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andrew schultz ❘ gordon kalton williams Journey to Horseshoe Bend John Stanton Rodney Macann Aaron Pedersen David Bruce a cantata based on the novel by TGH Strehlow The Ntaria Ladies Choir Sydney Philharmonia Motet Choir Sydney Symphony David Porcelijn ANDREW SCHULTZ b. 1960 / GORDON KALTON WILLIAMS b. 1956 Journey to Horseshoe Bend – cantata for actors, singers, choruses and orchestra (based on the novel by T.G.H. Strehlow)

Hermannsburg 1 Scene 1 10’51 2 Scene 2 6’27 Journey to Horseshoe Bend 3 Scene 3 5’02 Idracowra 4 Scene 4 8’52 5 Scene 5 4’22

Horseshoe Bend The musical symbolism, 6 Scene 6 7’44 7 Scene 7 2’23 like the words of an 8 Scene 8 9’24 Total Playing Time 55’10 Aboriginal language, David Porcelijn conductor is polysemous – Sydney Symphony John Stanton speaking part Aaron Pedersen speaking part many-meaning. Rodney Macann bass-baritone David Bruce boy soprano (Sydney Children’s Choir, Artistic Director: Lyn Williams) Ntaria Ladies Choir (Chorusmaster: David Roennfeldt) Sydney Philharmonia Motet Choir (Musical Director: Brett Weymark)

2 3 T.G.H. Strehlow’s autobiographical novel Journey urumbalak’ ingkata (headman of ceremonial European classical repertoire, allowing the music Constable Wurmbrand off the mission property. to Horseshoe Bend tells of the mortally-ill Carl festivals). He had written his massive study of to portray a once-forbidding landscape as ‘home’. You don’t need to be told how Njitiaka upbraided Strehlow’s desperate 12-day journey down the Central Australian chant Songs of Central And Journey to Horseshoe Bend ends, Theo for using the ‘wrong’ word for moon. You dry bed of the Finke River, Central Australia, to Australia, at the same time translating the New as cantatas did, with a hymn expressing see and hear him do it. reach the Adelaide-bound train at Oodnadatta in Testament into Aranda in collaboration with understanding of the day’s message. (‘This land is The libretto, novelly, makes use of the three 1922. It tells of Strehlow’s death at the hotel at Nathanael Rauwiraka, Moses Tjalkabota, Conrad from Altjira’ marries English and Aranda, and is languages of the Hermannsburg region – Bible Horseshoe Bend; of Theo (T.G.H. Strehlow), Raberaba and others. Journey to Horseshoe one of two original chorale melodies in the piece.) passages in Luther’s German, Strehlow’s own Carl’s newly confirmed 14-year-old son travelling Bend, the novel, dating from 1969, has been We were tempted to make this piece a full- words at nodal points. The Aranda acknowledges behind his parents through pastoral properties seen as an attempt by T.G.H. Strehlow to centre blown opera. There is an element of theatre in the dialectical differences of the region reflected and totemic landscapes with their Aboriginal himself in Aranda culture and provide authority Andrew’s orchestral layout. Winds and brass in their different spellings – Western Arrarnta friends; and of Theo’s awakening to the storied for his life’s work, as a newly politicised form parallel ridges on either side of a lower (at Hermannsburg) and Southern Arrernte (as landscape as his father struggles with the Christian generation of indigenous Australians rose to plain of strings, marimba and organ, rather like spoken by Njitiaka). It is a matter of some pride faith which has sustained him for 28 years as prominence in their own affairs. This journey, the cliff walls of the Finke Gorge abutting its that we seem to have got the unique mix of superintendent at Hermannsburg Mission. though, begins and ends in 1922. It is a story of the promise of two cultures intermixing – watercourse. Percussion at four points denotes, Hermannsburg beliefs right. Andrew’s use of Early in the novel, Pastor Strehlow is brought Strehlow interweaves Bible stories and pastoral amongst other things, distant sites in the percussion reflects a response to the landscape from his house for the last time. As he is lifted history with the traditional Aboriginal mythology ranges. There is clearly a nod to Baroque as well as the emotional course of the piece: into the buggy that will take him down the behind the country through which he and influence in the antiphonal layout of facing corrugated iron (hail and rain), small bells Finke, the mission people burst into song: the Njitiaka travelled. The promise is not entirely ridges, but more so in the presence of a sort of (donkeys), sizzle cymbals with brushes (wind- great Lutheran hymn ‘Wachet auf’ (Sleepers, unfulfilled. Aranda people at Hermannsburg concertino group amongst the strings in the carried desert sounds, or crunching through wake!) or ‘Kaarrerrai worlamparinyai’, as it is practise a unique blend of European and Aranda middle. The ridge-based music often rises up as gravel), and Peking opera gongs (the overland known in Strehlow’s translation. This chorale culture; they call it Two Ways. if in prayer, and the layout of the orchestra is telegraph). There are no didjeridus. They’re not was harmonised by J.S. Bach, and used by him somewhat like a chancel. The solo trumpet traditional to Central Australia. Our work therefore tells this story as a cantata, in Cantata No. 140. This was the scene I used to almost becomes Carl’s doppelgänger. Like the that form of unstaged mini-opera that the Journey to Horseshoe Bend, the novel, ends in a hook Symphony Australia and the Sydney words of an Aboriginal language, the musical Lutheran Bach wrote to illustrate the scriptural knot of symbolic events. Pastor Strehlow dies, Symphony into this project in 1999. What more symbolism is polysemous – many-meaning. theme of Sunday church services mostly in the but storm clouds open over the land of fire and appropriate vignette could there be linking 1720s during his time at St Thomas’ Church the country is drenched in a downpour of European repertoire with Australia? Here in the I have turned the straightforward prose of Leipzig. Andrew Schultz threads ‘Wachet auf’ rejuvenating rain. The thinning of the book bears heart of Australia, Aranda people (to use Strehlow’s novel into scenes and dialogue. through the score, using it as source for an fruit in the ability of the libretto to make clearer Strehlow’s orthography) were singing Bach. Characters step off the page. Carl Strehlow is a almost-symphonic development of music. bass-baritone, a Wotan or a Boris. The audience symbolic correspondences in the text. Academic Towards the end of his career, T.G.H., by then ‘Wachet auf’ contains melodic figures and does not need to be told how he stood up to a John Morton once commented on the novel’s Professor, Strehlow described himself as an cadential formulas familiar from other Western Kukatja revenge party or kicked Mounted paradoxical portrayal of life-through-

4 5 extinguishment. Our intention is, like Strehlow’s, retrace the 1922 route of the Strehlows in a Characters T.G.H. unequivocally life-affirming. At first glance it may helicopter in 2001 and to the Sydney Symphony T.G.H. (T.G.H. Strehlow): John Stanton It was 28 years since that October day when my father seem strange that Andrew sets the joyous for the extra logistical work involved in bringing Carl (the Rev. Carl Strehlow): Rodney Macann had arrived to rebuild the derelict Hermannsburg expression of Strehlow’s translation of the Song down performers from the remote Northern Njitiaka: Aaron Pedersen mission community. Now he was leaving. Theo (the young T.G.H., son of Carl): David Bruce of Mborawatna to a chorale fugue, but it is an Territory. NTARIA LADIES CHOIR expression of the thoroughness with which we …tell us all about God, ‘bout Jesus… Australian practitioners of classical music are The Ntaria Ladies Choir see European-derived musical language telling a often dealing with a culture rooted far from our Sydney Philharmonia Motet Choir, covering the characters T.G.H. story of these figures in this landscape. of Frieda, Pastoralists, Mrs Elliott, Men at The Bend life and experiences here, but here is a work He had to seek medical aid in Adelaide. and Gus Elliott In T.G.H. Strehlow’s (and our) hands, Journey to which speaks not only to this country but to its ‘We can’t send you a car,’ said Reverend Stolz. ‘Place Horseshoe Bend is an artistic retelling. But reachable history. In October 1922, Pastor Carl HERMANNSBURG your trust in God.’ (Carl’s chair is brought out.) And both the buggy and the van would have to be got aspects of it are a matter of reminiscence and Strehlow had wanted to go back to the country Scene 1: DAY. T.G.H., 60, speaks from his hospital bed. ready for the 380 mile journey south to Oodnadatta. family lore up north. Doug Abbott still chuckles of his birth, to Germany, but how much more over the way his great-grandfather Njitiaka told appropriate, said his son, T.G.H., that his body T.G.H. NTARIA LADIES CHOIR 1 It was only after I had suffered my own life- Theo off for using the Western Arrarnta word should lie at Horseshoe Bend ‘in open country That Strehlow…was important bloke…came threatening illness that I felt I could tell my father’s story for moon in Southern Arrernte country unconfined by cemetery walls yet sheltered by here…long time ago…long time ago…we been sit and of his last journey down the Finke. (a scrupulousness about language still evident in the windbreak ridge of the ntjira sisters of down here…longa his church… Doug’s corrections of Njitiaka’s dialogue, most of Pot’Arugutja’. A culture came from Europe and Early morning sun. Light gradually floods the scene. NTARIA LADIES CHOIR which I had drafted in Eastern Arrernte). Leo was grounded in Central Australia. THEO, 14, enters from the north. (Wachet auf) [1st verse] Murphy shows you a 300ft sandhill on his Kaarrerrai worlamparinyai! Jesula nurnanha ntangkama. Gordon Kalton Williams NTARIA LADIES CHOIR property and commiserates with ‘those poor (Whispered voices) Kaarrerrai, Jesuka worlai! people’ who had to travel in the heat of October That Strehlow…he was pretty important fella… Ingwa mpopa namanga, Ingkarta nurnaka pitjima: through that incredibly hard country, and the We call him ingkata…that name for ceremonial boss. Nthanha wonka inangkarlai? Morphetts take the occasional modern-day Kapa rrakangkarra Lyarta inarrirrai! Halleluja! T.G.H. visitor to see Strehlow’s grave out behind their Ekurarna arrangkarra Rlarrakurlarra lhitjika! Tuesday, the tenth day of October, 1922. house at Horseshoe Bend. Importantly, in the Lalkintinerama was lit up by the subdued glow Wake, awake, for night is flying, first performance, members of the Ntaria Ladies of the sun, and 25 miles to the north west The watchmen on the heights are crying: Choir took part in a story that involved many of rugged Rutjubma towered up in unearthly beauty. Awake, Jerusalem, arise! their families. Some of them are descendants of Midnight hears the welcome voices, the people who farewelled Pastor Strehlow on NTARIA LADIES CHOIR And at the thrilling cry rejoices: that October day in 1922. Members of the That Strehlow was here…long time ago… O where are you, ye virgins wise? when we was kids… Strehlow family sat in our audience. We are The bridegroom comes, awake! grateful to Symphony Australia for enabling us to

6 7 Our lamps with gladness take. THEO T.G.H. THEO Hallelujah! I am a white boy. Like the rockplates of Pmolangkinja my father had Fish snap at the dragonflies… With bridal care I am my father’s son. seemed immovable and indestructible. The buggy and NJITIAKA Ourselves prepare van set off. NJITIAKA You finish up eating now. To meet the bridegroom, who is near. You belong Aranda people. CARL THEO T.G.H. I stand strong. THEO …who flit to the shelter… Most of the people had begun to sob long before the Frieda I’ve been I play with your sons. end of the hymn had been reached. Christ’s parable A good and faithful NJITIAKA of judgement had come to seem like a prophecy of NJITIAKA Servant of God. Long way comin’ up. doom. My parents had prayed unceasingly for days: You one of us. I served my flock; THEO ‘Vater unser…’ I denied myself. …of the bulrushes swaying… THEO I longed to see (CARL, 52, is carried in from the north and placed in I am the pastor’s son. The Rain Song of Kaporilja NJITIAKA his chair.) I play… The Wind Verses of Ankota; Kwatye mwerre nhanhe. Good water here. CHORUS NJITIAKA But I stand strong. I will not crumble. THEO ‘Vater unser, Geheiligt werde dein Name; Dein Reich You belong that totem Twins of Ntarea. I withstand. …at the water’s edge. komme; So geschehe dein Wille, Wie im Himmel THEO I will not break down. So auch auf Erden, Unser tägliches Brot gib uns NJITIAKA …near the waters of Ntarea. I endure. heute; und…’ Fill up the billy can. Theo, I longed NJITIAKA T.G.H. To see these songs, THEO We take your daddy south. All our belongings were packed in a van – we were to But stopped myself. I, like the great crayfish man… return to a home in Germany I’d never known. THEO I serve my Father, NJITIAKA My father, so ill, travelled with my mother in the Goodbye Mt Sonder, Hermannsburg, Range of Doom. Almighty God… Drink it later. buggy driven by Hesekiel and I was to travel in the NJITIAKA NJITIAKA van with Njitiaka. THEO (pointing it out) Pmokoputa. Then you can come back to us. …Iltjanmalitnjaka – NJITIAKA steps forward. (pointing it out) Alitera. THEO Break through the gorge and see (announcing) Irbmangkara. NJITIAKA And then come back – ? Table mountains at last. T.G.H. Theo, this your place. CHORUS WOMEN (‘FRIEDA’) NJITIAKA Irbmangkara! the curlews of Great Wind Creek had ‘Und… T.G.H. To us. fled wailing here after one of their brothers had been ‘You are not just a white boy, you are one of us.’ CARL moves forward and THEO joins him. stamped back into the ground by the angry magpie of NJITIAKA, THEO and CARL move to the next point. Owen Springs. Like so many Edens, Irbmangkara had known its fair share of cruelty.

8 9 Scene 2 You’n your missus CHORUS T.G.H. Had best leave them here. ‘Intalelintjamea-galtjindan-indanirberala bula, ‘He who is without sin amongst you, let him cast the T.G.H. We’ve plenty of fresh and fit donkeys for you. Fariseirberala tuta ekurauna arugutjana kngetjika first stone.’ My devout father averted his eyes from 2 Thursday, the twelfth of October, 1922, erina etna… heathen practices. Yet he translated many of the A sting in the air. CARL Aranda myths and ceremonies. Please – T.G.H. ‘FRIEDA’ But truly these people were always the first to show NTARIA LADIES CHOIR ‘Vater unser, gib uns heute tägliches Brot und ‘FRIEDA’ their love when so-called good Christians had (Wachet auf) [2nd verse] vergib uns… ‘Und vergib uns unsere Schuld…’ hardened their hearts. Zion-ala marra wuma… CARL ‘PASTORALISTS’ CARL CHORUS Frieda, like spear jabs, Listen. ‘And then Jesus said:… Sion hears the watchman shout… Frieda, that daylight! You’n your missus Had best leave them here. CHORUS THEO NTARIA LADIES CHOIR Use donkeys provided by us instead. ‘“Era kala pata arugulinjala erina iwutjika!”’ Trees, dotting the loamy flats, Ntarntararintja lyilhamanga… Trees I’ve never seen before, It’s the law of the bush. ‘PASTORALISTS’ CHORUS Rough bark, and skinny white limbs, We help out our mates. Listen. Take my advice, Her heart leaps up with joy… Green leaves…what are these? Your flash church cobbers should’a’ sent you a car. Try to get through Those sandhills by night. NTARIA LADIES CHOIR NJITIAKA Don’t refuse You’ll bake to a cinder during the day. Zion parrpa kamerrama… (excited) Tunga! (pointing) Tunga! Our show of help, It’s what we have to do. Go on ahead. CHORUS CARL Leave the van behind. She stands and waits with eager eyes… Frieda, Henbury Station! It’s the way of living out here in the bush The boy can follow later on. Can it have taken Those folks in town, they have no idea. ‘FRIEDA’ Three days to get here? On the far bank ‘Vater unser…im Himmel… ‘FRIEDA’ You’ll see that old gum ‘FRIEDA’ ‘Gib uns heute tägliches Brot...’ NTARIA LADIES CHOIR Standing right up with its crown in the sky. ‘…und vergib uns unsere Schuld…’ Tjina ekura ekarlta NTARIA LADIES CHOIR (under T.G.H.) On the far bank, CHORUS MEN (‘PASTORALISTS’) ‘“Ngunatoa ragangkaranga konaraba namanga… ‘FRIEDA’ You’ll see that old gum. Listen, you’re not taking those horses over sandhills ‘Und vergib uns… unsere Schuld’ T.G.H. It’s standing right up with its crown raised on high. are you? My father looked into the eyes of these hard-bitten NTARIA LADIES CHOIR They’re buggered – CARL moves forward leaving THEO and cattlemen with their Aranda concubines. He had rarely Alkirang’ilulhakarlama, They’re ruin’d. NJITIAKA behind. failed to attack sin vigorously from his pulpit… Alkaralkara inthorra… Listen. CHORUS CARL CHORUS ‘“Era kala pata arugulinjala erina iwutjika!”’ John 8, three to seven. She sees her friend from heaven descending.

10 11 Scene 3 THEO NJITIAKA Land of my birth Desert oaks, Unte arrtye irrtne ilmeletyeke? Lanhe renye ‘terlpe’ I will never forget… T.G.H. Sighing, itye ‘taye’. (Why don’t you give the thing its proper 3 THEO It was half past two next morning when I was Their long needles swishing, name? It’s ‘terlpe’ not ‘taye’.) (Dismissively) Dear Rutjubma, Lalkintinerama, sunlit Pot’ Uruna. awakened by the sudden blazing up of the restoked Sighing, crying, calling… Western Aranda! campfire. Njitiaka rolled up the swags and untethered Criss-crossing cattle pads, NJITIAKA THEO the donkeys. Mazes in dust, (pointing it out) Pmere ngkweke lanhe, Kwatye Terlpe larnnga-larnnga… Puff up under foot NJITIAKA pmere. Karte ngkwekeneke pmere. (That’s my NJITIAKA As the donkeys plod, Keme-irreye tangkey ngkerne lhetyenele! country there, Ungwatja, my country, Awa! (Yes) Snorting, sweating, swishing with their tails. (Get up, get going you donkeys!) my father’s country.) THEO T.G.H. T.G.H. THEO Shadows, moonlight, sandhills Near Idracowra we passed a hill standing close to the And we moved away from the cheery blaze of the Kwatye? bank of the Finke. This was Tjina, and it sheltered in campfire into the moonlit sandhill silence. Terlpe imerneme nwerneke. NJITIAKA its caves the sacred tjurunga of the local folk. NJITIAKA NJITIAKA Ya, pmere ngkweke ‘FRIEDA’ Unte irnterneme urnpe lhanhe? Lhanhe yurte-ipne Perte nhake reme! Karalananga. Remember that one. THEO ‘…und vergib uns unsere Schuld…’ urnpe. Unte irterleretyeke kwatye kweke ware Karalananga. (See that hill there! Karalananga.) Your home? nemenhe nhanerle. (Can you smell that resinous T.G.H. NJITIAKA scent? That’s the smell of the spinifex. It reminds you NJITIAKA I remember. Itirkiwara! Rest here tomorrow. how little water there normally is out here.) Leyeke pmere. (Emu country) NTARIA LADIES CHOIR NJITIAKA and THEO join CARL at Idracowra THEO THEO Pitjai, ‘Lunhilunhai,… (Ah come, Thou blessèd One) IDRACOWRA Spinifex tufts – Taye parrtyeme CHORUS Kicked up by donkeys – The moon is shining – Scene 4 Karalananga… Have such an odour, NJITIAKA CARL A certain smell? Terlpe! NTARIA LADIES CHOIR 4 (Reading his Bible) ‘Es war ein Mann im Lande Uz…’ Ingkarta Jesuai!… (God’s own belovèd Son…) Strange, lonely, dry; I can’t lean back, pressure on my lungs. THEO Moonlight, sandhills, silence. I can’t lie down, terrifying pain. What? CHORUS I will never forget… ‘Es war ein Mann… NJITIAKA NJITIAKA CHORUS Werlethenaye werinerle irrkepe ngketyeke ingkwarle Terlpe parrtyeme! NTARIA LADIES CHOIR mpareme. Ilpele thwerte-nirre ngkeleme. (Listen to Hosianna! There was a man… THEO the desert oaks sighing in the soft night breeze. Their CARL Terlpe parrtyeme? CHORUS long needle-like leaves are swaying.) ‘…im Lande Uz… Showing our way Ntarea,

12 13 CHORUS THEO CHORUS CARL moves to the next point leaving THEO and in the land of Uz… Loghouse, iron roof, But God cannot be known NJITIAKA behind. Rain-gauge filled with sand, Nor made to answer men – CARL T.G.H. Bush beds of bullock-hide in a grubby hut… No use in us demanding ‘Der hiess Hiob…’ My Aranda companions and I retired to rest soon Camp oven, packing cases, The meaning of our pain. afterwards. We would have to leave Idracowra early CHORUS Bulletin pages covering the walls. THEO (& CHORUS) next morning if we wanted to do the 35 mile stretch His name was Job, a righteous man. CARL My father says: in one day. It was the first Sunday I had spent And Satan said, ‘God, let me test him, I can’t find peace, ‘gerecht sein vor Gott’. ‘Warum machst du mich zum Ziel deiner Anläufe, without prayers. And see how righteous he remains.’ dass ich mir selbst eine Last bin?’ With all my might Scene 5 CARL I must learn to pray T.G.H. I can’t breathe in, catching air in gasps T.G.H. ‘Thy will be done’, ‘Why have you set your mark against me, so that I am I can’t get cool, filling up with flames. 5 By seven o’clock next morning the van was already But I want to live. a burden even to myself?’ moving through the luxuriant giant saltbush flat which THEO I serve my God At six o’clock there was a sudden commotion in the spread south towards the sandhill edges from the Cattle yard, cattle shed, But I yearn for life. camp. A cloud of dust could be discerned rapidly right bank of the Finke. Somewhere near its centre Harness, bridles, hobble-straps; approaching. Within minutes the shape of horses and CHORUS lay the sacred rain totemic site of Mborawatna. Meat house, meat bench, bagged meat, hung meat, riders could be seen in the distant dust – Mrs Gus But Job was good, Idracowra Station itself was now indicated only by The juice of steaks in the open air! Elliott of Horseshoe Bend station accompanied by one And honoured God. great clouds of red dust. For hot north-west winds Stockyards, fence posts, of her stockmen and the messengers sent out the Why punish him? had begun to roar over the countryside – the rain Gallows racks, top rails, day before from Idracowra station – He’d done no harm. women were stirring in their sleep. It was one o’clock Carcasses attracting flies. CHORUS WOMEN (‘MRS ELLIOTT’) in the afternoon. CARL CARL Car broke down I need to pray CHORUS ‘Da fuhr der Satan… Come to The Bend – The hardest prayer: ‘They are as stubble before the wind, and as chaff Telegraph there, CHORUS ‘Thy will be done’. that the storm carrieth away.’ Medical aid. And Satan killed his servants It can’t be done. NJITIAKA And killed his mob of sheep It can’t be done. With the heat, Kngeitnama! nhake raye perte kngerrtye! Perte nhake And covered up his skin with boils Yet it must be done. Set off now irrtne neme Kngeitnama. (Kngeitnama! See there, And sores from head to toe. ‘Thy will be done’ Through the cool the big hill! That hill’s name is Kngeitnama.) Must Thy will be done? Of the night, CARL I want to live. Make The Bend THEO ‘…und schlug Hiob mit bösen Schwären von By daybreak Kngeitnama? That mountain there? der Fussohle an…’ T.G.H. My parents set off ahead of me.

14 15 NJITIAKA CHORUS THEO and NJITIAKA move forward to join CARL at CHORUS Kngeitnama. Irterleraye? Kngeye tname. Hot, very hot… Horseshoe Bend. Fire (Kngeitnama. Do you understand? The father, Half asleep… Exploding spinifex T.G.H. is standing .) Shrieking over sandhills THEO And so the last miles were covered, chain by chain, Shooting from branches screaming THEO My father says… yard by yard, step by step. And then, when I was Writhing from mulga, like pillars of Kngeitnama, ‘Father stands’. beginning to walk and to stumble like a sleepwalker, CARL & THEO Fire, the van turned in a more easterly direction. CHORUS (reprise) ‘Warum machst du mich zum Ziel, etc… Crackling torches of flame Very hot. NJITIAKA HORSESHOE BEND Horseshoe Bend is a fiery place Lyate mpweme nthwerre. (Very hot now.) A land of burning cliffs THEO Scene 6 Kngeitnama – I long to think this means NJITIAKA NTARIA LADIES CHOIR (very quietly) We’re getting closer. T.G.H. (very quietly) Nhanhe metyeke pmere. 6 Kaartai, nurna-nha wurlathanai I see the tall white rocks – is standing, ever standing. (Father, hear our prayer) T.G.H. Are sloping down at last ‘FRIEDA’ This is fire country. To sand and green banks. ‘Vater unser… CHORUS Horseshoe Bend is the eye of a flame NJITIAKA Kngeitnama. ‘Father stands’. THEO Horseshoe Bend is the eye of a fire Ngkape nhakele… NJITIAKA He’s never sick. NJITIAKA T.G.H. Ngampekale (Always.) ‘FRIEDA’ Urte Rubuntja ntwe-irrke nhakeke. That crow over there… ‘in Ewigkeit… CHORUS T.G.H. NJITIAKA Hot, very hot. CARL The Rubuntja men vomited over there. metye itekele,... ‘Warum machst du mich zum Ziel… THEO NJITIAKA T.G.H. The Horseshoe herd are grazing NJITIAKA Perte urrpwerle raye… He set all this country alight… On clumps of grass. (pointing) Raye! T.G.H. My father’s tracks are here, ‘FRIEDA’ NJITIAKA Yes, the black stones. Deep gouges in the sand – ‘Vater geheiligt… itekele ntgkerrnhe. CARL THEO NJITIAKA T.G.H. ‘Es war ein Mann…’ Black pebbles underfoot. Itne metyepenhe… in the beginning. THEO New hills blood red like fire. T.G.H. CHORUS He lurched and plunged all night? Kngeitnama. My father stands – They’re from fire? Horseshoe Bend is the eye of a flame ‘Father stands.’ NJITIAKA Horseshoe Bend is the eye of a fire. Close up now – little bit long way.

16 17 T.G.H. ‘MRS ELLIOTT’ Scene 7 Scene 8 Strehlow was coming to dread that his rock-like faith You’ll be fine. 7 T.G.H. T.G.H. was about to be put to the final, crushing test. Just sleep now. Long before sunrise the burial preparations had 8 It was Sunday, the 22nd day of October, 1922. The (Reading Bible) ‘Und da das Haus gesetzt ward…’ CARL begun. Even now the floodwaters of the Alberga still dull dawn of a listless morning broke over the stony (Putting Bible down) And was the house built of stone And here’s my last request. blocked the track of the Marree doctor. Reverend landscape. I felt certain that my father had been made ready before it was brought hither? Had God’s I can’t do much to thank you for your many Stolz said it was God’s will. My father was buried in meant to die. But why now, and at this desolate spot? hammer-blows succeeded in shaping him into a stone acts of kindness. the hard ground, and the station people sang Rock of Why at Horseshoe Bend? fit for that new Jerusalem? Please shout the boys a cask of whisky. Ages. The men slaked their thirsts on whisky in It had been a night when the temperature had not THEO accordance with my father’s last wishes. fallen below 90 degrees; when the easing of the hot NTARIA LADIES CHOIR I lie in the Finke northwest gale had only increased the humid Kaartai, nurna-nha wurlathanai. CHORUS MEN (‘MEN AT THE BEND’) (as they drink) Lingering link closeness of the overheated atmosphere; when even Cheers to old Strehlow, With Ntarea, Henbury, Idracowra. ‘FRIEDA’ those sleeping in the open air had felt oppressed by A man of the cloth. ‘Vater unser, etc… NJITIAKA a sky that shut in as with a blanket the heat reflected Not a bad bloke, (Pointing north west in the direction of the Chorus) against it during the day. My father sent for CARL For a man of the cloth. Kwatye ngkarle – stormclouds! Mrs Elliott. ‘Und da das Haus gesetzt ward, waren die Steine zuvor Cheers to old Strehlow, ganz zugerichtet, dass man kein Hammer noch Beil noch T.G.H. CARL A man of the Book. irgend ein eisernes Werkzeug im Bauen hörte.’ I wanted to be alone – somewhere by myself in the I have not many hours to live. Not a bad bloke, Finke bed, under its great red cliffs. God is silent. (Wailing at Ntaria) For a man of the Book, I know I’m dying. CHORUS ‘FRIEDA’ Not a bad bloke, I think you know that too. Let the stormclouds wander over the land! ‘…Wie im Himmel… For a man of the clod. But my wife does not know… Here’s to old bloke. THEO CARL CHORUS WOMEN (‘MRS ELLIOTT’) Not a bad, cheers to him, My father’s far Frieda, don’t say that prayer. Frieda, God doesn’t help. You’ll be right… Cloth of the From the land of his birth, just rest now. Carl’s chair, now empty, is carried back to Drain your glass, drink it up. Faraway Neuendettelsau You’ll be up Hermannsburg, upstage. Wailing dies down. Here’s to old Strehlow Why here? Why now? In no time. NJITIAKA A man of the folk. Stopped in mid-path? CARL Your daddy finish up now, poor bloke. Cheers to old Strehlow, etc… T.G.H. Please comfort my wife when I am gone. NTARIA LADIES CHOIR He always done right by us poor bush folk. The rain women of Mborawatna were awakening Please help her and my son to get to Oodnadatta. Kaartai, nurna-nha wurlathanai. from their sleep. They’ll need supplies for the road. ‘GUS ELLIOTT’ Drain your glass, drink it up, THEO Scull boys, a widow’s in grief. My father lies

18 19 In Aranda land, NTARIA LADIES CHOIR & CHORUS Now came the darkness of a dying day… Journey to Horseshoe Bend used by kind permission In the land to which… (Wachet auf) [3rd verse] of the Strehlow Research Centre, Alice Springs, THEO He gave his life. Gloria lyarta ungkwanga. Relhirrperr’, angel etna turta Northern Territory. Kaarrerrai worlamparinyai! My father’s mound Harp-ala lyilharrirrama. CHORUS Fades in the dark translated from Philipp Nicolai’s ‘Wachet auf’ by Carl Io, io! Pmar’ungkwang’ intorta nama; Nurna throne-a Of a rain-wet night… and T.G.H. Strehlow, reproduced by kind permission ungkwanganhanga The smell of of Finke River Mission. NJITIAKA Irrkunngala ‘tnarrirrama. Rain-soaked earth (Excitedly, pointing south now) Raye. Kwatye ngkarle The score of Journey to Horseshoe Bend was Alkng’itjala ‘raka, Fills the air… arrpenhe petyeme. Ilp’itjala wuka Lenh’arrkana. commissioned by Symphony Australia for the NJITIAKA Sydney Symphony with financial assistance from the T.G.H. Nurn’ ungkwanga lyilhamara ‘Halleluja’ ngampakala. Raye! That river’s coming down, all that way. More clouds? Australian Government through the Australia Council, Now let all the heavens adore Thee, CHORUS & NTARIA LADIES CHOIR its arts funding and advisory body. The libretto was NJITIAKA (laughing) And men and angels sing before Thee, This land is from Altjira. commissioned by the Sydney Symphony. The work Itne ngkape renhe inetyeke… (They get With harp and cymbal’s clearest tone. This land will always be was developed with the assistance of Symphony that crow…) Of one pearl each shining portal The land of Altjira, Australia and in consultation with the Strehlow T.G.H. Where, dwelling with the choir immortal, This, the land of Eternity. Research Centre and Alice Springs Aranda people. Those rain women get that crow always… We gather round Thy radiant throne. Nor eye hath seen, nor ear Pmara nhanha Altjirraka NJITIAKA Nhanha pmara kutatha. Hath yet attained to hear, Ngampekale (always). Finish ‘im. Ingkarta anurnakanha Such great glory. Intama pmarala. CHORUS Therefore will we Eternally (The Rain Song of Mborawatna) Sing hymns of joy and praise to Thee. This land is from Altjira Let the stormclouds wander over the land! This dear land. T.G.H. Let the fury of the dust-storm wander over the land! Our ingkata Hardly had I reached the shelter of the verandah Lies in this land. Let the stormclouds wander over the land! when a deafening roll of thunder shook the building, Swelling rapidly, let them wander over the land! and all its iron sheets resounded as though some The land of Altjira Is the land of eternity. Swelling rapidly, let them wander over the land! huge, invisible boulder had rolled down upon us. As This land is from Altjira. Swelling rapidly, let their foreheads gleam white! the rain pelted and the country came to life the more This land will always be. I became reconciled to the events of the past few Swelling rapidly, let them wander over the land! days. My father had wanted to go back to Germany. Swelling rapidly, let rain pour from them like But how much more appropriate that his grave should a river in flood! lie in Altjira under huge cliffs amongst the people he loved and served.

20 21 It is a story of the promise of two cultures intermixing – Strehlow interweaves Bible stories and pastoral history with the traditional Aboriginal mythology behind the country through which he and Njitiaka travelled.

22 23 Andrew Schultz Margaret Scott; In Tempore Stellae (1998) for the He was project coordinator for Music is our David Porcelijn composer Melbourne Chorale and Melbourne Symphony Culture (by Jardine Kiwat, Grayson Rotumah, David Porcelijn is one of Orchestra; and, for the Sydney Symphony, Kerry McKenzie, Jensen Warusam and Chester Andrew Schultz was born the most outstanding Diver’s Lament (1996) and The Devil’s Music Schultz), the first work for symphony orchestra in Adelaide and studied Dutch musicians of his (1992). In 2000 Schultz was invited by Luciano by indigenous Australians, written in a workshop at the University of generation. He works Berio to rework Bach’s Contrapunctus IX for a period lasting 18 months from late 1996 to 1998. Queensland. He was regularly with the North European project celebrating The Art of Fugue. He was also producer of the Orchestra awarded a Fulbright German Radio Scholarship to study In 2002 he returned from London where, since Dreaming concert in which that work was Philharmonic Hanover, composition with George 1997, he had been Head of Composition and premiered at the 1998 Adelaide Festival; that the BBC Orchestras of Crumb and conducting Music Studies at the Guildhall, to become concert also involved collaboration between the London, Wales and with Richard Wernick at the University of Professor of Composition and Dean of the Faculty Adelaide Symphony Orchestra and Galpu Scotland and the London Philharmonic Pennsylvania in 1983. A Commonwealth of Creative Arts, University of Wollongong. Wilderness and Elcho Island Dancers in Richard Orchestra, amongst many others. He has held Scholarship and Fellowship Plan Award enabled Schultz was Visiting Artist at Banff Centre for the Mills’ Earth Poem/Sky Poem. He has been the the positions of Chief Conductor and Artistic him to study composition with David Lumsdaine Arts, Canada, in early 2004. A setting of the Song co-producer and co-presenter of ABC Classic FM Director of the Adelaide and Tasmanian at King’s College, London. of Songs with new text by poet Barry Hill was specials on indigenous music in the concert hall Symphony Orchestras and Music Director and premiered at the Sydney Opera House in May; for (Black meets White and Bridging the Gulf) and in Conductor of the Netherlands Dance Theatre. He His music covers chamber, orchestral, vocal and 18 voices and tape, it was commissioned by ABC 1999 wrote and presented the radio feature The also has a broad repertoire as a conductor of operatic works, and has been performed, Radio and The Song Company. US of Opera, a survey of modern American so- opera. In 1992 he was awarded the prize as Best recorded and broadcast internationally. Black called ‘CNN’ opera. He was an actor and writer Opera Conductor at the Munich Biennial for a River (1988) was awarded the Australian National Gordon Kalton Williams with Darwin Theatre Group in 1987-88, producing production with Netherlands Opera. Composer Opera Award and, in its film version, librettist the group-derived play Dust-Off Vietnam; Writer/ the Grand-Prix, Opera Screen in Paris. Going into He has made many recordings for ABC Classics Director-in-Residence for the NT Arts Council in Shadows, commissioned by London’s Guildhall Gordon Kalton Williams in Australia for which he has won a number of Tennant Creek (1987); and in 1981 instigated the School of Music and Drama with assistance has written narrations for awards. He is currently recording symphonies by position of Composer in the Community in Alice from the David Cohen Foundation, was Beethoven’s Egmont Christian Sinding with the North German Radio Springs, where he was then living. premiered in London and Australia in 2001. Both music (presented by the Philharmonic Hanover for the German company operas are to texts by his sister, journalist and cpo. This project has been so successful that Sydney Symphony and Williams graduated from the NIDA Playwrights author Julianne Schultz. cpo has asked him to record on a regular basis. Hugo Weaving in 1993, Studio in 1988 and the Faculty of Music, Other works include Ash-Fire (2001) for the and John Stanton and the University of Melbourne in 1978. He has written Teatro Lirico, Spoleto; Southern Ocean (1999) for Academy of Melbourne, for The Australian Financial Review, Australian the 50th Anniversary Intervarsity Choir and 1997) and Falla’s Three-Cornered Hat Short Stories and 24 Hours. He is editor of Tasmanian Symphony Orchestra to a text by (Queensland Symphony Orchestra, 1996). publications for Symphony Australia.

24 25 Sydney Symphony Aaron Pedersen (nominated for Helpmann Awards.) He has with major companies in the UK including narrated Under Milk Wood for the MTC and the English National Opera and the Royal Opera The Sydney Symphony is the nation’s largest and Aaron Pedersen has State Theatre Company of South Australia. He House, Covent Garden. appeared in the films busiest orchestra with a season of some 100 played Julius Caesar in Simon Phillips’ acclaimed Unfinished Business In Australasia his engagements have included concerts in the Sydney Opera House Concert production for the MTC and Queensland Theatre (1999), Saturday Night Pulcinella, Berlioz’s Romeo and Juliet, Fasolt/Das Hall, regular performances at the City Recital Company. His performance in Orson Welles’ (1998), Dead Heart (1995) Rheingold, The Dream of Gerontius, Puccini’s Hall, Angel Place and frequent appearances in Moby Dick Rehearsed at Sydney’s Marion Street and Teachers Aide; his Messa di gloria, Beethoven’s Ninth Symphony, the regional centres of New South Wales. Theatre brought him the 1990 Sydney Theatre television credits include Verdi’s Requiem (NZSO), Jochanaan/Salome and Established in 1932, the Sydney Symphony has Critics’ Circle Award and the 1990 Variety Club of Grass Roots, Wildside, Gurrelieder (NZ and Melbourne International evolved into one of the world’s finest orchestras Australia Award. Australian audiences first knew Territorians and Festivals), Gunther/Götterdämmerung and as Sydney has become one of the world’s him for his regular roles in several television Heartlands. He was a regular cast member on Jochanaan (SOSA), Talbot/Maria Stuarda (Opera greatest cities. Many of the world’s finest series such as Bellbird, Homicide, The Box and the police-drama series Water Rats. Aaron Australia), Sharpless/Madama Butterfly (National artists have appeared with the Sydney the title role in Bellamy. Guest appearances Pedersen has also appeared as a guest presenter Opera of Wellington), Verdi’s Requiem, Symphony including such legendary figures as include McLeod’s Daughters, MDA and Stingers. on National Geographic Channel and in a video Amonasro/Aida, Scarpia/Tosca (NBR New George Szell, Sir Thomas Beecham, Otto He won a Logie Award for his portrayal of on Aboriginal Health for the NSW Department of Zealand Opera), Beethoven’s Ninth Symphony Klemperer, Igor Stravinsky, Lorin Maazel and Malcolm Fraser in The Dismissal. His film roles Health. Last year he appeared in Playbox Theatre’s (The Queensland Orchestra), Beethoven’s Missa Charles Dutoit. As Chief Conductor and Artistic include Phar Lap, Kitty and the Bagman, Tai Pan, production of Conversations with the Dead. He Solemnis, Rossini’s Stabat Mater (Melbourne Director of the Sydney Symphony from 1993 to appeared as Dr Tony McKinnon in the drama Vacant Possession and Darkness Falls. He was Chorale), Brahms’ Requiem and Gurrelieder 2003, Edo de Waart took the Orchestra to a series MDA on ABC TV. Aaron Pedersen is of chosen as the Voice of the opening ceremony of (MSO) and Elijah (Royal Melbourne Philharmonic). new level of excellence. In 2004 the baton was Arrernte/Arabana descent. the Sydney 2000 Olympics. passed to Gianluigi Gelmetti. Integral to the David Bruce boy soprano Sydney Symphony’s annual program of activity John Stanton Rodney Macann Sydney Children’s Choir, Lyn Williams is a strong commitment to music education at Acclaimed actor John Between 1966 and 1990 artistic director all levels. Under the inspiring directorship of Stanton has worked New Zealand-born Richard Gill, the Education Program reaches all extensively in television, Rodney Macann enjoyed David Bruce (12) has ages and all regions of New South Wales. With film, theatre and radio. an international career in been a member of the Gianluigi Gelmetti’s reputation for profound His theatre credits the leading opera houses Sydney Children’s Choir musical insight and mastery of orchestra colour include King Lear for the and concert halls of for the past five years. He combined with his passionate and spontaneous Sydney Theatre Company Europe, UK and the USA. is also a member of performance style, the Sydney Symphony and Prospero for He has appeared in New Gondwana Voices – has embarked on an exciting new phase in Melbourne Theatre York, Germany, France, Australia’s national children’s choir. As a member its history. Company’s production of The Tempest Belgium, Israel, Greece, Russia, Italy, Japan and of the Sydney Children’s Choir, David has, on

26 27 many occasions, performed with the Sydney Abbott. Barbara Henson’s biography of Pastor Sydney Philharmonia including the world premiere of John Tavener’s Symphony. These performances have included Albrecht (A Straight-out Man) tells of T.G.H. Choirs Lament for Jerusalem in 2003. the annual Christmas with the Symphony Strehlow in Hermannsburg. Under Strehlow’s Brett Weymark Soprano Natalie D’Enyar, Vanessa Fallon performances and the Sydney Symphony direction this choir later recorded Bach chorales musical director Rohanna, Jayne Hanley, Claire Jordan, Sylvie Superdome Spectaculars. In 2002 the Sydney on 78s now held by Lutheran Archives in Formed in 1920, Sydney Renaud, Sarah Sandstad, Maree Tyrrell, Children’s Choir visited Europe with Adelaide. Albert Namatjira was a member of one Philharmonia Choirs is Alison Younan performances at the Lichfield and Warwick Arts of these choirs. Gradually the men dropped out, Australia’s largest choral Alto Kerith Fowles, Adele Gillies, Vesna Hatezic, Festivals (UK) as well as in France, Switzerland leaving the singing to the women. The choir has organisation and Alison Keene, Beverley Price, Natalie Shea, Anne and Italy. David Bruce has performed with been guided over the years by Hilda Wurst, van Tilburg, Anna Zerner Gondwana Voices in concerts in the USA, Mexico Joyce Graetz, Bob Arnold, Pastor Radke and is occupies a unique Tenor Marcus Hodgson, Timothy Matthies, and France and sang in the Closing Ceremony of currently directed by teacher/linguist David position in the the Rugby World Cup in 2004. New Light New Dominic Ng, Kurt Olofsson, John Purnell, Roennfeldt. A dozen women from performing arts world. With four choirs – the Hope, a CD recording by Gondwana Voices, has Richard Sanchez, Ian Seppelt, Daniel Walker Hermannsburg – occasionally augmented by 32-voice Motet Choir, the 100-voice Symphonic been released by ABC Classics. Bass Daryl Colquhoun, Ian Davies, Christopher women from Areyonga and from further west, Choir, the youth-focussed 25-voice Vox and the 450-voice Sydney Massed Choir – Sydney Matthies, Sébastien Maury, Sam Piper, David Ntaria Ladies Choir Mt Liebig – sing soprano and alto and, if Philharmonia is a group of unpaid performers Randall, Chip Rolley, Rohan Thatcher David Roennfeldt chorusmaster numbers permit, tenor. Many of the songs are in who meet the highest professional performance the choir’s language of Western Arrarnta; they Brett Weymark, Paul Stanhope chorusmasters standards. Sydney Philharmonia presents its occasionally sing in other Central Australian Josephine Allan, Andrew Basile rehearsal pianists languages, including Luritja, Pitjantjatjara and own annual concert series in the Sydney Opera English. Many songs have been extracted from House and City Recital Hall at Angel Place, as the Hymn Book edited and translated by well as acting as chorus for the Sydney Strehlow. Recordings include Arrernte Christmas Symphony. Sydney Philharmonia has worked Carols and Ekarlta Nai! (Be Strong!), a collection with conductors such as Eugene Ormandy, Otto of the ‘best of’ the Ntaria Ladies Choir. Klemperer, David Willcocks, Charles Mackerras, Edo de Waart, Charles Dutoit, Christopher Arfa Raberaba Lily Roennfeldt Hogwood, Mark Elder, John Nelson, Richard Catherine Motna Marion Swift Hickox and Bruno Weil. Sydney Philharmonia’s Since early mission days there has been a choir Edna Inkamala Marlene Malthouse own Musical Directors have included Mats at Ntaria (Hermannsburg). During the mid 1920s, Erna Inkamala Rosabelle Ngalaia Nilsson, Antony Walker, John Grundy and Peter the teacher’s wife, Mrs Heinrich, impressed by Gwen Inkamala Susan Abbott Seymour. Sydney Philharmonia Choirs has the talent she heard, suggested that the Judith Inkamala Vivienne Meneri contributed to Australia’s musical culture with Hermannsburg people start their own choir, with Esther Kennedy landmark performances of many works, Frieda, Hedwig, Clara, Old Moses and Ted

28 29 Executive Producers Robert Patterson, Lyle Chan For the Sydney Symphony Andrew Schultz & Gordon Kalton Williams Recording Producer Ralph Lane Managing Director Libby Christie thank … Recording Engineer Allan Maclean Artistic Manager Alexandra Cameron our producer Alexandra Cameron; director Recordings Manager Virginia Read Orchestra Manager Luke Shaw John Wregg; The Board of the Strehlow Editorial and Production Manager Hilary Shrubb Research Centre; Brett Galt-Smith, Dr Scott Cover and Booklet Design Imagecorp Pty Ltd Mitchell, Shane Hersey, Graeme Photography cover: Finke River at Horseshoe Bend Shaughnessy, Penelope Joy, Michael (Paul Carter); pages 2-3: Children at the Cawthorn from the Strehlow Research Centre; Hermannsburg Mission – the young Theo Strehlow Garry Stoll; Chris Torlach; Derek Watt, Siobhan in a sailor-boy outfit, centre (Strehlow Research www.sso.com.au Lenihan, Kate Lidbetter, Julie Simonds, Karl Centre); page 3: Carl Strehlow’s grave at Horseshoe For Sydney Philharmonia Choirs Vyzard, Natalie Shea from Symphony Bend (Alexandra Cameron); pages 22-23: Finke River General Manager Jo Jacobs Australia; Timothy Calnin, Dianne Comrie, (Alexandra Cameron), detail of the new church at Musical Director Brett Weymark Derek Coutts, Julia Gross, Margaret Moore Hermannsburg Mission (Alexandra Cameron); pages Operations Manager Tony Breese from the Sydney Symphony; Prof. Gerard 22-23, 32, rear inlay, disc art: detail of a map from (with thanks to Hannah Penman) Sutton, Vice-Chancellor, University of T.G.H. Strehlow’s Aranda Traditions (Strehlow Wollongong; Dr Hart Cohen from the School Research Centre); page 31: Chapel at Hermannsburg of Communication Design and Media, Mission (Alexandra Cameron); University of Western Sydney; Peter and CD tray: Painted Cliffs, Finke River at Horseshoe Libby Morphett, Horseshoe Bend Station; Leo Bend (Paul Carter) www.sydneyphilharmonia.com.au and Judith Murphy, Idracowra Station; David and Lily Roennfeldt, Ntaria Ladies Choir; John Recorded 30 May 2003 at the Sydney Opera House. For the Sydney Symphony’s production of Strehlow, Theo Strehlow, Shirley Crawley; Journey to Horseshoe Bend Gus Williams OAM, Chairman of Ntaria Producer Alexandra Cameron Council, Hermannsburg; The Lutheran Church Director John Wregg of Australia; Dr John Morton; Dr Philip Jones; (with thanks to Mary Vallentine, Timothy Calnin) This recording project has been assisted by a grant Kate Allport; Prof. Diane Austin-Broos; from the University of Wollongong. Northern Territory Cattlemen’s Association; Sylvia Langford; Malcolm Batty, Patrick 2004 Australian Broadcasting Corporation. Carrick, Christian Huff-Johnston, Wayne 2004 Australian Broadcasting Corporation. Chapman from ABC Classic FM; Jacinta Made in Australia. All rights of the owner of copyright reserved. Any copying, renting, lending, diffusion, public performance or Legge-Wilkinson; Lisa Wendlandt; Monica and broadcast of this record without the authority of the copyright Ivan Christian; Neil and Faye Bell; Katherine owner is prohibited. Deborah Stewart; Nicole Saintilan; and Doug Kwalpe Abbott and Frank Ansell for Southern Arrernte translation and ‘corrections’.

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