MELBOURNE RECITAL CENTRE PRESENTS Great Chamber Ensembles 2020 Spanish Glories of the 16th Century

Monday 20 January 2020 1 About the music Tenebrae Spanish Glories of the 16th Century

Monday 20 January, 2020 Artists 7.30pm Nigel Short artistic director Elisabeth Murdoch Hall, Soprano Melbourne Recital Centre Victoria Meteyard 6.45pm Anita Monserrat Free pre-concert talk with Elisabeth Paul Jonathan Grieves-Smith Katie Trethewey Duration Alto 100-minutes including Mark Chambers a 20-minute interval Hannah Cooke Martha McLorinan Melbourne Recital Centre will be collecting donations to support bushfire recovery Tenor and relief after tonight's performance. David de Winter Please consider making a contribution. Nick Madden Christopher Watson SERIES PARTNER Bass Benedict Flinn Tom Flint Tom Herring Oliver Hunt

2 Program

Alonso Lobo (b.1555, Osuna, Spain – d.1617, Seville Spain) Versa est in luctum Tomás Luis de Victoria (b.1548, Avila, Spain – d.1611, Madrid, Spain) Selection from Tenebrae and Lamentations for I: Amicus meus osculi me tradidit signa Responsory II: Judas mercator pessimus Lectio I: Heth. Misericordiae Domini Responsory V: Una hora non potuistis vigilare mecum Responsory XIV: O vos omnes Lectio II: Aleph. Quomodo obscuratum Responsory XVI: Astiterunt reges terrae Responsory XVIII: Sepulto Domino Lectio III: Incipit oratorio Jeremiae Prophetae

Interval – 20-minutes Tomás Luis de Victoria Requiem Mass, 1605 Lesson: Taedet anima mea Introit: Requiem aeternam Kyrie Gradual: Requiem aeternam Offertory: Domine, Jesu Christe Santus & Benedictus Agnus Dei Communion - Lux aeterna Requiem aeternam dona eis Domine Motet - Versa est in luctum Responsory – Libera me, Domine

Melbourne Recital Centre acknowledges the Traditional Custodians of the lands on which we work, live and learn. We pay our respects to the people of the Kulin nation, their Elders past, present and emerging and to all Aboriginal and Torres Strait Islander Peoples. 3 About the music

Toledo, Spain Alonso Lobo was born in 1555 in Osuna, a small town 50-miles east of Seville. Lobo was educated in Seville and Osuna, becoming a priest in Osuna before beginning his employment at Seville cathedral in 1591. He journeyed north for eight years to take a job at the cathedral in Toledo but returned to Seville to spend the rest of his life as director of music there. Lobo’s life could perhaps seem less cosmopolitan than Tomás Luis de Victoria’s. Lobo didn’t enjoy royal patronage and certainly didn’t live surrounded by luxury in a royal convent in Madrid, serving the king’s sister. As far as we know, he never spent time outside of Spain. While Victoria and Lobo at least corresponded, it is likely that Lobo was viewed by his contemporaries, perhaps as we do today, as outside of the top tier of musicians, stuck in the south of Spain, off the map. Lobo’s ‘Versa est in Luctum’ was most likely written while he was in Toledo (as was most of his surviving music), perhaps before Victoria wrote his six-voice requiem, and while its emotive power is obvious, so is the difference in style from that of Victoria’s requiem music; more chromatic, more adventurous, more extroverted. Can we be certain that the influence of the great Palestrina, whom Victoria knew in Italy, was so great that Lobo, only seven years Victoria’s junior, already represented a coming wave of musical experimentation that Victoria missed or eschewed? Did Lobo’s marginalisation cause him to adopt a more adventurous style in order to attract attention? Did Lobo even feel marginalised at all or was he happy to spend his life in the south of Spain away from the limelight? © Greg Skidmore

5 Tomás Luis de Victoria left his native The readings of the first nocturne were Spain in 1565, at the age of 17, to study in from the . The readings Rome. He would stay there for over 20 years, for the second nocturne were from the and publish many of his most important Commentaries of St Augustine and, for the works, including, in 1585, his monumental third, from the letters of St Paul. These were Officium Hebdomae Sanctae. not generally set polyphonically (there is a set by the Portuguese composer Manuel This Officium Hebdomae Sanctae contains Cardoso) and would have been sung on 37 works, with music set from Palm Sunday a simple reciting tone. Victoria set the to Easter Saturday. In addition to the Responsories that followed each of these Responsories set for Thursday, Friday and readings, so that for each day there are three Saturday, there are also the Lamentations sections of the Lamentations corresponding of , the psalm Miserere mei and to the first nocturne, and three Responsories the Benedictus (Canticle of Zachary) for the each for the second and third nocturnes. same offices, two Passion settings, hymns, motets, the Reproaches and other music for The texts of the responds follow the the week. Passion story, mixing phrases from the Gospels with other texts commentating on The main feature of the office of Tenebrae, collective suffering, thought to date from and from whence it derives its name, is the the fourth century. For Thursday (Feria V gradual extinguishing of 15 candles arranged in Coena Domini), the first nocturne (not on a triangular stand called a hearse. These set) starts in the Garden of Gethsemane, the candles represent Christ (the highest second and third nocturnes consider the candle), the disciples (except Judas Iscariot), betrayal of Judas and ’ arrest. The Good and the so-called three Marys (three female Friday (Feria VI in Parasceve) nocturnes disciples who went to the Tomb, however, consider the trial and Via Crucis, and on different traditions give distinct names). Saturday (Sabatto Sancto) reflect on the The Tenebrae is divided in each day into the death and, finally, with Sepulto Domino, of three nocturnes each of which had the entombment of Jesus. three psalms, a short versicle and response, Victoria set the responsories, like the Pater Noster (silent) and a reading. This was Lamentations, for four voices, mostly SATB followed immediately by Lauds, made up of (soprano, alto, tenor, bass), but for each five psalms, a short versicle and response, nocturne the second responsory was set the Benedictus canticle, the gradual text for a different combination – SSAT, often Christus factus est, Psalm 50 – Miserere mei also sung an octave lower by tenors and and a closing prayer. basses, following a Roman tradition dating from the 18th century.

6 The Responsories have a balanced structure of three parts: a two part respond and a versicle. After the versicle, the second part of the respond is repeated, giving a structure of ABCB, where A and B are the two parts of the respond, and C is the versicle. Although Victoria did not compose any secular music, his treatment of text is almost madrigalian at times. In general terms, there is little melismatic writing except to highlight a particular word, and repetition of short phrases is also employed for effect, sometimes using pairs of voices to build up the musical tension. Victoria uses similar rhythmic and melodic devices when textual phrases occur in different responsories, for example the text ‘Si est dolor sicut dolor meus’ which appears in an almost identical form in Caligaverunt (No.12) and O vos omnes (No.14), and which employs the expressive downward scale of the fourth used as the famous Lachrymae motive by John Dowland. Likewise, the text ‘Tamquam ad latronem, cum gladiis et fustibus’ which appears first in the second respond section of Fifteen candles on Tenebrae hearse Seniores populi – the last responsory of the at Mainz Cathedral Thursday collection, and which also begins the Responds of Friday. Another example is the phrase ‘Bonum, Melius illi erat si natus non fuisset’, referring to Judas, which appears (with slight variation) in all three of the responds for the second nocturne of Thursday. Similarly, the responsory ‘Iesum tradidit impius’ (No.11) has almost identical music for its opening phrase as ‘Judas Mercator pessimus’ (No.2) to remind the listener of the Judas’ betrayal. Victoria always complements the texts with his apparently simple setting, without ever letting the music overpower them. At the same time, he produces a coherent, structured and introspective journey through the three climactic days of . © Rupert Damerell

The Entombment of Christ painting by Michelangelo Caravaggio (c.1602-3)

7 Tomás Luis de Victoria’s Requiem Mass thereby to understanding the creation of his for six voices, written in 1603 and published in art – in other words, relating to and interacting 1605, is a masterpiece. For many, it represents with the art in the most intense way possible. what Renaissance polyphony is, what it sounds This is the problem. We are all familiar with and feels like, and how expressive it can be. For the staggering success many have achieved by those who have come to know it through an attempting to be ‘historically informed’ about interest in ‘early music’, some would be bold the music they perform. While in academic enough to say it sits comfortably beside works circles these theoretical arguments have like Bach’s St. Matthew Passion, Mozart’s raged for a few decades now, in concert and own Requiem mass, and perhaps even on disc the historical ‘added value’ brought Beethoven’s Ninth Symphony as one of the by the continued integration of academic truly great achievements in the history of research into performances has enjoyed music; a masterpiece, if there ever was one. great popularity. Indeed, it is precisely this However, it is still very much known as ‘early enthusiasm which has brought works such music’. Despite the efforts and protestations as Victoria’s six-voice Requiem Mass to such of many performers, it is often appreciated widespread familiarity. But what makes some through the lens (or is it actually a filter?) of works stand out? Why is it that, regardless of the ‘academic exercise’. A barrier exists – in our fascination with the historical information different places for different people – between we consume with such delight, we are ‘early music’ and ‘not early music’ which affects sometimes forced to encounter the difficult our relationship with what we hear, how we question of music’s timeless appeal? It doesn’t engage with it emotionally, how we believe we matter how far we dig into history; great music are expected to evaluate its performance, and refuses to be limited, to be understood, to elicit even the extent to which we allow it to excite any response except astonishment, humility, and overwhelm us. awe, and all of the other more important So, what is a masterpiece? Perhaps it is feelings for which there are no words. precisely that work of art which, through What is the historic context of the Requiem its greatness, forces us to forget history; Mass? Perhaps as a demonstration of this, when it was written, in what circumstances, below is an outline of the historical facts by whom, and for whom. The greatness of surrounding the creation of Victoria’s six- the thing itself exists outside time and is as voice Requiem Mass. Tomás Luis de Victoria impressive now as it was at its creation. A was born in Avila, 55 miles north west of great composer needs only to encapsulate his Madrid, in 1548. He attended the choir school idea in notation and a great performer needs at the cathedral there under the tutelage only to understand it and communicate it to a of Bernardino de Ribera and Juan Navarro, receptive audience. This is music, not modern both well-known composers in 16th-century music or early music, new or old. But surely an Spain. He was educated at a Jesuit school in understanding of the artists’ life contributes to Avila before his voice broke and in 1565 he an understanding of his art. After all, the artist was sent to Rome to be first a singer and later was a person, creating art to be experienced director of music at the Collegio Germanico, a by other people, at a specific time and in a Jesuit foundation training priests for German specific place. A true understanding of the missionary work. He was ordained a priest in work therefore requires the acceptance of 1575 and remained in Rome working mainly this idea and of these limits. Isn’t all this talk of as a cleric, securing an income from his universality, transcendence and timelessness association with two large religious houses in in art just a bit of dreaming? Time definitively Rome as well as benefices in Spain, but also separates us from the past. The best we can publishing books of masses and motets. In do is understand history’s facts and attempt 1585 he was made chaplain to the Dowager to approach a recreation of another time. Empress María, sister of King Philip II of Spain. The closer we come to ‘actually being there’, María lived at the Monasterio de las Descalzas the closer we get to being the artist himself and 8 de S. Clara (Royal Convent of Barefoot Nuns of St. Clare) in Madrid with 32 other cloistered nuns in extraordinary luxury; the nuns were widowed or unmarried noblewomen, each bringing an endowment. Victoria became director of music at the convent, supervising 12 adult singing priests and 4 boys. He also had a personal servant, private meals served to him, and a month’s holiday every year (from 1592 until 1595 he managed to expand his one-month holiday to three years!) and he was even joined at the convent by one of his brothers, Agustín, who was also a chaplain. In 1603, the Empress died and in 1605 Victoria published the music he wrote for her burial observance (which would have lasted all day if not for many days) in a publication entitled Officium defunctorum: in obitu et obsequiis sacrae imperatricis (The Office of the Dead: for the death and obsequies of the holy empress). María Anna of Spain portrait María left money in her will which allowed by Diego Velázquez (c.1630) Victoria to remain at the convent until his death in 1611. not forget that we are necessarily confronted Does this information help us to appreciate with the practical consequences of these the music Victoria wrote more than fragmentary histories. If we were somehow 400 years ago? Does it aid in its appreciation able to kneel with the nuns in Madrid in to visualise 30 or so wealthy, cloistered, 1603, understand what it felt to have their barefoot, aristocratic women sitting in a relationships, live their lives, experience their magnificent chapel in central Madrid, listening understanding of the world, would we think to this music performed by 12 men and four the music was more beautiful or powerful? boys, mourning the loss of their matriarch, Does the fact we know more about the perhaps their friend? Or does it help to realise creation of Victoria’s music than Lobo’s mean that it was published and disseminated it affects us more, is more powerful, is ‘better’ throughout Europe, performed in the early art? Crucially, does our own awe and wonder 17th century at perhaps hundreds of other at this music lack such validity that we must ceremonies of varied descriptions by choirs of seek to vicariously experience the emotions all sizes and abilities? Does it help to remember and understandings of our artistic ancestors? that Victoria likely considered his job as María’s Tenebrae’s performance of this music seeks chaplain as a ‘retirement’ position? With this to express the beauty and power hidden his last publication, was Victoria summing up below the surface of historical circumstance, his life’s work, or attempting to continue his that which marks out true masterpieces successful but still nascent relationship with his as works of art wholly mysterious in their Spanish printer? Does it make a difference that wonder and timeless in their meaning. Their Victoria relinquished the post of director of energy, dedication, passion and precision are music for that of organist in 1604, one year after matched by music of extraordinary quality. María’s death, and spent the last seven years of The result is a vivid manifestation of what his life with less responsibility? Victoria and Lobo – and all musicians and Any attempt to contextualise great works of artists – must surely want; an expression of art results in questions like these. However, as inexplicable beauty. modern musicians and music lovers, we must © Greg Skidmore 9 The Texts

Alonso Lobo Versa est in luctum Versa est in luctum cithara mea, et organum My harp is turned to mourning, and my music into in vocem flentium. Parce mihi, Domine, nihil the voice of those that weep. Spare me, enimsunt dies mei. O Lord, for my days are as nothing.

Tomás Luis de Victoria Selection from Tenebrae Responsories and Lamentations for Holy Saturday Responsory I: Amicus meus osculi me tradidit signa Amicus meus osculi me tradidit signa: Quem The sign by which my friend betrayed me was a osculatus fuero, ipse esl, lenete eum: hoc malum kiss: he whom I kiss, that is he: hold him fast. He fecit signum, qui per osculum adimplevit that committed murder by a kiss gave this wicked homicidium. Infelix praetermisit pretium sign. The unhappy wretch returned the price of sanguinis, et in fine laqueo se suspendit. Verso. blood, and in the end hanged himself. Verso. Bonum erat illi, si natus non fuisset homo ille. It had been good for that man that he had never been born. Responsory II: Judas mercator pessimus Iudas mercator pessimus oscula petiit Dominum: The wicked merchant Judas sought our Lord with ille ut agnus innocens non negavit ludae osculum: a kiss. He, like an innocent lamb, refused not the Denariorum numero Christum ludaeis tradidit. kiss of Judas. For a few coins he delivered Christ to Verso. Melius illi erat, si natus non fuisset. the Jews. Verso. It had been better for him if he had never been born. Lectio I: Heth. Misericordiae Domini HETH. Misericordiæ Domini, quia non sumus HETH. The steadfast love of the Lord never ceases, consumpti; quia non defecerunt miserationes ejus. his mercies never come to an end; Responsory V: Una hora non potuistis vigilare mecum Una hora non potuistis vigilare mecum, What, could you not watch one hour with me, qui exhortabamini mori pro me? you that were eager to die for me? Vel Judam non videtis quomodo non dormit, Or do you not see Judas, how he sleeps not, sed festinat tradere me Judaeis? but makes haste to betray me to the Jews? Verso. Verse: Quid dormitis? Surgite et orate, Why do you sleep? Arise and pray, ne intretis in tentationem. lest ye fall into temptation. Vel Judam non videtis quomodo non dormit, Or do you not see Judas, how he sleeps not, sed festinat tradere me Judaeis? but makes haste to betray me to the Jews? Responsory XIV: O vos omnes O vos omnes, qui transitis per viam, attendite et O all you that pass by the way, attend and see, if videte Si est dolor similis sicut dolor meus. Verso. there be any sorrow like my sorrow. Verso. Attendite universi populi, dolorem meum. Watch, all you people, and see my sorrow. Lectio II: Aleph. Quomodo obscuratum ALEPH. Quomodo obscuratum est aurum, ALEPH. How the gold has grown dim, how the mutatus est color optimus! dispersi sunt lapides pure gold is changed! The holy stones lie scattered sanctuarii in capite omnium platearum! at the head of every street.

10 Responsory XVI: Astiterunt reges terrae Astiterunt reges terrae, The kings of the earth rise up, et principes convenerunt in unum, and the rulers take counsel together, adversus Dominum et adversus Christum eius. against the Lord, and against his anointed. Quare fremuerunt gentes, et populi meditati Why do the heathen rage, and the people sunt inania? imagine a vain thing? Adversus Dominum et adversus Christum eius. Against the Lord, and against his anointed. Responsory XVIII: Sepulto Domino Sepulto Domino, signatum est monumentum, When the Lord was buried; they sealed up the volventes lapidem ad ostium monumenti: tomb, rolling a stone before the entrance: and Ponentes milites, qui custodirent illum. Verso. placing soldiers to guard it. Verso. The chief priests Accedentes principes sacerdotum ad Pilatum went to Pilate and petitioned him. petierunt illum. Lectio III: Incipit oratorio Jeremiae Prophetae Recordare, Domine, quid acciderit nobis: Remember, O Lord, what is come upon us: intuere et respice opprobrium nostrum. consider, and behold our reproach. Haereditas nostra versa est ad alienos, Our inheriatance is turned to strangers, our houses domus nostrae ad extraneos. to aliens. Pupilli facti sumus absque patre, We are orphans and fatherless, our mothers are as matres nostrae quasi viduae. widows. Aquam nostram pecunia bibimus; We have drunken our water for money; our wood ligna nostra pretio comparavimus. is sold unto us. Cervicibus nostris minabamur, Our necks are under persecution: we labour, and lassis non dabatur requies. have no rest. Jerusalem convertere ad Dominum Deum tuum. Jerusalem, return to the Lord thy God.

Tomás Luis de Victoria Requiem Mass, 1605 Lesson: Taedet anima mea Taedet animam meam vitae meae, My soul is weary of my life; dimittam adversum me eloquium meum, I will let go my speech against myself, loquar in amaritudine animae meae. and express the bitterness in my soul. Dicam Deo: Noli me condemnare: I shall say to God: Do not condemn me, indica mihi, cur me ita iudices. but show me why Thou judgest me in this manner. Numquid bonum tibi videtur, Shall it seem a good thing to Thee si calumnieris, el opprimas me, to cheapen me and oppress me, opus manuum tuarum, the work of Thine own hands, et consilium impiorum adiuves? and to support the schemes of the wicked? Numquid oculi carnei tibi sunt: Are Thine eyes of flesh? aut sicut videt homo, et tu vides? Dost Thou even see only as men do? Numquid sicut dies hominis dies tui, Is Thy life like the life of men, et anni tui sicut humana sunt tempora, and do Thy years pass like the days of men, ut quaeras iniquitatem meam, that Thou shouldst enquire after my iniquity, et peccatum meum scruteris? and investigate my sins? Et scias, quia nihil impium fecerim, Surely Thou knowest that I have done no wrong cum sit nemo, qui de manu tua possit eruere. and there is no man that can deliver me from Thy hand.

11 Introit: Requiem aeternam Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and let light perpetual shine upon them. Te decet hymnus Deus in Sion, A hymn, O God, becometh Thee in Sion, et tibi reddetur votum in lerusalem: and a vow shall be paid to Thee in Jerusalem: give exaudi orationem meam. ear to my supplication, ad te omnis caro veniet. unto Thee shall all flesh come. Kyrie Kyrie eleison. Lord have mercy upon us. Christe eleison. Christ have mercy upon us. Kyrie eleison. Lord have mercy upon us. Gradual: Requiem aeternam Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and let light perpetual shine upon them. In memoria aeterna erit iustus: The just man shall remain in memory everlasting: ab auditione mala non timebit. of ill report he shall not be afraid. Offertory: Domine, Jesu Christe Domine lesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, libera animas omnium fidelium defunctorum deliver the souls of all who died in the faith from de poenis inferni, et de profundo lacu. the pains of hell and from the deep pit. Deliver Libera eas de ore leonis, them from the lion’s mouth, ne absorbeat eas tartarus, lest the jaws of hell swallow them, ne cadant in obscurum: lest they fall into everlasting darkness. sed signifer Sanctus Michael But let Saint Michael, the leader of hosts, repraesentet eas in lucem sanctam: bring them forth into Thy holy light, Quam olim Abrahae promisisti et semini eius. as Thou promised before to Abraham and to his seed. Hostias et preces tibi, Domine, We offer sacrifice and prayers of praise laudis offerimus: unto Thee, O Lord: tu suscipe pro animabus illis, receive them on behalf of those souls quarum hodie memoriam facimus: whom we remember this day: fac eas, Domine, de morte transire ad vitam, grant them, O Lord, to pass over from death to life, Quam olim Abrahae promisisti et semini eius. as Thou promised before to Abraham and to his seed. Santus & Benedictus Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth, plena Lord God of Sabaoth, sunt caeli et terra gloria tua. the heavens and the earth are full of Thy glory. Osanna in exceisis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he who cometh in the name of the Lord. Osanna in excelsis. Hosanna in the highest.

12 Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis Lamb of God, that takest away the sins of the world, requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, dona eis Lamb of God, that takest away the sins of the world, requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, dona eis Lamb of God, that takest away the sins of the world, requiem sempiternam. grant them eternal rest. Communion - Lux aeterna Lux aeterna luceat eis, Domine. Let light perpetual shine upon them, O Lord, cum sanctis tuis, in aeternum: in the company of Thy saints for evermore; quia pius es. because Thou art merciful. Requiem aeternam dona eis Domine, et lux perpetua luceat eis Grant them eternal rest, O Lord, cum sanctis tuis in aeternum, and let light perpetual shine upon them quia pius es. in the company of Thy saints for evermore, Requiescant in pace. Amen because Thou art merciful. Let them rest in peace. Amen. Motet - Versa est in luctum Versa est in luctum cithara mea, My harp is turned to mourning, et organum in vocem flentium. and my music into the voice of those that weep. Parce mihi, Domine, Spare me, O Lord, nihil enimsunt dies mei. for my days are as nothing. Responsory – Libera me, Domine Libera me, Domine, de morte aeterna, Deliver me, O Lord, from everlasting death in die illa tremenda: on that fearful day, Quando caeli movendi sunt et terra when the heavens and the earth shall be moved dum veneris iudicare saeculum per ignem. and Thou shalt come to judge the world by fire. Tremens factus sum ego, et timeo, I am seized with trembling, I am sore afraid, dum discussio venerit, atque ventura ira. Quando for the day of judgement and for the wrath to come, caeli movendi sunt et terra. when the heavens and the earth shall be moved. Dies illa, dies irae, calamitatis et miseriae, That day, a day of wrath, calamity and woe, dies magna et amara valde: a great day and bitter indeed, Dum veneris iudicare saeculum per ignem. when Thou shalt come to judge the world by fire. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and let light perpetual shine upon them. Libera me, Domine, de morte aeterna, Deliver me, O Lord, from everlasting death, in die illa tremenda: on that fearful day, Quando caeli movendi sunt et terra: when the heavens and the earth shall be moved, Dum veneris iudicare saeculum per ignem. and Thou shalt come to judge the world by fire. Kyrie eleison. Lord have mercy upon us. Christe eleison. Christ have mercy upon us. Kyrie eleison. Lord have mercy upon us.

13 About the artists

Award-winning conductor Nigel Short has and Warner Classics. In 2018, he received a earned widespread acclaim for his recording Grammy nomination in the category of ‘Best and live performance work with leading Choral Performance’ for Tenebrae’s album of orchestras and ensembles across the world. parts songs from the British Isles, Music of the Spheres. As a Gramophone award-winning A former member of renowned vocal producer, Nigel works with many of the ensemble The King’s Singers (1994–2000), U.K.’s leading professional choirs and vocal in 2001 Nigel formed Tenebrae, a virtuosic ensembles including Alamire, Ex Cathedra, choir that combines the passion of Gallicantus and The King’s Singers. a cathedral choir with the precision of a chamber ensemble. Under his Described as ‘phenomenal’ (The Times) direction, Tenebrae has collaborated with and ‘devastatingly beautiful’ (Gramophone internationally acclaimed orchestras and Magazine), award-winning choir Tenebrae is instrumentalists and now enjoys a reputation one of the world’s leading vocal ensembles, as one of the world’s finest vocal ensembles. renowned for its passion and precision. To date, Nigel has conducted the Academy Under the direction of Nigel Short, Tenebrae of Ancient Music, Aurora Orchestra, BBC performs at major festivals and venues across Symphony Orchestra, Chamber Orchestra of the globe, including the BBC Proms, Edinburgh Europe, English Chamber Orchestra, English International Festival, Leipzig Gewandhaus Concert, London Philharmonic Orchestra, (Germany) and Melbourne Festival (Australia). London Symphony Orchestra, Orchestra of The choir is renowned for its highly acclaimed the Age of Enlightenment, Royal Philharmonic interpretations of choral music ranging Orchestra, Scottish Ensemble and Britten from the hauntingly passionate works of Sinfonia. He has directed the London the Renaissance through to contemporary Symphony Orchestra alongside Tenebrae in a choral masterpieces, and is a dedicated live recording of Fauré’s Requiem, which was advocate for contemporary composers, having nominated for the Gramophone Awards (2013) worked with Judith Bingham, Ola Gjeilo, and since then, he has conducted the orchestra Alexander L’Estrange, Alexander Levine, at St. Paul’s Cathedral as part of the City of Paweł Łukaszewski, Paul Mealor, Hilary Tann, London Festival. Other orchestral recordings Joby Talbot, Sir John Tavener and Will Todd. include Mozart’s Requiem and Ave Verum Tenebrae is also frequently engaged with the Corpus with the Chamber Orchestra of Europe world’s finest orchestras, regularly appearing and a new release of music by Bernstein, alongside the Academy of Ancient Music, Stravinsky and Zemlinsky with the BBC Aurora Orchestra and Britten Sinfonia, and Symphony Orchestra described as a ‘master also curates an annual Holy Week Festival in stroke of programming’ (Financial Times). partnership with St John’s Smith Square. Recent guest conducting appearances include Choral development is also central to the BBC Singers, Leipzig’s MDR Rundfunkchor Tenebrae’s ethos, and the choir has and the Danish National Vocal Ensemble. pioneered an inspirational workshop Nigel has vast recording experience having method, The Tenebrae Effect, designed to conducted for many of the world’s major challenge and advance every participant labels including Decca Classics, Deutsche by instilling skills essential to a Tenebrae Grammophon, EMI Classics, LSO Live, Signum performance. Since 2016 it has provided

14 crucial training and performance opportunities to a quartet of outstanding young professional singers through its Associate Artist Scheme. As part of this fellowship, these young singers deliver regular choral development workshops in collaboration with Tenebrae’s education partners, Music Centre London and London Youth Choir. Tenebrae’s ever-increasing discography has brought about collaborations with Signum, Decca Classics, Deutsche Grammophon, EMI Classics, LSO Live, and Warner Classics. In 2012 Tenebrae was the first-ever ensemble to be multi-nominated in the same category for the BBC Music Magazine Awards, securing the Nigel Short accolade of ‘Best Choral Performance’ for the choir’s recording of Victoria’s Requiem Mass, 1605. The following year Tenebrae’s Fauré Requiem with the London Symphony Orchestra was nominated for the Gramophone Awards, having been described as ‘the very best Fauré Requiem on disc’ and ‘the English choral tradition at its zenith’ (Richard Morrison, Chief Music Critic, The Times). In 2014 the choir’s recording of Russian Orthodox music, Russian Treasures, reached number 1 in the U.K. Specialist Classical Chart. In 2016 Tenebrae received its second BBC Music Magazine Award for a recording of Brahms and Bruckner Motets, the profits from the sale of which benefit Macmillan Cancer Support, and in 2018 it received a Grammy nomination for Music of the Spheres, its album of part songs from the British Isles. ‘Passion and Precision’ are Tenebrae’s core values. Through its continued dedication to performance of the highest quality, Tenebrae’s vision is to deliver dramatic programming, flawless performances and unforgettable experiences, allowing audiences around the world to be moved by the power and intimacy of the human voice. Tenebrae

15 Inspired Giving

MUSIC CIRCLE - A VIBRANT AND Ian Nowak & Kathleen Nowak ($50,000+) Peter & Cally Bartlett DIVERSE MUSICAL PROGRAM Jacqueline Schwarz Peter & Ruth McMullin Ann Blake Donors who support the depth and Sirius Foundation (Public Space Activations) Arnold & Mary Bram vibrancy of the Centre’s musical ($1000+) ($40,000+) Lynda Campbell program play a crucial role in Anonymous Dr Geraldine Lazarus & Stephen Carpenter & ensuring that we can continue to Adrienne Basser Mr Greig Gailey (Regional Leigh Ellwood present a rich diversity of the Helen Brack Touring and Outreach John Castles AM & OAM greatest musicians and ensembles Bill Burdett AM & Sandra Burdett Leadership Supporters) Thelma Castles from Australia and around the globe The Hon Alex Chernov AC QC & Maggie Cash ($30,000+) AM Mrs Elizabeth Chernov Salon Program Benefactor John Castles & Krystyna Campbell-Pretty AM Lady Primrose Potter AC Thelma Castles OAM Caroline & Robert Clemente Lady Marigold Southey AC Leslie G Clements ($30,000+) Min Li Chong AO AM ($10,000+) The Hon Mary Delahunty Yvonne von Hartel AM, Laurie Cox & Julie Ann Cox Mary Draper Annamila Pty Ltd The Hon Justice Julie Robert Peck AM, Rachel Peck & Linda Herd Dodds-Streeton Marten Peck of peckvonhartel Lord Francis Ebury & The Late Lady Suzanne Ebury George & Laila Embelton architects ($4000+) Assoc Prof Jody Evans (Signature Events Benefactors) Maggie Edmond The Betty Amsden Foundation Susan Fallaw Vivien & Jacob Fajgenbaum The Jack & Hedy Brent Foundation Margaret Farren-Price & ($20,000+) The Leo & Mina Fink Fund The John & Jennifer Brukner Melbourne Recital Centre Angela Glover Prof Ronald Farren-Price AM Foundation Jo Fisher & Peter Grayson Board of Directors Ann Gordon Helen & Michael Gannon Prof Andrea Hull AO Jan Grant Dr Kingsley Gee Kathryn Greiner AO (Mary Angela Glover Peter & Cally Bartlett Nance Grant AM MBE & Ian Harris Vallentine Limitless Stage Fund) Stephen Carpenter & Henkell Family Fund Colin Golvan AM QC & Silvia & Michael Kantor Dr Deborah Golvan Leigh Ellwood In memory of Beryl Hooley Susan Thacore Joseph & Nicole Corponi Penelope Hughes Charles B Goode AC & The Hon Mary Delahunty Stuart Jennings ($2500+) Cornelia Goode Paul Donnelly & Dr Garry Joslin & Anonymous The Hon Justice Michelle Kaye Birks in the memory of David AC Brigitte Treutenaere Prof Dimity Reed AM Gordon & The Hon Kenneth Assoc Prof Jody Evans George & Grace Kass Anne Burgi & Kerin Carr M Hayne AC QC Margaret Farren-Price & Maria Mercurio Maria McCarthy Dr Robert Hetzel Margaret Taylor Prof Ronald Farren-Price AM Baillieu Myer AC & Sarah Myer Elizabeth Hipgrave Katrina & Simon Holmes a Court Eda Ritchie AM Rupert Myer AO & Annabel Myer ($1000+) Audrey Zibelman Stephen Newton AO Anonymous (5) Elouise Holmes Elizabeth O’Keeffe Keith & Debby Badger Peter Jopling AM QC ($10,000+) Dr Garry Joslin & John & Lorraine Bates Helen Perlen John & Mary Barlow Prof Dimity Reed AM Warwick & Paulette Bisley Kerryn Pratchett Jane Bloomfield Sandra Robertson & Philip Cachia Helen Brack George & Grace Kass (Great Performers Leadership Irene Kearsey & Michael Ridley Supporters) Dr Peter Rogers & Cathy Rogers Bill Burdett AM & Sandra Burdett Peter Rose & Christopher Menz Christine & Michael Clough Genevieve Kennedy John Simpson & Cathy Simpson Wendy Kozica, Alan Kozica & Maria Sola (Local Heroes & Great In Memory of Pauline Speedy Paul Donnelly & Barbara & Duncan Sutherland Brigitte Treutenaere David O’Callaghan Performers Leadership Supporter) Connie Li Dr Michael Troy Pamela Swansson Gras Foundation Trust Pearl Tang (including matching Maria Hansen Susan & Peter Mahler ($7500+) from Pricewaterhouse Coopers) Christine Haslam Ann Blake The Benjamin Fund In memory of Beryl Hooley Jennifer K Marshall (Great Performers Leadership ($500+) Ian & Gill McDougall Anonymous (1) Jenny & Peter Hordern Supporters) (Mary Vallentine Limitless Marshall McGuire Message Consultants Australia Rhonda & Ted Allen MinterEllison Jenny Anderson Stage Fund) ($4000+) John Howie AM & Jan Morrison Peter J Armstrong Peter B Murdoch QC & Anonymous Alistaire Bowler Dr Linsey Howie Danielle Davis & Joyce Marks Louise Kornman Helen Murdoch Min Li Chong Tim Orton & Barbara Dennis Jenny & Peter Hordern Mrs Jean Dunn Prof John Langford AM & Diana Lempriere The Late Christina McCallum James Ostroburski & Angela & Richard Kirsner Leo Ostroburski Cathy Lowy Dr Anne Lierse Cathy Lowy (Mary Vallentine Geoff & Jan Phillips Limitless Stage Fund) Andrew & Georgina Porter MinterEllison Sue Robinson & Tim (Great Performers Leadership Jane Morris Sally MacIndoe Supporters) Ann Miller Cartwright Ian Suren Mrs Margaret S Ross AM & Mary Vallentine AO Dr Diane Tibbits Dennis & Fairlie Nassau Dr Victor Wayne & Greg Shalit & Miriam Faine Dr Ian C Ross Dr Karen Wayne OAM ACCESS TO THRILLING MUSIC The Ullmer Family Foundation Christine Sather AND LEARNING OPPORTUNITIES Ian Baker & Cheryl Saunders ($2500+) (Mary Vallentine Limitless FOR EVERYBODY Stage Fund) Michael Shand AM QC & Claire Miller Anonymous Supported by the Elisabeth Stephen Shelmerdine AM & Ballandry (Peter Griffin Family) Fund Mary Vallentine AO Murdoch Creative Development Vivian Wei Wang Kate Shelmerdine Liz & Charles Baré Fund and the Mary Vallentine Barry & Barbara Shying Alastair Campbell & Sue Campbell Mark & Jane Wilson Limitless Stage Fund, donors to Audrey Zibelman Dr Alison Street Kathy & George Deutsch OAM our learning and access programs Dr Cherilyn Tillman & Tam Vu Ann Lahore help to share the music by ($500+) Rosemary Walls Shelley & Euan Murdoch bringing high-quality music and Anonymous (5) Catherine Walter AM & John Walter Dr Paul Nisselle AM learning opportunities to people Valma Angliss AM Andrew & Jan Wheeler Greg Noonan from all walks of life Roly Ball 16 NUTURING ARTISTIC ($5000+) Michael Shand AM QC Janet McDonald DEVELOPMENT - FOSTERING A The Hon Susan Crennan AC QC & Tom Smyth David Poulton BRIGHT MUSICAL FUTURE Dr Michael Crennan QC ($500+) A LASTING LEGACY Supported by the Elisabeth Murdoch Jo Fisher James Barber Through marking a legacy, this Creative Development Fund, donors Lyndsey & Peter Hawkins Elizabeth Boros extraordinary group of donors who support our enriching artist Igor & Jenny Zambelli Hon Justice David Byrne QC support the future of the Centre’s development programs help to ($3000+) Leslie G Clements vibrant and diverse programs both create a wide range of unique Christine Sather The Hon Hartley Hansen QC & now and for generations to come. opportunities for local musicians, Dr Cherilyn Tillman & Tam Vu Rosalind Hansen Encore Bequest Circle and help to ensure a vibrant musical The Hon David L Harper AM future for Victoria and beyond ($1000+) Inaugural Patrons Peter J Armstrong Medical Friends of Melbourne Jim Cousins AO & Libby Cousins Betty Amsden Kids and Family Bailey-Lord Family Recital Centre Program Benefactor Mary Beth Bauer The Late Betty Amsden AO DSJ ($2000+) Anonymous (3) Fiona Bennett Dr Charlotte Slade & Jenny Anderson Merlyn Myer Music Commission Zoe Brinsden Assoc Prof Sebastian King The Late Betty Amsden AO DSJ AO The Aranday Foundation Kathryn Fagg Barbara Blackman AO The Yugilbar Foundation Dr Jane Gilmour OAM & ($1000+) Mr Phillip Antippa & Jennifer Brukner ($50,000+) Terry Brain Ken Bullen AO Dr Tracey Huntley Lady Primrose Potter AC Prof Andrea Hull Peter & Jenny Hordern Liane Kemp Michael Bennett & Kate Stockwin ($20,000+) Professor Rod Hunt & Dr Garry Joslin Simon Le Plastrier Jane Kunstler Mrs Margaret S Ross AM & Norene Leslie McCormac Mr Michael Sharpe Dr Ian C Ross (Artist Development Dr Jean McMullin & Jeanette McLellan Rosemary O’Connor Elizabeth O’Keeffe Leadership Supporters) Jenny Tatchell Dr Catherine Brennan Dr John F Mills Penny Rawlins ($10,000+) Laura Thomas Prof Dimity Reed AM Warwick & Paulette Bisley ($500+) Steinway Giving Circle Vivienne Ritchie Majlis Pty Ltd Dianne Jacobs Benefactor Patron Sandy Shaw James Ostroburski & Gandel Philanthropy The Estate of Beverley Shelton & Leo Ostroburski Legal Friends of Melbourne Recital Centre Martin Schönthal Joy Selby Smith ($30,000+) Mary Vallentine AO Angelina & Graeme Wise Legal Friends Inaugural Krystyna Campbell-Pretty AM Patrons Seat Dedications ($4000+) ($10,000+) Annamila Pty Ltd Annamila Pty Ltd The Hon Justice Michelle Anonymous (1) Gordon AC & The Hon Kenneth Joanna Baevski Andrew & Theresa Dyer John Calvert-Jones AM & Lowina Blackman M Hayne AC QC Janet Calvert-Jones AO Linda Herd John Calvert-Jones AM & Brian Goddard Susan Pelka & Richard Caven ($10,000+) Janet Calvert-Jones AO Vivienne Ritchie The Hon Justice Michelle Dr Alastair Jackson AM The Hon Mary Delahunty Vivian Wei Wang Gordon AC & The Hon Kenneth Lady Primrose Potter AC Lord Francis Ebury Skipp Williamson & Carol Haynes Lyn Williams AM M Hayne AC QC Kathryn Fagg AO ($1000+) ($4000+) ($5000+) Ronald Farren-Price AM & Peter J Armstrong Naomi Golvan & George Golvan QC Warwick & Paulette Bisley Margaret Farren-Price Lin Bender AM Peter B Murdoch QC & Arnold & Mary Bram Kristin Gill & family John & Chris Collingwood Helen Murdoch The Hon Susan Crennan AC QC & Colin Golvan AM QC & In memory of Beryl Hooley Maya Rozner & Alex King Dr Michael Crennan QC Dr Deborah Golvan Dianne Jacobs Angelina & Graeme Wise Nance Grant AM MBE ($2500+) Brenda Hamilton & family In memory of The Late Anonymous (1) ($2500+) Harry Johnson Bruce Parncutt AO Luke Heagerty Colin Golvan AM QC & Catherine Heggen Martine Letts Dr Deborah Golvan Ian & Gill McDougall ($1000+) Louise Heggen Peter J Stirling & Kimberley Kane Anonymous (1) Dr Richard Mills AM Hans & Petra Henkell Greg Noonan ($1000+) Kaye Cleary Kathy Horadam John & Marcia Arthur Tim Conrad Anne Kantor AO & The Late ($500+) Peter Bartlett Craig K Coulson Dr Milan Kantor OAM Frederic & Karen Pomeranz Annette Blonski & Janine & Timothy Fredman Alex King & Sebastian King Anne Frankenberg & Martin Bartfeld QC Roger Gillard & Sohwon Kim Diana Lempriere Adrian McEniery The Hon Alex Chernov AC QC & Linda Herd Cathy Lowy GIVING CIRCLES Mrs Elizabeth Chernov David Lee Evelyn Pose Melbourne Recital Centre Giving Christine Clough Jay Lee & Muriel Yang Katherine Rechtman Circles are passionate and The Hon Justice Julie Geoff & Jan Phillips Ralph & Ruth Renard like-minded groups of donors who Dodds-Streeton Professor Margaret Plant Kiera Stevens come together to collectively Timothy Goodwin Mrs Margaret S Ross AM & Peter J Stirling celebrate their love of music by Robert Heathcote & Meredith King Dr Ian C Ross Ian Suren supporting special projects The Hon Peter Heerey AM QC & Sirius Foundation Jenny Tatchell Vivian Wei Wang Ensemble Giovane - Sally Heerey In memory of David Tong Judge Sara Hinchey & Tom Pikusa Dr Victor Wayne & Mary Vallentine AO Leadership Donors in support Dr Karen Wayne OAM of Master classes & young John Howie AM & Dr Linsey Howie Mary Waldron artist development Pandora Kay & John Larkins ($500+) Vivian Wei Wang Anthony J & Philippa M Kelly Jane Bloomfield ($10,000+) List of Patrons as at Maryanne B Loughnan QC In memory of Beryl Hooley 10 January 2020 Jim Cousins AO & Libby Cousins Banjo McLachlan & Paul Mahony Dianne Jacobs YMF Australia Elizabeth O’Keeffe Maria Johnson ($7500+) Ralph & Ruth Renard Dr Garry Joslin & George & Laila Embelton Meredith Schilling Prof Dimity Reed AM 17 Thank you

FOUNDING PATRON The Late Dame Elisabeth Murdoch AC DBE

BOARD MEMBERS Prof Andrea Hull AO, Chair Joseph Corponi Margaret Farren-Price Peter Bartlett The Hon Mary Delahunty Eda Ritchie AM Stephen Carpenter Paul Donnelly Audrey Zibelman Deborah Cheetham AO Assoc Prof Jody Evans

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