476 9093 GONDWANA VOICES

LYN WILLIAMS = MARK O’LEARY dreamings LYN WILLIAMS b. 1963 1 Festive Alleluia 1’42

ELENA KATS-CHERNIN b. 1957 2 Deep Sea Dreaming 4’31 Sally Whitwell piano

DANIEL WALKER b. 1978 3 The Wanderer 3’17 Sally Whitwell piano, Helena Rathbone, Aiko Goto violins, Nicole Forsyth viola, Daniel Yeadon cello, Maxime Bibeau double bass

PAUL STANHOPE b. 1969 Songs of Innocence and Joy [7’51] 4 The Missile 2’26 5 A Little Duck 2’17 6 At the Top 3’08 Rosamund Plummer flute, Alexandre Oguey oboe, Helena Rathbone, Aiko Goto violins, Nicole Forsyth viola, Daniel Yeadon cello, Maxime Bibeau double bass

STEPHEN LEEK b. 1959 7 Ngana 4’19

NEIL FINN b. 1958 8 Little Fish 3’36 Sally Whitwell piano, Paul Jarman whistle

2 3 JOHN RUTTER b. 1945 DANIEL WALKER 9 What Sweeter Music 4’01 ^ The Unicorn 3’04 Helena Rathbone, Aiko Goto, Lorna Cumming, Jemima Sally Whitwell piano, Helena Rathbone, Aiko Goto violins, Littlemore violins, Nicole Forsyth, Rosemary Curtin violas, Nicole Forsyth viola, Daniel Yeadon cello, Daniel Yeadon, Sally Maer cellos, Maxime Bibeau double bass Maxime Bibeau double bass

DAVID CHILDS b. 1969 CARL VINE b. 1954 arr. MARK O’LEARY 0 Weep No More 3’31 & Love Me Sweet 4’12 Sally Whitwell piano Charlotte Betts-Dean soloist, Rosamund Plummer flute, Helena Rathbone, Aiko Goto violins, Nicole Forsyth viola, LYN WILLIAMS Daniel Yeadon cello, Maxime Bibeau double bass, ! Lilly Pilly Leonardo 1’25 Sally Whitwell piano Sally Whitwell piano CHRISTOPHER WILLCOCK b. 1947 BRETT DEAN b. 1961 Southern Star (excerpts) [6’14] @ To Look Yet Not Find 2’29 * II Christmas 1’50 MICHAEL ATHERTON b. 1950 ( VII Southern Star 2’49 £ Shall We Dream 5’06 ) VIII What Did You Get? 1’35 Madeleine Lush, Shaun Pryor soloists, Paul Stanhope, Clare Kenny, Jennifer McPherson soloists, Daniel Walker whirlies Marshall McGuire harp

GIULIO CACCINI 1551-1618 arr. DANIEL WALKER ELENA KATS-CHERNIN $ Ave Maria 3’21 ¡ Butterflying 3’15 Alexandre Oguey oboe, Helena Rathbone, Aiko Goto violins, Sally Whitwell piano Nicole Forsyth viola, Daniel Yeadon cello, Total Playing Time 66’09 Maxime Bibeau double bass, Paul Stanhope chamber organ

JOHN RUTTER Gondwana Voices % King Jesus Hath a Garden 2’58 Lyn Williams conductor Marshall McGuire harp, Rosamund Plummer flute, Mark O’Leary guest conductor 7, 0, £, %-& Helena Rathbone, Aiko Goto, Lorna Cumming, Jemima Littlemore violins, Nicole Forsyth, Rosemary Curtin violas, Daniel Yeadon, Sally Maer cellos, Maxime Bibeau double bass

4 5 1 Festive Alleluia 3 The Wanderer Songs of Innocence and Joy When fighting wars you first destroy Music by Lyn Williams. Music and poem by Daniel Walker. 4 The Missile All songs of innocence and joy. The Festive Alleluia was composed as a joyful Indigenous words from a Sydney dialect. 5 A Little Duck processional work for the Sydney Children’s The Wanderer was commissioned by 6 At the Top With a bit of luck Choir. An Alleluia is a song of praise to God. Newington College. The composer writes: Music by Paul Stanhope. Poems by A duck The inspiration for the melody and rhythms of “The Wanderer is about living your dreams. Michael Leunig b. 1945. Will come into your life. this work comes from medieval dance tunes. The inspiration of this piece was the Songs of Innocence and Joy was When you are at the peak The work alternates between two sections, , a lone traveller soaring on the commissioned by the Music Department of Of your great powers the first is in 4/4 and the second in 7/8 and Antarctic winds, his destination wherever the MLC School in Sydney especially for the And your achievement towers 4/4. The piece begins with the first section currents may take him. I have always been in students to perform on a concert tour of Like a smoking chimney stack, heard in unison. As this section returns it is awe of these magnificent birds, and the text I Scandinavia in 2004. The composer writes: There’ll be a quack, heard in canon (different voices singing the have written in some way pays homage to “Although the title seems innocuous, it has a And right there at your feet, same tune but starting one after the other, their grace and determination.“ dark twist: in Leunig’s poem The Missile, all A little duck will stand. like a round). ‘songs of innocence and joy’ are destroyed She will take you by the hand Let me go where the wind will go, by the onset of war. In A Little Duck we find And lead you, 2 Deep Sea Dreaming let it take me over southern shores, the same lines returning, with wisdom, joy Like a child with no defence; Music and words by Elena Kats-Chernin. I will ride on the ocean air, and innocence represented by a little bird She will lead you into Deep Sea Dreaming was written for the I will travel across ice and foam, with webbed feet! Strangely enough, we Wisdom, joy and innocence. opening ceremony of the Sydney Olympic far from home. hear a slight reference to Prokofiev’s duck That little duck, Games in 2000 where it was performed by And where no road will take you, theme from Peter and the Wolf to the lilting We wish you luck. the Sydney Children’s Choir and Sydney where few have gone before, strains of a tango! In the last movement, At Symphony. It was conceived as a score to it’s far beyond the ice-floe far below the Top, it emerges that an angel can be At the top of the tallest building in the world accompany a ballet of floating deep sea where my spirit calls. found even in the loneliest and darkest places Sat the saddest man in the world creatures, choreographed by Meryl Tankard: in the world.” And inside the man Antarctic land! land of unearthly light, the story of a little girl who fell asleep at the Was the loneliest heart in the world where pale horizon escapes eternal night. There is a missile, so I’ve heard, beach and dreamt of being under water, And inside the heart Wumara, warawara Which locks on to the smallest bird, interacting with eels, jellyfish, schools of little Was the deepest pit in the world Finely tuned to seek and kill fish and colourful sea monsters. The text of And at the bottom of the pit A tiny chirp or gentle trill. the piece is made up of mostly nonsense Was the blackest mud in the world syllables sourced from Russian words to do It’s modern warfare’s answer to And in the mud lay the lightest, loveliest, tenderest, with sea creatures, those words then split up An ancient wisdom tried and true: Most beautiful, happy angel in the universe. and used in reverse.

6 7 7 Ngana The little fish that wants to swim in me, Music by Stephen Leek. The fish of joy that leaps into the sun, The fish of love, the fish of mystery; Stephen Leek lectures in Composition and Oh little fish forgive what I have done. Improvisation at the Queensland Conservatorium. He is also founder, The wild stream that wants to flow in me, Artistic Director and Conductor of The The stream of hope that sparkles in the sun, Australian Voices. The stream of grief, the stream of memory; Ngana is an Indigenous Australian word Oh wild stream forgive what I have done. meaning shark. Lina is a word for water, Human nature is a wild place, mangana is a word for fish and yah is a Terrible and beautiful to know, welcome greeting. Wilderness of violence and grace, 8 Little Fish Valleys where the soul is found to grow; Music by Neil Finn. Poem by Michael Leunig. To this land I travelled in a dream, There I made my secret, lonely wish; Little Fish is part of an extensive cycle of There I wept into the wild stream pieces called Parables, Lullabies and Secrets, And I kneel before you now my little fish. a collaboration between the Australian Chamber Orchestra and its Artistic Director The little bird that wants to sing in me, , the poet Michael Leunig, and The song we hear when all is said and done; the composers Neil Finn, Brett Dean and Paul Fly my little bird for you are free again, Healy. Gondwana Voices appeared with the Lift your heart and sing for everyone. ACO in the world premiere performances in 9 2001. The works of the cycle, wrote Leunig, What Sweeter Music evoke “the hope that in the heart of the Music by John Rutter. Poem by Robert Herrick 1591-1674. individual – in the subconscious depths of the soul there lies a forgotten ‘secret treasure’ – English composer John Rutter is well known a sort of primal sanity – an instinct for real for his church music, and especially for his and true life – a sort of compass – a settings of Christmas carols, both conscience in our bones to which we might arrangements of traditional tunes and his own turn in faith for guidance when all seems original compositions. As co-editor of four lost or dire.” volumes of Carols for Choirs, he is an

8 9 authority on the whole spectrum of The darling of the world is come, ! Lilly Pilly Leonardo Inside Black Australia. Christmas song, from medieval carols to new And fit it is, we find a room Music by Lyn Williams. Poem by The poem To Look Yet Not Find, by Debby music of our own time. To welcome him. The nobler part Michael Leunig. Barben, deals with the harrowing experiences Of all the house here, is the heart, of a young person caught up in the trauma What Sweeter Music was written in 1988. Lilly Pilly was a gift from the composer, the Which we will give him: and bequeath of the stolen generations and looking for Stephen Cleobury, director of the Choir of poet and the choir to the new-born child of a This holly, and this ivy wreath, her mother, yet remaining hopeful of a King’s College Cambridge, had a musical mutual friend. To do him honour, who’s our King, good outcome. ”gap” in his plan for the annual service of And Lord of all this revelling. Sleepy leapy Leonardo lessons and carols. Needing a piece to slot I can see a little swallow To look yet not find in around the “Three Kings” reading, 0 Weep No More Lying in a violin I feel a heavy weight Cleobury asked Rutter if he would write Music by David Childs. Words adapted from Asleep upon a frilly pillow My mum i see something for the choir on this theme. 1795-1821. Fairy’s Song by John Keats With everlasting hope, someday; Rutter chose Robert Herrick’s poem because He is clinging to a woolly sheepie hope to meet he felt it said exactly what needed to be said David Childs was born in Nelson, New In a willy willy about “the gift of music”. Zealand and is currently Assistant Professor Singing to a sleepy possum Many names has she of Choral Studies at the Blair School of On a lilly pilly blossom What sweeter music can we bring I wonder if she knows who Music, Vanderbilt University in Nashville, Than a carol, for to sing she is Tennessee. Gentle but yearning dissonances “We will follow Leonardo,” The birth of this our heavenly King? To open the door i must find feature throughout piece, both in the rich Sang the possum and the swallow Awake the voice! Awake the string! the key four-part choral writing of the opening pages “Lilly pilly Leonardo Dark and dull night, fly hence away, and in the haunting repetitions of “Weep no In the violin.” Hope! i won’t give up And give the honour to this day One day there’s going to be a clue more, O weep no more”. @ To Look Yet Not Find That sees December turned to May. And each other we shall see. Shed no tear, O shed no tear! Music by Brett Dean. Poem by Debby Why does the chilling winter’s morn The flow’r will bloom another year. Barben. Reprinted from Inside Black Australia £ Shall We Dream Smile, like a field beset with corn? (edited by Kevin Gilbert) with the kind Music and poem by Michael Atherton. Or smell like a meadow newly shorn Weep no more, O weep no more! permission of the publisher, Penguin Books Thus on the sudden? Come and see Shall We Dream comes from The Mahogany Dry your eyes, O dry your eyes, Australia Ltd. The cause, why things thus fragrant be: For I was taught in paradise Ship, an oratorio on the possible exploration ’Tis he is born, whose quickening birth To ease my breast of melodies. To Look Yet Not Find was commissioned in by the Portuguese of the eastern seaboard of Gives life and lustre, public mirth, 2002 by Gondwana Voices and first Australia, 250 years before James Cook. The To heaven and the under-earth. performed by them in January 2003 at City work’s wave-like melody is meditative, We see him come, and know him ours, Recital Hall Angel Place. It is the second of a suggesting the rolling towards a distant Who, with his sunshine and his showers, set of four pieces entitled Tracks and Traces, horizon of peace and tranquillity, something Turns all the patient ground to flowers. a setting of poems taken from the anthology that is so poignant in the uncertainties of our

10 11 time. Repeated phrases build towards a close % King Jesus Hath a Garden canon performed by individual voices, like the Music by John Rutter. Words: Traditional foaming of waves after they break. Dutch, translated by George R. Woodward 1848-1934. Shall we dream of paradise, as far as the eye can see, Flowers have had symbolic meanings since no kings and their tyranny. the earliest human society. Lovers of Shall we dream of sailing the unknown sea? Shakespeare will be familiar with Ophelia’s As far as the eye can see – words in Hamlet (“There’s rosemary, that’s shall we dream, shall we dream? for remembrance; pray, love, remember: and there is pansies, that’s for thoughts...”); by $ Ave Maria the Victorian era, the language of flowers had Music by Giulio Caccini, arr. Daniel Walker. evolved and been formalised to the point Giulio Caccini was a singer and composer in where whole conversations could be had, the Medici court and a member of the depending on which flowers were in a Florentine Camerata, an artistic circle that bouquet, their relative sizes, how they were history recognises for having laid the held and in what order they were arranged. foundations for opera as we know it today. King Jesus Hath a Garden was first published His compositions included secular songs and in 1633 (about thirty years after Hamlet) in madrigals – but hardly any sacred works. And Holland; the meanings of the various flowers the Ave Maria (in English, “Hail Mary”) listed in the poem are quite different from popularly attributed to him is a strange those of the Victorian era (where, for composition: while the prayer has been set example, the marigold symbolised cruelty, to music hundreds of times over the grief or jealousy, and the damask rose a centuries, very rarely have these settings brilliant complexion!). used just the first two words. Scholars now King Jesus hath a garden, full of divers flowers, believe that the work is either by someone Where I go culling posies gay, all times and hours. else entirely, or else loosely based on a There naught is heard but Paradise bird, Caccini original, perhaps a fragment that was Harp, dulcimer, lute, completed by another hand. With cymbal, trump and tymbal, And the tender, soothing flute.

12 13 The Lily, white in blossom there, is Chastity: the edge of my dreams, Love me sweet, with all your heart, double-faceted message of the star. What The Violet, with sweet perfume, Humility. soon I will wake, and take the path back home. Feeling, thinking, seeing; Did You Get? is a quick-moving piece where Love me with your lightest glance, the choir explores various questions about The bonny Damask-rose is known as Patience: There among the trees Love me in full being. Christmas gifts, first in unison, and then in The blithe and thrifty Marygold, Obedience. shadows dancing on the autumn breeze, several canons, while the harp is busy with a but they are shy and long The Crown Imperial bloometh too in yonder place, Love me with your open arms, moto perpetuo. In the end the singers and ‘Tis Charity, of stock divine, the flower of grace. they will not stay. In their frank surrender; the accompaniment fade away, leaving the With the vowing of your lips, Yet, ‘mid the brave, the bravest prize of all may claim & Love Me Sweet scene with the title’s question unanswered.” The Star of Bethlem – Jesus – Blessed be his Name! In their silence tender. Music by Carl Vine, arr. Mark O’Leary. Poem I see a twinkle in your eye, Ah! Jesu Lord, my heal and weal, my bliss complete, by Elizabeth Barrett Browning 1806-1861. Southern Star (excerpts) So this shall be my Christmas star Make thou my heart thy garden-plot, fair, trim and neat. * II Christmas And I will travel to your heart: The composer writes: “Love Me Sweet was ( VII Southern Star The manger where the real things are. ^ The Unicorn written to accompany the romantic climax of ) VIII What Did You Get? Music and poem by Daniel Walker. the television mini-series The Battlers And I will find a mother there Music by Christopher Willcock. Poems by (produced in 1993 for ATN Channel 7) based Who holds you gently to her breast; The Unicorn was commissioned by the Michael Leunig. A father to protect your peace, Sydney Children’s Choir in 2004 for its on the Kylie Tennant novel of the same name. The composer writes: “The nine poems And by these things you shall be blessed. younger singers. The song had to encapsulate an overwhelming sense of emotional fulfilment which make up this cycle are not so much a And you will always be reborn The composer writes: “The Unicorn is a little while maintaining sufficient realism to remain telling of the Christmas story, as a series of And I will always see the star reverie, telling the story of a child wandering true to Ms Tennant’s vision. This is the only meditations of someone contemplating And make the journey to your heart: into the forest in a dream-like state. Delving Christmas. Some of the songs are lively and part of the film to use song, which arose The manger where the real things are. deeper into the trees, the child discovers a pair happy, but others give voice to more from the temporary placement during editing of unicorns grazing in a glade. The melody is unsettling or even disturbing features which of a popular song at this point as an Oh southern star – the star of yearning; quite simple and plaintive, while the piano and are also at the heart of Christmas. In emotional marker during editing. The text is The star of joy and loneliness returning strings provide washes of colour throughout.” Christmas, the Christmas star is seen not so Returning to the night when you were born; freely adapted from the first two verses of much in the heavens as in the eye of the one On an autumn morning not long ago, Oh southern star, when you were born. Elizabeth Barrett Browning’s poem, A Man’s beheld. The brightness in the movement is I walked into the forest in my sleep, Requirements. Ms Browning’s poem is a sharpened by the sometimes unexpected Loneliness and joy. I wandered there among the fallen leaves, marvel of economy and wit, with an ironic contours of the vocal writing. Southern Star Loneliness and joy. just drifting so aimlessly. twist in its tail that emerges only at the very opens with an extended introduction by the And where the forest opened to a rising glade of green, end of the final verse. Words and phrases harp. Sustained, long phrases in the choir What did you get on your Christmas morn, where wildflowers shimmer like a haze, were changed to assist vocalisation and point up the central duality in the text On the Christmas morn when you were born? I saw a pair of silver unicorn, grazing and unaware of me. comprehension, as well as to provide a more between loneliness and joy. Rich harmonies Did you get some milk? I stare at them in silence from the edge of the glade, clearly adoring context for the song.” and gently chromatic notes express this Did you get some pain?

14 15 Did you get some hurt that you can’t explain? there’s no reason to fear Did you get a star from high above? when the birds appear Did you get the gaze of a mother’s love? every colour you’ve ever seen The spark that leaps from eye to eye red orange yellow green And twinkles ‘til the day you die. turquoise blue purple rosy hue Oh what did we get on our Christmas morn, On the Christmas morn when we were born? can you see the mountain lion standing over there? ¡ Butterflying can you see the crocodile Music by Elena Kats-Chernin. Poem by swimming in the air? Chris Latham. Butterflying was commissioned by the Who can fly the fastest? Sydney Children’s Choir for its 15th Who can fly the highest? Anniversary and based on a work for Hey! that’s my house! orchestra written for the 2003 Rugby World hey! yes, that’s my house! Cup Opening Ceremony. I can see myself in there The composer writes: “Working with Chris Wake up sleepy head! Latham on the text, we came up with the Watcha doing still in bed image of flying in one’s dreams, and the work Look up here instead! took a slightly surreal tone. A lot of the text is I can fly/higher layered so that it is sung as a combination of in the sky/faster both parts – which means that it reads a little strangely on paper but it sings well.” soaring/gliding gliding/sliding I’m the pilot of my dreams Can you see the brand new day? watch me cruise the silver beams chasing dreams away? in my dreaming I can fly I’ve become a butterfly Don’t you see the morning sky waiting to appear? I can fly/up into the sky Don’t you know the feeling? I can fly/right into the sky open your eyes when I go butterflying See the dawn breaking can you see me up here hiding behind the clouds you are awake!

16 17 Gondwana Voices In 2003, the January season culminated in a Alice Balsillie Jennifer McPherson Lyn Williams OAM performance featuring six newly-commissioned Christopher Batkin Tara Morgan Established by Artistic Director Lyn Williams in Lyn Williams is Australia’s leading director of works and in April Gondwana Voices toured to Charlotte Betts-Dean Erin Munn 1997, Gondwana Voices is made up of young the United States. In 2002 the choir performed Clara Betts-Dean Dianne Prince children’s choirs, having founded two singers aged 10-16 from every state and territory from the top of the Sydney Harbour Bridge for a Charlotte Bonser Shaun Pryor internationally renowned choirs: Sydney in Australia. Gondwana Voices allows the most New Year’s Day 2003 broadcast by ABC America Peta Bourke Corina Retter Children’s Choir in 1989 and the national talented young singers from across Australia an and the European television networks. Oliver Boyd Ellen Robinson children’s choir Gondwana Voices in 1997. Her opportunity to develop their musical potential David Bruce Peter Rose exceptional skill in working with young people is and perform choral music at the highest level. In July 2001 the choir toured and performed Michael Casey Leah Senior recognised internationally, for its high artistic Each year in January, Gondwana choristers Parables, Lullabies and Secrets with Michael Sally Conaghan Hannah Shanks quality and ground-breaking innovation. gather from across Australia for a two-week Leunig, Neil Finn and the Australian Chamber Jessica Condon Anna Smith intensive rehearsal season. They meet again Orchestra. In 1999, Gondwana Voices was Sofia Costantino Emma Taylor In addition to her work with young performers, during the year for special performances selected to perform in the inaugural Songbridge Corinne Cowling Clara Teniswood Lyn Williams has conducted major professional and tours. 2000 at the Fifth World Symposium of Choral Pippa Cushing Gabrielle Turner choirs and orchestras in Australia, including the Music in Rotterdam. This is Gondwana Voices’ second CD for ABC Carla Deplancke Michael Turner Sydney Symphony, Sydney Philharmonia Choirs Classics, the first being New Light New Hope. Gondwana Voices has a strong commitment to Andrew Dinihan Emma Williams and the Adelaide Symphony Orchestra. She has Gondwana Voices has also released a disc Australian choral music. In addition to Eavan Dowse Brooke Window become a regular conductor for the Sydney entitled Voices of Gondwana. In 2005 the choir commissioning new choral works each year, Isabelle Freeman Matthew Winnel Symphony’s Christmas with the Symphony performed with TaikOz and with the Sydney Gondwana Voices has just launched the Cameron Gill Bianca Wych concerts. In 2003 she was Music Director for Symphony in their Symphony of Angels concerts Gondwana Voices Young Composers Award for Kate Gonano the Rugby World Cup ceremonies and in 2006 Shannon Gralow as well as giving the world premiere of Gordon 2006 which is open to Australian composers she is Music Director and Conductor of the Dana Hock Kerry’s For Those in Peril on the Sea with the between the ages of 14 and 25. Other highlights Commonwealth Games Operning Ceremony in David Kennedy West Australian Symphony Orchestra under of the 2006 season include a performance at the . Matthias Bamert. In 2004, Gondwana Voices Melbourne 2006 Commonwealth Games and Clare Kenny performed at the Festival of Sydney with the the world premiere performances of Brett Corey Kirk In 2001 Lyn Williams was Music Director and Sydney Symphony and Cantillation in Ephemera, Dean’s Vexations and Devotions with the West Kassandra Lee Conductor of the NSW Centennial Ceremony for travelled to Mexico for performances at America Australian Symphony Orchestra for the UWA Rebecca Lloyd-Jones the Centenary of Federation celebrations held on Madeleine Lush Cantat IV, a festival of South and Central Perth International Arts Festival. 1 January and telecast across Australia. That Madeleine McCloy American choirs, and represented Asia and year she also co-directed Leunig’s Parables, Oceania at Polyfollia 2004, a festival gathering Jenny McCullagh Lullabies and Secrets with Gondwana Voices, the world’s best choral and vocal ensembles Judith McFarlane the Australian Chamber Orchestra, Neil Finn and held in Normandy, France. Emmie McLaren Michael Leunig.

18 19 Lyn Williams has toured extensively with her Mark O’Leary has conducted choirs in schools Executive Producers Robert Patterson, Lyle Chan choirs including visits to Europe, Asia and North and the community for many years, and has Recording Producer, Engineer and Mastering America. In 2004 she performed with Gondwana special interests in Kodály teaching techniques, Virginia Read Voices at America Cantat in Mexico City and at the development of excellence in music Project Coordinator Alison Johnston Polyfollia in Normandy, France. In April 2005 she education and children’s choirs, and Australian Editorial and Production Manager Natalie Shea travelled with the Sydney Children’s Choir to the choral music. With Young Voices of Melbourne Booklet Design Imagecorp Pty Ltd World Expo in Nagoya, Japan for the official he has produced six CD recordings, toured Cover and Booklet Paintings Gondwana Voices and Expo Ceremony. seven states and territories of Australia and Junior Gondwana choristers made four international tours to Europe, South In January 2004 Lyn Williams was awarded an For Gondwana Voices Africa and North America. He presents many Order of Australia Medal in recognition of her Artistic Director Lyn Williams OAM workshops each year on choral music education services to the arts as founder and Director of General Manager Alexandra Cameron throughout Australia and is guest conductor at Sydney Children’s Choir and Gondwana Voices. Operations Manager Anna Zerner many festivals. She is a Churchill Fellow. Administration Assistant Jennifer Dunnet Art Program Director Heather Betts Mark O’Leary www.gondwanavoices.com.au Mark O’Leary is the Principal Guest Conductor Gondwana Voices thanks Anne Gralow, Monica of Gondwana Voices; he is also founder and Kenny, Maryanne McPherson, Jacquie Mitchell, Director of the Young Voices of Melbourne, and Louise Radecker, Daniel Walker, Associate Producer the publisher of the Young Voices of Melbourne Girt by Sea and all our supporters. Choral Series. He graduated top of his year from the University of Melbourne with a Bachelor of Recorded 10-15 April 2005 in the Eugene Goossens Music degree in 1983. In 1985 he was awarded Hall at the Australian Broadcasting Corporation’s a Commonwealth Postgraduate Research Award, Ultimo Centre, Sydney. and since then has completed a Master of What Sweeter Music and King Jesus Hath a Garden Music degree, passed with honours, and a are published by Oxford University Press. Bachelor of Music Education degree. He has also studied conducting with Robert Rosen as a 2006 Australian Broadcasting Corporation. 2006 Australian Broadcasting Corporation. Distributed private student. In 1989 he was awarded a in Australia by Universal Music Group, under exclusive Churchill Fellowship, which took him to England, licence. Made in Australia. All rights of the owner of Hungary, Finland, Canada and the USA to study copyright reserved. Any copying, renting, lending, diffusion, public performance or broadcast of this record outstanding children’s choirs. without the authority of the copyright owner is prohibited.

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