Towards First Light Gallipoli at 100 22 Apr

Adelaide Symphony Orchestra
Principal 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 Axelby
Erna Berberyan
Gillian Braithwaite
Julia Brittain
Hilary Bruer
Jane Collins
Frances Davies
Danielle Jaquillard
Alexis Milton
Julie Newman
Alexander Permezel
Judith Polain
Kemeri Spurr
VIOLAS
Michael Robertson**
(Acting Principal)
Martin Butler~
(Acting Associate)
Lesley Cockram
Anna Hansen
Carolyn Mooz
Cecily Satchell
CELLOS
Ewen Bramble**
(Acting Principal)
Sherrilyn Handley~
(Acting Associate)
Christopher Handley
Gemma Phillips
David Sharp
DOUBLE BASSES
Hugh Kluger**
(Acting Principal)
David Phillips~
(Acting Associate)
Harley Gray
Belinda Kendall-Smith
FLUTES
Geoffrey Collins**
Julia Grenfell
PICCOLO
Julia Grenfell *
OBOES
Celia Craig**
Peter Duggan
COR ANGLAIS
Peter Duggan*
CLARINETS
Dean Newcomb**
Mitchell Berick
E FLAT CLARINET
Darren Skelton*
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Mitchell Berick*
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Leah Stephenson**
(Acting Principal)
Kristina Phillipson
CONTRA BASSOON
Kristina 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 TROMBONE
Cassandra Pope*
TIMPANI
Robert Hutcheson*
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Gregory Rush**
Jamie Adam
HARP
Suzanne Handel*
PIANO
Jamie Cock*
** denotes Section
Leader
~ denotes Associate
Principal
* denotes Principal
Player
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Conductor –
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Kathryn Adams
Madeleine Binney
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Ethenia Gilsenan-Reed
Caitlin Gilsenan-Reed
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Erin Holmes
Grace Joyce
Imala Konyn
Nicky Marshall
Katrina McKenzie
Pheobe Paine
Courtney Sandford
Wendy Wakefield
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Lily Coats
Lisa Fechner
Ashleigh Geiger
Amelia Holds
Jennifer Jarman
Charlie Kelso
Stephanie Neale
Jodie O’Regan
Olivia Sanders-Robinson
Melanie SandfordMorgan
Georgia Simmons
Renee Stevens
Sarah Winn
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Tim Bangsund
Josh Belperio
Gil Costes
Andrew O’Connor
Duy-Lam Nguyen
Mark Sales
Kit Tonkin
Craig Weatherill
Anthony Zatorski
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Ron Abelita
Tom Bubner
Andrew Chatterton
Jack De La Lande
Christian Evans
Aiden Foyel
Oliver Grenfell
Scott Gunn
Andrew Heitmann
Macintyre Howie-Reeves
Nicholas Munday
Julian Opie
Adrian Ozols
Simon Pazos Quintana
Andrew Raftery
Mark Roberts
David Rohrsheim
Tom Turnbull
Henry Wilkinson
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Colin Dunsford AM
(Chair)
Vincent Ciccarello
Geoffrey Collins
Col Eardley
Byron Gregory
David Leon
Chris Michelmore
Michael Morley
Andrew Robertson
Nigel Stevenson
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Towards
First Light
Gallipoli at 100
World Premiere Wed 22 Apr 2015
ADELAIDE TOWN HALL
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 [email protected] |
aso.com.au
Project Partner
Supported by a grant from the Department of Premier and Cabinet,
Government of South Australia
PROGRAM
Iain Grandage Conductor
Taryn Fiebig Soprano
Jud Arthur Bass
Elder Conservatorium Chorale
Carl Crossin OAM Chorusmaster
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
Interval
Iain Grandage
Towards first Light (World Premiere)
“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
Iain
Grandage
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-inResidence 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.
Kate
Mulvany
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.
Taryn
Fiebig
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.
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.
Carl
Crossin
OAM
Chorus
Master
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 Chorale
Jud
Arthur
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.
Formed 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.
MAN
I’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 see
Raise your tired eyes
See the allies, all around you
Take comfort in my arms
The foliage fresh of peace will gently rest,
And men with freedom, love and hope
Be blest
Forevermore.
(Excerpt from ’Hidden Battlefields’ by VX 116298 – 1944 –
from the book Jungle Warfare)
Life brings relief
Live for them, live for me
There is Light.
WOMAN [WITH CHORUS UNDERNEATH]
We all march beside you,
MAN
Let me be a living ghost
WOMAN
We march beside you, my soldier son
So lift your damned head, my soldier
MAN
No!
The cannon’s mouth is wide.
WOMAN
As we remember them, we remember you
As we honour them, we honour you.
You soldier of all soldiers.
Now lift your head and see.
Bright star, now see.
MAN
The cannon’s mouth...is silent.
MUSIC : IAIN GRANDAGE
LIBRETTO : KATE MULVANY
AFTER THE WORDS OF AUSTRALIAN
WAR VETERANS AND THEIR FAMILIES
There is Darkness.
1. INTROITUS
CHORUS
Re-mem-ber
We will re-mem-ber
We will re-mem-ber them.
Wake and stand for us
Wake and walk with us
to-ward first light!
MAN
Leave me to my silence
WOMAN
my soldier love
AN ANZAC REQUIEM
So walk with me toward first light
The dawning glow of remembrance
I will protect you if you protect me
And 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 days
We have seen what the silence can be.
MAN
I will not be conscripted.
I warn you, I will not be told.
TOWARDS FIRST 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.
The daw-ning glow of re-mem-brance
Re-mem-brance
For there is re-lief in the re-col-lec-tion
Their mem-’ry is e-ter-nal
And so must ours be
For who will re-mem-ber us
If 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
MAN
April again
I rise before dawn
Today, this day of all my days,
What will the silence be?
7. IN PARADISUM
I stand with head lowered
Ghosts in my soul
Not worthy of their memory
Ghosts in my soul
CHORUS (including Man and Woman)
The death they suffered, shall not be in vain,
And they once more
Will rise in glory and, like sentinels,
Stand quiet guard, while over hill and dell
WOMAN
Memories echo through our house
I hear them as he lay beside me
Whispered in his restless dreams
Voices of fallen warriors
MAN
The quiet disquietens
Shakes me to my core
The shifting shadows of service
Echoes of long-dead voices...
Who am I to remember?
Who am I to honour?
Have mercy on their memories
I am not worthy.
WOMAN
My love, my one,
Returned, silent, solemn and shifted
MAN
Who am I to remember them?
When I cannot remember me?
WOMAN
I hear the echoes
Ghosts in your soul
And wonder where you went
Where you left yourself.
Drift back, bright star,
Drift back and comfort me.
MAN
The echoes are still growing,
Now bugles in my head,
Bouncing through my blistered brain,
Metallic fear in my mouth
My skin prickles, gut twists, ears prick
As silenced voices shout
Their grievances
As silenced voices shout
from 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)
3. DIES IRAE
Whenever a launch makes a wash with her wake.
CHORUS
A is the Anguish spread over our face
When we see the remarkable look of the place.
Q stands for Quick, into the tunnel we dash
When a missile close by explodes with a crash.
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 feet
When 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 cry
As the dawning sun kisses the sky
E is the Earth which we find in our hair
As we wake in the morning and crawl from our lair.
F are the Fleas and also the Flies
Who 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 cry
As the dawning sun sears the sky
MAN
I am filled with strange oaths, quick in quarrel,
Seeking the bubble reputation in the cannon’s mouth...
cannon’s mouth...
CHORUS
J is the Jam with our rations and rum –
We find is almost invariably Plum.
K is the Knowledge we quickly acquire
Of 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 & MAN
And the bullets whistle as they fly
While the dawning sun scalds the sky
WOMAN
O is the Optimist, her heart struck by a splinter,
Hoping and praying he’ll be home by the winter.
CHORUS
P sees us Primed – we must shake off the quake
FEMALE CHORUS & WOMAN
R is for Remembering where our hearts have gone
With our soldiers so far from home.
MALE CHORUS
S 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.
WOMAN
U 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,
They knew and loved,
They went, and questioned not.
...Weep not for them.
For they have gone beyond the Night,
And found
Quiet havens where the waters laughing run,
Shed thou no tears!...
For these high souls, in their last hour,
Walked with honour, and marvellously knew
The joy and pain of sacrifice; and reached
Their goal, as runners do, with swift,
Drawn breath.
FEMALE CHORUS
We 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;
Fill our echoed voices
with breath
Complete our call through time
Walk for us
Walk for us
through the odyssey of history
Drift back, soldier
Heed your orders now
And bring us home, bring us home
We did not fall to be forgotten
We did not fight for naught
So straight back, ally, and march on
Shine your shoes and march on
Pin your breast and march on
Eyes straight
Kiss our kids
Comfort our mothers
Watch our wives wave
On bleeding field a young man cries
As the dawning sun consumes the sky
WOMAN AND FEMALE CHORUS
And all their glory lights the hills...
Drift back, bright star,
Drift back and comfort me.
You, the living memory of us,
Remember to remember
Remember to remember
Lest you forget
Lest you forget to remember.
V is for Victory. How we shall sing
Waltzing Matilda and God Save the King!
FEMALE CHORUS
We will remember
6. LIBERA ME
W stands for the various Wiles
We employ to keep each other in smiles.
WOMAN
For theirs was a wondrous way, who came,
Down all the winds of turbulence,
To keep, for you, this rendezvous
With Death.
...Weep not for them.
Weep not for them...
X the X-periments made with a bomb –
A neat little cross on a nice little tomb.
WOMAN
Y is it so bloody hard to say
How I want to hold him for just one more day?
CHORUS AND MAN
Z 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
WOMAN
Shed thou no tears!...
They heard the far, clear call,
And answered.
Out from the quiet places and the gentle folk
(Excerpt from ‘Shed Thou No Tears - NX65238, Middle
East, 1943 – from the book Khaki and Green)
5. LUX AETERNAE.
CHORUS
Wake and stand for us,
We that have fallen.
You are our ally and our voice.
Live not as a ghost
Your journey continues
Take it, make it
Bring us home
Bring us home
On this day of all our days
There is relief
In the recollection
There is peace in our presence
MAN
I cannot stand this
My mind is filled with horror
Memory is a shifting shadow
Warping weirdly, wildly
I cannot stand this
I will not wake
WOMAN
I cannot stand this
Fragile, eggshell mind
MAN
I am an unworthy voice
I am a coward ally
WOMAN
Lift your head, my one, my love
Drift, drift back.
MAN
Leave me be, lest I bite
My guts now twist with fear
WOMAN
I will not live with a ghost
Lift your head and see