

WAThe late Dr Andrew Stewart

People who have notified us of their intention to leave a gift to Musica Viva in their will are part of a very special group of Musica Viva Custodians. A bequest to Musica Viva will enable us to continue presenting performances of the highest quality to the widest range of audiences across Australia well into the future. To discuss, in confidence, a bequest gift, please contact Jaci Maddern on (03) 9645 5088 or [email protected]

MUSICA VIVA CUSTODIANS

Julian Burnside ao qc (President, Melbourne) & Kate DurhamRuth Magid (Chair, Sydney) & Bob MagidTony Berg am & Carol BergMarc Besen ac & Eva Besen aoMs Jan Bowen amTom Breen & Rachael KohnDr Di Bresciani oam

David Constable am & Dr Ida LichterDr Cyril CurtainDaryl & Kate DixonDr Helen FergusonMs Annabella FletcherEleanore GoodridgeKatherine & Reg GrinbergJennifer Hershon & Russell Black Penelope Hughes

Jacqueline Huie Dr Alastair Jackson amAndrew JohnstonMichael & Frederique KatzThe Hon. Jane Mathews aoProf. John RickardAnthony StrachanRay Wilson oam

The Amadeus Society exists to help bring the excitement and inspiration of the world’s most extraordinary musicians to Australian audiences. This year, the Society will support the national tour of the Emerson String Quartet. To learn more about the Amadeus Society and how you can help bring the world’s leading international artists to Australia, please contact Lachlan Snow on (02) 8394 6636 or [email protected]

AMADEUS SOCIETY

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MAJOR GIFTS$100,000+ACTMarion & Michael Newman

NSWThe Berg Family Foundation

WAAnonymous

$50,000 – $99,999NSWTom Breen & Rachael KohnKatherine & Reg GrinbergThe Hon. Jane Mathews ao

$20,000 – $49,999NSWCatherine Brown-Watt psm

David Constable am & Dr Ida LichterTom & Elisabeth KarplusMichael & Frederique KatzVicki OlssonBarbara Robinson & familyKim Williams am

QLDThe Hon. Justice A PhilippidesSA Day Family FoundationLang FoundationVICMarjorie NicholasAnonymous

$10,000 – $19,999ACTAnonymous

NSWAnne & Terrey Arcus am

Daryl & Kate DixonEleanore GoodridgeJennifer Hershon & Russell BlackHilmer Family EndowmentRuth & Bob MagidAnthony StrachanAnonymous (2)

QLDIan & Caroline FrazerAndrea & Malcolm Hall-BrownThe MacNicol familyB & D MooreAnonymous

VICDr Di Bresciani oam & Lino BrescianiCaroline & Robert ClementeKonfir Kabo & Monica LimThe Morawetz Family, in memory of Paul MorawetzAnonymousSAMarsden Szwarcbord Foundation P M Menz

WADeborah Lehmann & Michael AlpersMr Graham Lovelock & Mr Steve Singer

Anonymous

$5,000 – $9,999ACTAndrew Blanckensee, in memory of Anne & Alan Blanckensee ao

NSWChristine BishopJan Bowen am

Neil BurnsMs Annabella FletcherGardos FamilyCharles & Wallis GrahamRobert & Lindy HendersonThe Insall FamilyWarren Kinston & Verity GoiteinHywel SimsDavid & Carole SingerJo StruttThe late Mary Turner oam

Ray Wilson oam in memory of James Agapitos oam

Anonymous (2)

QLDIan & Cass GeorgeAndrew & Kate ListerSAAldridge Family EndowmentBronwen L Jones

VICJoanna BaevskiMarc Besen ac & Eva Besen ao

Julian Burnside ao qc & Kate DurhamDr Helen FergusonDoug & Ross Hooley, in memory of Beryl HooleyPenelope HughesDr Alastair Jackson am

Andrew JohnstonPeter LovellIsobel Morgan oam

Myer Family FoundationProf. John RickardGreg Shalit & Miriam FaineStephen ShanasyDr Victor & Dr Karen Wayne oam

Anonymous

WADanuta JuliaDavid Wallace & Jamelia Gubgub

MASTERCLASSESMusica Viva’s Masterclass program is supported by principal patrons Stephen Johns & Michele Bender, Wesfarmers Arts (WA), Anonymous Donor (SA), Caroline & Robert Clemente (VIC) and the late Mary Turner oam (Newcastle).

THE HILDEGARD PROJECT in support of women in compositionThis project is made possible by a generous gift from Katherine Grinberg in honour of the late Adrienne Nagy and her sister Yolanda (Nagy) Daniel.

Friends of Peter Burch am bm

Julian Burnside ao qc

Carnegie HallThe Huntington Estate Music Festival Collective

Seattle Commissioning Club The Silo Collective

John & Jo StruttKim Williams am

KEN TRIBE FUND FOR AUSTRALIAN COMPOSITION

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MUSICA VIVA PATRONS

$2,500 – $4,999 ACTKristin van Brunschot & John Holliday Dr Andrew SingerAnonymous (2)

NSWLloyd Capps & Mary Jo Capps am

Sarah & Tony FalzaranoMrs W G KeighleyProf. Iven Klineberg am rfd & Mrs Sylvia KlinebergGeoff StearnPatricia H. Reid Endowment FundKay Vernon

SADJ & EM Bleby Foskett FoundationMark Lloyd & Elizabeth Raupach

VICAlastair & Sue Campbell House for MusicCarrillo Gantner ac

Megan O’ConnorRalph & Ruth RenardMaria SolaHelen Vorrath

WAZoe Lenard & Hamish MilneMrs MorrellAnonymous

$1,000 – $2,499ACTOdin Bohr & Anna SmetDudley & Helen CreaghMargaret & Peter JanssensGarth Mansfield oam & Margaret Mansfield oam

The Neeman FamilyMargaret Oates

Craig ReynoldsSue Terry & Len WhyteAnonymousNSWADFAS NewcastleJudith AllenAndrew Andersons ao & Sara BennettPenny BeranBaiba BerzinsMr & Mrs N K BrunsdonRobert Cahill & Anne Cahill oam

Hilary & Hugh CairnsYola & Steve CenterChat 10 Looks 3, in memory of Richard GillThomas DentStefan CouaniDr Stephen Freiberg & Donald CampbellAnthony Gregg & Deanne WhittlestonIn loving memory of Jose GutierrezDr Ailsa Hocking & Dr Bernie WilliamsDorothy Hoddinott ao

Catherine & Robert KenchD M & K M MagareyAlexandra Martin, in memory of Lloyd MartinDr Dennis Mather & Mr John StuddertKevin & Deidre McCannMichael & Janet NeusteinPaul O’DonnellAndrew PageLesley & Andrew RosenbergDr Lynette SchaverienMr Graham Tribe am & Mrs Judy TribeKate TribeMary Vallentine ao

Ara Vartoukian oam & Nyree Vartoukian

Dr Elizabeth WatsonJohn & Flora WeickhardtR WMegan & Bill WilliamsonAnonymous (6)

QLDGeorge Booker & Denise BondRobin HarveyLynn & John KellyJocelyn LuckDebra & Patrick MullinsDr Nita VasilescuBarbara Williams & Jankees van der HaveAnonymous (6)

SADr Elaine BaileyThe late Peter Bailie & Ann-Marie O’ConnorIvan & Joan BlanchardBeverley A BrownDr David & Mrs Kathryn BullenJohn & Libby ClappPeter CliftonAnna Cox oam

Dr E H & Mrs A HirschElizabeth Ho oam, in honour of the late Tom SteelBrian L Jones oam

The Hon Christopher Legoe ao qc & Mrs Jenny LegoeFiona MacLachlan oam

Ruth Marshall & Tim MueckeGalina PodgoretskyH & I PollardTrish & Richard Ryan ao

Ms Judy Potter & Dr George PotterSTARSRobert & Glenys WoolcockAnonymous (4)

TASAnonymous

VICMarlyn Bancroft

Russ & Jacqui Bate

Anne Bowden

Helen Brack

David Bradshaw

Mrs Pat Burke

Alison & John Cameron

Mrs Maggie Cash

Alex & Elizabeth Chernov

Olivier David

Dhar Family

Lord Ebury

Brian Goddard

Wendy Stevens & Chris Graham

John & Margaret Harrison

Lyndsey & Peter Hawkins

Virginia Henry

Helen Imber

John V Kaufman qc Angela & Richard Kirsner

Irene Kearsey & Michael Ridley

Ewen & Linda MacDonald

June K Marks

Anne Frankenberg & Adrian McEniery

Baillieu Myer ac

Adrian Nye

Lyn & Gus Nossal

Peter & Carolyn Rendit

Murray Sandland

Wendy Taylor

Ray Turner & Jennifer Seabrook

Paul Tyrrell

Bibi & David Wilkinson

Mark & Anna Yates

Anonymous (5)

ANNUAL GIVING

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WAMichael & Wendy Davis

In memory of Raymond Dudley

Russell Hobbs & Sue Harrington

Ms Helen Hollingshead & Mr John Hollingshead

Robert Larbalestier

Anne Last & Steve Scudamore

M E M Loton oam

Mrs Mary O’Hara

Prichard & Panizza Family

Robyn Tamke

Simon Watson

Peter & Cathy Wiese

Anonymous (5)

$500 – $999ACTGeoffrey & Margaret Brennan

Carolyn Curnow

Susan Edmondson

Kingsley Herbert

Dr Marian Hill

R & V Hillman

Tony Huber & Kate Wall

Elspeth Humphries

Claudia Hyles

Margaret Lovell & Grant Webeck

Sue Packer

Clive & Lynlea Rodger

Mrs A Ryan

Hannah Semler

Malcolm Snow

Michael & Kiri Sollis

Dr Paul & Dr Lel Whitbread

Anonymous (3)

NSWDavid & Rae Allen

Craig Andrade

Mrs Kathrine Becker

Gay Bookallil

Stephen Booth

Denise Braggett

Diana Brookes

The Bundanoon Good Yarn Inc

Lucia Cascone

Michael & Colleen Chesterman

Andy & Felicity Corkill

Robin & Wendy Cumming

Greta Davis

Greg Dickson & Penny Le Couteur

Kate Girdwood

Mr Robert Green

Deryn Griffiths

Rohan Haslam

Sandra Haslam

Annie Hawker

Gerald Hewish

Roland & Margaret Hicks

Owen James

Leta Keens

Leslie Kennedy

Graham & Sue Lane

Caroline Le Couteur

Musica Viva Staff

Donald Nairn

Ken & Liz Nielsen

Professors Robin & Tina Offler

Ortron Corp Pty Ltd

Kim & Margie Ostinga

Diane Parks

In memory of Katherine Robertson

Dr John Rogers

Penny Rogers

Caroline Sharpen

Richard & Beverley Taperell

Robert & Valerie Tupper

Thomas Waddell

Josette Wunder

Anonymous (18)

QLDProf. Paul & Ann Crook

John & Denise Elkins AA & A Grant

Marie Isackson

Diana Lungren

Timothy Matthies & Chris Bonnily

Michelle Wade & James Sinclair

Anonymous (2)

SARichard Blomfield

Gillian Brocklesby

Christopher & Margaret Burrell

Josephine Cooper

Alison Kinsman am

Ann & David Matison

Tony & Joan Seymour

Anne Sutcliffe

June & Brian Ward

R J Willis

Anonymous (6)

TASPaavo Jumppanen

VICOlga Abrahams

Peter Allan

Adrienne Basser

Jann Begg

Lin Bender am

Suzie Brown oam & Harvey Brown

Pam Caldwell

Elise Callander

Dr Judy Davey

Frederick & Mary Davidson, in memory of Richard Gill ao

Ted & Alison Davies

Kathy & George Deutsch

Geoffrey & Mary Gloster

The Glynn Family

Prof. Andrea Hull ao

Dr Anthea Hyslop

Nola Jennings

Angela Kayser

Jan McDonald

Shelley & Euan Murdoch

Mr Karl Nelms

Nan & Jim Paterson

Greg J Reinhardt

Eda Ritchie am

Marysia Segan

Ms Wilma Smith

Dr Charles Su & Dr Emily Lo

Dr Natalie Williams

Chris & Linda Worth

Anonymous (7)

WADavid & Minnette Ambrose

Marion & Michael Bateman

Fred & Angela Chaney

Dr S Cherian

Rodney Constantine

Dr Penny Herbert, in memory of Dunstan Herbert

Megan Lowe

Marian Magee & David Castillo

Jenny Mills, in memory of Flora Bunning

John Overton

Ellie Steinhardt

Elizabeth Syme

Ms Pearl Tan & Mr Michael Welsh

Christopher Tyler

Anonymous (4)

If you have any questions about this list, please contact Johanna Rosenthal on 1300 786 186 or [email protected]

This list is complete as at 23 May 2019.

24

MUSICA VIVA CONCERT PARTNERS

HOTEL PARTNERS ARTS & HEALTH PARTNER

SERIES AND TOUR PARTNERSPerth Concert Series

Premier PartnerMorning Concert Series

BUSINESS PARTNERS

Law Firm Partner Chartered Accountants Partner Piano Partner

MELBOURNE INTERNATIONAL CHAMBER MUSIC COMPETITION PARTNERS

Principal Partner Strategic PartnersGrand Prize Partner

WINE PARTNERS

VIC

WA Champagne PartnerACT, NSW & QLD

SA

FUTUREMAKERS PARTNERS

Berg Family Foundation

Lead Partner Education Partner Residency Partner

MEDIA PARTNER GOVERNMENT PARTNERSMusica Viva is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. Musica Viva is assisted by the NSW Government through Create NSW.

Sydney Coffee Concert Series

Wenkart Foundation

25

MUSICA VIVA EDUCATION PARTNERSMUSICA VIVA IN SCHOOLSNational

QLD TAS

ACT NT

Linnell / Hughes Trust Anonymous

SA WA

Aldridge Family Endowment Carthew Foundation

Day Family Foundation FWH Foundation

Lang Foundation Marsden Szwarcbord Foundation

Coopers Brewery Foundation

Hamer Family Fund

In memory of Anita Morawetz

Ballandry (Peter Griffin Family) Fund

The Marian & E H Flack Trust

NSW VIC

Godfrey Turner Memorial Music Trust

National Rural Schools Program supported by Marion Newman

26

STORIES TO INSPIRE

being involved very seriously … thinking it would be out of our reach.’

However, Jennifer found the process itself was simple, commenting that with Musica Viva she ‘discussed concepts, composers, the length of the piece and possible performers and then, magically it seemed, the final project was agreed upon.

‘Our musical tastes are broad and extend well beyond the “classical” realm, so it’s hard

GIVING THE GIFT OF MUSIC

Musica Viva subscriber Jennifer Seabrook wanted a special present to mark husband Ray Turner’s 75th birthday. Having been to many Musica Viva concerts which featured specially commissioned works, she knew Ray would be amazed and delighted by a new work written to celebrate this special birthday. ‘We have heard quite a few new pieces at Musica Viva concerts and so were aware that commissioning a new piece was possible, although we had not really taken the idea of

Commissioners Jennifer Seabrook and Ray Turner

27

to think of an aspect of our lives that isn’t touched by music of some sort. Finding artists or pieces that are new to us is especially exciting. We have been attending Musica Viva concerts for more than 25 years. It’s always special to hear extraordinary musicians perform live, and our love of chamber music made Musica Viva a natural fit for us.’

Like any good present, the commission was kept under wraps for almost a year while the

details were ironed out in secret. It was only on the eve of the launch of Musica Viva’s 2019 concert season at end of last year that Jennifer shared the gift with Ray. Jennifer couldn’t have hoped for a better response, with Ray saying, ‘Once I picked myself off the floor, I was absolutely thrilled at the realisation that not only had a special piece of music been created by Ross Edwards to celebrate this personal milestone, but that it would be performed by the Choir of King’s College, Cambridge.’

Reflecting on her special gift to Ray, Jennifer would encourage all considering commissioning to ‘go ahead. Commissions can be intimate in scale or the sky could be the limit, so it’s just a matter of finding a level that can work for you – or for you and some friends. No matter what, the excitement as the performance day approaches is palpable and the realisation that you have become a small part of the support process by which music has been created across the centuries is both amazing and humbling.’

Asked whether the couple would consider commissioning again the answer is a simple and powerful ‘Yes.’ It only begs the question: which milestone will be next?

If you wish to know more about commissioning new music with Musica Viva, including our commissioning circles, please contact Lachlan Snow, Philanthropy Manager – Individual Giving [email protected] or 02 8394 6636.

28

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