Bridge of Dreams Program - Australian Chamber Choir

AUSTRALIAN CHAMBER CHOIR
directed by
DOUGLAS LAWRENCE OAM
with Rosanne Hunt – cello
BRIDGE OF DREAMS
Christ Church, Castlemaine, Saturday June 15 at 3.00pm
Our Lady of Mt Carmel, Middle Park, Sunday June 23 at 3.00pm
1. AS I CROSSED A BRIDGE OF DREAMS – ANNE BOYD
Born at Sydney, 10 April 1946.
A former pupil – and indeed fiancée – of Peter Sculthorpe, Anne Boyd is now Pro-Dean of the
Sydney Conservatorium, and has been a member of the Order of Australia since 1996. Probably her
best-known piece is As I Crossed a Bridge of Dreams, dating from 1975, and embodying its
composer’s passionate love of medieval Japanese culture. It shares its title with a memoir by Lady
Sarashina, who was born in the year 1008, but does not use actual texts from this source. To quote
Anne Boyd’s own words:
‘In at least two senses, this work harks back to the Japan of the 11th century – to me, an infinitely
remote and dream-like world whose great art spanning the centuries speaks with as much poignancy
and beauty to the mind and heart of contemporary man as it did nine hundred years ago. In the first
place, in attempting to write a composition for unaccompanied voices I found myself drawn again to
the voice of the sho, a Japanese mouth-organ whose soft, infinitely subtle and slow-moving chords
form the background sonority for gagaku, the ancient court music of Japan. The harmony is based
upon the whole-tone scale with some chromatic embellishments; the chordal progressions are
themselves essentially static in effect being a movement from one version of a chord to another
version of the same chord … I have chosen three of Lady Sarashina’s dreams upon which the mood
and “text” of each of the three sections of my own work are based.
‘All three dreams take place in temples and the “magic” names of various Buddhas are phonetically
transcribed and “hidden” inside the slow-moving choral textures. In the final dream the six-foot
Amida shining with golden light appears with outstretched hands promising to return and fetch Lady
Sarashina; it is upon this dream that her hope of salvation rests and it is at this point that my work is
brought to a final cadence.’
2. TWO ANTHEMS – SIR EDWARD CUTHBERT BAIRSTOW
Born at Huddersfield, England, 22 August 1874; died at York, England, 1 May 1946.
I Sat Down Under His Shadow
Let All Mortal Flesh Keep Silence
Edward (Sir Edward from 1932) Cuthbert Bairstow exemplified that rare creature: an English
musician who made a deeply influential career outside London. From 1913 till his death he directed
the music at York Minster, having occupied similar posts in Leeds and Wigan. With characteristic
North Country bluntness of speech, he rejected the possibility of comparable employment in the
USA by saying that he would ‘rather go to the devil’. He designed most of his compositions –
including 29 anthems – for Anglican services. I Sat Down Under His Shadow sets words from the
Song of Solomon II:3–4. Unaccompanied throughout, it has the melodic and harmonic disposition of
folksong. Let All Mortal Flesh Keep Silence (from the Liturgy of St James), likewise unaccompanied,
begins with hollow-sounding octaves in the tenor and bass voices, these octaves recurring later at key
points. Shortly before the climax, the basses cut loose with prominent crotchets – against slowermoving harmonies in the other parts – to convey the inherent drama of the many-eyed Cherubim.
I sat down under his shadow with great delight, and his fruit was sweet to my taste. He brought
me to the banqueting house, and his banner over me was love.
Let all mortal flesh keep silence, and stand with fear and trembling, and lift itself above all
earthly thought. For the King of Kings and Lord of Lords, Christ our God, cometh forth to be our
oblation and to be given for food to the faithful. Before Him come the choirs of angels with every
principality and power, the Cherubim with many eyes, and winged Seraphim, who veil their faces as
they shout exultingly the hymn: Alleluia.
3. THREE MOTETS – CARLO GESUALDO, PRINCE OF VENOSA
Born at Venosa, Italy, between 1560 and 1566; died Gesualdo, Italy, 8 September 1613.
Laboravi in gemitu meo (I am wearied with sighing)
Reminiscere miserationum tuarum (Remember Your tender mercies)
Ave dulcissima Maria (Hail, sweetest Mary)
Four centuries ago this year, Carlo Gesualdo died. One of musical history’s two best-known
murderers – the other being California’s Phil ‘Wall of Sound’ Spector – Gesualdo made his
distinctive contribution to the annals of homicide in 1590 when, having surprised his wife and her
lover in flagrante, he and his servants slew the guilty couple. (This crime has inspired no fewer than
six operas since 1990 alone.) According to some accounts, the murder victims also included
Gesualdo’s baby son and his father-in-law. There followed agonies of self-torment, which included
the daily floggings to which he insisted on being subjected. His natural penchant for heightened
emotional expression in his music through vehement chromaticism became more marked than ever,
not least in his late Tenebrae Responsories for Eastertide. The three motets included in today’s
concert all date from a 1603 collection entitled Sacrarum Cantionum Liber Primus. They are less
harmonically unconventional than the Tenebrae Responsories, or than some of Gesualdo’s secular
madrigals. But they still abound in cross-relations among the vocal lines (E natural against E flat, C
sharp against C natural, and so on); the tonality quite often veers away in startling directions,
particularly after a crotchet rest; and their texts are nothing if not intercessory. The words of
Reminiscere miserationum tuarum presumably had for the composer an autobiographical
significance.
Laboravi in gemitu meo,
Lavabo per singulas noctes lectum meum.
Lacrimis meis stratum meum rigabo.
I am wearied with sighing,
Every night I flood my bed with
weeping.
I drench my couch with my tears.
(Psalm 6:6)
Reminiscere miserationum tuarum,
Domine Deus meus, et ne memineris delicta
juventutis meae.
Remember Your tender mercies,
O Lord my God, and remember not
the crimes of my youth.
(Psalm 25:6–7)
Ave, dulcissima Maria,
vera spes et vita, dulce refrigerium!
O Maria, flos virginum,
ora pro nobis Jesum.
Hail, sweetest Mary,
true hope and life, sweet comfort!
O Mary, flower of virgins,
pray for us to Jesus.
4. AWIT NI SOLOMON (SONG OF SOLOMON) – ROBIN C. ESTRADA
Born at Manila, 1970.
Seldom does a Filipino composer appear in Australian concert halls, but Robin Estrada (who
obtained his bachelor’s degree in music from the University of the Philippines in his native Manila;
moved later to California; and is currently undertaking a doctorate at Berkeley) has been described
as ‘among the bold and innovative talents in Philippine composition today. His works meld Western
forms with South-East Asian musical styles that accentuate the finesse and fire of the region’s cultural
diversity.’ He wrote in his 20th year the piece in this program, which is scored for no fewer than 16
different vocal parts (four sopranos, four altos, four tenors, four basses), and which uses – in Tagalog
– lines from the Song of Solomon (Chapter 8, Verse 10). Awit ni Solomon won the Musica Nova
award in a Manila-based contest known as I Concurso Coral de Ateneo. Estrada runs the gamut from
fortissimo howls to delicate murmurings, conjuring up the sounds of the jungles in his homeland.
Ako’y isang batong muog, dibdib ko ang siyang
tore; sa piling ng aking mahal ay panatag ang
sarili.
I am a wall, and my breasts like towers:
then was I in his eyes as one that found favour.
INTERVAL
Our new CD of MOTETS by JS, JC and JM Bach is available today for $25
These works, some of them accompanied by an ensemble of period instruments,
appeared on our concert programs in 2011 and 2012
“Last night I listened to the new ACC MOTETS CD intensely. As result the CD jumped to the top
of my favorite Bach CD Chart! The ACC has developed a distinctive sound and the German is
impeccable. Well done!”
Hans Schroeder, President, Australian Bach Society, 8 May, 2013
Are you enjoying today’s program?
Buy two tickets to Bach and His Great Teacher TODAY
And receive a $5 discount
JS Bach and his great teacher – Sunday November 10 (Sunday November 3 in Geelong
and Saturday November 9 in Castlemaine)
Just ask the ticket desk personnel
5. SVYATI, FOR CELLO AND CHAMBER CHOIR – SIR JOHN TAVENER
Born at Wembley, England, 28 January 1944.
An Orthodox Church communicant since 1977, Sir John Tavener (knighted in 2000) is, in addition,
a descendant from, as well as a near-namesake of, the 16th-century composer John Taverner [sic].
He is best known for the religious themes that dominate his works. These works include an opera,
Thérèse (based on the Lisieux saint’s life); The Protecting Veil, for cello and string orchestra; the a
cappella motet Song for Athene [Hariades], famously performed at Princess Diana’s obsequies; and
the present piece, Syvati. Of Syvati, dating from 1995, he writes:
‘While sketching it, I learned that John Williams, father of Jane, my dear friend and publisher, was
dying. I could not refrain from dedicating it to Jane and to the memory of her father. The text is in
Church Slavonic, and it is used at almost every Russian Orthodox service, perhaps most poignantly
after the congregation have kissed the body in an open coffin at an Orthodox funeral. The choir sings
“Syvati Bozhye” as the coffin is closed and borne out of the church, followed by the mourners with
lighted candles. The cello represents the Priest or Ikon of Christ, and should play at a distance from
the choir, perhaps at the opposite end of the building.’
Syvati Bozhye, Svyati Kryeapke, Svyati
Byeazsmyeartnuie, pomelooee nas.
Holy God, holy and strong, holy and immortal,
have mercy upon us.
6. A LEXICON OF DREAMS – CHRISTINE McCOMBE (WORLD PREMIÈRE)
Born at Melbourne, 3 April 1967.
Commissioned by Douglas Lawrence for the Australian Chamber Choir, with assistance from Mrs
Philippa Miller, A Lexicon of Dreams was written early in 2013 and sets a text by the composer
herself (who won the Dorian Le Gallienne Prize in 1995). Christine McCombe has written the
following about her motivations in producing the piece:
‘The initial idea for A Lexicon of Dreams came from a suggestion to look at the biblical story of
Jacob’s Ladder. Much has been written about the story, its imagery and its wider metaphorical
meanings – religious and otherwise; how each of us strives to find happiness, truth or
enlightenment. The analysis of dreams is a fascinating area in its own right and I became interested in
the symbolism of dreams and the many texts that seem to offer the possibility of deciphering them.
‘Another early source of inspiration came from aspects of Australian Aboriginal culture. I have
always been fascinated by the distinct perspective of much Australian Indigenous art – of looking
down on the land from above, suggesting a kind of “out-of-body” experience. This aerial perspective
and the idea of Aboriginal “songlines” or “dreaming tracks” also influenced the creation of A Lexicon
of Dreams.
‘When composing A Lexicon of Dreams I wanted to create a sense of movement through time and
space, the music moving through different textures and ideas in the same way that the text moves
from one imagined space to another. The piece is thus a journey in itself while also exploring the
idea of dream journeys. On a more personal level, A Lexicon of Dreams reflects on the life journey
that we all make and how we approach the end of that journey.’
The music starts with a solemn, quiet G minor chord spread among the lower parts, but later the
soprano and alto lines are dominated by brief flourishes on words such as ‘wings’ and ‘flying’. Little
by little, the music speeds up; the tenor and bass lines, hitherto slow-moving, become more
agitated; and a grand climax occurs on the last syllable of ‘ascending.’ The work afterwards returns
to the same calm manner in which it began, the concluding Latin phrase (which comes from the
Requiem Mass, and means ‘May angels lead you into paradise’) culminating in an enigmatic E flat minor. Wings
A dream of wings.
A bird.
I am flying.
Looking down
At tree tops
A forest of tree tops.
I see a clearing
A path, leading somewhere …
I dream I am in a boat
On a wide river,
Being carried along by its current.
A wide river, leading out to sea.
I am a boat
Alone in the ocean.
Floating away from shore.
A dream of stairs,
Endless stairs
Like Piranesi or Escher
Going up and up
But never ascending.
There is a door.
I open it.
Limitless blue
The sky opens up before me.
I dream of a ladder,
Like Jacob dreamed of a ladder
Reaching up
Rung after rung,
Higher and higher I climb.
And like Jacob
I hear a voice, saying
‘I am with you’
‘I will not leave you.’
I hear birds,
Music.
All the birds are singing
Like angels, singing.
In Paradisum deducant te Angeli.
7. O SACRUM CONVIVIUM – OLIVIER MESSIAEN
Born at Avignon, 10 December 1908; died at Paris, 27 April 1992.
Dating from 1937, this is an early work of Messiaen’s; nevertheless, early does not mean atypical.
Already his lush harmonic voice – which could never be mistaken for any other composer’s – is
apparent, as is his rejection of conventional Western metre (the score contains no time-signature). It
provides an unusual instance of its creator setting an extract from the Catholic liturgy, rather than
conveying his irrepressible religious faith in the concert hall and the organ loft. While Messiaen
makes provision for an organ discreetly doubling the vocal parts, the piece is usually performed a
cappella.
O sacrum convivium!
In quo Christus sumitur:
Recolitur memoria passionis ejus:
Mens impletur gratia:
Et futurae gloriae
Nobis pignus datur.
Alleluia!
O sacred banquet!
In which Christ is received,
The memory of His passion is recalled,
The mind is filled with grace,
And the pledge of future glory
Is given to us.
Alleluia!
8. TWO SONGS FOR DOUBLE CHOIR, OPUS 141 – ROBERT SCHUMANN
Born at Zwickau, Germany, 8 June 1810; died at Endenich, Germany, 29 July 1856.
Zuversicht (Assurance) Words by J. C. von Zedlitz
An die Sterne (To the stars) Words by Friedrich Rückert
Few associate Schumann with choral music. Yet in his all-too-short life, he actually contributed a
large amount to the genre. His output for massed voices includes two Requiem settings (one in Latin
and another, much shorter, in German); three oratorios (Paradise and the Peri, The Pilgrimage of
the Rose, Scenes from Goethe’s Faust); and four part-songs from 1849, of which two will be heard
today. At the time Schumann wrote these part-songs, he was conducting a Dresden choir, whose
members must have found themselves considerably taxed by the composer’s habitual love of restless
modulation. The mood of An die Sterne is predominantly restrained, that of Zuversicht somewhat
more dramatic, with due emphasis being placed by forte passages upon such ideas as ‘you can grasp
on to hope.’ In neither piece does much counterpoint occur. The stress in both pieces, but especially
Zuversicht, remains on the two four-part ensembles being pitted against one another – and at times
combining their resources – rather than on what happens within each ensemble.
Zuversicht
Nach oben musst du blicken,
gedrücktes, wundes Herz,
Dann wandelt in Entzücken
sich bald dein tiefster Schmerz.
Nach oben musst du blicken,
gedrücktes, wundes Herz,
Froh darfst du Hoffnung fassen,
wie hoch die Fluth auch treibt;
Wie wärst du denn verlassen,
wenn dir die Liebe bleibt?
Assurance
You must look aloft,
oppressed and weary heart,
then your deepest pain
will soon turn to delight.
You must look aloft,
oppressed and weary heart,
then you can grasp on to hope,
no matter how high the floods may reach;
how could you be abandoned
when love remains to you?
An die Sterne
Sterne, in des Himmels Ferne!
die mit Strahlen bessrer Welt
To the Stars
Stars in the distant heavens,
you who with rays from a better world
ihr die Erdendämmrung hellt;
Sterne, in des Himmels Ferne!
Schau’n nicht Geisteraugen von euch
erdenwärts,
dass sie Frieden hauchen in’s umwölkte Herz!
Sterne, in des Himmels Ferne!
träumt sich auch in jenem Raum,
eines Lebens flücht’ger Traum?
Sterne, in des Himmels Ferne!
hebt Entzücken, Wonne, Trauer, Wehmuth,
Schmerz,
jenseit unsrer Sonne auch ein fühlend Herz!
Sterne, in des Himmels Ferne!
winkt ihr nicht schon Himmelsruh’
mir aus euren Fernen zu?
Wird nicht einst dem Müden auf den goldnen
Au’n
ungetrübter Frieden in die Seele thau’n!
Sterne, Sterne, bis mein Geist den Fittig hebt,
und zu eurem Frieden schwebt,
hang’ an euch mein Sehnen, hoffend, glaubevoll!
O ihr holden, schönen,
Könnt ihr täuschen wohl?
lighten the earthly darkness;
stars in the distant heavens,
turn your eyes
earthwards,
to breathe peace into the troubled heart!
Stars in the distant heavens,
is life’s fleeting dream also
dreamt in your domain?
Stars in the distant heavens,
can a feeling heart lift up its enchantment,
bliss, sorrow, sadness and pain
beyond our sun to you?
Stars in the distant heavens!
Are you not already showing me
distant signs of heavenly peace?
Will untroubled peace one day
warm the weary soul in paradise?
Stars, oh stars, until my soul takes wing and
soars upward to heavenly peace,
until then my hopeful, faithful longing clings to
you. Lovely, beauteous ones,
could you deceive me?
Program notes © R. J. Stove, 2013
The singers today were:
Sopranos: Felicity Bolitho, Bronwyn Jones, Amande Lee*, Erika Tandiono*, Sarah Turner,
Jennifer Wilson-Richter, Jessica Wynne
Altos: Elizabeth Anderson*, Grace Cordell, Hannah Spracklan-Holl, Ailsa Webb
Tenors: Alastair Cooper-Golec*, Ben Owen*, Michael Petruccelli, Christopher Roache*
Basses: Luke Hutton, Kieran Macfarlane*, Andrew Moffat, Lucas Wilson-Richter*
* soloist
ABOUT US
During its first five years, the AUSTRALIAN CHAMBER CHOIR has undertaken three European
concert tours and three Australian regional tours, recorded three CDs and given many concerts in
Melbourne and Geelong – a total of 98 concerts, many of which have been recorded for broadcast
on 3MBS FM or ABC FM. Now in our sixth year, we undertake our fourth European concert tour.
We perform in Berlin and Hamburg, in the cathedrals of Meissen, Freiberg and Ribe, and at five
international festivals in Denmark and Poland. Of the 18 engagements, 12 are return invitations.
The choir returns to that most beloved of choral venues, St Thomas’ Church, Leipzig, where JS Bach
was Cantor for 27 years. Of their performances in 2011, the current St Thomas’ organist, Ullrich
Böhme, said: ‘In Leipzig, we have several fine choirs, not only the Thomanerchor. Of the many
visiting choirs we hear, not many come up to our standard. The Australian Chamber Choir did.’ The
booklet of the new MOTETS CD contains a number of beautiful photographs of the choir, taken at
St Thomas’ Leipzig. More details of the choir’s touring plans can be found below.
In addition to the European tour, this year we have expanded our Melbourne and Geelong
subscription series to Castlemaine and will give our first concerts in Canberra, Bowral and Sydney.
While the choir’s European tours are financed by earnings, personal contributions and grants (from
the Australia Council and Arts Victoria), Australian touring relies heavily on support from our
donors.
Donations to the Australian Chamber Choir Support Fund are tax deductible. If you
would like to assist the choir with its Australian activities, fill in the form provided in the into the
future brochure or contact us at [email protected]
or telephone 9387 3004 or donate online at www.AusChoir.org
BRIDGE OF DREAMS
will be performed in the venues listed below. If you know people in any of these cities, please let
them know about our concert.
Saturday June 28 at 8pm
NORDLINGEN: KONZERTE IN SANKT GEORG
Venue: Georgskirche, Nördlingen, Germany
Sunday June 29 at 9.30am
NORDLINGEN: Service
Venue: Georgskirche
Sunday June 29 at 5pm
DILLINGEN: DILLINGER BASILIKAKONZERTE
Venue: St Peter’s Basilica, Dillingen, Germany
Monday July 1 2013 at 7.30pm
TÜBINGEN
Venue: Dietrich Bonhoeffer Church, Tübingen
Wednesday July 3rd 2013 at 7pm
DARMSTADT: ORGELSOMMER
Venue: Pauluskirche, Darmstadt, Germany
Friday July 5 2013 at 8pm
BERLIN: KONZERTE IN EPIPHANIEN
Venue: Epiphanienkirche, Charlottenburg, Berlin
Sunday July 7 2013 at 7pm
Ecumenical Centre, HafenCity
Venue: Ecumenical Centre, HafenCity, Hamburg,
Germany
Tuesday July 9 2013 at 8pm
RIBE DOMKIRKES SOMMERKONCERTER
Venue: Ribe Cathedral, Denmark
Wednesday July 10 2013 at 8pm
44th SORØ INTERNATIONAL MUSIC
FESTIVAL
Venue: Sorø Klosterkirke, Sorø, Denmark
Friday July 12 2013 time TBC
Osno Lubuskie, Poland
Saturday July 13
ZIELONA G´ORA: 6th INTERNATIONAL
MOZART PLUS FESTIVAL TBC
Sunday July 14 2013 at 7pm
th
WROCLAW: 20 Festival NON SOLA SCRIPTA
Venue: Kreuz Kirche, Wrocław, Poland
Monday July 15 2013 at 7pm
KALISZ: INTERNATIONALORGAN FORUM
Venue: Garnison Church, Kalisz
Tuesday July 16 2013 at 7.15pm
22nd LEGNICA EVENING ORGAN CONCERTS
Venue: Legnica Cathedral, Legnica, Poland
Thursday July 18 2013 at 8pm
FREIBERG: KONZERTE IM FREIBERGER DOM
Venue: Freiberg Cathedral, Freiberg, Germany
Saturday July 20 20 at 5pm
MEISSEN: GEISTLICHE ABENDMUSIK
Venue: Meissen Cathedral, Germany
Sunday July 21 2013 at 9.30am
LEIPZIG: Motet Service
Venue: Thomaskirche,Thomaskirchhof 18,
Leipzig, Germany
Wednesday July 24 2013 at 7pm
WANGEN
Venue: Martinskirche, Wangen (Allgäu),
Germany
Saturday October 12 at 3pm
CANBERRA
Venue: St Paul’s Church, Manuka
Saturday October 12 at 7.30pm
BOWRAL
Venue: St Jude’s Church, Bowral
Sunday October 13 at 3.30pm
SYDNEY
Venue: Great Hall, University of Sydney
The 2013 European tour is assisted by the Australian Government through the Australia Council, its arts
funding and advisory body, and supported by the Victorian Government through Arts Victoria.
We are planning a European concert tour for July 2015. Would you like to come with us? Watch
our website for details of how the tour will look. We look forward to this fabulous opportunity to
get to know you better.
Would you like more information? We suggest …
Visit our website: www.AusChoir.org
Friend us on Facebook: www.Facebook.com/AusChoir
Sign up at the door today or at the website to receive our e-newsletter.
Governance
Chairman:
Dr Robin Batterham, AO
Treasurer:
Richard Bolitho
Public Officer: Dr Sarah Martin
Assisting the Management Committee:
Stuart Hamilton AO
General Manager:
Elizabeth Anderson
Artistic Director:
Douglas Lawrence OAM
Patrons:
Dr Barry Jones, AO
Prof John Griffiths, Oficial de la
Orden de Isabel la Católica
We would like to thank all our sponsors, including those listed on this page.
Thank you for attending today’s concert.
We would like to thank all those who support the choir, including the following people:
Warren and Iris Anderson, Vicki and Peter Balabanski, James and Barbara Barber, Robin Batterham, Heather
Bayston, Lyn Howden and David Beauchamp, Rhys Boak, David Brand, Harold Burge, Elizabeth Burns, Lois
Cooke, Patricia Duke, Michael Edgeloe, Rod and Deb Edwards, Michael Elligate, Priyanka Erasmus, Ken
Falconer, Jennie Smith and Bruce Fethers, Anne Gilby, David and Dianne Gome, John and Bernie Griffiths,
Tom Griffiths, Ian and Heather Gunn, Thorry Gunnersen, Stuart Hamilton, Bob Henderson, Thomas
Hurley, John and Cheryl Iser, David Kellam, Peter Kingsbury, Barbara Kristof, Neil Lawrence, George and
Ann Littlewood, Pamela Lloyd, Heather Low, Lenore Macdonald, Hector Maclean, Sarah Martin, Campbell
and Noreen McAdam, Kate McBride, Hilary McPhee, Rowan McIndoe, Lorraine Meldrum, Catherine and
Barry Michael, Philippa Miller, Alana Mitchell, Mobiquity Inc, Adam Morris, the late Dame Elisabeth
Murdoch, Max Griffiths and Merrilyn Murnane, MJ and RM Norton, The Ian Potter Foundation, Annette
Robinson, Nola Rogers, Alma Ryrie-Jones, Geoff Scollary, Cathy Scott, Stephen Shanassy, David and Lorelle
Skewes, Nicole Spicer, Lynne Star, Leonore Stephens, Eric Stokes, Rob Stove, Brian Swinn, Ross Telfer,
Elsie Valmorbida, Alison Waller, Mel Waters, Carolyn Williams, Harry Williams, Glen Witham, Robert
Wright, Jenny and Wallace Young and anonymous donors.
Australian Chamber Choir Inc. No.A00499