Southern Star 476 6349

WILLCOCK k SOUTHERN STAR BRITTEN k A CEREMONY OF CAROLS CHRISTOPHER WILLCOCK b. 1947 BENJAMIN BRITTEN 1913-1976 Southern Star [25’14] A Ceremony of Carols [21’34] 1 I. Love is Born 2’08 % I. Procession 1’32 2 II. Christmas 2’01 ^ II. Wolcum Yole! 1’21 3 III. Gratitude and Grief 3’21 & III. There is no Rose 2’27 4 IV. The Holy Child 1’54 * IVa. That Yongë Child 1’34 5 V. Gul Gul Dja Mardji 3’28 ( IVb. Balulalow 1’24 6 VI. Hold the Baby Jesus 2’34 ) V. As Dew in Aprille 1’00 7 VII. Southern Star 4’00 ¡ VI. This Little Babe 1’22 8 VIII. What Did You Get? 1’46 ™ VII. Interlude 3’29 9 IX. Real and Right and True 4’01 # VIII. In Freezing Winter Night 3’30 Suzanne Shakespeare soprano 2, 4, 7 ¢ IX. Spring Carol 1’15 ∞ X. Adam Lay i-Bounden 1’07 JOHN RUTTER b. 1945 § XI. Recession 1’33 0 Mary’s Lullaby 4’06 Kristy Biber soprano I (, #, ¢, Clare Kenyon soprano II *, #, ¢ Jonathan Bradley organ Total Playing Time 63’11 MICHAEL LEIGHTON JONES b. 1947 ! Jesus Christ the Apple Tree 2’46 Marshall McGuire harp @ That Lord that Lay in Assë Stall 2’31 Choir of Trinity College, University of WILLIAM KIRKPATRICK 1838-1921 arr. DONALD HUNT b. 1930 Michael Leighton Jones director £ Away in a Manger 3’18

ANDREW CARTER b. 1939 $ Mary’s Magnificat 3’42 Siobhan Stagg soprano, Jonathan Bradley organ

2 3 As one of the highest holy-days of the church – as is Benjamin Britten’s A Ceremony of Carols, was ordained a Jesuit priest in 1977 and Leunig’s art and poetry explore how his private and thus now one of secular society’s most thus making the two works obvious and pursued doctoral studies in sacramental and notions of innocence and of the sacred can exist observed holidays – Christmas has always been intended companion pieces. liturgical theology in Paris at the Institut in a very different and confronting public world. an attractive subject for composers. Musically Catholique and the Sorbonne. He is currently a He has published more than twenty collections Christopher Willcock is among Australia’s leading overshadowed only by the great masterworks lecturer for the United Faculty of Theology of cartoons, poetry and prayers, collaborated composers of liturgical music, and is in written for Holy Week (dealing with the visceral in Melbourne. with the Australian Chamber Orchestra on increasing demand to write works for the last days of Christ’s life), music for Christmastide several concert projects, and created a series of concert hall. He has published seven collections No stranger to musical accolades, Willcock was tends toward the joyful and celebratory. Yet ‘claymation’ short films for SBS Television. of anthems and psalm settings, many of which the inaugural recipient of the Dr Percy Jones Jesus’ birth, for all its wonder, presages the Leunig’s philosophical standpoint, particularly his are sung in churches across the country Memorial Award for Outstanding Contribution to events to follow, allowing for a great variety of frustration that neither governments nor following their inclusion in the hymn book Liturgical Music (1993), and winner of the emotional responses, from soothing lullabies humanity at large can bring about peace in the and happy birthday-songs, to sad or shocking Together in Song (1999). He has also written University of Melbourne’s Albert H. Maggs world or stop the desecration of the planet, realisations that the purpose of this new life is two full communion settings, the Trinity Mass Composition Award in 1998. Jointly with Michael springs from his conscription into the army in ultimately for it to die for us. Benjamin Britten’s (1977) and the Missa Aedes Christi, Leunig, he won the 2006 APRA/Australian Music 1965, and his later meetings with Indigenous justly famous A Ceremony of Carols, with its commissioned for the 150th anniversary of Centre Classical Music Award for ‘Choral or painters in remote areas of Australia. largely medieval English texts, now finds a fitting Christ Church, South Yarra, in 2005. Vocal Work of the Year’ for Southern Star. foil in Christopher Willcock’s settings of His larger concert works include the cantata The nine movements of Southern Star range Willcock believes that Leunig’s poems ‘touch on contemporary Australian poetry. These works, Five Days Old (1998), a song cycle Akhmatova from reflective meditations on the ‘tiny baby’, some of the deeper things that Christmas is all recorded here along with five recently Requiem (2001), the a cappella choral works through soaring solos, to joyful Christmas about.’ They certainly explore darker emotions, composed or arranged carols, take us on a John Shaw Neilson Triptych (1995), Etiquette morning present-opening scrambles, yet the such as loss and hate, than most traditional journey that covers the full range of emotions with Angels (2004) and Miserere (2004), and work is neither jingoistic nor saccharine. Willcock Christmas carols. Leunig’s texts are thus more that the Christmas story evokes. Southern Cross Station (2006), an orchestral had the idea for the work after speaking to the meaningful today than the fake snow and CHRISTOPHER WILLCOCK work commissioned to mark the opening of the harpist Marshall McGuire, who complained to commercialism typical of modern Christmas in Southern Star remodelled and renamed Spencer Street railway him that apart from being trotted out to play Australia. ‘Christmas is not just about gifts,’ station in Melbourne. In 1999, Britten’s A Ceremony of Carols each Christmas, Willcock said in an interview for . ‘It is Composed in collaboration with the author/artist Australia commissioned his Gospel Bestiary, there was very little for a harpist to do in such really about simpler, deeper things such as Michael Leunig, Southern Star is a cycle of nine to a text by Andrew Bullen, for the 2000 tour concerts. When Willcock ran into Michael Leunig friendship and being together.’ contemporary Christmas carols, composed in of the Tallis Scholars. by chance a while later, he broached the idea of 2004. The work was commissioned with funding The Choir of Trinity College, accompanied by his writing new texts especially for such a piece. from the Australia Council, and may be Willcock was born in Sydney, studying piano Marshall McGuire, gave the premiere of performed in either of two versions, for four-part with Alexander Sverjensky at the Sydney Michael Leunig is recognised as one of Southern Star during a Sunday Live Christmas adult choir (SATB), or for three-part children’s Conservatorium of Music and composition with Australia’s leading political cartoonists and social broadcast on ABC Classic FM radio in choir (SSA). The carols are accompanied by harp, Peter Sculthorpe at the University of Sydney. He commentators. Born in East Melbourne in 1945, December 2004.

4 5 Love is Born Then with this heart so full of hope The love that held me Coolamon, coolamon 1 Love is born he travels in the wild Had come apart Baby in a coolamon With a dark and troubled face, But soon is set upon and cruelly I spent the night inside Coolamon, coolamon When hope is dead beaten to the ground My lowly heart Beautiful star. And wakes upon the ruins of his And in the most unlikely place; There was no story (A coolamon is a wooden container for carrying Love is born, innocence defiled There was no song food or a baby.) Love is always born. And there his sacred revelations No holy family Hold the Baby Jesus in the mud are found. Where I belong Christmas 6 Hold the baby Jesus in your arms tonight. Tears of blood and anger flowing No gentle father 2 I see a twinkle in your eye, How your arms have waited for the night from his wounded eye No mother mild So this shall be my Christmas star to come. From his violated mouth the song Yet in my heart I found And I will travel to your heart: Now your worried heart is weeping of disbelief The holy child. The manger where the real things are. with delight In his shattered memory a shattered Gul Gul Dja Mardji And your arms know how to hold the And I will find a mother there lullaby 5 Gul gul dja mardji [Long is the journey] little one. Who holds you gently to her breast; But from his broken heart flow Gul gul dja mar [Rough is the track] A father to protect your peace, gratitude and grief. Faithfully he sleeps within these arms of love. Baby in a coolamon And by these things you shall be blessed. See the silver starlight on his tiny lips. The Holy Child Gul gul dja mardji Hear him breathing like a baby dove, Gul gul dja mar And you will always be reborn 4 I found no manger Beautiful, oh beautiful his fingertips. Baby in a manger. And I will always see the star I saw no star See the peace of God upon his newborn skin And make the journey to your heart: I heard no angel Coolamon, coolamon Glowing with the fragrances of milk The manger where the real things are. I travelled far. Baby in a manger and flowers There were no shepherds Coolamon, coolamon Gratitude and Grief Put your arms around the paradise within, There were no kings Beautiful star. 3 In the cradle of his mother’s arms Hold the miracle of love and all its powers. In my heart I found a baby lies Gul gul dja mardji None of these things. Southern Star Warm and sheltered from the time Gul gul dja mar 7 Oh southern star – the star of yearning; when they will come apart Gul gul dja mardji I made the journey The star of joy and loneliness returning Gul gul dja mar Gazing from the hidden world into I lost the way Returning to the night when you were born; Gul gul dja mardji his mother’s eyes No light to guide me Oh southern star, when you were born. From where the holy secrets tumble No place to stay. Gul gul dja mar down into his heart. Djooji mar bool bool dja mar. [‘Til we get Loneliness and joy. to the end of the road ] Loneliness and joy.

6 7 What Did You Get? JOHN RUTTER MICHAEL LEIGHTON JONES This fruit doth make my soul to thrive; 8 What did you get on your Christmas morn, Mary’s Lullaby Jesus Christ the Apple Tree It keeps my dying soul alive, On the Christmas morn when you were born? Which makes my soul in haste to be Due in part to his editorship for Oxford University A New Zealander, Michael Leighton Jones was Did you get some milk? With Jesus Christ the apple tree. Press of several volumes of choral music, John a member of the Choir of King’s College, Did you get some pain? Rutter is one of today’s most widely recognised Cambridge, and sang at Westminster Abbey That Lord that Lay in Assë Stall Did you get some hurt that you can’t explain? composers, and his music some of the most before undertaking a world-wide touring and Did you get a star from high above? frequently performed. A graduate of Clare College, teaching career. He has been Director of Music Written for Trinity College’s Festival of Nine Did you get the gaze of a mother’s love? Cambridge, Rutter became Director of Music at Trinity College since 1997. A setting of words Lessons and Carols in 2006, That Lord that Lay The spark that leaps from eye to eye there in 1975, before establishing his own choir, from Divine Hymns or Spiritual Songs, compiled in Assë Stall is scored for men’s chorus (TTBB) And twinkles ‘til the day you die. the Cambridge Singers, in 1981. Rutter wrote the by Joshua Smith (New Hampshire, 1784), and harp, and is designed to complement the words for his own carol Mary’s Lullaby especially Jesus Christ the Apple Tree is dedicated to the more numerous compositions available Oh what did we get on our Christmas morn, for inclusion in Oxford’s 100 Carols for Choirs, Revd Dr Evan Burge (1933-2003), fifth Warden for harp with treble voices. The text is an On the Christmas morn when we were born? published in 1987. of Trinity College. anonymous English poem from the 15th century. Real and Right and True 0 See the child that Mary bore ! The tree of life my soul hath seen, @ That Lord that lay in assë stall, 9 Go your way now, On her lap so softly sleeping, Laden with fruit and always green: Came to die for us all, All shall be well. In a stable cold and poor The trees of nature fruitless be To make us free that erst were thrall Leave the day now, Ox and ass their vigil keeping. Compared with Christ the apple tree. [once were captive], All shall be well. Sing lullaby, sing lullaby Qui natus fuit hodie [who was born today]. His beauty doth all things excel: Go into the darkness My own dear son, my child. By faith I know but ne’er can tell Well may we glad and merry be Where the spark is, Lullaby, sing lullaby, The glory which I now can see Since we were thrall and now be free; Real and right and true. Lullaby my little baby. In Jesus Christ the apple tree. The fiend our foe he made to flee, Flights of angels round his head Tiny baby Qui natus fuit hodie. Sing him joyful hymns of greeting For happiness I long have sought, Taught you to cry. Peace on earth, goodwill to men And pleasure dearly I have bought: And since our foe is fled from us Tiny birdie Each to each the song repeating. I missed of all; but now I see We may well sing and say right thus: Taught you to fly Sing lullaby… ’Tis found in Christ the apple tree. ‘Welcome he be, this Lord Jesus! Out into the brightness Qui natus fuit hodie.’ Shepherds kneeling by his bed I’m weary with my former toil; Where the light is, Offer homage without measure. Here will I sit and rest awhile: Now blessèd be this Lord benign, Real and right and true. Wise men, by a bright star led Under the shadow I will be That nold [would not] his cruel death resign, Michael Leunig Bring him gifts of richest treasure. Of Jesus Christ the apple tree. But for mankind to die undign [unworthy], Reprinted by kind permission of the author. Sing lullaby… Qui natus fuit hodie. John Rutter © Oxford University Press 1979

8 9 WILLIAM KIRKPATRICK arr. DONALD HUNT ANDREW CARTER BENJAMIN BRITTEN church parables and cantatas such as Saint Away in a Manger Mary’s Magnificat A Ceremony of Carols Nicolas, Noye’s Fludde and Curlew River. The chant tune returns as the theme of the interlude The text of this, perhaps the best-known of Born in Leicester, Andrew Carter read music at Like Michael Leunig’s philosophy, described for solo harp at the centre of the work. all Christmas lullabies, is by an anonymous Leeds before singing with the Choir of York above, this now very familiar work by Benjamin 19th-century American author; the third verse Minster for seven years, where he also founded Britten was heavily influenced by its creator’s While it is difficult to discern a clear narrative to was added by John McFarland in 1904. The and conducted (for the next 17 years) the disappointment with a world at war. As a the set of poems chosen by Britten, there is, melody (known as ‘Cradle Song’) was published Chapter House Choir. Oxford University Press conscientious objector, Britten left England in nonetheless, a building of tension and drama. by William Kirkpatrick in England in 1895, has published over fifty of his anthems and 1939 for America, yet at the height of the The opening ‘Welcome’ greets the newly born arrangements. Mary’s Magnificat was written for although an alternative tune by James Murray, Second World War, the composer decided to child with joyful cheers, while the poet Roy Massey, David Briggs and the Choir of return to his homeland. Travelling on a Swedish called ‘Mueller’, was published in America in enumerates the various feast days following Hereford Cathedral, and is a setting of verses by cargo ship, Britten crossed the North Atlantic in 1887, where it is the better known. The Christmas day: St Stephen (26 December), Carter himself and the first part of the ‘Song of March 1942. Not only was the trip extremely arrangement sung here is by Donald Hunt who St John the Evangelist (27 December), Holy Mary’ from the gospel of St Luke. Carter dangerous – it took more than a month, and was a chorister at Gloucester Cathedral, Innocents (28 December), Thomas a Beckett apparently arrived for the first performance at there was the ever-present threat of a German assistant organist to the great Herbert Sumsion (29 December), New Year’s Day (1 January), Hereford Cathedral’s carol service without a U-boat attack – but US customs officials Epiphany Eve/Twelfth Day of Christmas and, from 1975 to 1996, Director of Music at ticket, and only just managed to convince them destroyed all his manuscripts (including the first (5 January) and Candlemas/Presentation of Worcester Cathedral; he is now Principal of the of who he was! draft of the Hymn to St Cecilia) because they Christ in the Temple (2 February). There follow Elgar School of Music. might have contained coded messages. During a $ Softly a light is stealing, brief stop at Halifax in Nova Scotia, Britten found several reflective lullabies and a song in praise of £ Away in a manger, no crib for a bed, Sweetly a maiden sings, a book of English poetry, and for the rest of the Mary, before the fast-paced, driving rhythms of The little Lord Jesus lay down his sweet head. Ever wakeful, ever wistful, voyage he worked on settings of these for boys’ the war-like ‘This little Babe’ interrupt the The stars in the bright sky looked down where Watching faithfully, thankfully, voices and harp, an instrument for which he was peaceful mood. The theme of the conflict he lay, Tenderly her king of kings. then contemplating writing a concerto. The first between good and evil, expressed musically The little Lord Jesus asleep on the hay. My soul doth magnify the Lord: performance was given by the Morriston Boys through a two-part, then a three-part canon, The cattle are lowing, the baby awakes, And my spirit hath rejoiced in God my saviour. Choir, conducted by the composer, in London’s perhaps reflects the war raging about the ship as Wigmore Hall in 1943. Britten sailed home. But little Lord Jesus no crying he makes; Mary her song to Jesus I love thee, Lord Jesus! Look down from the sky, Softly, serenely sings: A Ceremony of Carols begins and ends with a Following the harp interlude, the mood is again And stay by my bedside till morning is nigh. ‘I will love you, I will serve you, plainsong processional ‘Today Christ is born’, the one of reflection rather than celebration. The May my lullaby glorify, Be near me, Lord Jesus, I ask thee to stay ancient Magnificat antiphon sung at Vespers on cold of the ‘freezing winter night’ moves on to Magnify my king of kings.’ Close by me for ever, and love me, I pray. Christmas Eve. Britten thus sets the mood for the pleasures of spring, before the joyousness Bless all the dear children in thy tender care, Andrew Carter / Luke 1:46 the medieval and 16th-century texts that follow, of the opening movements returns in the shouts And fit us for heaven to live with thee there. © Oxford University Press 1986 and also prefigures his later settings of dramatic of praise of ‘Deo gracias’. Britten concludes the

10 11 work with a repeat of the plainchant that in live & There is no rose of such vertu There is no rose of such power and holiness performance enables the performers to leave As is the rose that bare Jesu. as the rose that bore Jesus. the stage; it is this theatrical element that Alleluia. Alleluia. creates the liturgical ceremony of the For in this rose conteinèd was For within this rose was contained work’s title. Heaven and earth in litel space, heaven and earth in a small space, Res miranda. O wonder! By that rose we may well see By that rose we may well see % Hodie Christus natus est: Today Christ is born: There be one God in persons three, that there is one God in three persons hodie Salvator apparuit: today the Saviour appears. Pares forma. of equal form. hodie in terra canunt angeli: Today angels sing on earth, The aungels sungen the shepherds to: The angels sang to the shepherds: laetantur archangeli: archangels rejoice. Gloria in excelsis Deo! Glory to God in the highest! hodie exsultant justi dicentes: Today the righteous exult, saying: Gaudeamus. Let us rejoice. gloria in excelsis Deo! Alleluia! Glory to God in the highest! Alleluia! Leave we all this werldly mirth, Let us all leave this worldly mirth ^ Wolcum be thou hevenè king, Welcome to you, heavenly king. And follow we this joyful birth. and follow this joyful birth. Wolcum, born in one morning, Welcome, you who were born one morning, Transeamus. Let us cross over. Wolcum for whom we sall sing! Welcome, you for whom we shall sing! Anonymous, 14th century Wolcum be ye, Stevene and Jon, Be welcome, Stephen and John, Wolcum, Innocentes every one, Welcome, all you Innocents, * That yongë child when it gan weep When that young child began to weep, Wolcum, Thomas marter one, Welcome, Thomas, martyred one, With song she lullèd him asleep: she lulled him asleep with her song: That was so sweet a melody that was so sweet a melody Wolcum be ye, good Newe Yere, Be welcome, good New Year, It passèd alle minstrelsy. it surpassed all minstrelsy. Wolcum, Twelfthe Day both in fere, Welcome, Twelfth Day, both almost here, The nightingalë sang also: The nightingale also sang: Wolcum, seintes lefe and dere, Welcome, saints loved and dear, Her song is hoarse and nought thereto: Her song is hoarse and nothing in comparison: Wolcum Yole! Welcome, Yule! Whoso attendeth to her song Whoever heeds her song Candelmesse, Candlemas, And leaveth the first then doth he wrong. and not that of Mary, he does wrong. Quene of bliss, Queen of Bliss, Wolcum bothe to more and lesse. Welcome to folk of greater and lesser rank. Anonymous, 14th century Wolcum be ye that are here, Welcome to you that are here, Wolcum alle and make good cheer. Welcome to all, and make good cheer. Wolcum alle another yere. Let us all welcome another year. Wolcum Yole! Welcome, Yule! Anonymous, 14th century

12 13 ( O my deare hert, young Jesu sweit, O sweet young Jesu, my dear heart, His martial ensigns Cold and Need, The persons in that poor attire Prepare thy creddil in my spreit, prepare your cradle in my spirit And feeble Flesh his warrior’s steed. His royal liveries wear; And I sall rock thee to my hert, and I shall rock you to my heart, The Prince himself is come from heaven; His camp is pitchèd in a stall, And never mair from thee depart. and never leave you again. This pomp is prizèd there. His bulwark but a broken wall; But I sall praise thee evermoir But I shall praise you evermore The crib his trench, haystalks his stakes; With joy approach, O Christian wight [spirit], With sanges sweit unto thy gloir: with sweet songs in praise of your glory: Of shepherds he his muster makes; Do homage to thy King The knees of my hert sall I bow, the knees of my heart shall I bow, And thus, as sure his foe to wound, And highly praise his humble pomp, And sing that richt Balulalow! and sing that good lullaby. The angels’ trumps alarum sound [trumpets Wich he from Heaven doth bring. James, John & Robert Wedderburn, 1561 sound the attack]. Robert Southwell ) I sing of a maiden that is makèles: I sing of a maiden without peer/without a mate: My soul, with Christ join thou in fight; ¢ Pleasure it is King of all kings to her son she ches. She chose the King of all kings to be her son. Stick to the tents that he hath pight [pitched]. to hear iwis [surely] He came al so stille there his moder was He came to where his mother was, as silently Within his crib is surest ward [the safest place]; the Birdès sing, As dew in Aprille that falleth on the grass. as the April dew falling on the grass. This little Babe will be thy guard. the deer in the dale, He came al so stille to his moder’s bour, He came to his mother’s bower as silently If thou wilt foil thy foes with joy, the sheep in the vale, As dew in Aprille that falleth on the flour. as the April dew falling on the flower. Then flit not from this heavenly Boy. He came al so stille there his moder lay, He came to where his mother lay, as silently the corn springing. Robert Southwell (1561?-1595) As dew in Aprille that falleth on the spray. as the April dew falling on the blossoms. God’s purvayance Moder and mayden was never none but she: There was never anyone like her, mother and virgin. # Behold, a silly [weak/poor/pitiful] tender babe, For sustenance, Well may such a lady Goddes moder be. Well may such a lady be the mother of God. In freezing winter night, It is for man. Anonymous, c. 1400 In homely manger trembling lies, Then we always Alas, a piteous sight! to give him praise ¡ This little Babe so few days old, and thank him than [then]. The inns are full; no man will yield Is come to rifle Satan’s fold; This little pilgrim bed. William Cornish (c. 1465-1523) All hell doth at his presence quake, But forced he is with silly beasts Though he himself for cold do shake; In crib to shroud his head. For in this weak unarmèd wise [weak and unarmed as he is] The gates of hell he will surprise. This stable is a Prince’s court, This crib his chair of State; With tears he fights and wins the field, The beasts are parcel of his pomp, His naked breast stands for a shield; The wooden dish his plate [silverware]. His battering shot are babish cries, His arrows looks of weeping eyes,

14 15 ∞ Deo gratias! Thanks be to God! The Choir of Trinity College Southern Star is the Choir’s fourth recording for Adam lay ibounden Adam lay bound, Director of Music: Michael Leighton Jones ABC Classics. The Choir has also contributed Bounden in a bond; bound in a bond; Assistant Director of Music: Thomas Drent Volume 5 to the HUSH series for the Children’s Four thousand winter Four thousand winters Senior Organ Scholar: Jonathan Bradley Hospitals, a collection of CDs of soothing music Thought he not to long. did not seem long enough. Junior Organ Scholar: Yi-Shuen Chan designed to help children and their parents during medical procedures. And all was for an appil, And it was all because of an apple, The Choir of Trinity College has built a reputation An appil that he tok, an apple that he took, for its fine singing of music from the Anglican Soprano Tenor As clerkès finden as clerics find Cathedral tradition, from the Renaissance to the Kristy Biber Adam Cook Written in their book. written in their book. modern day. Its major commitment is the Hannah Dahlenburg Peter McInnis singing of Evensong in the College Chapel every Ne had the appil takè ben, If the apple had not been taken, Clare Kenyon Benjamin Namdarian Sunday during term. The Choir records, Ne haddè never our lady our lady would never Rachel Landgren Timothy Reynolds broadcasts on radio and television and tours A ben hevenè quene. have been the Queen of Heaven. Anna O’Bryan Michael Rooke regularly, both nationally and internationally. Blessèd be the time Blessed be the time Suzanne Shakespeare Bass That appil takè was. when the apple was taken! The Choir has recorded for and given live Siobhan Stagg Jeremy Bottomley Therefore we moun singen. Therefore we must sing. broadcasts on BBC Radio 4, US Public Radio, Ashlyn Tymms Andrew Chong Deo gracias! Thanks be to God! ABC Classic FM and 3MBS-FM. It sang in Bach Alto Thomas Drent 2000 for the Melbourne Festival and in the Anonymous, 15th century Amelia Ballard Alexander Goodall Melbourne Federation Festival in 2001. It has Peter Campbell Julien Robinson § Hodie Christus natus est: Today Christ is born: also performed concerts for the Melbourne Helen Hughson Tim Scott hodie Salvator apparuit: today the Saviour appears. International Festival of Choirs, Melbourne Alex Mathew Paul Tulloch hodie in terra canunt angeli: Today angels sing on earth, Autumn Music Festival and the Port Fairy Spring laetantur archangeli: archangels rejoice. Alice O’Kane Music Festival, as well as other festivals in hodie exsultant justi dicentes: Today the righteous exult, saying: Fiona Scarlett Australia and overseas. gloria in excelsis Deo! Alleluia! Glory to God in the highest! Alleluia! The Choir has also toured the United Kingdom (1998, 2001 and 2003), singing the Daily Service on BBC Radio, as well as lunchtime concerts and Evensongs in major cathedrals throughout England and in Oxford and Cambridge college chapels. Tours to the USA (2004) and Malaysia and Singapore (2007) have also met with critical acclaim.

16 17 Michael Leighton Jones Marshall McGuire Francisco and New York to research Baroque Jonathan Bradley has performed concertos by performance and contemporary music ensembles. Brahms, Beethoven, Bach and Mozart with the Michael Leighton Jones has been associated with Born in Melbourne, Marshall McGuire studied at Melbourne Youth Orchestra and the Australian music all his life – his mother was a professional the Victorian College of the Arts, the Paris He made his conducting debut in performances Classical Players, and is a regular recitalist. In singer, and he received his earliest musical training Conservatoire and the Royal College of Music, of Mozart’s with Pacific Opera October 2007 he was soloist in Beethoven’s in Australia where he made his first recording with London. His London debut recital was presented in 1999. From 1996 to 2000 he created a series Piano Concerto No. 4 with the Royal Melbourne the Gardenvale School Choir, Melbourne at the at the Purcell Room for the Park Lane Group. He of chamber music concerts for the Sydney Gay Philharmonic Orchestra. age of eight. Postgraduate studies took him from has commissioned more than 20 new works for and Lesbian Mardi Gras Festival, the first of their his native New Zealand to England, where he harp, and in recognition of this received the type in the world. Between 1999 and 2001 he sang in the Choirs of King’s College, Cambridge 1997 Sounds Australian Award for the Most was curator of the Twilight Chamber Music Executive Producers Robert Patterson, (with Sir David Willcocks), and Westminster Abbey. Distinguished Contribution to the Presentation of Series for Sydney Festival, and in 2003 he was Martin Buzacott Recording Producer and Mastering For ten years he was a member of the London- Australian Music. artist-in-residence at the Bundanon Trust. He has Stephen Snelleman based vocal quintet The Scholars, singing more released seven CDs, and has received three Marshall McGuire has performed as soloist with Recording Engineer Jim Atkins than a thousand concerts in over forty countries, ARIA Award nominations. Editing Jim Atkins and Michael Leighton Jones before joining the music staff at the University of the Australian Chamber Orchestra, English String Editorial and Production Manager Hilary Shrubb Queensland. In Brisbane, he formed the vocal Orchestra, , Australian Marshall McGuire is also Founding President of Publications Editor Natalie Shea sextet Jones & Co, with whom he toured both Brandenburg Orchestra, Melbourne Symphony the New Music Network, curator of the Utzon Booklet Design Imagecorp Pty Ltd nationally and internationally. Orchestra and the Australia Ensemble and has Room Music Series at the , Cover Image © Michael Leunig 2007 appeared at international festivals including and Music Director of the Australian Youth Annotations Peter Campbell Michael Leighton Jones has always maintained Aldeburgh, Melbourne, Milan, Geneva, Brighton, Orchestra’s National Music Camp 2008. an active solo career, performing operatic roles Vienna, Huddersfield, Huntington and Adelaide. He was recently appointed Executive Manager, Recorded 11-15 December 2006 in the Chapel of and singing in broadcasts, oratorios and recitals, From 1988 to 1992, he was Principal Harpist Artistic Planning with the West Australian Trinity College, Royal Parade, Parkville, . including many first performances and with the Australian Opera and Ballet Orchestra. Symphony Orchestra. ABC Classics thanks Alexandra Alewood and appearances in leading festivals. He performs He has been a member of the ELISION Melissa Kennedy. regularly with Australia’s symphony orchestras Jonathan Bradley Ensemble since 1988, and lecturer in harp at the and chamber music groups, including Arcadia, 2007 Australian Broadcasting Corporation. Sydney Conservatorium of Music since 1990. Jonathan Bradley received music degrees from © 2007 Australian Broadcasting Corporation. Distributed in the Australia Ensemble and Perihelion. He is the Victorian College of the Arts and Monash Australia and New Zealand by Universal Music Group, under also well known as a composer and arranger. exclusive licence. Made in Australia. All rights of the owner of In 2003 Marshall McGuire was appointed Artistic University. He subsequently studied at the copyright reserved. Any copying, renting, lending, diffusion, He took up his present position as Director of Director of Sonic Art Ensemble; the same year, Moscow Conservatorium, giving a piano recital public performance or broadcast of this record without the authority of the copyright owner is prohibited. Music at Trinity College, the University of he was awarded an inaugural Creative Fellowship at the home of Aleksandr Skryabin. He is the Melbourne in 1997. from the State Library of Victoria to research the accompanist for the Australian Children’s Choir works of Peggy Glanville-Hicks. He received a and College Organist and Musician-in-Residence Churchill Fellowship in 2004 to travel to San at Trinity College.

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