Supported by a grant from the Department of Premier and Cabinet, Government of South Australia

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Adelaide Symphony OrchestraPrincipal Guest Conductor and Artistic Advisor Arvo Volmer

Artist-in-Association Nicholas McGegan

Associate Guest Conductor Nicholas Carter

VIOLINS Cameron Hill**(Acting Concertmaster)Shirin Lim** (Acting Associate Concertmaster) Jennifer Newman* (Acting Principal 1st Violin)Michael Milton** (Principal 2nd Violin)Lachlan Bramble~ (Associate Principal 2nd Violin)Ann AxelbyErna BerberyanGillian BraithwaiteJulia BrittainHilary BruerJane Collins Frances DaviesDanielle JaquillardAlexis MiltonJulie Newman Alexander Permezel Judith Polain Kemeri Spurr

VIOLAS Michael Robertson** (Acting Principal)Martin Butler~ (Acting Associate)Lesley CockramAnna HansenCarolyn MoozCecily Satchell

CELLOS Ewen Bramble** (Acting Principal)Sherrilyn Handley~ (Acting Associate)Christopher Handley Gemma PhillipsDavid Sharp

DOUBLE BASSES Hugh Kluger** (Acting Principal)David Phillips~ (Acting Associate)Harley GrayBelinda Kendall-Smith

FLUTES Geoffrey Collins**Julia Grenfell

PICCOLOJulia Grenfell * OBOES Celia Craig**Peter Duggan

COR ANGLAISPeter Duggan*

CLARINETS Dean Newcomb** Mitchell Berick

E FLAT CLARINET Darren Skelton*

BASS CLARINET Mitchell Berick*

BASSOONS Leah Stephenson** (Acting Principal)Kristina Phillipson

CONTRA BASSOONKristina Phillipson*

HORNS Adrian Uren**Sarah Barrett~Bryan Griffiths Philip Paine

TRUMPETS Hedley Benson** (Guest Principal)Martin Phillipson~Robin Finlay

TROMBONES Cameron Malouf**Ian Denbigh

BASS TROMBONECassandra Pope*

TIMPANI Robert Hutcheson*

PERCUSSION Gregory Rush**Jamie Adam

HARP Suzanne Handel*

PIANO Jamie Cock*

** denotes Section Leader~ denotes Associate Principal* denotes Principal Player

ELDER CONSERVATORIUM CHORALEConductor – Carl Crossin OAMRehearsal Pianist – Karl Geiger

SOPRANOSKathryn AdamsMadeleine BinneyJenny BruntonMegan FishersEthenia Gilsenan-ReedCaitlin Gilsenan-ReedGeorgina GoldCara GoodingAlexandra GraveErin HolmesGrace JoyceImala KonynNicky MarshallKatrina McKenziePheobe PaineCourtney SandfordWendy Wakefield

ALTOSGiorgia BalchinLily CoatsLisa FechnerAshleigh GeigerAmelia HoldsJennifer JarmanCharlie KelsoStephanie NealeJodie O’ReganOlivia Sanders-RobinsonMelanie Sandford-MorganGeorgia SimmonsRenee StevensSarah Winn

TENORSTim BangsundJosh BelperioGil CostesAndrew O’ConnorDuy-Lam NguyenMark Sales

Kit TonkinCraig WeatherillAnthony Zatorski

BASSESRon AbelitaTom BubnerAndrew ChattertonJack De La LandeChristian EvansAiden FoyelOliver GrenfellScott GunnAndrew HeitmannMacintyre Howie-ReevesNicholas MundayJulian OpieAdrian OzolsSimon Pazos QuintanaAndrew RafteryMark RobertsDavid RohrsheimTom TurnbullHenry Wilkinson

ASO BOARDColin Dunsford AM (Chair) Vincent CiccarelloGeoffrey CollinsCol EardleyByron GregoryDavid LeonChris MichelmoreMichael MorleyAndrew RobertsonNigel Stevenson

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EXECUTIVEVincent Ciccarello (Managing Director)Margie Corston (Assistant to Managing Director)

ARTISTICSimon Lord (Director, Artistic Planning)Katey Sutcliffe (Artistic Administrator)Emily Gann (Learning and Community Engagement Coordinator)

MARKETING AND DEVELOPMENTPaola Niscioli (General Manager, Marketing and Development)Vicky Lekis (Director of Development)Annika Stennert (Marketing Coordinator)Kate Sewell (Publicist)Tom Bastians (Customer Service Manager)Alexandra Bassett (Marketing and Development Coordinator)Ben Bersten (Audience Development Coordinator)

FINANCE AND HRBruce Bettcher (Business and Finance Manager)Louise Williams (Manager, People and Culture)Karin Juhl (Accounts/Box Office Coordinator)Sarah McBride (Payroll)Emma Wight (Administrative Assistant)

OPERATIONSHeikki Mohell - Director of Operations and CommercialKaren Frost (Orchestra Manager)Kingsley Schmidtke (Venue/Production Supervisor)Bruce Stewart - LibrarianDavid Khafagi - Operations Assistant

FRIENDS OF THE ASO EXECUTIVE COMMITTEEAlison Campbell (President)Liz Bowen (Immediate Past President)Alyson Morrison and John Pike (Vice Presidents)John Gell (Assistant Secretary/ Membership)Judy Birze (Treasurer/Secretary)

The ASO receives Commonwealth Government funding through the Australia Council, it arts funding and advisory body. The Orchestra is funded by the Government of South Australia through Arts SA. The Adelaide City Council supports the ASO during the 2014-15 financial year.

Adelaide Symphony Orchestra 91 Hindley St, Adelaide SA 5000 | Telephone (08) 8233 6233 | Email aso@aso.com.au | aso.com.au

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Towards First Light Gallipoli at 100

World Premiere Wed 22 Apr 2015ADELAIDE TOWN HALL

PROGRAM

Iain Grandage ConductorTaryn Fiebig SopranoJud Arthur BassElder Conservatorium ChoraleCarl Crossin OAM Chorusmaster

Helpmann Award-winning soprano Taryn Fiebig is one of Australia’s most popular and versatile artists.

As a soloist, she has performed with the Australian Brandenburg Orchestra. Internationally, Taryn has performed in Los Angeles with the contemporary music ensemble L.A. EAR unit, in England with the English Chamber Orchestra and on BBC Radio 3 and Radio 4.

In 2005, Taryn joined Opera Australia as a principal soprano. In recent seasons Taryn has sung Susanna, Pamina (Die Zauberflöte) Musetta, Zerlina, Yum-Yum, Adele in Die Fledermaus, Aphrodite in The Love of the Nightingale and Lisa in La sonnambula.

Taryn returns to the national company in 2015 as Pamina, Zerlina and Susanna in David McVicar’s new production of Le nozze di Figaro. She will also appear as soloist with the Australian Chamber Orchestra, the Adelaide Symphony and the Australian Haydn Ensemble.

Carl Crossin OAM - conductor, educator and composer - is widely respected as one of Australia’s leading choral conductors. Following five and a half years’ service as Director of the Elder Conservatorium of Music, Carl recently took up the role of Head of Vocal, Choral and Conducting Studies at the Conservatorium.

Carl is Founder, Artistic Director and Conductor of the multi-award winning Adelaide Chamber Singers, the Elder Conservatorium Chorale, and is Chorus Director of the Adelaide Symphony Chorus and Adelaide Festival Chorus. His guest conducting appearances in recent years have included, Sydney Philharmonia, Melbourne Chorale, Gondwana Chorale, Sydney Chamber Choir, Brisbane Chamber Choir, Perth’s Giovanni Consort and the National Youth Chamber Choir of Australia.

Carl has also been a clinician, guest conductor, conducting teacher and adjudicator at summer schools, festivals, conferences and competitions throughout Australia and internationally, including England, Singapore, Indonesia, Malaysia, New Zealand, Canada and the USA.

Elder Conservatorium ChoraleFormed by Carl Crossin in 2002, the Elder Conservatorium Chorale draws its membership from the Elder Conservatorium, Adelaide University at large, and from the wider community. Chorale has performed a wide variety of major choral works including Britten’s Rejoice in the Lamb, Barber’s Agnus Dei, Bernstein’s Chichester Psalms, Mozart’s Requiem, Vaughan Williams’ A Sea Symphony, Tippet’s A Child of Our Time, Handel’s Israel in Egypt, Bach’s Johannes Passion, and the Australian première of John Tavener’s Innocence. Chorale will be performing Bach’s St. Matthew Passion in October this year.

In collaboration with the ASO, Chorale has - as the core of the Adelaide Symphony and Festival Choruses – performed Beethoven’s Symphony No. 9 Brahms’ German Requiem and Schicksalslied, Mahler’s Symphonies Nos. 2, 3 and 8, Orff’s Carmina Burana, Verdi’s Requiem, Britten’s War Requiem, The Lord of the Rings (Part 1), Bernstein’s Mass, film music by Ennio Morricone, several Last Night of the Proms concerts and, at the 2015 Adelaide Festival, Danny Elfman’s Music for the Films of Tim Burton.

Kiwi Bass, Jud Arthur has been based in Australia since 2003. During that time Arthur has performed to critical acclaim most of the standard Bass repertoire for Opera Australia. He has also performed frequently with The West Australian Opera, Queensland Opera, Opera NZ Companies.

His concert performances include the Verdi Requiem with the NZSO, and The Mozart Requiem and Beethoven 9 at the Sydney Opera House.

Career highlights include international acclaim for his performance in Opera Australia’s Ring Cycle. Stepping in at the last minute as Zaccaria in Perth for WAO and he has sung the National Anthem on many occasions for the All Blacks matches. He is also a former state Rugby player for Otago and no.8. for International Italian team, Mirano. He’s also a former holder of the NZ under 21 show jumping title.

Iain Grandage composes, conducts and performs. He has received the prestigious Sidney Myer Performing Arts Award, the Ian Potter Emerging Composer Fellowship, and been Composer-in-Residence with the WA Symphony Orchestra, and Musician-in-Residence at the UWA School of Music, where he is currently an Honorary Research Fellow.

Iain’s first opera, based on Tim Winton’s The Riders premiered to great critical and audience acclaim in Melbourne in 2014. His concert works have been performed by the ACO, ASO, MSO, WASO, Brodsky and Australian String Quartets, Australian Brass Quintet, Jean-Yves Thibaudet and Sara Macliver. His compositions for the stage include Helpmann Award winning scores for Cloudstreet, The Secret River and When Time Stops.

He has conducted orchestras for Gurrumul and Tim Minchin, and has won Helpmann Awards for his work as Music Director with Meow Meow on Little Match Girl, and the cast of STC’s The Secret River.

Future work includes commissions from the Melbourne Symphony Orchestra and Katie Noonan with the Brodsky String Quartet.

“The words and ideas in Towards First Light come directly from the hearts and memories of soldiers and their families. These incredible men and women shared their stories with us face-to-face, and through the publications The Anzac Book, Khaki and Green, Jungle Warfare and Soldiering On. Some have passed, some live on, but to all we are eternally grateful.” So writes Kate Mulvany, my collaborator on Towards First Light. In placing these texts at the core of this work, replacing as they do the traditional Requiem verses, it is our intention to not only acknowledge the primacy of Veterans in the genesis of the piece – without their sacrifice and service, it simply wouldn’t exist - but also to open the work to a broader audience – one that is both secular and religious. The process of remembering what we already know is called Anamnesis. In focusing on memory and remembering as a central idea for the work, Kate and I hope to not only bring ‘Lest we forget’ into renewed focus, but also to acknowledge that for Servicemen and Women, the echoes of war can continue long after the battlefield falls silent. The uncovering of the truth through repeated memories is a healing process that we hope can lead to a lightness and freedom. To this end, there are many musical and word motifs that recur throughout the work. Musically, these consist primarily of the Tritone, with its historical echoes as the ‘Diabolus in Musica’ and the equivalently pervasive (at least in Western musical terms) figure of lamentation – a descending 4 note scalic motif. These two ideas generate both macro and micro structures throughout, with the tonal centres of seven movements of the piece migrating through the cycle of 5ths, making the first and final movements a tritone apart.

I must thank Mike Rann, former Premier of South Australia for his vision and courage in making available the funds for the commissioning of this work, to Simon Lord and all at the Adelaide Symphony Orchestra for their remarkable support in seeing it come to life, and to all the performers whose commitment to it has been thrilling to be around. I can’t imagine what it would have been like on that fateful dawn a hundred years ago, or in any of the other countless First Light wartime moments before or since. I hope that in the process of remembering that dawn, we may one day find another enlightenment. Lest We Forget. IAIN GRANDAGE, March 2015

Taryn Fiebig

Carl Crossin OAM Chorus Master

Iain Grandage

Jud Arthur

Kate Mulvany is an award winning playwright and screenwriter. Kate’s most recent play, Masquerade, a reimagining of the much-loved children’s book by Kit Williams, was performed at the 2015 Sydney Festival and will be seen later this year at the State Theatre Company of South Australia as well as Melbourne Festival.

Her autobiographical play The Seed, commissioned by Belvoir Street Theatre, won the Sydney Theatre Award for Best Independent Production. With Kate performing in the play, it received great critical success and toured nationally and is currently being developed into a feature film. Kate also recently adapted Jasper Jones from Craig Silvey’s novel, which premiered for Barking Gecko Theatre Company in 2014.

As a screenwriter, Kate has worked on the development of several television series for Australian production houses. Kate is also an award-winning stage and screen actor.

Kate is also the ambassador for the organisations Agent Orange Justice and MiVAC (Mine Evacuation and Clearance), who provide assistance and education on the issues of dioxin and landmines in South East Asia.

Kate Mulvany

Ross Edwards Emerald Crossing

Byrd Agnus Dei

Carl Crossin OAM Mater Dolorosa

Joseph Twist Do not Stand at my Grave and Weep

Ross Edwards White Ghost Dancing

Iain Grandage Towards first Light (World Premiere) Interval

There is Darkness.

1. INTROITUS

CHORUSRe-mem-berWe will re-mem-ber We will re-mem-ber them.

Wake and stand for usWake and walk with us to-ward first light!

The daw-ning glow of re-mem-branceRe-mem-brance

For there is re-lief in the re-col-lec-tionTheir mem-’ry is e-ter-nal And so must ours be

For who will re-mem-ber usIf we do not re-mem-ber them?If we do not re-mem-ber them?

Lest we for-get Lest we for-get to re-mem-ber...

2. KYRIE ELEISON

MANApril againI rise before dawnToday, this day of all my days,What will the silence be?

I stand with head loweredGhosts in my soulNot worthy of their memoryGhosts in my soul

WOMANMemories echo through our houseI hear them as he lay beside meWhispered in his restless dreamsVoices of fallen warriors

MANThe quiet disquietensShakes me to my coreThe shifting shadows of serviceEchoes of long-dead voices...

Who am I to remember?Who am I to honour?Have mercy on their memoriesI am not worthy.

WOMANMy love, my one,Returned, silent, solemn and shifted

MANWho am I to remember them?When I cannot remember me?

WOMANI hear the echoesGhosts in your soulAnd wonder where you wentWhere you left yourself.Drift back, bright star, Drift back and comfort me.

MANThe echoes are still growing,Now bugles in my head,Bouncing through my blistered brain,Metallic fear in my mouthMy skin prickles, gut twists, ears prickAs silenced voices shoutTheir grievances As silenced voices shoutfrom the grave...

(With excerpts from “The Silence” by Private RJ Godfrey,7th Aust. Field Ambulance; and ”From Quinn’s Post” by Private VN Hopkins.AMC, att. 17th Australian Battalion from The Anzac Book, 1915)

MANI’ve seen it. Breathed it. Dreamed it. Sweated Pissed it. Hated it. Loved it.

Marched it. Tasted it. Spat it. Seen it. Been it.

And so I do not want this remembrance No more. And so I do not want this remembrance Leave me be.

WOMAN [WITH CHORUS UNDERNEATH]Lift your head and seeRaise your tired eyes

See the allies, all around youTake comfort in my arms

Life brings reliefLive for them, live for me

MANI will not be conscripted.I warn you, I will not be told.

WOMAN [WITH CHORUS UNDERNEATH]We all march beside you,

MANLeave me to my silence

WOMANmy soldier love

MANLet me be a living ghost

WOMANWe march beside you, my soldier sonSo lift your damned head, my soldier

MANNo!The cannon’s mouth is wide.

WOMANAs we remember them, we remember youAs we honour them, we honour you.You soldier of all soldiers.Now lift your head and see.Bright star, now see.

MANThe cannon’s mouth...is silent.

7. IN PARADISUM

CHORUS (including Man and Woman)The death they suffered, shall not be in vain,And they once moreWill rise in glory and, like sentinels,Stand quiet guard, while over hill and dell

The foliage fresh of peace will gently rest,And men with freedom, love and hopeBe blestForevermore.

So walk with me toward first lightThe dawning glow of remembranceI will protect you if you protect meAnd we will protect them together,We drift back, bright stars.As we walk on toward first light.Our heads lifted, shifting souls,Our minds a field of remembrance.Today, this day of all our daysWe have seen what the silence can be.

(Excerpt from ’Hidden Battlefields’ by VX 116298 – 1944 – from the book Jungle Warfare)

There is Light.

Excerpts from this work have been taken from the books “The Anzac Book”, “Khaki and Green” and “Jungle Warfare”, which were written and published by ANZAC forces in WWI and WWII. Although the descendants of these wonderful poets have been difficult to track down, all due course has been taken to do so. I’d like to thank all who assisted in this extensive search, and who gave their blessing to use the words of these young men. Particular thanks to my mother Glenys whose father and grandfather passed these incredible books onto her, and which she has kept safe all these years.

Further excerpts and ideas come from the countless war veterans, their families and friends – both here and abroad – that have trusted me with their words and stories over the years, in particular my father Danny Mulvany and his mate Phil Lamb who both served in Vietnam. I am truly indebted to you all.

Kate Mulvany – Librettist.

TOWARDS FIRST LIGHTAN ANZAC REQUIEM

MUSIC : IAIN GRANDAGE

LIBRETTO : KATE MULVANY

AFTER THE WORDS OF AUSTRALIANWAR VETERANS AND THEIR FAMILIES

They knew and loved, They went, and questioned not....Weep not for them.

For they have gone beyond the Night,And foundQuiet havens where the waters laughing run,

Shed thou no tears!...For these high souls, in their last hour,Walked with honour, and marvellously knewThe joy and pain of sacrifice; and reachedTheir goal, as runners do, with swift,Drawn breath.

FEMALE CHORUSWe will remember them.Lest we forget Lest we forget to remember...We will remember them.Walk with Us

WOMAN (with the above stanza)And rest is given.They sleep in fields of amaranth, flow’r-crowned;

WOMAN AND FEMALE CHORUSAnd all their glory lights the hills...Drift back, bright star, Drift back and comfort me.

FEMALE CHORUSWe will remember

WOMANFor theirs was a wondrous way, who came,Down all the winds of turbulence,To keep, for you, this rendezvousWith Death....Weep not for them.Weep not for them...

(Excerpt from ‘Shed Thou No Tears - NX65238, Middle East, 1943 – from the book Khaki and Green)

5. LUX AETERNAE.

CHORUSWake and stand for us,We that have fallen.You are our ally and our voice.

Live not as a ghostYour journey continuesTake it, make it

Bring us homeBring us homeOn this day of all our days

There is relief In the recollectionThere is peace in our presence

Fill our echoed voices with breathComplete our call through time

Walk for us Walk for us through the odyssey of history

Drift back, soldierHeed your orders nowAnd bring us home, bring us home

We did not fall to be forgottenWe did not fight for naughtSo straight back, ally, and march on

Shine your shoes and march onPin your breast and march on

Eyes straight Kiss our kids Comfort our mothers Watch our wives wave

You, the living memory of us,Remember to rememberRemember to rememberLest you forget Lest you forget to remember.

6. LIBERA ME

MANI cannot stand thisMy mind is filled with horror

Memory is a shifting shadowWarping weirdly, wildly

I cannot stand thisI will not wake

WOMANI cannot stand thisFragile, eggshell mind

MANI am an unworthy voiceI am a coward ally

WOMANLift your head, my one, my loveDrift, drift back.

MANLeave me be, lest I biteMy guts now twist with fear

WOMANI will not live with a ghostLift your head and see

3. DIES IRAE

CHORUSA is the Anguish spread over our faceWhen we see the remarkable look of the place.

B’s Beachy Bill, such a marvel of cunning, A message from whom sends the best of us running.

C is the Chills felt in the feetWhen bullets commence to invade our retreat.

D is the Dugout we’ve spent so much time at,Its shade gives us hope of defeating the climate.

Our voices rise in battle cryAs the dawning sun kisses the sky

E is the Earth which we find in our hairAs we wake in the morning and crawl from our lair.

F are the Fleas and also the FliesWho feed on a fellow wherever he lies.

G is the Gripes that grip us within –The result of commodities packed in a tin.

H is the wretched unfortunate Hill,Bombarded and mined but untappable still.

Our voices rise in battle cryAs the dawning sun sears the sky

MANI am filled with strange oaths, quick in quarrel, Seeking the bubble reputation in the cannon’s mouth... cannon’s mouth...

CHORUSJ is the Jam with our rations and rum –We find is almost invariably Plum.

K is the Knowledge we quickly acquireOf hiding whenever the enemy fire.

L is the Louse that lurks in our vests,Takes over our skin and tickles our chests.

M is the Monitor, firing at night, Which keeps us awake when the lice don’t bite.

N is the Night when, with trembling hearts,We await the invisible battle to start.

MALE CHORUS & MANAnd the bullets whistle as they flyWhile the dawning sun scalds the sky

WOMANO is the Optimist, her heart struck by a splinter,Hoping and praying he’ll be home by the winter.

CHORUSP sees us Primed – we must shake off the quake

Whenever a launch makes a wash with her wake.

Q stands for Quick, into the tunnel we dashWhen a missile close by explodes with a crash.

FEMALE CHORUS & WOMANR is for Remembering where our hearts have goneWith our soldiers so far from home.

MALE CHORUSS is the Silence; we hold tight to each breath Exhaling too loudly could mean our death

FEMALE CHORUS T is the Telephone cutting off stations

CHORUS In the midst of conversations.

WOMANU are filled with strange oaths, quick in quarrel, Seeking the bubble reputation in the cannon’s mouth

CHORUS U are filled with strange oaths, strange oaths, strange oaths,

On bleeding field a young man criesAs the dawning sun consumes the sky

V is for Victory. How we shall singWaltzing Matilda and God Save the King!

W stands for the various WilesWe employ to keep each other in smiles.

X the X-periments made with a bomb –A neat little cross on a nice little tomb.

WOMANY is it so bloody hard to sayHow I want to hold him for just one more day?

CHORUS AND MANZ in the Zenith of power and glory…One conclusion to this little story.

As we lay strewn beneath dawn’s awful blush...

(Texts by JWS Henderson, RGA and Ubique, 21st Indian Mtn Battery – ‘An Anzac Alphabet’ and ‘Another Attempt at an Anzac Alphabet’ – from The Anzac Book, 1915 - with additions by Kate Mulvany and William Shakespeare)

4. LACRIMOSA

WOMANShed thou no tears!...They heard the far, clear call,And answered.Out from the quiet places and the gentle folk