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

Kathleen McGuire
Aug 19, 2024
38 min read

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.

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.

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

Nicholas Forbes, Music Director of GALS Auckland's Rainbow Choir, is one of New Zealand's most versatile young performers. He teaches music at Rangitoto College, where he conducts the school's award winning choir The Fundamentals. Nick also works throughout Auckland as a conductor, singer and accompanist. He began organ lessons as a chorister at Christchurch Cathedral and was organ scholar of Christ's College before spending a year as a music teacher at Canterbury Cathedral in the UK. Returning to New Zealand, he was appointed Director of Music at College House and sub-organist of Christchurch Cathedral and subsequently moved to Auckland, where he completed a music degree at Auckland University, specialising in organ and historic keyboard with John Wells and James Tibbles and conducting with Dr Karen Grylls. Nick has been a music teacher and organist at King’s College, where he conducted that school’s award-winning choir, All the King’s Men. Currently, he is the Assistant Director of Music at St Patrick’s Cathedral in Auckland and the Musical Director of the North Shore Chorale.

A former member of the National Youth Choir, Nick sings in the national chamber choir Voices New Zealand and is a member of Voices of the Age of Discovery. Nick has conducted the Auckland University Chamber Choir in concert at the Auckland Festival, as well as directing several university operas, including Britten's Albert Herring and Dorothy Buchanan's Miss Brill. From 2010–2012 he was the organ scholar and later assistant conductor of the Auckland chamber choir Musica Sacra and has been active as a repetiteur with NBR New Zealand Opera and Opera Factory. For several years, he directed the Coca-Cola Choir at the Coca-Cola Christmas in the Park. He has also been an active participant in the Symphony Australia Conductor Training Programme.

JESS HITCHCOCK, mezzo soprano

You might have seen Jess singing with Paul Kelly, who has described her on stage as his 'secret weapon'. Jess Hitchcock is a Melbourne-based Indigenous singer-songwriter who has stirred the Australian music and performing arts scene as a genre-defying force. Her powerful voice and knack for storytelling have seen her shine across pop, country, folk, opera and music theatre, sharing the stage and studio with some of Australia's favourites. One of Jess's most notable collaborations is with legendary Australian singer-songwriter Paul Kelly. Together they performed and recorded Paul's song, ‘Everyday My Mother’s Voice’, earning standing ovations across the nation. You can occasionally find Jess in Paul's band on vocals and percussion. Jess has also collaborated with Archie Roach, Tina Arena and Kate Miller-Heidke. "The young Indigenous singer (who) is poised on the edge of something big" (JB Hi-Fi Music Reviews) is coming armed with her own music and band of incredible musicians. When Jess is not on stage with her own band, or joining forces with Australian music legends, Jess lends her mezzo-soprano vocals to select performing arts companies, including MSO, SSO, Bangarra Dance Theatre, Victorian Opera and Opera Queensland. Born with heritage from the Torres Strait Islands and Papua New Guinea, Jess's artistic diversity and adroitness are seldom seen in someone so young. The way she navigates her creative path is a rare find and nothing short of inspirational.

TRACEE HUTCHISON, master of ceremonies

Tracee Hutchison is an award winning broadcaster, journalist, Executive Producer and author with over 30 years experience at the highest level in Australian and international radio, TV, online and print. A pioneering Australian radio broadcaster, Tracee's career began at the ABC's youth station, TripleJ, where she launched the national network. Her high-profile on-air TV and radio roles include: ABC TV's 7.30 Report, ABC NewsBreakfast, ABC NewsRadio, ABC Local Radio, Radio Australia, ABC TV Arts, Co-Host of DIG TV w/James Reyne and 3RRR.FM. She is a former Saturday Age Op/Ed columnist specialising in social justice, environment and popular culture issues and the author of three books, including Australian Music Anthology 'Your Name's on the Door'. Tracee's extensive screen production credits include: Writer/Producer/Director of ABC Asia/Pacific programs 'Chefs On Tour', 'Marion’s Gourmet South Australia', Questacon Science series ‘Excited Particles’, shortform multilingual online content for ABC International, Series Producer SBS TV music show 'nomad', Talent Producer/Scriptwriter 'Rockwiz' & field producer/director travel show Getaway. Her wide-ranging media, arts and education leadership roles include: Program Director at Melbourne's iconic community radio 3RRR.FM, Network Executive Producer ABC Australia Network, CEO of the Human Rights Arts & Film Festival, National Co-Producer/Industry Advisory Chair of the inaugural Australian Women in Music Awards (AWMA) and inaugural Head of Journalism at the Australian College of Arts (Collarts). She has served as Board Director of 3RRR.FM and Music Victoria and as Chair of Music Victoria's Women's Advisory Panel. Tracee is a foundation Ambassador for the Big Issue's Women's Subscription Enterprise and recipient of a local government Australia Day award for her creative & cultural leadership in establishing the Leigh Bowery Theatre in Melbourne's west. A highly skilled and sought-after MC & facilitator, Tracee's clients include: The Australian Conservation Foundation, Jobs Australia, the Big Issue, Arts Centre Melbourne Melbourne City Council & Music Victoria. https://www.icmi.com.au/tracee-hutchison Tracee is the host of FIERCE on 3RRR.FM in Melbourne and presents local issues programs on RPP.FM on the Mornington Peninsula. She is the subject of the Australian power-pop song, Tracee Lee, by The Chevelles and continues her career-long love and involvement in community radio as National Partnerships & Projects Manager at the Community Broadcasting Foundation.

KATHLEEN MCGUIRE, conductor & composer

Dr Kathleen McGuire is a music educator, composer and conductor who has worked in Australia, New Zealand, Ireland, France, Canada, the United Kingdom, and spent almost two decades living in the United States. She earned a doctorate in conducting at the University of Colorado, Boulder. Her conducting credits include the Boulder Philharmonic, The Women’s Philharmonic, Community Women’s Orchestra (California), Empyrean Ensemble, University of Colorado Orchestra, Opera By the Bay (San Francisco), a decade at the helm of the San Francisco Gay Men’s Chorus, and choirs in Melbourne including Melbourne University Choral Society, Star Chorale, Melbourne Lesbian and Gay Chorus, and the Tudor Choristers. Her conducting began in church choirs, symphonic wind bands, orchestras, and in pits directing musical theatre and opera. Before moving overseas, Kathleen won the Music Theatre Guild of Victoria's award for Best Musical Director for the Australian premiere of the rock opera Metropolis. Kathleen has conducted at some of the world’s finest venues, including Carnegie Hall, the Kennedy Centre, Place des Arts (Montréal), Casino de Paris, and Sydney Opera House. Her conducting teachers included Robert Rosen (Victorian College of the Arts), Nicholas Conran (University of Surrey), and at the University of Colorado: Theodore Kuchar, Dr Joan Catoni Conlon and Robert Spillman. She also received mentoring from Simone Young AM, Marin Alsop, George Vance, and Martin Isepp, among others.

Kathleen earned a BMus in composition at the Melbourne Conservatorium of Music, where she studied with Peter Tahourdin and Barry Conyngham. She has been recognised multiple times in the Professional Choral Composer division of The American Prize, including two Special Judges Citations. Her compositional interests, and recent commissions, focus on social justice issues and affecting positive change through music, including collaborative works Street Requiem and No Excuses! which have received multiple, international performances.

Now based in Melbourne, Kathleen is a Senior Lecturer in the Faculty of Education and Arts at Australian Catholic University (ACU). She is a member of the American Society of Composer, Authors and Publishers (ASCAP), the Music Arrangers Guild of Australia (MAGA), and Pi Kappa Lambda – the National Music Honors Society (USA). As a Rotary International Ambassadorial Fellow, Kathleen completed a Master of Music with Distinction at the University of Surrey (UK). In 2017, she was selected as an inaugural recipient of the University of Surrey Vice-Chancellor’s Alumni Achievement Award for her major choral works and her international reputation in social justice and human rights advocacy. In 2021, she received the ACU Vice-Chancellor Staff Excellence Award in the category of Excellence in Community Engagement.

PHOEBE PAINE, soprano

Phoebe Paine holds a Masters degree in operatic performance from the Melbourne Conservatorium of Music. In 2017 Phoebe worked as a Young Artist with the State Opera of South Australia, performing as a chorus member and understudying roles. Phoebe performed with the celebrated Adelaide Chamber Singers for several years, including in their performance of “Spem In Alium” with the Tallis Scholars. Her concert engagements have included singing as a soloist with the Adelaide Symphony Orchestra for “Mendelssohn’s Dream” and performing in a quartet with composer Danny Elfman in “Music From the Films of Tim Burton”. She has performed extensively as a soloist in oratorio, highlights including singing with the Royal Melbourne Philharmonic in their performance of Faure’s Requiem and performing Mozart’s Exsultate Jubilate with a chamber ensemble comprised of players from the Adelaide Symphony Orchestra. Phoebe has appeared in several of Victorian Opera’s Emerging Artist productions, including in the award winning “Cheremushki.” Her stage credits include The Queen of the Night in Die Zauberflöte, Eurydice in Orphee Aux Enfers, Mabel in The Pirates of Penzance and Suor Genovieffa in Suor Angelica. She will be playing the role of Donna Anna in BK Opera’s upcoming performances of Don Giovanni.

ANDY PAYNE, composer

Andy Payne is a teacher, playwright, actor, director, author, chorister and composer. After moving to Australia from the UK in 2000, he first appeared at Beaumaris Theatre in 2006 when he was cast as an appalling actor in Janine Chugg’s acclaimed production of Blackadder. He is keen to point out that ‘an appalling actor’ was the character, not the review. Since then Andy has dabbled in theatrics at Beaumaris and sung his way through various comic roles for Melbourne’s Gilbert and Sullivan opera companies. Andy’s writing credits include Set Build and Pillow Talk (Beaumaris Theatre), Acquired Taste (the Melbourne International Singers’ Festival) and the libretto for the award winning oratorio Street Requiem, 2014. Andy has recently ventured in the world of stand up comedy and will represent Victoria in September in the nationwide competition to find Australia’s funniest Boomer. We wish him well.

SIMON STONE, pianist

Simon Stone is a pianist and musical director, whose work has encompassed opera and musical theatre, in classical and more popular genres. He has played keyboard in the orchestras for the Melbourne seasons of Phantom of the Opera, Les Miserables, Chicago, Sunset Boulevard, Showboat and Dr Zhivago, and has worked in the show bands on the m/s Sunbird (Sun Cruises), m/v Rotterdam (Holland America Line), m/v Galaxy (Celebrity Cruises) and m/v Mercury (Celebrity Cruises). Simon studied piano with Associate Professor Stephen McIntyre at the University of Melbourne and graduated with the award for the best final year student. As a student, he recorded a concerto with the Melbourne Symphony Orchestra for ABC-FM. In July, the musical Castro's Children - composed and conducted by Simon - was premiered at Gasworks Theatre with sold-out audiences and critical acclaim. "This show is a triumph both dramatically and musically, with an excellent band, and Fitzpatrick and Stone should be in line for theatrical awards. Stone’s music is superb, with its group harmonies and soulful solos, and the cast do it justice." (Julie Houghton, Classic Melbourne, 10 July 2024).

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

GALS was established as the first LGBTQ+ choir in New Zealand over 30 years ago and has been going strong ever since! GALS holds concerts twice a year or more, as well as participating in various pride events at home in Tāmaki Makaurau. GALS is a member of the New Zealand Choral Federation, and has participated in choral events and festivals such as Singfest and Out and Loud. GALS has also proudly performed in global festivals, including in Dublin and Bologna. GALS' has been led by Music Director Nicholas Forbes since 2016.

The New Zealand premiere of Street Requiem was performed by GALS at the Auckland Town Hall, 5 December 2017, joined by singers from six leading Auckland choirs, to mark GALS' 25th anniversary. This benefit concert raised funds for the Auckland City Mission, Lifewise, and Rainbow Youth, to support their ongoing work with Auckland's homeless persons.

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

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

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.

Kyrie Eleison – City Hymn

Dies Irae – Day of Judgement

Libera Me - What Will You Say

[insert]

Offertorium - Reflection

[insert]

Pie Jesu

Agnus Dei – Lamb of God

Gloria – Senzeni Na - Anthem of Empowerment

`````````

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.

ACU's BIG SING for a BIG CAUSE

Saturday 24 August, 4PM

Sunday 25 August, 3PM

ABOUT

PROGRAM

WELCOME

Tracee Hutchison (25 Aug only)

SONG SELECTIONS

Jess Hitchcock (25 Aug only)

SELECTIONS PERFORMED BY

GALS Auckland's Rainbow Choir

Massed choir and orchestra

STREET REQUIEM

for those who died on the street

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

Orchestrations by McGuire

LYRICS: complete lyrics (below).

Acknowledgement and Dedication [McGuire, Payne, Welch]

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

Introit – Requiem Aeternam [McGuire, Payne, Welch]

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

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

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

Kyrie – City Hymn [McGuire & Payne]

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

Kyrie Eleison – City Hymn

Dies Irae – Day of Judgement (McGuire & Payne)

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

Dies Irae – Day of Judgement

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

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

Offertorium – Reflection [McGuire, Payne, Welch]

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

Pie Jesu [Welch, arr. McGuire]

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

Pie Jesu

Agnus Dei – Lamb of God

Gloria – Senzeni Na - Anthem of Empowerment

Lyrics and translations

CHOIR MEMBERS

ORCHESTRA MEMBERS

FEATURED ARTISTS

ENSEMBLES

ACKNOWLEDGEMENTS

Program notes

Performance and composition notes

Acknowledgement and Dedication

Introit – Requiem Aeternam

Ubi Caritas – Charity and Love

Kyrie Eleison – City Hymn

Dies Irae – Day of Judgement

Libera Me - What Will You Say

Offertorium - Reflection

Pie Jesu

Agnus Dei – Lamb of God

Gloria – Senzeni Na - Anthem of Empowerment

`````````

Lux Aeterna – Remember Them

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