Bach and his great teacher

AUSTRALIAN CHAMBER CHOIR
Soloists: Erika Tandiono, Jacob Lawrence, Matthew Tng
DOUGLAS LAWRENCE OAM
director and organ soloist
JS BACH AND HIS GREAT TEACHER
Basilica of St Mary and All Angels, Geelong, November 3 at 3.00pm
Christ Church, Castlemaine, November 9 at 3.00pm
Our Lady of Mount Carmel, Middle Park, November 10 at 3.00pm
"I'm not marrying that woman" and in saying that Johann Sebastian Bach missed out
on one of the best posts in Europe: organist to the great Hanseatic church of Saint
Marien, Luebeck. The successful applicant for that position was obliged to marry
Dietrich Buxtehude's eldest daughter!
In the Autum of 1705, the 20-year-old Bach walked the 410 kilometres from Arnstadt
to Luebeck to listen to and learn from the great Dietrich Buxtehude. Bach took ten
days to cover the distance. He had been given four weeks leave, but stayed three
months. This got him into hot water with the church authorities and he consequently
spent some time under house arrest.
1. PASSACAGLIA IN D MINOR, BuxWV 161 – Dietrich Buxtehude
Born at Helsingborg, Denmark (now Sweden), around 1637; died at Lübeck,
Germany, 9 May 1707.
This is not one of Buxtehude’s best-known organ works – it is much less frequently
performed than, for instance, the C major composition later in this programme – but
it ranks as one of its finest. As usual with Buxtehude’s output, no-one knows
precisely when it was written; but at least two experts on the composer (Michael
Belotti and K. J. Snyder) are agreed in believing it to come from late in his life. It was
a particular favourite of Brahms (“I can hardly resist sharing it with a publisher,
simply for the purpose of creating joy for others”), of the eminent organist Helmut
Walcha (who recorded it), and of the cult novelist Hermann Hesse. According to
some commentators, who ingeniously claim to find Marian symbolism in the number
of bars the piece contains, Buxtehude meant it to be performed as part of a
Magnificat ceremony.
2. CANTATA JESU MEINE FREUDE, BuxWV 60 –Buxtehude
So completely identified is Buxtehude with organ music in the minds of most
concertgoers, that his substantial output of sacred cantatas remains mostly obscure,
outside collected editions (whether printed or gramophonic) of his works.
Nevertheless, there is every reason to suppose that Bach, during his famous 1705
walk to Lübeck specifically to hear Buxtehude’s art, formed as high an opinion of the
older man’s vocal pieces as of his solo organ ones. In fact the resemblances between
Buxtehude’s Jesu meine Freude setting and Bach’s much later one are too numerous
to be mere accidents. Both settings are in E minor; both are primarily sombre in
mood; and both are multi-sectional. The Buxtehude (exact date of composition
unknown, but the 1680s would be an intelligent guess) has prominent – often quite
virtuosic – parts for two solo violins as well as continuo. Only after three brief and
purely instrumental sections (moderate-slow-fast) are the voices heard in three-part
harmony based on the original chorale theme; and even then, the violin writing is
markedly independent of the vocal lines. A short soprano aria imitates the violin
semiquavers, as is appropriate for dramatic words like ‘thunder and lightning.’ The
bass aria that follows is longer, heavier in texture, more downright in its idiom, and
in triple metre as opposed to the foregoing quadruple metre. Triple metre continues
to characterise the next section, which includes the whole choir. After that, there is
an abrupt change to a lullaby-like 6/8 time signature, as a tenor declares an end to
earthly passions. The chorale theme comes back, with full choir and quadruple metre
again, at the conclusion.
Jesu, meine Freude,
Meines Herzens Weide,
Jesu, mein Begier,
Ach wie lang, ach lange
Ist dem Herzen bange
Und verlangt nach dir!
Gottes Lamm, mein Bräutigam,
Außer dir soll mir auf Erden
Nichts sonst Liebers werden.
Unter deinem Schirmen
Bin ich vor den Stürmen
Aller Feinde frei.
Laß den Satan wittern,
Laß den Feind erbittern,
Mir steht Jesus bei.
Ob es jetzt gleich kracht und blitzt,
Ob gleich Sünd und Hölle schrecken:
Jesus will mich decken.
Trotz dem alten Drachen,
Trotz des Todesrachen,
Trotz der Furcht dazu!
Tobe, Welt, und springe,
Ich steh hier und singe
In gar sichrer Ruh.
Gottes Macht hält mich in acht;
Erd und Abgrund muss verstummen,
Ob sie noch so brummen.
Weg mit allen Schätzen!
Du bist mein Ergötzen,
Jesu, meine Lust !
Weg ihr eitlen Ehren,
Ich mag euch nicht hören,
Bleibet mir unbewusst!
Elend, Not, Kreuz, Schmach und Tod
Soll mich, ob ich viel muss leiden,
Nicht von Jesu scheiden.
Gute Nacht, o Wesen,
Das die Welt erlesen,
Mir gefällst du nicht.
Gute Nacht, ihr Sünden,
Bleibet weit dahinten,
Kommt nicht mehr ans Licht!
Gute Nacht, du Stolz und Pracht!
Dir sei ganz, du Lasterleben,
Gute Nacht gegeben.
Weicht, ihr Trauergeister,
Denn mein Freudenmeister,
Jesus, tritt herein.
Denen, die Gott lieben,
Muß auch ihr Betrüben
Lauter Zucker sein.
Duld ich schon hier Spott und Hohn,
Dennoch bleibst du auch im Leide,
Jesu, meine Freude.
Jesu, my joy,
pasture of my heart,
Jesus, my desire,
ah how long, how long
is my heart filled with anxiety
and longing for You!
Lamb of God, my bridegroom,
apart from You on the earth
there is nothing dearer to me.
Beneath Your protection
I am free from the attacks
of all my enemies.
Let Satan track me down,
let my enemy be exasperated –
Jesus stands by me.
Even if there is thunder and lightning,
even if sin and hell spread terror
Jesus will protect me .
I defy the old dragon,
I defy the jaws of death,
I defy fear as well!
Rage, world, and spring to attack:
I stand here and sing
in secure peace.
God’s might takes care of me;
earth and abyss must fall silent,
however much they rumble on.
Away with all treasures!
You are my delight,
Jesus, my joy!
Away with empty honours,
I’m not going to listen to you,
remain unknown to me!
Misery, distress, affliction, disgrace and death,
even if I must endure much suffering,
will not separate me from Jesus.
Good night, existence
chosen by the world,
you do not please me.
Good night , you sins,
stay far behind me.
Come no more to the light
Good night , pride and splendour,
once and for all, sinful existence,
I bid you good night.
Go away, mournful spirits,
for my joyful master,
Jesus, now enters in.
For those who love God
even their afflictions
become pure sweetness.
Even if here I must endure shame and disgrace,
even in suffering you remain,
Jesus, my joy.
3. PRELUDE AND FUGUE IN C MINOR, BWV 546 – Johann Sebastian Bach
Born at Eisenach, Germany, 31 March 1685; died at Leipzig, 28 July 1750.
The key of C minor several times brought out the best and noblest in Bach. Consider,
as proof of this statement, the Passacaglia and Fugue in that key (BWV 582), the St
Matthew Passion’s finale, and the present composition. Scholars tentatively ascribe
the completion of BWV 546 to around 1730: a date which, if accurate, would put it
firmly among Bach’s later organ pieces, long after the Orgelbüchlein or the toccatas.
Dominating the prelude is a series of long-held bass notes, against which Bach
periodically sets quite striking dissonances. Typical of his enterprise is the sudden
appearance of triplets, to complicate the hitherto four-square rhythms. The fugue
could be a revision of something he wrote in his Weimar youth; whatever its origins,
it is marked by a jagged subject that in its chromaticism seems to defy polyphonic
treatment, though of course Bach rises brilliantly to the implied challenge.
4. MOTET: FÜRCHTE DICH NICHT, ICH BIN BEI DIR – Bach
Bach wrote at least six motets – the authenticity of a seventh is disputed – between
1723 and 1727. All were intended for the Thomaskirche (St Thomas’s Church),
Leipzig, where he had been Cantor since 1723. This motet could have been written as
part of the music for the February 1726 funeral of a Leipzig municipal leader’s wife.
What is certain is that Bach employed, for fugal purposes, the chorale theme ‘Warum
soll ich mich denn grämen’ (‘Why should I myself then grieve’) by the seventeenthcentury Lutheran poet-musician Paul Gerhardt, which turns up again in Bach’s
Christmas Oratorio. The bulk of the motet’s text is based on Isaiah, Chapters 40 and
43, though with New Testament allusions of Gerhardt’s own. Usually Fürchte dich
nicht is sung without accompaniment, but Bach did here countenance instruments
doubling the vocal lines.
Fürchte dich nicht, ich bin bei dir;
weiche nicht, denn ich bin dein Gott!
Ich stärke dich, ich helfe dir auch,
ich erhalte dich durch
die rechte Hand meiner Gerechtigkeit.
Fürchte dich nicht,
denn ich habe dich erlöset,
ich habe dich bei deinem Namen gerufen,
du bist mein.
Herr, mein Hirt, Brunn aller Freuden,
du bist mein, ich bin dein,
niemand kann uns scheiden.
Ich bin dein, weil du dein Leben
und dein Blut mir zugut in den Tod gegeben.
Du bist mein, weil ich dich fasse
und dich nicht, O mein Licht,
aus dem Herzen lasse.
Lass mich hingelangen,
da du mich und ich dich lieblich werd
umfangen.
Fear not, for I am with thee;
be not dismayed, for I am thy God.
I will strengthen thee, yea I will help thee; yea,
I will uphold thee
with the right hand of My righteousness.
Fear not,
for I have redeemed thee;
I have called thee by thy name;
thou art Mine.
Lord my Shepherd, source of all joys!
Thou art mine, I am Thine;
none can part us.
I am Thine, because Thou gavest me Thy life
and Thy blood for my sake, and embraced death.
Thou art mine, because I hold Thee
and will never let Thee, oh my light,
leave my heart.
Let me reach the place
where I shall embrace Thee and Thou me in all
eternity.
INTERVAL
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John Tavener (born 1944): Song for Athena (composed 1993 for the funeral of Diana, Princess of Wales)
Ralph Vaughan Williams: Valiant for Truth, Tomkins: When David heard that
Absalom was slain, Dean: Now comes the dawn, Broadstock: I had a dream,
Stanford: Magnificat
November 9: Lux Aeterna – Ligeti, Missa in Aeterna Munera – Palestrina, Lobe
den Herren – Schütz, Sing ye to the Lord – Purcell, Christus factus est – Bruckner,
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5. PRELUDE, FUGUE AND CHACONNE IN C MAJOR, BuxWV 137 – Buxtehude
A showpiece as well as a masterpiece, this work was beloved of organists well before
comprehensive surveys of Buxtehude’s achievement became tenable. It begins with
one of the earliest pedal solos in the organ literature (Bach had it in mind when he
came to write his own Toccata, Adagio and Fugue), and great must have been the
astonishment of Buxtehude’s original Lübeck audiences when this dramatic gesture
thundered forth from the loft. More conventional, perhaps, is the fugue, which – as is
almost always the case with this composer – is embedded in the overall structure
rather than standing separately from the introduction, as it does in Bach. At the end
comes another pedal-dominated section: the Chaconne, founded on a three-bar
ostinato that sets off the manuals’ ejaculatory outbursts.
6. MOTET LOBET DEN HERRN ALLE HEIDEN, BWV 230 – Bach
Another one of Bach’s six motets, this one differs from its companions in that it
contains a separate part for continuo instruments, a part that does not simply
duplicate what the singers are doing. Some critics – conscious of this singularity, and
having failed to find in the piece the obviously funereal character prominent
elsewhere in the motets – reckon that it dates from well before the other five. A few
have questioned whether it is even by Bach at all. Conductor and musicologist Sir
John Eliot Gardiner rejects such notions: ‘Most of these doubts,’ he writes, ‘may be
dismissed. In the first place, the text the whole of Psalm 117), while undeniably
festive in character, would not have seemed out of place in a memorial service of
Bach’s time. Typically a … sermon dwelt on the soul of the departed having reached
its heavenly destination. This idea of death as a goal and joyful release from earthly
problems was common in German literary and theological writings at the beginning
of the eighteenth century and is a Leitmotiv that runs through Bach’s motets as well
as several of his cantatas.’
Lobet den Herrn, alle Heiden,
und preiset ihn, alle Völker!
Denn seine Gnade und Wahrheit
waltet über uns in Ewigkeit.
Praise the Lord, all nations,
And praise Him, all peoples!
For His grace and truth
Rule over us for eternity.
7. CHORALE PRELUDE HERR JESU CHRIST DICH ZU UNS WEND
LORD JESUS CHRIST, TURN TO US, BWV 709 – Bach
This work’s title sets a potential trap. BWV 709 is not the three-part fantasy of the
same name, which can be found in Bach’s so-called Great Eighteen collection of
chorale preludes. Rather, it is an early piece, slower than the sprightly Great
Eighteen version of the theme, and closer to the Buxtehude examples wherein a
grand chorale melody in the topmost voice is lavishly ornamented, with discreet
contrapuntal interplay between the left hand and the pedals. The collection from
which it comes is the Kirnberger series, Johann Philipp Kirnberger having been one
of Bach’s most devoted pupils and copyists.
8. CANTATA NUN KOMM, DER HEIDEN HEILAND, BWV 61 – Bach
The BWV listing of Bach’s compositions, completed only in the mid-twentieth
century, is by no means a firm chronological guide and does not purport to be such.
Some of the highest BWV numerals apply to some of Bach’s juvenilia. But with this
particular cantata we have an instance of a work being both fairly early and
possessed of a low BWV number. It dates from 1714 (when Bach was still at Weimar,
in other words, and fully nine years before he moved to Leipzig). As the surviving
manuscript reveals, Bach intended it for the first Sunday in Advent, which in 1714 fell
on 2 December, the day of the piece’s première. (He recycled some of the music from
previous material, yet the bulk of it is new.) The chorale theme is first enunciated by
the sopranos, above an orchestral passage which constitutes in everything but name
a French overture, full of dotted rhythms and regal dignity such as would recur in the
opening movements of Bach’s orchestral suites. Following a tenor recitative comes a
tenor aria, in dance-like compound-triple metre (9/8 time) and in C major, the
relative major of the original A minor. The ensuing bass recitative, quoting Christ’s
words – this is the only part of the whole cantata where the text is taken directly from
the Bible – has an accompaniment of pizzicato string chords, in which commentators
have discerned a musical depiction of knocking on the door. Christ is welcomed in
the lyrics of the next aria, lightly scored (and switching from triple time to quadruple
time halfway through), in which the soprano is supported by nothing more than the
continuo forces. For the finale, we once more hear the chorale theme, but now with
the choir supplemented by busy violin commentary.
CHORUS
Nun komm, der Heiden Heiland,
Der Jungfrauen Kind erkannt,
Des sich wundert alle Welt,
Gott solch Geburt ihm bestellt.
Now come, Saviour of the heathens,
known as the Virgin's child,
over whom the whole world marvels,
that God had ordained such a birth for Him.
RECITATIVE
Der Heiland ist gekommen,
Hat unser armes Fleisch und Blut
An sich genommen
Und nimmet uns zu Blutsverwandten an.
O allerhöchstes Gut,
Was hast du nicht an uns getan?
Was tust du nicht
Noch täglich an den Deinen?
Du kömmst und läßt dein Licht
Mit vollem Segen scheinen.
The Saviour has come,
has taken our poor flesh and blood
upon Himself
and claims us as blood-brothers.
O Highest Good,
what have You not done for us?
What do You not do
still daily for Your own?
You come and allow Your light
to shine full of blessing.
ARIA
Komm, Jesu, komm zu deiner Kirche
Und gib ein selig neues Jahr!
Befördre deines Namens Ehre,
Erhalte die gesunde Lehre
Und segne Kanzel und Altar!
Come, Jesus, come to Your church
and grant a blessed new year!
Support the honour of Your name,
uphold the sound teachings
and bless the chancel and altar!
RECITATIVE
Siehe, ich stehe vor der Tür und klopfe an.
So jemand meine Stimme hören wird
und die Tür auftun, zu dem werde ich eingehen
und das Abendmahl mit ihm halten
und er mit mir.
Behold, I stand at the door and knock.
Anyone that hears My voice
and opens the door, to him I will enter
and keep the evening meal with him
and he with Me.
ARIA
Öffne dich, mein ganzes Herze,
Jesus kömmt und ziehet ein.
Bin ich gleich nur Staub und Erde,
Will er mich doch nicht verschmähn,
Seine Lust an mir zu sehn,
Dass ich seine Wohnung werde.
O wie selig werd ich sein!
Open yourself, my entire heart,
Jesus comes and enters in.
Even though I am only dust and earth,
yet He does not scorn
to reveal His joy to me,
so that I may be His dwelling.
O how happy will I be!
CHORUS
Amen!
Komm, du schöne Freudenkrone,
bleib nicht lange!
Deiner wart ich mit Verlangen.
Amen!
Come, you lovely crown of joy,
do not delay,
I await you with longing.
English translation of German text © Pamela Dellal
Programme notes © R. J. Stove, 2013
Choral Singers:
Sopranos: Bronwyn Jones, Mandie Lee, Felicity Bolitho, Jessica Wynne, Erika
Tandiono, Jennifer Wilson-Richter, Sarah Turner, Nina Wellington Iser
Altos: Elizabeth Anderson, Grace Cordell, Hannah Spracklan-Holl, Ailsa Webb
Tenors: Benjamin Owen, Alastair Cooper-Golec, Michael Petruccelli, Jacob
Lawrence
Basses: Andrew Moffat, Luke Hutton, Kieran Macfarlane, Lucas Wilson-Richter
Players:
Violin 1 – Briar Goessi
Violin 2 – Felicité Heine
Viola – Christian Read
Violoncello – Jamie Wallis
Double bass – Bill Cawte
Positive organ – Donald Nicolson
ABOUT DOUGLAS LAWRENCE
After completing a Masters degree in Organ Performance at the University of Melbourne,
Douglas Lawrence spent two years at the Vienna Academy, studying organ with Anton Heiler
and conducting with Hans Swarowsky and Hans Gillesberger of the Vienna Boys’ Choir. It was
at this time that he began a career as a concert organist, playing the first concert on the newlyrestored organ of Sion Cathedral in Switzerland. This organ, dating from 1420, is the oldest
playable organ in the world. This was to be the first of many inaugural performances – the
opening of the Sydney Opera House organ, the first solo recital on the new organ in Hamer Hall
and the inauguration of the organ in Melba Hall at the University of Melbourne. Since 1979, he
has toured Europe every year, either as an organ soloist or a choral conductor, giving something
over 2,000 concerts, including in St Mark’s – Venice, Notre Dame – Paris, Casals Hall – Tokyo
and St Paul’s and Westminster Cathedrals – London. He has released a small pile of CDs on the
Move and Naxos labels. He is also in demand as an organ designer: the organ of the Scots’
Church, which he desgned, was constructed by the Austrian firm Rieger in the year 2000 and is
regarded by many European, American and Australian organists as the finest in Australasia.
From 1975 to 1985, Douglas was the Artistic Director of the Melbourne International Festival
of Organ and Harpsichord and from 1982 to 2007, the Director of the Choir of Ormond
College. In 1992, he was awarded the medal of the Order of Australia in recognition of his
services to music. Douglas is currently Director of Muisc at the Scots’ Church Melbourne,
Director of the Southern Grampians Promenade of Sacred Music and teaches at the
Conservatorium of Music, University of Melbourne.
ABOUT THE AUSTRALIAN CHAMBER CHOIR
The AUSTRALIAN CHAMBER CHOIR, now six years old, has undertaken four European
concert tours and three Australian tours, recorded three CDs and given many concerts in
Melbourne and regional Victoria. Many of their programs have been recorded for broadcast on
ABC FM. In July this year, the choir performed the BRIDGE OF DREAMS program in Berlin
and Hamburg, in the cathedrals of Meissen, Freiberg and Ribe, and at five international festivals
in Denmark and Poland. Of the 18 engagements, 12 were return invitations. The choir
returned to that most beloved of choral venues, St Thomas’ Church, Leipzig, where JS Bach
was Cantor for 27 years. Of their performances in 2011, the current St Thomas’ organist,
Ullrich Böhme, said: ‘In Leipzig, we have several fine choirs, not only the Thomanerchor. Of
the many visiting choirs we hear, not many come up to our standard. The Australian Chamber
Choir did.’ The booklet of the new MOTETS CD contains a number of beautiful photographs
of the choir, taken at St Thomas’ Leipzig. More details of the choir’s recent touring can be
found below.
We are planning a European concert tour for July 2015. Would you like to come
with us? Watch our website for details of how the tour will look. We look forward to this
fabulous opportunity to get to know you better.
While the choir’s European tours are financed by earnings, personal contributions and grants
(from the Australia Council and Arts Victoria), Australian touring relies heavily on support
from our donors. Donations to the Australian Chamber Choir Support Fund are
tax deductible. If you would like to assist the choir with its Australian activities, fill in the form
provided in the into the future brochure or contact us at info@AusChoir.org
or telephone 03 9387 3004 or donate online at www.AusChoir.org
What are people saying about the Australian Chamber Choir?
“ In Bridge of Dreams, the 18 young singers created a dazzling and wonderfully varied aural
experience, using only their voices to build bridges between a range of centuries, styles, nations
and beliefs… Each work was demanding in its own right, and the security and ease shown by
the choir in their dedication to each was particularly inspiring.” Sächsische Zeitung, July 23, 2013
“ … sophisticated sound and self-evident virtuosity. The choir makes light work of switching
from one style to another, surprising the audience with rousing spirituals as encores.”
Schwäbische Zeitung, Ravensburg, Germany, July 22, 2013
“ About one and a half minutes into Anne Boyd’s work I closed my eyes … and I was in
heaven.” Bartosz Jakubczak, Professor of Organ, Royal Academy of Muisc, London, July 16, 2013
“ A standing ovation from the large audience was rewarded with an encore. Legnica’s Minister
for Culture commented that the programme was particularly interesting due to the
performance of less familiar works by Australian composers which the audience loved” Legnickie Conversatorium Organowe, Poland, July 16, 2013
“ The audience was overcome with admiration for the ‘angel-voices’ of the Australian Chamber
Choir”. Zielona Góra University News, Poland, July 15, 2013
“ ‘I ain’t got long to stay here’: With these words the Australian Chamber Choir ended their
Wednesday concert in Sorø’s Klosterkirke. And following their third encore, the American
Spiritual, Steal away, the choir and their conductor, Douglas Lawrence processed down the long
aisle of the abbey, with a standing audience applauding enthusiastically on either
side.” Berlingske Tidende, Copenhagen, Denmark, July 11, 2013
“ Many of the singers featured as soloists and all were stunning. With such individual standards,
no wonder the ensemble sounds so impressive” Anna McAlister, Herald Sun, Melbourne, April 25,
2012
“ … the sound produced by this ensemble was quite simply phenomenal ”. - Guido Krawinkel in
General-Anzeiger, Bonn, July 23, 2011
Thank you for attending today’s concert.
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Management Committee
Chairman:
Dr Robin Batterham, AO
Treasurer:
Richard Bolitho
Secretary:
Dr Sarah Martin
Advice:
Stuart Hamilton AO
General Manager: Elizabeth Anderson
Artistic Director: Douglas Lawrence OAM
Patrons:
Dr Barry Jones, AO
Prof John Griffiths, Oficial de
la Orden de Isabel la Católica
We would like to thank all our sponsors, including those listed on this page.
We would like to thank all those who support the choir, including the following people:
Warren and Iris Anderson, Elisabeth and Jörg Bahner, Vicki and Peter Balabanski, James and Barbara Barber, Robin
Batterham, Heather Bayston, Sally Brown, Lyn Howden and David Beauchamp, Rhys Boak, David Brand, Harold Burge,
Elizabeth Burns, Lois Cooke, Patricia and Derek Duke, Gregory Eccleston, Michael Edgeloe, Rod and Deb Edwards,
Michael Elligate, Priyanka Erasmus, Ken Falconer, Jennie Smith and Bruce Fethers, Anne Gilby, David and Dianne Gome,
John and Bernie Griffiths, Tom Griffiths, Heather and Ian Gunn, Thorry Gunnersen, Stuart and Sue Hamilton, Bob
Henderson, Thomas Hurley, John and Cheryl Iser, David Kellam, Isabella Kigele-Weis, Peter Kingsbury, Barbara Kristof,
Neil Lawrence, George and Ann Littlewood, Pamela Lloyd, Heather Low, Janice and Andrei Lupas, Lenore Macdonald,
Hector Maclean, Sarah Martin, Chris Maxwell, Campbell and Noreen McAdam, Kate McBride, Hilary McPhee, Rowan
McIndoe, Lorraine Meldrum, Catherine and Barry Michael, Philippa Miller, Alana Mitchell, Mobiquity Inc, Adam Morris,
the late Dame Elisabeth Murdoch, Max Griffiths and Merrilyn Murnane, MJ and RM Norton, The Ian Potter Foundation,
Annette Robinson, Nola Rogers, Lars Rolner, Alma Ryrie-Jones, Geoff Scollary, Cathy Scott, Stephen Shanasy, David and
Lorelle Skewes, Nicole Spicer, Lynne Star, Lenore Stephens, Eric Stokes, Rob Stove, Brian Swinn, Ross Telfer, Elsie
Valmorbida, Alison Waller, Mel Waters, Carolyn Williams, Harry Williams, Glen Witham, Robert Wright, Jenny and
Wallace Young and anonymous donors.
www.AusChoir.org
Australian Chamber Choir Inc. No.A00499