ACU's BIG SING for a BIG CAUSE - detailed program

ACU's BIG SING for a BIG CAUSE

Big Sing for a Big Cause, presented by Australian Catholic University in collaboration with organisations and individuals from the wider community.

Saturday 24 August, 4PM

Performing Arts Centre at St Patrick's College, Ballarat

Sunday 25 August, 3PM

St Patrick's Cathedral, East Melbourne

---

ABOUT

The project advocates for and raises funds to support people struggling to find secure accommodation. Free tickets were offered to organisations that support Victoria's homeless community. The beneficiaries include the ACU Urgent Financial Hardship Grant and Peplow House Crisis Accommodation Support (Ballarat), a service of CatholicCare Victoria. Peplow House Crisis Accommodation Support https://www.googleadservices.com/pagead/aclk?sa=L&ai=DChcSEwis2pD60YCIAxXCqGYCHeSBIcIYABAAGgJzbQ&co=1&ase=2&gclid=Cj0KCQjw2ou2BhCCARIsANAwM2GCgpepcKTisVCr3EPqW85nobAKvN5h2CnJXGRpLEuo4a_A_tbS1CcaAvCxEALw_wcB&ohost=www.google.com&cid=CAESVeD28yZct5xTfxiG3Y6EG0HJrgEozzIkaZq-cMGkQ_HgBRk9PMrN81JHfsVe8gugGwsruxsdMEYRQoyRigJiUWfa3QqrbNfA-qIFRop4RHiuXIVrme8&sig=AOD64_2InGqGH8jZBftZHt_QG4rqRIV_zA&q&nis=4&adurl&ved=2ahUKEwjdx4v60YCIAxWVR2wGHY_4GWsQ0Qx6BAgUEAE

Special guest artists (25 August) include world-class Indigenous singer Jess Hitchcock and presenter Tracee Hutchison, renowned Australian broadcaster and journalist.

Other features artists include soprano Phoebe Paine, fresh from recent wins at the Adelaide and Sydney Eisteddfods, baritone Fr Michael Buck, and pianist Simon Stone. The massed chorus and chamber orchestra comprise the ACU Choir Melbourne and ACU Community Orchestra, students from Peninsula Grammar and Genazzano FJC College, members from community choirs including La Trobe University Choral Society, Monash University Choral Society, Justice Choir Naarm, Flinders Fringe Singers and Voices of Frankston, along with 24 members of GALS Auckland’s Rainbow Choir, directed by Nicholas Forbes (also featured on the organ). GALS performed the NZ premiere of Street Requiem in December, 2017.

Since its world premiere at Melbourne Recital Centre on June 7, 2014, in the Elisabeth Murdoch Hall, the critically acclaimed Street Requiem for those who died on the street has been performed more than 30 times worldwide by 6,000 people, raising more than $250,000 for charities supporting people who experience homelessness. Informed by the traditional Catholic Latin Mass for the dead, Street Requiem, by Kathleen McGuire, Andy Payne and Jonathan Welch, is a response to rising levels of poverty and violence on the streets. The work is a contemporary and highly accessible interpretation, pointing to the universality of homelessness and the basic rights of all humans to die with dignity. The work embraces multiple faiths/belief systems, genres, languages and styles, spanning Gregorian chant to rap, plus folk music and idioms from several continents.

The chamber orchestra version makes its Australian premiere in the BIG SING concerts. The 2024 program also premieres new music composed by McGuire and Payne to give a voice to people living on the street, asking "What will you say when they carry me away?", incorporating a rap component addressing street violence.

The performances are conducted by Dr Kathleen McGuire, a Senior Lecturer (Music Education) in ACU's Faculty of Arts and Education.

---

PROGRAM

WELCOME

Tracee Hutchison (25 Aug only)

SONG SELECTIONS

Jess Hitchcock (25 Aug only)

---

SELECTIONS PERFORMED BY

GALS Auckland's Rainbow Choir

Nicholas Forbes, Music Director

---

Massed choir and orchestra

Conductor: Dr Kathleen McGuire. Piano: Simon Stone. Organ: Nicholas Forbes.

STREET REQUIEM

for those who died on the street

by Kathleen McGuire, Andy Payne and Jonathon Welch (2014)

Orchestrations by McGuire

WARNING: OCCASIONAL REFERENCES TO VIOLENCE

LYRICS: complete lyrics (below).

Acknowledgement and Dedication [McGuire, Payne, Welch]

English translation of Persian: We will remember them, those who have walked upon the street and did not return.

Speaker: Joanie Smith. Tenor: Mehdi Panahzadeh

Audience: When invited, recite the Acknowledgement of Country:

NAARM (Melbourne)	BALLAARAT (Ballarat)
We respectfully acknowledge the Wurundjeri people of the Kulin nation, who are the traditional custodians of the land where we gather today. We also pay respect to elders, past and present, and extend that respect to other Aboriginal and Torres Strait Islander people present.	We respectfully acknowledge the Wadawurrung and Dja Dja Wurrung people, who are the traditional custodians of the land where we gather today. We also pay respect to elders, past and present, and extend that respect to other Aboriginal and Torres Strait Islander people present.

Program notes: It is customary in parts of Australia to formally acknowledge the traditional owners of the land on which major ceremonies and events take place. The words are often read by an authority figure before the main business commences, paying respect to ancient peoples especially when land may have been forcefully acquired. In honouring those who have died on the street, we also wanted to acknowledge the traditional owners of the land upon which the streets have been built. As such, the Acknowledgement has been integrated as part of STREET REQUIEM’s opening movement.

At the premiere performance, the Choir of Hope and Inspiration - the street choir that began as the Choir of Hard Knocks in 2006 – performed the Acknowledgement. Many of the choir’s members had experienced life on the street or other forms of significant disadvantage. For the choir members, their relationship with the street was problematic; for some it had been a place to call home or a place to find friends and companionship. It is often a place of sadness, violence and rejection, and – for some – a final resting place.

Individuals from the choir stepped forward as solo voices and emphatically recited the Acknowledgement, and then all members of the street choir joined together to restate the message. All participants took this responsibility seriously. In preparation, the choir members talked about the meaning of the words and showed tremendous empathy for the feelings of Indigenous communities. In this way, the STREET REQUIEM commenced with one often marginalised group formally and symbolically acknowledging the position of another. When the STREET REQUIEM is performed in other countries, it is intended that local custom can be adopted to acknowledge indigenous communities in a similar manner during this introductory passage. This has been adopted in performances in the US and New Zealand, acknowledging and honour Native American and Māori people respectively.

As the Acknowledgement concludes we hear the deep drone of an Indigenous instrument, known by a variety of regional names and commonly as the yidaki (making a sound known as didgeridoo). This is doubled by sustained notes on string instruments, which may suffice alone if a yidaki player is unavailable.

After the Acknowledgement, a new solo voice is heard from a distance, as if calling from a rooftop in the city, chanting an improvised vocalisation in the style of a Muslim call to prayer. The words sung in Persian (Farsi) entreat us to remember those who have died on the street. In the premiere, this solo was intoned by a young man far from his home in the Middle East. The violent deaths on the streets of his native city caused him to seek sanctuary in a new land.

Our pairing of the yidaki with the Persian chant is an unusual one, although they are both rooted in ancient cultures. The inspiration for the juxtaposition arose particularly from the work Jonathon and Andy were doing with Voices Without Borders – an asylum-seekers choir in Melbourne – in the months leading to the premiere. While learning songs in English, the asylum seekers were also keen to share their own music traditions. Morteza Teimouri, the young man who sang the chant in the premiere, was one of the first to sing for the group. The unusual tonality and hauntingly beautiful nature of his delivery was a perfect fit. His joy and delight in performing was a special feature of the premiere. In it he found a recognition and acceptance that had yet to be formalised by the authorities.

ACKNOWLEDGEMENT & DEDICATION - NOTES (click < to open/close)

 It is customary in parts of Australia to formally acknowledge the traditional owners of the land on which major ceremonies and events take place. The words are often read by an authority figure before the main business commences, paying respect to ancient peoples especially when land may have been forcefully acquired. In honouring those who have died on the street, we also wanted to acknowledge the traditional owners of the land upon which the streets have been built. As such, the Acknowledgement has been integrated as part of STREET REQUIEM’s opening movement.

At the premiere performance, the Choir of Hope and Inspiration - the street choir that began as the Choir of Hard Knocks in 2006 – performed the Acknowledgement. Many of the choir’s members had experienced life on the street or other forms of significant disadvantage. For the choir members, their relationship with the street was problematic; for some it had been a place to call home or a place to find friends and companionship. It is often a place of sadness, violence and rejection, and – for some – a final resting place.

Individuals from the choir stepped forward as solo voices and emphatically recited the Acknowledgement, and then all members of the street choir joined together to restate the message. All participants took this responsibility seriously. In preparation, the choir members talked about the meaning of the words and showed tremendous empathy for the feelings of Indigenous communities. In this way, the STREET REQUIEM commenced with one often marginalised group formally and symbolically acknowledging the position of another. When the STREET REQUIEM is performed in other countries, it is intended that local custom can be adopted to acknowledge indigenous communities in a similar manner during this introductory passage. This has been adopted in performances in the US and New Zealand, acknowledging and honour Native American and Māori people respectively.

As the Acknowledgement concludes we hear the deep drone of an Indigenous instrument, known by a variety of regional names and commonly as the yidaki (making a sound known as didgeridoo). This is doubled by sustained notes on string instruments, which may suffice alone if a yidaki player is unavailable.

After the Acknowledgement, a new solo voice is heard from a distance, as if calling from a rooftop in the city, chanting an improvised vocalisation in the style of a Muslim call to prayer. The words sung in Persian (Farsi) entreat us to remember those who have died on the street. In the premiere, this solo was intoned by a young man far from his home in the Middle East. The violent deaths on the streets of his native city caused him to seek sanctuary in a new land.

Our pairing of the yidaki with the Persian chant is an unusual one, although they are both rooted in ancient cultures. The inspiration for the juxtaposition arose particularly from the work Jonathon and Andy were doing with Voices Without Borders – an asylum-seekers choir in Melbourne – in the months leading to the premiere. While learning songs in English, the asylum seekers were also keen to share their own music traditions. Morteza Teimouri, the young man who sang the chant in the premiere, was one of the first to sing for the group. The unusual tonality and hauntingly beautiful nature of his delivery was a perfect fit. His joy and delight in performing was a special feature of the premiere. In it he found a recognition and acceptance that had yet to be formalised by the authorities.

---

Introit – Requiem Aeternam [McGuire, Payne, Welch]

English translation of Latin:

Rest eternal, always. Give us peace. Let eternal light shine on them.

Solo voice: Phoebe Paine (Aug 24). Jess Hitchcock (Aug 25).

INTROIT - PROGRAM NOTES (click < to open/close)

 As the sung Dedication dies away, the full choir gradually enters with a pulsing ostinato. The words, in Latin, pray for eternal rest for the souls of the departed. There is an underlying tension in the music that reflects the sudden and sometimes violent nature of death on the streets. The ostinato heard here was the first thematic material composed for STREET REQUIEM. Introduced by Jonathon at our first composers’ meeting, it underpins the intent of the work; Jonathon described the uneasiness felt in the theme as ‘the voice of the streets.’ It is heard again in a revised and elongated form in the final movement.

---

Ubi Caritas – Charity and Love [Payne & Welch, arr. McGuire]

English translation of Latin: Where there is charity and love, God is there.

Translation of Greek: Lord have mercy, Christ have mercy.

UBI CARITAS - PROGRAM NOTES (click < to open/close)

As a prelude to the movement, audience members are invited to respond to the Ubi Caritas chant in the ancient Gregorian tradition. The chant then appears in the movement, which the audience can also join with as a way of bringing a unity to this message of hope.

 In this movement, the audience is addressed directly by the voices of people living the street. The Choir of Hope and Inspiration sang the almost accusatory message at the premiere. The music is upbeat and challenging. The refrain incorporates words taken from an ancient hymn, but the syncopated rhythm could not be further from the Gregorian chant with which they are usually associated: “Ubi caritas et amor deus ibi est” - where there is charity and love, there will you find the spirit of god.

This movement was written specifically for performance by the Choir of Hope and Inspiration. Their story and the work of Jonathon and Kathleen with people who are homeless or disadvantaged was central to the audience’s expectations of the work. Knowing that learning a large, formal work with foreign language in a short time frame would prove a challenge for some in the choir, Andy suggested we incorporate Latin text that the singers already knew from a previous song. He knew they could pronounce the words and - most importantly - that they understood and could empathise with the meaning. The English words of the movement were written for what Andy envisaged as a gentle lullaby, but when Jonathon received the draft he had very different ideas. Jonathon composed the driving, accusatory arrangement that you now hear.

Sung by a street choir, the movement has a particular poignancy, but other contexts are also possible. At a subsequent performance when sung by a high school boys’ choir, for instance, the singers wore caps and ‘hoodies’ to represent and challenge our image of youth on the streets.

Kyrie – City Hymn [McGuire & Payne]

English translation of Greek: Lord have mercy, Christ have mercy.

KYRIE - CITY HYMN - PROGRAM NOTES (click < to open/close)

Kyrie Eleison – City Hymn

The City Hymn starts with the traditional Greek prayer: Kyrie eleison, Christe eleison - Lord have mercy, Christ have mercy – used almost in exasperation. It is as if, in our name, municipal officials are anxious to preserve the image of the city even in the face of death on the street. Juxtaposed is the hymn in praise of the city. The words of John Newton are unchanged but reinterpreted. The city is likened to Sion, idealised as a utopia providing wealth and sustenance to its inhabitants. The uneasy rhythms of the hymn suggest that all is not well. The movement concludes on a single sustained note, which continues attacca into the judgement of the Dies Irae.

Violent death on the street is not uncommon and many innocent people have been killed by random acts of violence, but it was a single incident during the composition period that led Andy to the blunt chorus of the Kyrie. A man well known to homeless charities in Melbourne was killed under a popular bridge in the city. The young man accused of the killing had attended one of Melbourne's most prestigious schools. The obvious headlines were written, but in the days following the incident the city authorities were criticised when the papers reported that the man’s possessions, and indeed his blood, were still on the street where he had been killed.

Melbourne, in common with many cities, covets its reputation as 'The world's most livable city', but as with many cities there is an uncomfortable side to Melbourne's story. Andy wanted to write an ironic hymn in praise of the city. Having an idea for the basic rhythm and tune, Andy was thumbing through Hymns Ancient and Modern when he came across John Newton's “Glorious Things of Thee are Spoken.” 'Sion' became Melbourne, and the sentiment was perfect. The words of the hymn suggest that the glorious city has been given to its residents by god, but in the STREET REQUIEM’s context these words may be interpreted with an ironic twist.

Dies Irae – Day of Judgement (McGuire & Payne)

English translation of Latin: That day is a day of wrath. Earth in ashes. Judge not, that you may not be judged.

DIES IRAE - DAY OF JUDGEMENT - PROGRAM NOTES (click < to open/close)

Dies Irae – Day of Judgement

The sustained, unison B-flat that concludes the Kyrie gives way to the Dies Irae motif, which opens the fifth movement. The simple theme becomes increasingly insistent as the choral parts develop. At the moment of crescendo, the repeated theme is interrupted by a new tune and words: “Nolite judicare et non judicemini,” a Latin translation of the gospel writer Matthew’s words: “Do not judge others for this will bring judgment upon you.” When the main theme returns, the words are now in English. At first we hear a restatement of the idea of being called to account in a final judgment, but as the theme shifts in intensity, the words move to a modern reflection of our judgment of others, especially those who we do not know or do not understand. Matthew's words return to remind us of the danger in judging others and the judgement theme from the next movement is previewed. The movement ends suddenly as if in judgement of itself.

The Dies Irae sat unwritten for much of the composition period. How do composers tackle a text setting with such an illustrious history? In the end, the piece almost wrote itself. As the team sat down together after a long and particularly taxing day, there was only the original Latin and a few scraps of English text on the table. Somehow, two hours later the piece was all but finished. There were ideas bouncing around the group, a snippet here, a lyric there, while Kathleen recorded, arranged and referenced musical motifs from other STREET REQUIEM movements as we went. The result was a movement reminiscent of a rock anthem; a truly collaborative effort.

Libera Me – What Will You Say [McGuire & Payne, 2024] premiere

English translation of Latin: Free me, lord, from death eternal.

Rap: Ethan Winters. Solo singers: Jesse Fraser, Joanie Smith.

Chanters: Fr Michael Buck, Br Isaac-Seraphin Webb OFM Cap

LIBERA ME - PROGRAM NOTES (click < to open/close>

Offertorium – Reflection [McGuire, Payne, Welch]

Chanters: Fr Michael Buck, Br Isaac-Seraphin Webb OFM Cap

OFFERTORIUM - PROGRAM NOTES (click < to open/close]

Pie Jesu [Welch, arr. McGuire]

English translation of Latin: Holy Jesus lord, give them rest, eternal rest.

Solo: Phoebe Paine (24 Aug). Jess Hitchcock (25 Aug).

PIE JESU - PROGRAM NOTES (click < to open/close)

Pie Jesu

The original Latin is used without alteration in the hauntingly beautiful Pie Jesu. Jesus – an important figure in many religious beliefs and revered by Christians as the Son of God – is implored to grant eternal rest to those who have died. Soloist and choir repeat the imploration, which concludes in a note of hope.

While mastering new music software, Jonathon wrote the Pie Jesu as a stand-alone exercise. It was not originally intended to be part of the STREET REQUIEM, but Kathleen and Andy loved it from the moment they heard it. The team soon agreed that the Pie Jesu would serve as the work’s specifically Christian offering. 

The Pie Jesu is unusual amongst the movements in the STREET REQUIEM because it contains no English translation or interpretation. The Latin text is a prayer addressed to Jesus and as such might be said to be relevant only to particular religious groups, however we felt that any further adornment would be unnecessary for the movement. The soloist with the choir’s sopranos and altos provide particular peace and tranquility, a welcome contrast after the turbulence of the Dies Irae.

Agnus Dei – Lamb of God (McGuire & Payne) Soprano: Phoebe Paine. Baritone: Father Michael Buck.

Notes

Agnus Dei – Lamb of God

The supplication of this movement is repeated to the 'Lamb of God.' As one who has known great suffering, the Lamb is called upon to give peace to us all. Our English interpretation references the prayer to the street as the Lamb of God is entreated to find the supplicant ‘somewhere to sleep’ as a prelude to ‘eternal peace.’

Arranged for two solo voices in a neo-Baroque style, this is the only movement without choral input. The performance score includes parts for a string quartet, which provides a delicate richness. Should resources not be available, the movement can be performed with piano accompaniment and possibly one solo instrument. The additional line for a solo violin (as shown in the piano-vocal score) could be substituted by a reed instrument.

Gloria – Senzeni Na – Anthem of Empowerment (McGuire) – English translations, Latin: Glory to god in the highest. Xhosa or Zulu: Evil has no power over us. Power to the people (the power is ours). What have we done? Tenor: Jason de Worsop. Soprano: Phoebe Paine.

Notes

Gloria – Senzeni Na - Anthem of Empowerment 

The Gloria, an unexpected inclusion in a requiem setting, is included here to remember and to offer empowerment to street children everywhere. The setting is African in style, from a continent on which children have suffered greatly. The movement begins with a jubilant chorus of praise, initially in the traditional Latin. As the movement progresses we hear the Zulu “Akanamandla” interposed with the traditional Latin text. Two of the beatitudes, “Blessed are the meek” and “Blessed are the poor”, form a bridge to the reflective “senzeni na” - “what have we done?” repeated in Zulu and then in English, then sped up to symbolise reclamation. The movement concludes with a joyous return to the original theme, representing hope even in the face of tragedy. The Gloria’s accompaniment is scored for piano and multiple percussion and no strings. As such, the string players may be utilised to play percussion instruments. Although not performed in the premiere, ad lib ululations embodying unbridled joy are encouraged - as shown in the score - if a suitable singer is available. It is recommended that the choir should sing this movement from memory so that they may comfortably clap and sway.

Why is an African-inspired movement included in STREET REQUIEM? The answer lies in a trip to South Africa that Kathleen made in January and February 2014. In particular, Kathleen was profoundly moved by her visit to Soweto and the Hector Pieterson Museum. As an educator herself, the story of police killing 12-year-old Hector Pieterson and many other children on the 16th of June 1976 was particularly confronting. A local guide named Neo showed Kathleen around the Soweto and Johannesburg. Neo, himself just a boy on the streets in 1976, was present at the shooting and the 18 months of school strikes and police brutality that ensued. He introduced Kathleen to the song “Senzeni Na” and explained the deep meaning the words meant to him, to his people and to this tragic moment in history. He entreated her to share this important story with others. Shortly after she returned to Melbourne, Kathleen wrote the Gloria. The choir’s music represents children rising up against oppression, while the soloist exclaiming “Amandla” represents Winnie Mandela inciting the masses to take action.

Lacrimosa – Night Tears (McGuire & Payne) – English translation of Latin: That tearful day, rises from the ashes to be judged. Soprano: Audrie Sexton McGuire

Notes

Lux Aeterna – Remember Them (McGuire & Payne) – English translation of Latin: Let eternal light shine upon them with your saints forever. Give them peace. Let it shine forever. Rest.

Notes

Chanters: Father Michael Buck and Brother Isaac

*Audience will be invited to join in by leader Marian Jenkinson. Further details on right.

---

Lyrics and translations

Words and music by McGuire, Payne and Welch, unless stated otherwise. Latin text from the traditional requiem mass. English translations or interpretations shown bracketed in Italics.

1. Acknowledgement and Dedication

[Traditional Australian Acknowledgement of Country. Persian translation and transliteration by Sara Ilyas Iliya.]

Chorus (spoken), solo.

We respectfully acknowledge the Wurundjeri people of the Kulin nation, who are the traditional custodians of the land where we gather today. We also pay respect to elders, past and present, and extend that respect to other Aboriginal and Torres Strait Islander people present.

 لن ننساهم..... لن ننساهم، كل الذين مشوا على الطريق و لم يرجعوا.

Transliteration:  lan nansahom, lan nansahom.... kul el-latheen nashoo ala ettareeq wa lam yarja-oo.

(We will remember them; those who walked upon the streets but did not return.)

2. Introit – Requiem Aeternam

[McGuire, Payne, Welch]

Chorus, solo.

Requiem aeternam. (Bring them eternal rest.)

Bring them peace. Dona eis pacem. (Give them peace.)

Honoured now, not forgotten.

Requiem sempiternam et lux perpetua luceat eis.

(Give them everlasting rest. Let perpetual light shine upon them.)

3. Ubi Caritas – Charity and Love 

[Words: Payne. Music: Welch. Arr: McGuire]

Chorus.

 What is it that scares you when it’s change I’m looking for?

What is it that scares you, that makes you bar the door?

What is it that scares you when my hand’s stretched out this way?

What is it that scares you, that makes you turn away?

Why do you spend your time now watching life from the stalls?

While all the drama happens outside the concert hall.

Ubi caritas et amor deus ibi est.

(Where there is charity and love, there you will find the spirit of god.)

What is it that makes you rush past me, who can tell?

Can it be you see now our lives in parallel?

What is it that scares you, that makes you turn away?

What is it that scares you when I’m dying in this way?

4. Kyrie Eleison – City Hymn 

[Verses by John Newton (1725-1807). Music and additional words: Payne. Arr. McGuire]

Chorus.

Kyrie eleison, Christe eleison (Lord have mercy, Christ have mercy)

Wind back the tape from the road so that traffic can run.

Wash all the blood from the street so the tourists still come.

Glorious things of thee are spoken, Sion, city of our god;

He, whose word cannot be broken,

Formed thee for his own abode.

On the Rock of Ages founded, what can shake thy sure repose?

With salvation’s walls surrounded,

Thou mayst smile at all thy foes.

See the streams of living waters, springing from eternal love.

Well supply our sons and daughters,

And all fear of want remove.

Who can faint while such a river

Ever flows their thirst t’assuage?

Grace, which from the love, the giver,

Never fails from age to age.

Saviour, if of Sion’s city, I, through grace, a member am,

Let the world deride or pity, I will glory in thy name.

Fading is the worldling’s pleasure,

All his boasted pomp and show.

Solid joys and lasting treasure, none but Sion’s children know.

5. Dies Irae – Day of Judgement

[McGuire, Payne, Welch]

Chorus.

Dies irae, dies illa, solvet saeclum in favilla.

(That day will be the day of judgement, when the world will dissolve into ashes.)

Nolite judicare ut non judicemini.

(Do not judge others lest you be judged yourself.)

Day of judgement, day of fury, time to face the final jury.

Raise the dead to judge the living, final ending, no forgiving.

Read the paper, point the finger,

Close your mind, opinions linger.

Judge your neighbour, close the border,

Put the blame on law and order.

6. Pie Jesu 

[Music: Welch. Arr. McGuire]

 Solo, chorus.

Pie Jesu domine, dona eis requiem.

(Merciful Jesus, O lord, grant them rest.)

7. Agnus Dei – Lamb of God

[Words: Payne. Music: McGuire, Payne]

Duet.

Lamb of god, who taketh away the sins of the world,

Find me somewhere to sleep.

Lamb of god, who taketh away the sins of the world,

Grant eternal peace.

Agnus dei. (Lamb of god.)

8. Gloria – Anthem of Empowerment

[Music: McGuire. “Senzeni na” - traditional South African anti-apartheid folk song.]

Chorus, solos.

Gloria in excelsis Deo. Hosanna in excelsis Deo.

(Glory to God in the highest. Praise God in the highest.)

Akanamandla. (Evil has no power over us.)

Blessed are the meek, for they shall inherit the earth.

Blessed are the poor, for they’re worth so much more.

Senzeni na? (What have we done?)

We are your daughters, we are your sons, we’re innocent, our lives are young.

What have we done, what have we done? What have we done, what have we done?

Amandla awethu! (Power to us!)

9. Lacrimosa – Night Tears

[Words: Payne. Music: McGuire; traditional Celtic folk song]

Solo, chorus.

She moved through the street as she moved through the fair.

With footsteps beside her, the wind in her hair.

The swan on the river, the shark in the bay.

And life, like the tide, slowly ebbing away.

She could be your daughter; he could be your son.

With footsteps behind her, an evil is done.

The stars keep on shining, they’ve nothing to say;

The angels are weeping as god looks away.

Dies illa lacrimosa, qua resurget ex favilla.

Dies illa lacrimosa, judicandus homo reus.

(That day is one of weeping, when the guilty man shall rise from the ashes to be judged)

10. Lux Aeterna – Remember Them

[Words: Payne. Music: McGuire]

Solos, chorus.

Lux aeterna luceat eis, cum sanctis tuis, in aeternum.

(May an eternal light shine upon them, with the angels forever.)

May you find a resting place, safe in love’s embrace.

Dona eis pacem. (Give them peace.)

Remember them. We remember them.

May you come to rest in peace, you will be remembered.

Dona eis pacem. Dona nobis pacem.

(Give them peace. Give us peace.)

We remember them.

---

CHOIR MEMBERS

(insert names)

ORCHESTRA MEMBERS

(insert names)

---

FEATURED ARTISTS

(click on > to expand)

FATHER MICHAEL BUCK, baritone

NICHOLAS FORBES, conductor & organist

JESS HITCHCOCK, mezzo soprano

TRACEE HUTCHISON, master of ceremonies

KATHLEEN MCGUIRE, conductor & composer

PHOEBE PAINE, soprano

ANDY PAYNE, composer

SIMON STONE, pianist

BROTHER ISAAC WATT, baritone

MEHDII, tenor

AUDRIE SEXTON MCGUIRE, soprano

Fr Michael Buck, baritone

Fr Michael is a Catholic priest with a passion for sharing the Gospel of Jesus Christ with the world. Growing up in Melbourne, Australia, Father Michael trained for the priesthood at Corpus Christi College and the University of Divinity in Melbourne, and at the Pontifical North American College and Gregorian University in Rome, Italy. After his priestly ordination in 2019 he returned to Rome to pursue further studies at the Patristic Institute Augustinianum where he studied ancient languages, theology and patristic sciences. During this time he lived with the community of priests at Saint Louis of the French and served as Curate and Chaplain by appointment of the Ambassador of France to the Holy See. Since returning to Melbourne at the end of 2021, Fr Michael has taken up appointments as Assistant Priest and Master of Ceremonies at Saint Patrick’s Cathedral, Chaplain to Australian Catholic University, Lecturer in Church History and Systematic Theology at Catholic Theological College and Archdiocesan Master of Ceremonies. He speaks English, Italian and French and in his spare time is working on Spanish.

ENSEMBLES

(click on > to expand)

ACU CHOIR

GALS AUCKLAND'S RAINBOW CHOIR

LA TROBE UNIVERSITY CHORAL SOCIETY

JUSTICE CHOIR NAARM

MONASH UNIVERSITY CHORAL SOCIETY

ACU COMMUNITY ORCHESTRA

PENINSULA GRAMMAR SCHOOL

VOICES OF FRANKSTON CHOIR

---

ACKNOWLEDGEMENTS

Volunteers, community partners and contributors

Andrew Howell - Australian Intervarsity Choral Societies Association, Assistant State Manager

Emilie Ng

Rehearsal pianists, ACU Choir: Lisa Lavey, Atri Arinia

Rehearsal pianist, massed rehearsals: Simon Stone

Claire Thorn, Flinder Fringe Festival

Rev Keiron, St John's Anglican Church, Flinders

Dr Beth Rankin, Ticket Manager

Audrie Sexton McGuire - Child Liaison Officer / First Aid / Risk Assessment

Megan Goadby - Child Liaison Officer / First Aid

Charles Wales - photographer

Rowdy Partner (James Carrett and team) - AV, Live stream

Fr Michael Buck

Dr Kathleen Plastow, Stage Manager

Alex Tandberg, ACU video productor

Charles Wales, photographer

Christina Cushen, ACU Choir manager

Ivy Ilyes, ACU Orchestra coordinator

Courtney K, ACU rehearsal manager and assistant stage manager

James Carrett and crew, Rowdy Partner

Julie Allen, Philip Matthias and staff, St Patrick's Cathedral

Catholic Archdiocese of Melbourne

Brunswick North West Primary School

Kerry Gerraty and Trudie Price, Voices of Frankston

Richard Vaudrey, Simon Stone, Dania Cornelius, Vicki Maclachlan - Peninsula Grammar

Andrew Jirik, Steven O'Connor, Geoffrey, Matt, Samantha, (?) - St Patrick's College, Ballarat

Liz G and N,... - CatholicCare Victoria

Lindsay ? - District Governor, Rotary

Andrew ? - Rotary Club of Wendourree Breakfast

Ross Carroll - Front of House

Tara Blot

Andy Crow - Front of House

Marian Jenkinson, audience conductor

Farmer's Daughters + description etc.

---

Program notes

STREET REQUIEM (2014) was composed in Melbourne, Australia, by Kathleen McGuire, Andy Payne and Jonathon Welch. It was premiered at the Melbourne Recital Centre’s Elisabeth Murdoch Hall on the 7th of June 2014, conducted by Jonathon Welch and Kathleen McGuire. It has since been performed more than 30 times in several countries,

STREET REQUIEM aims to bring a sense of peace, remembrance and hope to communities struggling to come to terms with street violence, war and a loss of safety on our streets. It is a highly accessible, contemporary work including English, African and Persian lyrics, alongside a modern setting of the traditional Latin texts. While at times deeply moving, the work is essentially optimistic and uplifting. The composers utilised gospel, Celtic, neo-Romantic, neo-Baroque, Indigenous and contemporary genres and instrumentation to reflect the multicultural and multi-faith traditions of modern city living. The harmonic language finds common ground in the work’s multiple styles by building upon chant and folk music-influenced open fourth and fifth intervals, with melodies drawn from pentatonic scales and various modes.

The composers endeavoured to create an inclusive work to which people from various backgrounds and traditions could relate. Although anchored in the Latin of the traditional requiem mass, they incorporated English texts relevant to a modern day context. STREET REQUIEM is deliberately neither secular nor religious, intended instead to be deeply spiritual, allowing listeners to find their own faith or meaning in the context of the words.

As well as remembering street deaths, audiences are challenged to do something about their situation, whether it is for those who are forced to live on the streets, or in regard to society’s general attitudes to violence. The tone of the STREET REQUIEM is often confronting, encouraging listeners to examine their own attitudes and beliefs.

STREET REQUIEM was originally intended for performance by community choirs. The original accompaniment was for piano, string quartet, percussion and yidaki. The expanded orchestration was added for the US premiere, 25 January, 2015. The 10th anniversary performances are also the Australian premiere of the orchestral version.

Performance and composition notes

Acknowledgement and Dedication

 It is customary in parts of Australia to formally acknowledge the traditional owners of the land on which major ceremonies and events take place. The words are often read by an authority figure before the main business commences, paying respect to ancient peoples especially when land may have been forcefully acquired. In honouring those who have died on the street, we also wanted to acknowledge the traditional owners of the land upon which the streets have been built. As such, the Acknowledgement has been integrated as part of STREET REQUIEM’s opening movement.

At the premiere performance, the Choir of Hope and Inspiration - the street choir that began as the Choir of Hard Knocks in 2006 – performed the Acknowledgement. Many of the choir’s members had experienced life on the street or other forms of significant disadvantage. For the choir members, their relationship with the street was problematic; for some it had been a place to call home or a place to find friends and companionship. It is often a place of sadness, violence and rejection, and – for some – a final resting place.

Individuals from the choir stepped forward as solo voices and emphatically recited the Acknowledgement, and then all members of the street choir joined together to restate the message. All participants took this responsibility seriously. In preparation, the choir members talked about the meaning of the words and showed tremendous empathy for the feelings of Indigenous communities. In this way, the STREET REQUIEM commenced with one often marginalised group formally and symbolically acknowledging the position of another. When the STREET REQUIEM is performed in other countries, we hope that local custom can be adopted to acknowledge indigenous communities in a similar manner during this introductory passage.

As the Acknowledgement concludes we hear the deep drone of an Indigenous instrument, known by a variety of regional names and commonly as the didjeridu. This is doubled by sustained notes on strings, which may suffice alone if a didjeridu player is unavailable.

After the Acknowledgement, a new solo voice is heard from the balcony as if calling from a rooftop in the city, chanting an improvised vocalisation in the style of a Muslim call to prayer. The words sung in Farsi (Persian) entreat us to remember those who have died on the street. In the premiere, this solo was intoned by a young man far from his home in the Middle East. The violent deaths on the streets of his native city caused him to seek sanctuary in a new land.

Our pairing of the didjeridu with a Farsi chant is an unusual one, although they are both rooted in ancient cultures. The inspiration for the juxtaposition arose particularly from the work Jonathon and Andy were doing with Voices Without Borders – an asylum seekers choir in Melbourne – in the months leading to the premiere.

While learning songs in English, the asylum seekers were also keen to share their own music traditions. Morteza Teimouri, the young man who sang the Farsi chant in the premiere, was one of the first to sing for the group. The unusual tonality and hauntingly beautiful nature of his delivery was a perfect fit. His joy and delight in performing was a special feature of the premiere. In it he found a recognition and acceptance that had yet to be formalised by the authorities. He remains optimistic that he will one day officially be allowed to call Australia home.

Introit – Requiem Aeternam

 As the sung Dedication dies away, the full choir gradually enters with a pulsing ostinato. The words, in Latin, pray for eternal rest for the souls of the departed. There is an underlying tension in the music that reflects the sudden and sometimes violent nature of death on the streets.

The ostinato heard here was the first thematic material composed for STREET REQUIEM. Introduced by Jonathon at our first composers’ meeting, it underpins the intent of the work; Jonathon described the uneasiness felt in the theme as ‘the voice of the streets.’ It is heard again in a revised and elongated form in the final movement.

Ubi Caritas – Charity and Love

 In the third movement, the audience is addressed directly by the voices of people living the street. The Choir of Hope and Inspiration sang the almost accusatory message at the premiere. The music is upbeat and challenging. The refrain incorporates words taken from an ancient hymn, but the syncopated rhythm could not be further from the Gregorian chant with which they are usually associated: “Ubi caritas et amor deus ibi est” - where there is charity and love, there will you find the spirit of god.

This movement was written specifically for performance by the Choir of Hope and Inspiration. Their story and the work of Jonathon and Kathleen with people who are homeless or disadvantaged was central to the audience’s expectations of the work. Knowing that learning a large, formal work with foreign language in a short time frame would prove a challenge for some in the choir, Andy suggested we incorporate Latin text that the singers already knew from a previous song. He knew they could pronounce the words and - most importantly - that they understood and could empathise with the meaning. The English words of the movement were written for what Andy envisaged as a gentle lullaby, but when Jonathon received the draft he had very different ideas. Jonathon composed the driving, accusatory arrangement that you now hear.

Sung by a street choir, the movement has a particular poignancy, but other contexts are also possible. At a subsequent performance when sung by a high school boys’ choir, for instance, the singers wore caps and ‘hoodies’ to represent and challenge our image of youth on the streets.

Kyrie Eleison – City Hymn

The City Hymn starts with the traditional Greek prayer: Kyrie eleison, Christe eleison - Lord have mercy, Christ have mercy – used almost in exasperation. It is as if, in our name, municipal officials are anxious to preserve the image of the city even in the face of death on the street. Juxtaposed is the hymn in praise of the city. The words of John Newton are unchanged but reinterpreted. The city is likened to Sion, idealised as a utopia providing wealth and sustenance to its inhabitants. The uneasy rhythms of the hymn suggest that all is not well. The movement concludes on a single sustained note, which continues attacca into the judgement of the Dies Irae.

Violent death on the street is not uncommon and many innocent people have been killed by random acts of violence, but it was a single incident during the composition period that led Andy to the blunt chorus of the Kyrie. A man well known to homeless charities in Melbourne was killed under a popular bridge in the city. The young man accused of the killing had attended one of Melbourne's most prestigious schools. The obvious headlines were written, but in the days following the incident the city authorities were criticised when the papers reported that the man’s possessions, and indeed his blood, were still on the street where he had been killed.

Melbourne, in common with many cities, covets its reputation as 'The world's most livable city', but as with many cities there is an uncomfortable side to Melbourne's story. Andy wanted to write an ironic hymn in praise of the city. Having an idea for the basic rhythm and tune, Andy was thumbing through Hymns Ancient and Modern when he came across John Newton's “Glorious Things of Thee are Spoken.” 'Sion' became Melbourne, and the sentiment was perfect. The words of the hymn suggest that the glorious city has been given to its residents by god, but in the STREET REQUIEM’s context these words may be interpreted with an ironic twist.

Dies Irae – Day of Judgement

The sustained, unison B-flat that concludes the Kyrie gives way to the Dies Irae motif, which opens the fifth movement. The simple theme becomes increasingly insistent as the choral parts develop. At the moment of crescendo, the repeated theme is interrupted by a new tune and words: “Nolite judicare et non judicemini,” a Latin translation of the gospel writer Matthew’s words: “Do not judge others for this will bring judgment upon you.” When the main theme returns, the words are now in English. At first we hear a restatement of the idea of being called to account in a final judgment, but as the theme shifts in intensity, the words move to a modern reflection of our judgment of others, especially those who we do not know or do not understand. Matthew's words return to remind us of the danger in judging others and the judgement theme from the next movement is previewed. The movement ends suddenly as if in judgement of itself.

The Dies Irae sat unwritten for much of the composition period. How do composers tackle a text setting with such an illustrious history? In the end, the piece almost wrote itself. As the team sat down together after a long and particularly taxing day, there was only the original Latin and a few scraps of English text on the table. Somehow, two hours later the piece was all but finished. There were ideas bouncing around the group, a snippet here, a lyric there, while Kathleen recorded, arranged and referenced musical motifs from other STREET REQUIEM movements as we went. The result was a movement reminiscent of a rock anthem; a truly collaborative effort.

Libera Me - What Will You Say

[insert]

Offertorium - Reflection

[insert]

Pie Jesu

The original Latin is used without alteration in the hauntingly beautiful Pie Jesu. Jesus – an important figure in many religious beliefs and revered by Christians as the Son of God – is implored to grant eternal rest to those who have died. Soloist and choir repeat the imploration, which concludes in a note of hope.

While mastering new music software, Jonathon wrote the Pie Jesu as a stand-alone exercise. It was not originally intended to be part of the STREET REQUIEM, but Kathleen and Andy loved it from the moment they heard it. The team soon agreed that the Pie Jesu would serve as the work’s specifically Christian offering. 

The Pie Jesu is unusual amongst the movements in the STREET REQUIEM because it contains no English translation or interpretation. The Latin text is a prayer addressed to Jesus and as such might be said to be relevant only to particular religious groups, however we felt that any further adornment would be unnecessary for the movement. The soloist with the choir’s sopranos and altos provide particular peace and tranquility, a welcome contrast after the turbulence of the Dies Irae.

Agnus Dei – Lamb of God

The supplication of this movement is repeated to the 'Lamb of God.' As one who has known great suffering, the Lamb is called upon to give peace to us all. Our English interpretation references the prayer to the street as the Lamb of God is entreated to find the supplicant ‘somewhere to sleep’ as a prelude to ‘eternal peace.’

Arranged for two solo voices in a neo-Baroque style, this is the only movement without choral input. The performance score includes parts for a string quartet, which provides a delicate richness. Should resources not be available, the movement can be performed with piano accompaniment and possibly one solo instrument. The additional line for a solo violin (as shown in the piano-vocal score) could be substituted by a reed instrument.

Gloria – Senzeni Na - Anthem of Empowerment 

The Gloria, an unexpected inclusion in a requiem setting, is included here to remember and to offer empowerment to street children everywhere. The setting is African in style, from a continent on which children have suffered greatly. The movement begins with a jubilant chorus of praise, initially in the traditional Latin. As the movement progresses we hear the Zulu “Akanamandla” interposed with the traditional Latin text. Two of the beatitudes, “Blessed are the meek” and “Blessed are the poor”, form a bridge to the reflective “senzeni na” - “what have we done?” repeated in Zulu and then in English, then sped up to symbolise reclamation. The movement concludes with a joyous return to the original theme, representing hope even in the face of tragedy. The Gloria’s accompaniment is scored for piano and multiple percussion and no strings. As such, the string players may be utilised to play percussion instruments. Although not performed in the premiere, ad lib ululations embodying unbridled joy are encouraged - as shown in the score - if a suitable singer is available. It is recommended that the choir should sing this movement from memory so that they may comfortably clap and sway.

Why is an African-inspired movement included in STREET REQUIEM? The answer lies in a trip to South Africa that Kathleen made in January and February 2014. In particular, Kathleen was profoundly moved by her visit to Soweto and the Hector Pieterson Museum. As an educator herself, the story of police killing 12-year-old Hector Pieterson and many other children on the 16th of June 1976 was particularly confronting. A local guide named Neo showed Kathleen around the Soweto and Johannesburg. Neo, himself just a boy on the streets in 1976, was present at the shooting and the 18 months of school strikes and police brutality that ensued. He introduced Kathleen to the song “Senzeni Na” and explained the deep meaning the words meant to him, to his people and to this tragic moment in history. He entreated her to share this important story with others. Shortly after she returned to Melbourne, Kathleen wrote the Gloria. The choir’s music represents children rising up against oppression, while the soloist exclaiming “Amandla” represents Winnie Mandela inciting the masses to take action.

`````````

Lux Aeterna – Remember Them

STREET REQUIEM concludes with a hymn of remembrance. The soloist begins in Latin “Lux aeterna luceat eis” - may the dead find eternal light. The voices of the choir, singing in English, wish peace, tranquility and a final resting place for those who have died. The simple tune – derived from the “Requiem aeternam” theme of the 2nd movement – is repeated before the choral voices peal like bells as if welcoming those who have died to their final resting place. In this act of remembrance, we hope to contribute to their final peace.

The work concludes with a solemn and peaceful yet essentially optimistic tone. STREET REQUIEM is about moving towards peace for those who have died and also for those who remain. The Latin text reflects this; “Give them peace - give us peace” is the sentiment.