Christopher van Tuinen Chorus DirectorAndrew Foote Vocal CoachLea Hayward Accompanist

SOPRANO Valerie Bannan Lisa BarrettMarian Birtwistle Anna Börner Kathryn Buselich Alinta CarrollPenelope Colgan Clara ConnorSarah CosstickCate CreedonCharmaine de WittErika DietrichCeridwen Dumergue Bronwyn Elliott Davina FarinolaLisa FaulksKath GoodmanLesley GoodwinPauline HandfordDiane HawkinsSue Hingston

Michelle JohnKatherine Langdon Elysia Murphy Sheila Price Fiona RobsonJane RoyleSarah Shneier Gosia SlawomirskiNike Titilola Etim Margo WarburtonNicole Zago ALTOJanet BaxterLlewela BennDaniela Birch Patsy BrownSue Coleson Catherine DunnJulie DurantKaye Fairbairn Jenny Fay

Susanna Fleck Louise GillettDianne Graves Robyn MainTina McDonald Margot MorganLynne NaylorKatrina NeserPhilomena NulsenDeborah Pearson Deborah PiesseClaire Taylor Olga WardMoira WestmoreJacquie Wright

TENOR John BeamishAllan GriffithsPeter HandfordDavid LancasterJohn MurphyGrant O’Neil

Jay ResoRay RombawaArthur TideswellStephen Turley Brad Wake

BASSJustin Audcent Charlie BondAllan DaviesTony ErringtonKen Gasmier Mark Gummer Brian KentBenjamin Lee Andrew LynchTony MarrionBen Martis Pat MellingPeter OrmondJim RhoadsMark Richardson

Glenn RogersSteve SherwoodChris SmithTim StrahanMark WiklundDonald Wilson Andrew Wong

FAURE’S REQUIEMWASO CHORUS SINGS

SUN 28 MAY 2PMST MARY’S CATHEDRAL, PERTH

DURUFLE Four motets on Gregorian themes (8 mins)

Ubi caritas et amorTota pulchra esTu es PetrusTantum ergo

Formed in 1988, the WASO Chorus brings together auditioned singers who volunteer their time and talents to perform under the WASO banner. The WASO Chorus is led by Chorus Director Christopher van Tuinen and Vocal Coach Andrew Foote.

For more information visit waso.com.au

WASO CHORUS

FAURE Requiem (38 mins)

Introït et KyrieOffertoireSanctusPie JesuAgnus DeiLibera meIn Paradisum

Christopher van Tuinen conductorPaull-Anthony Keightley baritoneWASO ChorusJacinta Jakovcevic organRebecca Glorie violinJohn van Beek boy soprano

PROGRAM NOTES

DURUFLE (1902-1986)Four motets on Gregorian themes, Op.10Ubi caritas et amor Tota pulchra es Tu es Petrus Tantum ergo

Organist and composer Maurice Duruflé produced a small but important number of works. Many of these, like his sublime Requiem, are based in the liturgical traditions of the Catholic Church and use traditional plainchant melodies as their starting-point. The melodies are always recognisable, but clothed in Duruflé’s rich, modally inflected harmony.Each of the four motets, composed in 1960, is based on a chant specific to a season in the church’s calendar.‘Ubi caritas et amor’, celebrating selfless charity, is sung on Maundy Thursday, when the priest emulates Jesus’ washing the feet of his disciples before the Last Supper.‘Tota pulchra es’, for women’s voices only, is a hymn to the beauty and perfection of the Blessed Virgin, with text from the books of Judith and the Song of Songs. It is associated with the feast of Mary’s nativity, and with that of the Immaculate Conception.‘Tu es Petrus’, for the feast of Saints Peter and Paul, commemorates the moment where Christ tells Peter that he is the rock upon which the church shall be built, traditionally held to be the institution of the papacy. ‘Tantum ergo’ sets two final verses of St Thomas Aquinas’ hymn, Pange lingua. These verses deal with the adoration of the consecrated bread, or host, which has become the body of Christ. It is sung at benediction, where the host is venerated, on the feast of Corpus Christi, and on Maundy Thursday, when the consecrated hosts are taken to the altar of repose. © Gordon Kerry 2017

FAURE (1845-1924)Requiem, Op.48 Introït et Kyrie Offertoire Sanctus Pie Jesu Agnus Dei Libera me In Paradisum

It has been said of my Requiem that it does not express the fear of death: someone has called it a lullaby of death. But that is how I feel death: as a happy deliverance, a longing for the happiness of the beyond, rather than a painful experience. - Fauré

Fauré’s Requiem is his one widely popular work, and indeed the only one of his larger-scale works to have found a secure place in the repertory. First performed in 1888 at a funeral in the Church of the Madeleine in Paris where Fauré was organist and director of music, the Requiem is a comparatively early work which reflects and sums up many of the features of its composer’s early style. It makes a memorable impression of serenity and contemplation, and has been praised by many commentators as highly appropriate to the Mass for the Dead. It has been said that Fauré’s Requiem is suited to liturgical use rather than concert performance. But it is by and large in the concert hall that it has become known, and special permission had to be obtained from the Church for it to be performed at Fauré’s own funeral. This is because of Fauré’s unconventional choice of liturgical texts – he omits the Dies irae, except for the Pie Jesu, and adds two movements whose words are taken from the order for Burial: the Libera me and the In Paradisum. It has been suggested that Fauré chose his texts to give greater prominence to the word requiem (rest).Fauré’s father died in 1885. Then his mother died on New Year’s Eve 1887-88, and it may have been this event which prompted him to complete the Agnus Dei, Sanctus, and In Paradisum, which, together with other movements of the original version, were the first performed. The Libera me, the most dramatic part of the work, was composed much earlier (in 1877), but added later – it is the only part which contains reference to the Day of Judgement.The musical style of the Requiem shows the influence on Fauré of his training at the École Niedermeier, founded to train organists and choirmasters. This school promoted the study of the masters of church music of the past, and even of the ecclesiastical modes used in Gregorian chant. This musical source is evident throughout the Requiem, most strikingly in the monotoned chant of the solo baritone in the Hostias. These sober passages are contrasted with long phrases of sinuous melodic curve, such as the themes of the Domine, Pie Jesu, Libera me and In Paradisum. Fauré’s great restraint is particularly evident in the orchestration of his Requiem. Several of the pieces which constitute it were first conceived as choruses with organ, and even in the final version with enlarged orchestra, the organ, with double basses, plays a kind of continuo role. Adapted from a note by David Garrett © Symphony Australia

VERBITSKY & WASO: 30TH ANNIVERSARY CELEBRATION

WASO CHORUS SINGSLUX AETERNA

Featuring the WASO Chorus, Antoinette Halloran (soprano), Bradley Daley (tenor) and Warwick Fyfe (bass) along with the Symphonic Chorus of UWA, this promises to be a dramatic celebration of conductor Vladimir Verbitsky’s 30 years performing with WASO.

An inspiring blend of the old and new, this concert features Bach’s masterful Chorales, music of twentieth-century masters and a new work by WASO’s Composer in Residence, Lachlan Skipworth.

Sun 24 September, 2PM St Mary’s Cathedral, Perth

BOOK NOW 9326 0000WASO.COM.AU

Fri 7 & Sat 8 July, 7.30PM Perth Concert Hall

Tickets from $46* Tickets $30*WASO Composer in Residence Lachlan Skipworth is supported by The Simon Lee Foundation

*A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction

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