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Perth Concert Hall




Sunday 18 February The performance lasts for 1 hour 25 minutes with no interval Presented in association with Australian Youth Orchestra and Sydney Philharmonia Choirs Benjamin Britten (1913­1976) War Requiem, Op. 66 Words from the Missa pro Defunctis and the poems of Wilfred Owen Requiem Aeternam, Dies Irae, Offertorium Sanctus, Agnus Dei, Libera Me Australian Youth Orchestra Sydney Philharmonia Choirs Choristers from St George's Cathedral, St Mary's Cathedral & Christ Church Grammar School Paul Kildea Orla Boylan Allan Clayton Ronan Collett Simon Kenway Brett Weymark Simon Lawford Jonathan Clinch Josephine Allan Ben Van Tienen Jacinta Jakovcevic Conductor Soprano Tenor Baritone Assistant Conductor Chorus Master: Sydney Philharmonia Choirs Chorus Master: Boys Choir Organ Rehearsal pianist: Sydney Philharmonia Choirs Rehearsal pianist: Sydney Philharmonia Choirs Rehearsal pianist

This performance of War Requiem, Op. 66 by Benjamin Britten is given by permission of Hal Leonard Australia Pty. Ltd. Exclusive agent for Boosey & Hawkes of London. The Perth Festival would like to thank the West Australian Symphony Orchestra for logistical support for the Australian Youth Orchestra tour.


Programme Note Both war and religion were contentious issues for Benjamin Britten. He was an avowed pacifist and a conscientious objector during World War II, and, despite being a committed Christian, did not believe in the divinity of Christ. Why, then, did he compose a War Requiem? Clearly it was not simply to honour the sacrifice of the war-dead, or to affirm a Christian belief in life after death as a consolation for that sacrifice. Instead, War Requiem questions and complicates our understanding of these two great human concerns. War Requiem was commissioned for the consecration of a new cathedral in Coventry in 1962, built to replace the historic cathedral destroyed in World War II. Britten responded with a work which stands in the tradition of the large-scale choral settings of the Proper and Ordinary of the Latin requiem mass by Mozart, Berlioz and, in particular, Verdi. However, Britten's work departs significantly from this tradition by incorporating into the libretto nine war poems by Wilfred Owen, who died in the trenches in the last days of World War I. Britten uses Owens's poems to bitterly question the role of the requiem mass in the face of the immense atrocities of the two World Wars. `What passing bells for those who die as cattle?' asks Owen. What comfort can religion offer to the soldiers who suffered and died on such a scale and with such futility? Thus the work is a large-scale dialogue between the public, traditional requiem mass for the dead, and the private, pacifist sentiment of Owen's poetry. Britten deftly deploys different sections of his large and diverse performing forces to enact this dialogue. The macabre and arcane drama of the Latin mass for the dead is assigned to the chorus, full orchestra, and soprano solo. Britten also employs a boys' choir and organ for those parts of the Latin mass that intone `the impassive calm of a liturgy that points beyond death'. Although this music is often spectacular, it is also, musically speaking, relatively conventional, and contains clear references to Verdi's Requiem. Its conventionality ensures that the music is widely comprehensible to an extent unusual in 20th century music. Against these forces, Owen's poetry is given to the tenor and baritone soloists and a chamber orchestra. By contrast, this music is intimate, utterly original and deeply expressive. Each song setting is a miracle of orchestration, and remarkable for Britten's sensitive word-setting. The final song, Owen's `Strange Meeting', brings the work to its emotional climax with the story of a painful encounter between a soldier and the ghost of an enemy he has just killed. In the end, the War Requiem raises more questions than it answers. After the serene calm of the closing `In Paradisum', Britten re-introduces the unsettling tritones that bind the entire work together, and the choir unconvincingly resolves the final `Amen' to a distant F major chord. Britten deliberately avoids resolution. As with all great works of art, Britten's War Requiem provides no easy answers, but, profoundly and movingly, it opens a space for an important dialogue.

Note © 2007 Paul Hopwood

AYO continues to grow, offering opportunities to some 300 talented musicians handpicked in rigorous auditions each year. Its programs complement, extend and enhance the musical training of musicians aged 12 to 25, with chamber ensembles (Camerata Australia and the interactive touring outreach program Young Australian Concert Artists), specialist string, wind, brass and percussion programs (Young Symphonists), contemporary music activities (New Music Now) and scholarships and fellowships for instrumentalists, composers, writers and arts administrators. New programs offered this year include Chamber Music Camp and the Style Workshop, examining the performance practice of music from periods such as the Baroque, the Classical, or Contemporary. Many of the best musicians in Australia have been a part of Australian Youth Orchestra, either as alumni or as tutors, often as both. Australian Youth Orchestra has been transformed over the years since the first National Music Camp but it remains, in the words of John Bishop, a place where `young people ... with their combined purpose and intent, coupled with the visionary leadership of their tutors will together discover a concept of living and thinking that will remain with them as an everlasting inspiration'.

Australian Youth Orchestra When John Bishop and Ruth Alexander convened the first National Music Camp in 1948 they created an institution that has fired the imaginations of over 10,000 young Australian musicians to date. In 1957, the Australian Youth Orchestra gave its first concert at the Sydney Town Hall. Sir Charles Moses, then Managing Director of the ABC, wrote, 'The public launching of the Australian Youth Orchestra may well be regarded by the future historians of Australian Music as one of the most significant events in an era rich in musical achievements'. In 1970, the Australian Youth Orchestra embarked on its first international tour, to Japan; it has since visited the Americas, South-East Asia, the South Pacific and Europe, most recently playing the Concertgebouw in Amsterdam and at festivals in Germany, France, Italy, Switzerland and the UK, returning to Royal Albert Hall for the BBC Proms. This year the orchestra celebrates the 50th anniversary of its first performances in Sydney, in 1957, with these performances at the UWA Perth International Arts Festival and, in July and August, with a tour to Europe.

Sydney Philharmonia Choirs Formed in 1920, Sydney Philharmonia Choirs is Australia's largest choral organisation and occupies a unique position in the performing arts world. With four choirs ­ the 32-voice Chamber Singers, the 100-voice Symphony Chorus, the youth-focussed 25-voice Vox and the 300-voice Festival Chorus ­ Sydney Philharmonia presents its own annual concert series in the Sydney Opera House and City Recital Hall Angel Place, as well as acting as chorus for the Sydney Symphony Orchestra. Sydney Philharmonia has worked with conductors such as Eugene Ormandy, Otto Klemperer, Sir David Willcocks, Sir Charles Mackerras, Edo de Waart, Charles Dutoit, Christopher Hogwood, Mark Elder, John Nelson, Richard Hickox and Bruno Weil. Previous Musical Directors have included Mats Nilsson, Antony Walker, John Grundy and Peter Seymour. In August 2002, Sydney Philharmonia Choirs toured to the UK to perform Mahler's Eighth Symphony under the baton of Sir Simon Rattle as part of the BBC London Proms series at Royal Albert Hall. They were the first Australian choir to sing at the Proms. This tour also included a concert at King's College Chapel, Cambridge, and a performance of Rachmaninov's Vespers in Worcester Cathedral as part of the Three Choirs Festival. Other highlights include: Beethoven's Symphony No.9 in a worldwide satellite TV broadcast as part of the Opening Ceremony of the Nagano Winter Olympics (1998); two concerts with Barbra Streisand during her Timeless tour and recording a CD of this tour; Mahler's Eighth Symphony as the opening concert of the Olympic Arts Festival in August 2000; and performing in the Opening Ceremony of the Games of the XXVII Olympiad in Sydney. In 2003 Sydney Philharmonia performed and recorded for CD two world premieres: Andrew Schultz and Gordon Williams' Journey to Horseshoe Bend with the Sydney Symphony, and John Tavener's Lament for Jerusalem with the Australian Youth Orchestra. In 2004 they toured to Melbourne for a performance of Schoenberg's Gurre-Lieder as part of the Melbourne International Arts Festival. In 2006 a busy schedule included performances of Stravinksy's The Rite of Spring with the Australian Youth Orchestra and the MSO Chief Conductor, Oleg Caetani, performances of the highly acclaimed Requiem by Australian composer, Peter Sculthorpe, and recording much of the vocal music for the film Happy Feet. In 2007 highlights include a performance of Britten's War Requiem at the UWA Perth International Arts Festival, the premiere performances of our new Festival Chorus and a tour to Hobart to work with the Tasmanian Symphony Orchestra and Choir.

Chamber Orchestra VIOLIN I Christina Katsimbardis VIOLIN II Emily Thompson VIOLA Merewyn Bramble CELLO Louise McKay DOUBLE BASS Holly Downes FLUTE / PICCOLO Katie Zagorski OBOE / COR ANGLAIS Karina Window CLARINET Samuel Curkpatrick BASSOON Jackie Hansen FRENCH HORN Katy Hermann HARP Domenica Musumeci TIMPANI Louise Conroy PERCUSSION Timothy Brigden Main Orchestra VIOLIN I Jennen Ngiau-Keng* Jenny Khafagi Rebecca Adler Peter Clark Lara Viskovich Anna O'Hagan Sarah Blackman David Dalseno Fiona Doig Larissa Weller Clare O'Brien Hugh Middleton Ingrid Homburg Jason Tong Jason Thomas Monique Irik VIOLIN II Emily Dellit* Imants Larsens Louise Cottone Brigid Coleridge Daniel Kowalik Kathryn Shinnick Adrian Eng-Liang Yeo Yuhki Mayne Jonathan Ng Daniel Lopez Monique Lapins Claire Lang Claire Alexander Gemma Laing VIOLA Charlotte Burbrook de Vere* Kathryn McKay Susanna Ling James Munro Christa Jardine Alice Buckingham Thomas Chawner Sarah Thomas Amy Stevens Neil Thompson Hana Hobiger Caroline Fairgrieve

CELLO Paul Zabrowarny* Campbell Banks Mathisha Panagoda Christopher Pidcock Alison Cook Rebecca Proietto Mee Na Lojewski Alistair Sung Eleanor Betts Kim Worley DOUBLE BASS Paul O'Brien* Leigh Miller Douglas Rutherford Ben Farrands Ben Ward Gareth Hill James Menzies Josef Bisits FLUTE Alexandra Castle* Natalie Nowak FLUTE / PICCOLO Jane Duncan OBOE Jessica Foot* Amelia Long COR ANGLAIS Stephanie Pitt CLARINET Nicholas Evans* Guy Spielman E-FLAT CLARINET / BASS CLARINET Stephen Wylks BASSOON Emily Stone* Matthew Payne CONTRABASSOON Simone Walters FRENCH HORN Francesco Lo Surdo* Julia Brooke Alexis Routley Alexander Love Bryan Griffiths Susan Scott Georgia Ioakimidis-MacDougall TRUMPET James Polack* James Pensini Rosemary Turner Brent Grapes TROMBONE Joshua Davis* Damien Lingard BASS TROMBONE Lucas Clayton TUBA Antonio Neilley Menendez de Llano PIANO Julia Bowden TIMPANI Natasha French PERCUSSION Murray Parker Jennifer Morrish Laura Holian Holly Norman Matthias Schack-Arnott * Principal

Sydney Philharmonia Choirs SOPRANO 1 Jacqui Binetsky Anne Cooke Rouna Daley Catherine De Luca Shamistha de Soysa Karina Falland Gillian Haslehust-Smith Sue Justice Gillian Markham Nathalie O'Toole Vicky Pirolo Mary Shannon Sara Watts Cathy Williamson SOPRANO 2 Shelley Andrews Anne Blake Jodie Boehme Pamela Cunningham Vanessa Downing Narelle Emanuel Judith Gorry Caroline Gude Patricia Howes Lyanne Macfarlane Dympna Paterson Jacqui Wilkins Elizabeth Wilton ALTO 1 Julie Aysom Jan Borrie Gae Bristow Jessica Farrell Jan Fawke Vesna Hatezic Sarah Howell Melinda Jefferson Taryn Johns Nadine McDonald Allison Moore Helen Pedersen Beverely Price Felicity Turner Sally Anne Vincent ALTO 2 Ruth Collerson Catriona Debelle Ruth Edenborough Phoebe Ferguson Penny Gay Edith Gray Dorothy Hoffman Kathryn Harwood Sue Harris Marian Lesslie Susie North Megan Solomon Aveen Stephenson Victoria Tester TENOR 1 Denys Gillespie Frank Maio Timothy Matthies Scott McLennan Ian Seppelt Robert Thomson Peter Tucker Alex Walter TENOR 2 Kennet Bakamovic Chris Bradley Michael Clark Stephen Couling Malcolm Day Richard Hansen Selwyn Lemos Brett Weymark BASS 1 John Bartholomaeus Robert Cunningham Paul Green Mark McGoldrick Joshua Murray Neil Nicoll David Randall Michael Ryan Arthur Winckler BASS 2 Daryl Colquhoun Andrew Corkill Paul Couvret Ian Davies Alan Garner Robert Green Martin Kuskis Andrew Raftery Tony Strong Choristers from St George's Cathedral Alexander Cardell-Oliver Francis Cardell-Oliver Jonathon Dimovitis Dustin Grant James Liu Michael Lukin Peter Lynch Andrew Manderson Adrian Maydwell Hamish McIntyre James Rhoads Lawrence Rhoads Christopher Sharp-Paul Paul Tan Benedict Tough Choristers from St Mary's Cathedral Michael Duan Josh Lee Stephen Pope Oliver Royer Ashley Teo Choristers from Christ Church Grammar School Jeremy Forbes Edward Kermode William Kermode Andrew Lauw Alexander Mitchell Guy Coleman

Paul Kildea Recognised for performances informed by scholarship and searing musical individuality, Paul Kildea holds an Oxford doctorate and bachelors and masters degrees from Melbourne University, for which he was awarded many academic and performance scholarships and prizes. Immediately following his studies he was appointed as the conductor on Opera Australia's Young Artist Programme, making his professional debut in Neil Armfield's landmark production of A Cunning Little Vixen. This led to reengagements for The Barber of Seville, La bohème, The Turn of the Screw, and to his appointment as Simone Young's assistant. He has since conducted throughout Europe and Australia, including guest appearances with the Slovak Philharmonic Orchestra (War Requiem), Ensemble 2e2m, the Nash Ensemble, the West Australian Symphony Orchestra, and for the Aldeburgh Festival, where he was Head of Music. As Artistic Director of Wigmore Hall, London, Kildea conducted the complete Mahler orchestral song cycles in a critically acclaimed series featuring Ann Murray, and commissioned numerous works from young composers, including Oscar Strasnoy, whose song cycle he performed with Ann Murray to launch Wigmore's 2004/5 season. At Wigmore he demonstrated his skills as a discoverer of talent, launching a number of brilliant young artists and careers. Recent engagements include a new production of Britten's Albert Herring (Aldeburgh) and War Requiem (Brno and Bratislava Festivals), Bernstein's Candide (nominated for a 2006 Helpmann Award for Best Classical Concert) and Strauss's Vier letzte Lieder (Perth Festival), Strasnoy's Six Songs for an Unquiet Traveller (Paris). Engagements in the 2006/7 season include A Midsummer Night's Dream (Hamburg), Australian Youth Orchestra (War Requiem), Sydney Symphony Orchestra and Heggie's Dead Man Walking (Sydney). He will return to Hamburg for Dialogue des Carmélites (2008­9). In parallel with his performance career, Paul Kildea has written extensively on music and culture of the 20th century. Oxford University Press has published his two acclaimed books on Benjamin Britten ­ Selling Britten and Britten on Music ­ a composer whose work he has made a speciality on the podium as well as in print. Orla Boylan Lyric soprano Orla Boylan is renowned for the beauty of her voice and style of her interpretations, described as 'committed and radiant', and acclaimed for the 'mature warmth of her singing.' Born in Ireland, Orla Boylan is a graduate of the D.I.T. College of Music in Dublin, where she studied singing with Mary Brennan and took masterclasses with Leyla Gencer, Robert Kettleson and Renata Scotto. She is the recipient of numerous awards including the Veronica Dunne Bursary, Ibla Grand Prize and the National Mozart Competition. In 1996 she was a winner in the As.Li.Co. European Operatic Singing Competition and the Ulster Bank Foundation Bursary, and in 1998 she won the Austrian Theatres' prize and the Graz and Klagenfurt special prizes at the Belvedere International Singing Competition in Vienna. Highlights this season include her role debut as Blanche Dubois in the Irish premiere of Previn's A Streetcar Named Desire with Opera Ireland, her role debut in the title-role of Ariadne auf Naxos

at Garsington Opera, Jenufa at Cologne Opera, and next season she sings Sieglinde (Die Walküre) with Opera National du Rhin. Orla Boylan's recent operatic roles include Madame Lidoine (The Carmelites), Female Chorus (The Rape of Lucretia) and Sieglinde with English National Opera; Donna Anna (Don Giovanni) with New York City Opera; Jenufa at Glyndebourne Festival Opera and Opera de Lyon; her role-debut as Arabella for Garsington Opera; Lisa (Queen of Spades) for Opera Holland Park; and The Governess (The Turn of the Screw) with Angers Nantes Opera. Other roles have included Contessa (Le nozze di Figaro) at NYCO; the title role in Kát'a Kabanova in her debut for Glyndebourne Festival Opera; Marenka (The Bartered Bride) for Glyndebourne Touring Opera; the title role in the first British staging of Strauss' Die Liebe der Danae for Garsington Opera; and Tatyana (Eugene Onegin) for the European Union Opera which is available on DVD. Recent concert engagements include Mahler Symphony No.2 with the Estonian National Symphony Orchestra under Paavo Järvi; Mahler's Das Klagende Lied with the RTE National Symphony Orchestra under Laurent Wagner; Verdi's Requiem at St Paul's Cathedral with the Royal Philharmonic Orchestra at John Scott's farewell concert, and a unique performance of Act III of ENO's The Valkyrie production at the 2004 Glastonbury Festival. Orla Boylan's recital repertoire includes Lieder, French Song, operatic arias and Irish songs. Most recently she performed in recital at Harewood House in Leeds. Ronan Collett Ronan Collett read music at Pembroke College, Cambridge where as an undergraduate he sang as a baritone choral scholar with St. John's College Choir. He subsequently studied with Noelle Barker and Iain Ledingham as a postgraduate on the Royal Academy of Music's opera programme, where he received the Royal Worshipful Company of Musician's Silver Medal and was awarded a scholarship from the Countess of Munster Musical Trust and a Sybill Tutton award, administered by the Musician's Benevolent Fund. At the Royal Academy of Music he sang Pandolfe in Massenet's Cendrillon, Nardo in La Finta Giardiniera and Chao Lin in Judith Weir's A Night at the Chinese Opera. He made his Edinburgh Festival debut in 2004, in Der Freischütz conducted by Sir Charles Mackerras. Ronan has given recitals at the Aldeburgh, Cheltenham and Verbier Festivals, in Pontevedra and Santiago in Spain, and at Wigmore Hall, where he was the first musician to be appointed Young Artist. At the Verbier Academy he was awarded the 2006 Priz Thierry Mermod. Ronan has recently been awarded a Borletti-Buitoni Trust Fellowship and is a BBC New Generation Artist. His future engagements include Britten's War Requiem at the Perth International Arts Festival and Sydney Opera House, recitals at the City of London, Cheltenham, Mozart in the Marches and Leeds Lieder Festivals, Count Almaviva in Le Nozze di Figaro for the Classical Opera Company and Morales in Carmen for English National Opera.

Allan Clayton Allan Clayton was a chorister at Worcester Cathedral before going up to St John's College, Cambridge on a choral scholarship. After four years with St John's, he began post-graduate studies at the Royal Academy of Music where he was awarded an inaugural Sir Elton John Scholarship and the John Lewis Award. He also holds a Maidment Scholarship, administered by the Musicians Benevolent Fund; is the recipient of a Star Award from the Countess of Munster Musical Trust; and enjoys the support of the Josephine Baker Trust. On stage, Allan has performed the roles of Tamino, the title role Peter Grimes, Prologue/Quint (Turn of the Screw), and has taken part in concert performances of Death in Venice at the Festival and Bridgewater Halls. Most recently, he sang the title role Albert Herring in a new production by Lindy Hume at Snape Maltings, conducted by Paul Kildea and Belfiore in Mozart's La finta giardiniera for Royal Academy Opera. Recent concert performances include King Arthur (Purcell) in France with Florilegium, Bartok's Cantata Profana in Canterbury Cathedral, Britten's Canticles at the UWA Perth International Arts Festival in Australia, and Michael Tippett's tenor cantata Songs for Dov with Nicholas Cleobury. Other engagements have taken Allan to the Purcell Room, St Martin's-in-the-Field, the Three Choirs Festival and the FA Cup Final at Cardiff's Millennium Stadium. Future engagements include Madwoman (Curlew River) in Oxford, Tenor Actor in Judith Weir's A Night at the Chinese Opera (Royal Academy Opera), concerts with the City of Birmingham Symphony Orchestra, Britten's War Requiem at the 2007 UWA Perth International Arts Festival and Sydney Opera House and the Nocturne in Auckland. This season, he makes his Wigmore Hall debut in performances with Graham Johnson and Angelika Kirchschlager. Allan is currently studying with David Lowe. Simon Kenway Simon Kenway graduated from the Queensland Conservatorium before studying at the Royal College of Music, London. His passion for music has led him to works from Puccini to Weill, companies from Paris to Perth and has even put him in vineyards and under the stars. More recently he has conducted for the Australian Ballet, Aldeburgh Productions in UK, Opera Queensland and the Sydney, Tasmanian and Queensland symphony orchestras as well as Madama Butterfly, La Traviata, The Mikado and OzOpera's La bohème tour for Opera Australia, Don Giovanni for West Australian Opera, Pops in the Park with Ben Folds for West Australian Symphony Orchestra, Midnite for OzOpera and Windmill and Stella and the Moon Man for the Australian Youth Orchestra. In 2006 Simon conducted a series of pop concerts with Hong Kong Philharmonic and Anthony Wong, as well as concerts for Canberra Symphony and schools concerts for Sydney Symphony. In December he conducted Christmas concerts for Hong Kong Philharmonic. In 2007 Simon continues his work as a lecturer at the Sydney Conservatorium and in May conducts at the Singapore American School. He also conducts schools concerts and a tour for Sydney Sinfonia in July.

Brett Weymark Brett Weymark studied singing at the University of Sydney and conducting at the Sydney Conservatorium of Music under Mats Nilsson, John Hopkins, Henryk Pizarek and Patrick Thomas. In 2000, he was appointed Assistant Chorus Master at Sydney Philharmonia and in 2003 took up the position of Musical Director. As a Chorus Master, he has prepared works for Sir Charles Mackerras, Gianluigi Gelmetti, Edo de Waart, Sir Simon Rattle and Charles Dutoit. For Sydney Philharmonia he has conducted many baroque works such as Rameau's Les Grande Motets and Handel's Messiah alongside works such as Faure's Requiem, Orff's Carmina Burana and Tippett's A Child of Our Time. As musical director, he is passionate about new Australian compositions, baroque masterworks, music education and access to the art of choral singing. In 2001 Brett was awarded a Centenary Medal for services to choral music and in 2002 he was awarded a grant from the NSW Ministry for the Arts to future his studies in conducting in England, Europe and America. In 2007 he has already conducted the Sydney Symphony Orchestra in a series of concerts with Michael Parkinson and will shortly be conducting Sydney Philharmonia in Easter concerts of Bach's St Matthew Passion. Simon Lawford Simon Lawford received his early musical training as a chorister at St Paul's Cathedral, London, from Dr Christopher Dearnley. In 1977 he won the organ scholarship to Magdalen College, Oxford, where he studied under Dr Bernard Rose. In 1980, he was appointed assistant organist at Peterborough Cathedral, and in 1986 moved to Christ Church, Oxford, as Assistant to Stephen Darlington. Following a year in France as Organist at the Centre de Musique Baroque de Versailles, he was appointed Director of Music at Hampstead Parish Church, where he instituted an important series of concerts and recitals. In January 1994, he took up his appointment as organist and director of music at St George's Cathedral, Perth. He also directed St George's Baroque Consort, specialising in the authentic performance of early music. He is in constant demand throughout WA as a recitalist, conductor and continuo player. Simon leaves St George's Cathedral at the end of February 2007 to pursue other musical areas in and beyond Western Australia. Jonathon Clinch A native of Lancashire England, organist Jonathan Clinch was born in 1984. He received his early musical education at Bradford Grammar School and as organ scholar at Blackburn Cathedral. He went on to read music at Oxford University, holding the organ scholarship at Keble College. Having studied with Colm Carey and David Sanger, he became a Fellow of Trinity College of Music shortly after arriving in Oxford. Following graduation he accepted the post of assistant organist at St George's Cathedral, Perth. A frequent traveller, Jonathan has performed throughout the UK and in Ireland, Holland, France, Spain, Germany, Switzerland and America. When not in the organ loft Jonathan enjoys composing, sailing and wine.

I. Requiem aeternam Chorus Requiem aeternam dona eis, Domine; et lux perpetua luceat eis. Boys Te decet hymnus, Deus in Sion: et tibi reddetur votum in Jerusalem; exaudi orationem meam, ad te omnis caro veniet. Chorus Requiem aeternam dona eis, Domine; et lux perpetua luceat eis. Tenor What passing bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles' rapid rattle Can patter out their hasty orisons No mockeries for them from prayers or bells, Nor any voice of mourning save the choirs,The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires. What candles may be held to speed them at all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of good-byes. The pallor of girls' brows shall be their pall; Their flowers the tenderness of silent minds, And each slow dusk a drawing-down of blinds. Chorus Kyrie eleison Christe eleison Kyrie eleison II. Dies irae Chorus Dies irae, dies illa, Solvet saeclum in favilla: Teste David cum Sibylla. Quantus tremor est futurus, Quando Judex est venturus, Cuncta stricte discussurus! Tuba mirum spargens sonum Per sepulchra regionum Coget omnes ante thronum. Mors stupebit et natura, Cum resurget creatura, Judicanti responsura. Baritone Bugles sang, saddening the evening air; And bugles answered, sorrowful to hear. Voices of boys were by the river-side. Sleep mothered them; and left the twilight sad. The shadow of the morrow weighed on men. Voices of old despondency resigned, Bowed by the shadow of the morrow, slept. Soprano Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur. Judex ergo cum sedebit Quidquid latet, apparebut: Nil inultum remanebit. Chorus Quid sum miser tunc dicturus? Quem patronem rogaturus, Cum vix justus sit securus? Soprano and Chorus Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis. Tenor and Baritone Out there, we've walked quite friendly up to Death: Sat down and eaten with him, cool and bland,Pardoned his spilling mess-tins in our hand. We've sniffed the green thick odour of his breath,Our eyes wept, but our courage didn't writhe. He's spat at us with bullets and he's coughed Shrapnel. We chorused when he sang aloft; We whistled while he shaved us with his scythe. Oh, Death was never enemy of ours! We laughed at him, we leagued with him, old chum. No soldier's paid to kick against his powers. We laughed, knowing that better men would come, And greater wars; when each proud fighter brags He wars on Death - for Life; not men - for flags. Soprano The written book shall be brought In which all is contained Whereby the world shall be judged. When the judge takes his seat All that is hidden shall appear: Nothing will remain unavenged. Chorus What shall I, a wretch, say then? To which protector shall I appeal When even the just man is barely safe? Soprano and Chorus King of awful majesty, Who freely savest those worthy of salvation, Save me, fount of pity. Chorus This day, this day of wrath Shall consume the world in ashes, As foretold by David and Sibyl. What trembling there shall be When the judge shall come To weigh everything strictly. The trumpet, scattering its awful sound Across the graves of all lands Summons all before the throne. Death and nature shall be stunned When mankind arises To render account before the judge. Chorus Lord, have mercy apon them Christ, have mercy apon them Lord, have mercy apon them Chorus Lord, grant them eternal rest; and let the perpetual light shine apon them. Boys Thou shalt have praise in Zion, of God: and homage shall be paid to thee in Jerusalem; hear my prayer, all flesh shall come before Thee. Chorus Lord, grant them eternal rest; and let the perpetual light shine apon them.

Chorus Recordare Jesu pie, Quod sum causa tuae viae: Ne me perdas illa die. Quarens me, sedisti lassus: Redemisti crucem passus: Tantus labor non sit cassus: Ingemisco, tamquam reus: Culpa rubet vultus meus: Supplicanti parce Deus. Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti. Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra. Confutatis maledictis, Flammis acribus addictis, Voca me cum benedictis. Oro supplex et acclinis Cor contritum quasi cinis Gere curam mei finis. Baritone Be slowly lifted up, thou long black arm, Great gun towering toward Heaven, about to curse; Reach at that arrogance which needs thy harm, And beat it down before its sins grow worse; But when thy spell be cast complete and whole, May God curse thee, and cut thee from our soul! Chorus Dies irae, dies illa, Solvet saeclum in favilla: Teste David cum Sibylla. Quantus tremor est futurus, Quando Judex est venturus, Cuncta stricte discussurus! Soprano and Chorus Lacrimosa dies illa, Qua resurget ex favilla, Judicandus homo reus: Huic ergo parce Deus. Tenor Move him into the sun Gently its touch awoke him once, At home, whispering of fields unsown. Always it woke him, even in France, Until this morning and this snow. If anything might rouse him now The kind old sun will know. Soprano and Chorus Lacrimosa dies illa... Tenor Think how it wakes the seeds Woke, once, the clays of a cold star. Are limbs, so dear-achieved, are sides, Full-nerved - still warm - too hard to stir? Was it for this the clay grew tall? Soprano and Chorus ...Qua resurget ex favilla... Tenor Was it for this the clay grew tall? Soprano and Chorus ...Judicandus homo reus. Tenor - O what made fatuous sunbeams toil To break earth's sleep at all? Chorus Pie Jesu Domine, dona eis requiem. Amen. III. Offertorium Boys Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu: libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum.

Chorus Remember, gentle Jesus, That I am the reason for Thy time on earth. Do not cast me out on that day. Seeking me, Thou didst sink down wearily, Thou hast saved me by enduring the cross, Such travail must not be in vain. I groan, like the sinner that I am, Guilt reddens my face, Oh God spare the supplicant. Thou, who pardoned Mary And heeded the thief, Hast given me hope as well. Give me a place among the sheep And separate me from the goats, Let me stand at Thy right hand. When the damned are cast away And consigned to the searing flames, Call me to be with the blessed. Bowed down in supplication I beg Thee, My heart as though ground to ashes: Help me in my last hour.

Chorus This day, this day of wrath Shall consume the world in ashes, As foretold by David and Sibyl. What trembling there shall be When the judge shall come To weigh everything strictly. Soprano and Chorus Oh this day full of tears When from the ashes arises Guilty man, to be judged: Oh Lord, have mercy upon him.

Soprano and Chorus Oh this day full of tears...

Soprano and Chorus ...When from the ashes arises...

Soprano and Chorus ...Guilty man, to be judged.

Chorus Gentle Lord Jesus, grant them rest. Amen. Boys Lord Jesus Christ, King of glory, deliver the souls of the faithful departed from the pains of hell, and the bottomless pit: deliver them from the jaw of the lion, lest hell engulf them, lest they be plunged into darkness.

Chorus Sed signifer sanctus Michael repraesentet eas in lucem sanctam: Quam olim Abrahae promisisti, et semini ejus. Tenor and Baritone So Abram rose, and clave the wood, and went, And took the fire with him, and a knife. And as they sojourned both of them together, Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering? Then Abram bound the youth with belts and straps, And builded parapets and trenched there, And stretched forth the knife to slay his son. When lo! and angel called him out of heaven, Saying, Lay not thy hand upon the lad, Neither do anything to him. Behold, A ram, caught in a thicket by its horns; Offer the Ram of Pride instead of him. But the old man would not so, but slew his son, And half the seed of Europe, one by one. Boys Hostias et preced tibi Domine laudis offerimus; tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti en semini ejus. Chorus ...Quam olim Abrahae promisisti et semini ejus. IV. Sanctus Soprano and Chorus Sanctus, sanctus, sanctus Dominus Deus Saboath. Pleni sunt ceoli et terra gloria tua, Hosanna in excelsis. Sanctus. Benedictus qui venit in nomine Domini. Hosanna in excelsis. Sanctus. Baritone After the blast of lighning from the East, The flourish of loud clouds, the Chariot Throne; After the drums of time have rolled and ceased, And by the bronze west long retreat is blown, Shall life renew these bodies? Of a truth All death will He annul, all tears assuage? Fill the void veins of Life again with youth, And wash, with an immortal water, Age? When I do ask white Age he saith not so: `My head hangs weighed with snow.' And when I hearken to the Earth, she saith: `My fiery heart shrinks, aching. It is death. Mine ancient scars shall not be glorified, Nor my titanic tears, the sea, be dried.' V. Agnus Dei Tenor One ever hangs where shelled roads part. In this war He too lost a limb, But His disciples hide apart; And now the Soldiers bear with Him. Chorus Agnus Dei, qui tollis peccata mundi, dona eis requiem. Tenor Near Golgatha strolls many a priest, And in their faces there is pride That they were flesh-marked by the Beast By whom the gentle Christ's denied. Chorus Agnus Dei, qui tollis peccata mundi, dona eis requiem. Tenor The scribes on all the people shove and bawl allegiance to the state,

Chorus But let the holy standard-bearer Michael lead them into the holy light As Thou didst promise Abraham and his seed

Chorus Agnus Dei, qui tollis peccata mundi... Tenor But they who love the greater love Lay down their life; they do not hate. Chorus ...Dona eis requiem. Tenor Dona nobis pacem. VI. Libera me Chorus Libera me, Domine, de morte aeterna, in die illa tremenda: Quando coeli movendi sunt et terra: Dum veneris judicare saeculum per ignem. Soprano and Chorus Tremens factus sum ego, et timeo dum discussio venerit, atque ventura ira. Libera me, Domine, de morte aeterna. Quando coeli movendi sunt i terra. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde. Libera me, Domine. Tenor It seems that out of battle I escaped Down some profound dull tunnel, long since scooped Through granites which titanic wars had groined. Yet also there encumbered sleepers groaned, Too fast in thought or death to be bestirred. Then, as I probed them, one sprang up, and stared With piteous recognition in fixed eyes, Lifting distressful hands as if to bless. And no guns thumped, or down the flues made moan. `Strange friend,' I said, `here is no cause to mourn.' Baritone `None', said the other, `save the undone years, The hopelessness. Whatever hope is yours, Was my life also; I went hunting wild After the wildest beauty in the world, For by my glee might many men have laughed, And of my weeping something had been left, Which must die now. I mean the truth untold, The pity of war, the pity war distilled. Now men will go content with what we spoiled. Or, discontent, boil boldly, and be spilled. They will be swift with swiftness of the tigress, None will break ranks, though nations trek from progress. Miss we the march of this retreating world Into vain citadels that are not walled. Then, when much blood had clogged their chariotwheels I would go up and wash them from sweet wells, Even from wells we sunk too deep for war, Even from the sweetest wells that ever were. I am the enemy you killed, my friend. I knew you in this dark; for so you frowned Yesterday through me as you jabbed and killed. I parried; but my hands were loath and cold. Let us sleep now...' Boys, then Chorus, then Soprano In paridisum deducant te Angeli; in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Jerusalem. Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem. Boys Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.

Chorus Lamb of God, that takest away the sins of the world...

Chorus ...Grant them rest.

Chorus Deliver me, O Lord, from eternal death in that awful day when the heavens and earth shall be shaken when Thou shalt come to judge the world by fire. Soprano and Chorus I am seized with fear and trembling, until the trial shall be at hand and the wrath to come. Deliver me, O Lord, from eternal death. When the heavens and earth shall be shaken. That day, that day of wrath, of calamity and misery, a great day and exceeding bitter. Deliver me, O Lord.

Boys Lord, in praise we offer to Thee sacrifices and prayers, do Thou receive Them for the souls of those whom we remember this day: Lord, make them pass from death to life. As Thou didst promise Abraham and his seed. Chorus ...As Thou didst promise Abraham and his seed. Soprano and Chorus Holy, holy, holy Lord God of hosts. Heaven and earth are full of Thy glory. Hosanna in the highest. Holy. Blessed is he who cometh in the name of the Lord. Hosanna in the highest. Holy.

Chorus Lamb of God, that takest away the sins of the world, grant them rest.

Boys, then Chorus, then Soprano Into Paradise may the Angels lead thee: at thy coming may the Martyrs receive thee, and bring thee into the holy city Jerusalem. May the Choir of Angels receive thee and with Lazarus, once poor, may thou have eternal rest. Boys Lord, grant them eternal rest, and let the perpetual light shine upon them. Chorus Into Paradise, etc. Soprano May the Choir of Angels, etc.

Chorus Lamb of God, that takest away the sins of the world, grant them rest.

Chorus In paradisum deducant etc. Soprano Chorus Angeloru, te suscipiat etc. Tenor and Baritone Let us sleep now. Chorus Requiescant in pace. Amen.

Chorus Let them rest in peace. Amen.

The Australian is proud to support the performance of Benjamin Britten's War Requiem at the UWA Perth International Arts Festival.



Supporting Sponsors

BOC Gas Duxton Hotel Good Reading Magazine Ogden IFC Picasso's Catering The Marketing Centre The University Club of Western Australia uffindellwest Winthrop Australia


Special Thanks to

Albany Public Library Allen & Unwin Black Tom's Oyster Bar Brisbane Hotel City of Subiaco Fraser's Restaurant HarperCollins Publishers Australia Hollywood Private Hospital Lee Preston Hairdressing Must Winebar Newspapers in Education Penguin Group (Australia) Random House Australia Simon & Schuster Water Corporation, Albany writingWA Zafferano at the Old Swan Brewery



Ogden International Facilities Corporation (Perth) Pty Ltd Perth Concert Hall


General Manager Andrew Bolt



Deputy General Manager Helen Stewart Technical Manager Brian Coghlan Perth Concert Hall is managed by Ogden IFC (Perth) Pty Ltd Venue Manager for the Department of Culture and the Arts, authorised as Agent for the Perth Theatre Trust for the Trust venues. Ogden International Facilities Corporation (Perth) Pty Ltd Chief Executive Rodney M. Phillips The Perth Theatre Trust Chairman Harry Morgan A.M.






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