AUSTRALIAN CHAMBER CHOIR directed by

DOUGLAS LAWRENCE with

RHYS BOAK – Organ and

QUATTRO – String quartet

Our Lady of Mt Carmel, Middle Park Sunday 21 November 2010 at 3 p.m.

1. Rejoice in the Lord alway (The Bell Anthem) Purcell HENRY PURCELL : Born 1659; died 1695.

It makes no sense to talk about ‘youthful’ works in the context of Purcell’s miserably brief lifespan, but if it did, this setting of words from St Paul’s Letter to the Philippians would be one of them, dating as the music does from the early 1680s, not long after the composer had entered royal service. The introduction’s repeated descending scales in the bass line gave the piece its nickname ‘The Bell Anthem’ (not, apparently, a name applied with Purcell’s permission or even while he was still alive). Most of the vocal writing consists of block chords, very different from the complex counterpoint of earlier English anthems by such men as Byrd and Tallis. Purcell’s stylistic fingerprints are to be found not solely in the repeated dance rhythms, but in the dramatic deceleration beginning at the words ‘and the peace of God which passeth all understanding,’ as well as in the occasional pungent passing dissonance.

Trio Rejoice in the Lord alway,and again I say rejoice.

Let your moderation be known unto all men;the Lord is at hand.

Choir Rejoice in the Lord …

TrioBe careful for nothing, but in everything,

by prayer and supplication with thanksgiving,

Let your requests be made known unto God.

And the peace of God which passeth all understanding shall keep your hearts and minds through Jesus Christ our Lord.

Choir Rejoice in the Lord ...

2. Das Wort ward Fleisch Schütz HEINRICH SCHUTZ : Born 1585; died 1672.

Sometimes known as ‘Sagittarius’ (the Latinised form of his surname), Schütz was the longest-lived, the most respected, and probably the most profound of all pre-Bach German composers. Save for a handful of early and seldom-remembered madrigals, his large output – around 500 pieces survive – is entirely sacred and vocal. Most of it employs German texts (Luther’s Bible translation being a frequent source), though there is also a sizeable body of Latin settings. Das Wort ward Fleisch comes from a collection of motets called Geistliche Chormusik, published in 1648, when at last the Thirty Years’ War which had so ravaged Central Europe – and which at one stage forced Schütz himself into uncongenial Danish exile – ended. As with so much Schütz, the emphasis is on clear declaiming of the words, with close imitation from part to part, and with the tendency to

play one section of choristers off against another: a practice the composer had learnt while studying in Venice with Giovanni Gabrieli.

Das Wort ward Fleisch und wohnet unter uns, und wir sahen seine Herrlichkeit, eine Herrlichkeit als des eingebornen Sohns vom Vater, voller Gnade und Wahrheit.

The Word was made flesh and dwelt among us, and we beheld His majesty, a majesty like that of the only-begotten Son of the Father, full of grace and truth

3. In Dulci Jubilo Scheidt SAMUEL SCHEIDT : Born 1587; died 1654. Scheidt was one of German baroque music’s ‘three S’s,’ the other two being his slightly older contemporaries Schütz and Johann Hermann Schein. Unlike Schütz, Scheidt left a good deal of keyboard music, reflecting his early studies in Amsterdam with the great Dutch organist Jan Sweelinck. But like Schütz, Scheidt produced substantial quantities of both Latin-language and German-language choral writing. In Dulci Jubilo is based on the melody of the eponymous and bilingual Christmas carol, which dates from the fourteenth century and had long since become familiar to Lutheran congregations by Scheidt’s time. The Gabrielian influence is even stronger here than in the Schütz piece, with the choir being divided into two sections (the first consisting of two sopranos, alto, and tenor; the second of alto, tenor, and two basses). Only at the end, with the proud cry of ‘Alpha es et O’ (‘He [Christ] is Alpha and Omega’), do the sections combine.

In dulci jubilo, Nun singet und seid froh! Alle unsre Wonne Liegt in praesepio; Sie leuchtet wie die Sonne Matris in gremio. Alpha es et O!

In sweet rejoicing, Now sing and be glad! All our joy Lies in the manger; It shines like the sun In the mother's lap. He is the Alpha and Omega!

4. A Boy was Born Hymn to the Virgin Britten BENJAMIN BRITTEN : Born 1913; died 1976.

Both of these a cappella anthems are very early works, the former having been composed in 1933 for the BBC Singers, and the latter being a product of Britten’s seventeenth year. They show not just a craftsmanship exceptional in so young a man, but also his lifelong sensitivity to words, and his preference for poems that had seldom if ever been set by other composers. A Boy Was Born uses sixteenth-century German lyrics, in an English translation which Britten found in The Oxford Book of Carols; Hymn to the Virgin employs a part-English, part-Latin text from around 1300, which came Britten’s way via The Oxford Book of English Verse. In both cases the writing is mostly syllabic, and already – despite the French-impressionist influences discernible at times – an original mind is operating. Most composers would have concluded A Boy Was Born with a simple D-major triad; Britten enterprisingly leaves the bottom D out altogether, giving a pleasant touch of vagueness. Whereas A Boy Was Born is scored modestly in four parts (SATB), A Hymn to the Virgin requires eight parts, and antiphony dominates it.

A Boy was born in Bethlehem; Rejoice for that, Jerusalem! Alleluia.

He let Himself a servant be, That all mankind He might set free: Alleluia

Then praise the Word of God, Who came To dwell in human frame: Alleluia.

A Hymn to the Virgin Of one that is so fair and bright Velut maris stella, Brighter than the day is light, Parens et puella: I cry to thee, thou see to me, Lady, pray thy Son for me Tam pia, That I may come to thee. Maria!

All this world was forlorn Eva peccatrice, Till our Lord was y-born De te genetrice. With Ave it went away Darkest night, and comes the day Salutis The well springeth out of thee. Virtutis. Lady, flower of everything, Rosa sine spina, Thou bare Jesu, Heaven's King, Gratia divina: Of all thou bear'st the prize, Lady, queen of paradise Electa: Maid mild, mother es Effecta. Effecta

5. O Magnum Mysterium Kristof THOMAS KRISTOF : Born 1984.

One of the Australian Chamber Choir’s tenors, Thomas Kristof has here used a Christmastide text in Latin. It begins in a dramatic fashion, with a solo alto in an improvisatory-sounding theme which lays substantial stress on a falling semitone. This interval also plays an important role in the choral lines – first the altos, then the tenors – that come in one after another. When the sopranos and basses enter, the writing becomes more chordal, though it then reverts to its previous polyphonic style. The climax occurs with exultant shouts of ‘Alleluia!’, which, nevertheless, swiftly die away. At the very end, the choir’s top three parts whisper ‘Alleluia’ twice against sustained notes from the alto soloist and the basses.

O magnum mysterium et admirabile sacramentum, Ut animalia viderent Dominum natum Jacentem in prosepio. O beata virgo, cujus viscera meruent portare [Dominum Jesum Christum] Alleluia..

O great mystery and admirable sacrament, That animals might see the Lord’s birth, lying in a manger. O Blessed Virgin, who was worthy of bearing(Our Lord Jesus Christ) Alleluia.

6. Hymne à la Vierge Villette PIERRE VILLETTE : Born 1926. Died 1998.

French sacred music, at its best, has always known how to combine fervour with voluptuousness; and this Marian motet from 1954 – the most famous piece by a composer who ruined his chances of sustained Parisian recognition by spending most of his life in Provence – is no exception. It uses a poem by one Roland Bouhéret, based partly on phrases from the Book of Wisdom. Throughout, the atmosphere is that of tender homage

being paid. Generally the parts move together in block harmony, relieved at certain points by short passages of imitation. At the end, to reinforce the words ‘O toute belle Vierge Marie!’, Villette gives us a chord sequence which is a veritable sugar-rush of ultra-sweet, Gershwin-style harmonies.

O toute belle Vierge Marie, Votre âme trouve en Dieu le parfait amour. Il vous revêt du manteau de la Grâce Comme une fiancée parée de ses joyaux. Alléluia, alléluia. Je vais chanter Ta louange, Seigneur, Car tu as pris soin de moi, Car tu m’as enveloppée du voile De l’innocence, Car tu m’as faite avant le jour, Car tu m’as fait précéder Le jaillissement des sources. Vous êtes née avant les collines, O sagesse de Dieu, porte du Salut. Heureux celui qui marche dans vos traces, Qui apprête son coeur à la voix de vos conseils. Avant les astres vous étiez présente, Mère du Créateur, Au profond du ciel. Quand Dieu fixait les limites du monde, Vous partagiez son coeur Étant à l’oeuvre avec lui. O toute belle Vierge Marie!

O all-beautiful Virgin Mary, Your soul discovers perfect love in God. It cloaks you with the mantle of Grace Like a betrothed adorned with jewels. Alleluia, alleluia. I will sing Your praise, Lord, For You have taken care of me, For You have covered me with the veil Of innocence, For You have made me before the day, For You have made me go before The gushing of fountains. You were born before the hills, O wisdom of God, the door of salvation. Happy he who walks in your footsteps, Who attunes his heart to the voice of your counsels. You were present before the stars, Mother of the Creator, In the depth of heaven. When God fixed the limits of the world, You shared his heart, Being at work with Him. O all-beautiful Virgin Mary!

7. Beatus Vir Monteverdi CLAUDIO MONTEVERDI : Born 1567. Died 1643.

Trying to divide Monteverdi’s output into ‘secular’ and ‘sacred’ constituents is never a more pointless exercise than in Beatus Vir, a setting of Psalm 112 which the composer initially released in his 1640 motet collection Selva Morale e Spirituale. Except that in fact Beatus Vir recycles an utterly profane madrigal (Chiome d’Oro, ‘Golden Hair’), dating from 1619. The much-repeated bass line in Beatus Vir’s outer sections was already dominating, to an even greater extent, the earlier piece. At the phrase ‘Jucundus homo’, the motet’s metre suddenly changes from quadruple time to triple time, and stays thus till the opening material (with the same words) comes back. Typically, Monteverdi the theatrical master makes a grand dramatic gesture from the doxology (‘Gloria Patri et Filio et Spiritui Sancto’), alternating solemn chords with chattering iterations of ‘Gloria, Gloria, Gloria.’ Spacious dignity returns at the concluding Amen.

Beatus vir, qui timet Dominum: In mandatis eius rolet nimis. Potens in terra erit semen eius; Generatio rectorum benedicetur. Gloria et divitiae in domo eius; Et justitia eius manet in saeculum saeculi. Exortum est in tenebris lumen rectis: Misericors, et miserator et justus. Jucundus homo qui miseretur et commodat. Disponet sermones suos in judicio:

Blessed is the man who fears the Lord: He delights greatly in His commandments. His seed will be mighty on earth; The generation of the upright will be blessed. Wealth and riches are in His house; And His righteousness endures for ever Unto the upright there arises light in the darkness: He is gracious, and full of compassion, and righteous. Good is the man who is full of compassion and lends. He will guide his affairs with discretion:

Quia in aeternum non commovebitur. In memoria aeterna erit justus. Ab auditione mala non timebit. Paratum cor eius sperare in Domino; Confirmatum est, cor eius: Non commovebitur, Donec despiciat inimicos suos. Dispersit, dedit pauperibus: Justitia eius manct in saeculum saeculi, Cornu eius exaltabitur in gloria. Peccator videbit, et irascetur; Dentibus suis fremet et tabescet. Desiderium peccatorum peribit. Gloria Patri et Filio et Spiritui Sancto, Sicut erat in principio, et nunc, et semper, in saecula saeculorum. Amen

Because he will not be moved for ever. The righteous will be in everlasting remembrance. He will not be afraid of evil tidings. His heart is fixed, trusting in the Lord; His heart is established: He will not be moved, Until he gazes at his enemies. He has dispersed. He has given to the poor: His righteousness endures for ever and ever. The strength of His soul will be exalted with honour. The sinner will see it, and will be grieved; He will gnash with his teeth, And melt away. Glory be to the Father, and to the Son, and to the Holy Ghost: As it was in the beginning, is now, and ever shall be, for ever and ever. Amen.

INTERVAL

A CD of the ACC live in Europe, recorded during our 2009 European tour is available today ($15). Buy a Special Season Ticket to our 2011 Concert Series today and avoid internet booking fees. See the 2011 brochure for details: Adults $60, Seniors $50, Students, Pensioneers and Unemployed $40. Just ask our ticket desk personnel.

8. Jubilate Deo Gabrieli GIOVANNI GABRIELI : Born 1557? Died 1612.

The principal figure in Venice’s music during the last decade of the sixteenth century and the first decade of the seventeenth was Giovanni Gabrieli, nephew of another eminent musician (Andrea Gabrieli), and teacher of still others (including the aforementioned Schütz). He codified the distinctively Venetian idiom which would be known as cori spezzati – literally ‘separate choirs’ – and which was dominated by groups of vocalists and instrumentalists competing against each other inside Venice’s best-known landmark, the Basilica of San Marco. With Jubilate Deo (this is the best-known among several compositions of his which bear the same title), spectacle and opulence preponderate. The choir is divided into eight parts, with imitation among the parts being invariably close. A rising five-note motive, which all parts get to sing sooner or later, is particularly important. Characteristic of its composer is the abrupt switch into dance-like triple-time writing at the words ‘in laetitia’ (‘in gladness’).

Jubilate Deo omnis terra, quia sic benedicitur homo, qui timet Dominum.Deus Israel conservet vos et ipse sit vobiscum.Mittet vobis auxilium de sancto et de Sion tueatur vos.Benedicat vobis Dominus ex Sion, qui fecit coelum et terram.Servite Dominum in laetitia

Be joyful in the Lord, all lands, for thus shall the man be blessed who fears the Lord. May the God of Israel unite you and Himself be with you. May He send thee help from the sanctuary, and strengthen thee out of Sion. The Lord Who made heaven and earth give thee blessing out of Sion. Serve the Lord with gladness.

9. What sweeter music Bennett SIR RICHARD RODNEY BENNETT : Born 1936.

English by birth, German by early training, and based in the USA since 1979, Bennett is perhaps most celebrated for his film scores (Nicholas and Alexandra, Murder on the Orient Express, Four Weddings and a Funeral); but he has been prolific in almost all the standard genres, his long catalogue of works including three symphonies, numerous pieces for chamber ensembles, and no fewer than five operas. What Sweeter Music, for unaccompanied four-part choir, bears a dedication to former British Prime Minister Edward Heath and is a setting of Yuletide words by the seventeenth-century poet Robert Herrick. The time-signature repeatedly changes, but the tonality (B flat major with various modal inflections) seldom does.

What sweeter music can we bring, Than a Carol, for to sing The Birth of this our heavenly King? Awake the voice! Awake the string! We see Him come, and know Him ours, Who, with His Sun-shine, and His Showers, Turns all the patient ground to flowers. Dark and dull night, fly hence away, And give the honour to this day,

That sees December turned to May. The darling of the world is come, And fit it is we find a room To welcome Him. The nobler part Of all the house here is the heart. Which we will give Him, and bequeath This holly and this ivy wreath To do Him honour, Who’s our King, And Lord of all this reveling.

10. In Dulci Jubilo Bach JOHANN SEBASTIAN BACH: Born 1685. Died 1750. Buxtehude DIETRICH BUXTEHUDE: Born 1637. Died 1707.

The attraction which In Dulci Jubilo had for German composers continued well after the death of Samuel Scheidt (see above). Bach treated the carol melody more than once; and so did Buxtehude, whom Bach so revered that he walked two hundred miles in order to hear the older man’s organ performances. This Bach version (a cappella in four parts) sticks closer to the source than could be expected from the Leipzig Cantor’s restless and exploratory intelligence, although the frequent eruptions of quavers in the bass voice would never have occurred to lesser composers of the age. Buxtehude’s piece uses a three-part choir (soprano, alto, bass), and its exclusively instrumental sections could be thought to evoke the rocking of the Christ Child’s cradle. While Buxtehude’s organ music is a staple of recitalists everywhere, little of Buxtehude’s vocal music is ever heard outside the German-speaking lands. Given the charm and beauty of this example, we might well wonder why.

In dulci jubilo, Nun singet und seid froh! Alle unsre Wonne Liegt in praesepio; Sie leuchtet wie die Sonne Matris in gremio. Alpha es et O! O Jesu parvule, Nach dir ist mir so weh, Tröst mir mein Gemüte, O puer optime, Durch alle deine Güte, O princeps gloriae. Trahe me post te. O Patris caritas!O Nati lenitas!Wir wärn all verdorben

In sweet rejoicing, Now sing and be glad! All our joy Lies in the manger; It shines like the sun In the mother's lap. He is the Alpha and Omega! O infant Jesus, I long for Thee always. Hear me, I beseech Thee, O most excellent child. Through Thy goodness, O Prince of glory, Take me with Thee! O love of the Father! O gentleness of the Son! We were all condemned

Per nostra crimina,So hat er uns erworbenCaelorum gaudia.Eia wärn wir da!

By our sins, But Thou hast gained for us The joys of heaven. O would that we were there!

11. By-by Lullaby Hodgson STEVEN HODGSON : Born 1981.

Steven Hodgson graduated from Melbourne University’s music faculty in 2004. His achievements to date include working as a bass singer (including at St John’s Church, Toorak, and at Ormond College in central Melbourne), in addition to his productions as a composer (various instrumental and choral pieces, plus film scores). Of the unaccompanied By-By Lullaby, written in 2010, he has the following to say: ‘The text for this work is a sixteenth-century English lullaby carol describing a dream in which a maiden mother plays with her child, rocking it to sleep while singing a lullaby refrain. The setting of the dreamscape makes use of a variety of sustained modal sonorities, gradually leading to one of the all-interval tetrachords for the start of the mother's refrain. This chord, from which all possible intervals can be drawn, symbolises the infinite potential within all infants and the divine potential within one particular infant, even in that most human act of being rocked to sleep.’

In a dream late as I lay Methought I heard a maiden say And speak words mild: ‘My little Son, with Thee I play, And come “by lullaby”.’

Thus rocked she her child. Then marvelled I right sore of this: A maid to have a child, ywis. By-by lullaby.

12. The Three Kings Cornelius/Atkins PETER CORNELIUS: Born 1824. Died 1874. Arranged SIR IVOR ATKINS: Born 1869. Died 1953.

A friend of Liszt and Wagner, Cornelius had significant composing gifts in his own right. His comedy The Barber of Baghdad is still staged now and then in German opera houses; and the present Epiphany carol, here sung in an English translation – Die Drei Könige is the original title – has been often heard in broadcasts from King’s College, Cambridge. It possesses two especially unusual features: a time-signature that oscillates between 3/4 and 4/4; and the underpinning of the solo part by a choral arrangement of the Lutheran hymn tune Wie schön leuchtet der Morgenstern (‘How brightly shines the morning star’).Originally Cornelius intended the work for solo voice and piano. Its current form for choir owes much to Sir Ivor Atkins, who served as the Royal College of Organists’ president during the 1930s, having been one of Elgar’s close friends. Elgar’s third Pomp and Circumstance March is dedicated to him.

Soloist Three Kings from Persian lands afar To Jordan follow the pointing star: And this the quest of the travellers three, Where the new-born King of the Jews may be. Full royal gifts they bear for the King; Gold, incense, myrrh are their offering.

The star shines out with a steadfast ray; The kings to Bethlehem make their way, And there in worship they bend the knee, As Mary’s child in her lap they see; Their royal gifts they show to the King; Gold, incense, myrrh are their offering.

ChoirHow brightly shines the morning star! With grace and truth from heaven afar Our Jesse tree now bloweth.

Of Jacob’s stem and David’s line, For thee, my Bridegroom, King divine, My soul with love o’erfloweth.

Soloist Thou child of man, lo, to Bethlehem The Kings are travelling, travel with them! The star of mercy, the star of grace, Shall lead thy heart to its resting place. Gold, incense, myrrh thou canst not bring; Offer thy heart to the infant King. Offer thy heart!

Choir Thy word, Jesu, inly feeds us, Rightly leads us, life bestowing. Praise, o praise such love o’erflowing.

13. Alleluja, Freuet euch, ihr Christen alle Hammerschmidt ANDREAS HAMMERSCHMIDT : Born 1611. Died 1675.

Born in Bohemia but resident for most of his life in the Saxon town of Zittau, Hammerschmidt concentrated on producing sacred vocal music. In 1947, German-American musicologist Manfred Bukofzer passed a somewhat patronising verdict on Hammerschmidt’s style: ‘[he] watered down the achievements of Schütz for the multitude.’ Even watered-down Schütz is of necessity rather impressive, and this motet – the most frequently performed of Hammerschmidt’s 400-odd compositions – reveals a robust and flamboyant muse. Originally appearing in a 1646 collection entitled Vierter Theil Musicalischer Andacten, it proclaims its creator to have been a worthy heir of earlier Lutheran musical traditions, not to mention of the Gabrieli school. Lilting passages in triple time are interspersed with somewhat more polyphonic passages in quadruple time. As with so much Gabrieli, two distinct groups of choristers are required, and are often pitted against each other. The work finishes in a blazing triumph of elated Alleluias.

Choir Alleluia! Trio Freuet euch, ihr Christen alle!Freue sich, wer immer kann,Gott hat viel an uns getan.Freuet euch mit grossem Schalle,Dass er uns so hoch geacht't,Sich mit uns befreund't gemacht.

Choir

Freude über Freude!Christus wehret allem Leide.Wonne, über Wonne!Er ist die Genadensohne.

Trio Siehe, siehe, meine Seele, Wie dein Heiland kommt zu dir, Brennt in Liebe für und für, Daß er in der Krippen höhle Harte lieget dir zugut, Dich zu lösen durch sein Blut.

Choir

Freude über Freude! ...

Choir and Trio Jesu, wie soll ich dir danken?Ich bekenne, dass von dirMeine Seligkeit herrühr'.So lass mich von dir nicht wanken,Nimm mich dir zu eigen hin,So empfindet Herz und Sinn.

Jesu, nimm dich deiner Glieder

Choir Alleluja! Trio Rejoice all ye Christians Let he who can rejoice, God has done so much for us. Rejoice with a great noise, That He has lifted us up so high And made us his friends.

Choir Bliss upon bliss! Christ combats all suffering. Joy over joy! He is the son of grace.

Trio See, see my soul, How your Saviour comes to you, Burns in love through and through, That he in the krib’s hard bed Lies to do you good, To heal you through His blood.

Choir Bliss upon bliss! …

Choir and Trio Jesus, how should I thank You? I confess that it is from you My blessedness is due. So let me not waver from you, Take me to be your own, So is heart and meaning felt.

Jesus, take your flock with you

Ferner in Genaden an!Schenke, was man bitten kann,Zu erquicken deine Brüder;Gib der ganzen ChristenscharFrieden und ein sel'ges Jahr. Alleluja!

Further into grace! Give what is asked, To refresh thy brother; Give the whole of Christendom Peace and a Blessed New Year. Allelujah!

Programme notes © R. J. Stove, 2010

The singers today were: Sopranos: Taya Annable*, Felicity Bolitho*, Cailin Howarth, Bronwyn Jones, Nicole Spicer, Ailsa Webb Altos: Elizabeth Anderson*, Amelia Ballard*, Myfanwy McIndoe, Claire Sadler Tenors: Robin Czuchnowski, Jacob Lawrence*, Tim Reynolds*, Chris Roache* Basses: Simon Gannon*, Stephen Hodgson*, Jerzy Kozlowski*, Kieran Rowe* * denotes soloists.

The players in Quattro were: Violin I: Bruce Campbell Violin II: Jenny Kirsner Viola: Setsuko Minamikawa Violoncello: Jamie Wallis The AUSTRALIAN CHAMBER CHOIR was founded by its current director, Douglas Lawrence in 2007. In July that year, the choir undertook a 20-concert tour of Europe to great acclaim: "There are days when something of heaven seems to touch the earth. Thank you for giving us just one of those such days" (Stefen Wegener, Presenter, Kaiser-Wilhelm-Gedächtnisskirche Series, Berlin, July 14, 2007) "The Australian Chamber Choir inspired the audience with the finest choral music" (Ostfriesischer Kurier, July 19, 2007). Shortly after its return to Melbourne, Clive O'Connell described the choir's inaugural Australian performance in the Age: "choral work of the top rank, as lucidly articulated as you could desire, the bustling interweaving of eight lines coming across in this revealing acoustic with impressive purpose and intonational fidelity" (November 22, 2007). This meteoric rise to international success was largely due to the 24 years Douglas Lawrence worked as director of the Choir of Ormond College, University of Melbourne. In 1984, when Lawrence founded the Ormond College choir, it was the only university choir giving regular weekly performances. This choir provided a training ground for elite choral singers, and its talented young graduates went on to become the backbone of other well-known choirs. Lawrence undertook 11 international concert tours with the Ormond College choir and established a list of European engagements unmatched by any other Australian ensemble. The AUSTRALIAN CHAMBER CHOIR performs music from all periods, with special attention given to new Australian works. In its short life, with 35 European concerts to its credit, the choir has received accolades for its performances of Australian works from European critics: "The modern works; Lamentations (Hodgson) and 'O Magnum Mysterium' (Kristof) … all portrayed a highly-effective sonic magic" (General Anzeiger, Bonn, July 11, 2009) "Thanks to the expressiveness of the singing, Brenton Broadstock's 'I had a dream' became a most beautiful experience" (Berlingste Tidende, Copenhagen, July 23, 2007). In addition to the concerts mentioned above, the ACC has produced a CD (available today) and made four recordings for ABC classic FM, including today’s concert. On Sunday December 5 at 3pm, the Choir will perform at the Iwaki Auditorium for the ABC's Sunday Music Live programme.

In May 2010, the ACC gave its first regional tour, to Wangaratta, Shepparton and Castlemaine. The response from local choirs was powerfully positive: John Rivers, the Director of Music at Wangaratta Cathedral said "This fine concert not only gave an enthusiastic audience a wonderful musical experience, but also gave impetus to choral music in the area … We look forward with keen anticipation to a further visit from this formidable ensemble". The choir plans return visits to all these regional centres and aims to expand this important work in regional Victoria in the near future. As part of its third European tour in July 2011, the ACC will give a concert and sing for a service in St Thomaskirche, Leipzig, where Bach was director of music for 27 years. They will also perform in Kaiser-Wilhelm Gedächtnisskirche, Berlin; Hamburg Hafencity; Bonn Minster, Cologne Cathedral, Freiberg Cathedral, Ribe Cathedral, Denmark; Holy Trinity Cathedral, Paris and in several other centres. The choir aims to establish an Australia-wide touring program as soon as the necessary funds are available. We welcome your support. Donations to the Australian Chamber Choir Support Fund are fully tax deductible. If you would like to assist the choir, fill in the form provided in the “Friends Program” brochure or contact us at info@AusChoir.org or telephone 9387 3004. We would like to thank the following people for their financial support: Diamond Donor: Mr Bob Henderson Silver Donors, Hector Maclean, Thorry Gunnersen, Glen Witham, Rowan McIndoe, Mobiquity, Merrilyn Murnane, Max Griffiths, Alana Mitchell, Robin Batterham, Elisabeth Murdoch, George and Ann Littlewood Donors: Nola Rogers, David Beauchamp, Lyn Howden, Mel Waters, Peter and Sarah Martin, Heather Low, Warren and Iris Anderson, James Barber, Anne Gilby, Helen Bayston, John and Cheryl Iser, Rod and Deborah Edwards, Vicky and Peter Balabanki, Wallace and Jenny Young, Lenore Stephens, Alf and Philippa Miller, Eric Stokes, Barbara Kristof, David Brand, MJ and RM Norton, Alma Ryrie-Jones, Carolyn Williams We would like to thank all our sponsors, particularly Counterpoint Wines, Emma and Tom’s fruit juices and Coremind IT consulting.

Chairman: Dr Robin Batterham, AO Patrons: Barry Jones, AO Prof John Griffiths, Oficial de la Orden de Isabel la Católica

Australian Chamber Choir Inc. No.A0049983Y