presented by zelman symphony, arts centre melbourne & the

Presented by

Zelman Symphony,Arts Centre Melbourne

& the Wheeler CentreWorld Premiere

21 March 2021, Sidney Myer Music Bowl

Luke Styles Composer

Behrouz Boochani Librettist

Omid Tofighian Translator & Collaborator

Rick Prakhoff Conductor

Adrian Tamburini Bass-Baritone

Zelman Memorial Symphony Orchestra

Melbourne Bach Choir

Wilma Smith Guest Concertmaster

Susan Pierotti Zelman Symphony Concertmaster

Rafael Epstein MC & Behrouz Boochani Interviewer

No Friend but the Mountains: A Symphonic Song Cycle

Contents

Partners 1

Creative team 2

Program 3

Arts Centre Melbourne Refugee Appeal 4

Arts Centre Melbourne 5

The Wheeler Centre 6

Welcome from Zelman Symphony 7

A 115-year history of ZMSO 8

Lord Mayor’s Charitable Foundation 9

Planet Wheeler 10

Zelman Symphony season 2021 11

Luke Styles 12 & 13

Behrouz Boochani 14

Omid Tofighian 15

Rick Prakhoff 16 & 17

Adrian Tamburini 18 & 19

Wilma Smith 20

Susan Pierotti 21

Rafael Epstein 22

Melbourne Bach Choir 23

No Friend but the Mountains: A Symphonic Song Cycle - text 24

Farhad Bandesh 27

Orchestra players 28

Melbourne Bach Choir singers 29

Acknowledgements Arts Centre Melbourne 31

Acknowledgements The Wheeler Centre 32

Acknowledgements Zelman Symphony 33

No Friend but the Mountains: A Symphonic Song Cycle1

Suzanne Maple-Brown

Kay Ronec

Katrina and Simon Holmes à Court

Anonymous (1)

PRIVATE PARTNERS

MAESTRO PARTNERS SYMPHONY PARTNERS

EVENT PARTNERS

In the spirit of reconciliation of all peoples, we acknowledge that this performance is being held on the traditional lands of the People of the Kulin Nation

and we wish to acknowledge them as Traditional Owners.

We would also like to pay our respects to their elders, past, present and future.

We gratefully acknowledge the support of the following organisations and individuals without which it would not have been possible to produce this world premiere concert.

PRINCIPAL PARTNER


Presented by

Zelman Symphony, Arts Centre Melbourne and the Wheeler CentreWorld Premiere

Creative Team

Luke Styles Composer

Behrouz Boochani Librettist

Omid Tofighian Translator and Collaborator

Rick Prakhoff Conductor

Adrian Tamburini Bass-Baritone

Zelman Memorial Symphony Orchestra Rick Prakhoff Artistic Director and Principal Conductor

Melbourne Bach Choir Rick Prakhoff Artistic Director

Wilma Smith Guest Concertmaster

Susan Pierotti Zelman Symphony Concertmaster

Joseph Hie Assistant Conductor

Rafael Epstein MC and Behrouz Boochani Interviewer

Dr George Deutsch OAM Chair, Zelman Symphony NFBTMASSC Organising Committee

Thanks go to the very large team of wonderful people who have worked tirelesslyand with huge enthusiasm and dedication to bring this event to fruition.

They include: the Zelman Symphony Committee and members of the Zelman Symphony organising committee: Graeme Barker, Adrian Binkert,

Henry Choo, George Deutsch, Sarah Fitchett (President), Holly Hayes, Basil Jenkins, Gary Kirby, Richard Prankerd, Rick Prakhoff, Susan Pierotti and

Calum Scott: Melbourne Bach Choir coordination team: Trudy Collinson, John Gregory (President) and Rosalynd Smith, the Arts Centre Melbourne team:

Kara Bertoncini, Sasha Bradbury, Lauren Clelland, Ben Coe, Suzanne Daley, Micele Hapi, Glen Hirst, Taylor Jones, Marina Milankovic, Erin O’Connor, Martin

Pound, Dilhani Robinson, Madeline Smith, Sophie Pring, Claire Spencer (CEO), Holly Woollard, Angharad Wynne-Jones and Jeremy Vincent:

the Wheeler Centre team Caro Lewellyn (CEO), Emily Harms, Shannon Hick and Veronica Sullivan: the Melbourne Convention and Exhibition Centre team:

Kaylor Clark, Vanessa Draga, Peter King (CEO), Krystle Mutton and Jacinta Weir: PR Matters: Margot Gorski: Hofland Music: Raymond Hoefer and

Michael Conolan. Refugee Voices: Ahmad Hakim: Refugee Action Centre: Chris Breen: Hawthorn Arts Centre: Alia Vryens, Cristina Zannoni.


Rafael Epstein Welcome

Behrouz Boochani and Rafael Epstein in conversation pre-recorded

Farhad Bandesh his lived refugee experience

Farhad Bandesh A song from detention The Big Exhale

Lyrics written by Jenell Quinsee and Farhad Bandesh Music - Farhad Bandesh Music transcribed and arranged by Aaron Searle

Performed by Farhad Bandesh - vocal Wilma Smith - violin Adrian Binkert - cello Irine Vela - acoustic guitar Alexander Meagher - Tam Tam

Rick Prakoff No Friend but the Mountains:Adrian Tamburini A Symphonic Song CycleZelman Symphony OrchestraMelbourne Bach Choir

No Friend but the Mountains: A Symphonic Song CycleComposer: Luke Styles | Librettist: Behrouz Boochani © 2020 G Schirmer Australia Pty Ltd

Program

This event will last approximately 95 minutes with no intervalThis concert is being recorded by ABC Classic radio and videoed by Hofland Music and Arts Centre Melbourne for future broadcast.

It is also being streamed live privately to Behrouz Boochani in New Zealand and Luke Styles in England. Please turn off your mobile phone and all other electronic devices before the event commences.

Unauthorised photography, audio or video recording of the event is not permitted.


Donate to support refugee and asylum seeker artists

Arts Centre Melbourne is committed to providing a platform for the voices and lives of refugees to be heard.

As part of today’s world premiere, we are announcing a fundraising initiative to raise a minimum of $10,000 to commission a new performance work by an artist with lived experience as a refugee or asylum seeker.

Through this initiative, we hope to offer the broader community an opportunity to understand not only the experiences but the artistic capacity of asylum seeker and refugees.

When funds have been raised to support the commission, we will seek applications via an Expression of Interest process and work with refugee organisations and community venues to select an artist.

If you would like to make a donation, please go online to artscentremelbourne.com.au/refugee or keep an eye out for the Text to Donate number on the screen during the event.

On behalf of refugee and asylum seeker artists, thank you for your support!

http://artscentremelbourne.com.au/refugee


Arts Centre Melbourne

Welcome, everyone, to this world premiere event.

Today’s performance is a highlight of Arts Centre

Melbourne’s Live at the Bowl season, where

diversity has been a hallmark embraced by

audiences from all walks of life, once again eager

to celebrate with artists their creativity in all its

forms.

Today we are honoured to be able to support

this important event, a work which reflects the

struggles of asylum seekers as documented

through one man’s tireless search for recognition

for him and his people and a rightful place in a

contemporary world.

This project has been a passionate journey for

many individuals, from the intensity of Behrouz

Boochani’s words, delivered through the

translation by his collaborator Omid Tofighian, to

the culmination in Luke Styles’ powerful musical

canvas.

I commend the Zelman Memorial Symphony

Orchestra and the Chair of its organising

committee, the indomitable Dr George Deutsch

OAM, who continue to present programs which

reflect the enduring human spirit and which so

readily fit with Arts Centre Melbourne’s values of

Care More, Leadership, Community and Creativity.

This is our second project together, following

their Babi Yar 75th Anniversary Commemorative

Concert in 2017.

Thank you for joining us tonight at this wonderful

Sidney Myer Music Bowl, ‘the People’s venue’.

How appropriate for this performance.

It’s an honour to be here tonight and I hope

No Friend but the Mountains: A Symphonic Song

Cycle stirs your spirit, as I suspect it will mine.

Claire Spencer AM

Chief Executive Officer


The Wheeler Centre

What a privilege it is to be working with the

wonderful Zelman Symphony and Arts Centre

Melbourne to present the world premiere of

the musical adaptation of Behrouz Boochani’s

extraordinary memoir, No Friend but the

Mountains: Writing from Manus Prison.

Since its publication in 2018, Boochani’s story

has deeply affected readers around the world

and shone a much-needed light on the plight of

refugees. His perilous journey and the oppressive

conditions of his forced detention on Manus

Island in Papua New Guinea is heartbreaking and

terrifying. Written via hundreds of WhatsApp

messages to his friends and collaborators in

Australia and elsewhere, the texts were then

compiled by Moones Mansoubi, before being

beautifully translated and edited by Omid

Tofighian.

Describing a system that dehumanises and is

intended to punish and break those caught in it,

the book won numerous awards, including the

Prize for Non-Fiction and the prestigious overall

Victorian Prize for Literature at the 2019 Victorian

Premier’s Literary Awards which the Wheeler

Centre administers on behalf of the Victorian

government. It is a great honour to collaborate

with our esteemed partners on this unique event

with Behrouz Boochani’s story at the heart.

Caro Llewellyn

CEO, The Wheeler Centre


Welcome fromZelman Symphony

Zelman Symphony welcomes you to this world premiere concert.

We would like to sincerely thank and congratulate the entire team who have combined to produce this world premiere of No Friend but the Mountains: A Symphonic Song Cycle. Without your confidence, coordination and support, none of this would have been possible.

In particular, we thank Behrouz Boochani for writing the book that inspired this symphonic song cycle, Omid Tofighian who translated the book, Luke Styles who selected the text from the book and set it to music, and Adrian Tamburini who had the idea of the song cycle in the first place and who introduced Zelman Symphony to Luke Styles.

We thank Arts Centre Melbourne for their invitation to be part of their ‘Live at the Bowl’ summer season and for partnering with us in presenting this event. This truly inspired event would not have been possible without the support of Claire Spencer, CEO of Arts Centre Melbourne, and the large number of wonderful Arts Centre Melbourne people who have worked incredibly hard to ensure that this event will be a success.

We would also like to thank the Wheeler Centre for their partnership and their people’s major contributions towards making this event a success. Our thanks also go to the Melbourne Exhibition and Conference Centre for providing the large space needed for our socially distanced combined soloist, orchestra and choir rehearsals.

We express our sincerest gratitude for the most generous support provided by Principal Partner, the Lord Mayor’s Charitable Foundation, as well as Maestro Partners, Planet Wheeler and Gandel Philanthropy and Symphony Partners, The Robert Salzer Foundation and Kids Off Nauru.

The most generous support of our private partners has been so important and our heartfelt thanks go to Suzanne Maple-Brown, Katrina and Simon Holmes à Court, Kay Ronec and an anonymous donor.

Without these contributions, none of this could have happened.

Sarah Fitchett, PresidentDr George Deutsch OAM, Vice President Chair, Zelman Symphony NFBTMASSC Organising Committee

Zelman Symphony with Adrian Tamburini and the Babi Yar Choir at Hamer Hall. Shostakovich Symphony No 13 Babi Yar. 17 September 2017. Photo: Fabrizio Evans


A 115-year historyZelman Memorial Symphony Orchestra

Zelman Symphony is today one of Melbourne’s leading not-for-profit community orchestras. It gives amateur and professional musicians the opportunity to play fine music, giving affordable concerts in suburban and regional venues to enthusiastic audiences.

Over the last 10 years, the orchestra has become known as perhaps Melbourne’s most daring and innovative community orchestra.

In 2013, to celebrate its 80th anniversary, the orchestra gave two sell-out performances of Mahler’s iconic 8th Symphony. There were 580 performers on the hugely extended stage of the Melbourne Town Hall. The 125-player orchestra conducted by Mark Shiell was led by Guest Concertmaster Wilma Smith, who at the time was concertmaster of the MSO. The soloists were 8 of Australia’s leading opera singers, there was a children’s choir of 80 and an adult choir of 360.

In 2014, the orchestra gave its first concert at the Sidney Myer Music Bowl. This was by invitation of the MSO, as part its centenary celebrations, to mark the joint origins of the two orchestras back in 1906.

The orchestra has graced the Hamer Hall stage on a few occasions. In 2017, with Adrian Tamburini, the orchestra produced a concert to mark the 75th anniversary of the horrendous WWII massacres at Babi Yar near Kiev. The centrepiece of the concert was Shostakovich Symphony no. 13, ‘Baba Yar’. The video

of that concert has been shown in public twice in the USA and was recently shown on prime-time free-to-air TV in Israel.

Other achievements include performances of the Verdi Requiem in the Melbourne Town Hall with international soloists, a Flash Mob and concert by invitation from Federation Square to mark its 10th anniversary, a concert in the Recital Centre accompanying leading Australian pianist Hoang Pham and, most recently, accompanying star Canadian violinist, Alexandre da Costa playing his 1701 Stradivarius violin.

Zelman Symphony’s history goes back to 1906 when Maestro Alberto Zelman Jnr founded the very first orchestra to be called the Melbourne Symphony Orchestra. Like Zelman Symphony today, Alberto’s orchestra was a mix of amateur and professional players. Until Alberto’s untimely death in 1927, it gave many major concerts accompanying many world-renowned soloists including Dame Nellie Melba’s 15 legendary farewell concerts. In 1932, Bernard Heinze (later Sir Bernard) took the professional musicians of Alberto’s orchestra and formed the core of the then newly professional MSO that we know and love to this day. In 1933, the remaining musicians formed the ZMSO, the Zelman Memorial Symphony Orchestra in honour of their beloved Alberto. The orchestra has given regular concerts every year since then.

Zelman Memorial Symphony Orchestra’s 80th Anniversary Mahler 8 Concerts at the Melbourne Town Hall with 580 performers on stage 21st and 22nd September 2013.


Lord Mayor’sCharitable Foundation

Lord Mayor’s Charitable Foundation is delighted to

support Zelman Memorial Symphony Orchestra’s

No Friend but the Mountains: A Symphonic Song

Cycle, a concert for the people of Melbourne.

As the community foundation for greater

Melbourne, we work to support positive social

change and celebrate the wonderful diversity

and creativity of Melbourne through our grants

program.

We recognise the importance of tackling inequality

and discrimination to create a more welcoming

and understanding community.

Our creative industries help to illustrate and

support important stories, creating community

awareness that leads to a more inclusive and

resilient community.

Congratulations to everyone involved in this

important orchestral project.

Dr Catherine Brown OAM

Chief Executive Officer

Lord Mayor’s Charitable Foundation


Planet Wheeler

“Behrouz Boochani’s multi-award winning memoir pops up in so many forms – there’s a film on the way – a symphonic song cycle seems absolutely appropriate. Let’s face it, we cannot have too many reminders of our government’s appalling treatment of refugees and it’s wonderful to see something so powerful emerge from what was intended to be a spirit-destroying hell-hole, hidden away from easy access and independent examination. Well done!”

Maureen Wheeler AO & Tony Wheeler AO


Zelman SymphonySeason 2021

Hawthorn Arts Centre360 Burwood Road, Hawthorn

Book Now 9278 4770or zelmansymphony.org.au

Mozart - Piano Concerto No 23BEETHOVEN - Symphony No 5

Elyane Laussade - piano

Brahms - Double ConcertoBeethoven - Symphony No 8

Roy Theaker - violinKalina Krusteva - cello

Beethoven - Triple Concertofor piano, violin and CelloTrio Anima Mundi

Sibelius - Symphony No 5

Saturday 27 NovemberTwo performances - 2:00 pm and 5:00 pm

No intervals

Saturday 19 JuneTwo performances - 2:00 pm and 5:00 pm

No intervals

Saturday 4 SeptemberTwo performances - 2:00 pm and 5:00 pmNo intervals

http://zelmansymphony.org.au


Luke StylesComposer’s Note

Whenever setting out to use a text as part of a

new musical work, two primarily questions arise:

Can a new and different (musical) work take shape

from the text and why am I using this text as part

of a new work?

My reason for working with selected text from

Behrouz Boochani’s extraordinary and award-

winning book No Friend but the Mountains was

because I saw an important Australian story in it

and one that felt like the most recent iteration of a

recurring Australian story.

I do not have a refugee’s experience, nor would I

attempt to transform that experience into music.

Instead, in Behrouz’s work, I saw timeless themes

and philosophical perspectives on life itself. I saw

a story which is recurrent in Australia’s history and

geography. I recognised sights and sounds that

chimed with my own Australian identity. These

things ignited my creative imagination. As such

the work I have created does not aim to reflect

the struggles of asylum seekers or turn one man’s

tireless search for recognition for him and his

people into music. That story is not mine to tell.

Migration and incarceration. Isolation and beauty.

These are aspects of Australian identity that

shone out at me from Behrouz Boochani’s words.

Without ever having stepped foot on Australian

soil (apart from Christmas Island) he told his story

with resonances for every story (real or imagined)

of coming or attempting to come to Australia.

I was excited by the connections I was seeing to

convict poetry of Frank MacNamara right

through to the short stories of Christos Tsiolkas.

I could see how Behrouz’s story could exist in

music as the latest iteration of a reoccurring

Australian story.

My work possesses a range of colours. Not just

the darkness of incarceration, but also the

lightness and joy of seeing a child playing,

carefree on a beach. The wonder at the flora and

fauna of this new, pacific environment Behrouz

was encountering. The similar sights sounds and

heat that hit you the moment you step off a

long-haul flight in Australia.

Composing No Friend but the Mountains:

A Symphonic Song Cycle has been a huge

milestone for my work, seeing me create my

largest and longest piece outside of opera. I have

had the chance to explore new sound worlds by

using a large orchestra and singers, and have

aimed to craft a journey for the listener which will

be moving, confronting and life affirming.

I am thrilled that the work is being premiered by

such wonderful musicians and partners and have

been very moved through the process of creating

this work.


Luke StylesComposer

Luke Styles is an Australian and British composer

performed regularly throughout the world. Luke

was the first Glyndebourne Young Composer in

Residence and the first composer in residence

at the Foundling Museum since Handel. Luke’s

operas have been performed on the famous

Glyndebourne main stage, and the Royal

Opera House Covent Garden by the London

Philharmonic Orchestra under the baton of

conductors such as Vladimir Jurowski.

Luke’s most recent opera Ned Kelly premiered

to critical acclaim at the 2019 Perth Festival and

was a finalist in the 2020 Arts Music Awards.

Most recently Luke’s song cycle On Bunyah,

written for Mark Padmore and the Britten Sinfonia

setting poetry by Les Murray, premiered at the

Wigmore Hall, London followed by a UK tour and

performances in Australia, where it was described

as “Styles’ On Bunyah is magnificent and just like

the poem is raw, not polite.” – The Australian. On

Bunyah received a high commendation in the 2019

Paul Lowin Prize.

Luke is currently working on a saxophone

concerto, a new opera and chamber works.

Looking further ahead Luke will compose

orchestral works for European and Australian

orchestras, including a new work for the Sydney

Symphony Orchestra in 2022 as part of their 50

Fanfares Project to reopen the Sydney Opera

House.

Luke is published by G.Schirmer/Wise Music

Group and represented by Linda Marks.


Behrouz BoochaniLibrettist

Behrouz Boochani is a Kurdish-Iranian journalist, human rights defender, writer and film producer.

He was held in the Australian-run Manus Island detention centre in Papua New Guinea from 2013

until its closure in 2017.

We are grateful to Behrouz for giving Luke Styles permission to use text from his award-winning book,

No Friend but the Mountains in Luke Style’s composition entitled No Friend but the Mountains:

A Symphonic Song Cycle commissioned by Zelman Symphony for the world premiere to be given at

the Sidney Myer Music Bowl on 21 March 2021.

For further information, see

https://en.wikipedia.org/wiki/Behrouz_Boochani

https://en.wikipedia.org/wiki/Behrouz_Boochani


Omid TofighianTranslator and Collaborator

Omid Tofighian is an award-winning lecturer,

researcher and community advocate, combining

philosophy with interests in citizen media, popular

culture, displacement and discrimination. He is

affiliated with Birkbeck, University of London,

UNSW and University of Sydney. His publications

include Myth and Philosophy in Platonic Dialogues

(Palgrave 2016) and co-editor of special issues

for journals Literature and Aesthetics (2011),

Alphaville: Journal of Film and Screen Media

(2019) and Southerly (2021). His most well-known

publication is his translation of the award-winning

book by Kurdish-Iranian asylum seeker Behrouz

Boochani, No Friend but the Mountains: Writing

from Manus Prison, which inspired the song cycle

composed by Luke Styles. Tofighian translated

the book from Farsi into English. Behrouz

Boochani had sent Tofighian the text of his book in

thousands of WhatsApp messages. Writing about

the process of working with Boochani on the

translation which took five years, Tofighian wrote:

“Behrouz and I had a mutual understanding;

in fact, the translation team embodied a kind

of collective intention or shared agency. Our

literary and philosophical interpretations evolved

throughout the process.”

Tofighian graduated with a combined honours

degree in philosophy and religious studies at

the University of Sydney, and earned his PhD

at Leiden University in the Netherlands. He is

currently involved in numerous translation and

collaboration projects involving displaced, exiled

and incarcerated peoples.


Rick PrakhoffConductor’s Note

The privilege of conducting the first performance of any work comes with the enormous weight of responsibility to ensure the composer’s writing is represented in its best possible light. The many layers of this work gradually revealed themselves to me as a series of finely crafted songs held together by the compelling narrative in the first part of the work and the more reflective and philosophical second half, interweaving as it does the horrors of incarceration with the raw beauty of nature. The line towards the end of the final song “The chant of the bird and the chant of a man – both chants blend into one” finally brings the two together at the gentle close of the work.

The songs and dramatic structure of the work are reinforced by the introductory prelude and carefully timed interludes, with the ten minute long ninth

song of the cycle and its five edifice-like iterations of repeated tutti chords, first heard at the start of the song and spread through the length of the work, acting acts as monumental and truly awe-inspiring architectural pillars in this powerful climax of the work.

Having not previously performed any of Luke Styles’ music I came to this work with an open mind, curious to enter Luke’s sound world, and his take on Behrouz Boochani’s No Friend but the Mountains, one of the most important reflections on both the plight of refugees, and particularly the treatment of refugees by various Australian Governments.

As I worked through this score, a tour de force for the baritone soloist and a challenging but rewarding work for both the orchestra and choir, it became clear that the contrast of the beauty of nature with the situation faced by the imprisoned refugees was a growing theme through this composition. Luke’s often sensuous, harmonically rich evocations of the natural world, with their contrasting fierceness and calmness of the sea and his inventive use of birdcall-like sounds, create a sound-world which is dramatic, intense and beautiful, often at the same time. His dramatic settings of the plight of the refugees on their sea voyages, the depression brought on by the contrast between the beauty which surrounded them on arrival in Australia and the harrowing nature of their incarceration on Manus Island offer a compelling reflection of both Boochani’s text and the country he and his fellow refugees came to.

Boochani’s book makes us all look inside ourselves and inside our fellow Australians to ask why we let this happen in our name. Styles’ composition shows us both the beauty of our land and the callousness of our treatment of those we cast aside, while reflecting on Boochani’s writing as only music can. This work adds the timeless dimension of song to these words, and in so doing adds another important layer to our reflections both of our own place and the way we treat those who flee to our shores.


Rick PrakhoffConductor

Rick is one of the busiest conductors in Melbourne, balancing his freelance conducting career with his conducting teaching and lecturing along with his positions as Artistic Director and Principal Conductor of Zelman Memorial Symphony Orchestra (since 2018) and founding Artistic Director and Conductor of the Melbourne Bach Choir (since 2005).

Rick has a particular affinity with the plight of refugees as the son of a Russian/Ukrainian father, who in late 1943 (along with his mother and ‘old auntie’) escaped the German bombardment of Kiev on a horse and cart. They slowly made their way into Poland and finally into a Polish refugee camp in Germany, where, as a 6-year-old, his life and that of his family depended on his ability to pass himself off as Polish. They were eventually accepted as refugees to Australia, at a time when our attitudes to refugees were very different from today.

Rick’s somewhat unorthodox entry into conducting came via a developing career in Perth and London as a classical guitarist and then as an operatic baritone before he found his true love and calling as a conductor.

He returned to his home town of Perth to study as a conducting major for his BMus at the WA Conservatorium of Music (WAAPA) before moving to Melbourne, where his training continued through the Symphony Australia Young Conductor programme where for five years he studied intensively with renowned conducting teachers Gustav Meier, Noam Sherif, Vernon Handley and Johannes Fritsch with the WA Symphony Orchestra, Orchestra Victoria, Queensland SO, Adelaide SO and the Australian Opera & Ballet Orchestra. Rick has conducted extensively in

Australia with ensembles including Melbourne Opera, The Sydney Youth Orchestra, Zelman Symphony, Melbourne Sinfonia, Stonnington Symphony amongst others.

Since 2009, Rick has been a sessional lecturer in conducting and conductor of the now 300-plus choir for the Melbourne Conservatorium of Music, where he continues his advocacy of thorough training of young conductors in orchestral, choral and operatic repertoire and techniques.


Adrian TamburiniSoloist’s Note

I am an Aquarian, a dreamer some would say. My partner would certainly agree, with the hundreds of ‘thought-bubbles’ I pull out of thin air and which, after two or three utterances about said idea, disappear as quickly as they were formed.

Never in my wildest dreams would I have thought that this crazy idea of having Luke Styles write me a song cycle would ever come to fruition, let alone on a scale that is still inconceivable to me today.

It was February 2019 and I was in rehearsals with Luke working on his opera, Ned Kelly. No Friend but the Mountains was causing a media maelstrom by being the first book by a non-Australian (or permanent resident) author, Behrouz Boochani, to have won the Victorian Premier’s Award for Literature. Not one to miss out on a drama (I am an opera singer after all), I made a beeline to the closest bookstore and bought myself a copy.

I’m sure you have read it, so I know you would agree that the writing is both harrowing and immensely poetic as Omid Tofighian moves the text from prose to poetry. I wish I could read and understand it in Farsi, the original language in which it was written on hundreds of mobile phone messages, to grasp the full beauty of the language.

One day during a lunch break, I turned to Luke and said half-jokingly, ‘This poetry is beautiful, you should use it to write me a song cycle.’ And that was it. Seriously. A 14-word thought-bubble that, a month after the conclusion of the opera, would make Luke read the book and call me, saying that he agreed that this book should be set to music.

He asked if I knew of any orchestras who would be interested in commissioning this new work. Immediately, I thought of the Zelman Memorial Symphony Orchestra. I had worked with them on a mammoth production of Shostakovich’s Symphony no. 13 ‘Baba Yar’ for the 75th anniversary of the massacre for which it was written, so I knew if this

commission was going to be successful then the ZMSO were the perfect orchestra for the task.

Well, the rest is history, really. With the bravery, resilience and tenacity of the ZMSO’s George Deutsch, the courage of the orchestra’s committee and the enthusiasm of its Musical Director, Rick Prakhoff, we are here today to present to you a work that I hope will resonate in your heart and remind you that we are the lucky ones, free to move about this glorious country (pandemic notwithstanding) while our government, still to this day, incarcerates over 1500 people in detention who are fleeing persecution and want the freedom and safety that Australia can provide them.

Thank you for being here, for showing your solidarity to these asylum seekers and refugees, for your support of new Australian music and for your interest in live classical music performance in this city.

No Friend But The Mountains: A Symphonic Song Cycle19

Adrian TamburiniBass-Baritone

Adrian Tamburini has sung with Zelman Symphony

more often than any other soloist. He sang the

bass-baritone role in Zelman Symphony’s 2013

Mahler 8 concerts along with seven other leading

Australian operatic soloists. In 2017, Adrian

suggested that he and Zelman Symphony should

co-produce a performance of Shostakovich

Symphony No 13 Babi Yar. The result was a

sold-out highly acclaimed concert in Hamer Hall

commemorating the 75th anniversary of the

massacres perpetrated during WWII by the Nazis

and their sympathisers at Babi Yar on the outskirts

of Kiev. In 2019, Adrian sang the Bass-Baritone

role in the Melbourne Bach Choir performance of

the Verdi Requiem to critical acclaim.

Adrian Tamburini’s biography

A chorister with the Victorian Boys Choir from

the age of 5, Adrian has always had a passion

for music and singing. At the age of 10 he

was awarded a scholarship to sing with the St

Patrick’s Cathedral Choir, Melbourne where

he stayed until 1992 as the assistant choir

captain under the direction of John Mallinson.

Deciding to concentrate on solo classical singing,

Adrian commenced vocal lessons with Bettine

McCaughan, with whom he achieved great

success winning awards in vocal eisteddfods

(including the Royal South Street Competition and

the City of Geelong Eisteddfod) and competitions

(1996 - Finalist in the Victorian Liederfest, 1997

Winner of the Ernest Schilberger Award for Singing

and Winner of the Inaugural Diamond Valley

Aria Award). Following this period, Adrian was

awarded the Robert Salzer Vocal Scholarship in

2002, as well as the winner of the Lygon Street

Festa Aria Competition in 2003 and was in the

finals of the Australian Puccini Foundation Award,

2006. In 2007 Adrian had won the inaugural

Royal Melbourne Philharmonic Aria Competition,

the Lythgo Trust Operatic Aria Award and the

Melbourne Welsh Male Voice Choir Singer of

the Year Competition. In 2010 Adrian was the

recipient of the Acclaim Awards Scholarship and

a finalist in the German Australian Opera Grant.

In 2017 Adrian won Australia’s most prestigious

professional operatic prize, the Australian Opera

Awards (YMF, MOST).

His singing has featured on cinema releases of

opera, DVD, international recordings, motion

picture soundtracks, radio, television (Woolworths

Carols in the Domain) and Australian dramas

including the soundtrack to “After the Deluge”.

Adrian’s concert repertoire includes, Berlioz’s

L’Enfance du Christ and Stabat Mater; Handel’s

Messiah, the Requiems of Mozart, Haydn, Verdi,

Faure, von Suppé and Bowen; Haydn’s The

Seasons and The Creation.

His Operatic debut was in 1997 and ever since has

had a varied career as an operatic soloist (Opera

Australia, West Australian Opera, Melbourne

Opera), a concert performer (Melbourne

Symphony Orchestra, Zelman Symphony

Orchestra, Sydney University Graduate Choir) and

Musical Director. Adrian has worked overseas, and

has proudly sung in every state and territory in

Australia. His work, both on and off the stage, has

been nominated for awards and his performances

have received critical acclaim.

Recent engagements have included performing

for the Beethoven bicentenary anniversary with

performances in Beethoven’s only opera, Fidelio

with Melbourne Opera and the West Australian

Symphony Orchestra and Wagner’s Rhinegold

with Melbourne Opera.


Wilma SmithGuest Concertmaster

Zelman Symphony welcomes Wilma Smith as Guest Concertmaster for this world premiere of No Friend but the Mountains: A Symphonic Song Cycle.

Wilma is the former well-loved concertmaster of the Melbourne Symphony Orchestra. She generously appeared as Guest Concertmaster with Zelman Symphony for its major Mahler Symphony No. 8 concert in 2013 and its Shostakovich Symphony no. 13 ‘Baba Yar’ concert in 2017. In doing so, she followed in the footsteps of the legendary long-term leader of the MSO, Bertha Jorgensen, who frequently played as concertmaster for both the MSO and Zelman Symphony.

Wilma Smith’s biography

In addition to being Artistic Director and violinist/violist of Wilma & Friends, now in its ninth season, Wilma has returned to her string quartet roots as 2nd violinist of the Melbourne-based Flinders Quartet. She is Musica Viva’s Artistic Director of the Melbourne International Chamber Music Competition and Strike A Chord, the new National Chamber Music Championship for secondary students, while committed to teaching at the University of Melbourne, Scotch College and Korowa Anglican Girls School.

Born in Fiji and raised in New Zealand, Wilma studied at Auckland University then at the New England Conservatory in Boston with Dorothy DeLay (violin) and Louis Krasner (chamber music). She was founding 1st Violinist of the Lydian Quartet, winners of the Naumburg Award and multiple prizes at Evian, Banff and Portsmouth International String Quartet Competitions. In addition to regular work with the Boston Symphony Orchestra, she led the Handel and Haydn Society Orchestra, the Harvard Chamber Orchestra and Emmanuel Music.

Invited by Chamber Music New Zealand to establish a resident New Zealand String Quartet, Wilma returned to Wellington as its founding 1st violinist until her appointment as concertmaster of the New Zealand Symphony Orchestra, a position she held for nine years until her appointment as concertmaster of the Melbourne Symphony Orchestra. On leaving the NZSO, the orchestra honoured her with the title of Concertmaster Emeritus. Wilma has also appeared as Guest Concertmaster with Sydney Symphony Orchestra, West Australian Symphony Orchestra, Tasmanian Symphony Orchestra, Adelaide Symphony Orchestra, Orchestra Victoria, Queensland Festival Philharmonic, Auckland Philharmonia Orchestra, and Orchestra Wellington, and plays regularly with the Australian World Orchestra.


Susan PierottiZelman Symphony Concertmaster

Susan Pierotti began learning the violin at the age

of six with Stella Nemet and continued her studies

with her daughter Mary Nemet at the Victorian

College of the Arts and in London with Emanuel

Hurwitz where she played with the London

Sinfonietta, the London Mozart Players and the

Capicchioni Ensemble. Since then, Susan has

enjoyed a career experience spanning symphony

orchestras, opera, ballet, chamber music,

teaching, theatre, film, recordings, live broadcasts,

radio, television, reviewing and adjudicating.

Susan has been closely involved in

commissioning, performing and recording

contemporary music for over two decades.

She worked with the Elision Ensemble since its

inception in 1986, touring with them world-wide.

She currently plays with Arcko Ensemble.

Susan has worked extensively with several

Australian orchestras and joined Orchestra

Victoria in 1990 where she was the 1st Violin

Section Leader for 17 years. She was appointed

concertmaster of Zelman Memorial Symphony

Orchestra in December 2016.

She is also a qualified editor and proofreader and

is a committee member of the Victorian branch

of IPEd (Institute of Professional Editors). She is

the National Editor of Stringendo, the magazine

of the Australian Strings Association. She has

just completed a history of the association, and

has self-published her own book, Manuscript to

Market.


Rafael EpsteinMC and Behrouz Boochani Interviewer

Rafael Epstein is a journalist who has worked in

Sydney, Melbourne, Canberra, Timor, Indonesia,

Europe and the Middle East.

He has covered national elections in the UK and

Australia, East Timor’s vote for independence in

1999, the 2000 Sydney Olympics, the 2004 Boxing

Day Tsunami, the 2005 London bombings and the

arrest of several high profile war crimes suspects

in the Balkans.

Rafael won a Walkley Award for his reporting

on the links between police and Melbourne’s

underworld wars. He won a second Walkley for

his coverage of the Mohammed Hanif case, the

Indian-born doctor charged over his connections

to the failed bombings in London in 2007.

He has also worked at the Investigative Unit at

The Age, focusing on politics as well as Australia’s

special forces and their role in Afghanistan.

Rafael currently hosts the Drive program on

774 ABC Melbourne. His first book, Prisoner X,

was published by Melbourne University Press in

March 2014.



The Melbourne Bach Choir has established

itself as one of Melbourne’s finest large choirs.

The MBC was formed in 2005, under current

Artistic Director Rick Prakhoff, to give an Easter

performance of JS Bach’s magnificent St Matthew

Passion in 2006. The choir has continued to

present regular performances of the Bach

Passions since then, as well as performing a wide

variety of choral music from the 18th century to

the present day. The choir presented a premiere

performance of CPE Bach’s St Matthew Passion

at the 3MBS Bach Marathon in 2018, the first

performance of that work for over 300 years.

The MBC is a fully auditioned choir which draws

on singers from Melbourne’s extensive choral

community, presenting both large and small-scale

performances and working with some of the finest

Australian and international soloists. It is also

committed to donating to community aid and

charity organisations.

The MBC marked its 10th anniversary year in

2016 with the formation of The Melbourne Bach

Chamber Choir and a new scholarship programme

for 8 young choristers, both of which continue

to flourish. A Henkell conducting scholarship

has now been added to the programme, a rare

opportunity for young conductors.

The MBC has toured to China and Europe

as well as to regional centres in Victoria. The

choir performs 4 to 6 concerts each year in

venues including the Melbourne Recital Centre,

Melbourne Town Hall, St Paul’s Cathedral and

other churches in Melbourne and regional Victoria.


No Friend but the Mountains:A Symphonic Song Cycle - text

PreludeChorus Thumbed on a phone Smuggled out Thousands of text messages

The near impossibility of its existence On Nauru and Manus Island, they live in

a zoo of cruelty

IBar solo Under moonlight An unknown route A sky the colour of intense anxiety

The dimensions of a boat Unfamiliar waves Waves of a foreign ocean

Chorus The sovereignty of the waves has collapsed the moral framework.

Bar solo The decision is made

Bar solo & chorus Pursue the adventure

Bar solo We feel that we have burned our bridges Only one option remains Only one way forward

Bar solo & chorus Advance Advance Advance

Bar solo Move forward into the expanse of the ocean

Interlude I

IIBar solo The sounds of small children The heart-wrenching and painful sounds

of the little children These sounds transform the chaotic boats

into hell

Bar solo It seems to me the women are fighting off

Bar solo & chorus death even more bravely than the men. Their maternal instincts make of them predatory she-wolves; they stare down the ocean, revealing their sharp teeth

Bar solo The musical sound of the spiritual odes infuse horror

The cacophony of religious recitation is deathlike The haunting performance of lament evokes

anxiety An alarm into the atmosphere, and into the

hearts and minds of the travellers The harrowing harmony of holy verse brings

Judgement Day down to earth from the heavens.

Chorus Those odes mix with the children’s whimpers... until it is like being stabbed by needles

IIIBar solo In that moment everything is absurd I search in my unconscious For whatever shaped my existence In the depths of my mind and soul

Pure absurdity Futility A feeling similar to living life itself The very essence of life

IVBar solo All our dreams, all our fears, all our brave souls... All drowned A massive disaster into a massive disaster Sinking into mountains of waves Drowning into the darkness Sinking into the bitter ocean Swallowed up by the ocean Swallowed up without mercy

Down... down... down... I sink further down I sink further down The boat is pursuing me Trying to catch me Catch me and pull me within it Death has arrived

The following text for the Song Cycle was selected by Luke Styles from Behrouz Boochani’s bookItalicised text indicates poetry and non-italicised text indicates prose excerpts

Warning: contains references to suicide and self-harm. If this content raises concerns for you or someone you know, please contact Lifeline on 13 11 14


About No Friend but the Mountains:A Symphonic Song Cycle - text

VChorus Joy... and kindness... all because of that

cargo ship

The razor-sharp rays of the sun illuminate the surface of the water

Bar solo A crystal plain of water encompasses my view A blinding white blaze engulfs my vision Silence has suddenly envelop’d the entire boat The surface of the water is bleached white The sea is glaring

The waves have freed us from their clutches The waves have spared our lives I laugh at them I laugh in triumph Laugh to express the feeling of victory deep inside

VI

Chorus This rescue occurs to me as a series of distorted and broken images

Bar solo Rescued. Rescued. Rescued. Relocated A second boat Another journey from Indonesia Another trial; a test of will Unsure we will reach safety Purgatory

VII

Chorus The tugboat arrives at the pier. The waves along the shore are tame. A little blond girl is bathing there, playing in the water. She takes no notice of the weary and worn-out people

Bar solo She is free She is innocent She is like the cool gentle breeze on this sunny day My first real impression of Australia

Where in the world do they take children captive and throw them inside a cage?

What crimes are those children guilty of?

Interlude II

VIII

Bar solo Two open entry-exit points Twelve small rooms, approximately one-and-a-

half metres by one-and-a-half metres Flyscreened windows Four imprisoned individuals, in bunk beds Forced to adapt to each other’s sweaty bodies

and the elimination of personal space Twelve rusted fans facing the same direction Forty-eight individuals Forty-eight beds Forty-eight foul-smelling mouths Forty-eight half-naked, sweaty bodies Frightened Arguing

IX

Bar solo The prison is like an enormous cage deep in the heart of the jungle

The prison is like a grand cage next to the tiny gulf of water

A body of water that merged with the ocean The tall coconut trees that line the outskirts of

the camp have grown naturally in rows But unlike us, they are free Their grand height allows them to peep into the

camp at all times To know what is going on in the camp To see what is happening in the camp To witness the anguish suffered by the people in

the camp

The prison is in the middle of a clenched fist Now loosening, now tightening On the verge of exploding Then, all of a sudden, balance is re-established

A twisted interlocking chain of hungry men Bodies mutate under the burning sun Heads in an oven fired by the sun Undergoing sickening transformations A long line of men of different heights, weights,

ages and colours Groups of men are up against the wall Groups of men are embedded into the wall The spectacle of the prison queue is a raw and

palpable reinforcement of torture


About No Friend but the Mountains:A Symphonic Song Cycle - text

Starvation is a drill It drills down into the stomach Then it drills down into the mind It drills down into all the nerves It drills down and makes holes In the end it just drills, drills all the way down

A razor with a blue handle He holds it in his hand He slides it along his exquisite skin Slides it along skin quivering with fear

Chorus The depth of the slit, the severity of the wound. The more terror inflicted, the greater the credibility. It is unwritten and cryptic - but it is real

Bar solo It is quiet It is gloomy This night, and the nights that follow, the Chauka

bird continues to sing that song Its calling heralds terror Its calling expresses apprehension, an anxiety for

what is ahead Its calling makes one’s hair stand on end

Chauka fears the prison Sunsets are frightening Sunsets deliver the scent of death Chauka sings the song of impending death

X

Bar solo First, out of the darkness, a bird arrives to choose the ripest fruit hidden between the leaves

Next, trapped in silence, the bird starts to eat At once, the weight of the eaten fruit shifts It loses equilibrium The fruit is left dangling after a peck of the beak And so it drops down onto the roof It rolls over and falls again, this time onto the

grimy dirt floor Finally, the hungry prisoner follows the sound of

the fall Follows it to the place where the fruit lies Finds it among the piles of dirt and dried leaves

XI

Bar solo Life is like an accident; destiny just carries on like a beat; the light of the world appears like a miracle, like an explosion that eventually cooled down

Bar solo The freedom of standing face to face with the stars

The freedom of standing face to face with the immensity of the ocean

The freedom of standing face to face with the splendour of the jungle

The freedom of the dignified coconut trees.Bar solo An island A prison A jungle An ocean Squadrons of birds Casts of crabs Armies of frogs Orchestras of crickets Until then they had not encountered the breath

of humans Political slogans Pristine nature Paradox A landscape of contradictions

XII

Bar solo Chauka is chanting. The melody wandered through

Bar solo & chorus Chauka is screaming

Bar solo Screaming Chanting Screaming and chanting fused in the voice

of the bird Silence for a moment

Bar solo & chorus Chauka screams once more A harmony linked by screams

Bar solo A chain extending into the furthest depths of the jungle

Down into its darkest cavern Screams reverberate from the throats of all the

birds on Manus Island All of the birds on Manus are in Symphony All reach their climax in the voice of the Chauka

The chant of a bird and the chant of a man Both chants blends into one This lament... of nature... this lamentation of nature This lament... of a human... this lamentation of

the human being


Farhad BandeshFarhad Bandesh was on Manus Island with Behrouz Boochani

The Big Exhale: lyrics

Hunted like a bird

Languish in a cage

Eyes full of tears

Holes in humanity

Too deep to fill

Creeping in insanity

Against my will

Yearning for freedom

Stolen from me

Years of life

How easily

We break each other

Smack to the bars

In search of escape

I want to be free

To soar and sail

Endless open

Where peace prevails

The breeze is cool

The smell is sweet

The big exhale

Just be me

Wander around

Just be free

Wander around

Just be free, just be free

Lyrics written by

Jenell Quinsee and Farhad Bandesh


Orchestra

Violin IDominic BrownMaria CamperosDavid ChanJudith CotterillMary HaitidisYeung NgSusan PierottiWilma SmithMarika WanklynSylvia WinfieldDaisy WongAnnabel Wyburn

Violin IIElizabeth Clancy#Jackie TinsleyPeter HiewEric McGeeLi-Na NeohNicholas NolanOlivia Sevdalis-FallawSerena TanHymie WeinOliver Wong

ViolaRosia Pasteur# Chaquen Beliakov AmayaSofia Beliakov AmayaRose BaylisAlice ChoateDavid ChoateGeorge Deutsch OAMSusan DonathCalum Scott Isabelle Welstead

Bass ClarinetBrendan Toohey

BassoonAllison Pollard#Alexander WestcottSimon Alexander

HornJo Spencer#Megan SpraggAndrew NewmanSusan Eldridge

TrumpetSarah Henderson##Joseph TobiasSam Fitzgerald

TromboneMing Li##Stuart BrennanSimon Baldwin

TubaTom Godbert#

TimpaniKathryn Thomas#

PercussionPaul ColesAlexander MeagherBrandon Waterworth

CelesteMarie Saito#

HarpVanessa McKeand#

Piano Accompanist for Adrian TamburiniAidan Boase

VioloncelloAdrian Binkert#Fiona ChorovskiAdele De KretserElla DukeSarah FitchettRosemary IngramChristine MackKarla NyhuisElizabeth RadcliffeDennis VaughanNicola Vaughan

Double BassDavid Williams OAM#Ian Crossfield Trevor IrwinSam NockMary MacmillanBrenden MorrisAdrian Vosk

FluteCarol Galea#David RowlandsEllie Robinson

PiccoloSophie Burgess#

OboeKailen Cresp#Henry SilverZoe Suckling

Cor AnglaisGrace Ip

ClarinetNatasha Fearnside##Nicolas StorrieAlex Campbell

# Principal## Guest Principal

Wilma SmithGuest Concertmaster

Susan PierottiZelman Symphony Concertmaster



SopranosSarah AmosCarolina BiasoliRosie CocklinTrudy CollinsonHeather DelaneyRosemary ElganiAnja HartmannKatherine HenshallLouise HutchingsElspeth HuttonMichele JordanInga KulikMaree MacmillanTiffany RitchieSusan RushworthRosalynd SmithBethany StephensonAnushka Tiwari

BassJohn CraickDavid CramondIan DunnTerry HartJoseph HieRobert HolderWilliam HumphreysMichael JamesPatrick MarleyJeff McCracken-HewsonMike OrmerodMurray Smith

Piano AccompanistKathryn Pisani

AltosSerena CarmelMari EleanorJane GroomClare HargreavesJulie LotheringtonSaskia MascittiJenny McDonaldChristine MillwardRobyn ReynoldsAlicia SteinNorma ToveyMerran Waterfall

TenorsPeter BlackwoodJohn GregoryAndreas HartmannPhilip JonesDaniel KilbyTom LumleySean ReadNathan Teo

Melbourne Bach Choir is back!

For further details, see www.mbc.asn.au

Our 2021 concert series begins with a concert of exciting music for choir, brass and organ, including the world premieres of four new pieces by Calvin Bowman

Melbourne Bach Chamber Choir Calvin Bowman, organ Brass ensemble

Live-streamed and live

Saturday 22 May at 7.30 pm

http://www.mbc.asn.au


Campaigns for stories that matter

We work with organisations and businesses that are making a difference and improving people’s lives.

Want to know more? Contact us at: [email protected]

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AcknowledgementsArts Centre Melbourne

Arts Centre MelbournePO Box 7585 Melbourne Vic 3004 Australia artscentremelbourne.com.au ABN 83 295 983 059

Victorian Arts Centre TrustIan Carson AM PresidentFrankie Airey Paul Barker Greta Bradman Leigh Johns OAM Andrew Myer AM Ian Roberts Helen Silver AO

Executive TeamClaire Spencer AM Chief Executive Officer Deirdre Blythe Chief Operating Officer Leanne Lawrence Executive Director, Human Resources Fiona Poletti Executive Director, Strategy, Advocacy and PartnershipsMelanie Smith Executive Director, Performing Arts Beau Vigushin Executive Director, Customer Experience Richard Zimmermann Executive Director, Philanthropy

A message of thanksThis performance has been made possible by supporters of the Arts Centre Melbourne Recovery Fund. With thanks to our generous supporters this fund is helping kick-start a creative revival after COVID-19.

Conditions of EntryArts Centre Melbourne welcomes everyone to enjoy our spaces. For our full Conditions of Entry visit artscentremelbourne.com.au

Acknowledgement of CountryArts Centre Melbourne acknowledges and pays respect to the traditional owners of the land on which No Friend but the Mountains: A Symphonic Song Cycle is held, the People of the Kulin Nation, and their elders, past, present and future.

http://artscentremelbourne.com.au

http://artscentremelbourne.com.au


AcknowledgementsThe Wheeler Centre

PatronsMaureen Wheeler AO and Tony Wheeler AO

BoardSusan Oliver AM ChairRebecca BattiesMarcus FazioJohn GibbinsWill HaywardCorrie PerkinJulie PinkhamAdrian SculthorpeChaman Sidhu

Government FundersCreative VictoriaCity of MelbourneCreative Partnerships Australia

Trusts and Foundations The Aesop FoundationThe Ian Potter FoundationThe Readings FoundationThe Robert Salzer FoundationCopyright Agency Cultural FundE. W. Cole Foundation6A Foundation

Annual Giving:

Game ChangersKrystyna Campbell-Pretty and familyGeorge and Rosa Morstyn

Conversation StartersAnonymousJennifer GilchristElke GjergjaAndy and Jill GriffithsThe Hudson FamilyChaman SidhuBrigitte SmithWendy Whelan

Enquiring MindsDr Steve ConnorsGlenda De MarinisCatherine HeggenKeith Richards OAMJanet Whiting AM and Phil LukiesProf Steven WilliamsSarah Yeomans

SupporterDr Marianne BroadbentMichael CowenNikki GaskellElizabeth LoftusVanessa Sweeney


AcknowledgementsZelman Symphony

Zelman Symphony CommitteeSarah Fitchett PresidentGraeme Barker Vice PresidentDr George Deutsch OAM Vice PresidentBasil Jenkins TreasurerGary Kirby Secretary and Orchestra ManagerAdrian BinkertRichard PrankerdSarah Fitchett LibrarianRick Prakhoff Artistic Director and Principal ConductorSusan Pierotti Concertmaster

Zelman Symphony NFBTMASSC Organising CommitteeDr George Deutsch OAM Chair, NFBTMASSC Organising Committee

Organising Committee members include members of the main Zelman Symphony Committee plus:Henry Choo I Holly Hayes I Calum Scott

Stage ManagerMandy Lo

Melbourne Bach Choir organising teamRick Prakhoff Founder and Conductor John Gregory PresidentRosalynd Smith Vice President Trudy Collinson Secretary

Program Editor Cover PhotoDr George Deutsch OAM Hoda Afshar

Past BequestsHerbert BaerOonagh GriffinMary LloydAnnie OliverEsther RofeDorothy Roxburgh

Zelman Memorial Symphony Orchestra IncReg A0031942K I ABN 50 273 226 161 I PO Box 408, Kew East, 3102

program designfadi abdel-massihrawvision design0412 666 [email protected]


THE CONCERT RECORDING SPECIALIST

www.hoflandmusic.com

http://www.hoflandmusic.com

presented by zelman symphony, arts centre melbourne & the

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