AUSTRALIAN CHAMBER CHOIR directed by

DOUGLAS LAWRENCE

Basilica of St Mary of the Angels, Geelong Sunday October 14 at 3.00pm

Our Lady of Mt Carmel, Middle Park

Sunday October 21 at 3.00pm

1. HEAR MY PRAYER, O LORD Henry Purcell Born in or around September 1659, London; died on 21 November 1695, London. The ‘Orpheus Britannicus’ produced abundant choral music for the Anglican Church, which King Charles II had re-established after his 1660 restoration to the throne. Composer and historian Thomas Tudway noted: ‘His Majesty, who was a brisk and airy prince, coming to the crown in the flower and vigour of his age, was soon, if I may so say, tired with the grave and solemn way which had been established by Tallis, Bird [sic], and others.’ Protracted French exile had given the Merry Monarch a zest for those brisk terpsichorean rhythms which even the sacred works of Louis XIV’s court tended to exploit. Purcell, though no mere imitator of these Gallic models or any other models, happily obliged his sovereign for much of the time. Yet now and again he gave indications of a greater fondness for Elizabethan-Jacobean solemnity than King Charles would have countenanced. An example is the double-choir Hear My Prayer, O Lord, written in or around 1683, to the first verse of Psalm 102 in the King James Bible. As early as the fourth bar we get a characteristic instance of Purcell’s harmonic spice: B flat versus B natural in the soprano part, followed in the very next bar by an alto line which touches on E flat and E natural without settling on either. It sounds as if Purcell had absorbed the examples of Tallis and Byrd, both of whom utilised such cross-relations.

Hear my prayer, O Lord, And let my crying come unto Thee.

2. PSALM 100: JAUCHZET DEM HERRN Heinrich Schütz Heinrich Schütz Born on 8 October 1585, Köstritz, Germany; died on 6 November 1672, Dresden. 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 set of youthful and seldom-remembered madrigals, his large output – around 500 pieces survive – is entirely sacred. Most of it employs German texts (Luther’s Bible translation being a frequent source), though Schütz also left a sizeable body of Latin settings. Jauchzet Dem Herrn is an early work, which first appeared in his 1619 collection Psalmen Davids. With this anthology, more than anywhere else in the composer’s oeuvre, the sheer liveliness of Giovanni Gabrieli’s style – Gabrieli had been Schütz’s teacher in Venice – makes itself evident: the antiphonal use of sub-choir pitted against sub-choir; the block harmony; the alternation between triple and duple time-signatures. Schütz showed himself to be fairly flexible as to the resources required for this piece: it can be sung a cappella, though there is also provision for instrumentalists to double the vocal lines. A setting of this Psalm in Hebrew can be heard in Bernstein’s Chichester Psalms, Part I.

Jauchzet dem Herrn alle Welt. Dienet dem Herrn mit Freuden. Kommt vor sein Angesicht mit Frohlocken. Erkennet, dass der Herre Gott ist. Er hat uns gemacht, und nicht wir selbst,

zu seinem Volk und zu Schafen seiner Weide. Gehet zu seinen Toren ein mit Danken, zu seinen Vorhöfen mit Loben. Danket ihm, lobet seinen Namen,

Make a joyful noise unto the Lord, all ye lands. Serve the Lord with gladness: Come before His presence with singing. Know ye that the Lord He is God: it is He Who hath made us, and not we ourselves. We are His people, and the sheep of His pasture. Enter into His gates with thanksgiving, and into His courts with praise. Be thankful unto Him, and bless His name.

denn der Herr ist freundlich und seine Gnade währet ewig und seine Wahrheit für und für. Ehre sei dem Vater und dem Sohn und auch dem Heiligen Geiste, wie es war im Anfang, jetzt und immerdar und von Ewigkeit zu Ewigkeit. Amen.

For the Lord is good. His mercy is everlasting; and His truth endureth to all generations. Glory to the Father, and to the Son, And to the Holy Ghost, As it was in the beginning, Is now, and ever shall be. Amen.

3. PATER NOSTER Jacob Handl

Born on 30 July 1550, Ribnica, Slovenia; died on 18 July 1591, Prague. The sole Slovenian-born composer ever to make much of an impact outside his homeland, Handl – whose image appears on one of his country’s banknotes – is also sometimes known by the Latin form of his name: Jacobus Gallus. After several years employed at Vienna in the chapel of Holy Roman Emperor Maximilian II (reigned 1564-76), Handl moved to Olmütz (now Olomouc in the Czech Republic) and there directed the cathedral choir. This post he left in 1585 for a similar job at St John’s Church in Prague, where he stayed for the rest of his short life. Extremely prolific, Handl composed approximately 400 works (like Schütz, he concentrated upon sacred music), often adopting the polychoral idiom of Giovanni Gabrieli and other Venetians. The most frequently revived of Handl’s pieces is this eight-part Pater Noster, in which the two choirs frequently echo one another’s straightforward block harmonies, counterpoint being largely confined to the exuberant ‘Amen’, with its close imitation within each choir, imitation which culminates in a grand plagal cadence.

Pater noster, qui es in caelis, sanctificetur nomen tuum; Adveniat regnum tuum. Fiat voluntas tua sicut in caelo et in terra. Panem nostrum quotidianum da nobis hodie, Et dimitte nobis debita nostra, sicut et nos dimittimus debitoribus nostris. Et ne nos inducas in tentationem; sed libera nos a malo. Amen

Our Father, Who art in heaven, Hallowed be Thy name; Thy Kingdom come, Thy will be done on earth, as it is in heaven. Give us this day our daily bread, And forgive us our trespasses As we forgive those who trespass against us. And lead us not into temptation, But deliver us from evil. Amen.

4. THE LORD’S PRAYER: OTCHE NASH Anton Arensky Born on 30 June [Old Style] 1861, Novgorod, Russia; died on 12 February [Old Style] 1906,

Kirillovskoye, Russia. Arensky – a sufferer from that scourge of Romantic artists, tuberculosis – has experienced the sad fate of being, for all practical purposes, a one-work man. His immediately attractive Variations on a Theme of Tchaikovsky for string orchestra have been frequently recorded, but most of his other music (with the occasional exception of his First Piano Trio, a periodic visitor to CD catalogues) continues to slumber undisturbed by posterity. A pupil of Rimsky-Korsakov, Arensky received from that composer the verbal equivalent of a slap across the mouth: ‘He will quickly be forgotten.’ (Not, however, by Russian scientists in Antarctica, who in 1987 paid him the tribute of naming a glacier after him.) What few other pieces of Arensky’s have been revived in recent times indicate unfailing grace and craftsmanship, mixed now and then with considerable power. That he could encompass dignified religious emotion, as well as secular media’s demands, is indicated by this homophonic setting of the Our Father. It requires the basses to descend, in true Slavic manner, to repeated Cs at the very bottom of their range. An arresting effect occurs near the end, when the final lines are delivered by a solo unaccompanied tenor on a monotone, before the chorus as a whole responds with ‘Amen.’

Otche nash, izhe yesi na nebesekh, da svyatitsya imya Tvoe,

Our Father, Who art in heaven, Hallowed be Thy name;

da priidet tsarstvie Tvoe, da budet volya Tvoya, yako na nebesi i na zemli. Khleb nash nasushchnïy dazhd’ nam dnes’, i ostavi nam dolgi nasha, yakozhe i mï ostavlyaem dolzhnikom nashïm. I ne vvedi nas vo iskushenie, no izbavi nas ot lukavago. Yako Tvoe yest tsarstvo, i sila, i slava, Ottsa, i Syina, i svyatago Dusha, nyinye I prissno, I vo vyeki vyekov. Amen.

Thy Kingdom come, Thy will be done, on earth, as it is in heaven. Give us this day our daily bread, And forgive us our trespasses As we forgive those who trespass against us. And lead us not into temptation, But deliver us from evil. For Thine is the kingdom, the power and the glory, Forever and ever, Amen.

5. THREE CHORAL WORKS Samuel Barber Born on 9 March 1910, West Chester, Pennsylvania; died on 23 January 1981, New York City.

(i) TWELFTH NIGHT (ii) AGNUS DEI (iii) A STOPWATCH

Unlike most world-famous composers in modern times, Barber was himself a professional singer. (Impressive laryngeal genes ran in the family; his aunt, the operatic contralto Louise Homer, struck no less a judge than Melba as possessing ‘the world’s most beautiful voice’). Not surprisingly in view of this background – and given his lifelong love of fine literature – Barber returned over and over to vocal music within his rather small catalogue of works, which reaches only Opus 47.

Twelfth Night, a Christmas carol to lines by the Englishman Laurie (Cider With Rosie) Lee, dates from 1968. At this stage Barber had lately undergone the greatest professional disappointment of his life – the spectacular critical mauling which his opera Antony and Cleopatra incurred after its première at the Met – but no hint of fatigue or of artery-hardening marks this piece, which takes full advantage of the potential for harmonic juiciness and word-painting furnished by Lee’s text.

No night could be darker than this night, No cold so cold, As the blood snaps like a wire, And the heart’s sap stills, And the year seems defeated. O never again, it seems, can green things run, Or sky birds fly, Or the grass exhale its humming breath Powdered with pimpernels, From this dark lung of winter. Yet here are lessons for the final mile Of pilgrim kings; The mile still left when all have reached Their tether’s end: that mile Where the Child lies hid.

For see, beneath the hand, the earth already Warms and glows; For men with shepherd’s eyes there are Signs in the dark, the turning stars, The lamb’s returning time. Out of this utter death He’s born again, His birth our saviour; From terror’s equinox He climbs and grows, Drawing his finger’s light across our blood – The sun of heaven, and the son of God.

Agnus Dei (1967) represents old wine in a new bottle, being none other than an a cappella choral arrangement of the Adagio for Strings, which had long since become Barber’s most famous composition and one of the most famous compositions ever written by any American. It has served for three-quarters of a century as the American equivalent of Elgar’s Nimrod: that is, as the utterance of choice for official mourning (employed in news reports on the deaths of FDR, JFK, and Einstein, not to mention on the 9/11 terrorist attacks). Barber himself soon became as weary of it – ‘they always play that piece,’ he told a radio interviewer; I wish they’d play some of my other pieces’ – as Ravel became of Bolero. But it is a tribute to the durability of Barber’s invention that it proves as fitting to the choral

medium as to the string orchestra. The Agnus Dei text and translation can be found on page 5 as part of Britten’s Missa Brevis.

A Stopwatch (1942), to words by Sir Stephen Spender, shows another side to Barber’s idiom: the menacing side, to which he would return in Medea’s Dance of Vengeance and the still more bleak Third Essay for Orchestra (his last completed score). Barber himself spent most of World War II in uniform – the Army Air Corps – and knew, therefore, what he was describing. He accompanies the choir not with conventional methods (piano, organ, or orchestra) but with timpani alone. The result is mesmeric. Like Berlioz, Barber specifies the hardness of the various sticks that the timpanist should use in each bar, the better to reinforce the music’s unrelenting march figuration, which supplies a solid tonal contrast to the vocal lines’ frequent chromaticism.

A stopwatch and an ordnance map. At five a man fell to the ground And the watch flew off his wrist Like a moon struck from the earth Marking a blank time that stares On the tides of change beneath. All under the olive trees.

A stopwatch and an ordnance map. He stayed faithfully in that place From his living comrade split By dividers of the bullet Opening wide the distances Of his final loneliness. All under the olive trees

A stopwatch and an ordnance map. And the bones are fixed at five Under the moon’s timelessness; But another who lives on Wears within his heart forever Space split open by the bullet. All under the olive trees.

INTERVAL: 15 minutes

The Australian Chamber Choir CD available today for $25 In Dulci Jubilo – JS Bach, Dietrich Buxtehude, Selig sind die Toten – Heinrich Schütz, A Boy was Born and Hymn to the Virgin – Benjamin Britten, O Magnum Mysterium – Thomas Kristof, By-by Lullaby – Stephen Hodgson, I heard the owl call my name – Philip Nunn SUBSCRIBE NOW to our 2013 concert series and pay 2012 prices. Just ask our ticket desk personnel

6. MISSA BREVIS Benjamin Britten Born on 22 November 1913, Lowestoft, Suffolk; died on 4 December 1976, Aldeburgh, Suffolk.

Having proven during the 1940s, with Rejoice in the Lamb and A Ceremony of Carols, that he had a special knack for rejuvenating choral genres, Britten turned in 1959 to the Catholic liturgy (for artistic rather than religious motives, since he himself remained a lifelong Anglican). Result: this Missa Brevis, commissioned by its dedicatee George Malcolm, organist and choirmaster at Westminster Cathedral. Brevis is the word: the whole Mass setting takes only around a quarter of an hour to perform; it omits the Credo – which before Vatican II would very often be sung to plainchant anyhow – and its Benedictus is a mere 25 bars long. (Britten stipulated that these 25 bars could be omitted at the conductor’s behest, as if the work were not terse enough already.) The organ part, confined to manuals in the Kyrie, is always lucid even when pedals are required, never threatening to overwhelm the singers. As so often with Britten, irregular time-signatures occur: 7/8 for the Gloria, 5/4 for the slowly sorrowing Agnus Dei. Kyrie

Kyrie eleison. � Christe eleison. � Kyrie eleison..

Lord, have mercy upon us. � Christ, have mercy upon us. � Lord, have mercy upon us.

Gloria Gloria in excelsis Deo, et in terra pax, hominibus bonae voluntatis.

Glory to God on high, and on earth peace to men of good will.

Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis; Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe. Cum Sancto Spiritu, in gloria Dei Patris. Amen.

We praise Thee, we bless Thee. We adore Thee, we glorify Thee. We give thanks to Thee for Thy great glory. Lord God, heavenly King, God the Father Almighty, Lord, the only begotten Son, Jesus Christ, Lord God, Lamb of God, Son of the Father. That takest away the sins of the world, have mercy on us; That takest away the sins of the world, receive our prayer. That sittest at the right hand of the Father, have mercy upon us. For Thou alone art holy, Thou alone art the Lord, Thou alone art the Most High, Jesus Christ. With the Holy Spirit, in the Glory of God the Father. Amen.

Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth, Pleni sunt caeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Holy, Holy, Holy, Lord God of Hosts, Heaven and earth are full of Thy glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest.

Agnus Dei

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Lamb of God, Who takest away the sins of the world, have mercy on us.

Lamb of God, Who takest away the sins of the world, have mercy on us.

Lamb of God, Who takest away the sins of the world, grant us peace.

7. CHICHESTER PSALMS Leonard Bernstein Born on 25 August 1918, Lawrence, Massachusetts; died on 14 October 1990, New York City.

England’s Walter Hussey (1909-85), Vicar of St Matthew’s Church in Northampton and later Dean of Chichester Cathedral, gave practical help to a great many musicians during his long career. He commissioned Britten’s Rejoice in the Lamb and Gerald Finzi’s Lo, the Full, Final Sacrifice, to name but two important works. But no beneficiary of Hussey’s sponsorship raised more eyebrows than the galvanic Bernstein. Given his Ukrainian-Jewish heritage, his identification with New York’s radical chic, his unrestrained theological heterodoxy, and his temperamental exuberance – closer to rock stars than to his fellow orchestral conductors – Bernstein constituted the unlikeliest of recruits to the Anglican liturgical cause. He himself had not sought out this cause: he simply happened to be taking sabbatical leave in England, hoping to overcome his grief at the murder of his hero JFK and at the associated collapse of Camelot; hoping, also, to devote more time to composition, time which had largely eluded him since the sensational success of West Side Story and the demands of his New York Philharmonic post. Hussey’s friend and Chichester Cathedral’s organist John Anthony Birch (1928-2012) approached Bernstein, who – never shy of a boundary-shattering challenge – responded with enthusiasm. Chichester Psalms, to Hebrew texts, was the outcome (although the work’s première occurred not at Chichester but at New York’s Philharmonic Hall, on 15 July1965, with the comparatively little-known Abraham Kaplan on the podium; Chichester had to wait for another 16 days to hear the music, when the composer himself directed the cathedral’s choir). The psalms Bernstein used appear in the King James Bible as 108, 100, 23, 2, 131, and 133: in that order. Later Bernstein released a stripped-down arrangement of the instrumental accompaniment to that of organ, single harp – the original version necessitates two harps – and percussion; it is this leaner scoring which is used today.

Introduction: Psalm 108, Verse 2 Urah, hanevel, v’chinor! A-irah shahar.

Awake, psaltery and harp! I will rouse the dawn.

Part I: Psalm 100 Hari’u l’Adonai kol ha’arets. Iv’du et Adonai b’simḥa Bo’u l’fanav bir’nanah. Du ki Adonai Hu Elohim. Hu asanu v’lo anaḥnu.

Amo v’tson mar’ito. Bo’u sh’arav b’todah, Ḥatseirotav bit’hilah, Hodu lo, bar’chu sh’mo Ki tov Adonai, l’olam ḥas’do, V’ad dor vador emunato.

Make a joyful noise unto the Lord, all ye lands. Serve the Lord with gladness: come before His presence with singing. Know ye that the Lord He is God: it is He Who hath made us, and not we ourselves. We are His people, and the sheep of His pasture. Enter into His gates with thanksgiving, and into His courts with praise. Be thankful unto Him, and bless His name. For the Lord is good. His mercy is everlasting; and His truth endureth to all generations.

Part IIa: Psalm 23 Adonai ro-i, lo eḥsar. Bin’ot deshe yarbitseini, Al mei m’nuḥot y’nahaleini, Naf’shi y’shovev, Yan’ḥeini b’ma’aglei tsedek, L’ma’an sh’mo. Gam ki eilech B’gei tsalmavet, Lo ira ra, Ki Atah imadi. Shiv’t’cha umishan’techa Hemah y’naḥamuni.

The Lord is my shepherd, I shall not want. He maketh me to lie down in green pastures, He leadeth me beside the still waters, He restoreth my soul, He leadeth me in the paths of righteousness, For His name’s sake. Yea, though I walk Through the valley of the shadow of death, I will fear no evil, For Thou art with me. Thy rod and Thy staff They comfort me.

Part IIb: Psalm 2, verses 1- 4 Lamah rag’shu goyim Ul’umim yeh’gu rik? Yit’yats’vu malchei erets, V’roznim nos’du yaḥad Al Adonai v’al m’shiḥo. N’natkah et mos’roteimo, V’nashlichah mimenu avoteimo. Yoshev bashamayim Yis’ḥak, Adonai Yil’ag lamo! Ta’aroch l’fanai shulchan Neged tsor’rai Dishanta vashemen roshi Cosi r’vayaḥ. Ach tov vaḥesed Yird’funi kol y’mei ḥayai V’shav’ti b’veit Adonai L’orech yamim.

Why do the nations rage, And the people imagine a vain thing? The kings of the earth set themselves, And the rulers take counsel together Against the Lord and against His anointed. Saying, let us break their bands asunder, And cast away their cords from us. He that sitteth in the heavens Shall laugh, and the Lord Shall have them in derision! Thou preparest a table before me In the presence of my enemies, Thou anointest my head with oil, My cup runneth over. Surely goodness and mercy Shall follow me all the days of my life, And I will dwell in the house of the Lord Forever.

Part III: Psalm 131 Adonai, Adonai, Lo gavah libi, V’lo ramu einai, V’lo hilachti Big’dolot uv’niflaot Mimeni. Im lo shiviti V’domam’ti, Naf’shi k’gamul alei imo, Kagamul alai naf’shi.

Lord, Lord, My heart is not haughty, Nor mine eyes lofty, Neither do I exercise myself In great matters or in things Too wonderful for me to understand. Surely I have calmed And quieted myself, As a child that is weaned of his mother, My soul is even as a weaned child.

Yahel Yis’rael el Adonai Me’atah v’ad olam.

Let Israel hope in the Lord Henceforth and forever.

Finale: Psalm 133, Verse 1 Hineh mah tov, Umah na’im, Shevet aḥim Gam yaḥad.

Behold how good, And how pleasant it is, For brethren to dwell Together in unity.

Programme notes © R. J. Stove, 2012 The singers today were: Sopranos: Felicity Bolitho*, Nina Wellington-Iser*, Bronwyn Jones, Erika Tandiono, Ailsa Webb, Sylvia Tiet Altos: Myfanwy McIndoe, Helen Seymour, Elizabeth Anderson, Melissa Lee Tenors: Jacob Lawrence*, Andrew Collyer, Tomas Dalton*, Ben Owen Basses: Steven Hodgson*, Andrew Moffat, Kieran Macfarlane, Tom Healey * denotes soloist

ABOUT OUR LAST CONCERT: “The program’s most challenging music, a terse but harmonically grinding Miserere extracted from Penderecki’s St Luke Passion, enjoyed a lucid reading from the 17-strong ensemble, who handled its pungent intervallic clashes with controlled vigour, the emotional aura of regret and sorrow coming across with singular success.” - Clive O’Connell, The Age, 3 July 2012 ABOUT US: The ACC was well-received on its third European concert tour, with 13 concerts in July 2011. The choir received high praise for its performances of monuments of the choral repertoire such as Bach’s Motet, Jesu meine Freude, which it performed alongside a recent work by Australian composer Philip Nunn: I heard the owl call my name. In October 2011, the choir undertook its second Australian regional concert tour, visiting Albury, Wagga Wagga and Wangaratta. Thanks go to the Potter Foundation for its assistance with audience building during 2011. A third regional tour took place in April this year, with the Pergolesi Magnificat and Vivaldi’s Gloria in Hamilton and Tarrington. While the choir’s European tours are financed by contributions from choir members in addition to concert fees, Australian touring relies heavily on support from our donors. SOME STATISTICS: The choir gave its first performance on 7 July 2007. During its first five years, the Australian Chamber Choir has undertaken three European tours, three Australian regional tours and given many concerts in Melbourne - a total of 93 concerts, many of which have been recorded for broadcast on 3MBS FM or ABC FM. Donations to the Australian Chamber Choir Support Fund are tax deductible. If you would like to assist the choir with its Australian activites, fill in the form provided in the into the future brochure or contact us at info@AusChoir.org or telephone 9387 3004 or donate online at www.AusChoir.org. Our European Tour, 2013: June 29: Georgskirche, Nördlingen June 30: Georgskirche, Nördlingen (Service) Basilika, Dillingen July 1: Pauluskirche, Tübingen July 3: Pauluskirche, Darmstadt July 5: Epiphanienkirche, Charlottenburg,

Berlin July 7: Hafencity, Hamburg July 9: Ribe Cathedral, Denmark

July 10: Sorø International Music Festival, Denmark

July 14: Wroclaw Festival, Poland July 16: Legnica Cathedral, Poland July 18: Freiberg Cathedral, Germany July 20: Meissen Cathedral July 21: St Thomas Church, Leipzig

(Service) July 24: Martinskirche, Wangen July 28: American Church, Paris

Would you like more information? Go to www.AusChoir.org Sign up at the door today or at the website to receive our news letter. Our management Chairman: Dr Robin Batterham, AO Treasurer: Richard Bolitho Public Officer: Sarah Martin Assisting on management Committee: Dr Stuart Hamilton 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, listed below.

Thank you for attending today’s concert. We would like to thank the following people for their support: Warren and Iris Anderson, Vicki and Peter Balabanski, James and Barbara Barber, Robin Batterham, Heather Bayston, Lyn Howden and David Beauchamp, Rhys Boak, David Brand, Harold Burge, Elizabeth Burns, Lois Cooke, Patricia Duke, 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, Ian and Heather Gunn, Thorry Gunnersen, Stuart Hamilton, Bob Henderson, Thomas Hurley, John and Cheryl Iser, David Kellam, David Kingsbury, Barbara Kristof, Neil Lawrence, George and Ann Littlewood, Heather Low, Lenore Macdonald, Hector Maclean, Sarah Martin, Campbell and Noreen McAdam, Rowan McIndoe, Lorraine Meldrum, Catherine Michael, Philippa Miller, Alana Mitchell, Mobiquity Inc, Adam Morris, Elisabeth Murdoch, Max Griffiths and Merrilyn Murnane, MJ and RM Norton, The Ian Potter Foundation, Annette Robinson, Nola Rogers, Alma Ryrie-Jones, Stephen Shanassy, David and Lorelle Skewes, Nicole Spicer, Lynne Star, Leonore Stephens, Eric Stokes, Ross Telfer, Elsie Valmorbida, Alison Waller, Mel Waters, Carolyn Williams, Glen Witham, Robert Wright, Jenny and Wallace Young

Australian Chamber Choir Inc. No.A004998