Program Sunday 3 May 2015 3.00Pm University of Sydney | Great Hall

Sunday 16 August 2015 3.00pm |University of Sydney: Great Hall

This special concert features the finalists of the

2015 Joan Carden Award 2015 Joan Carden Award who will perform

solo arias accompanied by large orchestra. Finale 2015 The winner will be announced at the end of the concert. The arias will be interspersed by symphonic choral works exploring the theme on of mortal destiny. Brahms’s NÄnie draws on s allegories from Greek mythology to illustrate SydneyUniversityGraduateChoir.com.au Johannes brahms the fleeting existence of men. The theme is ea ie / Schicksalslied also found in the Schicksalslied (Song of s NÄn Destiny) and the Gesang der Parzen (Song arzen of the Fates). These three works can be gesang der p seen as secular counterparts to his famous fanny hensel-mendelssohn Requiem. Finally, Fanny Hensel’s masterful

ert cantata Hiob, with words from the book of HIOB Job, portrays her musical talent – more than c equal to that of her brother Felix. SOLOISTS & ORCHESTRA SYDNEY Christopher bowen UNIVERSITY GRADUATE music director

Con CH IR

Sunday 6 December 2015 5.00pm |University of Sydney: Great Hall 2015

Our 2015 concert series concludes with Handel’s outstanding oratorio Israel George Frideric in Egypt which unlike his other oratorios,

on contains more choral movements than arias. Water turning to blood, flies buzzing s Handel and hailstones raining down – all come gypt to life in colourful and powerful choruses

ea israel in e as Handel leads us through the plagues,

s the crossing of the Red Sea, and the drowning of Pharaoh’s armies. After attending a performance in Westminster Abbey Joseph Haydn is said to have wept,

ert remarking of Handel, “He is the Master of us all!” The work is now recognized as Antonĺn DVOŘÁk c one of the great oratorios of all time. SYDNEY SOLOISTS & ORCHESTRA MATER UNIVERSITY TABAT Christopher bowen S GRADUATE CH IR Con music director Program Sunday 3 May 2015 3.00pm University of Sydney | Great Hall

Join us! SYDNEY We are looking especially for tenors and basses. For membership enquiries please see the details on our website UNIVERSITY sydneyuniversitygraduatechoir.com.au/join-us. An audition with our Music Director is required. GRADUATECH IR S DvoRák: Antonín Antonĺn DVOŘÁk

STABAT MATERProgram Sunday 3 May 2015 3.00pm University of Sydney | Great Hall

Antonín Dvořák (1841-1904) Stabat Mater op. 58 (originally op. 28) for soli, choir and orchestra T ABA No 1. Quartetto, Coro. Andante con moto — Stabat Mater dolorosa ER T

No 2. Quartetto. Andante sostenuto — Quis est homo, qui non fleret T

No 3. Coro. Andante con moto — Eja, Mater, fons amoris MA

MA No 4. Basso solo, Coro. Largo — Fac, ut ardeat cor meum T No 5. Coro. Andante con moto, quasi allegretto — Tui nati vulnerati T ER No 6. tenore solo, Coro. Andante con moto — Fac me vere tecum flere ABA

T No 7. Coro. Largo — Virgo virginum praeclara No 8. dUo. Larghetto — Fac, ut portem Christi mortem No 9. alto solo. Andante maestoso — Inflammatus et accensus No 10. Quartetto, Coro. Andante con moto — Quando corpus morietur

SYDNEY & orchestra Antonín Dvořák in 1870, photo in Antonín Dvořák Museum Prague lucinda-mirikata deacon David hamilton UNIVERSITY GRADUATE CH IR soprano tenor Christopher bowen ashlyn tymms adrian tamburini Please remember to switch your mobile phone off Use of photographic or recording equipment music director mezzo-soprano bass during the concert. Thank you! during the performance is not permitted.

Antonín DvoRák: S ©2015 Sydney University Graduate Choir ©2015 Sydney University Graduate Choir Antonín DvoRák: S DvoRák: Antonín de Noel and Requiem and Bruckner‘s Requiem in D minor. The extraordinary Missa Dei Patris, by the great Bohemian composer Jan Dismas Zelenka, Lucinda-Mirikata Deacon received its Australian premiere in 2013 under Soprano Christopher’s direction. The works of composers such as Cherubini, C.P.E. Bach, Finzi, Debussy, Puccini and Verdi have also been featured in many of his concerts.

Christopher’s considerable body of composition comprises orchestral and choral works, instrumental Lucinda-Mirikata Deacon is a graduate of The Fund (Sybil Tutton Award), The Opera & Arts Support and chamber music. He has also written two works National Opera Studio, London, studying with Group and The Eileen Goddard Memorial Bursary. for the stage: Nosferatu and Casablanca. His Elizabeth Connell and Iris Dell’Acqua. She has compositions and arrangements have received performed with Welsh National Opera, Scottish She has also won the Bruce Millar/Gulliver Prize, critical and public acclaim and have been Opera and Glyndebourne Education. Lucinda- Scotland, and was runner up in the 2005 Australian broadcast on the ABC, ORF (Austrian Radio) and Mirikata has a Masters degree in Opera (with Singing Competition, also winning their Tinkler 2MBS-FM, and performed by orchestras such as the Distinction) from the Guildhall School of Music and Award in 2007. She won the Joan Sutherland Sydney Symphony Orchestra. Drama, studying with Rudolph Piernay. In Sydney Scholarship and The Marja Baudish Award of The she completed a Bachelor of Music at the Sydney Joan Sutherland Society. In recent years major commissions have produced Conservatorium. Lucinda-Mirikata was the recipient of the inaugural

works such as Triste, Triste; Chorea; the Liberdade T Her opera roles have included: Lady Billows in Albert Joan Carden Award, and performed as a soloist

Requiem (dedicated to those who died whilst ABA fighting for East Timor’s independence); the Herring (Britten), La Comtesse in Chérubin (Massenet), in Brahms’ Ein Deutsches Requiem with the Sydney satirical Democratie, based on Arthur Rimbaud’s Eleonora in L’Assedio di Calais (Donizetti), Agafya University Graduate Choir. The Choir is delighted to ER prose-poem, Tenebrae; and an extended setting in The Marriage (Martinu), and Kundry in Climbing welcome Lucinda-Mirikata back to perform in this

T Toward Midnight (Jack Symonds) for Sydney concert. Christopher Bowen of Christopher Brennan’s evocative poem, Sweet T silence after bells. In 2011 he was commissioned by Chamber Opera. She has also performed a Music Director and composer MA the Sydney University Graduate Choir to compose wide repertoire of opera excerpts, including Songs of the Heart which was dedicated to Her from: Die Walküre, Ariadne auf Naxos, Un Ballo in MA Maschera, L’incoronazeone di Poppea, Cosi fan Excellency Professor Marie Bashir AC CVO. The Lucinda-Mirikata Deacon T christopher bowen oam tutte, Don Giovanni, La Boheme, The Marriage of premiere of this work, a setting of five poems by T Figaro, Roberto Devereaux, Turn of the Screw, Die

Music Director and Composer Christopher Brennan, was greeted with acclaim. ER Entführung aus dem Serail, War and Peace and Christopher Bowen was born in Melbourne His most recent composition, An Australian War James MacMillan’s The Sacrifice.

ABA and studied music at Melbourne University and Requiem, was commissioned to commemorate the

T the Konservatorium der Stadt Wien (Vienna Centenary of World War 1 and the Anzac tradition. Lucinda-Mirikata has performed at the Barbican Conservatorium). While in Vienna he studied It received its premiere on 10th August 2014 in Hall in the London Symphony Orchestra’s pre- conducting with Reinhard Schwarz and a performance at the Sydney Town Hall which concert series, performing Strauss songs for the participated in masterclasses directed by Gennady was acclaimed by critics and audience alike. Christine Brewer Four Last Songs concert. In 2014 Rozhdestwensky. He has worked with many The Requiem has been described as “majestic, Lucinda-Mirikata also performed in recital at St organisations, including the Vienna Chamber monumental and a deeply moving work” and “a James Piccadilly, London, participated in the Orchestra, Opera Australia, the Victorian State thrilling and unforgettable experience”. International Vocal Arts Institute in America, and Opera and the Conservatoriums in Sydney and competed in the final rounds of The Belvedere Vienna. Christopher has released a number of CDs of his Competition in Germany. works, including a recording by the Australian His conducting repertoire embraces the major National Orchestra and Choir. In 2011, a recording She has been a finalist in The Elizabeth Connell Prize orchestral and choral works from the 16th century to of Saint-Saëns Mass Opus 4 was released featuring for Dramatic Soprano, and won first place in the contemporary music. Known for his imaginative and the Sydney University Graduate Chamber Choir. McDonald’s Operatic Aria and the Opera and innovative concert programs, he has introduced Arts Vocal Scholarship of the Sydney Eisteddfod. audiences to many unjustly neglected works such In 2008, Christopher was made an Honorary She was runner up in the Herald Sun Aria and won as Mozart‘s Thamos König in Ägypten, Te Deum, Fellow of the University of Sydney in recognition of the audience prize in the Italian Opera Foundation Dixit Dominus, as well as Mendelssohn‘s Die erste his contribution to its cultural life. That same year Award. Walpurgisnacht and the extraordinary oratorio he also received the Stephen Lardner award in Paulus. He has conducted the Australian premieres recognition of his outstanding contribution to adult Lucinda-Mirikata, a Wingate Scholar, has received of Beethoven‘s Kantate auf den Tod Kaiser Josephs education, and in 2009 he received an Order of awards from The Tait Memorial Trust, The Countess II, Saint-Saëns‘ Le Déluge, Mass Opus 4, Oratorio Australia Medal (OAM) for his services to music. of Munster Musical Trust, The Musicians Benevolent

Mezzo soprano Ashlyn Skye Tymms graduated David Hamilton is a tenor with a distinguished with a Bachelor of Music from the University of career in the fields of opera, oratorio and concert Melbourne in 2009. She was a choral scholar and repertoire, David is originally from Scotland, where featured soloist with the University of Melbourne he graduated in Singing and Flute at the Royal Trinity College Choir on two recordings: Southern Scottish Academy of Music and Drama. He has Star and Mystical Songs, both produced by ABC built a strong reputation and performed to critical Classics in 2006-07. acclaim throughout Australia, New Zealand, Germany, Asia and the UK. She has featured as a semi-finalist or finalist in a David moved to Sydney and was an early member number of competitions, including: the Mietta Song of The Song Company for 7 years after which he Recital Award, the Opera and Arts Vocal Scholarship became a freelance artist. Performances have T and the McDonald’s Operatic Aria awards of the included the tenor roles in most of the major ABA Sydney Eisteddfod and the Opera Foundation oratorios with all the major orchestras in Australia

ER Australia Lady Fairfax New York Scholarship. and New Zealand. He was awarded the Australian

T Centenary Medal in 2001.

Ashlyn Skye Tymms T Ashlyn has won several awards and prizes, including: the Gertrude Johnson Scholarship with the Opera David‘s repertoire encompasses an extraordinarily MA Studio Melbourne (2011), the Henkel Brothers wide range, from Handel‘s Messiah and Haydn‘s

MA Award, Goethe-Institut Australien Award and the Creation to 20th century masterpieces such

T Alan McArthur Memorial (2012). as Britten‘s War Requiem and Elgar‘s Dream of David Hamilton Gerontius. T ER Her operatic roles to date include: Euridice in L’Orfeo (Monteverdi), Pitti-Sing in The Mikado, Dido in Dido Operatic tenor roles include the title role in Britten‘s

ABA Albert Herring; Quint in The Turn of the Screw and and Aeneas, Busby Le Cornu in the 2010 Australian

T Male Chorus in The Rape of Lucretia. He has also premier of Sarah de Jong’s The Cockatoos performed Belmonte in Mozart‘s Entführung aus dem with Victorian Opera, Eurydice in Orpheus in the Serail and Loge in Wagner‘s Das Rheingold. Underworld (Offenbach) and Berenice in Rossini’s L’occasione fa il ladro. Additionally, she has In 2007, David moved to Germany and during performed as a soloist in Handel’s Messiah in 2013. his time there he sang the title roles in Mozart‘s Idomeneo in Neu Munster and Lohengrin for Ashlyn has been awarded a scholarship to Saarbrucken Opera. Whilst in Germany, he also undertake the Masters of Performance program sang various choral and lieder concerts which at the Royal College of Music, London, in 2015- included songs by Schubert, Schumann, Haydn 16. With the assistance of the Australian Cultural and Beethoven. He recorded Beethoven’s Scottish Fund, she is currently seeking support to defray Lieder for Brilliant Classics in 2008. living expenses while undertaking this course. Tax deductible contributions can be made via: Works performed recently include: Beethoven’s 9th Symphony, Die Winterreise, the tenor role in https://australianculturalfund.org.au Ricci’s opera La Prigione di Edimburgo, Dvorak’s Die Geisterbraut and Stabat Mater, Mahler’s Das Ashlyn makes her Sydney University Graduate Choir Lied von der Erde, Tamino in Die Zauberflöte, debut in this concert. Elgar’s Dream of Gerontius, Mendelssohn’s St Paul, Evangelist in Bach’s St John Passion and the tenor solo in Messiah.

VIOLIN I| Michele O’Young (Orchestra FLUTE| Bronwen Needham (Principal) Leader) James Fortune Inge Courtney-Haentjes Heather Burnley OBOE| Duncan Thorpe (Principal) Belinda Jezek Anna Rodger Adrian has also been a finalist in the German Nick Parry Australian Opera Grant at the Hessisches Julia Broom CLARinet| Nattanan Low (Principal) Staatstheater, Wiesbaden (in 2008 and 2011), as Ian Sykes well as the Lady Fairfax New York Scholarship and VIOLIN II| Alastair Duff-Forbes (Principal) Music and Opera Singers Trust Opera Awards. Tracy Wan Bassoon| Gillian Smith (Principal) Anita Beuthien Long Nguyen He has performed numerous roles with Opera Michele Jackson Australia, including: Figaro in the Barber of Seville; Joanna Kubiak-Sek french horn| FRENCH HORN Leporello in Don Giovanni; Zaretsky in Eugene Onegin; Jackie McCaughan Graham Nichols (Principal) Zuniga in Carmen; Sarastro and Speaker in The Paul Stiles VIOLA| Robert Harris (Principal) Steven Smith Magic Flute; First Soldier in Salome; Alcindoro in La Greg Ford Rafael Salgado Boheme; Messenger and Assassin in Macbeth; Officer Andrew Jezek T

of the Watch in Barber of Seville; Pickpocket in Lakme; Michelle Urquhart trumpet| Melanie McLoughlin (Principal) ABA Sciarrone in Tosca;and Bass Chorus in The Love of the Robyn Botha David Pye Nightingale. Georgina Price ER trombone| Michael Wyborn (Principal) T

Adrian Tamburini With other companies he has also performed, CELLO| John Benz (Principal) Ros Jorgenson T

amongst others, the roles of: Figaro and Bartolo in Steve Meyer Elina Suuronen MA the Marriage of Figaro; Leporello in Don Giovanni; Janine Boubbov Margaret Lindsay Machamer timpani| Steven Machamer MA Papageno and Zarastro in The Magic Flute; Count

T Adrian Tamburini Ceprano in Rigoletto; Yakuside, Lo Zio Bonze and Il Paul Laszlo (Principal) organ| Amy Johansen (Confirm) T Commissario in Madama Butterfly; Dr Grenvil in La Double Bass|

Basso Cantate Dorit Herskovits ER Traviata; Alfio in Cavalleria Rusticana; Taddeo in The Italian Girl in Algiers; Colonna in Rienzi; Aeneas in Dido

ABA and Aeneas; The Lawyer and The Doctor in Gianni

T Schicchi; Count Rodolfo in La Sonambula; Sir John Falstaff in The Merry Wives of Windsor; and Usher in Trial by Jury.

Adrian Tamburini undertook his early vocal training His concert repertoire includes: Handel’s Messiah, in Melbourne and is now with Opera Australia. Haydn’s Creation; Verdi’s Requiem; Bach’s St John His opera repertoire is extensive, and ranges from Passion, the Easter Oratorio, Magnificat and Ich Purcell to twentieth century works. He has been the Habe Genug; Berlioz’s L’Enfance du Christ and recipient of numerous prizes and finalist in a number Mahler’s Symphony No 8. of Australia’s most prestigious vocal competitions. In 2014 Adrian performed in the world premiere of He has won the Lygon Street Festa Aria Competition Christopher Bowen’s An Australian War Requiem (2003); the Royal Melbourne Philharmonic Aria with the Sydney University Graduate Choir. Award (2007); Melbourne Welsh Male Voice Choir Singer of the Year Competition (2007); Lythgo Trust Operatic Aria Award (2007); John Tallis Singing Competition (2008); and the Acclaim Awards Pergolesi-Spontini Festival Baroque Scholarship (2010).

Antonín DvoRák: S ©2015 Sydney University Graduate Choir ©2015 Sydney University Graduate Choir S DvoRák: Antonín 10 soloists and conductors to widen their repertoires The Choir sings under the direction of the highly a work newly commissioned by the Choir to mark sydney university and expand their local and international careers as respected conductor and composer Christopher the centenary of the outbreak of World War I and graduate choir professional musicians. The Choir presents a regular Bowen OAM, an Honorary Fellow of the University the Gallipoli campaign, with a universal theme of program of three major choral performances each of Sydney, who has been Music Director since 1992. sacrifice, loss and grief, with a uniquely Australian year, but has also performed in popular shows such Christopher has established a very strong partnership perspective. All concerts in the Sydney Sings... series as Scotland the Brave and fund-raising events such with the Choir, enriching its repertoire and setting have included a large guest Choir, soloists and full The SYDNEY UNIVERSITY GRADUATE CHOIR was as the concert for the Royal Flying Doctor Service at new performance standards. Under his leadership orchestra. established in 1952 as the graduate group of the Angel Place Recital Hall. It also provided singers the Choir has given several Australian premiere the Sydney University Musical Society (founded for the soundtrack of the Oscar-winning Australian performances of choral works and, as part of its in 1878). Today the Choir has over one hundred films Happy Feet and Happy Feet 2 commitment to Australian music and composers, singers and is committed to high-quality has commissioned many outstanding new works. performance of great choral music. Its extensive, The Chamber Choir, established in 2004, is a sub- versatile and innovative repertoire ranges from group of the larger Choir, comprising around thirty In recent years the Choir has produced a Sydney the grand works of the established masters to the singers chosen through an annual audition process, Sings... series of concerts in the Sydney Town Hall, The Choir’s Patron, music of contemporary composers. The Choir’s and increases the Choir’s performance flexibility and with three very well-received performances of Professor, Patron is Professor, the Honourable Dame Marie choral repertoire. The Chamber Choir sings varied Handel’s Messiah in 2007, 2010 and 2012, and a the Honourable Dame Bashir AD CVO. repertoire in separate concert performances and performance of Verdi’s Requiem in 2013. The most Marie Bashir AD CVO also provides the more intimate and transparent recent performance under the Sydney Sings... T Since its inception the Choir has continued to sound sometimes required in sections of the major umbrella was the premiere on August 10, 2014 of ABA provide opportunities for choristers, instrumentalists, works being performed by the main Choir. An Australian War Requiem by Christopher Bowen,

ER The Sydney University Graduate Choir, December 2012 T T MA MA T T ER ABA T

SopranoS| *Suzette Askew Marianne Gibney- Elizabeth Moore tenors| Paul Axon *Robert Johnstone Dominic She *Janet Axon Quinteros *Ros Moxham Martin Bibby *Christoph Kaufmann Martin Suthers Sally Banfield Marilyn Gosling Janine Newell *Ella de Rooy Andrew Mackenzie *William Willitts Karina Barnard Siân Griffiths Janet Paterson Sanjay Gupta *Michael Rodriguez Lynette Byrnes Minty Gupta Dawn Plasto Suzanne Capon Lyndall Haylen *Jo Rhoden Virginia Cohen *Maree Higgins *Jackie Rotenstein Wen Dai *Angela Kemm Mary Shannon basses| *John Appleby *Clive Faro *David Moser Evelyne de Clercq Wendy Knight *Jane Sinclair Graeme Bartlett Barry Gow Michael Nevin *Tiana Dimech Gillian Lee Pamela Traynor Roger Bartrop Greg Hankinson Tony Osborne *Bryony Drayson *Angela Lim Kate Wargent John Bowan Derek Harrison Alan Potter *Jacqui Dropulic Janette McDonell Prue Winkler *Kent Broadhead *Kirk Hume Peter Sinclair Helen Easson *Judith Mee *Michael Cahill Elvis Kipman Bob Sutton Faith Entwisle Jane Miller Richard Cohen James McCallum John Taylor James Crawford Stephen Mills *Horst Thiele ALTOS| Edith Arns Joyce Jones *Jennifer Ross *Alison Casey Celia Jordan Camilla Sakkas * SUGC Chamber Choir T ABA Deborah Chesney Mardi Kent Friederike Scheppach Rehearsal Giselle Cooke Martine Letts Suzie Scott Pianist| Amy Putt

ER *Catherine Crittenden *Sarah Macdonald Joan Smiley

T *Claire Dalgarno *Mary MacGibbon Jan Steven Margaret Donaldson *Eugenia Munro Devon Szentkuti T Jill Faddy *Catherine O‘Doherty Beverley Taylor MA Pam Fisher Rosalie O‘Neale Jenny Turner

MA Christina Geeves Jean Parry SusanWright

T Mary Griffiths Jenny Pockley *Inta Heimanis Fiona Roden T ER

SUGC Chamber Choir, ABA December 2012 T

Antonín DvoRák: S ©2015 Sydney University Graduate Choir ©2015 Sydney University Graduate Choir 13 14 S DvoRák: Antonín finding effective ways of using them“ by John Clapham of the pro-Brahms and anti-Wagner school in the fierce the cantata, The Spectre’s Bride, and his Requiem to in his Dvořák biography. Viennese cultural wars of the late nineteenth century. commissions from the City of Birmingham, which had Dvořák won the prize and competed on several other commissioned Mendelssohn’s oratorio, Elijah, forty Dvořák was born into the family of a village innkeeper occasions, winning again in 1876 and 1877. Later in his years earlier. In 1891, Dvořák was made an Honorary and butcher in Nelahozeves, near Prague (his social career, he was awarded the Austrian Order of the Iron Doctor of Music by Cambridge University, in the same circumstances are thus very similar to those of Verdi, Crown and was received by the Emperor. year being appointed Professor of Composition at the of whose music he was to become an outspoken Prague Conservatory. admirer). At this time, and indeed throughout his life, The difficult relations between the Empire’s German- the Czech lands of Bohemia and Moravia were a part speaking rulers and their subject peoples are underlined But in certain places the Stabat Mater made little or of the Habsburg Empire, ruled from Vienna. The Czechs in a letter written by Hanslick, himself born in Prague to no headway, which worried Dvořák. He complained remembered with bitterness the Battle of the White a German-speaking family, to Dvořák in November to his publisher on 6 February 1886: „The Stabat Mater Mountain, during the Thirty Years War, in which their 1877. Hanslick’s supportive message indicated that has become popular in England and has also been forefathers were defeated by the Habsburgs. During Brahms would be willing to recommend to his German performed in America and Australia (sic!) to great Dvořák’s childhood, in 1848, Czech insurgents in Prague publisher, Simrock, that he publish some of the Czech acclaim, but what of Germany and Austria? Well, let‘s were crushed by the Austrian Imperial forces. More composer’s songs. However, this support is belied by hope for the best!“ He was particularly keen to have recently, the Czech aspiration for independence was the following comment: the work performed in Vienna, the musical capital of choked off by Nazi Germany in 1938 and by the Soviet the world at that time. But that did not happen until Union in 1968. Since the collapse of the Soviet system, If you could provide a good German translation, he [i.e. 1888.

the Czechs have enjoyed a period of more than twenty Brahms] would certainly arrange for their publication. T

years of peace and independent development that to Perhaps you might send him a copy…After all, it would The most famous period in Dvořák’s career came in ABA Dvořák’s generation would have looked like a beautiful be advantageous for your works to become known 1892-95 in America, after he accepted an offer from dream. beyond your narrow Czech fatherland, which in any an American philanthropist to become the Director of ER Birthhouse of Antonín Dvořák in Nelahozeves case does not do much for you. the National Conservatory of Music in New York. While T

As a child, while Dvořák was taught music by the village in America, he travelled to the Mid-West, where he T

schoolteacher, it was assumed that he would follow in Brahms did indeed write to Simrock, who accepted stayed as a guest of the Czech community of Spillville, MA his father’s footsteps and become a butcher. At 13 he Dvořák’s songs, commissioned the Slavonic Dances Iowa. Dvořák’s experiences in the United States and

MA Program Notes continued his education at the larger town of Zlonice, from him, and published both works in 1878.

T where he began to learn German and studied music

Johannes Brahms T (violin, viola, piano, organ and keyboard harmony). However, Simrock was very sceptical about whether

Dvořák – a Great Czech Master ER The boy showed musical talent and in 1857 entered the the public would be interested in the Stabat Mater, a Since 2000, Christopher Bowen has led the Choir in Prague Organ School where he furthered his study of canata on a Latin text. In a letter dated 22 February

ABA performances of works by a wide range of great choral German and, according to Grove’s Dictionary of Music 1881, he wrote to the composer: „...if only the text were

T composers – Bach, Handel, Haydn, Mozart, Beethoven, and Musicians, he received “the orthodox training of a different! I mean that for north Germany and England Schubert, Mendelssohn, Brahms, Bruckner, Saint-Saëns church musician.“ Dvořák became a competent viola and America, and so on, the Stabat Mater is a dead loss. and Verdi. Today it is our pleasure to fill a major gap, player, and graduated in 1859. It is only for the Austrian territories, that is, for the Catholic by adding Antonín Leopold Dvořák (1841-1904) to our countries“. Just how wrong Simrock was became repertoire. After leaving school, young Dvořák became principal apparent over the next few years. But it might also violist in the orchestra of the newly created Prague portrait Hanslick‘s letter to Dvořák in a slightly different Dvořák is frequently listed in scholarly music books as a National Theatre, playing for a period under the baton light. He knew that a publisher is foremost interested “nationalist composer”. This classification is a legacy of of the pathfinder of Czech musical nationalism, Bedřich in the saleability of a work and the language plays an the supremacy of German and Austrian musicologists, Smetana. He is thus one of a number of viola-playing important part for it. Today Hanslick or Simrock might reflecting their view that German and Austrian composers composers such as Bach, Mozart, Beethoven, Hindemith, have asked Dvořák to include an English translation as are the core of art music. But it could also be seen as a Frank Bridge, Britten and, in our own day, Brett Dean. At well. somewhat clumpsy attempt to characterise Dvořák‘s this time, Dvořák began to compose, enjoying his first music who, following the example of Bedřich Smetana, success in 1873 with the patriotic cantata, Heirs of the In any case, it did not take long for Dvořák’s works to frequently employed aspects, especifically rhythms, of White Mountain. begin to reach an international audience, on the the folk music of Moravia and his native Bohemia (then continent and particularly in England. In 1884, he parts of the Austrian Empire and now constituting the He decided to enter a number of his compositions for was invited to London by the Philharmonic Society Czech Republic). Dvořák‘s style has been described as the Austrian State Stipendium in 1874. Two of the three to conduct his own works. (This Society was later to „the fullest recreation of a national idiom with that of judges were Johannes Brahms and Brahms’s close commission from Dvořak the Symphony No. 7 in D the symphonic tradition, absorbing folk influences and friend, the influential music critic, Eduard Hanslick, leader Minor, perhaps his greatest symphony). He composed

Antonín DvoRák: S ©2015 Sydney University Graduate Choir ©2015 Sydney University Graduate Choir 15 16 S DvoRák: Antonín In his own country, Dvořák is also renowned as a a consolatory character. Dvořak also works this phrase teacher, conducted a performance in Brno. In a short composer of operas. Unlike the dramatic works of his into the counterpoint of the exciting, tumultuous time the work became familiar to choral societies all compatriots, Smetana and Janáček, these are hardly Amen. over the world. It received its first British performance in known outside the Czech Republic, with the exception March 1883 in the Royal Albert Hall and Dvořák himself of Rusalka. Even Rusalka is rarely heard in its entirety, In a number of places, the Stabat Mater reveals conducted a performance there a year later on his with only the ravishingly beautiful soprano aria, Song to Dvořák’s mastery of counterpoint and harmony. first visit to England. Following the successful premiere, the Moon, a perennially popular excerpt. Dvořák approached Simrock with a view to having Dvořák rings the changes in his deployment of vocal the work published. Simrock agreed, subject to the Dvořák also produced a significant body of choral music. forces: No.3, the prayer, Eja, mater, is set as a short composer giving it a higher opus number, in order to The Stabat Mater, which we perform today, dates from solemn chorus; No.5, Tui nati vulnerati, is also set for disguise its early appearance in his oeuvre (“The early 1877, i.e. from the same era that produced Brahms’s chorus alone in a gently flowing 6:8 rhythm; while No.7, opus number is not suitable now....Could you give the A German Requiem (1869) and Verdi’s Requiem Mass Virgo virginum praeclara, for chorus alone, is for Stabat Mater a more recent opus number, such as (1874). It appears to have been inspired, initially, by the much of the time unaccompanied or has discreet opus 58?”) Dvořák agreed and so, at the stroke of a death of his first daughter, Josefa, who died two days accompaniment by the orchestra. The solo quartet pen, opus 28 became opus 58. after birth in August 1875. The composition was begun sings No.2, Quis est Homo, without the involvement of in February 1876 and completed in May of the same the chorus. No.4, Fac, ut ardeat cor meum, is written Anthony Burton, in a piece on Dvořák in The BBC Proms year. Before the work was published or performed, for the bass soloist and chorus, the tenor soloist getting Guide to Great Choral Works (to which this note is Dvořák was to lose his other two children, his second his opportunity, in cooperation with the male members greatly indebted) writes that the composer conducted

daughter, Ružena, and his only son, Otakar, in 1877. of the chorus, in No.6, Fac me vere tecum flere. The a performance of the work as part of the ceremonies T

(Ružena, aged one, drank from a bottle containing soprano and tenor soloists have a duet in No.8, Fac ut associated with his receiving his honorary doctorate ABA a phosphoric compound used in households at portem Christi mortem, while the alto soloist has a of Music at Cambridge in 1891. During the ceremony, that time for making matches, while Otakar, aged solo to herself in No.9, Inflammatus et Accensus. Dvořák was embarrassed to find himself being praised in ER three, contracted smallpox.) Dvořák described these Latin, a language he did not understand but consoled T

The four soloists and chorus combine in No.10, the T Dvořák with his family and friends in New York tragedies as “a profound blow of fate.” In 1881, he himself with the thought that “after all, it is better to have wrote to the Viennese conductor, Hans Richter, whose mighty Quando Corpus Morietur which brings the composed the Stabat Mater than to know Latin.” MA in 1893. From left: his wife Anna, son Antonín, great work to a rousing close. This last movement opens Sadie Siebert, Josef Jan Kovařík, mother of Sadie children were seriously ill:

MA with the same eerily compelling f-sharps in the orchestra Siebert, daughter Otilie, Antonín Dvořák Overall, the Stabat Mater shows Dvořák to be not merely

T I feel deeply for you in this hour of bitter misfortune, for I followed by the same sorrowful descending chromatic a great “nationalist composer” but without qualification experienced this personally, when I lost my two children. phrase as the first movement. The four soloists then a great composer full stop. Dvořák made the following T his responsiveness to the music of African and Native I pray to God that everything will turn to the best. entering with a lamenting „When my body dies.“ But noble and magnanimous statement of his position on ER Americans are reflected in his last and most popular when chorus and soloists continue with “make that my nationalism in a letter to Simrock in 1885, objecting to his

ABA symphony, No. 9 in E Minor (‘From the New World’), and Dvořák was a devout, uncomplicated believer. This soul is given the glory of paradise”, the mood suddenly publisher‘s printing of his name as the German Anton,

T the so-called ‚American‘ String Quartet in F, one of the comes across in the sense of astonishment with which shifts. The massive crescendo first heard in the first rather than the Czech Antonín: last of his fourteen works in string quartet form. he regarded the atheism of his patron, Brahms: “Such movement on the word “lacrimosa” is now repeated a great man! Such a great soul! And he believes in on the word “paradisi,” and at the climax Dvorak But what have we two to do with politics; let us be Dvořák in fact was a master in nearly all forms of nothing!” The Stabat Mater, the composer’s largest arrives not on the anguished scream of the diminished glad that we can dedicate our resources solely to the composition, except solo piano music (unlike most scale choral work, conveys a passionately felt religious chord he used in the first movement, but on a radiant beautiful art! And let us hope that nations who represent famous nineteenth century composers, he was no spirit. This is expressed most strongly in the first of its ten G major chord, with which the work finally throws off and possess art will never perish, even though they may more than an average pianist). Although his music is movements, for Solo Quartet and Chorus, on the first the burden of grief. The soloists, orchestra and chorus be small. Forgive me for this but I just wanted to tell you heavily infused with Czech national feeling, he was, four verses of the sequence, describing the grief and burst forth in a fast, almost ecstatic fugue-like toccata that an artist too has a fatherland in which he must also like Brahms, primarily influenced by composers in the despair of the Virgin Mary as she stands at the foot on the word “Amen.” The work ends with one last, have a firm faith and which he must love. classical tradition, such as Schubert, Beethoven, Mozart of the cross on which Christ hangs. This is by a good majestic statement of the very first theme of the piece, and Haydn. He composed a great many works in the distance the longest movement of the work, with an that unmistakable descending melody, heard now in D The Stabat Mater continues to have a special classical forms – symphonies, concertos (including the extended orchestral introduction. The work begins with major, the key used by Bach and Beethoven to depict significance for the outstanding Australian composer greatest concerto for cello in the repertoire), chamber ascending repetitions of the single note f-sharp played heaven in their own works. and violist, Brett Dean, mentioned above. It was the music, including string quintets and quartets, and piano by the orchestra. Composers from the Renaissance on, first work that he played with the Berlin Philharmonic, quintets and trios, and song (the cycle of ten Biblical including Bach, had often used the sharp sign “#“, as Composed without a commission, the Stabat mater had and he says that, listening to the work recently again, Songs op.99 is his outstanding work in this genre). As well, a reference to the cross (in fact Germans still call the to wait some time for its first performance. This came in he finds that„it still impresses very strongly. It is profound Dvořak composed a number of works in the Lisztian sharp sign a „cross“). The movement continues with December 1880 by the opera company of the Czech and sombrely beautiful.“ form of the symphonic poem. a sorrowful descending chromatic phrase, which the Provisional Theatre. In April 1882, Leoš Janáček, then composer brings back in the final movement, giving it still a rather obscure provincial choirmaster and music John Bowan

Antonín Dvořák 3. Coro. Andante con moto 3. Coro. Andante con moto (1841-1904) Eja, Mater, fons amoris Oh Mother, source of love, me sentire vim doloris. make me feel the power of your grief Stabat Mater Fac, ut tecum lugeam. that I may mourn with you. op. 58 for soloists, choir and orchestra 4. Basso solo, Coro. Largo 4. Basso solo, Coro. Largo Fac, ut ardeat cor meum Make my heart burn in amando Christum Deum with love for Christ my God ut sibi complaceam. so that I may please him. 1. Quartetto, Coro. Andante con moto 1. Quartetto, Coro. Andante con moto Sancta Mater, istud agas, Holy Mother, please grant this: Stabat mater dolorosa The grieving mother stood crucifixi fige plagas plant the afflictions of the Crucified (Christ) juxta crucem lacrimosa, weeping beside the cross cordi meo valide. firmly into my heart. dum pendebat filius. while her son was hanging there.

Cujus animam gementem, Her sighing soul, 5. Coro. Andante con moto, quasi allegretto 5. Coro. Andante con moto, quasi allegretto ABA contristatam et dolentem anguished and lamenting Tui Nati vulnerati, Allow me to share the torments pertransivit gladius. was pierced by a sword. ER tam dignati pro me pati, of your wounded Son

T pœnas mecum divide. who so deigned to suffer for me. O quam tristis et afflicta Oh, how sad and afflicted T

fuit illa benedicta, was that blessed MA mater unigeniti! mother of the only Son! 6. Tenore solo, Coro. Andante con moto 6. Tenore solo, Coro. Andante con moto MA

T Quae mærebat et dolebat, She mourned and grieved, Fac me vere tecum flere, Make me truly weep with you, T et tremebat cum videbat, and trembled as she saw crucifixo condolere, and share the sufferings of the Crucified (Christ) ER pia mater, dum videbat the devoted mother, as she saw donec ego vixero. as long as I live. nati pœnas incliti. the torment of her renowned Son.

ABA Juxta crucem tecum stare, To stand beside the cross with you

T te libenter sociare to willingly share you grief 2. Quartetto. Andante sostenuto 2. Quartetto. Andante sostenuto in planctu desidero. this is my wish. Quis est homo qui non fleret, Who is the human who would not weep matrem Christi si videret to see the mother of Christ 7. Coro. Largo 7. Coro. Largo in tanto supplicio? in such torment? Virgo virginum praeclara, Oh Virgin, most celebrated of virgins, Quis non posset contristari Who could not be saddened mihi jam non sis amara, do not now be harsh with me, Christi matrem contemplari to behold the mother of Christ fac me tecum plangere. allow me to grieve with you. dolentem cum filio? suffering with her son?

Pro peccatis suæ gentis For the sins of his people 8. Duo. Larghetto 8. Duo. Larghetto vidit Jesum in tormentis, she saw Jesus in torment Fac, ut portem Christi mortem, Grant, that I may bear the death of Christ et flagellis subditum. and subjected to the lash. passionis fac consortem, and share his suffering et plagas recolere. and reflect on his wounds. Vidit suum dulcem natum She saw her gentle Son moriendo desolatum, dying, forsaken, Fac me plagis vulnerari, Let me be wounded by his wounds, dum emisit spiritum. while he gave up his spirit. cruce hac inebriari, be filled with (awareness of ) that cross ob amorem Filii. through love of your son.

9. Alto solo. Andante maestoso 9. Alto solo. Andante maestoso Inflammatus et accensus, Burning and aflame per te, Virgo, sim defensus may I be protected by you, Oh Virgin, in die judicii. on the day of judgement.

Fac me cruce costodiri May I be defended by the cross, morte Christi præmuniri forearmed by the death of Christ confoveri gratia. and sustained by his grace.

10.Quartetto, Coro. Andante con moto 10.Quartetto, Coro. Andante con moto Quando corpus morietur, When my body dies, fac, ut animæ donetur make that my soul is given paradisi gloria. the glory of paradise. T

Allegro molto Allegro molto ABA Amen. Amen. ER Quando corpus morietur, When my body dies, T fac ut animæ donetur make that my soul is given T

paradisi gloria. Amen. the glory of paradise. Amen. MA

MA Translation: Annette Lemercier T T ER ABA T

“Deposition of Christ” Panel painting by the Flemish artist Rogier van der Weyden created c. 1435 Antonín DvoRák: S 21 ©2015 Sydney University Graduate Choir ©2015 Sydney University Graduate Choir Autograph of the title page with the original opus number. 22 S DvoRák: Antonín joan whittaker joan carden award memorial FUND In 2015 the Sydney University Graduate Choir is The Award has a cash prize of $6,000 and also the conducting the Joan Carden Award competition. opportunity to perform as a soloist in one of the JOAN WHITTAKER was a loved and revered This award has been established by the Choir to: Choir’s forthcoming concerts. member of the Sydney University Graduate Choir who died in October 2006. She is very much • identify and encourage young singing talent This year, also for the first time, the audience at missed. the August performance of finalists will have the • strengthen the Choir’s relationship with the opportunity to vote for a “People’s Choice” award. Joan was a past president of the Choir and University of Sydney and the Sydney music Entries closed 1 May 2015. subsequently carried out many other significant community, and responsibilities in the organisation of the Choir. A Further information on the Competition can be gifted educator and a musician of considerable • honour the contribution of Joan Carden to music found at: www.sydneysings.com.au/jca talent, Joan deputised for the Music Director on in Australia. occasions, rehearsing the Choir with a subtle wit Joan Carden Award Roll of Honour and a determination to achieve a high standard Over the years the interest in this competition has grown, of performance. She was also responsible for hiring and participants – largely drawn from the Sydney 2012 Agnes Sarkis, mezzo-soprano

the orchestra members for the Choir’s concerts, Conservatorium of Music – have made a significant 2011 Emma Moore, soprano T

something she did with her customary thoroughness contribution to Australia’s classical music culture. 2010 Rachel Bate, soprano ABA and grace. 2009 Simon Gilkes, tenor All Award winners have gone on to study 2008 Jinhee Uhm, soprano ER The Choir has established a Memorial Fund to honour internationally, and have largely fulfilled the 2007 Victoria Wallace, mezzo-soprano T Joan Whittaker, 2005 Joan. In the first instance the Fund will support the Choir’s intention of supporting the development of 2006 Jae-Hyeok Lee, baritone T

existing Joan Carden Award. Other awards and outstanding young musicians. 2005 Lucinda-Mirikata Deacon, soprano MA scholarships for talented musicians – composers,

MA conductors and performers – will be established as Singers aged between 22 and 35 years have been

T the Fund grows. invited to become part of this exciting event, with Joan Carden AO OBE T the deadline for applications being 1 May. The choir invites contributions to the Joan Whittaker ER Memorial Fund. (Donations are tax deductible.) The distinguished adjudicators of the award this ABA Donations by cheque should be made out to the year will be Joan Carden AO OBE, Christopher T University of Sydney and sent to: Bowen OAM and Anson Austin OAM.

Joan Whittaker Memorial Fund, In past years the Competition was staged annually. Sydney University Graduate Choir Inc. In order to provide increased prize money and PO Box 289 increased opportunities for performance for the Enmore NSW 2042 finalists, the competition is now being staged every two years. For advice about other means of payment or for information regarding a bequest, please write to Competitors will progress through a first round by the Benefactors Liaison Officer of the Choir at the the end of May 2015. Those progressing to the next same address. Donation/Bequest forms can be stage will participate in a semi-final round which downloaded from our website. includes a master class with Joan Carden, one of Australia’s most distinguished musicians.

This year, for the first time, the final of the competition will afford singers an opportunity to perform with an orchestra. This performance will be part of the Choir’s concert on 16 August 2015 in the Sydney University Great Hall.

General Donations to Sydney University Graduate Choir

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