AUSTRALIAN CHAMBER CHOIR Soloists: Erika Tandiono, Jacob Lawrence, Matthew Tng

DOUGLAS LAWRENCE OAM director and organ soloist

JS BACH AND HIS GREAT TEACHER Basilica of St Mary and All Angels, Geelong, November 3 at 3.00pm Christ Church, Castlemaine, November 9 at 3.00pm Our Lady of Mount Carmel, Middle Park, November 10 at 3.00pm

"I'm not marrying that woman" and in saying that Johann Sebastian Bach missed out on one of the best posts in Europe: organist to the great Hanseatic church of Saint Marien, Luebeck. The successful applicant for that position was obliged to marry Dietrich Buxtehude's eldest daughter!

In the Autum of 1705, the 20-year-old Bach walked the 410 kilometres from Arnstadt to Luebeck to listen to and learn from the great Dietrich Buxtehude. Bach took ten days to cover the distance. He had been given four weeks leave, but stayed three months. This got him into hot water with the church authorities and he consequently spent some time under house arrest. 1. PASSACAGLIA IN D MINOR, BuxWV 161 – Dietrich Buxtehude

Born at Helsingborg, Denmark (now Sweden), around 1637; died at Lübeck, Germany, 9 May 1707.

This is not one of Buxtehude’s best-known organ works – it is much less frequently performed than, for instance, the C major composition later in this programme – but it ranks as one of its finest. As usual with Buxtehude’s output, no-one knows precisely when it was written; but at least two experts on the composer (Michael Belotti and K. J. Snyder) are agreed in believing it to come from late in his life. It was a particular favourite of Brahms (“I can hardly resist sharing it with a publisher, simply for the purpose of creating joy for others”), of the eminent organist Helmut Walcha (who recorded it), and of the cult novelist Hermann Hesse. According to some commentators, who ingeniously claim to find Marian symbolism in the number of bars the piece contains, Buxtehude meant it to be performed as part of a Magnificat ceremony. 2. CANTATA JESU MEINE FREUDE, BuxWV 60 –Buxtehude

So completely identified is Buxtehude with organ music in the minds of most concertgoers, that his substantial output of sacred cantatas remains mostly obscure, outside collected editions (whether printed or gramophonic) of his works. Nevertheless, there is every reason to suppose that Bach, during his famous 1705 walk to Lübeck specifically to hear Buxtehude’s art, formed as high an opinion of the older man’s vocal pieces as of his solo organ ones. In fact the resemblances between Buxtehude’s Jesu meine Freude setting and Bach’s much later one are too numerous to be mere accidents. Both settings are in E minor; both are primarily sombre in mood; and both are multi-sectional. The Buxtehude (exact date of composition unknown, but the 1680s would be an intelligent guess) has prominent – often quite virtuosic – parts for two solo violins as well as continuo. Only after three brief and purely instrumental sections (moderate-slow-fast) are the voices heard in three-part harmony based on the original chorale theme; and even then, the violin writing is markedly independent of the vocal lines. A short soprano aria imitates the violin semiquavers, as is appropriate for dramatic words like ‘thunder and lightning.’ The bass aria that follows is longer, heavier in texture, more downright in its idiom, and in triple metre as opposed to the foregoing quadruple metre. Triple metre continues to characterise the next section, which includes the whole choir. After that, there is an abrupt change to a lullaby-like 6/8 time signature, as a tenor declares an end to

 

earthly passions. The chorale theme comes back, with full choir and quadruple metre again, at the conclusion.

Jesu, meine Freude, Meines Herzens Weide, Jesu, mein Begier, Ach wie lang, ach lange Ist dem Herzen bange Und verlangt nach dir! Gottes Lamm, mein Bräutigam, Außer dir soll mir auf Erden Nichts sonst Liebers werden. Unter deinem Schirmen Bin ich vor den Stürmen Aller Feinde frei. Laß den Satan wittern, Laß den Feind erbittern, Mir steht Jesus bei. Ob es jetzt gleich kracht und blitzt, Ob gleich Sünd und Hölle schrecken: Jesus will mich decken. Trotz dem alten Drachen, Trotz des Todesrachen, Trotz der Furcht dazu! Tobe, Welt, und springe, Ich steh hier und singe In gar sichrer Ruh. Gottes Macht hält mich in acht; Erd und Abgrund muss verstummen, Ob sie noch so brummen. Weg mit allen Schätzen! Du bist mein Ergötzen, Jesu, meine Lust ! Weg ihr eitlen Ehren, Ich mag euch nicht hören, Bleibet mir unbewusst! Elend, Not, Kreuz, Schmach und Tod Soll mich, ob ich viel muss leiden, Nicht von Jesu scheiden. Gute Nacht, o Wesen, Das die Welt erlesen, Mir gefällst du nicht. Gute Nacht, ihr Sünden, Bleibet weit dahinten, Kommt nicht mehr ans Licht! Gute Nacht, du Stolz und Pracht! Dir sei ganz, du Lasterleben, Gute Nacht gegeben. Weicht, ihr Trauergeister, Denn mein Freudenmeister, Jesus, tritt herein. Denen, die Gott lieben, Muß auch ihr Betrüben Lauter Zucker sein. Duld ich schon hier Spott und Hohn, Dennoch bleibst du auch im Leide, Jesu, meine Freude.

Jesu, my joy, pasture of my heart, Jesus, my desire, ah how long, how long is my heart filled with anxiety and longing for You! Lamb of God, my bridegroom, apart from You on the earth there is nothing dearer to me. Beneath Your protection I am free from the attacks of all my enemies. Let Satan track me down, let my enemy be exasperated – Jesus stands by me. Even if there is thunder and lightning, even if sin and hell spread terror Jesus will protect me . I defy the old dragon, I defy the jaws of death, I defy fear as well! Rage, world, and spring to attack: I stand here and sing in secure peace. God’s might takes care of me; earth and abyss must fall silent, however much they rumble on. Away with all treasures! You are my delight, Jesus, my joy! Away with empty honours, I’m not going to listen to you, remain unknown to me! Misery, distress, affliction, disgrace and death, even if I must endure much suffering, will not separate me from Jesus. Good night, existence chosen by the world, you do not please me. Good night , you sins, stay far behind me. Come no more to the light Good night , pride and splendour, once and for all, sinful existence, I bid you good night. Go away, mournful spirits, for my joyful master, Jesus, now enters in. For those who love God even their afflictions become pure sweetness. Even if here I must endure shame and disgrace, even in suffering you remain, Jesus, my joy.

3. PRELUDE AND FUGUE IN C MINOR, BWV 546 – Johann Sebastian Bach Born at Eisenach, Germany, 31 March 1685; died at Leipzig, 28 July 1750.

The key of C minor several times brought out the best and noblest in Bach. Consider, as proof of this statement, the Passacaglia and Fugue in that key (BWV 582), the St Matthew Passion’s finale, and the present composition. Scholars tentatively ascribe the completion of BWV 546 to around 1730: a date which, if accurate, would put it firmly among Bach’s later organ pieces, long after the Orgelbüchlein or the toccatas. Dominating the prelude is a series of long-held bass notes, against which Bach periodically sets quite striking dissonances. Typical of his enterprise is the sudden

 

appearance of triplets, to complicate the hitherto four-square rhythms. The fugue could be a revision of something he wrote in his Weimar youth; whatever its origins, it is marked by a jagged subject that in its chromaticism seems to defy polyphonic treatment, though of course Bach rises brilliantly to the implied challenge. 4. MOTET: FÜRCHTE DICH NICHT, ICH BIN BEI DIR – Bach

Bach wrote at least six motets – the authenticity of a seventh is disputed – between 1723 and 1727. All were intended for the Thomaskirche (St Thomas’s Church), Leipzig, where he had been Cantor since 1723. This motet could have been written as part of the music for the February 1726 funeral of a Leipzig municipal leader’s wife. What is certain is that Bach employed, for fugal purposes, the chorale theme ‘Warum soll ich mich denn grämen’ (‘Why should I myself then grieve’) by the seventeenth-century Lutheran poet-musician Paul Gerhardt, which turns up again in Bach’s Christmas Oratorio. The bulk of the motet’s text is based on Isaiah, Chapters 40 and 43, though with New Testament allusions of Gerhardt’s own. Usually Fürchte dich nicht is sung without accompaniment, but Bach did here countenance instruments doubling the vocal lines.

Fürchte dich nicht, ich bin bei dir; weiche nicht, denn ich bin dein Gott! Ich stärke dich, ich helfe dir auch, ich erhalte dich durch die rechte Hand meiner Gerechtigkeit. Fürchte dich nicht, denn ich habe dich erlöset, ich habe dich bei deinem Namen gerufen, du bist mein. Herr, mein Hirt, Brunn aller Freuden, du bist mein, ich bin dein, niemand kann uns scheiden. Ich bin dein, weil du dein Leben und dein Blut mir zugut in den Tod gegeben. Du bist mein, weil ich dich fasse und dich nicht, O mein Licht, aus dem Herzen lasse. Lass mich hingelangen, da du mich und ich dich lieblich werd umfangen.

Fear not, for I am with thee; be not dismayed, for I am thy God. I will strengthen thee, yea I will help thee; yea, I will uphold thee with the right hand of My righteousness. Fear not, for I have redeemed thee; I have called thee by thy name; thou art Mine. Lord my Shepherd, source of all joys! Thou art mine, I am Thine; none can part us. I am Thine, because Thou gavest me Thy life and Thy blood for my sake, and embraced death. Thou art mine, because I hold Thee and will never let Thee, oh my light, leave my heart. Let me reach the place where I shall embrace Thee and Thou me in all eternity.

INTERVAL

SPECIAL OFFER FOR YOU Announcing our 2014 Subscription Series – Here on Sundays at 3.00pm: March 16: In Ecclesiis – Music from the Basilica of St Mark’s Venice Works by Monteverdi, Schütz, Gabrieli, Frescobaldi, Willaert and Lotti with an ensemble of period intruments: cornetti, sackbuts, curtals and viols led by Simon Rickard June 8: The Western Wynde Mass – John Taverner (1485-1542) and his descendant, John Tavener (born 1944): Song for Athena (composed 1993 for the funeral of Diana, Princess of Wales)

Ralph Vaughan Williams: Valiant for Truth, Tomkins: When David heard that Absalom was slain, Dean: Now comes the dawn, Broadstock: I had a dream, Stanford: Magnificat November 9: Lux Aeterna – Ligeti, Missa in Aeterna Munera – Palestrina, Lobe den Herren – Schütz, Sing ye to the Lord – Purcell, Christus factus est – Bruckner, Magnificat – Pergolesi with an ensemble of period instruments led by Briar Goessi

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Our new CD of MOTETS by JS, JC and JM Bach is available today for $25 These works, some accompanied by an ensemble of period instruments, were included in our concert programs in 2011 and 2012

 

5. PRELUDE, FUGUE AND CHACONNE IN C MAJOR, BuxWV 137 – Buxtehude

A showpiece as well as a masterpiece, this work was beloved of organists well before comprehensive surveys of Buxtehude’s achievement became tenable. It begins with one of the earliest pedal solos in the organ literature (Bach had it in mind when he came to write his own Toccata, Adagio and Fugue), and great must have been the astonishment of Buxtehude’s original Lübeck audiences when this dramatic gesture thundered forth from the loft. More conventional, perhaps, is the fugue, which – as is almost always the case with this composer – is embedded in the overall structure rather than standing separately from the introduction, as it does in Bach. At the end comes another pedal-dominated section: the Chaconne, founded on a three-bar ostinato that sets off the manuals’ ejaculatory outbursts. 6. MOTET LOBET DEN HERRN ALLE HEIDEN, BWV 230 – Bach

Another one of Bach’s six motets, this one differs from its companions in that it contains a separate part for continuo instruments, a part that does not simply duplicate what the singers are doing. Some critics – conscious of this singularity, and having failed to find in the piece the obviously funereal character prominent elsewhere in the motets – reckon that it dates from well before the other five. A few have questioned whether it is even by Bach at all. Conductor and musicologist Sir John Eliot Gardiner rejects such notions: ‘Most of these doubts,’ he writes, ‘may be dismissed. In the first place, the text the whole of Psalm 117), while undeniably festive in character, would not have seemed out of place in a memorial service of Bach’s time. Typically a … sermon dwelt on the soul of the departed having reached its heavenly destination. This idea of death as a goal and joyful release from earthly problems was common in German literary and theological writings at the beginning of the eighteenth century and is a Leitmotiv that runs through Bach’s motets as well as several of his cantatas.’

Lobet den Herrn, alle Heiden, und preiset ihn, alle Völker! Denn seine Gnade und Wahrheit waltet über uns in Ewigkeit.

Praise the Lord, all nations, And praise Him, all peoples! For His grace and truth Rule over us for eternity.

7. CHORALE PRELUDE HERR JESU CHRIST DICH ZU UNS WEND LORD JESUS CHRIST, TURN TO US, BWV 709 – Bach

This work’s title sets a potential trap. BWV 709 is not the three-part fantasy of the same name, which can be found in Bach’s so-called Great Eighteen collection of chorale preludes. Rather, it is an early piece, slower than the sprightly Great Eighteen version of the theme, and closer to the Buxtehude examples wherein a grand chorale melody in the topmost voice is lavishly ornamented, with discreet contrapuntal interplay between the left hand and the pedals. The collection from which it comes is the Kirnberger series, Johann Philipp Kirnberger having been one of Bach’s most devoted pupils and copyists. 8. CANTATA NUN KOMM, DER HEIDEN HEILAND, BWV 61 – Bach

The BWV listing of Bach’s compositions, completed only in the mid-twentieth century, is by no means a firm chronological guide and does not purport to be such. Some of the highest BWV numerals apply to some of Bach’s juvenilia. But with this particular cantata we have an instance of a work being both fairly early and possessed of a low BWV number. It dates from 1714 (when Bach was still at Weimar, in other words, and fully nine years before he moved to Leipzig). As the surviving manuscript reveals, Bach intended it for the first Sunday in Advent, which in 1714 fell on 2 December, the day of the piece’s première. (He recycled some of the music from previous material, yet the bulk of it is new.) The chorale theme is first enunciated by the sopranos, above an orchestral passage which constitutes in everything but name a French overture, full of dotted rhythms and regal dignity such as would recur in the

 

opening movements of Bach’s orchestral suites. Following a tenor recitative comes a tenor aria, in dance-like compound-triple metre (9/8 time) and in C major, the relative major of the original A minor. The ensuing bass recitative, quoting Christ’s words – this is the only part of the whole cantata where the text is taken directly from the Bible – has an accompaniment of pizzicato string chords, in which commentators have discerned a musical depiction of knocking on the door. Christ is welcomed in the lyrics of the next aria, lightly scored (and switching from triple time to quadruple time halfway through), in which the soprano is supported by nothing more than the continuo forces. For the finale, we once more hear the chorale theme, but now with the choir supplemented by busy violin commentary.

CHORUS Nun komm, der Heiden Heiland, Der Jungfrauen Kind erkannt, Des sich wundert alle Welt, Gott solch Geburt ihm bestellt.

Now come, Saviour of the heathens, known as the Virgin's child, over whom the whole world marvels, that God had ordained such a birth for Him.

RECITATIVE Der Heiland ist gekommen, Hat unser armes Fleisch und Blut An sich genommen Und nimmet uns zu Blutsverwandten an. O allerhöchstes Gut, Was hast du nicht an uns getan? Was tust du nicht Noch täglich an den Deinen? Du kömmst und läßt dein Licht Mit vollem Segen scheinen.

The Saviour has come, has taken our poor flesh and blood upon Himself and claims us as blood-brothers. O Highest Good, what have You not done for us? What do You not do still daily for Your own? You come and allow Your light to shine full of blessing.

ARIA Komm, Jesu, komm zu deiner Kirche Und gib ein selig neues Jahr! Befördre deines Namens Ehre, Erhalte die gesunde Lehre Und segne Kanzel und Altar!

Come, Jesus, come to Your church and grant a blessed new year! Support the honour of Your name, uphold the sound teachings and bless the chancel and altar!

RECITATIVE Siehe, ich stehe vor der Tür und klopfe an. So jemand meine Stimme hören wird und die Tür auftun, zu dem werde ich eingehen und das Abendmahl mit ihm halten und er mit mir.

Behold, I stand at the door and knock. Anyone that hears My voice and opens the door, to him I will enter and keep the evening meal with him and he with Me.

ARIA Öffne dich, mein ganzes Herze, Jesus kömmt und ziehet ein. Bin ich gleich nur Staub und Erde, Will er mich doch nicht verschmähn, Seine Lust an mir zu sehn, Dass ich seine Wohnung werde. O wie selig werd ich sein!

Open yourself, my entire heart, Jesus comes and enters in. Even though I am only dust and earth, yet He does not scorn to reveal His joy to me, so that I may be His dwelling. O how happy will I be!

CHORUS Amen! Komm, du schöne Freudenkrone, bleib nicht lange! Deiner wart ich mit Verlangen.

Amen! Come, you lovely crown of joy, do not delay, I await you with longing.

English translation of German text © Pamela Dellal

Programme notes © R. J. Stove, 2013

 

Choral Singers: Sopranos: Bronwyn Jones, Mandie Lee, Felicity Bolitho, Jessica Wynne, Erika Tandiono, Jennifer Wilson-Richter, Sarah Turner, Nina Wellington Iser Altos: Elizabeth Anderson, Grace Cordell, Hannah Spracklan-Holl, Ailsa Webb Tenors: Benjamin Owen, Alastair Cooper-Golec, Michael Petruccelli, Jacob Lawrence Basses: Andrew Moffat, Luke Hutton, Kieran Macfarlane, Lucas Wilson-Richter

Players: Violin 1 – Briar Goessi Violin 2 – Felicité Heine Viola – Christian Read

Violoncello – Jamie Wallis Double bass – Bill Cawte Positive organ – Donald Nicolson

ABOUT DOUGLAS LAWRENCE After completing a Masters degree in Organ Performance at the University of Melbourne, Douglas Lawrence spent two years at the Vienna Academy, studying organ with Anton Heiler and conducting with Hans Swarowsky and Hans Gillesberger of the Vienna Boys’ Choir. It was at this time that he began a career as a concert organist, playing the first concert on the newly-restored organ of Sion Cathedral in Switzerland. This organ, dating from 1420, is the oldest playable organ in the world. This was to be the first of many inaugural performances – the opening of the Sydney Opera House organ, the first solo recital on the new organ in Hamer Hall and the inauguration of the organ in Melba Hall at the University of Melbourne. Since 1979, he has toured Europe every year, either as an organ soloist or a choral conductor, giving something over 2,000 concerts, including in St Mark’s – Venice, Notre Dame – Paris, Casals Hall – Tokyo and St Paul’s and Westminster Cathedrals – London. He has released a small pile of CDs on the Move and Naxos labels. He is also in demand as an organ designer: the organ of the Scots’ Church, which he desgned, was constructed by the Austrian firm Rieger in the year 2000 and is regarded by many European, American and Australian organists as the finest in Australasia. From 1975 to 1985, Douglas was the Artistic Director of the Melbourne International Festival of Organ and Harpsichord and from 1982 to 2007, the Director of the Choir of Ormond College. In 1992, he was awarded the medal of the Order of Australia in recognition of his services to music. Douglas is currently Director of Muisc at the Scots’ Church Melbourne, Director of the Southern Grampians Promenade of Sacred Music and teaches at the Conservatorium of Music, University of Melbourne. ABOUT THE AUSTRALIAN CHAMBER CHOIR The AUSTRALIAN CHAMBER CHOIR, now six years old, has undertaken four European concert tours and three Australian tours, recorded three CDs and given many concerts in Melbourne and regional Victoria. Many of their programs have been recorded for broadcast on ABC FM. In July this year, the choir performed the BRIDGE OF DREAMS program 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 were return invitations. The choir returned 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 recent touring can be found below.

 

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.

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 info@AusChoir.org or telephone 03 9387 3004 or donate online at www.AusChoir.org

What are people saying about the Australian Chamber Choir?

“ In Bridge of Dreams, the 18 young singers created a dazzling and wonderfully varied aural experience, using only their voices to build bridges between a range of centuries, styles, nations and beliefs… Each work was demanding in its own right, and the security and ease shown by the choir in their dedication to each was particularly inspiring.” Sächsische Zeitung, July 23, 2013

“ … sophisticated sound and self-evident virtuosity. The choir makes light work of switching from one style to another, surprising the audience with rousing spirituals as encores.” Schwäbische Zeitung, Ravensburg, Germany, July 22, 2013

“ About one and a half minutes into Anne Boyd’s work I closed my eyes … and I was in heaven.” Bartosz Jakubczak, Professor of Organ, Royal Academy of Muisc, London, July 16, 2013

“ A standing ovation from the large audience was rewarded with an encore. Legnica’s Minister for Culture commented that the programme was particularly interesting due to the performance of less familiar works by Australian composers which the audience loved” - Legnickie Conversatorium Organowe, Poland, July 16, 2013

“ The audience was overcome with admiration for the ‘angel-voices’ of the Australian Chamber Choir”. Zielona Góra University News, Poland, July 15, 2013

“ ‘I ain’t got long to stay here’: With these words the Australian Chamber Choir ended their Wednesday concert in Sorø’s Klosterkirke. And following their third encore, the American Spiritual, Steal away, the choir and their conductor, Douglas Lawrence processed down the long aisle of the abbey, with a standing audience applauding enthusiastically on either side.” Berlingske Tidende, Copenhagen, Denmark, July 11, 2013

“ Many of the singers featured as soloists and all were stunning. With such individual standards, no wonder the ensemble sounds so impressive” Anna McAlister, Herald Sun, Melbourne, April 25, 2012

“ … the sound produced by this ensemble was quite simply phenomenal ”. - Guido Krawinkel in General-Anzeiger, Bonn, July 23, 2011 Thank you for attending today’s concert. Would you like more information? Visit our website: www.AusChoir.org Friend us on Facebook: www.Facebook.com/AusChoir To receive our e-newsletter sign up at the door today or subscribe through our website or Facebook page. Management Committee Chairman: Dr Robin Batterham, AO Treasurer: Richard Bolitho Secretary: Dr Sarah Martin Advice: 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.

We would like to thank all those who support the choir, including the following people: Warren and Iris Anderson, Elisabeth and Jörg Bahner, Vicki and Peter Balabanski, James and Barbara Barber, Robin Batterham, Heather Bayston, Sally Brown, Lyn Howden and David Beauchamp, Rhys Boak, David Brand, Harold Burge, Elizabeth Burns, Lois Cooke, Patricia and Derek Duke, Gregory Eccleston, 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, Heather and Ian Gunn, Thorry Gunnersen, Stuart and Sue Hamilton, Bob Henderson, Thomas Hurley, John and Cheryl Iser, David Kellam, Isabella Kigele-Weis, Peter Kingsbury, Barbara Kristof, Neil Lawrence, George and Ann Littlewood, Pamela Lloyd, Heather Low, Janice and Andrei Lupas, Lenore Macdonald, Hector Maclean, Sarah Martin, Chris Maxwell, 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, Lars Rolner, Alma Ryrie-Jones, Geoff Scollary, Cathy Scott, Stephen Shanasy, David and Lorelle Skewes, Nicole Spicer, Lynne Star, Lenore 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.

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Australian Chamber Choir Inc. No.A00499