centenary The CentenaryCelebration ofthe Conservatorium ofMusic Wednesday 6May2015|SydneyOpera HouseConcertHall Presented by the Sydney Conservatorium of Music and Sydney OperaHouse ofMusicandSydney Conservatorium theSydney Presented by

The Con has been the focal point of Sydney’s cultural history since its modest beginnings in the old Government House stables to its development into a world-class music institution. The palace for horses is now a palace for music. Foreword

Minister for the Arts, Senator In training and inspiring each new generation of young musicians, the the Hon George Brandis QC Sydney Conservatorium of Music has developed a well-deserved I am pleased to welcome you to reputation for nurturing talent. The tonight’s celebration of the Centenary high quality of this institution’s of the Sydney Conservatorium of musicians will be evident in tonight’s Music, one of ’s oldest and performance of Leonard Bernstein’s most prestigious music schools. MASS, a work requiring a great deal of technical skill and musicality. Music is an integral part of the society in which we live, and it As the Minister for the Arts, I am contributes to our sense of self extremely proud of the achievements and cultural identity. As a society, of the Sydney Conservatorium Australians recognise the value of of Music and its commitment to music and appreciate the richness musical excellence and academic and joy that it brings into our lives. accomplishment. Australia’s musicians are among I acknowledge the hard work, talent the best in the world and graduates and dedication of the students, from institutions such as the Sydney staff and alumni of the Sydney Conservatorium of Music form an Conservatorium of Music. It is a integral part of arts remarkable achievement to reach sector. The Sydney Conservatorium a Centenary, and I wish the Sydney of Music boasts a long list of notable Conservatorium of Music every educators and alumni, who success in the years to come. contribute to our international reputation for artistic leadership and musical excellence. The

The great philosopher Plato believed that music should be central For 100 years, the Sydney Conservatorium Music has been to education: ‘Music gives a soul to the universe, wings to the central to Sydney’s musical and creative life. The richness mind, flight to the imagination and life to everything.’ it brings to the University community and beyond is both indisputable and invaluable. For 100 years, the Sydney Conservatorium of Music has been inspiring amazing musicians, who take their art out into the To quote the late, great Leonard Bernstein: ‘the life of the world and bring that life and soul to all of us. spirit precedes and controls the life of exterior action; … the richer and more creative the life of the spirit, the healthier and The Con’s list of famous alumni is incredible: from Richard more productive our society must necessarily be.’ Bonynge to ; from James Morrison to ; from to . And countless others. His passion for harmony and understanding was the driving force behind all that Bernstein accomplished. I have no doubt that on the Concert Hall stage this evening we will witness the birth of careers for many outstanding and The Sydney Conservatorium of Music has aptly chosen, for its talented artists. Tonight’s brilliant students will also go into the 100th birthday concert, Bernstein’s MASS – a masterpiece classrooms and teaching studios of the future, carrying the torch whose complexity mirrors that of society; it was written by a for music and leading the way in bringing wings to the mind. Jewish man, based on the Christian liturgy, in memory of a murdered President and in order to champion peace. Indeed, I am both humbled and delighted to be Chancellor of a University ‘go in peace’ are its final words. that encompasses such magnificent talent. Congratulations to all our students, staff, alumni and supporters. On behalf of all at the University, I thank the Conservatorium for the past 100 years, and look forward to the next. Go in Belinda Hutchinson AM peace; go in harmony. Chancellor The University of Sydney Dr Michael Spence Vice-Chancellor and Principal The University of Sydney s 1910 The State Conservatorium of Music 1910 1913 The Austral , 1910 (from The Francis Greenway designed officially opened in 1915 with Henri left to right): Cyril Monk, , stables were renovated into the Verbrugghen appointed first Director. Gladstone Bell and Anton Tschaikov. new Verbrugghen Hall. Sydney Conservatorium of Music Sydney House

I thank you for coming this evening to join with us in celebrating The Sydney Conservatorium of Music and its staff and our Centenary at the Sydney Conservatorium of Music. Exactly students have always been an important part of life at the 100 years ago today, the Con presented its first performance on . 6 May 1915. Tonight’s special performance of Leonard Bernstein’s MASS Bernstein’s MASS is the perfect vehicle with which to celebrate may be the first Concert Hall appearance for most of the 400 our music making. A masterpiece of the late 20th century, this young musicians involved, but it is unlikely to be the last. epic journey through faith draws together the talents of our Like many Conservatorium students before them, they will multi-faceted performance program for a monumental production go on to join one of the flagship arts companies that call involving a large cross section of the Conservatorium. My heartfelt the Sydney Opera House home – the Australian Chamber thanks goes to Louise Herron and her entire Sydney Opera House Orchestra, Australian Opera and Ballet Orchestra, Australian staff for sharing the vision of this collaboration. Our vision is also World Orchestra, , Sydney Philharmonia shared by Mr Alan Fang, Chairman of the Tianda Group, whose and the Sydney Orchestra. There is also a long support of the Sydney Conservatorium of Music has helped bring history of Conservatorium staff performing here. this project to fruition and will enable a number of exciting new initiatives to take place over the coming years, which will support With the Sydney Opera House beginning a decade of renewal, academic exchange in music between Australia and China. we are committed to nurturing the next generation of Australian talent. We know that working with great educational Tonight’s performance is an amalgamation of the extraordinary institutions will be central to our success. efforts of our current students and staff; however, I am keenly aware of all the directors, staff, students, alumni, friends and Last year, we collaborated with the Conservatorium on the volunteers who have gone before us and their contributions to Symphony Orchestra Discovery Project, along with the Con’s rich musical legacy. Our milestone celebration pays the NSW Government and the NSW Association of Regional tribute to all, both past and present, who have poured their Conservatoriums. The project brought student musicians hearts and souls into this institution. and from across NSW to Sydney to learn from members of the LSO. The week-long project culminated in an As Dean, I am reminded daily of the exceptional privilege it is inspired and inspiring concert at the Conservatorium under to be surrounded by gifted people producing quality work in all the baton of AWO artistic director Alexander Briger. forms of classical, jazz and contemporary music. This special evening is but one of hundreds of vibrant concerts presented by I hope there will be many more such projects in our future. the Con every year. We hope to welcome you many more times As for tonight, we are delighted to help the Conservatorium to our musical castle right up the street! celebrate its Centenary in style. Happy birthday.

Professor Karl Kramer Louise Herron AM Dean and Principal Chief Executive Officer Sydney Conservatorium of Music inceptionSydney Opera House

1916 1916 1917 1918 On 8 April 1916, at the first orchestra The Verbruggen Quartet in 1916 (from left to Madame Charvin, taught The Conservatorium High School opened concert for the year, Henri Verbrugghen right): Henri Verbrugghen, Jenny Cullen, David piano at the Con until her in October with 20 students, including conducted an orchestra consisting of E. Nichols and James Messeas. Their salary sudden death at just 39. future Director (oboe). 36 staff and students. was £400 each per year. Composers throughout the the eclectic musical styles centuries have strived to create he had worked in throughout a magnificent work of art, a his career – from concert ‘master work’ to embody their hall to Broadway. He used all musical thoughts and express the resources at his disposal, their emotions – to share including the then innovative their perception of the world quadraphonic ‘surround sound,’ surrounding them through a multitude of instruments, a work they could regard as singers/actors, and dancers. their masterpiece for posterity. He brilliantly incorporates a Beethoven succeeded with his sequence by Beethoven’s Ninth Welcome Ninth Symphony and Missa Symphony, which is transfixed Solemnis. Berlioz achieved that by a set of variations and has dream with his Two Episodes in three sing – very to Leonard Bernstein’s MASS the Life of an Artist: Symphonie appropriately – the Hebrew Fantastique and Lélio, ou le version of Sanctus, a short but retour à la vie, and Mahler did substantive reflexive moment it flawlessly with his Symphony of his roots. He does all of this of a Thousand (No. 8). Leonard with his musical genius as much Bernstein’s MASS also fits this as his literary one by being description. Still controversial 44 hypocritical, satirical, yet utterly years after its conception, MASS serious and profound about his has been winning prominence in views. the world’s major concert halls The totality of this seminal 20th and opera houses regardless century work of art lends itself of the religious, artistic, perfectly to our celebration of the philosophical, and/or ethical 100th anniversary of the Sydney inclinations of its audiences. All Conservatorium of Music. Why? art endures time’s pace. Because the Conservatorium is Bernstein achieved with MASS an international music school an idea that had been percolating with a rich musical heritage

s in his mind for several years. from all corners of the globe. Through the sacramental rite of Because Bernstein’s MASS one of the world’s widespread celebrates this richness and religions, he sought to bridge diversity of humanity, which is a 1920 Kathleen Wills, one of the first female 1921 1922 Little Baby Eunice Gardiner, a child Conservatorium Diploma of Music students to graduate from the prodigy, passed her grade six candidates. Verbrugghen also resigned Conservatorium in the early 1920s. certificate at the age of three. from his post in August of this year. means of promulgating tolerance, students in voice, orchestra, hard-working students in acceptance and peace in today’s jazz, choral music, making this performance an Leonard Bernstein and society. MASS is undoubtedly a and sound design. It allows us event to remember for life. Eduardo Diazmuñoz. masterpiece of the 20th century, to collaborate with Gondwana However, a special thank you Teatro de la Ciudad, a century in convulsion when Sydney’s Children’s and goes to our Dean, Professor Mexico City, the Conservatorium first opened to feature a distinguished Karl Kramer, for his vision and February 1979. its doors before the start of a member of our voice faculty, unrestricted support to produce world war and during a time of Barry Ryan OAM, who carries this magnificent work for such a great uncertainty. A century later, the entire weight of the work milestone and for the benefit of and in a relative short space portraying the challenging role so many people. of time in music terms, the of the Celebrant. I also take Upon receiving a commission Conservatorium holds a special great pleasure in acknowledging in the late sixties from place in Sydney’s and Australia’s the devoted professionals and Jacqueline Kennedy Onassis rich music history. It attracts faculty members who, for the to honour the memory of her teachers and performers, like me, last six months, have willingly assassinated husband, Leonard students and musicians from all shared their own enthusiasm, Bernstein dedicated all of his over the world to this exceptional, talent, and expertise to bring this prodigious musical talent and high-calibre cosmopolitan music masterpiece to life. There are far intellectual prowess to the school. It has evolved into the too many colleagues involved task of creating a monumental leading international music school and I’m afraid mentioning all commemorative work for his that we see today. Last, but not of their names will take more beloved and much admired least, because it is a spectacular than two pages to acknowledge friend. Bernstein was intensely piece to showcase the enormous their commitment so, if you’d devoted to JFK, America’s first breadth of highly talented young allow me, I shall simply thank Roman Catholic president, and musicians, teachers and alumni wholeheartedly everyone who also became fascinated with the Conservatorium continues to works at the Conservatorium. Roman Catholicism, especially foster year on year. Every member of the faculty as exemplified by the spirituality and staff has been involved in On behalf of the University of Pope John XXIII. one way or another to coach of Sydney and the Sydney and advise our talented and (continued overleaf) Conservatorium of Music, I take great pleasure in welcoming you to Bernstein’s Theatre piece for singers, players and dancers. It combines the efforts and talents of our foundation

1924 1924 1927 1929 Staff of the Conservatorium pictured (left) The soprano, Madame Goossens- In September 1929, the opera school in 1924, including future directors formed a long-running piano Viceroy, no relation to Eugene, in performed Hugh the Drover, an opera Joseph Post and Alfred Hill. duo partnership (with fellow 1927. She was famous for singing in two acts by . composer) . Brahms and Wagner arias. Welcome continued

All of these circumstances dominated by the unpopular always was an optimistic man, I encourage you to absorb its contributed to Bernstein to Vietnam War and his beloved but after JFK’s assassination, philosophical, existentialist choosing the Roman Catholic friend’s assassination. All his pessimism began to exacerbate content with open hearts and Liturgy – augmented with English thoughts and feelings converged his contradictions. Yet, these minds as the music moves texts he, Stephen Schwartz and in MASS, the master creation of a contradictions had always been at from introverted, reflexive, and a few verses Paul Simon wrote mature, solid artist at the height the heart of such an outstanding meditative moments to those – to express the crises of his of his talents (he was almost 53 artist, which helped propel his that are light, magnificent, (our) time. While the backbone of years old) and in the midst of a amazingly creative output and rebellious, even outrageous. This the score is the Ordinary of the tremendously successful and incomparable energy. is Bernstein’s personal homage Mass, the additional tropes and busy conducting career. It is a to our beliefs, our tribulations Shortly before the premiere of meditations enhance the work, well-known fact that Bernstein’s and concerns, our hopes and MASS in 1971, Bernstein told extending it to the lengths of a work on MASS was accomplished dreams, our doubts, our lives. He an interviewer: ‘MASS follows missa solemnis. in fits and spurts, much like wisely chose a symbolic pairing three years of despair since the the composition of a Broadway of a self-righteous man and a For him, ‘the crisis of faith is the Russians invaded Prague [August show precisely because of his child for a journey that ends with principal crisis of our century.’ 1968]. When I’m writing, my first guest-conducting schedule. He a reassurance of faith. After 115 Bernstein may have felt that he impulse is to communicate. So stepped down from the New York minutes of debate, denial, and was losing his own faith after I stand for the audience. So the Philharmonic Music Directorship reflection, we’ll be ready to leave enduring the infamous blacklists Celebrant is an extension of my in 1969 to devote more time the concert hall – our momentary of the fifties, the ‘Cold War’ and thought.’ And we could add that to composing, and MASS was cathedral – remembering that the turbulent years of the sixties the Celebrant’s breakdown and the first work of that period. God loves all simple things and redemption are our own as well. Bernstein wanted to make MASS that, above everything, we must a true testament of faith as he I believe that MASS both strongly go in peace. criticises and respects – not Most sincerely, blasphemes – all creeds, all races, all religions, basically, all Professor Eduardo Diazmuñoz mankind. By pouring out most Chair of Conducting of the contradictions he himself

s Artistic and Music Director, lived throughout his life and taking and Chief Conductor, Sydney the template of the Latin Roman Conservatorium of Music Mass, plus all the other elements Symphony Orchestra mentioned above, Bernstein certainly succeeded in creating March 2015 a truly moving and touching masterwork for the ages. 1930 Dr , third Director 1930s 1931 1933 Alexander Sverjensky, the Russian- Sydney String Quartet program Margaret Barton, a student from 1934 to 1948, launched the born Australian pianist and teacher, featuring from left: George of Alexander Sverjensky, was Conservatorium Opera School. in his room at the Con. White, Robert Miller, William born in 1933. Krasnik and Cedric Ashton. Program

I. Devotions Before the Mass X. Credo 1. Antiphon: Kyrie Eleison 1. Credo in unum Deum 2. Hymn and Psalm: “A Simple Song” 2. Trope: Non Credo 3. Responsory: Alleluia 3. Trope: “Hurry” 4. Trope: “World without End” II. First Introit (Rondo) 5. Trope: “I Believe in God” 1. Prefatory Prayers 2. Thrice-Triple Canon: Dominus Vobiscum XI. Meditation No. 3 (De Profundis, part 1)

III. Second Introit XII. Offertory (De Profundis, part 2) 1. In nomine Patris 2. Prayer for the Congregation XIII. The Lord’s Prayer (Chorale: “Almighty Father”) 1. Our Father… 3. Epiphany 2. Trope: “I Go On”

IV. Confession XIV. Sanctus 1. Confiteor XV. Agnus Dei 2. Trope: “I Don’t Know” 3. Trope: “Easy” XVI. Fraction: “Things Get Broken”

V. Meditation No. 1 (Orchestra) XVII. Pax: Communion (“Secret Songs”)

VI. Gloria 1. Gloria Tibi 2. Gloria in Excelsis 3. Trope: “Half of the People” 4. Trope: “Thank You”

VII. Meditation No. 2 (orchestra)

VIII. Epistle: “The Word of the Lord” IX. Gospel-Sermon: “Godperformance Said”

1936 1936 1938 On 16 May 1936, Dr Edgar Bainton When Dr Edgar Bainton mentioned to Basil Grant, A young Josephine Bell received conducted the first Sydney performance the general manager of Nicholson’s Ltd, that the a marriage proposal in a of Mozart’s opera, . Con had only enough money to buy two or three Conservatorium turret, immediately new pianos, 48 pianos arrived. after a performance in 1938. Program notes

I can’t help being impressed by MASS’s unabashed two‑fold sincerity. […]This is a work that stakes everything. I can think of few creative acts in recent times that take so many risks and achieve so much. – Peter G. Davis (1972)

At times the MASS is little more than fashionable kitsch. It is a pseudo-serious effort at rethinking the Mass that basically is, I think, cheap and vulgar. It is a show-biz Mass, the work of a musician who desperately wants to be with it.

s – Harold C. Schonberg (1971) 1940

Sir Eugene Goossens was jointly appointed as Director 1945 1945 Poster for a recital by Marjorie Noel Mewton-Wood, an Australian- of the Conservatorium and Chief Conductor of the Hesse, who was a piano born concert pianist who achieved Sydney Symphony Orchestra in 1946. student of Frank Hutchens. international fame. Babel’s voices: It uses liturgical texts but was was the more important and absolutely normal for one line to Rites and Rituals in intended for the concert hall. prestigious sphere until at least be based on a Latin chant, and It employs a bewildering range the seventeenth century, while another to use the text of a love- Bernstein’s MASS of musical styles, from typical secular music has been more song in the vernacular. The long By definition separate and ‘Church’ genres to the most cultivated after the middle of the line of Renaissance mass settings opposing concepts, the sacred profane popular music types. This eighteenth century, a change based on the famous secular tune and the secular are in fact panoply of musics (the plural is which reflects larger societal ‘l’homme armé’ (the armed man) intimately intertwined. It is often deliberate) was surely Bernstein’s developments within modernity. further testifies to the overlap of claimed that in the West today we attempt to be inclusive and Interestingly, music itself became the two spheres. In the eighteenth live in a thoroughly secularised all-encompassing, although a kind of ersatz religion for some century J. S. Bach freely reused age, and yet many continue to whether the stylistic eclecticism is people in the nineteenth century: music from his sacred cantatas in cultivate a spiritual dimension thought exhilarating or confusing it was listened to with the same non-sacred works and vice versa. to their lives. Where earlier ages is a matter of personal taste. The reverent attentiveness, and with in the nineteenth might typically have sought this extent to which it succeeds in the hope of gaining spiritual century called for a liturgical in religious practices, a wide its larger aims will again depend insights. The stillness and silence music that would ‘unite on a variety of paths are followed on the individual listener, but expected in concert halls to this colossal scale the theatre and the nowadays by those seeking at the very least, it offers an day testifies to a continuing belief church’. Needless to say he could spiritual enlightenment, peace or intriguing perspective on issues in music’s ability to convey a kind not have envisaged anything a sense of the transcendent. By that continue to engage society, of otherworldly experience. As it quite like Leonard Bernstein’s virtue of its incorporeal nature, even in the allegedly post- happens, much music originally MASS, described by its composer music is the art form most often religious West. written for sacred worship is as A Theatre Piece for Singers, used to reach this ‘other place’, nowadays more often heard in Players and Dancers. The story of Western art music and has in fact been employed concert performance, where is intimately connected with One aspect of the controversy to enhance religious rites for it arguably answers a similar Christian religious practices. that has surrounded Bernstein’s thousands of years. It is against underlying need. Most histories really get going work since its first performance the twin backdrops of this with the attempts to devise a Hearing sacred compositions in in 1971 is that he and his older musico-religious tradition notation for the chant used in secular spaces is just one modern collaborator, Stephen Schwartz, and the modern secularised church services towards the instance of the interpenetration appropriated not just any religious condition that Leonard Bernstein’s end of the first millennium AD. of the two domains. In times texts, but those of the mass, gargantuan MASS (1971) needs From this invention stemmed past the two more frequently traditionally the central act of to be understood. A two-hour the entire wealth of sacred and overlapped, as any exploration Christian worship. This service work that explores the value of secular music that relies on of the historical record reveals. follows a tightly defined form, the ritual in contemporary society, it staff notation. Based on what When medieval composers principal parts of which are (in attempts to bridge the sacred- has survived in notated form, it combined two or more lines of secular divide in ways that are can be said that sacred music music together in motets, it was (continued overleaf) controversial and collaborationconfrontational.

1946 1940s 1946 Eugene Goossens focused on regional Robert Pikler, a Hungarian-Australian Players (from left to right): and city partnerships, and was key musician and founder of the Sydney String Robert Pikler, Edward Cockman, Maureen in creating an arts precinct with the Quartet, resident at the Conservatorium Jones, Richard Goldner and Theo Salzman. building of the Sydney Opera House. was resident at the Con in the 1940s. order): opening prayers (Introit); (I, 1) Out of the darkness (II, 1) A raucous march occupies the confession of sin (the Introit incorporeal sounds are heard: most of the First Introit (a Latin Program Kyrie eleison) and the reception a taped soprano voice backed term meaning ‘entrance’). of absolution; praise of God (the by percussion sings ‘Kyrie’, the The swaggering main theme continued Gloria); the reading of sections prayer for mercy. This is soon uses a marching-band idiom, notes from the Bible which change joined by (in order) bass, soprano with cheeky interludes as the daily; a formal statement of the 2 and alto (together), and finally assembling choir sings through articles of faith (the Credo); a and baritone (together), the prayers that in the pre- Eucharistic celebration, i.e. a each with its own supporting Vatican II rite would have been re-enactment of the Last Supper, percussion instruments singing said before the mass began. An whereby bread and wine are entirely different music to the English translation of part of these consecrated, during which God’s same text. The overall impression prayers is offered by the boy holiness is proclaimed anew is of noisy hubbub, stilled only soprano, answered by the rest (the Sanctus); the Lord’s Prayer with the entry of the guitar-playing of the children’s choir. After an (‘Our Father’); the distribution Celebrant, who proclaims instead instrumental reprise of the main of communion, preceded by a the virtues of singing a ‘simple march material, the Celebrant prayer for absolution and peace song’. (I, 2) This post-Vatican II proclaims ‘Dominus vobiscum’ (the Agnus Dei); and the final message sets up an opposition (The Lord be with you), which is dismissal. There are precedents that resurfaces several times later answered by a thrice-triple canon for incorporating aspects of in MASS: the idea of speaking (II, 2). Each of the nine voice parts this ritual into theatrical works: from the heart, in contrast to sings the same three phrases in the Grail scene at the end formalised ritual. Not that the twice over and then drops out, of Act I of Parsifal, Wagner Celebrant sticks to English creating a texture that first grows included a Eucharistic sequence throughout; he freely incorporates and then tapers. involving consecration and calls of ‘Lauda, Laude’ (praise) (III, 1) The Second Introit is communion. However, where into his Psalm, a musical- another taped excerpt, this time Wagner’s lush score reinforces theatre-style number. (I, 3) This is with a strongly medieval flavour the transcendental nature of the answered by more pre-recorded conveyed through rhythm, modal rite, Bernstein’s musical response music, this time a fast imitative qualities and the (optional) use bristles with challenges and choral piece, with swung rhythms of older instruments such as questions. Instead of providing in the style of the Swingle singers. the shawm and viola d’amore. a simple affirmation of timeless The scat vocals coalesce into a

s The text here is the Trinitarian truths, this work searches anew full-voiced Alleluia that echoes the blessing in Latin, to which the for answers. Faith may be Celebrant’s ‘Lauda, Laude’ before choir responds with the chorale restored at the end, but it has had fading away. ‘Almighty Father’ (III, 2). This to face serious trials on the way. progression 1950 moved from the 1953 1953 Eugene Goossens with Allan Ferris (tenor) and The Valkyries, the students of 1953, at a farewell Symphony Orchestra in 1957 to become Florence Taylor (contralto), a pupil of Madame party for Louise Rose, a viola player, who flew out the the next Director. Goossens-Viceroy, after a performance in the following morning to marry Edmund Hillary. , June 1953. unaccompanied number is perspectives on these issues: note, while a heavy syncopated The Epistle (VIII) is traditionally influenced by the style of the these range from open hypocrites orchestra lends it a jazzy feel. a reading from one of the Lutheran congregational hymn (who boast of confessing sin (VI, 3) Without any change in New Testament authors. Here as set by Bach, although the and ‘then go[ing] out and do[ing] style whatsoever, the first Trope alongside brief excerpts from the harmonies are more twentieth it one more time’, through the follows. The text written by Paul letters of Paul and John, a series than eighteenth century. (III, doubters to the aspirational Simon is a cynical comment on of ordinary people’s letters are 3) The spiky ‘Epiphany’ which believers. Music from the two social realities (‘Half the people read aloud. Interspersed between follows uses pre-recorded oboe earlier parts of the Confession is are stoned, and the other half these is a folksy number from the sound which moves between the reused freely here. are waiting for the next election’). Celebrant, who proclaims that different sound speakers. (VI, 4) ‘Thank You’, the second the Word of the Lord cannot be The Celebrant gives absolution trope, is a nostalgic evocation of imprisoned. The Celebrant introduces the first and introduces a time of a time when praise of God was words of the ‘Confiteor’ (I confess) silent prayer, occupied here The Gospel-Sermon (IX) starts easy, conveyed in a lyrical but in English, leading into the brutal by Meditation no. 1 (V). The with series of glosses on the unsaccharine vein. shock of the next number (IV, 1). astringent opening string sound Creation narrative: the affirming The angular dissonance here is more or less continuous, save A second Meditation (VII) uses cries ‘And it was goddam good’ may evoke the moral disorder of for short moments of relaxation. a highly chromatic theme from from the people are reminiscent sin. The music then changes to It works its way to a point of the Ode to Joy in Beethoven’s of Bernstein’s own ‘Officer a more swinging style before the intensity that is emotionally and Ninth Symphony (originally heard Krupke’ from West Side Story. It edgy sound-world is recovered. sonically reminiscent of Bartok’s at the words: ‘You bow down gets more cynical as the people (IV, 2) The first of two tropes Music for Strings Percussion before him, you millions? Do you take over from the Preacher, and (a term meaning an addition and Celeste. perceive the creator, o world?’). tell of how divine commands to a liturgical text intended to This is put through a series of have gotten distorted in human (VI, 1) The first part of the Gloria explain it more fully) is still more variations, using techniques hands (for instance, ‘God said is an attractive number in obviously in a secular vein: a associated with twelve-tone take charge of my zoo’, has led alternating duple and triple beats, heavy blues rhythm supports the composers: for instance, notes humanity to ‘Wipe out a species featuring the Celebrant and the Rock singer’s puzzled description from the theme are stacked or two’). children. The text in its entirety of his self-destructive tendencies. vertically into chords at one point. is declaimed in the next part (VI, (continued overleaf) (IV, 3) In the second trope, ‘Easy’, 2). Much of it is chanted on one a variety of singersprogression give their own

1954 1957 1958 1950s Stewart Harvey sang the Noel Nickson with students in the Small Hall, Russian violinist , the Finnish ‘Voice of God’ part in 1957. John Gould, the violinist, went on to play giving a concert for students. composer, admired Goossens’ The Apocalypse. with the Sydney Symphony Orchestra. Bernard Heinze. The first part of the Credo (X, 1) is of the taped Credo takes us up The word ‘clamavi’ (called) is again tape-based, an inexorable to the idea that Christ’s reign will treated onomatopoeically, with Program chanting in Latin of the articles not end. (X, 4) Another mezzo- unpitched cries contributing to of faith up to the point where it soprano meditates on this in the the deliberately chaotic effect. says Christ was made man. (X, trope ‘World Without End’. The continued The De Profundis text is notes 2) The same rhythm underlies final trope (‘I believe in God’, X, 5) continued in the Offertory (XII). the trope ‘Non Credo’, a defiant is in a rock idiom: here, the singer Initially a series of exchanges statement of non-belief from a asks if God believes in him, and between upper voices and spiky baritone soloist, and the choral proposes reciprocal belief as a chanted chords from the lower interjections seem to confirm bargain (‘I’ll believe in thirty gods voices, it recovers the themes his agnosticism. The taped if they’ll believe in me’). and eventually the distinctively excerpt resumes, gabbling This leads directly into the third medieval instrumentation of the quickly through the Credo text Meditation (XI), the first part of second Introit’ (III, 1). until it promises that Christ will the great psalm De Profundis return to judge the living and At this point, the strict sequence (From the Depths). Where the the dead. Another trope (X, 3) of the mass that has been previous Meditations were solely follows, with the mezzo-soprano observed until now is abandoned, for instruments, the chorus is sarcastically asking when the and we jump forward to the involved here too. The psalmist’s return is scheduled. The next bit Lord’s Prayer. (XIII, 1) This is call for God’s intervention at a sung by the Celebrant, who is time of despair is not part of instructed to double his quasi- the usual liturgy, but functions improvised melody on the piano. fittingly here to counterbalance A trope ‘I Go On’ (XIII, 2) allows the seeming insouciance of the us to see that he, too, finds his rock-singer at the end of the faith a matter of struggle, but Credo. The musical setting here is is determined to persevere. His rugged and thorny, with imitative final ‘Lauda, Laude’ repeats entries building up the texture. the tune from his first musical number (I, 3). s 1960

Joseph Post OBE, an Australian conductor 1962 1964 Alexander Sverjensky with his student, Roger Four levels were added and music administrator, was appointed the Woodward, in 1962. Woodward won the ABC in 1964 for the Con High sixth director of the Con in 1966. Instrumental and Vocal Competition in 1964. School and library, with new studios and a concert hall. The Sanctus (XIV) may not atmosphere, but after a more A solo flute melody breaks per se. The need for lay people be subdivided, but the music mysterious section the tension the silence and ushers in the to become more involved in changes style conspicuously begins to mount inexorably again. final section, ‘Pax: Communion acts of worship was one of the several times. The uplifting music An angry congregation demands (“Secret Songs”) (XVII). This is yet most important messages of featuring the children’s choir at peace in a strongly rhythmic another call-back, this time to the Second Vatican Council the start has an unmistakably section, which gets ever louder the Epiphany for solo oboe (III, 3). (1962-65), and MASS was very American flavour (think of the and more disorderly. Driven to A boy soprano accompanied by clearly written with knowledge of swelling theme from the TV show distraction, the Celebrant takes rippling harp sings ‘Lauda, laude’, these developments. However, The West Wing to get the idea). the sacred vessels and hurls them an affirmation of faith in response at a deeper level, the fact that After a substantial instrumental to the floor. to the Celebrant’s doubts, and Bernstein still chose to organise interlude the Celebrant muses in this is gradually taken up by his music around the portions of This controversial sacrilegious musical puns (‘mi with sol’ [the the rest of the singers. A duet the traditional mass rite shows gesture marks the start of the notes E and G] becomes ‘me with between boy soprano and the his paradoxical dependence on it. penultimate section (XVI) entitled soul’). The Hebrew version of the Celebrant (no longer wearing his The composer was convinced that ‘Fraction’, a reference to the Sanctus text (‘Kadosh Adonai’) is insignia) suggests the latter’s some belief in the supernatural customary ‘fracturing’ (i.e. taken up in swelling phrases by redemptive reintegration into his order was vital for humanity. In breaking) of the consecrated the choir and works its way up to congregation, and the message of his sketches for this work he host after the Agnus Dei. The a thrilling sonic climax. This is the union and peace is confirmed by wrote: ‘Some kind of religion is Celebrant’s semi-catatonic sole overt acknowledgement of the repeat of the earlier chorale necessary to every man – belief response is sung to another other religious traditions, and was ‘Almighty Father’ (III, 2). The final in something greater than version of the Beethoven motif surely prompted by Bernstein’s spoken words are the traditional random/systematic biological used before, and several other own Jewish faith. ending of the rite: ‘The mass is existence.’ MASS is a clear themes from earlier are also ended, go in peace’. articulation of this philosophy, The Agnus Dei (XV) which follows recalled in this, the lengthiest one which acknowledges doubt without a break makes use of the section of MASS. The singer So what ultimately is the message and questioning as inescapable composer’s favourite changing swings between repentance and of MASS? Does it proclaim the components of the modern rhythmic groupings, punctuated by further outbreaks of violence, irrelevance of liturgy, disparaged condition, but which ultimately stamping gestures from the choir. with some of his blasphemies by the over-wrought Celebrant as works through these to a belief During this the Celebrant is heard accompanied by (deliberately) ‘mumbo and jumbo’? One could the more precious for having praying isolated lines from the cheap baseball-ground music. certainly read the Celebrant’s been achieved through struggle. Eucharistic prayer, which in the The slow final section reuses the final appearance without his mass liturgy would have been said music from Meditation no. 1 (V), vestments as indicating the Notes © David Larkin 2015 earlier. His hoarsely whispered and fades gradually away to obsolescence of the priesthood Lecturer in Musicology ‘Let us pray’ quietens the frenzied nothingness. reputationSydney Conservatorium of Music

1964 1964 1965 1960s The Con’s 40th Anniversary Gordon Watson AM, a student of AM, the South Opera students in costume for a Concert flyer, featuring Frank Darius Milhaud in California, taught African-Australian pianist, performance of ’s Hutchens and Lindley Evans. piano at the Con from 1964 to 1986. composer and conductor, taught Die Rosenkavalier, 1960s. at the Con for 50 years. The Sydney Conservatorium of was demolished in 1901 for a Music and the Sydney Opera tram depot, which itself was Sydney Conservatorium House are built on the lands of demolished in sweet revenge the Gadigal people, who called in 1958 to build the Sydney the peninsula to the east of Opera House. The stables of Music & Sydney Sydney Cove Dubbagullee. Early survived the automobile age to descriptions of musical activity become the Conservatorium in Opera House mention a corroboree organised 1915. Thus from the very start by Bennelong and Colebee on the Conservatorium and the the point in March 1792 and Sydney Opera House shared a another at Farm Cove in 1795. common heritage: an ancient Governor Hunter described song tradition, a central role in Aboriginal women singing all day Macquarie and Greenway’s grand on the shores while collecting vision, and incessant scandal shellfish. Governor Macquarie over cost. established a ‘Governor’s When the advisory council Demesne’, instructing convict appointed in 1912 to make architect Francis Greenway in recommendations on the 1818 to design three grand Conservatorium presented its buildings; a fort on the tidal island final report, opera featured at the northern end where the prominently: Sydney Opera House now stands, new stables further south which We believe, for various are now the Conservatorium, reasons, that Australia is likely and a new Government to have its best chance of House, which was never built distinction in musical art by according to Greenway’s plan the medium of opera – and and only completed in 1845. who knows but that this Controversy prompted a review Conservatorium may come to by Commissioner Bigge who be the foundational impulse criticised the stables’ “useless of a national Australian magnificence”. Fort Macquarie Opera House? s 1970

The 1970s saw big changes in higher 1972 1972 with high school students in In his first 5 years as education and the Con introduced a world- 1972. From left to right: , Rodney Director, class jazz program with (above). McPherson, Malcolm Williamson, Sarah Hopkins, promoted change and Debbie Berlin and Jennifer Whibberley. innovation at the Con. In fact, the inaugural Director Goossens began his advocacy the government announced on Conservatorium director Rex Henri Verbrugghen had little from the minute he stepped 17 May 1955 that it would build a Hobcroft conducted ’s operatic experience, devoting off the Tasman flying boat on state opera house on Bennelong Fall of the House of Usher and his boundless energy to 3 July 1947. He wanted “a fine Point, with a 3500-seat opera James Penberthy’s Dalgeri the Conservatorium and concert hall for the orchestra, and orchestra theatre, and – the first performed the State with perfect acoustics and a theatre hall seating 1200, in the new House. Goossens, Orchestra founded in 1919. seating accommodation for 3500 Goossens was the hero of the however, was ignored in official It was Sir Eugene Goossens, people, a home for an opera hour. However, within a year, he proceedings, and it was left to Conservatorium director and company, and a smaller hall for had resigned after pleading guilty the Conservatorium to remember Chief Conductor of the Sydney .” to importing prohibited material him in a memorial concert on Symphony Orchestra from deemed obscene, and Sydney 20 October 1973, the day before Quickly he identified Bennelong 1947–1956, who became lost one of its most visionary Queen Elizabeth II officially Point as preferred location, the Sydney Opera House’s musical leaders. opened the architectural triumph remarking in 1950, “I can imperturbable champion. The idea he had presciently imagined. visualise there by the harbour Sir Bernard Heinze, his successor had actually formed in the mind a building which will be an as Conservatorium director, of the McKell Labor Government Associate Professor architectural triumph and joined the Sydney Opera prior to Goossens’ appointment. Peter McCallum message to the city.” House Committee in 1957, In 1946 Minister Heffron wrote of Chair of the Academic Board the year Utzon’s design won the Conservatorium: Following San Francisco, the The University of Sydney the architectural competition. opera house was to be a war There is a need, I admit, for It was Heinze and Moses who memorial dedicated to returned a more adequate building to successfully argued that the soldiers. Premier Joe Cahill meet both present and future main hall should be for concerts, appointed Goossens, University requirements, and I hope the not a dual use hall as originally of Sydney architecture professor erection of the State Opera planned. $2,700,000 of stage Henry Ashworth, and ABC House already planned by machinery was scrapped. During General Manager Sir Charles the present Government will acoustic trials on 25 July 1973, Moses to select the site. When soon eventuate. innovation

1973 1974 1975 1970s Sydney Opera House opened on In 1974, Richard Hobcroft appointed , lecturer with the Keith Field (far left) with the board of governors 20 October with a performance Dr Martin Wesley-Smith to set up the Con choir, in the Joseph Post (from left to right): Joy Cummings, unknown, of Beethoven’s Symphony No. 9. Con’s electronic music studio. Auditorium, 1975. Harold Lobb and Harry Heath, chairman of the Photo: Jack Atley. Newcastle Conservatorium board of governors. Professor Eduardo Diazmuñoz – Conductor

Mexican-Spanish-American cello and self-taught himself to statuette one time. Some of his in the celebration of his Alma conductor/composer Professor play several other instruments compositions have been recorded Mater’s 150th anniversary, Eduardo Diazmuñoz has won until he decided to devote his in Europe and America. In 2014, Mexico’s National Conservatory worldwide recognition as one of time and energy to conducting he led the creative team in of Music, where he’ll be offering the most versatile musicians of and composing. charge of finishing Catán’s last master classes, lectures and his generation. Well known as unfinished opera, Meet John conferences. He has led more than 110 conductor, composer, pianist, Doe, in the triple role of Chief orchestras in 17 countries, with His commitment to education educator, promoter, organiser, arts Editor, Main Composer and Music duties ranging from Assistant has left an imprint at Mexico’s advocate, producer, editor and Director with the Cincinnati Opera Conductor to Artistic Director, National Conservatory, Mexico’s gifted lecturer, Diazmuñoz has an Company and the Cincinnati and from Principal Guest National Autonomous University, international 40-year conducting Conservatory of Music which Conductor to General Director. the National Program for Youth career. He is regarded as a offered a workshop of it in He has recorded over 35 CDs Orchestras and Choirs of Mexico, ‘complete’ musician, who fuses January. The project is still a work for 24 labels championing new as well as the Music Academy ‘old school’ training – forged in progress; however, it is set to music, most notably, a 4 CD set Fermatta as Director of Academic under mentors Léon Barzin and be premiered by the Cincinnati of Twentieth Century Mexican Review; at Miami’s New World Leonard Bernstein – with love, Opera Company with additional Symphony Music and a New York School of the Arts; at ’ commitment and passion, and composing and orchestrated by live performance of his long-time Société Philharmonique; and at a musical curiosity that has led Diazmuñoz, who will also conduct friend Daniel Catán’s first opera, the Opera Division and the New to some 150 premieres. He it in 2018. Rappaccini’s Daughter, which Music Ensemble of the University began his musical training as a he also conducted its world This year he began celebrating of Illinois. Now, he wants to make pianist but got to play percussion, premiere and its US premiere. his 40th Anniversary as conductor similar or larger contributions He has been nominated three in his native Mexico where he’ll at the Sydney Conservatorium times for the Latin Grammy return in June to continue this of Music, where he is Professor and has received the precious celebratory year with one of his and Chair of Conducting, as well former orchestras premiering as Artistic Director and Chief his last symphonic work. He has Conductor of the institution’s also been invited to participate Symphony Orchestra since August 2013. s 1980 With an increasing education program, 1980s 1985 Richard Tognetti, now Artistic Director of the Australian , Director of the Con the Con needed to expand or relocate. Chamber Orchestra, Karen Segal, Rosalie Segal, Petra from 1985 to 1991, began talks (Jazz dynamo , above.) Davis and Colleen Baxter, with John Painter. of new building works due to the growing lack of space at the Con. Narelle Yeo – Director

Narelle Yeo is currently serving in Vivian Fine’s Women in the As a director, Narelle was on faculty as Senior Lecturer Garden, performance artist mentored by Debra Dickinson in Opera Production and Rinde Eckert’s Navigators, and renowned US director Vocal Studies at the Sydney Della in David Conte’s The Gift Willene Gunn, and she directed at the Sydney Conservatorium of the Magi, Veronica in John on faculty at the San Francisco of Music. Her USA‑based Thow’s Serpentina and, closer Conservatory until returning to performing resume is diverse, to home, Katherine in The Long Sydney. In Australia, she has with leading roles in opera, Ride Home at the Independent directed operas and musicals musical theatre and theatre Theatre. She performed the role including Honk, Beauty and throughout the Western USA, of Maria in Respighi’s Hymn to the Beast, Amahl and the including Sharon in Masterclass the Virgin for the San Francisco Night Visitors, Die Fledermaus, for Pacific Repertory Theatre, Symphony, and has bowed for and the spoof operetta Mrs Manningham in Gaslight for the Goshen Bach Festival, San Pirates of the Pinafore. She California Conservatory Theatre Francisco Shakespeare Festival also directed The Pomegranate and Guenevere in Camelot for and the Berkeley Symphony. In Cycle, Under the Radar for the Woodminster. Favourite opera Australia, she has performed in Festival and Angelique, roles performed in the USA venues as diverse as the Sydney Les Mamelles de Tiresias, Little include CioCioSan in Madama Town Hall, Sydney Opera House, Women and Le Nozze Di Figaro Butterfly, Leonore in Fidelio Carriageworks, Newtown Theatre, for the Sydney Conservatorium and Nedda in I Pagliacci. Moorambilla Festival, Bowral of Music. Premieres have included Miss Festival, including many others. Jane in Adam Guettel’s Floyd Her voice can be heard on a Collins for the highly acclaimed Wii game, commercials and an Theatreworks,engagement Emily Dickinson independent film.

1985 1985 1986 1980s The Sydney Wind Quintet, Graduation with Director Elizabeth Powell, head of Harry Curby (), Gerard Willems (piano) and appointed in 1980, at Dr Ron Smart, 1985, and Professor the Con piano unit from Hans Gyors (cello) performing Tchaikovsky’s Bondi Beach in 1985. Anna Reid, current Con Head of 1986 and frequent soloist Piano Trio. Gerard is still on staff in 2015, School, in the graduating class. around the world. almost 50 years after he started his studies. Barry Ryan OAM – Celebrant

Australian baritone Barry Ryan Barry has performed with La Bohème, Count di Luna in Il graduated with honours from Europe’s leading opera Trovatore, Renato in Un Ballo in the Sydney Conservatorium companies including the Royal Maschera, Amonasro in Aida, of Music where he is now a Opera Covent Garden, the Father in Hänsel und Gretel, lecturer in Voice and Opera. Milan, the Opera Comique in Pizzarro in Fidelio, Mister Redburn His many awards for singing Paris, the Paris Opera Bastille, in Billy Budd, the Gamekeeper in include the Shell Aria, the New the Deutsche Oper am Rhein Rusalka and Tonio in I Pagliacci. York Metropolitan Auditions, the Düsseldorf, the Flemish Opera His world premieres include Marten Bequest for Singing, the Antwerp, the Komische Oper Scully in The Riders, for which he State Opera Award and Berlin, Basel Opera and the Otono has been awarded a Greenroom the Green Room Award. In 2013, Festival Opera Madrid. He was a Award, Alex in Bliss, for which he Barry Ryan received an Order principal artist with the Cologne was nominated for a Helpmann of Australia for his services to Opera from 1988 to 1992. Award, Prosecuting Counsel in classical music. Lindy, Wiebbe Hayes in Batavia Barry made his Australian opera and Barney in The Summer of the debut in 1993 and has since 17th Doll. performed for Opera Australia, Wide Open Opera Dublin, Opera Barry has performed in concerts Queensland, Victorian Opera, throughout Europe, Australia and West Australian Opera and Asia. He has performed with the Canterbury Opera. His leading London Symphony Orchestra, the roles include the title role of Scottish Symphony Orchestra, the Nixon in Nixon and China, George Norwegian Symphony Orchestra, Milton in the Australian Premiere the Shinsei Nihon Symphony of Of Mice and Men, Sharpless Orchestra Tokyo and all the in Madama Butterfly, Gunther in major Symphony Orchestras Götterdämmerung, Marcello in in Australasia. s 1990 The Con joined forces with the University 1990s 1990s visited the Con and gave after receiving his of Sydney with Sharman Pretty (above) masterclasses to our students, including honorary doctorate of music from at the helm in the mid 1990s. Susie Park, Sunny Roh and Katie Betts. the University of Sydney. Gondwana Sydney Children’s Choir

Lyn Williams OAM Bernie Heard Lyn Williams OAM Artistic Director and Founder General Manager Artistic Director & Founder Founded as Sydney Children’s Choir in 1989 by Lyn Williams OAM, Lyn Williams OAM is Australia’s leading director of choirs for young Gondwana Choirs has grown to include Gondwana National Choirs people, having founded two internationally renowned choirs: Sydney and Gondwana Indigenous Children’s Choir. The organisation has built Children’s Choir in 1989 and the national children’s choir, Gondwana a worldwide reputation for choral excellence and occupies a unique Voices, in 1997. Under her inspirational leadership, the Gondwana position in the Australian landscape, having developed its repertoire Choirs organisation has grown to include 22 ensembles of the Sydney through the commissioning of more than 200 works. Singers from Children’s Choir; five choirs, Composer School and Conducting all three arms of the organisation have come together on several Academy in Gondwana National Choirs; and, the Gondwana Indigenous occasions, most recently in 2014 for the world premiere performances Children’s Choir, with regional hubs in Cairns and Campbelltown. of Jandamarra – Sing for the Country by Paul Stanhope. Lyn’s exceptional skill in working with young people is recognised Sydney Children’s Choir comprises 22 training and performance internationally for its high artistic quality and ground-breaking ensembles for children aged 5–16, and the Senior Choir regularly innovation. She has conducted Sydney Children’s Choir, Gondwana collaborates with the nation’s leading ensembles. 2015 highlights Voices, Gondwana Chorale and Gondwana Indigenous Children’s Choir include concerts with Sydney Symphony Orchestra, a tour to nationally and internationally. Lyn is a recipient of the NSW State Award and mainland China, and a new commission, Anzac Notes, by Elena and is an award-winning composer. In 2004, she was awarded an OAM Kats-Chernin for the Kokoda Memorial, to be recorded and broadcast in recognition of her services to the Arts. by the ABC.

Suebin Bae Stella Davy Dominic Grimshaw Jonathon Kelley Anna Marsh Julia Spiteri Guian Balan Jasmine Delaney Emma Guitera Emma Korrell Gabrielle Montalbo Isabella Sucking Bridie Batterham- Gabriel Dillon Benjamin Hamilton Jiayi Liu Eloise Morrison Piet Tombs Murphy Michael Donohue Ali Hardy Eloise Loewy Stella Mountain Jessica Trevelyan Lucy Blomfield Cassandra Doyle Chloé Hart Jemima Lorenz Jade Ng Sasha Trevelyan Holly Boswell Oscar Drew Rebecca Hilliard Jackson Low Theo Picard Beatrice Tucker Amelia Brown Isabella Emanuel Abel Hofflin Stephanie Macindoe Florence Poon Olivia Wei Christina Burjan Lily Fowler Patsy Islam-Parsons Belle MacLeod Alexandra Raleigh Imogen Williams Honey Christensen Liam Green Tovia Jakovsky- Owen MacNamara Josh Reimer Jules Wittenoom Louw Gracia Clifford Talia Greenfield Coleman Aedan MacNamara Emma Renaud Ysobel Yew Beatriceamalgamation Colombis Danah Gressel-Keich Maeve Kelaher Cecilia Maddox Ariana Ricci

1996 1997 1999 The trio of Gerard Willems, Christopher The Last Night of the Con concert, In September 1999, the Con Chamber Orchestra, Kimber and Michael Halliwell after a 29 November 1997, in the Verbrugghen Hall conducted by Wolfram Christ, toured . 1996 tour of Southeast Asia. before redevelopment of the site commenced. Matthew McDonald, the double bass player, is pictured here with students. Soloists, Street Singers Creative and and Dancers Production Team

The Celebrant Alto 1 Jana Aveling Artistic and Musical Director Orchestral Assistant Tom Westley Barry Ryan OAM Alto 2 Nyssa Milligan Professor Eduardo Diazmuñoz Stage Manager Brendan Hay Alto 3 Livia Brash Director Narelle Yeo Boy Soprano Assistant/Deputy Stage Manager Tenor 1 Gavin Brown Choir Director Dr Neil McEwan Julian Kuo Dominic Grimshaw Tenor 2 Joshua Oxley Tenor 3 Preacher Christopher Bryg Children’s Choir Director External Relations Manager Street Singers Tenor 4 Tristan Entwistle Lyn Williams OAM Yarmila Alfonzetti Soprano 1 Sarah Ampil Tenor 5 Mian Chen Conservatorium High School Marketing and Program Editor Soprano 2 Imogen-Faith Malfitano Baritone 1 Jeremy Dubé Director of Choral Studies Jacqui Smith Soprano 3 Deepka Ratra Baritone 2 Henry Wright Mrs Elizabeth Vierboom Publicist Mandy Campbell Soprano 4 Jessie Wilson Baritone 3 Soonki Park Blues and Rock Bands Preparation Program Designer Soprano 5 Amelia Linquist Baritone 4 Joseph Jae Kwon Kim Craig Scott Jo Yuen Mezzo 1 Charlotte Merz Bass Christopher Nazarian Assistant Conductors George Ellis, Photographers Prudence Upton, Mezzo 2 Sarah Kemeny Simone Zuccatti Theo Small, Anthony Browell Mezzo 3 Barbara Jin Dancers Producer Gareth Collins Production Assistants Theo Small, Aidan Daley Choreographer Olivia Ansell Amy Vitucci and Georgia Webb Georgia Nelson Lee Zammit Set Designer Elizabeth Gadsby Costume Designer Hannah Lobelson Special thanks also to: Costume Assistant Laura Cagnacci Sam Allchurch, Ian Barker, Emma Barnett, Richard Fowler, Lighting Designer Fred Wallace Bernie Heard, Christopher Hillier, Sound Designer James Kilpatrick Alexandra Hirst, Chris Leahy, Hall Production Manager Rob Miles Murray, JK Power, Brendan Riley, Julie Simonds, Phoebe Thomson, Orchestra Manager Scott Ryan Jeff Willey, Kym Yeow, Opera Australia, Orchestral Stage Designer Pink Cactus Props. Ian Anderson, Mitech Design

s Editorial assistance provided by Professor Eduardo Diazmuñoz, Dr Neil McEwan, Simone Zuccatti, Jean Kramer and Jacqui Smith. 2000 The late (above) guided the future of 2000 2001 Graduate Erin Helyard, now Emma Rose sitting at the world- Australian composition, as the Con re-opened with amazing Founder and Co-Artistic Director famous Pogson Organ, rebuilt and new facilities following four years of major renovations. of Pinchgut Opera. reinstalled in Verbrugghen Hall in 2001. SCM Symphony Blues and Orchestra Rock Bands

Conductor Viola Flute Blues Band Maestro Eduardo Julia Doukakis ‡ Kinsey Alexander ‡ Milo Dodd ‡ Amanda Suwondo, Piano Diazmuñoz Nathan Greentree Sarah Ismail Gregory Bennett Mary Rapp, Electric Bass Eleanore Vuong David Williams Harry Day, Drums Violin 1 Seola Lee Clarinet Nick Ujhazy, Guitar Victor Avila, Sergio Insuasti Joanna Huxtable ‡ Tuba concertmaster Hye Min Lee Jialing Yu Liam Acheson Rock Band Alexander Chiu Joseph Cohen Zhu Ting Cao Novak Manojlovic, Piano Percussion Kohki Iwasaki Thad Shattuck Raditya Bramantyo, Electric Bass William Hemsworth ‡ Gemma Lee Maria Fedotov Oboe Oli Nelson, Drums Adam Cooper-Stanbury Emma Townsend Paloma Soulos Toshiyuki Hosogaya ‡ Felix Lalanne, Guitar Nicole Johnson Emily Frazer Sofie Nicolson Eve Osborn Ericsson Chan Michi Stern Ender Carden Noam Yaffe Cello Bassoon Michael Paton Johanna Doering Vincent Lo ‡ Jordy Meulenbroeks ‡ Darcy Dauth Liam Meany Alison Wormell Harp Myri Kim Jenean Lee Solveig Hu Claire Seow Heather Lewis-Baker Saxophone Mengchao Liang Rebekah Kwa Simon Watts Hammond Organ Rachael Kwa Annabelle Oomens Mary Osborn Josie Tam Rachel Brennan Valeriy Suraev Peter Leung Julian Nonosterio-Rose Young Su Kim Large Organ Miles Mullin-Chivers Horn Mark Sever Violin 2 Manasseh Oshiro Nick Mooney ‡ Li Gu ‡ Melinda Heinrich Lotti Ropert Sayono Noda James Morley Emily McFarland ‡ Section leader Yejin Min Nazli Sendurgut Eve Mcewen Hana King Olivia de Burth Sarah Morris Emily Beauchamp Ashley Agar Double Bass Trumpet Glenda Jeong Hamish Gullick ‡ Jenna Smith ‡ Matthew Tsalidis Ainsleigh Coates Harriet Channon Brian Hong Ellen Buckley Phillip Edey Jessica An William Hansen David Johnson Claudia Mackay Ethan Ireland Shirley Shen Serena Lim Kirrily Biskupic Thomas Wade Calvin Leung David Barlow Jessica Brown Evangeline Read expansion

2001 2002 2005 2010 Looking up through the newly Harry Lyth, conductor-in- Music education scholar Peter The late Professor Peter Sculthorpe with renovated Con library skylight. The residence, led the Con’s new Dunbar-Hall secured a grant to Emma-Jane Murphy on cello and William library has the largest music collection conducting program. purchase a Balinese gamelan Barton on didgeridoo, Con Open Day, 2010. in the Southern Hemisphere. semara dana. SCM Chamber Choir SCM Choir

Conductor Alto Bass Soprano Qian-Ao Chen Tenor Dr Neil McEwan Robert Adam Dominic Blake Vanessa Agius Katrina Choi Jack Ayoub SCM Chamber Choir Isabella Angelo-Falkner Hayden Bowles Yasmin Arkinstall Harriet D’Arcy Oscar Balle-Bowness and SCM Choir Julia Donnelly Jonathan Hingston True-Joy Baxter Sierra Davila Matthew Blenman Sara Ligeard Gabriel Hole Jessica Blunt Emma Dunn Brendan Chung Soprano Josephine Macken Marko Sever Kirsty Cairney Michaella Edelstein Harry Day Holly Brooke Alexandra Nixon Simone Zuccatti Long Chan Elizabeth Gibbs Solomon Frank Charlotte Campbell Vickie Tran Lisa Chien Annabel Goodman Justin Green Josi Ellem Sarah Wang Phoebe Clark Elyse Hardiman Dong Ha Bronte Forrester Will Yaxley Briony Davidson Gabrielle Hiu Ben Harris Rebecca Hart Natasha Effendy Jing Huang Tae Kim Amber Johnson Tenor Kirralee Elliott Felicity Jones Evan Kirby Georgia Melville James Doig Cleo Ha Caroline King David Larkin Charlotte Midson Thomas Marshall Katherine Keeler Katrina Kovacs John Linquist April Mills William Millard Yvette Keong Hoygien Kuan Ryan O’Donnell Sylvie-Louise Woods Joshua Ryan Jing Li Samantha Latto Jeremy Richmond Sophia Li Nicole Lewis Justin Rynne Priscilla Li Marjorie Li William Thackeray Xin Liu Levana Limoa Simon Torresan Ying Liu Maggie Lin Shilong Ye Annie Mao Marjorie Liu Bethany Maranthou Fiona Lugg Bass Justice Massaad Julie Mar Christopher Bouhabib Ellen McNeil Amelia-Anne Merz Jed Burley Elise Morton Merinda Meta Andrew Collins Madeleine O’Dea Kirsten Milenko William Franklin Aimee O’Neill Alleyne Moss Nicholas Gill Julie Paik Clare Murphy Yieju He Claudia Rapisarda Sara Nguyen Yuhao He Simone Rapisarda Christine Prasad Jose Hernandez- Chloe Robbins Stella Quast O’Connell Kathryn Robinson You Jung Shin Martin Lijauco Xiaoxu Shang Olga Solar Ellison Luk Caitlin Shannon-Duhigg Jessica Squires Enrico-Sergio Mainas Erntasha The-Tjoean s Hayaerin Son George Mavridis Tiana Souvaliotis Meng Wang Joshua McNulty Zara Stanton Leonie Walters Andrew Neal Candela Serra Jessica Wright Jay Ngyen Olivia Boyd-Skinner Xinyu Wu Blake Roden Lena Wu Lin Ye Mark Rossman-Frank Jasmine We Ying Yip Mason See Joanie Zhao Jack Stephens Alto Meiqi Zhao Chao Sui Olivia Cai Patricia Zhuang Dennis Van Rooyen Monica Chedid Joshua Winestock Ron Xie 2010 Current Dean Professor Karl Kramer has 2011 2011 Chinese calligrapher Liang Xiao Ping Leading American composer John prepared the Con for another century of created the gift of a palindromic poem Corigliano’s Circus Maximus was performed musical excellence and world-class research. to the Con, now a feature in the atrium. in the Sydney Town Hall on October 2011. The Conservatorium High School

The Conservatorium High School (est. 1918) joins forces this evening During the course of their music studies, Conservatorium High students with the University of Sydney’s Faculty of Music (est. 1990) to are expected to become conversant with a wide range of contemporary celebrate twenty-five years of the University’s association with the Australian music in addition to the canonic works of European classical Conservatorium of Music, Sydney’s premier music institution that was music. Performing Bernstein’s MASS is a rare and valuable opportunity established by the NSW Department of Education one hundred years for students to experience the brilliance of one of the ’ ago. Thanks to its special collaboration with Gondwana Choirs, the most dynamic and creative musicians, an experience made doubly Conservatorium High School has established an enviable reputation for valuable thanks to the close association with the score of this evening’s the quality of its choral work and the capacity of its students to tackle conductor, Maestro Eduardo Diazmuñoz. demanding and eclectic works such as Leonard Bernstein’s MASS.

Director of Choral Year 8 Year 9 Jessie Cai Year 11 Year 12 Studies Cameron Bajrakatarevic- Jessica Abrahams Sophie Chan Christian Alafaci Jane Anderson Mrs Elizabeth Vierboom Hayward Miriam Alperovich Ihnteck Chung Dominic Azzi Simran Bagga Guian Balan Zackary Aylward Yenlamtarn Clark Brian Bae Crystal Bai Year 7 Hana Batt Sue Bin Bae Sebastian Djayasukmana Carl Bodnaruk Jonathan Chan Reuben Alperovich Alexander Chesterman Chelsea Baek Neil Dong Marta Davis Joseph Chan Mordechai Auerbach Katie Choi Maximillian Cullen-Feng Timothy Dutton Georgina Gwatkin-Higson Jack Cheng Belvina Bai Ashley Clayton Elizabeth Fong Jing Jing Fan Beth Harper-King Louisa Garcia-Dolnik Georgia Cartlidge Isaac Davis Lily Fowler Emily Green Chelsea Jung Ella Grier Louie Chen Cassandra Doyle Danah Gressel-Keich Andrei Hadap Sophia Kalo Julia Gu Cory De Wit Lily Eyland Alison Hardy Sachleen Khanna Joo Lee Kim Rebecca Hong Tara Greenfield Eve Fan Annabel Lee Jacqui Leather Queena Kuang Tim Johns Jessie Guo Kevin Fine Max Lim-Scrimali Jina Lee Reuben Langbein Imogen Jones Sel Hardaker Oliver Golding Ryan Little Selina Lin Dana Lee Nicole Kim Timothy Hegarty Dominic Grimshaw Justinn Lu Juliet Lochrin Dahyo Lloyd Jee Soo Lim Tovia Jakovsky- Elizabeth Hong Eugene Nam Zoe Loxley-Slump Kyra Long Rhys Little Coleman Kelly Hou Ethan Pang Tony Lu Hana Matsuoka Connor Malanos Julia Jeong Matthew Jenkins Eddy Sit Lachlan Massey David Pham Freyja Meany Amy Lee Antonia Meck Calvin Tambunan Aleksander Mitsios Ricardo Valverde Nathan Moas Adella Li Gabrielle Montalbo Paula Tennent Ryan Nguyen Kim Wan Rebecca O’Hanlon Ginger McMahon Stella Mountain Gemma Tong Nathen O’Brien Charlie Ward Robin Park Caitlin McNamara Jade Ng Baggio Yin John Paterson William Yan Jasper Rasmussen Lalleh Memar Mason Pun Ye Jean Yun Gabi Powell-Thomas Megan Yang Basil Salah Elise Nolte Ariana Ricci Michael Zhang Isaac Said Jessica Yao Mara Schwertdefeger William Shi Nadine Serhalawan Oliver Tan Ailie Yeh Kate Stephenson Reika Suzuki-Macklin Daniel Shao Year 10 Indiana Williams Shanky Yip Hana Tan Emily Thornton Catherine Shen Soda Adlmayer Fiona Yim Bianca Zhou Dorothy Wu Evangeline West Olivia Wei Ethan Bergan Wisdom Zhang Shirley Zhu Theresa Xiao Richard Wong Amarinda Bullock Alison Zhuang Catherinecontemporary Zhang Jasmine Zeng

2011 2012 2014 2015 Con alumna Elena Kats-Chernin Opera students (from left to right) The Hillel Quartet, formed for the first Estivo Professor received the used the letters in Martin Anne Dowsley, Jang Hee Han and European Chamber Music Summer School, Italy. Sir Bernard Heinze Memorial Award Sharp’s name to compose Pascal Hetherington perform in Gluck’s From left to right: Benjamin Adler, Elizabeth for her oustanding contribution to a new piece. La Recontre Imprévue. Woolnough, Bethan Lillicrap and Bridget O’Donnell. music in Australia. SCM Staff

Dean and Principal Senior Lecturers Associate Lecturers Open Academy Professor Karl Kramer Andrew Barnes Dr Rachel Campbell Justin Ankus, Manager Roger Benedict David Howie Eleanor Baker Head of School and Associate Clint Bracknell Dr Daniel Rojas Joyce Lee Dean (Teaching and Learning) Dr Jeanell Carrigan Ting Lee Professor Anna Reid Dr Rowena Cowley Postdoctoral Fellow Alice Papademetriou Dr Catherine Ingram Associate Dean (Research) Daniel Herscovitch Anthea Parker Clemens Leske Professor Linda Barwick ARC Research Fellow Library Dr Helen Mitchell Dr Myfany Turpin Associate Dean (Staff Dr Alan Maddox Jennifer Hayes, Acting Library Development and Mentoring) David Miller Research Fellow Manager Craig Beavis Professor Anne Boyd AM Stephen Mould Dr Joseph Toltz Georg Pedersen Fiona Berry Professors Dr Paul Rickard-Ford Research Associate Celia Brown Professor Richard Cohn Daryl Pratt Dr Amanda Harris Marie Chellos Bligh Glass Professor Eduardo Diazmuñoz Dr Jennifer Rowley SCM Professional Staff Professor Matthew Hindson AM Maree Ryan Wendy Patten Adrienne Sach, Faculty Manager Emeritus Professor Allan Marett Craig Scott Ludwig Sugiri Yarmila Alfonzetti Emeritus Professor Richard Charteris Dr Michael Smetanin Hannah Gleeson, CHS Rodney Boatwright Dr Paul Stanhope Jennifer Raby, CHS Associate Professors Stephen Burns AO Associate Professor Ole Bohn Mandy Campbell Conservatorium High School Dr Michael Webb Associate Professor Charles Fairchild Lauren Castino Dr Robert Curry, Principal Dr James Wierzbicki Associate Professor Michael Halliwell Sharon Chambers Ian Barker, Deputy Principal Narelle Yeo Associate Professor John Lynch Ivy Chu Jeffrey Willey, Head of Music Dr Ivan Zavada Associate Professor Kathryn Marsh Gareth Collins Associate Professor Stephanie McCallum Lecturers Grant Compton Correct as of 1 May 2015 Associate Professor Neil McEwan Dr Simon Barker Timothy Crowe Associate Professor Kathleen Nelson Maxime Bibeau Kate Drain Associate Professor Kees Boersma Michaela Dunworth Associate Professor Goetz Richter Francesco Celata Danielle Godbier Associate Professor Alice Waten Umberto Clerici Kate Hadfield Associate Professor Gerard Willems Dr Christopher Coady Grace Hall Chairs of Units Lewis Cornwell Antoinette Holt Dr Michael Duke Christa Jacenyik-Trawoger Andrew Barnes, Woodwind Andrew Evans Lynn Kam Associate Professor Neal Peres Da Costa, Vladimir Gorbach David Kim-Boyle Historical Performance Dr Bernadette Harvey David Kinney Professor Eduardo Diazmuñoz, Conducting Alexander Henery Felicity Knibbs Andrew Evans, Brass Dr James Humberstone Cynthia Marin Associate Professor Charles Fairchild, Scott Kinmont Jan Marshall Arts Music Ngaire De Korte Guy McEwan Professor Matthew Hindson AM, James Kortum Stewart Nestel Composition and Music Technology Dr David Larkin Ahiegwu Odeh David Miller, Piano Accompaniment Susan Newsome Eneyi Odeh Stephen Mould, Opera Production Alexandre Oguey Cedric Poon Associate Professor Kathleen Nelson, Natalia Ricci Christine Prasad Musicology Dr Damien Ricketson Anne-Laure Rijssemus Daryl Pratt, Percussion Dr Marina Robinson Lindsay Robinson Associate Professor Goetz Richter, Strings Steven Rosse Katherine Rowell Dr Paul Rickard-Ford, Piano Barry Ryan Scott Ryan Craig Scott, Jazz Natalia Sheludiakova Jarrad Salmon Maree Ryan, Vocal and Opera Studies Emma Sholl Jacqui Smith Dr Michael Webb, Music Education Phillip Shovk Marianne Uy Phillip Slater Adam Wilson Julian Smiles Stephen Yates David Theak David Thompson My dream is to be a professional chamber musician. Dr Westheimer’s generous donation makes that dream immeasurably more achievable.

Ben Adler, student at the Sydney Conservatorium of Music

Dr Westheimer (BSc ’48) established the Gerald Westheimer String Quartet Fellowship to open up more opportunities for talented string players at the Sydney Conservatorium of Music.

Donors to the Conservatorium make a huge contribution to the musical life of Australia. To find out how you can help support the next 100 years of the Conservatorium, visit sydney.edu.au/music/give. Libretto

I. DEVOTIONS 3. Responsory: Alleluia Altos III. SECOND INTROIT Ideo precor beatam Mariam Ostende nobis semper Virginem, Tape BEFORE THE MASS Misericordiam tuam. 1. In nomine Patris Beatum Michaelem Archangelum, Six Solo Voices Show us beatum Joannem Baptistam, 1. Antiphon: Kyrie Eleison Du bing, du bang, du bong, etc. Thy mercy. Celebrant Sanctos Apostolos Petrum Alleluia! In the name of the Father, and of Tape et Paulum, Alleluia! etc. Soprano the Son, and of the Holy Spirit. Omnes sanctos, et vos, fratres, Soprano Vidi aquam egredientem Kyrie eleison! Tape Orare pro me De templo latere dextro Ad Dominum Deum nostrum. Lord, have mercy! II. FIRST INTROIT Et omnes ad quos pervenit In nomine Patris, et Filii, et Bass Aqua ista salvi facti sunt, Spiritus Sancti, Amen. I confess to Almighty God, Kyrie eleison! (Rondo) To blessed Mary ever Virgin, Et dicent: Celebrant Lord, have mercy! I saw the water issuing from To blessed Michael the archangel, 1. Prefatory Prayers Let us rise and pray. To blessed John the Baptist, Soprano and Alto the right side of the temple To the holy apostles Peter Christe eleison! Street Chorus And all those to whom it comes Celebrant and Paul, Christ, have mercy! Kyrie eleison! Are saved by that very water Let us rise and pray. Christe eleison! And say: To all the saints, Tenor and Baritone Lord have mercy! Celebrant And to you, brothers: Christe eleison! Christ have mercy! Tutti Almighty Father, bless this house. That I have sinned exceedingly in Christ, have mercy! Alleluia, alleleluiaia! etc. And bless and protect all who are Thought, word and deed: Gloria Patri et Filio, Alleluia, alleleluiaia! etc. assembled in it. Through my fault, through Et Spiritui Sancto! 2. Hymn and Psalm: my own most grievous fault. Glory be to the Father, and to Boys’ Choir “A Simple Song” 2. Prayer for the Therefore I beseech the Blessed the Son, and to the Holy Spirit! Kyrie eleison! Celebrant Congregation (Chorale: Mary ever Virgin, Sicut erat in principio Lord, have mercy! Sing God a simple song “Almighty Father”) Blessed Michael the archangel, Et nunc et semper, Lauda, Laude … Chorus Choir Blessed John the Baptist, Et in saecula saeculorum. Amen Make it up as you go along Christe eleison! Almighty Father, incline Thine ear: The holy apostles Peter and Paul, As it was in the beginning, Laude, Laude … Christ, have mercy! Bless us and all those who have All the saints, and you, brothers, Is now and ever shall be, Sing like you like to sing gathered here To pray for me World without end. (Until the end Boy Soprano God loves all simple things Thine angel send us To the Lord our God. of times/literally “For all centuries Here I go up to the altar of God. For God is the simplest of all. Who shall defend us all of centuries”) Amen. In I go, up I go 2. Trope: “I Don’t Know” I will sing the Lord a new song To God who made me young And fill with grace To praise Him, to bless Him, Basses To God who made me happy All who dwell in this place. Male Street Chorus to bless the Lord. Introibo ad altare Dei. To God who makes me happy Amen. Confiteor, Confiteor … I will sing His praises while I live I will go up to the altar of God. to be young. First Rock Singer All of days. 3. Epiphany Tutti Lord, I could go confess Blessed is the man who loves Street Chorus and Children’s Ad Deum qui laetificat Good and loud, nice and slow the Lord, Choir juventutem meam. Get this load off my chest Blessed is the man who praises Him. Alleluia! IV. CONFESSION To God, who gives joy to my youth. Yes, but why, Lord – I don’t know. Lauda, Lauda, Laude … 2. Thrice-Triple Canon: Celebrant I don’t know why every time And walks in His ways. Women Dominus Vobiscum I confess to Almighty God, to I find a new love I wind up I will lift up my eyes Asperges me, Domine, blessed Mary ever Virgin, destroying it. To the hills from whence comes Hyssopo, et mundabor. Celebrant to blessed Michael the archangel, I don’t know why I’m my help. Thou shalt sprinkle me with hyssop, Dominus vobiscum. to blessed John the Baptist, to So freaky-minded, I keep on kind I will lift up my voice to the Lord O Lord, and I shall be cleansed. The Lord be with you. the holy apostles, Peter and of enjoying it— Singing Lauda, Laude. Two Sopranos Children’s Choir Paul … Why I drift off to sleep For the Lord is my shade, Emitte lucem tuam, Et cum spiritu tuo. With pledges of deep resolve Is the shade upon my right hand 1. Confiteor Et veritatem tuam. And with Thy spirit. again, And the sun shall not smite Confiteor Deo omnipotenti, Then along comes the day Send forth Thy light, Beatae Mariae, semper Virgini, me by day and Thy truth. All (as a round) And suddenly they dissolve Nor the moon by night … Dominus vobiscum. Beato Michaeli archangelo, again— Blessed is the man who loves Altos Et cum spiritu tuo. Beato Joanni Baptistae, I don’t know … Sanctis Apostolis Petro et Paulo, the Lord— Ostende nobis, Domine The Lord be with you. What I say I don’t feel Show us, Lord. And with Thy spirit. Omnibus sanctis, Lauda, Lauda, Laude— Et vobis, fratres: What I feel I don’t show And walks in His ways. Quia peccavi nimis cogitatione, What I show isn’t real Lauda, Lauda, Laude verbo et opere: What is real, Lord – I don’t know, Lauda, Lauda di da di day … Mea culpa, mea culpa, No, no, no – I don’t know. All of my days. mea maxima culpa. 3. Trope: “Easy” All Three Rock Singers Children’s Choir We bless Thee, has really changed Good and loud, nice and slow Gloria tibi, Gloria tibi, We glorify Thee. I miss the Gloria First Blues Singer … Lord Gloria! We give Thee thanks for I don’t sing Gratias Deo Well, I went to the holy man Glory to You, Glory to You Thy great Glory: I can’t say quite when it and I confessed … All Three Blues Singers Glory! Lord God, heavenly King, happened Look, I can beat my breast Easy … God the Almighty Father. But gone is the … With the best. Celebrant and Children’s Choir Lord Jesus Christ, … thank you … And I’ll say almost anything Choir Gloria Patri, Beatam Mariam semper Virginem only-begotten Son; that gets me blessed Gloria Filio, Street Chorus (precor) Lord God, Lamb of God, Upon request … Et Spiritui Sancto. Half the people are drowned Beatum Michaelem Archangelum, Son of the Father: Laudamus te, and the other half are It’s easy to shake the blame Beatum Joannem Baptistam, Who takest away the sins of Adoramus te, swimming in the wrong direction. for any crime Sanctos Apostolos Petrum et the world, Glorificamus te, By trotting out that ‘mea culpa’ Paulum, have mercy upon us; Celebrant Benedicimus te. pantomime: Omnes sanctos, et vos, fratres, Receive our prayer; Let us pray. Glory to the Father, ‘Yes, yes, I’m sad, I sinned, Orare pro me Thou who sittest at the right hand Glory to the Son, I’m bad.’ Ad Dominum Deum nostrum. of the Father, have mercy upon us. Then go out and do it one And the Holy Spirit. For Thou alone art the Holy One, VII. MEDITATION The Blessed Mary ever Virgin, more time. We praise You, Thou alone art Lord, (Therefore I beseech) NO. 2 (orchestra) We adore You, Thou, Jesus Christ, alone art the First and Second Rock Singers Blessed Michael the archangel, We glorify You, Most High, I don’t know where to start Blessed John the Baptist, We bless You. With the Holy Spirit, in the glory VIII. EPISTLE: “The There’s so much I could show The holy apostles Peter and Paul, Gloria Patri of God the Father. Amen. If I opened my heart All the saints, and you, brothers, Word of the Lord” Gloria Filio But how far, Lord, but how far To pray for me Celebrant Et Spiritui Sancto. 3. Trope: “Half of the can I go? To the Lord our God. Brothers: This is the gospel Gloria! People” I don’t know. I preach; and in its service I have Glory to the Father, All Six Soloists Street Chorus and Band suffered hardships like a criminal; Glory to the Son, Second Blues Singer What I say I don’t feel Amen! yea, even unto imprisonment; If you asked me to join you in some And the Holy Spirit. What I feel I don’t show Half of the people are stoned but there is no imprisoning the real good vice Glory. What I show isn’t real And the other half are waiting Word of God … Now that might be nice What is real, Lord – I don’t know, Celebrant for the next election. Once or twice No, no, no – I don’t know. A Young Man (as if reading) Glory to God in the Highest and Half the people are drowned But don’t look for sacraments Dearly Beloved: Do not be Peace on and the other half are or sacrifice First Rock Singer surprised if the world hates you. Earth to Men of Good Will! swimming in the wrong direction. They’re not worth the price. Come on, Lord, if you’re so great We who love our brothers have Show me how, where to go They call it Glorious Living crossed over to life, but they who It’s easy to have yourself a Show me now – I can’t wait 2. Gloria in excelsis They call it Glorious Living do not love, abide in death. fine affair Maybe it’s too late, Choir And baby where does that Everyone who hates his brother is Your body’s always ready, Lord, Gloria in excelsis Deo, leave you, a murderer. but your soul’s not there I don’t know… et in terra pax hominibus You and your kind— Don’t count on trust Another Young Man (as if bonae voluntatis. Come love, come lust, First Blues Singer Choir reading) Laudamus te, It’s so easy when you just Confiteor… … miserere nobis, suscipe Dear Mom and Dad … Adoramus te, don’t care. I confess… deprecationem nostram … Do not feel badly or worry about Benedicimus te. … have mercy upon us, me. Nothing will make me Third Rock Singer Celebrant Glorificamus te. Receive our prayer … change. Try to understand: I am What I need I don’t have God forgive you. Gratias agimus tibi propter now a man. What I have I don’t own magnam gloriam tuam: Street Chorus and Band All Celebrant What I own I don’t want Domine Deus, Rex caelestis. —you and your youth and your God forgive us all. You can lock up the bold men What I want Lord, I don’t know. Deus Pater omnipotens. mind? Go and lock up your bold men Domine Fili unigenite, Nowhere, Nowhere, Nowhere. Celebrant And hold men in tow, Third Blues Singer Jesu Christe; Half of the people are stoned God be with you. You can stifle all adventure If you ask me to sing you verse Domine Deus, Agnus Dei, And the other half are waiting For a century or so. that’s versatile All Filius Patris; for the next election— Smother hope before it’s risen I’ll be glad to beguile you And with your spirit. Qui tollis peccata mundi, 4. Trope: “Thank You” Watch it wizen like a gourd, For a while miserere nobis; Celebrant But you cannot imprison But don’t look for content suscipe deprecationem nostram; Soprano Solo Let us pray. The Word of the Lord. beneath the style Qui sedes ad dexteram Patris, There once were days so bright Sit back and smile. miserere nobis. And nights when every cricket Celebrant and Chorus It’s easy for you to dig my V. MEDITATION NO. 1 Quoniam tu solus Sanctus, call seemed right No, you cannot imprison jim‑jam jive, Tu solus Dominus, And I sang Gloria The Word of the Lord. And, baby, please observe (orchestra) Tu solus Altissimus: Then I sang Gratias Deo how neatly I survive. Jesu Christe, I knew a glorious feeling Celebrant And what could give VI. GLORIA Cum Sancto Spiritu: in gloria of thank you and … For the Word More positive Dei Patris, Amen. Thank you … For the Word was at the birth The bend of a willow of the beginning Plain proof that living is easy Glory to God in the highest 1. Gloria Tibi A friend and a pillow It made the heavens and the when you’re half alive. And on earth peace to men of Celebrant A lover whose eyes earth and set them spinning, All Three Rock Singers good will. Gloria tibi, Gloria tibi, Could mirror my cries of Gloria … And for several million years If I could I’d confess … We praise Thee, Gloria! And now, it’s strange It’s withstood all our forums We adore Thee, All Three Blues Singers Glory to You, Glory to You Somehow, though nothing much and fine ideas. Easy … Glory! Libretto continued

It’s been rough It’s been tough, All Street Chorus Preacher It’s been rough but it appears It’s been tough, and yet it seems And it was good, brother. And it was good! (etc.) God said: Let there be light. to be winning! to be growing! And there was light. Preacher Second Solo and Street Chorus There are people who doubt it O you people of power, And it was good, brother. God said take charge of my zoo Street Chorus There are people who doubt it and O you people of power, your hour I made these creatures for you; God said: Let there be night. shout it out loud, is now. All So he won’t mind if we And there was night. Oh, they bellow and they bluster You may plan to rule forever, And it was goddam good! Wipe out a species or two. ‘til they muster up a crowd. but you never do somehow. Preacher Preacher They can fashion a rebuttal that’s So we wait in silent treason All God said: Let there be day. God said: Let there be gnats as subtle as a sword, until reason is restored and we And it was good! And there was day … Let there be sprats … But they’re never gonna scuttle wait for the season of the Street Chorus Street Chorus the Word of the Lord. Word of the Lord. Street Chorus And it was good! (etc.) … day to follow the night. Celebrant and Chorus We await the season of the Word … sprats to gobble the gnats No, they’re never gonna scuttle of the Lord. So that the sprats … Third Solo and Street Chorus Preacher the Word of the Lord! We wait … we wait for the Word God said to spread His commands And it was good, brother! of the Lord … Preacher To folks in faraway lands; Another Man (as if reading) … sprats may nourish the rats, They may not want us there, Street Chorus Dear Brothers: … I think that God And it was good, brother! Making them fat … But man it’s out of our hands. has made us apostles the most IX. GOSPEL- Preacher abject of mankind. We hunger Street Chorus All And it was good brother! and thirst, we are naked, we are SERMON: “God Said” … fat, fine food for the cats. And it was good! roughly handled, and we have no All Preacher Preacher Street Chorus fixed abode … And it was … God said: Let there be light. And they grew fat, brother. And it was good! (etc.) They curse us and we bless. And there was light. They persecute us and we suffer All Fourth Solo and Street Chorus it … Street Chorus And they grew fat, brother. God said that sex should repulse X. CREDO They treat us as the scum of the God said: Let there be night. Unless it leads to results; Preacher Celebrant earth, the dregs of humanity, to And there was night. And so we crowd the world All but the gnats, brother. I believe in one God, the Father this very day. Full of consenting adults. Preacher Almighty, maker of heaven and A Woman (as if reading) All God said: Let there be day. earth, and of all things visible Dear Folks: Jim looked very well They all grew fearful fat. All And there was day … And it was good! and invisible. And in one Lord on my first visit. With his head Preacher Street Chorus … (etc.) clean-shaven, he looked about And God saw it was good. Street Chorus 19 years old. He says the prison … day to follow the night. And it was good! (etc.) 1. Credo in unum Deum food is very good. For the first Street Chorus Preacher Tape few days he’s not allowed any God made it be good. Fifth Solo and Street Chorus And it was good, brother. Chorus and percussion books except his Bible. When I God said it’s good to be meek Preacher Credo in unum Deum, hugged him he smelled so good, All And so we are once a week; Created it good. Patrem omnipotentem, a smell of plain clean soap; like a It may not mean a lot And it was good, brother. Factorem caeli et terrae, child when you put him to bed. Street Chorus But oh, it’s terribly chic. Preacher Visibilium omnium et invisibilum. Created the gnats … Celebrant And it was good, brother. All Et in unum Dominum Jesum All you big men of merit, Preacher And it was good! Christum, Filium Dei unigenitum. all you big men of merit All Et ex Patre natum ante omnia … gnats to nourish the sprats … Street Chorus who ferret out flaws, And it was goddam good. saecula. you rely on our compliance Street Chorus And it was good! (etc.) Preacher Deum de Deo, lumen de lumine, with your science and your laws. … sprats to nurture the rats God said: Let there be storms Preacher and Street Chorus Deum verum de Deo vero. Genitum, non factum, Find a freedom to demolish Storms to bring life … Preacher God made us the boss consubstantialem Patri: while you polish some award, And all for us big fat cats. God gave us the cross but you cannot abolish the Word Street Chorus We turned it into a sword Per quem Omnia facta sunt. of the Lord. … life in all of its forms, All To spread the Word of the Lord Qui propter nos homines et Forms such as herds … Us cats! Ow! We use His holy decrees propter nostram salutem Celebrant and Chorus To do whatever we please. descendit de caelis. No, you cannot abolish Preacher Street Chorus Et incarnatus est de Spiritu … herds and gaggles and The Word of the Lord. And it was good, and it was good, Street Chorus Sancto swarms And it was good, and it was good. Yeah! Ex Maria Virgine: et homo Celebrant Swarms that have names … For the Word, First Solo and Street Chorus Preacher factus est. for the Word created mud and Street Chorus God said it’s good to be poor, And it was good! I believe in one God, got it going. … names and numbers and Good men must not be secure; the Father Almighty, Street Chorus It filled our empty brains with norms. So if we steal from you, Maker of heaven and earth, Yeah! blood and set it flowing It’s just to help you stay pure. And of all things visible and Preacher And for thousands of regimes invisible. And it was good, brother. All All It’s endured all our follies and And in one Lord Jesus Christ, And it was good! And it was good, Yeah! fancy schemes. And it was goddam good! the only-begotten Son of God. Born of the Father before all ages. Solo Oh don’t you worry— Qui cum Patre, et Filio simul Is there someone out there? God of God, light of light, You knew what you had to do I could even learn to play the harp adoratur, et conglorificatur: If there is, then who? true God of true God; You knew why you had to die You know it Qui locutus est per Prophetas. Are you listening to this song Begotten, not made, of one You chose to die, and then Show it Et unam sanctam catholicam et I’m singing just for you? essence with the Father: revive again Hurry apostolicam Ecclesiam. I believe my singing. Through whom all things You chose, you rose Hurry and come again. Confiteor unum baptisma in Do you believe it too? were made. Alive again remissionem peccatorum. I believe each note I sing Who for us men, and for our But I Tape (interrupting) Et exspecto resurrectionem But is it getting through? salvation, came down from I don’t know why Sedet ad dexteram mortuorum, I believe in F sharp. heaven. I should live Patris. Et vitam venturi saeculi. I believe in G. And was incarnate by the Holy If only to die Et iterum venturus est cum gloria Amen. But does it mean a thing to you Spirit of the Virgin Mary: and was Well, I’m not gonna buy it! judicare vivos et mortuos: Or should I change my key? Cujus regni non erit finis— I believe also in the Holy Spirit, made man. Lord and life-giver: How do you like A-flat? Male Group He is seated at the right hand of Do you believe in C?— 2. Trope: Non Credo Possibly yes, probably no … Who proceeds from the the Father. Father and the Son. First Solo He will come again with glory Choir Solo Who together with the Father, Crucifixus etiam pro nobis— Et homo factus est I’ll never say credo. to judge the living and the dead: and the Son is adored, He was also crucified for our And was made man … How can anybody say credo? Whose reign will be without and glorified: sake— And you became a man I want to say cr … end— Who spoke through the prophets. You, God, chose to become a man And I believe in one holy, catholic Solo Tape 4. Trope: “World without To pay the earth a small social call and apostolic Church. Do you believe in anything Crucifixus etiam pro nobis End” I tell you, sir, you never were I acknowledge one baptism for That has to do with me? sub Pontio Pilato, A man at all Street Chorus the remission of sins. Passus, et sepultus est. Street Chorus Why? Non erit finis … And I await the resurrection of Et resurrexit tertia die, I believe in God, You had the choice when to live World without end … the dead, secundum Scripturas. But does God believe in me? When And the life in the world to come. Et ascendit in caelum: I’ll believe in thirty gods To die Third Solo Amen. Sedet ad dexteram Patris. If they’ll believe in me. And then Whispers of living, echoes Et iterum venturus est That’s a pact. Shake on that. Become a God again. of warning First Solo cum gloria You chose … You rose … No taking back. Phantoms of laughter on the Male Group judicare vivos et mortuos. A man! … A man! … You chose! edges of morning Solo And was made man … … You rose! He was crucified also for us World without end spins I’ll believe in sugar and spice, under Pontius Pilate, Solo endlessly on Second Solo I’ll believe in everything nice; He suffered and was buried. And then a plaster god like you Only the men who lived here Hurry and come again … I’ll believe in you and you and you And the third day He rose again Has the gall to tell me what to do are gone Bags packed, wings sewn, And who… according to the Scriptures. To become a man Gone on a permanent vacation Hurry! … Hurry! … Who’ll believe in me? And He ascended into heaven: To show my respect on my knees Gone to await the next creation. And is seated at the right hand of Third Solo Celebrant Go genuflect, but don’t expect World without end at the end the Father. And He will come again World without end, Let us pray. guarantees of the world with glory to judge the living and end of the world! LET US PRAY! Oh Lord, don’t you know it’s the the dead. End of the world! Just play it dumb end of the world? Lord, don’t you care? Play it blind Lord, don’t you care if it all 3. Trope: “Hurry” Lord, don’t you care? XI. MEDITATION NO. 3 But when I go ends today? Second Solo Then Sometimes I’d swear that (De Profundis, part 1) You said you’d come again 5. Trope: “I Believe in God” Will I become a God again? you planned it this way … When? Tape Dark are the cities, Fourth Solo Male Group When things got really rough De profundis clamavi ad te, dead is the ocean Amen! Amen! Amen! (etc.) Possibly yes, probably no… So you made us all suffer Domine; Silent and sickly are the While they got a bit rougher Solo Domine, audi vocem meam! remnants of motion Solo Tougher and tougher I believe in God, Fiant aures tuae intentae World without end turns Yes, probably no. Well, things are tough enough. But does God believe in me? Ad vocem obsecrationis meae. Give me a choice mindlessly round I’ll believe in any god Si delictorum memoriam servaveris, I never had a choice So when’s your next appearance Never a sentry, never a sound on the scene? If any god there be. Domine, Domine, quis sustinebit? Or I would have been No one to prophesy disaster That’s a pact. Shake on that. Sed penes te est peccatorum venia, a simple tree I’m ready No one to help it happen faster Hurry No taking back. Ut cum reverentia serviatur tibi. A barnacle in a silent sea No one to expedite the fall I believe in one God, Spero in Dominum; Anything but what I must be Went to church for clearance On one to soil the breeze and I’m clean But then I believe in three. Sperat anima mea in verbum eius. A man No one to oil the seas I’ll believe in twenty gods Spero! Sperat! A man And steady No one to anything Hurry If they’ll believe in me. From the depths I cried to you, A man! No one to anything That’s a pact. Shake on that. While I’m waiting I can get No one to anything at all… O Lord; Male Group my bags packed No taking back. Lord, hear my voice! Possibly yes, probably no … Flags flown Tape Who created my life? Let your ears be attentive to the Shoes blacked Et in spiritum Sanctum, Made it come to be? prayer of your servant. Wings sewn Dominum et vivificantem: Who accepts this awful The voice of my complaint. On … Qui ex Patre Filio que procedit. Responsibility? Libretto continued

If you, O Lord, remember only 2. Trope: “I Go On” Mi sol Have mercy, have mercy on us! Celebrant our iniquities, When the thunder rumbles Means a song is beginning Have mercy, have mercy on us! Let us pray! Lord, Lord, who can survive it? Now the Age of Gold is dead Is beginning to grow But in your hands is the Take wing, and rise up singing All Soloists and Street Chorus Choir (Women) And the dreams we’ve clung Agnus Dei, qui tollis peccata mundi. forgiveness of sins, to dying to stay young From me and my soul. Agnus Dei, Agnus Dei, qui tollis peccata mundi That you may be served Have left us parched and Kadosh! Kadosh! Kadosh! Mm … Choir (Men) Agnus Dei; in reverence. old instead … Holy! Holy! Holy! Mm … Miserere nobis. I trust in the Lord; When my courage crumbles Agnus Dei, qui tollis peccata mundi Celebrant My soul trusts in His word. When I feel confused and frail Choir Miserere, Miserere nobis! Non sum dignus, Domine. I trust! You trust! When my spirit falters on Kadosh, Kadosh, Kadosh Miserere, Miserere nobis! Adonai ts’va-ot Agnus Dei, I am not worthy, Lord. Celebrant decaying altars M’Lo chol ha-aretz k’vodo Agnus Dei, qui tollis peccata mundi; Memento, Domine – And my illusions fail, Choir (Women) Holy! Holy! Holy! Dona nobis pacem! Remember, O Lord, Thy I go on right then. Agnus Dei, qui tollis peccata Lord God of Hosts. Dona nobis pacem! servants and handmaids … I go on again. mundi All the heavens and earth are Pacem! Pacem! and all here present, whose I go on to say full of His glory. Give us peace! Choir (Men) faith is known to Thee, and for I will celebrate another day … Give us peace! Miserere nobis! whom we offer up this sacrifice. I go on … (With Street Chorus) Peace! Peace! We beseech Thee in the Singing: Holy, Holy, Holy Celebrant If tomorrow tumbles Lord God of Hosts. fellowship of communion, (The Celebrant grasps the I am not worthy, Lord. And everything I love is gone All the heavens and earth graciously to accept it and to Monstrance and elevates it.) I will face regret Are full of His glory. Choir (Women) grant peace to our days. All my days, and yet Celebrant Agnus Dei, qui tollis peccata I will still go on … on … Trio Hoc est enim corpus meum! mundi! Lauda, Lauda, Laude Kadosh, Kadosh, Kadosh XII. OFFERTORY This is my Body! Lauda, Laude di da di day … Adonai ts’va-ot Choir (Men) (De Profundis, part 2) M’Lo chol ha-aretz k’vodo Street Chorus (Men) Dona nobis pacem! Holy, Holy, Holy Children’s Choir Dona … nobis … pacem … XIV. SANCTUS Lord God of Hosts. Celebrant Exspectat anima mea Dominum Give … us … peace … All the heavens and earth are Corpus! … Magis quam custodes Celebrant full of His glory. Celebrant Body! auroram Holy! Hic est enim Calix Sanguinis Mei! Calix! Choir Exspectet Israel Dominum, Holy! This is the Chalice of My Blood! Chalice! Quia penes Dominum Holy is the Lord God of Hosts! Baruch ha’ba Misericordia et copiosa penes Heaven and earth are full of B’shem Adonai Street Chorus Choir eum redemptio: Thy glory! B’shem Adonai! Dona … nobis … pacem … Pacem! Pacem! Et ipse redimet Israel ex Blessed is he who comes Dona nobis pacem! Children’s Choir In the name of the Lord Celebrant omnibus iniquitatibus eius. Sanctus, Sanctus, Sanctus Celebrant In the name of the Lord! Hostiam puram! Gloria Patri. Dominus Deus Sabaoth. Pure offering! Panem! My soul waits for the Lord Holy, Holy, Holy All Voices Bread! More than they who wait for the Lord God of Hosts. Sanctus! Street Chorus (Women) Choir morning watch. Sanctus! Dona nobis pacem— Pleni sunt coeli et terra Dona pacem! Pacem! Let Israel wait for the Lord, Holy! Gloria tuae. Celebrant Dona nobis pacem! For with the Lord is compassion Heaven and earth are full of Holy! Hostiam sanctam … And with Him is plentiful redemption: Thy glory. Holy offering … Choir And He will redeem Israel from all Dona nobis, nobis pacem, Osanna, Osanna, Osanna! its iniquities. XV. AGNUS DEI Street Chorus (Women) Pacem dona, dona nobis, Hosanna, Hosanna, Hosanna! Glory to the Father. Dona nobis pacem— Nobis pacem, pacem dona Four Male Soloists Dona nobis, nobis pacem, Children’s Choir Agnus Dei, Celebrant Pacem dona, dona nobis … XIII. THE LORD’S Benedictus qui venit in Agnus Dei, Hostiam immaculatam … nomine Domini. qui tollis peccata mundi, Immaculate offering … Nobis pacem, pacem dona, PRAYER Blessed is he who comes in the Agnus Dei; Dona nobis, nobis pacem, Street Chorus (Men) name of the Lord. Agnus Dei, Pacem dona, dona nobis, Dona nobis pacem— 1. Our Father … Osanna, Osanna, qui tollis peccata mundi Nobis pacem, pacem dona, Celebrant Osanna in excelsis! Street Chorus (Women) Dona nobis, nobis pacem. A few more Male Soloists Our Father, who art in heaven Osanna in excelsis! Pacem— Give us peace, give peace to Miserere, miserere nobis! Hallowed by Thy name. Hosanna, Hosanna, Hosanna in us … Street Chorus Thy kingdom come the Highest! A few more Male Soloists Pacem! Pacem! Tenor Solo Thy will be done, Hosanna in the Highest! Miserere, miserere nobis! on earth as it is in heaven. We’re not down on our knees, Celebrant Lamb of God, Street Chorus plus Choir Give us this day our daily bread We’re not praying, Mi … Mi … Lamb of God, who takest Agnus Dei, And forgive us our trespasses We’re not asking you please, Mi alone is only mi. away the sins of the world Agnus Dei, qui tollis peccata mundi As we forgive those We’re just saying: But mi with sol Lamb of God; Dona nobis pacem! who trespass against us. Me with soul Lamb of God, who takest Dona nobis pacem! And lead us not into temptation. away the sins of the world Pacem! Pacem! But deliver us from evil. Amen. Two others join him How easily things get broken. Shh … Come love, come lust, Bass Solo and Boy Soprano Give us peace now How easily things get broken. Shh … It’s so easy if you just Lauda, Lauda, Laudate … and peace to hold on to Glass – and brown wine— Pray, pray … you sons of men Don’t care— And God give us some reason Thick – like blood … Don’t let … him die again. Lord, don’t you care … First Couple (Soprano and Tenor) in canon to want to Rich – like honey and blood … Stay, oh stay … … if it all ends today … Dona nobis, Dona nobis. Lauda, Laude … Hey – don’t you find that funny? Domine … … profundis clamavi Lauda, Lauda, Lauda, Laude. Street Chorus (Men) I mean, it’s supposed to be Stay … Clamavi ad te, Lauda, Lauda, Laudate Deum. You worked six days and rested blood … Why are you waiting? Domine, ad Dominum, Lauda, Lauda, Laudate Eum. on Sunday. I mean, it is blood … His … Just go on without me Ad Dom … Laude Deum, Laudate Eum. We can tear the whole mess It was … Stop waiting … A-donai – don’t know— down in one day. How easily things get broken … What is there about me I don’t no – bis … Street Singers and Chorus join Give us peace now and we What are you staring at? That you’ve been respecting Miserere nobis … in gradually don’t mean later. Haven’t you ever seen an And what have you all been Pax tecum! Mi-se … mi … Peace be with you! Don’t forget you were once accident before? Expecting to see? Mi alone is only me … our creator! Come on, come on, admit it, Take a look, there is nothing But mi with so … Boy Soprano and Celebrant Dona nobis, Dona nobis. Confess it was fun— But me under this, Me with s … mi … Lauda, etc. Wasn’t it? There is nothing you’ll miss! Street Chorus (Men and a few Oh, I suddenly feel every step All Voices, Including Stage You know it was exciting Put it on, and you’ll see Women) I’ve ever taken, Instrumentalists To see what I’ve done. Any one of you can be We’ve got quarrels and And my legs are lead Almighty Father, incline thine ear: Any one of me! qualms and such questions, Come on, you know you loved it. And I suddenly see every hand Bless us and all those who have Give us answers, not psalms You’re dying for more. What? I’ve ever shaken, gathered here— and suggestions. Wasn’t it smashing Are you still waiting? And my arms are dead thine angel send us— Two others join them To see it all come crashing Still waiting for me, I feel every psalm that I’ve Who shall defend us all; Give us peace that we don’t Right down to the floor! Me alone, ever sung And fill with grace keep on breaking, Right! To sing you into heaven? Turn to wormwood, All who dwell in this place. Amen. Give us something or we’ll just You were right, little brothers, Well, you’re on your own. wormwood on my tongue. Voice on Tape start taking! You were right all along. Come on, say it, And I wonder, The Mass is ended; go in Peace. Dona nobis, Dona nobis. Little brothers and sisters, What has happened to Oh, I wonder, It was I who was wrong— All of your vocal powers? Was I ever really young? Street Chorus So earnest, so solemn, Sing it, pray it. It’s odd how all my body trembles, We’re fed up with your As stiff as a column. Where’s that mumbo and jumbo Like all this mass The text from MASS by Leonard heavenly silence, I’ve heard for hours? Of glass on the floor. And we only get action with violence, “Lauda, Lauda, Laude.” Bernstein includes the liturgy of Little brothers and sisters, Praying and pouting, How fine it would be to rest the Roman Mass, with additional So if we can’t have the world my head, we desire, You were right all along! Braying and shouting litanies, text by Stephen Schwartz and It’s got to be exciting, Chanting epistles, And lay me down, Leonard Bernstein, and is Lord, we’ll have to set this one Down in the wine, on fire! It’s got to be strong. Bouncing your missals reproduced by permission of On your knees … Which never was really red. Hal Leonard Australia, exclusive Dona nobis, Dona nobis. Come on! Come on and join me, But sort of – brown … (Four times) Come join in the fun: Go on whining, agent for Boosey & Hawkes And let not – another word— Music Publishers Ltd of London. Shatter and splatter Pining, moaning, intoning, Be spoken … Groaning obscenities! Pitcher and platter … Oh … XVI. FRACTION: What do we care? Why have you stopped praying? “Things Get Broken” We won’t be there! Stopped your Kyrieing? … How easily things get broken. What does it matter? Where is your crying and Celebrant What does it … complaining? XVII. PAX: PA … CEM! … matter … Where is your lying and profaning? COMMUNION PA … CEM!! Where is your agony? PA … CEM!!! Our Father, who art in Heaven, Where is your malady? (“Secret Songs”) PEACE!!! Haven’t you ever seen an Where is your parody Boy Soprano accident before? Of God – said— Sing God a secret song Celebrant Listen … Isn’t that – odd … Let there be and there was Lauda, Laude … Look … Isn’t that – odd … We can – be – so still … God said: Lauda, Lauda, Laude. Red wine – isn’t red – at all … so still and – numb … Let there Beatam Mariam Lauda, Lauda, Laudate. It’s sort of – brown … How easily things get quiet. semper Virginem, Praise, praise … brown and blue … Quiet … God is very ill … Beatam miss the Gloria, I never noticed that. We must … all be very still … Laude Deum, What are you staring at? I don’t sing Gratias Laudate Eum. His voice … has grown so small, Agimus tibi propter magnam Haven’t you ever seen an Almost … not there at all … Praise God, accident before? Gloriam tu – am – en … Praise Him. Don’t you cry … Amen. Amen. Look … Isn’t that – odd … Lullaby … Bass Solo I’m in a hurry— Glass shines – brighter— Sleep … Lauda, Laude, And come again. When it’s – broken … Sleep … Lauda, Laude, When? I never noticed that. Laude Deum, You said you’d come … Laude Eum … Supporters

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This performance of MASS by Leonard Bernstein is given by permission of Hal Leonard Australia Pty Ltd, exclusive agent for Boosey & Hawkes Music Publishers Ltd of London. Centenary Line Drawing – Johnny Spiller, commissioned by the Sydney Conservatorium of Music. Sydney Conservatorium of Music Stay tuned with the What’s on Sydney Conservatorium of Music at the Con eNewsletter to hear The University of Sydney more about our 2015 Centenary Cnr Bridge & Macquarie Street program. Sign up here: Sydney NSW 2000 music.sydney.edu.au/enews T +61 2 9351 1222 E [email protected] music.sydney.edu.au

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