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1971 IV:
Main Concert

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Programme

Page 1: Cover - details follow

1971 Main Concert Programme cover

Transcription

Programme 1971

Description

This image is based on the whole cover, front and back. All I had was a monochrome photocopy - the colours are from memory. It's a picture of a chorister made up of circles in very bright fluorescent colours - psychedelic, as we used to say. The same artwork was used for the record cover.1

Page 2

Transcription follows

1971 Main Concert Programme page 2

Intervarsity Choral Festival is an annual event in which members of nearly all Australian Universities come together for two weeks to prepare major choral works for public performance and to share in all the traditional Intervarsity activities. The first week is spent in rehearsal camp, usually away from the city where the Festival culminates. This year the first week has been spent in intensive rehearsal (and much light-hearted revelry) at Frensham School, Mittagong. The second week has been spent in similar activities here in Canberra. This year's Intervarsity will be the first, in the 22-year history of the intervarsity Choral Festival, to be centred on Canberra, and the first occasion on which the A.N.U. Choral Society has been host society.

22nd Intervarsity Choral Festival Committee

STEERING COMMITTEE: Ken Healey, Ayis Ioannides, Julian Brown
CONVENOR: Brian Hingerty
SECRETARY: Valerie Brown2
TREASURER: Ian Bollen
LIBRARIAN: Annabel Wheeler
BILLETING OFFICER: Julian Brown
SOCIAL DIRECTORS: Dorelle Pinch, Mark Hyman
TRANSPORT OFFICERS: Sue Baldwin, Gary Hovey

**********

CHORUS DIRECTOR: Ayis Ioannides

ACCOMPANISTS: Ann Thompson, Chris Burrell

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Page 3

Transcription follows

1971 Main Concert Programme page 3

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Page 4

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1971 Main Concert Programme page 4

22nd Intervarsity Choral Festival

PATRONS

Chancellor: H.C. Coombs, MA, PhD, Hon. D.Litt, Hon. LLD

Vice Chancellor: Emeritus Professor Sir John Crawford, CBE, MEc, Hon. DSc, Hon. DEc

COMBINED UNIVERSITIES CHOIR

CANBERRA SYMPHONY ORCHESTRA

HAYDN ALLELUIA SYMPHONY
BERGER BRAZILIAN PSALM
MOZART "GREAT" MASS in C MINOR

SOLOISTS

Joan Carden* Eleanor Houston
John Lander Geoffrey Brennan
Conductor Ernest Llewellyn
Chorus Master Ayis Ioannides

*By arrangement with the Australian Opera

CANBERRA THEATRE

Wednesday May 26th and Thursday May 27th at 8.15 p.m.

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Page 5

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1971 Main Concert Programme page 5

ERNEST LLEWELLYN, C.B.E. ... Musical Director

The CSO has been singularly fortunate to have as its Director of Music one of Australia's most talented musicians, Mr Ernest Llewellyn, C.B.E., a man with long experience in teaching, training and presentation of instrumental music in Australia.

Beginning his professional career as Viola sub-leader with the S.S.O. at the age of 17, he later held the position of Concert Master with that orchestra for 19 years. As a soloist Ernest Llewellyn was recognised by many as Australia's finest violinist. He was associated with the best in chamber music.

Apart from his excellence as an instrumentalist Mr Llewellyn had also established a firm reputation as a conductor of considerable merit before he came to Canberra.

AYIS IOANNIDES ... Chorus Master

Since his arrival in Canberra some eighteen months ago as a student in the Research School of Biological Sciences, Ayis Ioannides has accomplished a great deal on Canberra's musical scene. He is conductor of the A.N.U. Choral Society, and also of the reconstituted University Consort. He won high praise for his work as Musical Director of Menotti's Amahl and the Night Visitors in December 1970, and has since performed the same exacting task for The Happy Prince by Malcolm Williamson.

He brings to the Mozart Great Mass not only a profound love of this little-known work, but also a thorough knowledge of the style and mood of the work.

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Page 6

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1971 Main Concert Programme page 6

JOAN CARDEN ... Soprano

Went to London in 1961, studying with Vida Harford and at Trinity College of Music. She sang oratorio and recitals, broadcasting recitals and operas for the B.B.C. A prizewinner at Munich International Music Competition, she won also that year the $1,800 Stuyvesant Scholarship to London Opera Centre. She has sung at Glyndebourne, Sadlers Wells and the Royal Festival Hall. Recently took part in the Australian premiere of Handel's Dixit Dominus, in Sydney, and sang Haydn's Nelson Mass, Carmina Burana and Mozart's C Minor Mass in Sydney Town Hall.

ELEANOR HOUSTON ... Soprano

Eleanor Houston has been acclaimed as a Mozart singer since she sang the role of Donna Anna in Don Giovanni at Sadlers Wells. She later sang Mozart with simitar acclaim at Covent Garden: as the Countess in Marriage of Figaro she followed an Australian soprano, Sylvia Fisher, and was in turn succeeded in the role by another Australian, Joan Sutherland.

In concert work Miss Houston has sung under such conductors as Sir John Barbirolli, Sir Malcolm Sargent and Charles Mackerras. She has been soprano soloist in most standard works of the choral repertoire, but this will be her first C Minor Mass.

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Page 7

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1971 Main Concert Programme page 7

JOHN LANDER ... Tenor

Mr Lander began his singing career as an undergraduate in A.N.U. Choral Society. He attended Intervarsity Festivals in Melbourne and Brisbane.

He joined the Department of External Affairs as a cadet diplomat, and his first posting was to Kuala Lumpur, where he was an active member of the Selangor Philharmonic Society, singing tenor lead in productions of La Belle Helene and Carmen. He has sung a good deal of oratorio, and is continuing his work in opera with tenor leads in productions by The Opera Group in Canberra.

GEOFFREY BRENNAN ... Bass

Geoffrey Brennan has been singing in Canberra for eight years now, and Canberra audiences have become increasingly enthusiastic about his warm baritone voice and his impeccable musicianship. On the concert platform with visiting soloists he has sung the role of the Christus in both the Matthew and the John passions of Bach; at the other end of the musical spectrum he sang in the premiere performance of Donald Hollier's Orpheus and Euridice.

Mr Brennan is a lecturer in Accounting and Public Finance at the Australian National University. His services as a singer are much in demand in Canberra for both concert and opera performances.

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Page 8

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1971 Main Concert Programme page 8

PROGRAMME

GAUDEAMUS IGITUR

Symphony No. 30 in C Major ("Alleluia")       Haydn

Conducted by Ernest Llewellyn

Brazilian Psalm       Berger

Conducted by Ayis Ioannides

INTERVAL

Mass in C Minor (K. 427)       Mozart

Conducted by Ernest Llewellyn

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Page 9

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1971 Main Concert Programme page 9

Symphony No 30 in C Major ("Alleluia")       (Franz) Joseph Haydn (1732-1809)

The opening work of tonight's festival concert was written in 1765, some four years after Haydn's appointment to the court of Prince Esterhazy.

The idea of using church melodies in secular compositions seems to have appealed to Haydn's imagination. In a number of earlier symphonies (notably the so-called "church sonata" symphonies, Nos 18, 21 and 22) Haydn had begun experimenting with the use of church melodies in secular compositions. In the Symphony No 30 we find that the first movement is based on the Gregorian "Alleluia" melody sung during Holy Week, and it is likely that this part of the symphony was originally intended for performance on Easter morning.

The practice of building up a composition around a significant plainsong melody had been a well-used structural device for centuries. Haydn's particular method of construction is most interesting: he gives the Alleluia melody to the second violins and winds, and overlays it in typical baroque manner, with a heavily ornamented line in the first violins. The original plainsong melody is thus cunningly concealed in the midst of a splendid orchestral and melodic web. As in his earlier Symphony No 22, the church melody is further treated in such a way as to merge unobtrusively into the sonata form framework of the Allegro movement.

The Andante which follows is the first of a new type for Haydn. Its main features are the use of a dotted upbeat, the pert, almost prim nature of the melodic line, and a predilection for the 2/4 metre. The Minuet and Finale are merged in a Rondo entitled "Tempo di Minuette", a form which Haydn frequently used in keyboard sonatas and clavier trios.

Brazilian Psalm       Jean Berger (1909)

It had been hoped that Jean Berger would be present at this concert. He was to have been in Australia at this time as a guest lecturer for the second conference of the Australian Society for Music Education. However, Dr Berger's visit did not eventuate.

This short work, first performed in Australia at the Intervarsity Choral Festival of 1959, calls for a large part choir, and makes abundant use of Latin American rhythms and harmonies. It was no doubt inspired by the composer's stay in Brazil from 1939 to 1941.

The opening section of the work, with its dissonant clashes of unrelated major triads gives way to a mysterious melodic section. This is followed by a finale which is an improvisation with jazz-style syncopation on the word "Alleluia".

Brazilian Psalm has been performed once before in Canberra. This was in 1969, when it was also introduced by the Australian National University Choral Society. As chorus master Ayis Ioannides is fluent in the language, this performance will be given in the original Portuguese.3

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Page 10

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1971 Main Concert Programme page 10

Mass in C Minor (K. 427)       Wolfgang Amadeus Mozart (1756-1791)

Mozart's C Minor Mass, the highlight of this year's Intervarsity Choral Festival, is a work of large and magnificent architecture. It was written in 1782-3 and, like the Requiem of almost a decade later, it remains incomplete.

Mozart had begun work on the Mass in Vienna in the summer of 1782, one year after permanently settling there, and shortly before his marriage to Constanze Weber. From a letter to his father in 1783 we learn that he had made a vow that, if he brought Constanze as his wife to Salzburg, he would compose a Mass in thanksgiving, and would have it performed there with her as a soloist. The Mass in C Minor was the result of that vow, and it was first performed on 26th October, 1783 in St Peter's Church in Salzburg, with Constanze singing one of the soprano parts.

Unlike most of Mozart's earlier masses, the C Minor Mass is planned on a large scale, as a so-called "Cantata Mass", in which most of the subclauses of the Gloria and Credo texts are composed as separate, full sized movements, with each movement interpreting the individual character of its text. In its monumental grandeur and its decided leaning towards baroque polyphony, the work clearly reveals the tremendous influence of Bach and Handel, whose works Mozart was then studying. Yet the C Minor Mass is anything but a mere copy of past style. Written at a happy and hopeful time of Mozart's marriage, it combines a peculiar sweetness and tenderness with its underlying seriousness.

Of the five main sections of the Mass text (Kyrie, Gloria, Credo, Sanctus-Benedictus and Agnus Dei), the second half of the Credo and all the Agnus Dei are missing from this work. Much critical comment has been written on the omissions or losses. One possibility is that the Mass was unfinished at the first performance, and that the missing parts were supplied from other works. It was probably never completed by Mozart although, like his Requiem, some attempts have been made by people such as Alois Schmitt to supply the missing sections. In tonight's performance, the Schmitt edition of the score will be used, but only for those sections which Mozart actually wrote. The "filled in" parts supplied by Schmitt in 1901 will not be used.

The work is written for four soloists, double chorus and full Mozart orchestra, including trombones. The use of soloists is unusual in that the normal voicing of soprano, contralto, tenor and bass is not called for. Instead there are two outstandingly taxing and vocally spectacular soprano parts, both of which require coloratura singers. The sparing use of the solo men's voices invites several possible explanations. Perhaps Mozart intended writing tenor and bass solos in the parts of the mass which were never written (or have not survived). As it is, the tenor sings only in the trio Quoniam and in the Benedictus, while the bass sings in the Benedictus only.

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Page 11

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1971 Main Concert Programme page 11

The subdued C Minor Kyrie eleison (Lord, have mercy upon us), with its warm E flat major middle section Christe eleison (Christ, have mercy upon us) for solo soprano, opens the mass. It is the only Greek part in an otherwise Latin text.

The second main section, the Gloria, has been set to music by Mozart in seven separate movements. The first, Gloria (Glory be to God on high), is a triumphant C major chorus, largely in fugal writing but with recurring freer interludes. The F major Laudamus te (We praise thee), by way of contrast interprets "praise" as an expression of tenderness and love in an ornate coloratura aria for solo soprano. The Gratias (We give thee thanks for thy great glory}, with its tone of awe, begins with poignant, discordant outcries and gradually settles to a subdued conclusion in A minor. The Domine Deus (Oh Lord God) is a D minor duet for the two solo sopranos. The fifth section, the Qui tollis, in G minor, is one of the mighty peaks of the work and its sense of solidity is further reinforced by a somewhat Handelian power and the use of the baroque passacaglia principle. The E minor Quoniam (For thou alone art holy) is a terzetto for the two solo sopranos and the solo tenor. The Gloria section then concludes with a piece that begins with a short (six-bar) C major Adagio introduction upon the words "Jesu Christe", leading to the Cum Sancto Spiritu, a great fugue movement in C major.

The third main section, Credo, is a confession of faith. The opening C major section conveys the conviction of the text, and is written in an essentially free style. The next subclause, Et incarnatus est (And he was incarnate), awakens in Mozart warm, outgoing feelings of welcome, which anticipate to some extent the spirit of the later Benedictus. The section is an F major aria for solo soprano in gently swinging 6/8 rhythm. Of special note are the finely wrought coloratura figurations in which flute, oboe and bassoon also participate, intertwining their voices with the soprano above a discreet accompaniment in the strings. The remainder of the Credo section is missing.

The Sanctus opens slowly and solemnly, but leads in turn to a jubilant double fugue on the words Osanna in excelsis (Hosanna in the highest). The A minor Benedictus (Blessed is he that cometh) is a quartet for the four solo voices. This leads directly to a return of the last fifteen bars of the "Osanna". Thus concludes Mozart's C Minor Mass, as the final section of the sung mass text, the Agnus Dei, is also absent.

Annotations by Patricia Brown

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Page 12

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1971 Main Concert Programme page 12

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Page 13

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1971 Main Concert Programme page 13

CANBERRA SYMPHONY ORCHESTRA

MUSICAL DIRECTOR: ERNEST LLEWELLYN C.B.E.

DEPUTY CONDUCTOR: VINCENT EDWARDS

FIRST VIOLINS SECOND VIOLINS VIOLAS
Vincent Edwards (Concert master) Patricia O'Leary (Principal) *Priscilla Kennedy (Principal)
Josette Esquedin (Assistant Concertmaster) Marjorie Gilby Phyllis Wood
Ygraine Petrie Diana McCoy Erica Allen
Alyson Edwards Evelyn Sarvaas Marinus Bakker
Veronica Goldrick Monica Boyton Felix Slazenger
Maxwell Booth Sr. Mary William Elizabeth Youngman
Norma Hales Daphne Thomson Daniel Neumann
David Buckingham Ruth Barlow  
Harold Berry Allan Behm  
  Rosaleen McGovern  
'CELLI BASSES FLUTES
Christian Wojtowicz (Principal) *Guillaume Fraillon (Principal) Margaret Crawford (Principal)
Jean Wilson David Walsh Elizabeth Rice
Robert Stobie Kevin Spielman  
Mary Gellibrand David Evans  
Kathleen McKee    
Frances Fleming CLARINETS BASSOONS
Ann Thompson David Shephard (Principal) Martin Woolley (Principal)
James Dooley Clive Mathews Rosalind Carrodus
OBOES TRUMPETS TROMBONES
Anne Gilby (Leader) *Anthony Hermann Peter Robertson (Leader)
Patrina Nuske Michael Hauptmann Joseph Cook
    Neville Chynoweth
FRENCH HORNS TYMPANI  
Leonard Fischer (Principal) Christopher Nicolls  
Joseph David   *Visiting Players

Orchestra Manager - Peter Carrodus

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Page 14

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1971 Main Concert Programme page 14

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Page 15

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1971 Main Concert Programme page 15

Melbourne University Choral Society

Kenneth Anderson Rosemary Mackay Barbara Tattam
Martin Arnold Sean McMullen Christopher Vine
Jeff Clancy Elizabeth Parrett Jill Vine
Lynne Cunningham Jane Philcox Judith Wells
Geoffrey Down Elizabeth Russell Anne Wesley
Sheri Dudley Margaret Semple Kelvin White
Nicola Groves F. Sloan Barry Wilkes
Clare Hargreaves Colin Summerbell Jillian Wood
Peter Lowenstein Margaret Summerbell James Woodburn

Monash University Choral Society

Elizabeth Atkinson Susan Francis Jenny Russell
John Barlow Nerissa Haarhoft Gerri Savage
David Batterham Pamela Hjorth Hilary Seymour
Heather Belcher Keith Hoban Kathleen Shoobridge
Derek Brumley Jennifer Holdenson Hilary Stephenson
Pamela Bryan Rae McDonald Charles Thomas
Peter Chau Patricia Mander Marnie Thomas
Derrith Cochrane Celia Miles Yvonne Turner
Fran Dixon Amanda Muir Evan Zachariah
Elizabeth Edmondson Janice Newton  
Ruth Forster John Richardson  

Newcastle University Musical Society

Robin Cutting Vincia Knight Juliana Rigby
Allan Fenwick Helen MacDonald Cathy Seidl
Robyn Floyd Karl McLaughlin Roland Seidl
Diana Gibbs Peter Nicholas  
Cheryl Hutcheon Joss Philippa  

University of N.S.W. Choral Society

Christopher Allen Christina Karbowiak Vivian Shih
John Cunningham Bevan Leviston Jasmine Waller
Lesley Du Ve David McKenzie Peter Williams
Alan Isaacs Edmund Perrin Ross Worrall

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Page 16

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1971 Main Concert Programme page 16

A.N.U. Choral Society

John Aitchison Anthony Dooley Geoffrey Lancaster
Mary Alexander Janet Draper Michael Leonshal
Susan Baldwin Ann Duffy Deborah Martin
Ian Bollen Jill Fleming Ann May
Jill Brigden Alison Garnett Margaret McDonald
Julian Brown Malcolm Garnett Dorelle Pinch
Valerie Brown George Garnsey Linda Reid
Tanya Buchdahl Harriet Green Phillip Thomas
Judith Clingan Margot Haenke Charles Topp
Richard Cook Brian Hingerty Penny Vine
Maureen Corbette Gary Hovey Annabel Wheeler
Alison Currie Ewen Hutchinson Margot Zeggelink
David Dixon Mark Hyman  
Richard Dixon Elizabeth Ives  

Adelaide University Choral Society

Margaret Allen Michele Galazowski Diana Oakeshot
David Boehm Carolyn Goldsworthy Marta Pongracz
Denys Correll Judith Heard Rob Ranzijn
Alan Crooks Susan Hide Penny Reid
Avia Crooks Joan Juniper Barbara Rennison
Mary Davey Phillip Lock Sue Rennison
Martin Dooland Deanne Marshall Barbara Taylor
Julian Dunstone Trevor Marshall Michael Vanstone
Diane Eden Matthew Mitchell Thomas Wyld
Aliver Frank Jenny Newnham Julie Young

Flinders University Choral Society

Mary Braithwaite Rosemary Garrad Eugene Ragghianti
Judith Bruce Sally Goers Ewart Shaw
Peter Coppin Gemma Goldner Rosemary Stock
Charles Campbell Vernon Lewis Patricia Treagus
Thelda Felstead Heather Mutton Jeffrey Witt
Jean Ferguson Mary Nettle Helen Wood
Janine Friedrichs Elizabeth Osman  

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Page 17

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1971 Main Concert Programme page 17

Perth Undergraduate Choral Society

Paula Cressie Roger Gillison Susan Roller
Geraldine Doogue Timothy Mason Marie Sermon

Queensland University Musical Society

Sue Alexander Peter Klug Janine Russell
Inge Budtz-Olsen Daphne Lowe Delma Stormont
Judith Cannon Irene Lowe Alexandra Tait
Julia Crombie Pamela McCombe Barbara Tree
Jennifer Dawson Catherine McLeod Catherine Tully
Muriel Dorney Jennifer Miles Trevor Vincent
Laurie Dowling Roy Nicolson Lindy Ward
Gary Dowsett Mark Penman Anthony Watt
Janice Findlay David Ritchie Mark Whitmore
Anne Harding Rosemary Roater Esther Wilson
Leneve Hellyer Susan Robin Bernadette Wright
Gaynor Hennessy Leith Rogers  

Sydney University Musical Society

Anne Bischoff Andrew Kay Ruth Miller
James Bonnefin Robert Kay Jacqueline Moloney
Sybil Brown Mark Kotowicz Michael Moxham
Jenny Edwards Peggy Lawrenson Lesley Pantlin
Marion Ferguson Penelope Leck Martin Riley
David Freeman Lindsay MacDonald Clive Sazzer
Jill Fulton Robert Malcolm Christine Slattery
Richard Hartley Kathryn Marsh Jennifer Tye
Jill Kaldor Ruth Marsh Richenda Webb
Martin Kaldor Peter Millard Helen Wyatt

Tasmanian University Choral Society

Virginia Burley Christopher Mills Chris Thomas
Stuart Hamilton Roslyn Phillips David Thorp
Christina Hood Elizabeth Reynolds Heather Waugh
Gillian Logan Rodney Reynolds Amanda Wojtowicz

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Page 18

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1971 Main Concert Programme page 18

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Page 19

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1971 Main Concert Programme page 19

THE CANBERRA SYMPHONY ORCHESTRA INCORPORATED

PATRON: Mrs J.D. Anthony

EXECUTIVE

President: Dr D.A. Buckingham Vice-president: Mr F.S. Evatt
Secretary: Mrs B.A.H. Galloway Treasurer: Mr A.R. Bunsell
Officers: Mr M.B. Booth, Mr P.R. Carrodus, Mr K. Healey, Dr F.B. Homer

ACKNOWLEDGEMENTS

A festival of this kind is impossible without the help of many people and organisations. The committee of the 22nd Intervarsity Choral Festival wishes to thank all those who are billetting students and all who have provided such valuable assistance, especially:

 

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19

Review: Patricia Brown, "Memorable Mozart",
Canberra Times, 27 May 1971, p.19.

"Take 200 singing university students from as far away as Perth and Brisbane, the Canberra Symphony Orchestra ... and the result could only be one thing: the 22nd Intervarsity choral Festival. Last night in the Canberra Theatre the efforts of all who have worked towards this year's festival were well rewarded ... As both actor and commentator, the choirs proved responsive to its musical director, and ... there were only minor ragged edges and variations of pitch. Accepting the numerical terms of the performance, it was slightly disappointing that the soprano lines of the chorus often lacked an extra degree of assurance and volume ... The [Berger] was sung enthusiastically ... Its mild flirtations with Latin American rhythms provided a pleasant warm-up for the singers, and added another spice of variety to a thoroughly enjoyable concert-with-a-difference."

Peter Campbell, Laudate: the first 50 years of the Australian Intervarsity Choral Movement,
PC Publishing, Canberra, Australia 1999, p99. Also cited on Aicsapedia.

Notes

1I still have the record, but it has no cover. My Canberra IV record, along with all my other records, was left for months out in the rain on a dock somewhere between Zurich and Canberra. I had posted many belongings, carefully wrapped and sealed, home in 1975 but the record box had been kicked or bashed and then delayed. All the covers were ruined. I washed the records up like dishes to remove the mould. Curiously enough, they all still work perfectly well. smiley (1K)

2Formerly, and currently, Thomson

3When, in 1978 or so, Sue Baldwin was appointed to the Australian Embassy in Lisbon and began to learn Portuguese, she pointed out that what we sang in the Brazilian Psalm (or Braz. Ps., as it was affectionately known) was not Portuguese. I don't know who wrote the programme notes, but they didn't speak Portuguese either. We used a pronunciation that was somewhere between Latin and Spanish, but many characteristic features of Portuguese (like the "sh" sound of terminal "s") were missing.

 I am reminded of the time I coached SCUNA in German pronunciation (learning the Distler Mörike Lieder in 1969). Knowing only modern German, I was taken aback to read, in a review of our Individual Items performance at Adelaide IV that year, that the choir demonstrated excellent 17th Century German pronunciation!