CARL ORFF CARMINA BURANA DAVID HAMILTON EREBUS WORLD PREMIERE. 161st Season Concert 1 Saturday 9 April pm Holy Trinity Cathedral

Transcription

1 CARL ORFF CARMINA BURANA DAVID HAMILTON EREBUS WORLD PREMIERE 161st Season Concert 1 Saturday 9 April pm Holy Trinity Cathedral

2 Connect with Stay up-to-date and sign up to Auckland Choral s mailing list. Sign up at and go in the draw to win free tickets to Auckland Choral s next concert! Sing for Auckland! Auckland Choral is seeking additional singers (especially amongst the tenors and basses) to sing the world s greatest choral works. Interested? You re invited to join Auckland Choral at our next open rehearsal on Wed 18 May 2016, 7.30pm in the Junior School Hall at Diocesan School for Girls, Epsom. admin@aucklandchoral.com or call for more information. facebook.com/aklchoral twitter.com/aucklandchoral

3 ANTON BRUCKNER OS JUSTI MEDITABITUR DAVID HAMILTON EREBUS WORLD PREMIERE - Interval - CARL ORFF CARMINA BURANA Jennifer Barrington, Soprano Stephen Diaz, Tenor Te Oti Rakena, Baritone Auckland Choral Pipers Ensemble Rachel Fuller & Rosemary Barnes, Piano King s School Chapel Choir Uwe Grodd, Conductor Auckland Choral gratefully acknowledges the assistance of our sponsors and supporters: Special thanks to the University of Auckland s School of Music for the provision of percussion instruments for this performance. Names and details in this programme were correct at the time of printing. The use of mobile devices and cameras for photography and recording not authorised by Auckland Choral is prohibited during this performance. Please switch off your mobile devices. Thank you for your co-operation.

4 PROGRAMME NOTES Os justi meditabitur Anton Bruckner ( ) Programme notes by Heath Lees Nowadays, when we think of Bruckner, we immediately conjure up the huge, visionary world of his orchestral symphonies. The idea of Bruckner as a miniaturist seems almost a joke. Yet there are thirty short motets by this composer, each of them testifying to Bruckner's gift for distilling his music into a very spare, church style that still leaves room for a measure of Romantic colour and flow. One of these motets, Os Justi Meditabitur, was composed in 1879 on a text from Psalm 37: Os justi meditabitur sapientiam, et lingua ejus loquetur judicium. Lex Dei ejus in corde ipsius: et non supplantabuntur gressus ejus. Alleluia. The mouth of the righteous speaks wisdom, and his tongue says what is just. The law of God is in his heart; and his steps will not be hindered. Alleluia. Lasting little more than five minutes, the motet is confined to the Lydian mode, perhaps in homage to Bruckner's old teacher Simon Sechter, who wrote a whole mass in this mode. With its raised fourth step, the mode allows for a large number of major chords, resulting in a sweet, highly coloured musical effect. Cast in a simple ternary form, the outer sections are chordal, while the centrepiece is in flowing, contrapuntal lines. A chant-like Alleluia forms the close. Copyright Heath Lees

5 Erebus (2015) David Hamilton for soprano and baritone soloists, SAATBB choir, 2 pianos and percussion Programme notes by David Hamilton 1. Arrival 2. Breaking the Quiet 3. Chorus of Lost Souls When I was offered a commission from Auckland Choral to mark my 60th birthday, I decided I wanted to return to the poetry of Bill Sewell and his Erebus cycle. This new work is a further step towards a possible opera, and the three movements here roughly equate to Act 1 of an opera. Erebus sets texts relating to the crash of an Air New Zealand sight-seeing flight in the Antarctic on 28 November At the time it was the world s fourth worst aviation disaster, killing 257 passengers and crew. Erebus: a poem by Bill Sewell was published in It is an extended poem in thirty-four sections, and covers not only the events of the crash, but also the aftermath and its effect on New Zealand society. The texts of both my previous works based on this poetry ( Breaking the Quiet and The Necessary Rain ) draw attention to the fact that nobody was there to witness the crash, and nobody was there who could have warned the pilot of the imminent danger as the plane headed directly at Mount Erebus. Arrival draws from several texts in the cycle, and includes the words of Captain Collins (sung by the baritone) as recorded by the cockpit voice recorder in the last minutes of the flight. The music is energetic and exciting - the choir takes the role of the passengers, eagerly looking out the windows for anything interesting. Towards the end, the poet plays with the word white making various references to well-known phrases. The phenomenon of whiteout was one of the reasons the plane ploughed into Mount Erebus - the snow and the sky merged, with no defining horizon visible. The other reason for the crash was the changed co-ordinates fed into the plane s computer system, which had not been notified to the crew. Breaking the Quiet is the sixth section of the poetry cycle and describes the isolation and quiet of the crash site, the crash itself, and the scattered personal effects. Amongst the effects is a diary...dedicated to the glory of God who had...looked away at the wrong moment. This piece was originally written in 2009 for an APO composers' workshop. Here it is rescored for pianos and percussion, and slightly revised. In my imagination, it is the plane s captain singing - standing aside and watching the crash and its aftermath. 5

6 Chorus of Lost Souls combines all the forces again, adding a solo soprano towards the end, off-stage. The texts for this movement come from several places in the cycle, and include a reference back to the text of Breaking the Quiet - this time sung by the choir to new chorale-like music. At the climax of the movement, the music quotes briefly from The Necessary Rain where the choir sings part of the Lux aeterna (Eternal light). The baritone s final line, A day becomes eternity was suggested to me by a composer colleague. My thanks to Amanda Powell, Bill Sewell s wife and literary executor, for permission to set this poetry. Erebus was commissioned by Auckland Choral (Music Director Uwe Grodd). The commissioning of Erebus was made possible with financial assistance from Creative NZ. 1. Arrival Look! Look!.the Southern ocean (serene from this altitude) and after the wind-clipped subantarctic islands the blue curving safely away to the first sight of the ice Cape Bernacchi to starboard Capes Bird and Royds to port What they saw was the sky and the ice converging a whiteness into white How far away are we? Where s Erebus in relation to us at the moment? I m just thinking of any high ground in the area, that s all Left do you reckon? Doesn t look very promising does it? Very hard to tell the difference between the cloud and the ice You can write it out white knuckled write it out in black and white white it out whiteout We re going down in altitude now and it won t be long before we get quite a good view 6

7 a whiter shade of pale whiter then white white terror, the whites of your eyes white noise, white heat, white night Pull up! Pull up! Actually, these conditions don't look very good at all, do they? I don t like this We ll have to climb out of this Go around power please (excerpts from Frame 2: The transcript, Frame 3: Study in white (and black) and Frame 6: Against all expectations ) 2. Breaking the Quiet Nobody was there to hear the impact but the quiet that came after would have been immense before the skuas scenting the news came skidding out of the mist before the breeze lifted to a whistle quieter than light percolating through the ice quieter than the prickling of nerves quieter than snow its gentle entrance quieter than sleep quieter even than the hissing of time. The approach like a focussed wind out of the North; the explosive abrasion up the slope quiet now except for the items (those mute appurtenances) that began to chatter as never before: cameras flung away in mid-exposure; ear-rings isolated from their owner and from each other; a flight bag that had rubbed somebody's shoulder since 1964; a shoe; a cap; a wristwatch; and a diary dedicated to the glory of God who had never been one to break the quiet who had looked away at the wrong moment who had been fooled too by the blend of white who had never actually made it that far South. to a full-stop; the blaze that gorged itself finally to a flicker; and the sooty trail of what remained 7

8 3. Chorus of Lost Souls Erebus Erebus Submerged to its shoulders in cloud And floating like an iceberg it was always there first and always approaching Massive and squat Like a sumo wrestler Erebus: nether darkness At the end of the world (from Frame 1: The mountain ) Listen to the distance: if you hear thunder of cataract You hear wrong. It s like tuning your mind, short wave: all the faint stations amidst the underwater burble Listen. They re all moving away, like the galaxy, some of them stars that have faded quite out of sight: so hard to put a name to let alone a voice. (from Voices ) Lux Aeterna, luceat eis. quieter than light percolating through the ice quieter than the prickling of nerves quieter than snow its gentle entrance quieter than sleep quieter even than the hissing of time. A day becomes eternity. Cross on Mt Erebus Image: Archives New Zealand, Te Rua Mahara o te Kawanatanga, Christchurch Regional Office Reference: CAHU CH282/Box13/9 Large black and white prints of crash site operations December 1979 [with captions],

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10 Carmina Burana Carl Orff ( ) Programme notes by Heath Lees As a teenager, Carl Orff taught himself composition and promptly produced music that was astonishingly mature some of it being published when he was only sixteen. The style was what you'd expect in the year 1911: a Romantic mixture of Wagner and Richard Strauss, plus some garish colours à la Schoenberg and primitive, pounding sections à la Stravinsky. During the 1920s, the influence of Stravinsky took increasing hold as Orff turned towards dance, ritual, and a neoclassical interest in the music of the 17th and 18th centuries. But a full-scale commitment to music education led him to turn his back on the increasingly complicated musical forms of the day. For Orff, music had to be forceful yet childlike, simple yet beguiling, and its appeal needed to be directed towards the whole personality. This, he decided, required a radical re-examination of its links with theatre and folklore. It was no surprise then that he seized upon the texts of Carmina Burana, which were first published in a collected edition in The title (Songs from Beuern), refers to a small Bavarian town boasting a famous Benedictine monastery. The 250-odd medieval songs spanned three centuries and are mostly anonymous, though scholars attribute a large number to the vagabond entertainers known as Goliards, whose main aim in life was to satirise the Church and present creation as a perpetual carnival. Orff chose to set twenty-four of the poems, starting and finishing with a pulsating hymn to Fortune. Between these heathenish bookends stand three varied sections. The first hymns the attractions of the country, the second celebrates the pleasures of the tavern, and the third forms an uninhibited anthem to the delights of love. Of the major attractions along the way, look out for the hushed arrival of Spring followed by joyful enthusiasm. There's a famously piping tenor solo (in falsetto) in the role of the swan, roasting on a spit and remembering somewhat better times. The baritone Abbot's call-to-arms-lifting in the tavern sets a cracking but unsteady pace. "In Trutina" sees the soprano aglow in anticipation of fulfilled love, her emotion carrying on into the fervent romance of "Blanziflor et Helena". The closing recap of "O Fortuna" is always thrilling. Copyright Heath Lees

11 Carmina Burana (1935-6) Fortuna imperatrix mundi (Fortune Empress of the World) 1. O Fortuna O Fortune 2. Fortune plango vulnera I weep from the arrows of Fortune I. Primo vere (In Springtime) 3. Veris leta facies Spring's merry face 4. Omnia sol temperat The sun warms all 5. Ecce gratum See the pleasant Spring Uf dem anger (On the Green) 6. Tanz Dance 7. Floret silva nobilis The woods are budding 8. Chramer, gip die varwe mir Shopkeeper, give me rouge 9. Reie Round dance 10. Were diu werlt alle min Were the whole world mine II. In Taberna (In the Tavern) 11. Estuans interius Fire within 12. Olim lacus colueram The Roasting Swan 13. Ego sum abbas I, the abbot 14. In taberna quando sumus When we are in the tavern III. Cour d'amours (The Court of Love) 15. Amor volat undique Love flies everywhere 16. Dies, nox et omnia Day, night and everything 17. Stetit puella A girl stood there 18. Circa mea pectora Within my heart 19. Si puer cum puellula If boy with girl 20. Veni, veni, venias Come, come, o come 21. In trutina In the balance 22. Tempus est iocundum This is a joyful time 23. Dulcissime My sweetest Blanziflor et Helena (Blanziflor and Helena) 24. Ave formosissima Behold most beautiful one Fortuna imperatrix mundi (Fortune Empress of the World) 25. O Fortuna O Fortune 11

12 JENNIFER BARRINGTON, soprano Jennifer was born in Perth and graduated from the West Australian Academy of Performing Arts with a Bachelor of Music in In 2007/08 she was successfully selected as an Emerging Artist with the West Australian Opera, making her professional stage debut as Papagena in Die Zauberflöte. Subsequent roles with the WA Opera Company include Gianetta L elisir d amore, Barbarina Le nozze di Figaro, Yum-Yum The Mikado, Niece 1 Peter Grimes, Adele in Strauss Die Fledermaus and 5th maid Strauss Elektra. In 2009/10 Jennifer was selected as a young artist with the West Australian Opera and was one of the first recipients of a newly created arts scholarship provided by Wesfarmers. 2009/10 also saw Jennifer participate as a member of the WA Opera Access all Arias - Opera in Education Programme, touring Australia with Opera Australia s Ozopera. Jennifer has worked as a soloist with some of Australia s finest orchestras including the West Australian Symphony Orchestra and the Tasmanian Symphony Orchestra. She has also been a finalist in many prestigious Australian singing competitions including Opera Foundation Australia s German Opera Grant and most recently represented WA as one of six finalists in the th Anniversary Melbourne Herald Sun Aria, accompanied by Orchestra Victoria. Jennifer s performances have received wide acclaim from critics. One of her recent performances was as Barbarina in The Marriage of Figaro for the WA Opera where her role was described by The Australian reviewer thus: Jennifer Barrington was superb as Barbarina. Other recent concerts include Faure s Requiem with the University of WA Choral Society and Carmina Burana at the Perth Concert Hall where the West Australian reviewer wrote: Within this spicy mix soprano soloist Jennifer Barrington sparkled like a gem, her immaculate solos delivered with lingering sweetness. STEPHEN DIAZ, tenor Stephen Diaz has had nine years of training through various programs within New Zealand, including the University of Auckland with Morag Atchison, the PWC Dame Malvina Major emerging artist programme with New Zealand Opera and with Frances Wilson at the Auckland Opera Studio. He attended the New Zealand Opera School for three years from In 2012 he was awarded the circle 100 scholarship, first runner up in the Lexus Song Quest and the top prize in the New Zealand Aria Competition. This year he won first prize in the Becroft Aria Competition. He has performed various works, recitals and participated in masterclasses with various companies including NZO, Auckland Opera Studio, Days Bay Opera, Orchestra Wellington, Bach Musica, Viva Voce, Opera Factory and community choirs and music festivals around New Zealand. 12

13 TE OTI RAKENA, baritone Dr Rakena trained as a classical singer at New England Conservatory, Boston and received his Doctorate from the University of Texas at Austin before commencing post-doctoral studies in Europe. An established performer in the operatic and musical theatre genres he is also a published researcher in the areas of vocal function, community music, non-western vocal performance and studio pedagogy. He recently created three roles in Eve de Castro Robinson s opera Len Lye, sang Mahler s Lieder eines fahrenden Gesellen and performed with the Auckland Phiharmonia as a part of their mentoring programme Sing with Te Oti. He is the Associate Dean Māori and Pasifika for the Faculty of Creative Arts and Industries and Associate Head of Performance (Classical), Coordinator of Vocal Studies in the School of Music at the University of Auckland. Te Oti s iwi affiliations are Ngā puhi, Ngati Ruanui, and Ngāi Tahu. He has participated in research initiatives aimed at improving the quality of education for indigenous and minority music students in the tertiary sector. He has won two Excellence in Equity awards for this work and in 2010 received an Excellence in Teaching award for the implementation of innovative teaching practices in the area of vocal studies. RACHEL FULLER, piano Rachel Fuller is an accompanist and chamber musician who performs with singers and instrumentalists in the UK, Sweden, Norway, France and New Zealand. Rachel has worked regularly at the Royal Opera House, Covent Garden as a répétiteur, vocal coach, diction coach and audition accompanist. In Norway she has collaborated with leading opera director Erlend Samnœn as musical director for productions for Åmot and Kristiansund Opera Festivals. Rachel has worked as studio pianist for a number of the world s leading singers including Dame Kiri Te Kanawa, Yvonne Kenny and Anthony Rolfe Johnson and has worked extensively with tenor Keith Lewis. She has performed in leading venues including London s Queen Elizabeth Hall, St. John s Smith Square and St. Martin-in-the-Fields. Originally from Christchurch, she has been based in London for 18 years and in 2015 relocated to Auckland where she works as an Artist Teacher, accompanist and vocal coach at the University of Auckland while maintaining her freelance performing career. Rachel holds a Masters in Music (accompaniment) from the Royal Academy of Music. 13

14 ROSEMARY BARNES, piano Born in Lower Hutt, Rosemary studied in London principally with Franz Reizenstein (Royal Academy of Music) and Lamar Crowson. Interest in languages led to 28 years there, mainly in opera: eight years as music staff at ENO, BBCTV, Glyndebourne Touring Opera, Musica nel Chiostro in Italy, Opera Northern Ireland, Assistant Conductor on many recordings for Opera Rara (bel canto specialists). Rosemary taught singers and pianists at Royal College of Music, performed at Wigmore Hall, Usher Hall, South Bank and BBC Radio 3. Back in New Zealand, Rosemary directed post-graduate opera diploma at the University of Auckland in Rosemary coaches emerging artists for Opera NZ, and since 1994, is the official accompanist at Gisborne International Music Competition. Rosemary has played in concerts with Dame Kiri Te Kanawa, Lesley Garrett, Helen Medlyn, Sir Donald McIntyre, Emil Chudnovsky (violin), Robert Aitken and Leone Buyse (flute), as well as on cruise ships and in Germany with Trio Australasia. Recordings include three CDs for Continuum. Last year, Rosemary performed Chopin s F minor Concerto with Ensemble Polymnia at St Matthews-in-the-City. Rosemary was awarded MNZM for services to music in the 2000 Queen s Birthday Honours. KING'S SCHOOL CHAPEL CHOIR King s School Chapel Choir is an auditioned choir made up of 52 boys aged between 9 and 13. The boys meet twice a week for rehearsals and sing at Sunday services and at community events throughout the year. Last year the choir won gold at the Auckland region Kids Sing competition. They were also awarded the first prize for best performance of the test piece. Last October the boys went on a highly successful tour to Wellington where we performed at Te Papa, Wellington Cathedral, St. Margaret s Girls College and Wellesley College. Choir Master, Kirsten McNeill Scouller hails from St. Andrews, Scotland. She has a BMus specialising in voice from The Ian Tomlin School of Music, Napier University and gained her teaching qualification at The University of Edinburgh. Kirsten works as a music specialist at King s School. PIPERS ENSEMBLE Jasmine Chen, percussion Sam Girling, timpani Rachel Jefferies, percussion Laurence McFarlane, percussion Paul Robertson, percussion Judy Stokes, percussion Pipers Ensemble is proudly sponsored by 14

15 AUCKLAND CHORAL Established in 1855, Auckland Choral is Auckland s largest choir and its only symphonic choir, with over 120 active singing members. Auckland Choral is also New Zealand s oldest arts organisation. Auckland Choral s members are wide-ranging in age and background, connected by a passionate commitment to the music they sing. The choir sings all the great classic choral works as well as contemporary works by New Zealand composers, often commissioned especially for the choir. Auckland Choral sings regularly alongside some of New Zealand s finest soloists and orchestras, including the NZSO, the APO and regular collaborator Pipers Sinfonia. Auckland Choral is particularly well known for its annual Christmas performances of Handel s Messiah. It is believed that Auckland Choral holds the world record for the greatest number of consecutive annual performances of Messiah, having performed it every year without interruption since Under the inspirational leadership of Music Director, Uwe Grodd, Auckland Choral brings a unique blend of artistic excellence, professional polish and community spirit to their performances. Auckland Choral is proud to be a choir that continues, more than 160 years since its founding, to play a prominent role in Auckland s vibrant arts scene. DAVID HAMILTON, composer New Zealand composer David Hamilton studied at Auckland University ( ), gaining Master of Music (First class honours), and was Head of Music at Epsom Girls Grammar School, Auckland until He has been Deputy Music Director of Auckland Choral ( ), and in 1999 was Composer-in-Residence with the Auckland Philharmonia Orchestra. He teaches on a parttime basis as a composition tutor and choral conductor. He is particularly known for his choral music, especially for school and youth choirs. His music has been published and recorded in North America, England and Finland. Recent works have been commissioned by choirs in Japan, Finland, England, USA, Canada, and Ireland. In 2013 he was guest composer at the national choral event Sing Aotearoa, and in 2015 composer-in-residence at the NZ Singing School. He has won composition competitions in Italy (2000), New Zealand (2003 and 2006), and the USA (2005 and 2006). Most recently Hine Raukatauri, a concerto for flute and chamber orchestra, took first prize in the Haifa International Composers Competition (Israel) 2007, and a setting of The Singers took second place in the Longfellow Chorus Composers Competition (USA). In 2008 Carol of Cold Comfort was awarded second place in The Chapter House Choir Composers Competition (York, England), and in 2014 Wairua for solo harp took first place in the NZ Harp Society s competition. 15

16 UWE GRODD, conductor Uwe Grodd s contributions to classical music have brought him considerable international acclaim as conductor, flautist, editor and teacher. To date, he has made world premiere recordings of more than 70 works of 18th and early 19th century music. Three of these masses and 19 symphonies have not been heard since the 18th century. In 1997 he joined Naxos Records as an exclusive artist, a partnership which has allowed him to reintroduce the oeuvres of many undervalued or forgotten composers. Uwe Grodd initially gained worldwide attention when awarded First Prize at the Cannes Classical Awards 2000 for Best 18th Century Orchestral Recording for his CD of Vanhal Symphonies on which he conducted Hungary s Nicolaus Esterházy Sinfonia. Last year, Grodd received the coveted International Record Review Outstanding Industry award following his recording of Ferdinand Ries Complete Works for Piano and Orchestra, featuring the Royal Liverpool Philharmonic, Bournemouth Symphony, the Gaevle and the New Zealand Symphony Orchestra. Uwe Grodd recently recorded his new editions of Hummel s arrangements of Mozart s last six symphonies for flute, violin, cello and piano. With their generous suggestions for phrasing, articulation, dynamics and, most importantly, metronome markings for tempo, they offer an intricate insight into how Mozart s most prominent student shaped these masterworks. Recent performance highlights include eight concerts with the Mexico City Philharmonic and the final concerts of the 53rd and the 54th Handel Festival in Halle, Germany. This involved a combined choir of 280 and the Philharmonisches Staatsorchester Halle. He also conducted sell-out seasons of Handel s recently rediscovered opera Imeneo in the Halle Opera House, and was awarded the Badge of Honour for his services to the Handel Festival and the City of Halle. Uwe Grodd is equally committed to the music of his own time, playing a pivotal role in commissioning more than 50 works from New Zealand composers. He conducted the premiere season of the multi-media opera Galileo, with music by John Rimmer and libretto by Witi Ihimaera, and, in 2012, was Artistic Director of Len Lye the opera, with music by Eve de Castro-Robinson and libretto by Roger Horrocks. He was invited to become Music Director of the Auckland Choral Society, New Zealand s longest-established symphonic choir, in Uwe Grodd is a professor at the University of Auckland s School of Music. 16

17 Music Director: Professor Uwe Grodd Deputy Music Director: Elizabeth Lau Singers in tonight s performance SOPRANOS Jocelyn Alesana-Rennie Anna Bassett Rosemarie Brown Kate Burson Lorraine Casey Theresa Chan Sarah Cox *Karen Dombroski Colleen Elliott Sue L Evans Susan M Evans Jane Gee Jillian Grainger Yvonne Gwyn Debbie Hardy Kimberley Harris *Patricia Henley Melanie Jones Catherine Kelsey * Anna Kofoed Traude Leibbrand Alison Lewis-Wood Setsuko Lichtnecker Alex Luneburg Ann McCoy Sharon Meadows Isabel Morris Daria Nicolaeva Karen Plimmer Beverley Rogers Sylvia Rosevear Jacob Siohane-Royle Carol Stewart Setsuko Strang Aleisha Wallabh-Smith Jennifer Weller Sharon West Ann Whitehouse ALTOS *Margaret Anderson Jo Blandford Margaret Brickland *Sandy Bulmer Nicola Burton Jenny Corkill *Lisa Er Helen Gremillion Marion Hammond Jenny Harnett Rachel Harrison Katherine Hong Rachel Kania Dorothy Kemeys Judy Lane Olive Leddy MaryAnne Liddington **Rosalie Lockwood Maria Millar **Alison Miller Catherine Mitchell *Juliana Nijmeijer **Jennifer Opperman *Helen Preston-Jones *Joslyn Squire Christina Streicher Jerika Teare Robyn Teare Margaret Tibbles Aria Zhang TENORS Alan Bell Tom Bishop Iain Bremner Dan Chen #Ken Cornish Luis Garcia Nigel High Warwick Mitchell Tim Stevenson Dave Turner Joseph Zhang BASSES Jon Bennett Ross Blair *Ian Boswell Andrew Campbell Don Currey *Keith Guyan *David Hamilton Joe Hancock **Pat Henley Michael Macmillan Richard Milne Geoff Ruthe Pedro Silva Chris Smith *John Stevenson *Auckland Choral acknowledges 25 years of service **Auckland Choral acknowledges 40 years of service # Peter Gibbons Memorial Vocal Consultancy 17

18 Patron His Excellency The Governor-General of New Zealand Lt Gen Rt Hon Sir Jerry Mateparae President Mr David Hamilton Vice-Presidents Professor P D H Godfrey, Mr J Piper, Mrs H Saunders, Ms C Smith, Mr M Turner, Sir James Wallace Life Members Mrs B Brodie, Mr I Boswell, Mr K Cornish, Mrs R Garland, Mr P Hyde, Mrs J Jamieson, Mrs A Kofoed, Mrs G McCosh, Sir Donald McIntyre, Mr B Millar, Mrs A Miller, Mrs J Opperman, Mr C Roderick, Mrs B Somerville, Mr J Stevenson, Mr P Watts, Mr A Wooller Trustees Auckland Choral Trust Board: Mr I Boswell, Mr W Mitchell, Mr J Piper, Mr J Stevenson Auckland Choral Foundation: Ms T Leibbrand, Mr R Milne, Ms C Smith, Mr J Stevenson, Mr C Prosser, Mr W Mitchell Management Committee Anna Bassett, Nicola Burton, Rachel Harrison, Richard Milne (Deputy Chairperson), Beverley Rogers (Chairperson), Pedro Silva, David Turner, Ann Whitehouse, Alison Wood Music Director: Professor Uwe Grodd Deputy Music Director: Elizabeth Lau Vocal Coaches: Catrin Johnsson, Morag Atchison Accompanists: Rosemary Barnes, Rachel Fuller, Juan Kim Secretary: Anna Kofoed Administration Manager: Jennifer Hsu Treasurer: Chantelle Philip Auditor: Crowe Horwath Choir Manager: Rhondda Garland Stage Manager: Russell Finnemore Recording Engineer: Larry Elliott Ticketing: Juliana Nijmeijer Front of House: Rob Wilson and team Choir Librarian: Alison Miller Almoner: Betty Somerville Photographer: Iain & Joanne Bremner Designer: Michelle Jordan Interested in auditioning for Auckland Choral? Contact admin@aucklandchoral.com, (09) Rehearsal CDs used with the generous permission of Naxos Records

19 Ensure the future of Auckland Choral The Auckland Choral Foundation is a charitable trust established to ensure the long-term success of Auckland Choral by providing capital growth and income to support its activities. Funds are invested and distributed strategically to support special projects and initiatives such as the Young Singers Programme, scholarships, new commissions and the general advancement of choral performance in the Auckland area. We need your help Auckland Choral Foundation actively seeks gifts, donations and bequests, large or small, from benefactors. Please foundation@aucklandchoral.com or write to The Chairperson, Auckland Choral Foundation, PO Box 7228, Wellesley Street, Auckland 1141, for more information. The gift of song brings more than music... it lifts hearts and souls and creates harmonious communities. UPCOMING CONCERTS English Fantasy 12 June, 5pm St Matthew-in-the-City Tallis Spem in Alium Vaughan Williams Fantasia on Greesleeves Rutter Requiem Tickets $45 from eventfinda.co.nz. Concessions available. Hymn of Praise 29 October, 7.30pm Auckland Town Hall J S Bach Fantasia & Fugue in G minor Artley O Magnum Mysterium MacMillan A New Song Mendelssohn Lobgesang (Hymn of Priase); Symphony No. 2 Tickets $42-92 from ticketmaster.co.nz. Concessions available. Messiah 19 December, 7.30pm Auckland Town Hall 20 December, 7.30pm Auckland Town Hall Handel Messiah Tickets $42-92 from ticketmaster.co.nz. Concessions available. 19

20 ! E N SO T E L SA W NO CK TI ENGLISH FANTASY Tallis Spem in Alium Vaughan Williams Fantasia on Greensleeves Rutter Requiem Morag Atchison, Soprano Auckland Choral Pipers Sinfonia Uwe Grodd, Conductor Sunday 12 June, 5pm St Matthew-in-the-City Tickets are available at eventfinda.co.nz or phone Price $45, concessions available