The University of Queensland School of Music Vice-Chancellor’s Concert Series

Eumeralla, a war requiem for peace

The University of Queensland Symphony Orchestra The University of Queensland Chorale Dhungala Children’s Choir Voices of Birralee Sunday 20 October 2019, 2pm | QPAC Concert Hall A MESSAGE FROM

Professor Liam Viney Eumeralla, a war requiem for peace Head of School, School of Music, The University of Queensland The University of Queensland Symphony Orchestra The University of Queensland Chorale Dhungala Children’s Choir Voices of Birralee It is my great pleasure to welcome you to a about history, representation, equity, justice, Dr Warwick Potter very special event in the history of The University identity, education and pluralism. Conductor Deborah Cheetham AO of Queensland Vice-Chancellor’s Concert Soprano soloist At the School of Music we have already Don Bemrose Series. Today you will experience the second Baritone soloist witnessed the positive impact of Eumeralla on Mezzo-soprano soloist Talia Garrett-Benson ever performance of a major new work by our community and beyond. The list is long distinguished composer, soprano and and includes the experiences of many student woman Deborah Cheetham – Eumeralla, a war performers from across the School and University Program requiem for peace. We at the School of Music are who have been rehearsing and learning about i. O pernmeeyal – requiem immensely proud of the fact that The University the work for some months; it includes Aboriginal ii. Deen nganang warrakeeleek – dies irae of Queensland is presenting the second ever and Torres Strait Islander students at UQ who performance of a milestone composition have spent time with Deborah in recent days; and iii. Wanga-n-wanoong – tuba mirum that will be sought after by major symphony also the many people who attended the Kinnane iv. Kooyeen wanoong – liber scriptus orchestras around the country in coming years. Lecture earlier this week at UQ, where Deborah v. Tyookyong-ee – agnus dei Eumeralla, a war requiem for peace is an artistic highlighted the way in which the revival of our vi. Tarrameek-tarrameek-kee-ngeeye – libera me response to the brutal and extended conflict traditional languages is critical to the ongoing vii. Laka wangoong – quid sum miser that occurred on the lands of the Gunditjmara journey of understanding our nation’s identity. viii. Deen ngootyoong meering – rex tremendae people over 170 years ago. Learning the There are many people to thank: The Dhungala ix. Pang ngutee-kee weeng – recordare historical facts of a story such as this is only the Children’s Choir, Voices of Birralee and Paul x. Ngarnda wangon – ingemisco beginning; Eumeralla combines music, poetry Holley, Dom Bemrose, Talia Garrett-Benson, xi. Tamboorawananga-n-eeye-confutatis and art in a way that allows audiences to access Warwick Potter, Graeme Morton, Shaun Brown, xii. Deen nganang weerakaleeyt – lacrimosa a deeper level of meaning and insight into the Toni Lalich, Paul Young. I also acknowledge xiii. Yakeen-aya meerreeng – domine jesu christe human toll of those conflicts. and draw attention to the profoundly valuable xiv. Pernmeeyal – hostias In this work you will hear the Latin text of the work of language custodian Vicki Couzens in xv. Paman paman – sanctus Requiem Mass translated into the dialects of translating the text, as well as the powerful the Gunditjmara clans. There is a poignancy and and beautiful artwork by Tom Day that xvi. Ngatanwarr – Benedictus irony in hearing the archaic text and structure accompanies the performance today. xvii. Moongay wata keenanpa – lux aeternum xviii. Noombapee-ngeeye – kyrie of the European Catholic Mass re-shaped and The Faculty of Humanities and Social Sciences re-constituted in an even more ancient tongue. has supported this performance in myriad ways, xix. O permeeyal – requiem Couching that text in a contemporary musical and the late Paula and Tony Kinnane must also language ensures that this dialogue across be acknowledged for their generous bequest, centuries is reflected and amplified in the which has supported Deborah’s residency The University of Queensland Symphony Orchestra Conductor Dr Warwick Potter present. It is a special privilege to experience this at UQ. Of course, the deepest gratitude goes to The University of Queensland Chorale Conductor Mr Graeme Morton AM piece of music on the banks of the Maiwar River. Deborah Cheetham herself, who has made all Dhungala Children’s Choir Conductor Deborah Cheetham AO Today’s performance occurs in the context of of this possible. Voices of Birralee Conductor Paul Holley OAM UQ’s Reconciliation Action Plan. The arts, Professor Liam Viney The University of Queensland School of Music thanks the Symphony Orchestra for providing orchestral humanities and social sciences have a special scores and parts for Eumeralla, a war requiem for peace. role to play in achieving our RAP goals Head of School, Eumeralla, a war requiem for peace has been made possible with the help of Gunditjmara language custodian because our disciplines are the locus for School of Music Vicki Couzens and linguist Travers Eira. thinking carefully, critically and creatively The University of Queensland Cover and performance artwork by Gunditjmara - Yorta Yorta artist Thomas Day

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Just a little over four hours drive from It is my hope that this song, this war requiem 1. O pernmeeyal – requiem 4. Kooyeen wanoong – liber scriptus Melbourne there is a battlefield haunted with will help the spirits of those who fell – those who O pernmeeyal wooka-tyeen leenan toota Kooyeen-wanoong yang–teeyt-ngeeye the memory of war and loss of life. When resisted and their aggressors, to find a lasting moongay wata keenanpa nganang walawa-tyeen leenyoong ba marnmarn kooweetpa you walk on this land, you are surrounded by peace and that we their descendants might find leerpee–wanoo-ngoo leerpee-yt ba yoonggama-yt pangyangteeyt marrangmara-n deen restless warrior-spirits. It is a powerful feeling our way to deeper understanding of the legacy makatepa wanga-kee leerpee-wanoong, malayeeto-kooweetpa and a fearful one. It is inescapable. of these battles. For you, for me, for all who yareeyaree-wanoong meerreeng-moongay tyama-wanoong ngootyoong were lost in a war Australia has yet to find takoort yooloowa-na pang-yooloowa-mayapa O creator, give to them eternal rest The name Eumeralla is unlikely to be among a way to talk about. Eumeralla, a war requiem takoortakoort tyama-k-wanoong and let perpetual light shine upon them the theatres of war that you could name. The for peace will break the silence of so many a hymn and a vow we will sing to you we recorded our loss history of battles fought and the lives that were decades and serve to amplify the importance today, hear our song of mourning in name and great detail lost is almost unknown to anyone outside the of our nation’s shared history. Aboriginal community. It is more than 170 years the winners who wrote the history since the last shots rang out in the country of One day I hope to walk on that country and feel no 2. Deen nganang warrakeeleek – dies irae but when the truth is known all that is hidden will appear the Gunditjmara but the land is not silent. The restless spirit – just the strength of two thousand Deen nganang warrakeeleek nothing will remain unknown voices of those who lost their lives in defence of generations of lives lived and culture sustained. ngami ngami kooknawak meerreeng palayn-ee their country ring in your ears when you stand pang kooyeen-nganeen amongst the lava flows of south-west country The process of composing Eumeralla, a war poongpoong-oota-eeya 5. Tyookyong-ee – agnus dei . Unlike other theatres of war such as requiem for peace began with the structure of deen tamboort-eeyt wata-n woongoora-teepa Ngalam meen-ngeeye nhoomapee yoondapoora- Anzac Cove and the Somme, where peace was the traditional Latin text and my original plan takoort parpanee-pa yangteeyt-oo na-yoota was to translate directly from the English into the tyookooyong-ee declared and relationships restored with the This day of anger Gunditjmara dialects. It became obvious the work moongay wata moorroop-tyeen tamboora toota Turks and Germans, no such peace was declared will consume the world in ashes required a text which reflected seventy thousand ngalam meen-ngeeye nhoomapee in the resistance wars, no such restoration. no one could have told us years of spirituality and ceremony. In the tradition yoondapoora-na-yoota what trembling there would be Whilst the Gunditjmara uphold the memory of Benjamin Britten, who augmented the Latin tyookooyong-ee the judgment came too swiftly moongay wata moorroop-tyeen tamboora leenan of their warriors slain, most Australians have text with the poetry of Wilfred Owen in his epic everything weighted in favour of loss been denied access to this history and denied War Requiem (1961) in order to capture the gravity toota resolution – and so the land remains haunted. and horror of the Great War, I found I too needed 3. Wanga-n-wanoong – tuba mirum Our ancestors, who were sacrificed for the lambs to expand and in many cases go well beyond the may their spirits find rest I first walked on this battlefield in 2013. I felt it Wanga-n-wanoong ngamee ngamee original text. Whilst the structure and purpose our ancestors, who were sacrificed for the lambs right away. I was moved and I was disturbed. woonggaroong of the traditional mass served my purpose, the may their spirits find eternal rest Given the chance to camp on that land I could substance and spirituality needed to be taken yanda-na keelkarteen moorookan-tyeen ngalam meen-ngeeye-ngat not sleep or find rest. The voices of those lost further in order to honour seventy thousand karta-wanoong kaleengkat moot-moot were so loud I couldn’t stay for more than years of ceremony and the battles fought in the takoort meerreeng parpa koolang-na one night. It woke something in me and my resistance wars. A critical turning point for me in immediate response was music. A song, A nammereeng-oota takoortmaar arriving at the decision to write my own expanded pang-wang-eeyt mayapa-n-tyeen nammereeng Requiem. A War Requiem. It would be called text came as I approached a setting of the Angus Eumeralla and named in honour of one of Dei. As I considered the meaning and imagery of We heard an awful sound the most brutal resistance wars fought on the Lamb of God, sacrificed in order to take away scattered across the burial places of our this continent. It would be sung entirely in the sins of the world – I was confronted once again ancestors the language of the Gunditjmara people and by the inescapable truth of our shared history. we stood before the weapons it is designed for non- It was, after all, Aboriginal families – men, women all nature was stunned (confounded) to sing along-side Indigenous brothers and and children – who were sacrificed for the lambs... by the ugliness of mankind sisters. We need a way to ease the troubled made ugly by ignorance spirit of the battlefields of the Eumeralla. Deborah Cheetham AO

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6. Tarrameek-tarrameek-kee-ngeeye – 9. Pang ngutee-kee weeng – recordare We groan as one made guilty 13. Yakeen-aya meerreeng – domine libera me Pang ngutee-kee weeng under the burden of your guilt jesu christe Tarrameek-tarrameek-kee-ngeeye ngathoonganeen nhaka pooree tharn ngooteen the innocent were not spared Yakeen-aya meerreeng pang-wang-eeyt –oo makatepa yanda-n-warr-ngeeye katakee pang-tyama we saw you pardoned for your crimes against us we clung to a diminishing hope walata-kee moorroop-tyeen ngalam ba nhoonpee ngameengamee nganang-ee wata-n-warr wanggat-oota nyeepma meen-ngeeye-ngat meerreeng moongay takoort meerreeng karta-n-warr parpanee-yt-oota our worth was not considered no mercy was at hand manamana-kee-ngeeye karrakee-yt-ngoo wang-wangga-ka tamboorawanang-eenyee kooneentamboora -kil poongpoong-oota ba kooneenp-oota-ngeeye pang kooyeen-nganeen consumed by an everlasting fire we were made lower than the cattle pang-wang-ee-tyeen-oo nhoonampee wata-n manamanakooweeya-wanoong kaneengootyoong wata-n-warr ngootyoong-oota watan leek pang pang wanga-n pangat yana-na pangat kooweeya-n noombapee lower than the sheep you gave us no place tarrameek-tarrameek-kee-ngeeye meerreeng moongay takoort meerreeng wamba-n-warr nganang tamborteeyt takang-nyoong-oo wang-wangga-ka deen ngamateeyt-ngat Remember 11. Tamboorawananga-n-eeye – confutatis Deliver us from ignorance that we were your destiny wananga ngal koorrook-eeyt ba markap-eeyt Tamboorawananga-n-eeyengal ko orrook-eeyt-een now and on that awful day you cast us aside unknown pang nganata-ngeeye ba ngameeleemoo-teeyt-een when all the world will be shaken you came such a long way to ignore wananga nhoonpee wamba takoort nganang yoonggama-n-eeye peeneeyt torrowan-oo and consciousness will be complete you endured such hardship only to condemn maar-ngeeye-ngoo karnda-kee-ngeeye yakeeneeyt-eeyt-ee we are seized with fear and trembling yourselves wata-pa-kee-ngeeye tyamateeyt-oo Yoonggamoongoo-n-ngeen ngathoonganeen we are longing for justice denied with righteous vengeance you came Condemned by hatred and confusion ba koorrookee ba ngapoon-ngeeye when all the world will be shaken asking no forgiveness consigned to keen flames mayapa-kee wangangooytyoong you brought the day of reckoning call us with the blessed 7. Laka wangoong – quid sum miser we offered without threat Land of eternal dreaming Thookay pang-ngootyoonayt 10. Ngarnda wanong – ingemisco with pure intention cradle the souls our ancestors nganya laka-wanoong Ngarnda-wanoong nhoonampee wana-woot that we could share this world save us from the scars of prejudice ngarra protekatar kooweeya-wanoong kalng-pa kapeeyang from the ignorance of those who came wanyoo parpanee-yt-ngooteen kalng kapeeyang 12. Deen nganang weerakaleeyt – lacrimosa and would not listen What could we say? deliver us from the jaws of this beast deen ngootyoongeeyt pang-ngootyoongayt Deen nganang weerakaleeyt to which protector could we appeal? lest hatred and greed engulf us ngakee-wanoong nhoonampee meert-ook-warr palayn-oo when even the child was not safe? lest all light be taken from us noombapee-ngooteen nhoonampee tamboora-ngooteen marn kalng lead us towards wisdom ngamee koona-ngooteen kapeeyang fulfill the promise made to us and to our elders 8. Deen ngootyoong meering – wananga-ngeeye deen mayapa-ngooteen noombapee-ngeeye rex tremendae manamana-wanoong manakooweeya malangeepa Deen ngootyoong meerreeng wampee-mayapa noombapee-kee mana-n parta-na koong-ngeeye nhoonampee pang-nhakee ngooty-ngeeye wooka-tyeen toota wayapa-wanoong ngalam meen-ngeeye pang weerakaleek waloong That day of weeping thoombook-nganang-deepa ngamee ngamme kooknawa-ngeeye on which will rise again from the ashes pang-kapoo weeyn-a The earth in all its beauty the guilty among you, to be judged yangee yangee ngameentyarr-mayapa-n received our broken bodies therefore, spare our future woorangkeel ngathoonganeen we joined our ancestors much too soon be merciful yangee yangee ngameentyarr-mayapa-n give them rest taytmeerreeng pang-wooka-n-warr-ngeeye meerreeng

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Deborah Cheetham AO Composer and Soprano soloist

14. Pernmeeyal – hostias Sacred, sacred, sacred Pernmeeyal, kaneepoorreewooka -wanoong- spirit within us ngooteen the earth and sky are full of beauty mayapa karweeyn ba leerpeen all praise to the creator mana-kee nhoonampee-yee Deborah Cheetham, Yorta Yorta woman, 17. Moongay wata keenanpa – lux aeternum soprano, composer and educator has been pang-nguteeweeng-wanoong-tyeen makatepa a leader and pioneer in the Australian Pernmeeyal, nhapa-kee nhoonampee Moongay wata keenanpa nganang walawa ngalam arts landscape for more than 25 years. In kalpeerna-kaloo-ngoo poondeeyt-oo meen-ngeey-ee the 2014 Queen’s Birthday Honours List, Yoonggamoongoo-n-ngeen ngathoonganeen kooweekoowee-tyeen meengkeel-ee Cheetham was appointed as an Officer of the ba koorrookee ba ngapoon-ngeeye moongay wata ngameekooteen mayapa-kee wangangooytyoong moorroop-tyeen Order of Australia (AO), for “distinguished tamboora leenan toota service to the performing arts as an opera Great spirit, in praise we offer you ceremony moongay wata keenanpa nganang singer, composer and artistic director, to the and songs walawa ngalam development of Indigenous artists, and to accept them on behalf of those meen-ngeey-ee innovation in performance”. who we remember on this day kooweekoowee-tyeen meengkeel-ee great spirit, guide them from death to life In 2009, Deborah Cheetham established by the promise made to us and our elders May everlasting light shine upon our ancestors Short Black Opera as a national not-for-profit their stories are with the stars opera company devoted to the development 15. Paman paman – sanctus may their troubled souls find eternal rest of Indigenous singers. The following year may everlasting light shine upon our ancestors she produced the premiere of her first opera Paman paman, paman paman, paman paman their stories are with the stars moorroop ngathoo-nganeen-ee . This landmark work was meerreeng ba moornong ngooyt-oota Australia’s first Indigenous opera and has kaneepoorreewooka-wan Pernmeeyal 18. Noombapee-ngeeye – kyrie been a vehicle for the development of a new Noombapee-ngeeye kaleekeetoo generation of Indigenous opera singers. Sacred, sacred, sacred noombapee-ngeeye malangeepa spirit within us noombapee-ngeeye kaloo In March 2015 she was inducted onto the the earth and sky are full of beauty Honour Roll of Women in Victoria and in 2018 and at Hamer Hall in Melbourne with all praise to the creator Have mercy on our past April 2018 received an Honorary Doctorate have mercy on our future the Melbourne Symphony Orchestra on from the University of South Australia for her June 15, 2019. 16. Ngatanwarr – benedictus have mercy on our present pioneering work and achievements in music. Ngatanwarr, wata-kee, ngakee tyamateeyt-ee In 2019 Deborah Cheetham received the In 2018 Deborah maintained an impressive kaneepoorreewooka-wan Pernmeeyal 19. O permeeyal – requiem Merlyn Myer Prize for Composition and was moongay wata keenanpa nganang walawa ngalam O pernmeeyal wooka-tyeen leenan toota schedule of performances in Australia and awarded the Sir Bernard Heinze Memorial meen-ngeey-ee moongay wata keenanpa nganang internationally, beginning with a sold-out Award for service to music in Australia. kooweekoowee-tyeen meengkeel-ee walawa-tyeen season of Milnjiya – Milky Way River of Stars for the Perth International Arts Festival; Cheetham’s list of commissions for major Welcome are those who come in the pursuit O creator, give to them eternal rest Tokyo for Australia Now; performances of Australian ensembles continues to grow of knowledge and let perpetual light shine upon them Songs of Belonging in Singapore at the including works for the Adelaide Symphony all praise to the creator Esplanade Theatre and in Sydney at the Orchestra, Melbourne Symphony Orchestra, Paman paman – sanctus reprise City Recital Hall. Ms Cheetham’s latest Australia String Quartet, West Australian paman paman, paman paman, paman paman work Eumeralla, a war requiem for peace Symphony Orchestra String Quartet, Rubiks moorroop ngathoo-nganeen-ee premiered to a sold-out audience on-country Collective, Plexus Ensemble, Flinders Quartet meerreeng ba moornong ngooyt-oota at the Port Fairy Spring Festival in October and the Goldner Quartet. kaneepoorreewooka-wan Pernmeeyal

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Dr Warwick Potter Don Bemrose Conductor and Director Baritone soloist UQ Symphony Orchestra

Warwick Potter is Convenor of the Bachelor Don Bemrose is a Gungarri man and one of of Music (Honours) program at the School Australia’s prominent male Aboriginal classical of Music. He is one of Australia’s leading opera singers. In professional productions, portfolio conductors, equally adept at Don has sung five leads, four of which were conducting a professional ensemble as world premieres, namely Pecan Summer for he is a youth orchestra. Warwick is the the Short Black Opera Company (2010); From Director and Conductor of The University a Black Sky for The Street Theatre (2013); Tim of Queensland Symphony Orchestra, Winton’s novel Cloudstreet for the State Opera Coordinator of Winds, Director of Large of South Australia (2016), playing the role Ensembles, and the Director of the UQ of Bob Crab; and Eumeralla, a war requiem Music @ St John’s concert series. Warwick for peace (2018) performing as the baritone lectures in instrumental conducting, bassoon soloist at the Port Fairy Spring Music Festival. performance, chamber music, and woodwind performance. Don graduated with a Bachelor of Music (Performance) in 2011 from the Victorian Professionally, he has conducted the College of Arts, University of Melbourne and is Adelaide, Canberra, Darwin, Queensland an alumna of the Lisa Gasteen National Opera (QSO), Tasmanian, West Australian School. After performing for Opera Australia in Symphony Orchestras (WASO) and 2012 in two productions, Don has worked as a the Camerata – Queensland’s Chamber freelance performer, speaker and coach. He is Orchestra across a large range of repertoire. currently involved with the Australian Literacy In the youth ensemble sector, he has and Numeracy Foundation as a trainer in First conducted the Queensland Youth Symphony Languages and Early Language and Literacy (at the express invitation of ), in 2014. As a bassoonist, he has played for programs. Last year his piece Dear Australia Young Conservatorium Symphony Orchestra, the Australian Chamber Orchestra, QSO was published within the award-winning MOST Symphony Orchestra and the Great and WASO within Australia, the latter two anthology, ‘Growing Up Aboriginal In Australia’, Public Schools Symphony Orchestra since orchestras include engagements as Guest edited by Dr Anita Heiss. his move to Brisbane in 2010. He has also Principal. Remaining 2019 engagements been conductor of the Queensland Youth include being speaker and practitioner at Don’s artistic practice infuses his passion for Orchestra Wind Symphony since 2010. the 2019 Australian Band and Orchestra classical music and operatic singing with his Directors Association conference in Perth. strong cultural heritage – aiming to educate, Warwick was responsible for the technical A former holder of an Australian inspire and entertain audiences throughout the part of the Australian Music Examinations Postgraduate Award, Warwick completed world. Don recognises the cultural, spiritual, Board’s (AMEB) bassoon syllabus released a PhD in Music Performance (conducting) and emotional support he has received from in 2011. He has extensively examined for at UQ in 2015. His research into conducting his extended family during his career, including the AMEB and adjudicated for multiple youth orchestras forms part of the creative his grandmother Nana Ruth Hegarty. eisteddfods in Queensland including practice research for which the School of Education Queensland’s Fanfare program Music is internationally renowned.

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Talia Garrett-Benson Dhungala Children’s Choir Mezzo-soprano soloist Conductor and Director Deborah Cheetham AO Assistant Director Jessica Hitchcock Assistant Conductor Tamara Kohler

Dhungala Children’s Choir (DCC) was formed Children enter DCC via Short Black Opera’s in 2009 by Deborah Cheetham AO and regional engagement program Short Black has become the peak choral performance Opera for Kids. This program provides group for Indigenous children in Victoria and training in musicianship, stagecraft, song Northern NSW. writing and performance skills to children aged 8 to 12; inspiring excellence, leadership Members of DCC have performed around and confidence in its members. Australia with Short Black Opera Company in performances of Deborah Cheetham’s Pecan Summer and come together annually in Melbourne for Dhungala Choral Connection – a three day choral camp designed to reform traditional song lines between the many language groups represented within the choir.

Talia Garrett-Benson is in her fourth year Her solo repertoire includes Habanera from of a Bachelor of Music (Hons)/Bachelor of Bizet’s Carmen, Sveglatevi nel core from Science at The University of Queensland, Handel’s Giulio Cesare, Una voce poco fa majoring in performance and studying voice from Rossini’s Il barbiere di Siviglia, Parto with Shaun Brown. parto from Mozart’s La clemenza di Tito and Erbarme Dich from Bach’s Talia has performed as a soloist with the UQ St Matthew Passion. Singers in Bach’s St Matthew Passion and Ascension Oratorio, Handel’s Messiah and Talia is also an accomplished multi- Vivaldi’s Gloria. She won the Ethel Osborn instrumentalist, proficient in piano, organ Prize in 2017 and was a finalist in 2016, 2018 and violin. Since 2017, she has been the and 2019. Talia’s operatic repertoire includes organ scholar at Christ Church St Lucia the role of Marcellina in Mozart’s The studying with Christopher Wrench. Marriage of Figaro; excerpts from Nicolai’s Die Lustigen Weiber von Windsor, Wagner’s Rheingold and Barab’s A Game of Chance.

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Voices of Birralee The University of Queensland Founder & Artistic Director Ms Julie Christiansen OAM Symphony Orchestra Conductor and Director Dr Warwick Potter

Launched in 1995, Voices of Birralee is one of The University of Queensland Symphony combined his community orchestra with UQ Australia’s finest youth arts organisations, with Orchestra (UQSO) is one of the southern student musicians to perform at a University approximately 400 choristers, aged 5 to 35 hemisphere’s leading youth ensembles. It Revue. One of the student members who years across six ensembles. is comprised mainly of students from the performed that night, Joan Osborn, recalled Bachelor of Music (Honours) program and that newsboys were shouting “Germany In Eumeralla, a war requiem for peace Voices includes performers from fifteen other invades Poland” on the night. In the 1950s, of Birralee is represented by its specialist choir schools within the University, making the medical student Ralph Schureck formed a Resonance of Birralee, a young adult ensemble orchestra a truly collaborative ensemble. University Orchestra. Later the orchestra was whose members bring a wealth of experience, bequeathed to the care of Hugh Brandon and enthusiasm and musical leadership to the The orchestra’s repertoire includes full Gordon Spearritt. The foundations for the organisation. Following on from the formation symphonic works, concertos with student, current Orchestra at The School of Music were of a Birralee Tenth Anniversary Alumni Choir staff or guest soloists, compositions by laid in the early 1970s under Professor Noel in 2005, Resonance of Birralee was formed students of the School, and repertoire related Nickson. under the leadership of Paul Holley. The to conducting workshops. Combined choral/ members represent a variety of professions orchestral performances take place together Previous UQSO recordings are periodically and a significant number are tertiary students. and the Queensland Pops Orchestra and with the UQ Chorale and invited secondary featured on 4MBS Classic FM (103.7 FM), The ensemble has expertise and appreciation for Brisbane City Council Citizenship school performance partners. broadcast every second Saturday of the of a broad range of musical styles; adapting Ceremonies. month, and can be downloaded via the UQ their programme to suit a diverse range of UQSO has an important orchestral heritage School of Music’s SoundCloud page: event settings. The organisation is currently fulfilling a in Queensland. In September 1939, prominent soundcloud.com/uq-music. five year commitment to the Department Brisbane musician Dr Robert Dalley-Scarlett In 2008 Resonance of Birralee competed of Veterans’ Affairs to perform at First at the World Choir Games in Graz, Austria, World War centenary services on the winning Gold and Silver medals in popular Western Front (Europe), at the 2018 Gold vocal and gospel categories. Since 2013 Coast Commonwealth Games, and with the choir has performed numerous times the Queensland Symphony Orchestra and with the Queensland Symphony Orchestra Queensland Pops Orchestra.

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The University of Queensland Chorale Graeme Morton AM Conductor and Director Mr Graeme Morton AM Director, UQ Chorale

The University of Queensland Chorale is the venues as QPAC, City Hall, and St Stephen’s Graeme Morton is one of Australia’s most flagship of the choral program at UQ. It draws and St John’s cathedrals. eclectic choral musicians. In addition to a its members from many schools and institutes Master’s degree in Organ Performance he has across the University, with a high proportion of Recent repertoire has included music ranging broad experience as a conductor, teacher, its members from within the Bachelor of Music from the Henry Purcell Te Deum to the composer and broadcaster of choral music. (Honours) program. Requiems of Johannes Brahms and Wolfgang He holds the position of Choral Conducting Amadeus Mozart; Felix Mendelssohn’s A Fellow at UQ and is also Director of Choral While the Chorale exists to provide core Midsummer Night’s Dream; Benjamin Britten’s Music at St John’s Cathedral and of the training in choral techniques, repertoire and The Company of Heaven and Hymn to St Brisbane Chamber Choir. aural skills, it also undertakes an ambitious Cecilia; Zoltán Kodály’s Laudes Organi; performance program that sees it regularly Masses by Anton Bruckner, Antonín Dvořák Graeme has toured overseas as a choir collaborating with the UQ Symphony and Josef Rheinberger; and other choral director in Finland, Russia, Sweden, Denmark, Orchestra and with a variety of other works by Parry, Stanford, Vaughan Williams, Germany, Austria, the United Kingdom, musicians and ensembles, including Pulse Stephen Leek and more. The Chorale has Japan, North America and New Zealand. He Chamber Orchestra, the Queensland Youth performed in previous years with UQSO and has lectured in the Summer Programme at Orchestra (2017), the Queensland Youth several guest choirs, including Carl Orff’s Westminster Choir College, Princeton, New Orchestra Wind Symphony (2013), and the Carmina Burana (2015), William Walton’s Jersey, and in 1996 was the Visiting Professor Brisbane Philharmonic Orchestra and its guest Belshazzar’s Feast (2016), Gustav Mahler’s of Choral Music at the famed St Olaf College director John Curro (2014). The Chorale is Symphony No. 2 “Resurrection” (2017) and in Minnesota. As Co-Founder and first honoured to regularly sing in such amazing Gabriel Fauré’s Requiem (2018). Director of The Australian Voices, Graeme helped further establish a new awareness of Australian choral music.

Graeme has received numerous awards, Heaven and The World of the Spirit, Andrew including an award of the Order of Australia Carter’s Benedicite and Missa Sancti Pauli, (AM) for service to the arts, the 2011 Lord Javia Busto’s Requiem and Dominic Argento’s Mayor’s Australia Day Cultural Award, A Toccata of Galuppi’s. He has commissioned the Prime Minister’s Medal (2003) for his many pieces that have become Australian contribution to music, and a Churchill choral classics, such as Past Life Melodies Fellowship, allowing him to observe choral (Hopkins) and Ngana (Leek), as well as works leadership in the United States and Canada. from Paul-Antoni Bonetti, Ross Edwards, Iain In 2016, Graeme was awarded the Fellowship Grandage, Sarah Hopkins, Michael Knopf, of the Royal School of Church Music, the Stephen Leek, Matthew Orlovich, Vincent highest international award for achievements Plush, Andrew Schultz, Paul Stanhope and in church music. Joseph Twist.

Graeme has conducted several Australian Graeme has recorded extensively: as a premieres, including Morten Lauridsen’s Lux composer, Graeme is published by Augsburg Aeterna, Benjamin Britten’s The Company of Fortress, Kjos Music, and Morton Music.

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Paul Holley OAM Short Black Opera Associate Director & Conductor Artistic Director Deborah Cheetham AO Resonance of Birralee Company Manager Toni Lalich OAM Project Officer Jessica Hitchcock

Paul Holley is a choral conductor, educator and motivator. His personal warmth and passion for choral music has inspired many singers to discover and develop their skills and achieve personal fulfilment as choral musicians. With over 25 years of teaching experience in secondary schools and many years of working with adult community choirs Paul knows how to connect with singers of all Short Black Opera Company (SBO) is SBO produces performances for Indigenous ages and enjoys collaborating with them in Australia’s National Indigenous Opera adults and children, building on successful the music making process. Company, providing training and performance seasons of Deborah Cheetham’s opera Pecan opportunities for Indigenous singers in Summer in Mooroopna, Victoria (2010); the Paul is a graduate of the Queensland classical vocal music and opera. Established in Arts Centre, Melbourne (2011); the State Conservatorium of Music where he studied 2010 by Yorta Yorta Soprano and Composer, Theatre Centre of WA (2012); Her Majesty’s choral conducting with Dr John Nickson. Deborah Cheetham AO, the company is Theatre in Adelaide (2014) and the multi award Presently Paul is the Associate Director based in Melbourne, Victoria. SBO aims to winning Sydney Opera House production in of Voices of Birralee and conducts two increase Indigenous representation in the 2016. SBO produced in 2018 the on-country ensembles, The Birralee Blokes and world of opera by creating clearly defined premiere of Eumeralla, a war requiem for Resonance of Birralee. In 2006, the Birralee pathways, developing new opera audiences peace at the Port Fairy Spring Festival. The Blokes won the ABC Classic FM Choir of and presenting Indigenous stories; making company is being profiled internationally Photo credit Maxine McCabe credit Photo the Year competition before performing to opera accessible and relevant to a broader through The Woven Song Series, in acclaim at the 3rd International Male Voice Australian audience. collaboration with Australian Embassies in Festival in Cornwall in 2007. In 2012 they were Singapore, New Delhi and Tokyo, and in 2019 awarded Choir of the World at Kathaumixw SBO established Australia’s first Indigenous in Canada. Resonance of Birralee, a youth As a choral educator Paul is dedicated to chamber ensemble One Day In January. choir for young adults has toured nationally excellence in choral education and regularly and internationally and in 2008, were gold features as guest conductor/clinician at medallists at the World Choir Games in Graz, festivals, conferences and music competitions Austria. Resonance has since gone on to make throughout Australia. He also contributed a several recordings and performed with the chapter to the book Male Voices: Stories of Queensland Symphony Orchestra. boys learning through making music (S D Harrison, Ed, 2009, ACER). Paul is also the co-conductor of the national youth choir Gondwana Chorale that in early In January 2016, Paul was awarded the Medal 2019 performed in the UK, Estonia, Latvia of the Order of Australia for his services to and Lithuania. choral music.

18 VC SERIES CONCERT | EUMERALLA, A WAR REQUIEM FOR PEACE | SUNDAY, 20 OCTOBER 2019 VC SERIES CONCERT | EUMERALLA, A WAR REQUIEM FOR PEACE | SUNDAY, 20 OCTOBER 2019 19 ABOUT THE ARTISTS THE MUSICIANS

Vicki Couzens The University of Queensland Gunditjmara language custodian Symphony Orchestra Vicki Couzens is a prominent artist and Aditionally, she has played a prominent role in Conductor and Director Dr Warwick Potter Gunditjmara Keerray Woorroong woman from major public art projects includingbirrarung Orchestral Manager Jemima Drews the Western Districts of Victoria, who plays wilam on the bank of the Yarra River in an active role in promoting the culture of her Melbourne with other Indigenous artists Assistant Orchestral Manager and Librarian Katya Willett people. She has served on the boards of the Treahna Hamm and Lee Darroch. She Koorie Heritage Trust Inc and the Victorian had a central role, as Artistic Director, of Corporation for Aboriginal Languages. the statewide Possum Skin Cloak project WOODWIND BRASS STRINGS which was presented during the Melbourne * Concertmaster A number of Vicki’s paintings have been Commonwealth Games in 2006. Flutes French Horns 1st violins + Associate Concertmaster acquired by the National Gallery of Victoria. Katya Willett^ Preston Ellis^ Ann Carew*^ ^ Section Principal Jemima Drews Mitchell Best Elena James+ Lachlan Hardie Amy Hosking Piccolo Liang Zhou Sophia Goodwin Jessica Walther^ Travers Eira Georgina Chan Violoncelli Trumpets Isabel Young Oboe Rory Smith^ Linguist Jack Duffy^ Fan Yang Alexandra Dunk^ Felicity Mohr PJ Wilken Olivia Lambert Travers Eira Is a linguist and musician strongly and medieval musicology. During the 1990s, Erna Lai Cor Anglais Angeline Feng drawn to the symbolism of structures at Travers studied composition briefly with Ros Michael Thomas-Carroll Gabrielle Knight ^ Trombones Samuel Andrews many levels, developing a work by layering Bandt, then returned to the University of John Rotar^ Daniel Chiou realisations of an overarching symbolic, or at Melbourne to complete a Bachelor of Arts Clarinet Lucas Ladyman 2nd violins Alex Teakle times ritual principle, in different dimensions. (Hons) and a PhD, both in linguistics. Travers Niamh Bennett^ Max Fitzgerald Florence C-Shillington^ Ingrid Miller divides time now between composition, Kaitlyn Bowen Isabel Fitton Travers has an Associate of Music, Australia in performance, and linguistics work in Bass clarinet Tuba Isabelle Watson Frances Chang piano, and a Bachelor of Music (Hons) from Aboriginal language revival. Amy Hobo^ Amelia Lane^ Jacalyn Adcock Eleanor McNamara the University of Melbourne, majoring in piano Tim Andrews Bassoons Stephen Chan Jane Lau Samuel Rasmussen Angus McRae^ PERCUSSION Benedict Gattas Rory Brown Double Basses Percussion Hanah Lee Alexandra Elvin^ Tom Day Contrabassoon Emily Moolenschot^ Toukie Wood Hanyue Wang Adam McCluand Aaron Netto Harrison Scott^ Emma Gurney Artist Aiden Napier Violas Tim Capon Born in , Tom was raised by Tom’s paintings are included in the collections Jessica Postle Liam Mallinson^ maternal Grandparents at Lake Condah, where of the National Museum, Canberra as well as Timpani Shing Him Chan his grandmother was born. His grandmother Internationally at Brown University, Rhode Island Samantha Jaimie Battams is Gunditjmara woman and his Grandfather a and the Native Nations Institute – University of Homeming^ Alexander Voltz Yorta Yorta and Wemba Wemba man. Arizona, as well as private collections nationally and internationally. Tom has designed works Harp Lauren Foster Flora Cawte He works predominately with acrylic based for the Essendon and Hawthorn Football Clubs, Ellena Papas^ paints on canvas and creates works that reflect RayBan Sunglasses, Commonwealth Games – Emilia Siedlecki Piano the world around him and things that are Melbourne and Billabong Australia Ashleigh Abul meaningful to him, using his vast knowledge Benjamin Anderson Helena Burns of dreaming and creation stories told to him by In 2014, he spent a year re-learning from his Celine Chong Grace Rackemann his grandparents, aunties and uncles to create grandfather the skills of artifact making, and Caleb Salizzo Christopher Lee his own style of interpreting those stories. continues to learn and work with him to this day. Jasmine Buckley

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The University of Queensland Chorale Dhungala Children’s Choir

Conductor and Director Mr Graeme Morton AM Conductor and Director Deborah Cheetham AO Chorale Manager Mr Dominic Retschlag Assistant Director Jessica Hitchcock Assistant Conductor Tamara Kohler

SOPRANO Tess O’Donohue Keyue Chen TENOR Ellie Armstrong Kiarah Judd Nikkera Thorpe ˜Staff Alison Paris Celine Chong Tanner Armstrong Piper Knox Ethan Thorpe Chloe Arentz Jacob Bulow Sue Park Peyton Crofton Minjarra Atkinson˜ Tamara Kohler˜ Sharleese Walker Amelia Bailey Jarrod Grabham Taisha Paterson-Burr Gabrielle Fitzgerald Cody Barnes Ngara McEwen Lillie Walker Emma Bunzli Jeremy Harris Adele Pickering Talia Garrett-Benson Sirahnn Clegg Ellie Morgan Cory Williams-Megee Natalia Carter Nick James Jacquille Pringle Ailsa Harris Trinity Crumpen-Winmar Marnie Morgan An Chao Stewart Lucas Si Tong Qiu Nicholas Hughes Jaymee Drever Sarah Prestwidge˜ Xiaoyu Chen Lachlan Matthews Brianna Rankine Yeirim Jeong Jessica Hitchcock˜ Tallara Saunders Natalie Chow Brodie Slade Morgan Rosati Miranda Kidd Djamari Hunter Miah Saunders Zhaoxuan Deng Dongyu Wang Emma Short Seoyoung Kim Chloe Evans Connor Willmore Luisa Tarnawski Jiaqi Li Jenny Gunnarsson Jasmine Taylor Yiman Li Simeng Guo BASS Melonie Taylor Lichang Liu Ziyu Guo Isabelle Watson Shuangyin Liu Ben Anderson Madeleine Hornsby Jiani Wu Alex Mison Troy Castle Resonance of Birralee Chun Huang Xinzhi Yu Grace Paek Tszlok Chan Megan Humby Shumeng Yu Raina Pang Matt Chapman Xinuo Jia Chu Yue Beatrix Passmore Tom Church Conductors Paul Holley OAM & Peter Ingram Zhi Jiang Yuwen Zhang Alicia Pirsic Reuben Flower Naomi Klazinga Assistant Conductor & Piano Brendan Murtagh Shuyuan Zhang Demetra Politakis Lachlan Guilfoyle Yuexi Lin Choir Manager Sue Holley Jacque Prior Caleb Hodgkinson Rosie Lintott Artistic Administrator Casey Duncan ALTO Yaqin Shan James Hultgren Yuanyuan Liu Emma Stevenson Leandro Mera Otero Shukyi Lo Helen An Christine Vellacott Dominic Retschlag Germaine Lo Jessica Aslin SOPRANO ALTO TENOR BASS Tayla Whateley Nicholas Schneider Yuqing Lou Alexandra Bartetzko Grace Burgess-Limerick Georgia Davey Andy Francis Eliot Gibbs Sally Wong Zachary Vella Jada Love Taylor Basham Georgia Campbell Johanna Davie Mark Gillies Harrison Gray Yushan Wu Thomas Yarrow Elizabeth Lynch Melissa Bechteler- Belinda Chappell Casey Duncan Kynan McInnes Samuel Irvine Casey Isabel Yamazaki Jordan Yee Jessie Madsen Weickhardt Cerys Downing Bree Gillies Laurence Nicol Luke Krause Zhaochu Yuan Jia-Peng Yeung Ella Mallett Megan Beckinsale Isabelle Fassbind Kate Harrison Jonathan O’Leary Stu Tyson Ruohan Zhang Hainian Yu Lara Miller Caragh Butler Isabella Fielding Luisa Morosin Phillip Suschinsky Tom Wilcox Breanne Nelson Emma Butler Lucy Heywood Sarah Morton Simon Watt Siobhan Otmarich Kimberley Newman Phoebe Roberts Kerry Pickering Katelyn Suschinsky Rachel Rollo Lizzie Ryan-Budd Philippa Thomson Julia Vedelago Elise Watt Stephanie Williams

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The School of Music provides different study options and practical experiences for students depending on their musical background and chosen undergraduate degree.

Students are encouraged to participate in well as roles in marketing, publicity and PR for musical activities as a component of their music-focused organisations. Other graduates formal studies and also as a cooperative also pursue careers as professional musicians. contribution to the musical life of the University and its surrounding community. Bachelor of Arts (Popular Music and Technology) UQ Friends of Music brings together students, staff, alumni and the general public, Bachelor of Music (Honours) Popular music has the power to uplift, creating opportunities for shared and interactive experiences as part of the The Bachelor of Music (Honours) is a four stimulate, comfort, motivate and communicate. diverse music making activities of the School of Music both on and off campus. year degree that prepares students for a Its attractiveness lies in its ubiquity, openness professional career in music. Students combine and innovation. This courses equips students practical classes on their chosen instrument or for changing music making environments by voice with core courses in music history and developing practical music production skills musicianship and an individualised selection and technical knowledge with mobile devices, UQ Friends of Music provides: The convenor of the UQ Friends of Music is of elective courses from diverse options that digital audio workstations, and recording – Connections with staff, students the School of Music’s Director of Performance include popular music, music technology, music studio technologies. and alumni of the School of Music and Engagement, Associate Professor psychology and music education. As an Honours Adam Chalabi – [email protected] degree, students are prepared for a final year UQ Large Ensembles – A broad community of music project that showcases their research and appreciation All UQ students can audition for a place in Membership is free. To become a member creative skills, which are relevant to careers in a – Contributions to enriching forum broad range of music and music-related fields. the School’s student ensembles: member and donate to the UQ Friends of discussions on music Music, visit music.uq.edu.au/friends-music UQ Symphony Orchestra – Opportunities to engage with local Bachelor of Arts (Music) UQ Chorale and international artists visiting UQ Advantages of becoming a member include: Students in the Music major will approach the – Exclusive access to the UQ School of Music All of the ensembles work towards developing UQ Friends of Music, established in 2015 study of Western music in a challenging and concerts, lectures, and master classes excellence in rhythmic accuracy, pitch by graduates with an interest in music, engaging way, developing knowledge about discrimination, acquiring a full dynamic range, – Creative Collaboratorium Seminars is an association created and driven by the many social and historical meanings of and developing musical style and vitality and Events volunteers that aspires to develop stronger music and learning to appreciate its written through a variety of rehearsal techniques connections with UQ current students, – Discounted QPAC Concert tickets and aural complexities. Courses include critical employed by each ensemble director. perspectives on, and historical knowledge graduates and the wider community. UQ – Friends of Music social events Friends of Music welcomes all members of about music, and written and aural skills. The Each ensemble director chooses repertoire – Annual fundraisers (including for the newly the community with an interest in music to extended major has a choice of two streams: and devises a rehearsal schedule and roster established Friends of Music Scholarship). join its collaborative association. Musicology (the scholarly study of music) according to the skills of the ensemble and Professional (designed for students members, and also to suit the performance interested in music education). Graduates of the venue, orchestration and type of concert Music major typically pursue careers in areas to be presented. There may be additional including education, festivals and events, arts rehearsals, including tutorials, during the year administration, publishing, media and writing, as depending on performance commitments.

24 VC SERIES CONCERT | EUMERALLA, A WAR REQUIEM FOR PEACE | SUNDAY, 20 OCTOBER 2019 VC SERIES CONCERT | EUMERALLA, A WAR REQUIEM FOR PEACE | SUNDAY, 20 OCTOBER 2019 25 Exceptional skills Giving to UQ Music

The staff and students at the School of Music are committed to producing performances of the I would like my gift to support: highest quality. Their hard work and dedication, as heard in this performance, forms a large part of their training and development within the undergraduate degree programs at UQ. Experiences School of Music Scholarship Support such as these prepare our students to be passionate, imaginative performers, and active School of Music Instrument Fund contributors as future leaders in the music profession. Music Student International Study Tour To be successful in this field requires many hours of dedicated study. Supporting a young musician via a scholarship or through the instrument fund helps provide an education for Contact Details students who may otherwise not be able to study due to financial barriers. We welcome your donations. Name The School of Music promotes the highest standards of artistic excellence, nurturing future Address leaders in music through opportunities to engage with exceptional staff, ground-breaking research, and abundant learning and performance opportunities. .

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© iStock.com/ We trust that you will enjoy the performance and invite you to join with us as we strive for excellence. Image:

26 VC SERIES CONCERT | EUMERALLA, A WAR REQUIEM FOR PEACE | SUNDAY, 20 OCTOBER 2019 VC SERIES CONCERT | EUMERALLA, A WAR REQUIEM FOR PEACE | SUNDAY, 20 OCTOBER 2019 27 Thank you for attending Eumeralla, a war requiem for peace.

The School of Music at The University of Queensland looks forward to entertaining you again at its next Vice-Chancellor’s Concert Series event at QPAC on Sunday 17th May 2020.

Repertoire includes: Beethoven Piano Concerto No. 3 in C minor, opus 37 – Soloist Dr Anna Grinberg

The University of Queensland Symphony Orchestra The University of Queensland Chorale Conductor Dr Warwick Potter Chorus Master Mr Graeme Morton AM

For more information on the School of Music: Email [email protected] Phone (07) 3365 4949 Web music.uq.edu.au Facebook facebook.com/UQSchoolofMusic SoundCloud soundcloud.com/uq-music

Special thanks to Alex Loh, Queensland Performance Arts Centre.

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