1 | Jer

us

la

em

| section title

Tuesday 22 & Wednesday 23 April 2014 7.30Pm | Elisabeth Murdoch Hall

MElbournE rEciTAl cEnTrE PrEsEnTs

JerusalemJordi Savall, Hespèrion XXI &

La Capella Reial de Catalunya

zzz zz

Pre-concert talk John Weretka salon, 6.45pm-7.15pm

Approximate duration Three hours including one 20-minute interval. Please note that latecomers may only be admitted at a suitable break in the program.

Wednesday’s performance will be broadcast live on aBC Classic Fm and streamed at abc.net.au/classic.

For the comfort of artists and audiences photography and recording are not permitted.

Jerusalem is much more than a holy city; it is a symbol for all mankind, continuing to remind us all in this 21st century of the great difficulty involved in living together.Without peace, no human life is possible.

Montserrat Figueras & Jordi SavallUNESCO Artists for Peace

CONTENTS Program outline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4The Power of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7The city of the Two Peaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Performers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19About the Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20inspired Giving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26our Partners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

melbourne recital Centre Presents

Jordi sAvAll’s JErusAlEM

Tuesday 22 & Wednesday 23 april, 7.30pm elisabeth murdoch Hall melbourne recital Centre

Jordi savall la capella reial de catalunya Hespèrion XXi The Trumpets of Jericho Guest musicians from Armenia, Greece, israel, Palestine and Turkey See page 19 for full details.

supported by The Hugh Williamson Creative Production Fund

Je

ru

sl

ae

m

Jerusalem is part of melbourne recital Centre’s Fifth Birthday Celebration

5 | Je

ru

sl

ae

m | program

outlineprog

ram

out

line

| Je

ru

sl

ae

m |

4

PART IIIA Christian city (326 CE – 1244 CE)

Queen Helena, the mother of Emperor Constantine is in Jerusalem, 326 CE

En to stavro pares tosa (Planctus to the Virgin) attributed to emperor leo VI (886 - 912)

Fanfare and first call to the Crusade Pope urban II, 1095 Ce recited text in French

Crusaders’ song: Pax! In nomine Domini! marcabru, First Crusade, 1100-1150

Crusaders’ song: Chevalier, mult estes guariz (1146) anonymous, second Crusade, 12th Century

PART IVA city of pilgrimage (383 – 1250)

Itinerarium Pilgrimage of the nun egeria, Fourth Century recited text in latin

arabic chant: Sallatu Allah (Prayer for God)arabic tradition

Zionida: Beautiful land, delight of the world Judah Ha-levy (1075-1141)

Cantiga de santa maria 383: O ffondo do mar tan chão alfonso X the Wise (1121-1284)

INTERVAL: 20 Minutes

PART VAn Arab city (1244 – 1516) and an Ottoman city (1517 – 1917)

Taksim & makām-ı uzzäl sakîl “Turna” semâ’î (mss. D. Cantemir, Turkey)

Mohammed goes to the heaven after the Temple Mount The Quran, surat al-’Isrā’ XVII.1, seventh Century Ce

Dance of the soma sufi Group al-Darwish

suleyman the magnificent’s dream (1520)Ottoman legend, recited text in arabic

The Ottoman Conquest of Jerusalem (1517): Warrior’s march anonymous Ottoman

PRELUdEFanfare of Jericho. anonymous, 1200 Before Common era (BCe) shofars, anafirs (Oriental trumpets), Percussion & recording

PART IHeavenly Peace: The Prophets of the Apocalypse and of the Last Judgement

Al·là men eiréne The sibylline Oracles, Third Century BCe Jewish sources, Greek text, aramaic music

Bismillāhi r-rahmāni The Quran: sūrat al-Fātiḥah I, 2-7, seventh Century Ce sufi sources

Audi pontus apocalypse VI, 12-3 Cathar Gospel of Pseudo-John (V.4), 12th Century Ce las Huelgas manuscripts

PART IIA Jewish city (1000 BCE – 70 CE)

Shofar call and The Peace of Jerusalem Psalm 122, 6-8, attributed to King David, 10th Century BCe

liberation of the city by maccabeans, 164 BCe: Instrumental dance

Rabbi Akiva goes to Jerusalem Talmud makkot 24b Hebrew Text

Destruction of the Temple and Diaspora, 70 Ce: song of exile Psalm 137, 1-6, attributed to Jeremiah, seventh Century BCe

PROgRAM OUTLINE

Jerusalem City of the two peaces: Heavenly peace and Earthly peace

7 | Je

ru

sl

ae

m | the pow

er of music

prog

ram

out

line

| Je

ru

sl

ae

m |

6

after thinking it over for a few days, we realised that Jerusalem could provide the ideal subject, one which afforded us the opportunity to a create a powerful and beautiful evocation of both the grandeur and the folly that make up the history of a city, with all the complex problems of a place which, even today, continues to mark the limits and weaknesses of our civilisation, particularly amid the search for a peace that is just and valid for all, and the difficulty in reaching agreement between east and West on the very principles of the true spiritual dimension of humanity. at the outset, it seemed an enormous and almost impossible challenge to evoke some of the key moments in the history and music of a city like Jerusalem, which has existed for more than 3000 years.

From the very beginning, montserrat Figueras, manuel Forcano and I not only realised the need to evoke the city’s history, which is unique in terms of its universal repercussions, but also that this evocation, which at the same time constituted a heartfelt tribute, would only be possible if it took into account the essential testimonies of each of the main peoples, cultures and religions that have shaped the city throughout its history, a history crammed full of events that have always been

intensely dramatic and marked by conflict. History and mythology, legend and reality, song and music – everything in this universe seems to be synthesised through “the power of music”, the essential elements of human civilisation concentrated in a city which has always been a sacred, mythical place for the three major monotheistic religions.

In approaching this project, we had to assemble a group of musicians from different traditions representing the main cultures and countries that have played an influential role in the events of both the past and the present. That is why, in addition to our usual musicians from spain, France, england, Belgium and Greece, who make up the team of vocal and instrumental soloists of Hespèrion XXI and la Capella reial de Catalunya, we invited a number of Jewish and Palestinian singers and instrumentalists from Israel, together with others from Iraq, armenia, Turkey, morocco and syria, who have trained and specialised in extremely ancient musical cultures that have often been handed down via the oral tradition. It was essential to present a meaningful selection of the various musical traditions peculiar to the peoples who, throughout the long history of Jerusalem, have peopled the city with their dreams, their tragedies, their hopes and

This project was first conceived in 2007, when we were invited by la cité de la Musique in Paris to prepare a new project based on a series of concerts on the theme of the three major monotheistic religions.

THE POwER OF MUSICJordi savall writes about the creation of Jerusalem

PART VIJerusalem, a Land of Refuge and Exile (15th – 20th centuries)

Jerusalem (poem) Yehouda amichai (1924-2000) recited text in Hebrew

Palestinian lament (1948) anonymous (oral tradition)

lament for the City of ani (1915) anonymous armenian (oral tradition)

El male rahamim (Hymn to the victims of auschwitz), 1941 Historical recording by shlomo Katz (1950)

PART VIIEarthly Peace: a duty and a hope

a plea for peace Hebrew, arabic, armenian & latin

Apo xeno meros (in Greek) anonymous (oral tradition)

Ghazali (in Hebrew) anonymous (oral tradition)

Ghazali (in arabic) anonymous (oral tradition)

Ghazali (Palestine) anonymous (oral tradition)

Apo xeno meros (Greek) anonymous Jordi savall (vocal ensemble)

Durme, hermosa donzella (ladino) anonymous (oral tradition from rhodes)recording by montserrat Figueras (2008)

Üsküdar (instrumental) anonymous (oral tradition from Istanbul)

Final ensemble (tutti) all chants and improvisations together

FINAL FANFARE Against the Barriers of the Spirit Jordi savall 2008 shofars, anafirs, Percussion & recording

Program conceived by Jordi Savall & Manuel Forcano Musical selection: Jordi Savall Texts and dramaturgy: Manuel Forcano Selection and musical versions of Jewish music: Yair Dalal Selection of the oriental music: Sufi Group Al-Darwish

9 | Je

ru

sl

ae

m | the city of the tw

o peaces t

he p

ower

of m

usic

| J

er

us

la

em

| 8

Yet another example of the power of music could not be further removed from the idea of violent sound. Instead of sounds that are capable of shattering material objects, this time it is a case of sounds overwhelming us with the profound emotional and spiritual force of a sung prayer. as he was about to be executed in auschwitz, in 1941, shlomo Katz, one of the romanian Jews who had been condemned to death, requested permission to sing the song for the dead, El male rahamim. The beauty, the emotion and the manner of singing this prayer for the dead so impressed and moved the officer in charge of the execution that he spared the man’s life and let him escape from the camp. The recording that we reproduce, made some years after the event, constitutes an exceptional historical document in terms of the experience it records, as well as being a tribute to the victims and a prayer for all those who died in the camps of horror (H. roten’s publication on Les Musiques Liturgiques Juïves, Paris, 1998). Now that we comprehend the full truth of elias Canetti’s words when he wrote that “music is the true living history of humankind, we yield to it without resistance because what it says relates to our feelings; without it, we would be left with only fragments”.

Finally, from the thousand and one different stages in the rich history of Jerusalem, we have selected those that we felt to be the most significant, illustrating them through song, music and key texts, the whole forming a multicultural fresco which proposes something more than just a recording or concert programme. music becomes the indispensable means of achieving a genuine intercultural dialogue between human beings from very different nations and religions, but who nevertheless share a common language of music, spirituality and beauty.

THE CITY OF THE TwO PEACES

music opens a window suffused with emotion and light on legends, beliefs and events which constitute a fabulous distillation of life, culture and spirituality in symbiosis with what is happening in the world around us. Profoundly influenced by the historical presence of the major monotheistic religions, Judaism, Christianity and Islam, the history and musical traditions of Jerusalem are the reflection of a unique experience in which the most extreme wars and conflicts go hand in hand with some of the most sublime and spiritual deeds in the history of mankind.

In order to give shape to such a complex musical and historical programme, it was necessary to find an original structure inspired in the very sources of the subject presented here divided into seven chapters, each one containing key moments in the city’s history. Three central chapters comprise a selection of the most representative music of the three main periods relevant to the three monotheistic religions.

The Jewish city is recalled, from the time of its foundation until the destruction of the temple, by the evocative sound of the shofar, a selection of the most beautiful psalms of David, as preserved in the ancient tradition of the Jews of southern morocco, an instrumental dance and a text by rabbi akiva recited in Hebrew.

their misfortunes. This selection would not have been possible without the numerous important works of historical, musical and organological research carried out by such eminent figures as a. Z. Idelsohn, amnon shiloah, samuel G. armistead, Isaac levy, rodolphe d’erlanger, Charles Fonton and r. lachmann, in the case of eastern music ( Jewish, arab and Ottoman), H. J. W. Tillyard, in the case of Byzantine music, and Pierre aubry and Gordon athol anderson in respect of music from the Crusades, and, of course, the essential contribution made by all the musicians, singers and others whose talent and experience have been decisive in bringing this project to fruition. In this context, I am thinking particularly of montserrat Figueras, manuel Forcano, Yair Dalal, lior elmalich, the musicians of the group al-Darwish, Gaguik mouradian, razmik amyan, Dimitris Psonis, Driss el maloumi, mutlu Torun, Omar Bashir, Begoña Olavide, Pedro estevan, Jean-Pierre Canihac and the ensemble of “Trumpets of Jericho”, andrew lawrence-King and all the vocalists and instrumentalists of Hespèrion XXI and la Capella reial de Catalunya. Never have I been involved in a project in which the personal commitment of all those taking part was so crucial and decisive.

In antiquity, the power of music was ever-present. Of all historical sources, the Bible provides the most important and richest vein in terms of our knowledge of music in ancient times. music and dance played an important role not only in everyday life, but also in religious ceremonies and in battle. Indeed, it is in one of the earliest legends, in the story of the trumpets and the battle of Jericho, that we find a testimony to the power of music. rather than music in the strict sense, it refers to intense, strident dissonances produced by several hundred instruments, so powerful that they brought the walls tumbling down.

From the very beginning, we felt that one of the most ancient instruments still extant, the shofar or ram’s horn of abraham, must have played a crucial role in that battle, alongside the ancient Oriental trumpets which are today known as anafirs. Our initial hypothesis was confirmed during our research when we read the account given by abbot Nicholas of Thingeyrar of the Benedictine monastery of Thingeyrar, in Iceland. abbot Nicholas travelled to the Holy land four or six years after the composition of the Crusader song Chevalier mult estes guaritz (dated 1146), where he found the trumpets of Jericho and the shofars, together with the rod of moses (mentioned in this song), in a chapel dedicated to saint michael in the Bucoleon Palace in Constantinople. This account is confirmed in the inventory of anthony, archbishop of Novgorod, who says that it was kept between one of the trumpets of Jericho and the ram’s horn of abraham (riant, Exuviae Constantinopolitanae, Geneva, 1878). It is impossible to define any particular notes in the score we have devised for this fanfare, since each instrument had its own distinct pitch. It is therefore an entirely random construction and layering of sounds, taking into account the characteristic language of these primitive instruments, built up on the basis of common rhythms and dynamics which, although individually precise, join together in a completely free fashion. The sound produced by the 14 instruments and the drums would need to be multiplied 30- or 50-fold in order to get some idea of the sound effect produced by the legendary Trumpets of Jericho.

11 | Jer

us

la

em

| the city of the two peaces

the

cit

y of

the

two

peac

es |

Je

ru

sl

ae

m |

10

The Christian city is evoked from the arrival in Jerusalem in 326 of Queen Helena, the mother of emperor Constantine, until the Crusaders were defeated when saladin conquered the city, This period is represented first by one of the earliest Crusade songs, attributed to emperor leo VI (886-912), which is followed by the terrible call to holy war in 1095 by Pope urban II, recited in French. The power of music deployed in the service of war is illustrated by three of the most famous and beautiful Crusader songs. The defeat of 1244 is recalled in a brief improvisation on the song Pax in nomine Domine.

Our evocation of the Arab and Ottoman city, which, in the case of the arab period, stretched from 1244 to 1516, is effected by improvisations on the Oud, the song based on sura 17: 1, relating the ascension of the prophet mohammed into heaven from the mosque of the rock, and is completed by a soma dance (from the sufi tradition) and the song Salatu Allah. The Ottoman period, from 1516 to 1917, is represented by the makkam Uzäl Sakil “Turna” from the Kantemiroglu manuscript (17th century), the recreation of the legend of the dream of suleyman the magnificent (1520), recited in Turkish, and one of the finest Ottoman marches of the 16th century.

a fourth chapter is devoted to Jerusalem as a “city of pilgrimage”, with three representative pilgrim songs. The first is on texts by rabbi Judah ben samuel Halevi, (a sephardic rabbi, philosopher, physician and poet born in Tudela, in the emirate of saragossa, in 1085, known as the Cantor of Zion); the second is a Cantiga by King alfonso X the Wise (1221-1284), narrating one of the miracles of the Virgin mary performed in favour of a woman on pilgrimage to Jerusalem. Finally, the third is on a text by the most famous of arab travellers, the moroccan explorer Ibn Battuta (Tangiers, 1304 - 1377).

a fifth chapter is devoted to Jerusalem, “Land of refuge and exile”, with two moving songs of exile and two songs of refuge, (a song about Palestine, from the sephardic tradition, a Palestinian “lament”, a song on the theme of armenian refugees in memory of the genocide of 1915, and a heart-rending ashkenazy song on the genocide perpetrated by the Nazis during the second World War).

The final two chapters, completing the seven, refer to one of the etymologies accounting for the name of the city of Jerusalem, according to which the city’s Hebrew name is translated as “the city of the two peaces”, a clear metaphorical reference to both “heavenly peace” and “earthly peace”. The heavenly peace which serves as our prelude was proclaimed and promised by the prophets who lived in or visited Jerusalem, and it is evoked here by a sibylline Oracle from a Jewish source dating back to the third century BC, an arab sufi song based on sura I: 27, and a song on the Cathar Gospel of Pseudo John V: 4, contained in the famous manuscript of the Convent of las Huelgas (12th century).

By way of conclusion, we evoke “earthly peace”, a peace sought after by the political leaders who have governed the city over the five thousand years and more of its recorded history. We have symbolised that peace through arab, Jewish, (Orthodox) armenian and (Catholic) latin “votive pleas for peace”, as well as a melody handed down by oral tradition that has been kept alive to the present day in almost all mediterranean cultures. The melody is sung individually by all the participants in Greek, arabic (from morocco), Hebrew, arabic (from Palestine), spanish, again in Greek (by a vocal ensemble), ladino (a lullaby), by three voices (singing in Greek, Hebrew and arabic), and is then performed in an Oriental instrumental version and, finally, it is sung by all the performers together in a choral version in which the languages are superimposed on one another, in a symbolic demonstration of the fact that, far from being a utopia, union and harmony are a reality that is attainable if we allow ourselves to experience and feel the power of music to the full. rounding off this optimistic final expression of optimism, the “trumpets of Jericho” return, but this time they do so to remind us that human beings are still spiritually cut off from one another by too many walls, walls that must first be broken down in our hearts before they can be dismantled by peaceful means in the world around us.

Jordi Savall São Paulo, 16th September, 2008 Alia Vox, AVSA9863 A+B Translated by Jacqueline Minett

Jerusalem City

13 | Je

ru

sl

ae

m | textste

xts

| Je

ru

sl

ae

m |

12 PRELUdE

City of the two peaces: Heavenly peace and Earthly peaceFanfare of Jericho. Anonymous, 1200 Before Common Era (BCE) Shofars, Anafirs (Oriental trumpets) and Percussion

PART I

Heavenly Peace: The Prophets of the Apocalypse and of the Last JudgementAl·là men eiréne The Sibylline Oracles, Third Century BCE Jewish sources, greek text, Aramaic music

I shall reveal a clear sign to you, that you may understand when the end of the world is at hand. The Immortal One in the starry firmament will enforce a common law for all the peoples of the earth. all the rough, high places shall be plain, for all peace shall come over the land of the good. refrain: There will be a great peace throughout the earth until the end of time.

all the high mountains and the wild waves of the sea shall be easy to cross and to sail. a cloud of dust shall fall from heaven over all the earth, and the sun’s brightness shall be eclipsed at midday.

refrain: There will be a great peace throughout the earth… The moon’s beams shall appear, and suddenly, drops of blood from the stones shall fall to the earth as a sign. Then God, who dwells in heaven, shall make an end of war.

Bismillāhi r-rahmāni The Quran: Sūrat al-Fātihah I, 2-7, Seventh Century CE Sufi sources

In the name of God, most Gracious, most merciful! Praise be to God, lord of the universe, most Gracious, most merciful, master of the Day of Judgment, The Day of the true Faith, The day of the Judgment of history. You alone we worship, and You alone we ask for help. Guide us in the right path, the path of those You have blessed, not of those who have deserved your wrath, or of those who have strayed.

Audi pontus Text: Apocalypse VI, 12-3 Cathar gospel of Pseudo-John (V.4), 12th Century CE Music: Las Huelgas Manuscripts

Hearken, O sea, hearken, o earth, hearken, O face of the great ocean, hearken, O man, and every creature that lives under the sun: it is nigh, it will come. Now is the day, that day, the terrible day, that bitter day on which the sky shall vanish,

and the sun shall turn red, when the moon shall f lee, and the stars of the sky shall fall to earth, Oh, wretched! Oh, wretched! Oh, why dost thou, O man, chase after vain happiness?

PART II

A Jewish city (1000 BCE – 70 CE)Shofar call

The Peace of Jerusalem Psalm 122, 6-8, attributed to King david, 10th Century BCE

Pray for the peace of Jerusalem: may they prosper who love you! Peace be within your walls,

and security within your towers!” For my brethren and companions’ sake, let me say, “Peace be within you!” For the sake of the house of the lord our God, I seek your good.

Liberation of the city by Maccabeans, 164 BCE: Instrumental dance

Rabbi Akiva goes to Jerusalem Talmud Makkot 24b Hebrew Text

Once, rabbi akiva and another three sages who were with him were on their way to Jerusalem. When they arrived at mount scopus, they tore their clothes. as they approached the temple mount, they saw a fox coming out of the ruined Holy of

Holies., and they began to weep. But rabbi akiiva laughed. His companions asked him, “Why are you laughing?” Calming them, he asked, “Why are you weeping?” They answered, “In the Torah [Numbers 1, 51] it is written that ‘a stranger who approaches this place, the Holy of Holies, must be put to death. But now a fox can walk around freely. How can we not weep?” rabbi akiva answered, “That is why I am laughing, because the prophecy is dependent on the prophecy of uriah. uriah said, ‘Because of you, Zion will be ploughed over like a field and the Temple mount will be a wooded height” [micah 3,12], and the prophet Zechariah also said that “Old men and old women shall again sit in the streets of Jerusalem, each carrying a stick, because of their old age. And the city’s squares shall be full of boys and girls playing” [Zechariah 8, 4-5]. Now that the prophecy of desolation has been fulfilled”, he said, “I know that the prophecy of its restoration will also come true.” at that, rabbi akiva’s companions said, “You have comforted us, akiva, you have comforted us.”

destruction of the Temple and diaspora, 70 CE: Song of Exile Psalm 137, 1-6, attributed to Jeremiah, Seventh Century BCE

If ever I forget you, Jerusalem, let my right hand wither! let my tongue cleave to the roof of my mouth, if I do not invoke you, if I do not remember you, to inspire my songs of joy.

TEXTS

PART III

A Christian city (326 CE – 1244 CE)En to stavro pares tosa (Planctus to the Virgin) Byzantine chant attributed to Emperor Leo VI (886 - 912)

Beside the Cross, the pure immaculate virgin mother of our saviour stood and bathed in burning tears cried out in grief: What great miracle is this that I witness here today? How can life thus relish death, ah, my poor lamented son! What can this strange paradox mean? The great mystery that has taken place on earth is the salvation of adam’s line and of all those who extol and praise the suffering that you willingly accept, the divine resurrection, and your conception without human seed.

Fanfare

First call to the Crusade Pope Urban II, 1095 CE Recited text in French

O sons of God, you must with no further delay hasten to help your brethren who dwell in the east! For, as many of you have heard, a people come out of Persia, the Turks and the arabs, have invaded their land. They occupy more and more of the lands of those Christians after having overcome them seven times in battle. They have killed and enslaved many. The Turks destroy churches and lay waste to God’s empire.

I urge and beseech you; indeed, it is the lord who does so, as heralds of Christ, to persuade all people, of whatever rank, whether foot-soldiers or knights, whether poor or rich, with your constant preaching, promptly to carry aid to those Christians and to drive that vile race far from our lands. I say this to those who are present, and I also command it of those who are absent: Christ commands it!

What ignominy if such a despised, base race, which worships demons, were to conquer a people that worships God and is proud to call itself Christian! Go, therefore, and wage battle against the infidels! From this day forward, be knights of Christ! Now fight honourably against the barbarians! let all those who wish to go do so without delay. let them set out on the way with God as their guide!

Crusaders’ song: Pax! In nomine Domini! Marcabru (a troubadour, c.1100-1150), First Crusade Text in Occitan

Peace! In the name of the lord! marcabru wrote the words and the tune. listen to what he says: In his great goodness the heavenly king, our lord, has made for us a cleansing-place the like of which was never seen, save far away in the vale of Josaphat; but it is to this one that I summon you now.

let’s wash ourselves both morning and night, for so we should, there’s no denying and this I would have you know. let each one wash while he has the chance while he is sound of life and limb; and this I therefore recommend, as the very remedy to our ills. If we die before we are cleansed we shall not enter heaven, but stay here below.

Crusaders’ song: Chevalier, mult estes guariz (1146) Anonymous, Second Crusade, 12th Century Text in Old French

salvation, good knights, you are assured, since thanks to you the almoravids and Turks will answer to God in battle, whom they have greatly offended by wrongfully seizing His lands. We have good cause to be dismayed, for there it was that God was served and first avowed as lord.

refrain: Whoever marches with good King louis need have no fear of hell; his soul will go to heaven with the angels of the lord.

edessa has fallen, as well you know, which grieves all Christians to the core; our churches are burned and ruined, and God’s mass is said no more. Good knights, consider this: you, who are skilled in the use of arms, offer your bodies and your lives to Him who for your sake was crucified!

Whoever marches with good King louis...

Follow the example of good King louis. Far more wealth has he than you; he is powerful, prosperous and rich, and reigns above all other kings. Forsaking all his fur-lined robes, his castles, villages and towns, he goes in service of Him who suffered for our sake upon the cross.

Whoever marches with good King louis...

Delivering Him into the hands of Jews God ransomed us from prison. His living body was pierced five times, and He suffered death and Passion. Now you have heard how pagan hordes under Zenghi’s cruel command have vilely marched against Him. so rally now and challenge them in war!

Whoever marches with good King louis...

PART IV

A city of pilgrimage (383 – 1250)Itinerarium Pilgrimage of the nun Egeria, Fourth Century Recited text in Latin

The Day of Dedication is so named after the day when the holy church in Golgotha, which is called the martyrium, was consecrated to God; the holy church which is at the anastasis, that is, in the place where the lord rose after His Passion, was also consecrated to God on that day. The dedication of these holy churches is therefore celebrated with the greatest solemnity, because the Cross of the lord was found on this day. so when these days of dedication come, they are kept for eight days. and monks and apotactitae from various provinces, from mesopotamia and syria, from egypt and the Thebaid begin to assemble from all parts many days before; for there is none who does not turn his steps to Jerusalem on that day for such celebrations and great rejoicing.

Chant: Sallatu Allah (Prayer for God) Traditional Arabic

may the blessing and peace of God be on the Prophet and Guide to the true faith God brought the Beloved to Jerusalem; my kin and I would give our lives for him. Through him my soul will be purified on its journey to God; O rock of the Night ascent into heaven, thanks to you the Prophet shines resplendent. He came to you in search of consolation and Gabriel bore him away to God. mohammed, father of Zahra, I beg you to look upon me. Oh that I might be granted the blessing of a visit from the Prophet of God.

15 | Je

ru

sl

ae

m | textste

xts

| Je

ru

sl

ae

m |

14

Zionida: Beautiful land, delight of the world Judah Ha-Levy (1075-1141)

Beautiful land, delight of the world, city of the great king! my soul yearns for you from the far-off west! It saddens my heart to remember what you were before, your exiled glory and the destruction of your temple. If only I could f ly to you on the wings of eagles, my tears would soak your soil and mingle with it! I seek you though you have no king; and though where once there was balm in Gilead, there are now only vipers and scorpions. How can I not be moved by your stones and kiss them, when the taste of your earth on my lips is sweeter than honey!

Cantiga de Santa Maria 383: O ffondo do mar tan chão Alfonso X, the wise (1121-1284)

How a woman who fell into the sea as she was boarding a ship was protected and saved by Our lady of sigüenza.

refrain: The bottom of the sea so f lat doth mould its own like beaten earth, O Blessed mary, wise and lenient lady.

The Holy Virgin, mother of our glorious King, a great and wonderful miracle did perform for a woman who in her heart desired one thing, to serve her night and day. extremadura was the place. The bottom of the sea so f lat doth mould its own...

The woman had a daughter much beloved; since both on seeing the sepulchre in Jerusalem had set their hearts, she paid a guide to lead them safely there. The bottom of the sea so f lat doth mould its own...

unharmed they crossed the sea without mishap, for all the voyage a fair wind sped their course; their purpose on leaving acre, without delay, was to visit the holy sepulchre at midday. The bottom of the sea so f lat doth mould its own...

No sooner had the boat docked there, they hurried towards the gangway, and the daughter was the first ashore;

the mother, in her haste to follow suit, fell fully dressed into the watery main. The bottom of the sea so f lat doth mould its own...

and as she fell, she cried out loud: “sigüenza’s glorious Virgin, save me! I trust in you to grant a happy end to this my pilgrimage.” straight away from heaven on high The bottom of the sea so f lat doth mould its own...

the holy Virgin rescued her and plucked her from the watery bed beneath the ship; she brought her to the surface safe and sound, and set her down in perfect health upon the shore. The bottom of the sea so f lat doth mould its own...

all who saw it marvelled at the deed, and those on land were filled with awe; they praised the holy Virgin’s name,

saying “Blessed art thou, thy children’s refuge sure.” The bottom of the sea so f lat doth mould its own...

PART V

An Arab city (1244 – 1516) and an Ottoman city (1517 – 1917) Taksim & Makām-ı Uzzäl Sakîl “Turna” Semâ’î (Mss. d. Cantemir, Turkey)

Mohammed goes to the heaven after the Temple Mount The Quran, Surat Al-’Isrā’ XVII.1, Seventh Century CE

Glory to the One Who led His servant on a journey by night from the sacred mosque to the farthest mosque, whose precincts we blessed, in order that We might show him our signs: for He Is the One Who hears and sees all things.

Dance of the Soma Sufi group Al-darwish

Suleiman the Magnificent’s dream (1520) Ottoman legend, recited text in Arabic

The night was dark and silent as a mute’s mouth. There was not a star in the firmament. Not a single cricket stirred in the garden. The roses gave out no scent. suleiman’s sleep was troubled by shadows

looming from the depths of his dream. menacingly, they crept up on him. It was a nightmare. He was gripped by fear. as they moved closer, they were revealed in all their terrible enormity: two lions roaring and baring their teeth. Just as they were about to pounce on him, the Prophet mohammed appeared in a burst of radiance and stopped them, saying, “Jerusalem is as defenceless as you are before these lions. look after her, protect her, rebuild her walls and her towers.” suleiman awoke with a start and immediately ordered that the city wall be rebuilt: it was to be built of strong, gleaming white stone; it was to have towers and turrets, with seven gates, and on one of them were to be carved the two lions he had seen in his dream, the lions of terror that would now become guardians. Then he went back to bed, and the roses breathed out their scent once more.

The Ottoman Conquest of Jerusalem (1517): warrior’s march anonymous Ottoman

PART VI

Jerusalem, a Land of Refuge and Exile (15th – 20th centuries)Jerusalem (poem) Yehouda Amichai (1924-2000) Recited text in Hebrew

On a rooftop in the Old City, washing is spread out in the evening sun: the white sheet of a woman who is my enemy, the towel of a man, who is also my enemy, to wipe the sweat from his brow.

In the sky above the Old City a kite is f lying. and on the other end of the string – a child I cannot see because of the wall.

We have put up many f lags, they have put up many f lags. To make us believe that we are happy. To make us believe that we are happy.

Palestinian Lament (1948) Anonymous (oral tradition)

O Thou, who ever answers him who calls Thee, and in Thy greatness gives form to the clouds.

O Thou, who gently spoke in the darkness with moses, inspiring his message and speech.

O Thou, who made Joseph return from his wanderings, heeding the desperate cries of his father.

O Thou, who chose ahmad, and singled him out as thy beloved servant, making him a generous liberator of those enslaved.

Instrumental: Lament for the City of Ani (1915) Anonymous Armenian (oral tradition)

El male rahamim (Hymn to the victims of Auschwitz), 1941 Historical recording by Shlomo Katz (1950)

O God, full of compassion, who dwells on high, grant true rest under the wings of the Divine Presence, among the holy and pure who shine as the resplendence of the firmament, to the souls of our brethren, children of Israel, who are holy and pure, and have died at the hands of murderers and have shed their blood in auschwitz, maidanek, Treblinka and the other extermination camps in europe, who have died and been incinerated, and have given up their souls to sanctify the Name of the lord, because we and our children remember them, for charity has been donated in remembrance of them. may their place of rest be in Paradise. Therefore, may the lord of mercy shelter them with the cover of His wings for ever, and bind their souls in the bond of life. The lord is their heritage; may they rest in their resting-places in peace, and let us say: amen.

17 | Je

ru

sl

ae

m | textste

xts

| Je

ru

sl

ae

m |

16

19 | Je

ru

sl

ae

m | perform

ers

PART VII

Earthly Peace: a duty and a hopeA plea for peace

Apo xeno meros (in greek) anonymous (oral tradition)

From a foreign, far-off land there came a twenty-year-old maid. Her eyes were black, her hair was fair, and a beauty spot on her cheek she had.

ghazali (in Hebrew) anonymous (oral tradition)

I shall sing a song in praise of the Torah. The lord wrought it out of fine, strong, precious gold. It was given to us by our shepherd and teacher, moses, It was given to us by our shepherd and teacher, moses.

ghazali (in Arabic) anonymous (oral tradition)

O, beloved, beloved, the wound of love in me has opened deeper and the moon has distracted me mid-moon, and then abandoned me. O, idle prattlers, do not blame me, for love is fashioned with illusions, I am mad with love, and desire the touch of him I love!

ghazali (Palestine) anonymous (oral tradition)

O Prophet of God, o you who are the best of all guides, Take my hand, o beloved, you who are most worthy.

Apo xeno meros (in greek) anonymous (oral tradition)/ Jordi savall (vocal ensemble)

Durme, hermosa donzella (in Ladino) anonymous (oral tradition from rhodes) sephardic ballad

sleep, sleep, fair maiden, sleep, my beauty, without worry or care. Here is your slave, whose only desire is tenderly to guard your sleep.

Üsküdar (instrumental) anonymous (oral tradition from Istanbul)

Final ensemble (tutti) All chants and improvisations together

Final fanfare

Against the Barriers of the Spirit Jordi Savall, 2008

The trumpets of Jericho Shofar (ram’s horn of abraham), anafirs (ancient Oriental trumpets) and tambours

Jordi Savall Director

LA CAPELLA REIAL dE CATALUNYA — david Sagastume countertenor Lluís Vilamajó tenor Furio Zanasi baritone daniele Carnovich bass

HESPÈRION XXI — Jordi Savall rebab & vielle Andrew Lawrence-King medieval harp Michaël grébil medieval lute & zither Jean-Pierre Canihac cornet Béatrice delpierre shawm daniel Lassalle sackbut Elies Hernandis sackbut Jean Imbert trumpet david Mayoral percussions & bells

THE TRUMPETS OF JERICHO — Yagel Harel Jean-Pierre Canihac Jean Imbert shofars daniel Lassalle Elies Hernandis anafirs david Mayoral dimitris Psonis percussion

gUEST MUSICIANS — ISRAEL Lubna Bassal voice Yair dalal oud Erez Shmuel Mounk percussions Yagel Harel shofar

PALESTINE Al-darwish (Sufi group of galilee) Khaled Abu Ali dance Husein Mahmud voice wahab Badarne voice & qanun Usama Abu Ali recorder & ney

ARMENIA Haïg Sarikouyoumdjian duduk gagik Muradyan kamancha

gREECE dimitris Psonis santur, morisca & percussion

TURKEY Hakan güngör kanun

REAdER Manuel Forcano Hebrew, Arabic, French & Latin

For melbourne recital Centre: Chlorissa gestier Concert & Event Manager

With the support of:

PERFORMERS

text

s |

Jer

us

la

em

| 1

8

21 | Je

ru

sl

ae

m | about the artists

ABOUT THE ARTISTS

One of the most important protectors of early music, Jordi savall has discovered a universe full of emotion and beauty, and in turn has presented it to millions of music lovers worldwide. Futhermore, through his busy schedule with over 140 concerts and 6 recordings a year, contribution to alain Corneau’s soundtrack of his film Tous les Matins du Monde and activity as visiting professor at the Juilliard school in New York, he demonstrates that early music does not have to be elitist and can remain relevant to younger audiences.

Jordi savall began his musical studies when he was six years old as a singer in the Children’s Choir of Igualada (Catalonia), his hometown. He went on to learn the cello, completing his studies at the Barcelona Conservatory in 1964. The following year, he began learning the viola da gamba and

performing early music with Ars Musicae before moving onto advanced studies in 1968 at the schola Cantorum Basiliensis (switzerland), where he taught between 1973 and 1993.

He has recorded over 200 CDs, many on his own record label alia Vox, covering music from the medieval, renaissance, Baroque and Classical periods, with a special focus on Hispanic and mediterranean musical heritages. His numerous accolades include “Officier de l’Ordre des arts et des lettres” (1988), the “Creu de sant Jordi” (1990), “musician of the Year” from Le Monde de la Musique (1992), “soloist of the Year” at the “Victoires de la musique” (1993), “la medalla de Oro de las Bellas artes” (1998), “Honorary member of the Konzerthaus” in Vienna (1999), Doctor Honoris Causa from the université Catholique de louvain (2000), from

Jordi savall is an exceptional figure in today’s music world and one of the most versatile musicians of his generation. For more than forty years he has been devoted to the rediscovery of abandoned musical treasures: forty years of research, of exploration, of performance and the direction of his three ensembles – Hespèrion XXI (1974), La Capella Reial de Catalunya (1987) and Le Concert des Nations (1989), all founded together with Montserrat Figueras.

ab

out t

he a

rtis

ts |

Je

ru

sl

ae

m |

20

Jordi Savall

JORdI SAVALL—

23

| Jer

us

la

em

| about the artistsabou

t the

art

ists

| J

er

us

la

em

| 2

2

the universitat de Barcelona (2006) “Victoire de la musique” for his professional career (2002), the “medalla d’Or” from the Parliament of Catalonia (2003), and the Honorary Prize of the “Deustchen schallplattenkritik” (2003). The book CD “Dinastia Borgia” received the 2011 Grammy award for Best small ensemble Performance. The same year, he received the International Classical music awards (ICma) for Best CD of ancient music. He has also received various “midem Classical awards” (1999, 2000, 2003, 2004, 2005, 2006 and 2010).

In 2008, Jordi savall was appointed “artist for Peace” into the goodwill ambassador’s program of the uNesCO. The following year, he was appointed “ambassador of the european Year of creativity and innovation” by the european union and received the “National Prize of music 2009” from the National Council of Culture and arts of the Catalan Government. In addition, Jordi savall has recently been appointed “Commandeur des arts et des lettres” and “Chevalier de l’Ordre national de la légion d’Honneur” by the French Department of Culture and in 2012, he received the léonie sonning music prize. In December 2013,Jordi savall was awarded the Doctor Honoris Causa by Basel university.

In 2010, Jordi savall received the midem Classical award for the book CD “Jérusalem, La Ville des deux Paix: La Paix céleste et la Paix terrestre”. He will present this programme across asia and the Pacific in april 2014, with performances at the sydney (Opera House), melbourne (recital Centre) and singapore (esplanade). Further highlights of the 2013/2014 season include two concerts at the sam Wanamaker Playhouse (shakespeare’s Globe) in its inaugural season; returning to london’s Wigmore Hall and presenting newly devised programmes War & Peace (1614-1714), Songs to the Earth (an homage to our planet), The Routes of Slavery and Music from the time of Ramon Llull.

montserrat Figueras and Jordi savall decided, in 1987, to recover the mediaeval institution of the Capella reial, founded in 1297 by king Jaume II. From 1990 the Capella reial began to receive support from the Generalitat de Catalunya (government of Catalonia) and thereafter became known as the la capella reial de catalunya.

From the outset the new ensemble has been devoted to the recovery and performance of mediaeval vocal polyphony as well as that of the Golden age in spain and in europe prior to the 19th century. Following the same artistic path as Hespèrion XXI, and always with great respect for each work’s profound spiritual and artistic dimension, la Capella reial de Catalunya superbly combines adaptation to the style of the period with the delivery and expressive projection of the poetic text.

The mediaeval and polyphonic repertoire of the la Capella reial de Catalunya today includes such essential works as Les Cantigues d’alfons X el savi, the Llibre Vermell de Montserrat, the misteri d’elx, the Cançoners del segle d’Or and pieces from the great masters of the renaissance and Baroque such as mateu Flecha, Cristóbal de morales, Francisco Guerrero, Tomás luís de Victoria, Joan Cererols, Claudio monteverdi, H. I. von Biber and W.a. mozart (the requiem).

Noteworthy also is the ensemble’s participation in the soundtrack for the film Jeanne La Pucelle (1993) by Jacques rivette about the life of Joan of arc, and the operas Una cosa rara by Vicent martín i soler, performed at the Théatre des Champs Élysées (1991), at the Gran Teatre del liceu and the auditorio Nacional in madrid (1989), and L’Orfeo by Claudio monteverdi, performed at the Gran Teatre del liceu in Barcelona (1993), at the Teatro real in madrid (1999), at the Wiener Konzerthaus and at the arsenal in metz (2001), at the Teatro reggio di Torino (2002) and again in the newly rebuilt liceu de Barcelona (2002), a DVD having been made of that performance (BBC- Opus arte). It was also performed in the Palais des arts in Brussels (2006) and at the Grand-Théâtre in Bordeaux and at the Piccolo Teatro in milano, Festival mito (2007). That opera by monteverdi and his Vespro, were performed at the inaugural concert of the edinburgh Festival in 2007, by the la Capella reial de Catalunya.

His recorded works have also received numerous awards, notable amongst which are the midem Classical award, the International Classical music awards and the Grammy award 2011 in the category of “Best small ensemble Performance” (Dinastia Borgia, alia Vox 2010). Currently directed by Jordi savall, la Capella reial de Catalunya, is busily engaged in performing concerts and making recordings and performs at the main international ancient music festivals around the world.

LA CAPELLA REIAL dE CATALUNYA—

Photo Cor Homes for La Capella Reial De Catalunya © Toni Peñarroya

inspired by the mediaeval vocal ensembles known as the chapels royal, veritable temples of music for which the great sacred and secular works of the iberian Peninsula were composed,

With a repertoire that encompasses the period between the 10th and 18th centuries, Hespèrion XXi searches continuously for new points of union between the east and West, with a clear desire for integration and for the recovery of international musical heritage, especially that of the mediterranean basin and with links to the New World.

In 1974 Jordi savall and montserrat Figueras, together with lorenzo alpert and Hopkinson smith, founded the ancient music ensemble Hespèrion XX in Basel as a way of recovering and disseminating the rich and fascinating musical repertoire prior to the 19th century on the basis of historical criteria and the use of original instruments. The name Hespèrion means “an inhabitant of Hesperia”, which in ancient Greek referred to the two most westerly peninsulas in europe: the Iberian and the Italian. It was also the name given to the planet Venus as it appeared in the west. at the turn of the 21st century Hespèrion XX became known as Hespèrion XXI.

Today Hespèrion XXI is central to the understanding of the music of the period between the middle ages and the Baroque. Their labours to recover works, scores, instruments and unpublished documents have a double and incalculable value. On one hand, their rigorous research provides new information and understanding about the historical knowledge of the period, and on the other hand, the exquisite performances enable people to freely enjoy the aesthetic and spiritual delicacy of the works of this period.

Hespèrion XXI’s repertoire includes, amongst others, the music of the sephardi Jews, Castilian romances, pieces from the spanish Golden age, and europa de les Nacions. some of their most celebrated concert programmes are les Cantigues de santa maria d’alfons X el savi, la Diàspora sefardí, the music of Jerusalem, Istanbul, armenia and the Folías Criollas. Thanks to the outstanding work of numerous musicians and collaborators who have worked with the ensemble over all these years Hespèrion XXI still plays a key role in the recovery and reappraisal of the musical heritage, and one that has great resonance throughout the world. The group has published more than 60 CDs and performs concerts for the whole world, appearing regularly at the great international festivals of ancient music.

HESPERION XXI—

Ancient music’s most important value stems from its ability as a universal artistic language to transmit feelings, emotions and ancestral ideas that even today can enthral the contemporary listener.

Photo Mare Nostrum for Hesperion XXI

25

| Jer

us

la

em

| about the artistsabou

t the

art

ists

| J

er

us

la

em

| 2

4

© Teresa llordés

27

| Jer

us

la

em

| our partnersin

spir

ed g

ivin

g |

Jer

us

la

em

| 2

6

Outwaremobile

Our Partners

Founding Patron:

Dame elisabeth murdoch ac dbe

melbourne recital Centre acknowledges the generous support of its business and philanthropic partners

supporting Partners:

Program Partners

Foundations

business Partners: International airline Partner

board Members:

Kathryn Fagg, Chair Peter Bartlett Tommas Bonvino

stephen Carpenter Des Clark John Higgs Joseph Corponi

margaret Farren-Price John Higgs Julie Kantor

Founding benefactors:

The Kantor Family The Calvert-Jones lyn Williams am

Helen macpherson smith Trust robert salzer Foundation he Hugh Williamson Foundation

Inspired giving

Principal Government Partner

LEADERSHIP CIRCLESArtist Development Leadership Circle Colin Golvan SC & Dr Deborah GolvanThe Vizard FoundationLife-long Learning Leadership CircleBetty Amsden OAM Kathryn FaggMaster class Leadership CircleCathy Lowy & John PriceNew Music Leadership CircleNaomi Milgrom AOPeter Jopling AM QCLocal Heroes Leadership CircleLady Marigold Southey ACWarwick & Paulette BisleyAndrew & Theresa DyerDr Garry Joslin & Prof Dimity Reed AMMajlis Pty Ltd

ENCORE BEQUEST PROGRAMAnonymous (2)Betty Amsden OAMJenny AndersonKen BullenJim Cousins AO & Libby CousinsDr Garry JoslinThe Estate of Beverley Shelton & Martin SchönthalMary Vallentine AO

MUSIC CIRCLE PATRONS PROGRAMMagnum Opus Circle ($20,000+)Betty Amsden OAM*Colin Golvan SC & Dr Deborah Golvan*Cathy Lowy & John PriceNaomi Milgrom AO*Lady Marigold Southey AC*Annamila Pty Ltd*The Playking Foundation

Virtuoso Circle ($10,000+)Jean HadgesMrs Margaret S Ross AM & Dr Ian C Ross*J.A. Westacott & T.M. ShannonMelbourne Recital Centre Board of Directors:

Kathryn Fagg*Peter & Cally Bartlett* Stephen Carpenter & Leigh EllwoodDes & Irene ClarkJoseph CorponiMargaret & Ronald Farren-Price Mr John Higgs & Mrs Betty HiggsJulie Kantor*

Majlis Pty Ltd*

Composers Circle ($4000+)Anonymous (2)Warwick & Paulette BisleyHarold & Krystyna Campbell-Pretty*Andrew & Theresa DyerGeorge & Laila Embelton Dr Helen Ferguson*Richard Gubbins*Yvonne Von Hartel AM & Robert Peck AM*Dr Alastair Jackson*Peter Jopling AM QC*Dr Garry Joslin & Prof Dimity Reed AM*Craig Reeves Maria Sola in memory of Malcolm DouglasJanet Whiting*Lyn Williams AM*Melbourne Recital Centre Senior ManagementMessage Consultants Australia Pty LtdThe Vizard Foundation*Youth Music Foundation Australia*

Musicians Circle ($2500+)Anonymous (1)Brian & Esther BenjaminEva Besen AO & Marc Besen AOJim Cousins AO & Libby Cousins*Jan & Robert Green*Sarah & Baillieu MyerJames OstroburskiChristine SatherDr Cherilyn Tillman & Mr Tam Vu*Drs Victor & Karen WayneGlobal Leadership Foundation*

Prelude Circle ($1000+)Anonymous (5)Adrienne BasserHelen BrackBill & Sandra BurdettBarbara Burge*John & Thelma Castles*Lord Francis Ebury & Lady Suzanne EburyMaggie EdmondLorraine Elliot AMPenny & Grant Fowler*The Leo & Mina Fink FundRosemary Forbes & Ian HockingSusan Fallaw*William J Forrest AMDr Jane Gilmour OAM*Angela GloverNance Grant AM MBESue Hamilton & Stuart Hamilton AOKristin & Martin HaskettJenny & Peter Hordern

Judith HoyPenelope HughesProf Andrea Hull AO*Michael & Gillian HundDarvell M Hutchinson AMHelen ImberStuart JenningsEd & Margaret JohnsonMichael & Silvia Kantor*Alan Kozica & Wendy Kozica Alison & David LansleyDiana Lempriere*Robert MacFarlaneSally MacIndoe*David Marr & Sebastian TesorieroMaria MercurioDr Richard Mills AM*Stephen Newton AOProf David Penington AC & Mrs Sonay Penington*Helen L PerlenDr Robert PiaggioLady Potter AC*Peter Rose & Christopher MenzRae RothfieldSamara, Countess of BeekmanMeredith SchillingKate & Stephen ShelmerdineBarbara & Duncan SutherlandElisabeth & Peter TurnerSally WebsterPeter Weiss AOIgor Zambelli

Supporters ($500+)Anonymous (1)The Hon Mary Delahunty*Margaret & Baden HaggerHans & Petra HenkellDr Robert Hetzel*George & Grace KassThe Hon Sen Rod Kemp MP & Ms Daniele Kemp*Peter & Barbara KollinerAnn LahoreAlison LeslieTravis Pemberton*Kerryn PratchettMargarita & Paul SchneiderGreg Shalit & Miriam FaineBarry & Barbara ShyingAnne Stonehouse AMJohn & Myriam Wylie

* Donations directed to the Elisabeth Murdoch Creative Development Fund. List of patrons accurate as of 8 April 2014.

We thank the following patrons whose generosity ensures the Centre can make a real difference in the lives of young artists and reach the broadest possible audience.

All donations, big or small, directly impact the Centre’s ability to provide transformative music experiences for everyone. Join us in support of one of the world’s great halls. To speak to the Director of Development, Sandra Robertson, please call 03 9207 2641 or email sandra.robertson@melbournerecital.com.au