From the Principal Welcome to the MLC School Music Awards, a special occasion in the life of MLC School. Tonight we honour and celebrate all that is wonderful about the music programme at our School. More than this, we honour and celebrate the creativity, diligence and commitment of all of our MLC School musicians as well as the intrinsic value of music in a contemporary educational context. Creativity is more than a specific study of the creative arts. The ability to think creatively is important for all disciplines. It helps students to develop a deeper understanding of any subject matter and strengthens the ability to access higher learning and breakthrough thinking. This is what we mean by Powerful Learning at MLC School and it prepares our girls for success in all areas of life. It is this kind of immersion that our students recently experienced on their study tour to Cuba, where their personal and artistic horizons were broadened and stretched enormously. Music, dance and art students alike experienced teaching and learning in their disciplines in a remarkable place where music is a central part of all daily life. This has been a life enhancing experience, not only for the students who were fortunate enough to be in Cuba, but for everyone in the music programme who has shared in the energy and enthusiasm generated by this Powerful Learning experience. Tonight I invite you to revel in the achievements of your daughters as their musicianship and creativity unfolds before you. They have all worked long and hard with our dedicated and talented staff to bring you this very beautiful concert amidst the splendour of one of our cityâ€™s finest venues. You will experience the fruits of our labours as the students traverse a number of musical styles, lighting up the stage with their talent and the joy of music making. Brava to them all, and to you, our MLC School families, for your continued support of this great School.
Denice Scala Principal
M LC S c h o o l M u s i c Aw a r d s 2
From the Director of Music Tricia Tunstall in her book ‘Changing Lives’ chronicles the transformative power of music in the acclaimed El Sistema orchestral training programme in Venezuela. Part of the book inevitably raises the question as to the value that a country places on the arts as an intrinsic place in its society. In the September break Christopher Hayles led a group of MLC School musicians, artists, dancers and actors on a three-week tour to Cuba. At the recent tour reunion, the students who were fortunate to undertake this trip were clearly impacted positively by their experience of immersing themselves in the Latin American culture. In fact, for all of them it was a life changing Powerful Learning experience, and many spoke with awe at the seemingly natural way the Cuban people embraced the arts as an essential part of their daily lives. We too are fortunate at MLC School that the arts are seen as a critical part of the school’s educational vision, and in particular provide all students with extensive opportunities. An important goal of any concert performance is that both performers and audience alike come away feeling inspired by the music they have experienced. The music in tonight’s programme showcases the Latin American style from that wonderful Cuban experience, alongside a range of musical styles that best showcases MLC School music. Thank you for your support both by your attendance at tonight’s concert and also in your daily encouragement of the students’ music and artistic endeavours.
James Allington Director of Music
Albanian Dance____________________________________________________________________ arr. Shelley Hanson MLC School Concert Band 1 Conductor: Elizabeth Gilberthorpe Habitat (Visions of a Fragile Planet)__________________________________________________________ John Higgins MLC School Concert Bands 1 and 2 Conductor: Guy de Villiers Danzon No. 2_________________________________________________________________________Arturo Marquez MLC School Orchestra, Sinfonietta and Concertante Conductor: Louise Keller
Egmont Overture________________________________________________________________ Ludwig van Beethoven MLC School Orchestra Conductor: Christopher Hayles Verano Porteno from The Four Seasons of Buenos Aires_______________________________________Astor Piazzolla MLC School Chamber Orchestra Violin Solo: Catherine Jang Conductor: Louise Keller A La Nanita Nana_______________________________________________ arr. Ruth Elaine Schram and Guy de Villiers Year 5 Choir MLC School Percussion Ensemble Conductor: Annette McClure Libertango____________________________________________________________________________Astor Piazzolla Pianos: Charis Chiu and Celine Kang
Swansong and Like a Singing Bird___________________________________________________________Bob Chilcott MLC Chamber Choir, MLC School Choir Piano: Laura McDonald Conductors: James Allington and Annette McClure
Spain __________________________________________________________________________________ Chick Corea MLC School Big Band Conductor: Christopher Hayles
Cavatina from String Quartet No. 13 in B flat major, Op. 130____________________________ Ludwig van Beethoven Violins: Rebecca Zhong and Fiona Lee Viola: Christina Burjan Cello: Georgina Robinson Fantasy for Alice___________________________________________________________________________ Tori Tong Jasmine Tan, Catherine Jang, Tiffany Son, Sheree Kuan, Francesca Lee Piano: Bethany Cook
He spake the word and He gave them hailstones from Israel in Egypt_____________________George Frideric Handel MLC School Choir, MLC School Chamber Choir Year 6 and Year 8 Choirs MLC School Chamber Orchestra and Winds Gentlemen of Cantillation Harpischord: Bethany Cook Organ: Laura McDonald Conductor: James Allington Pemulwuy_______________________________________________________________________________ Paul Jarman MLC School Choir Year 6 and Year 8 Choirs MLC School Chamber Orchestra Piano: Laura McDonald Conductor: James Allington
Albanian Dance This work is based on the Shota, a traditional and popular dance from Albania. Whilst the lyrics speak of all-consuming love, the dance is traditionally performed by men and women dancing together yet not touching; moving around each other as individual dancers. The dance is performed by taking speedy steps to the fast and infectious rhythms, and the dancers work hard to maintain the energetic momentum. It is popular in the Balkan region and is performed at weddings, folk festivals and other celebrations. The dance and tune ‘Shota’ is named after Kosovar female freedom fighter Shota Galicës, wife of the freedom fighter Azem Betem Galicës. Shota dressed up like a man and fought alongside her husband for independence of the Albanians in 1919. She was declared a People’s Heroin by the Albanian government after WWII.
– Elizabeth Gilberthorpe
(Visions of a Fragile Planets)
Atmospheres – Rainforest – Oceana – Metropolis – Mountain Villas Habitat takes us on a journey across five very different vistas of our planet, making the most of distinctive musical concepts to paint these pictures. Atmospheres set the scene with strange exciting sounds of the brass blowing air through their trumpets, followed by a flowing and expansive melody in the upper woodwinds. As we travel down through the vistas, exciting and clashing harmonies resolve into a clarinet ostinato and trumpet melody before an eerie change to the minor and a dramatic plunge into a fast depiction of a rain forest. Highly syncopated, repeated off-beat patterns in the high woodwinds suggest bird calls whilst an angular melody riddled with danger suggests a chase in the undergrowth from the saxophones. Building to a climax, the orchestra announces in unison a tenuto marked statement before changing once again 6
to the calm depths of the ocean. Slow moving creatures are represented by the serene and graceful low melodies in this section, particularly in the trombone and horn melodies, before yet another drastic change to a cityscape. Fast, agitated ostinato rhythmic patterns are complemented by a jaunty singing-like melody of bustling street vendors pushing and jostling with each other. This moves slowly through most sections of the orchestra to a thrilling climax. But the best remains as the narrative pulls back to a mountain vista, with a magnificent and regal melody for the brass, redolent of the cinemagraphic quality of so much of the writing. But where does the music take us in conclusion? Our short journey ends with a fast and furious reminder of the fragility of the precious resources of our earth. Habitat, an evocative piece for Concert Band (1992), was composed by John
Higgins, Managing Editor for Hal Leonard Corporation, the world’s largest publisher of printed music. Co-author of the Essential Elements series of methods, Higgins is best known for his many compositions and arrangements for choirs, bands and orchestras. As a composer of children's songs, Higgins has also arranged and produced a large catalogue of children's music, including The Runaway Snowman, Peace Child, and Leslie Bricusse's Scrooge. His recording production for McGraw-Hill's Share The Music textbook series included music from Sesame Street, Disney films and a special project with the late Fred Rogers of Mr Rogers' Neighborhood. In two recent series of Broadway shows for young performers, Higgins arranged and produced new versions of Annie, Guys & Dolls, Fiddler on the Roof, The King and I and The Music Man.
– Guy de Villiers
Danzon No. 2 Arturo Marquez was born in Mexico and is the eldest of nine children. Although his father and grandfather were musicians, Arturo was the only child in his immediate family to become a musician, having been exposed to several styles of music during his early childhood. The family immigrated to California where Arturo learnt the trombone, violin and piano at high school. He began composing at the age of 16, entered the Mexico Music Conservatory and was later awarded a scholarship to study composition in France. Although an accomplished composer, Arturo’s music only came to international attention with the introduction of his series of Danzones in the 1990s. Arturo Marquez is regarded by many as a controversial composer because of his use of Latin American rhythms in his works. Nonetheless he is popular in Latin America and is widely recognised as one of the most important and admired Mexican composers of his generation. The Danzones are based on Cuban music as well as the music of the Veracruz region of Mexico. Danzon No. 2 was specifically written for orchestra and is based on the habanera. It is a traditional salon dance for couples and is in rondo form with a recurring refrain separated by ‘verses’ which feature instrumental solos. In describing this piece, Marquez noted that the music begins using a formal and restrained tempo with elegant, calm melodies. However the dance characteristics become noticeable as the Afro-Cuban rhythms assert themselves. One of at least eight Danzones by Marquez so far, Danzon No. 2 was commissioned by Mexico’s National University, whose symphony orchestra premiered it in 1994. It remains a staple of the Simon Bolivar Youth Orchestra, which, under Gustavo Dudamel, toured the US and Europe in 2007.
– Louise Keller
Egmont Overture In 1809 Beethoven composed incidental music consisting of an overture and nine musical numbers for Goethe’s play Egmont. When commissioning the music, Goethe specified that it should not be a lament, but rather a ‘Symphony of Victory’. Throughout Beethoven’s lifetime Goethe was a leading literary figure in German-speaking Europe. He later said of Beethoven that his ‘talent amazed me. However, unfortunately, he is an utterly untamed personality… and does not make it enjoyable for himself or others by his attitude’. Beethoven’s significance in the transition from Classicism to Romanticism is apparent in his dramatic music, not least his Overture to Goethe’s play. Beethoven’s own impressions of Goethe were no more complimentary and he notes that: ‘Goethe delights far too much in the court atmosphere – far more than is becoming in a poet.’ The often-performed Egmont overture is a compact tone poem, which previews not only the central conflicts of the drama but its resolution as well. Oppression, the rebellious spirit of the hero and even his tragic demise are all represented throughout the journey of the music.
– Christopher Hayles 8
Verano Porteno from The Four Seasons of Buenos Aires Antonio Vivaldi wrote his most famous work, four concertos for violin and strings referred to collectively as The Four Seasons, as a classic example of program music. It imitates birdsong, rainstorms, barking dogs and wind-driven sleet to set the scenes of the different seasons. In 1965 the Argentinian composer, Astor Piazzolla, wrote his own version of the four seasons, where although each movement evokes the mood of its respective season, there is no sense of a narrative or imitation of specific sounds. This version was scored for the traditional tango quintet of violin, piano, electric guitar, double bass and bandoneon and was first performed by Piazzolla’s own folk ensemble. Piazzolla is a composer with a distinctive musical sound who combines jazz music with the Argentinian tango of his native land together with classical forms and 20th century harmonic ideas. His music is filled with exciting rhythms and interesting harmonies that incorporate dissonance yet remain largely tonal. He is Argentina’s cultural icon, both as a composer and as a virtuoso on the bandoneon, a large button accordion that is an essential ingredient of traditional tango music. Most notably, Piazzolla reworked the tango and elevated it into a sophisticated form of high art. The term ‘nuevo tango’ was coined to designate the modernisation of the tango by Piazzolla and his followers.
A La Nanita Nana
However, Piazzolla’s Four Seasons underwent a further transformation in the 1990s when the Russian composer Leonid Desyatnikov arranged the work for solo violin and string orchestra, making it even more reminiscent of Vivaldi by strategically inserting a few direct musical quotations. As an example, Verano Porteno is the movement depicting ‘Summer’ and yet Desyatnikov quotes from Vivaldi’s ‘Winter’, alluding to the northern and southern hemisphere juxtaposition of the seasons. In Argentina, where tango is a source of national pride and identity, some tango purists were incensed by these radical departures from tradition, and in the late 1960s Argentina’s military government even criticised Piazzolla for being too avant garde. However, Piazzolla left behind a huge body of music – more than 3000 works – and his music is performed in the concert halls of the world.
– Louise Keller
This hauntingly beautiful melody has the gentle feel of a lullaby and uses an interesting mixture of major and minor modes. It is based on a traditional Spanish carol and the singers alternate between English and Spanish lyrics. To enhance the Spanish flavour, Guy de Villiers has added instrumental parts for the piano and tuned percussion to complement the guitar-like piano accompaniment by Ruth Schram.
– Annette McClure 9
Libertango Published in 1974, Libertango was composed by Argentine tango composer Astor Piazzolla. His compositional style revolutionised the traditional tango by blending jazz and classical elements together to create a ‘new tango’, termed ‘Nuevo Tango’. Piazzolla’s fusion of tango with a wide range of other recognisable Western musical elements (such as extended harmonies and dissonance, counterpoint and extended compositional forms) was so successful, that it produced a new, completely individual style. Being a virtuoso bandoneonist, Piazzolla regularly performed his own compositions in a variety of ensembles. The standard instrumentation for Libertango is a quintet of bandoneon, violin, piano, electric guitar and string bass. Being such a popular piece, it has been arranged for many different types of instrumental configurations – in this case, piano duo. The title comes from the Spanish word ‘libertad’, which means liberty, and ‘tango’. This symbolises Piazzolla’s break from classical tango to Tango Nuevo.
– Andrew Rumsey
Swansong and Like a Singing Bird Bob Chilcott is one of the world’s most celebrated choral composers. He writes ‘I am at heart a melodist and look for texts that might inspire and motivate singers’. Chilcott is particularly renowned for his work with youth choirs. Like a Singing Bird juxtaposes two texts – Christina Rosetti’s poem that celebrates newfound love, alongside Robert Burns’ My love is like a red, red rose, the latter well known as a Scottish folksong.
Preceding Singing Bird is Swansong a short a-cappella piece with words drawn from A Book of Merrie Riddles (1631).
– James Allington
Spain Born in 1941, Armando Anthony ‘Chick’ Corea grew up surrounded by jazz and jazz musicians. He studied music education at both Columbia University and The Juilliard School in New York City before abandoning formal education to pursue music on his own. ‘I decided when I was a young man to… always keep myself interested and challenged with music’. Corea is one of the most prolific composers of the second half of the 20th century. From the avantgarde to children’s songs his virtuosic keyboard skills are revered and make him a principal figure in the fusion of jazz, rock, funk and Latin music. The piece Spain was written over 40 years ago in 1971 and first appeared on the album Light As A Feather. It was soon to become a modern jazz standard and is easily recognisable the world over. After a slow meditative introduction the music switches to a fast, steady samba-like feel where the main theme alternates between its signature syncopated riff and lyrical theme.
– Christopher Hayles
Cavatina from String Quartet No. 13 in B flat major, Op. 130 Beethoven’s last string quartets were composed during the final years of his life between 1824 and 1826. The project began in 1822 with a commission from Russian Prince Nicholas Galitzin, an amateur cellist who requested ‘one, two or three’ string quartets. Once Beethoven began work in earnest, he turned out not one, two or three, but five massive string quartets that ultimately became six separate works known simply and profoundly as ‘Beethoven’s Late Quartets’. For decades, these quartets were regarded by most as strange and difficult, and quite possibly the work of a once great composer now degenerated into deafness and insanity. It was not until the 20th century that the late quartets became widely regarded as profound masterworks, worthy of being the apex of the traditional repertoire. This quartet is seen as truly odd from a conventional perspective. Rather than the traditional four movements, it has six. Of the six, two of the movements are very short. The fourth movement is a scherzo German dance while the second movement is also clearly a scherzo in ternary form. Finally, the fifth movement is a cavatina of surprisingly simple design with an indescribably haunting character. To the listeners of the day, this must have seemed like a miscellany of movements. All of this only reinforces the essential fact that Beethoven was a pioneer and artistic visionary who created, particularly in the late quartets, complicated works of high art.
The Cavatina was performed at the memorial service for the great astronomer Carl Sagan at the Cathedral of St John the Divine in New York City in 1996. All the music for the service was taken from the selections that Carl Sagan chose for the ‘golden record’, included on the Voyager spacecraft. These selections were meant to represent life on earth and some of the greatest achievements of mankind, sent as a communication and an offering to any intelligent civilisation that might intercept the spacecraft. The Cavatina, perhaps the most beautiful movement Beethoven ever wrote, is highly charged with intense emotion, and even the composer himself was reportedly moved to tears by its sheer loveliness and profound nature. The melody line is shared mostly between the two violins with the viola and cello playing a sotto voce accompaniment. The middle section is quite unsettling: Beethoven marks it beklemmt, meaning oppressed, anguished and stifled. There is a disorienting shift to a different key and the lower instruments play repeated, pulsing notes. Meanwhile the first violin appears to be left in desperate isolation with unrelated rhythms and tonality. It suggests that the violin is overcome with anguish and can no longer sing or even connect the notes to each other. It is sobering to know that this Cavatina on the Voyager spacecraft is travelling at 100,000mph and has made it outside our solar system. It is now 11.6 billion miles away from earth.
– Louise Keller
Fantasy for Alice Fantasy for Alice is loosely based on Lewis Carroll’s novel Alice’s Adventures in Wonderland, the story about a young girl who falls down a rabbit hole and finds herself at the mercy of a mathematician’s literary nonsense. Originally intended for two pianos, the piece follows the remaining piano and its newfound string quintet as they waltz, caper, and power through the piece. The opening theme, the waltz, is a familiar tune seemingly recalling a simple time predating rabbit holes. This soon gives way to an increasingly dynamic episode where the violins, viola and cello take it upon themselves to pass around both melody and accompaniment, leaving the double bass only four bars of countermelody fame, and the piano clockwork flourishes. Having entered Wonderland, previous piques forgotten, the ensemble playfully explores the delights of time changes every bar before becoming homesick and eventually running away. It appears that such an ordeal has so affected the composer that the midnight clock from Cinderella strikes through and makes an appearance. The lone piano attempts to recall memories of Wonderland. However, finding itself unable to do so, resigns to return home with the strings in tow, as of yet unaware of the changes that occurred.
– Tori Tong
He spake the word and He gave them Hailstones for Rain from Israel in Egypt The story of Moses leading the Hebrews in defiance of the Pharaoh of Egypt and ultimately into Israel across the Red Sea is told in the book of Exodus. Handel takes the text for his oratorio from this book in the bible, and also includes verses from Psalm 105. The series of plagues that were inflicted onto the Egyptian people by God when Pharaoh refused Moses’ repeated demands to “let my people go” provided ample opportunity for Handel to demonstrate his musical response to the pictorial imagery of the Old Testament language. The virtuosic violin figures for the buzzing flies and locusts in He spake the word are followed by the evocation of the weather in a hailstorm chorus. Both movements are double choruses that often sing antiphonally which contributes to highlighting the musically dramatic effect.
– James Allington
Pemulwuy Pemulwuy was born in approximately 1756 somewhere near where Homebush Bay is now. He belongs to the Bidjigal clan of the Eora nation. The city of Sydney is built on his land. Pemulwuy means ‘man of the earth’. His totem was the crow. From 1790 to his death in 1802, Pemulwuy led the Eora people in a major response to the British invasion of Australia.
Paul Jarman is a widely acclaimed Australian composer, performer, musical director and educator. His musical setting of Eric Wilmot’s Eora language text as part of an exciting choral work about Pemulwuy has led this piece to be one of the most popular in contemporary Australian choral repertoire. It will be good to welcome Paul as composer/musician in residence at MLC School next year as part of the school’s 130th celebrations.
– James Allington
Special Awards and Pockets MLC School Blue for Music
The MLC School Blue for Music is the highest award the School presents and is presented on Speech Night. It is awarded only to Year 12 students for outstanding service to the school.
This annual trophy is awarded to a distinguished Year 12 musician who carries on the fine musical tradition of the Grosman Family. Danielle, Lisa and Monica Grosman excelled in music at MLC School and have gone on to contribute to musical life in the national and international arena.
Music Director’s Award
eertana Avalur Venkateshwar, Emily Bailey-Hughes, Tess Bradford, Rebecca Chou, K Deborah Greenbaum, Ivy Jiang, Annabel Lee, Amanda Ong, Sandy So, Adele Woods, and Victoria Xu The Music Director’s Award is for senior students who have demonstrated outstanding musical commitment and leadership throughout their school careers. These are students whose contribution has made a difference to MLC School’s musical culture.
Music Director’s Certificate Emily Francis, Monique Hrsto, Tanya Ponggun, Felicity Thomas, Michelle Tran, and Natasha Tran The Music Director’s Certificate is for Senior students who have demonstrated consistent participation and commitment to MLC School music ensembles throughout their school careers. Matthew Hindson Composition Award
Samantha Anderson and Claire Lindsay
Australian Music Centre Award for Outstanding Work in Composition
Briony Farquhar and Lily Velez
Ross Edwards Trophy
Leona Cohen and Tori Tong
For All Round Musicianship and Advanced Composing
For an All Round Advanced Musician
Music Captain for 2016
Music Student Committee for 2016
Chair Year 10 to Year 12 Year 7 to Year 9
The Music Student Committee is the leadership group of the music student body. The committee is chaired by the music captain who is supported by four elected students: two from Year 7 to Year 9 and two from Year 10 to Year 12.
Rebecca Zhong Christina Burjan and Celine Kang Charis Chiu and Amelie Roediger
Gold Pocket Emmeline Booth, Christina Burjan, Hayley Cavanagh, Chloe Cheong, Charis Chiu, Alicia Davies, Milly Day-Collett, Julia de Sterke, Teresa Du, Adelaide Grisard, Phoebe HunterMole, Catherine Jang, Rebecca Janssen, Celine Kang, Sheree Kuan, Fiona Lee, 15
Francesca Lee, Ashley Liptak, Jane Liu, Georgia McNaughton, Anna Michael, Georgina Robinson, Tiffany Son, Eliza Stewart, Jasmine Tan, Anna Wilson, Adalita Young and Rebecca Zhong
The Gold Pocket is awarded to students who have demonstrated outstanding musicianship across a wide range of repertoire genres in music performance. Students at this highest level can sustain both solo recitals and advanced ensemble performances at diploma or equivalent level.
Red Pocket Bella Burton, Sherrie Chung, Yijun Cui, Claris Foo, Nina Frissel-Thomas, April Guest, Catelyn Ha, Elizabeth Hewish, Georgia Hewitt, Olivia Hill, Tessa Iversen, Clara Janssen, Lilian Le, Annabella Lewis, Jane Liu, Danah Maher-Lee, Divya Mehta, Madeleine Murphy, Gabriella Searle, Suzanna Steele, Laura Sutherland, Jasmine Todoroska, Oliva van Gelder, Joanne Wong and Tina Wu
The Red Pocket is awarded to students who have achieved an outstanding level of performance and who have used their talents to enhance the music of the School. Red Pockets are only awarded to students who continue a high level of commitment and have been in a White Pocket ensemble for a minimum of two years.
The Pink Pocket is awarded for instrumental graduations and will be awarded to students at individual graduation concerts.
Grey Pocket â€“ Special Achievements
Christina Burjan was selected to be part of the Sydney Childrenâ€™s Choir tour of China and Hong Kong to perform at the International Symposium of Choirs.
Charis Chiu AMusA on violin
Celine Kang is the Australian National Eisteddfod Winner Australian Work Piano, Classical Work Piano, 20th/21st Century Piano and Open Piano Solo. She was invited to perform at the Consulate General of the Republic of Poland Sydney and at the Annual Concert as a guest pianist.
Jane Liu AMusA on piano.
Tiffany Son was selected to attend an international music festival in Korea and was accepted into the Australian Youth Orchestra program
Jasmine Tan was nominated to perform at Encore.
Rebecca Zhong LmusA on violin.
Cuban Caravan 2015
Artemis Alfonzetti, Kiara Bletsas, Bella Burton, Sophia Costantino, Milly Day-Collett, Jasmine Dowidar, Nicola Economides, Ella Finlay, April Guest, Amira Hatoum, Elizabeth Hewish, Phoebe Hunter-Mole, Clara Janssen, Rebecca Janssen, Michelle Joseph, Rosie Kethel, Jessica Kotselas, Tiffany Lai, Isabel Leung, Ashley Liptak, Angelica Lovel, MacKenzie McCowan, Emily Millar, Alice Patterson, Alexia Riotto, Amelie Roediger, Laura Sutherland, Jasmine Todoroska, Felicia Ventouris, Anna Wilson, Megan Wyllie and Klara Zhao
The Grey Pocket is awarded to students who have achieved distinguished success in their chosen field or music. These are awarded for performance and composition.
White Pocket Chamber Choir, Chamber Orchestra, Senior Flute Ensemble, Combo 1, Orchestra Woodwind, Brass and Percussion
The White Pocket is awarded to students who have become members of auditioned ensembles and who commit to regularly attend rehearsals and all performances.
Students marked* in ensemble lists
The Blue Pocket is awarded to students who have demonstrated sustained commitment to their chosen ensemble/s for a period of not less than two years. Commitment involves regular attendance at, and preparation for, rehearsals and attendance at ALL performances.
Music Students Samantha Anderson HSC Music 2 HSC Music Extension Violin Singing Choir Orchestra Chamber Choir Keertana Avalur Venkateshwar Choir Taiko Emily Bailey-Hughes Choir Concert Band Nicole Bor Choir Tess Bradford Music IB Oboe Concert Band Orchestra Taiko Chamber Orchestra Roshana Carmody HSC Music 1 Lifei Chen Choir Sabrina Chiu Choir Rebecca Chou Music IB Drums/Percussion Choir Chamber Choir Combo Concert Band Orchestra Leona Cohen HSC Music 2 Choir Orchestra Chamber Choir Emma Denton Choir
Briony Farquhar HSC Music 2 Choir
Angel Jiang Choir
Claudia Feng Choir Chamber Choir
Ivy Jiang Choir Concert Band Orchestra
Georgia Ferguson Choir
Michelle Kong Choir
Jessie Field Singing
Annabel Lee Music IB Orchestra Chamber Orchestra
Emily Francis HSC Music 1 Trombone Concert Band
Cathy Liang Choir
Maneesha Gopalan Choir
Vanessa Liang Choir
Deborah Greenbaum Music IB Bassoon
Tracie Lin Choir
Katie Gu Choir Tarisha Gunaratnam Music IB Bassoon Choir Concert Band Orchestra Chamber Choir
Claire Lindsay HSC Music 2 HSC Music Extension Choir Chamber Choir Tracy Liu Choir Lucy McKindlay Choir
Cindy He Choir
Joanna Nam Choir
Maxine Heim Choir Combo Concert Band
Rebecca Nash Choir
Monique Hrsto HSC Music 1 Choir Luci Hughes Choir Vindhiya Jayashri HSC Music 1 Piano
Hyehee Shin Choir Chamber Choir Rachel Siu Orchestra Chamber Orchestra HSC Music 2 (2014) Sandy So HSC Music 1 Drums/Percussion Concert Band Orchestra Christine Song Choir Sarah Sung Orchestra Chamber Orchestra HSC Music 2 (2014) Ivy Tang Choir Felicity Thomas HSC Music 1 Singing Choir Chamber Choir Yasmin Tinaz Choir Chamber Choir Tori Tong Music IB Choir Concert Band Orchestra
Amanda Ong Taiko
Michelle Tran Orchestra Chamber Orchestra
Elizabeth Park HSC Music 1 Singing
Natasha Tran Choir Orchestra
Tanya Ponggun Choir Orchestra
Stephanie Valaris Choirz Music International Baccalaureate Choir Chamber Choir
Lucia Ren Choir
Lily Velez Music IB Choir Chamber Choir
Georgia Wilde Choir
Mieko Wang Choir
Adele Woods Trumpet Choir Concert Band Orchestra Chamber Choir
Jacqueline Lee Wesiak HSC Music 2 Violin Choir
Cynthia Woo Choir
Victoria Xu Choir Concert Band Orchestra Candy Yao Choir Chloe Zurynski Choir
2015 Music Awards
Music Ensembles *Indicates recipient of Blue Pocket Chamber Choir
Artemis Alfonzetti Isabella Anderson*
Christina Burjan Leanne Chan Chloe Cheong Charis Chiu Sherrie Chung Yijun Cui Teresa Du
Olivia van Gelder
Olivia van Gelder*
Julia de Sterke
Jade Di Girolamo
Concert Band 2
Concert Band 1
Julia de Sterke*
Christina Burjan* Hayley Cavanagh Leanne Chan Elizabeth Chen* Eden Cheng* Chloe Cheong* Charis Chiu* Shakira Chung* Sherrie Chung*
Tessa Iversen Catherine Jang* Clara Janssen Rebecca Janssen* Yuting Jin* Celine Kang Sheree Kuan* Zoe Latham Lilian Le* Fiona Lee* Francesca Lee* Isabel Leung 20
Concertante Hannah Arnold* Uma Barrett Chloe Beraldo* Olivia Bersais Mia Burjan Megan Cavanagh* Sammy Cavanagh Christie Châ€™ng Emilie Choi
Maria Antonia Costantino
Nicola Oddie Tina Papamanuel Meera Patel* Trisha Prabhu Claudia Seales Arya Sharma Tiahna Sortwell* Lucy Squier Ella Tomkins* Sabrina Tran Samara Tucker Ayla Varol Renae Varvaris Rachel Wang* Olivia Winlaw* Angie Xu Marie Yan* Amy Yarrow* Nicola Yarrow* Daisy Zheng* Combo 1
Bella Burton* Milly Day-Collett* Nina Frissel-Thomas* Olivia Hill* Phoebe Hunter-Mole* Clara Janssen* Morgan Kelaher* Isabel Leung* Annabella Lewis* Ashley Liptak* Jane Liu* Adele Marwood* Georgia McNaughton* Divya Mehta* Anna Michael* Emily Osborne* Amelie Roediger* Christina Shin* Suzanna Steele* Jasmine Todoroska* Tina Wu*
Olivia Hill Phoebe Hunter-Mole Tessa Iversen Annabella Lewis Ashley Liptak Anna Michael Eliza Stewart Laura Sutherland Anna Wilson Combo 2 Bella Burton* Nina Frissel-Thomas*
Hayley Cavanagh Alicia Davies Julia de Sterke Georgia McNaughton Anna Wilson Adalita Young Taiko Olivia Bersais Madeline Bide* Olivia Cain* Victoria Chang* Emilie Choi
Sreya Parakala Virginia Peter* Eloise Riviere* Maeve Ryan* Julia Spiker* Elle Tamvakolos Lydia Todoroska* Angelina Tran* Maekayla Tran* Kim Trang* Georgia Ventouris* Katrina Wong* Colleen Zhang* Klara Zhao* Phoebe Zhou Sarah Zikovski
Mounica Akula Lia Al-Soufi Polly Allchin Marlene Anderson Sravya Bandaru Sophie Beraldo Zoe Brase Amelia Bresolin Sophia Cairns Briar Campbell Natalie Cavallaro Jeyda Ceylan Amelia Chan Tori Charalambous Annading Chen Gabriella Chen
Cuban Caravan 2015
Jade Di Girolamo
Armita Dutta Gupta
Evie Gallagher 21
Molly Rose North
Year 8 (2016)
Mei Yan Sophia Wong
Sen Sen Xie
Anoushka Adam Isabella Al-horani Teâ€™jhaan Altiok-Brown 22
Miranda Norton Nicola Oddie Sophie Ogilvy
Antonique Amperidis Hannah Arnold Menawish Asif Chloe Azzam Kate Baker Beth Balas Uma Barrett Chloe Beraldo Zoe Berg Olivia Bersais Chanel Boudib Mia Burjan Gabrielle Cadena Sammy Cavanagh Marina Chan Briana Chapman Annie Chen Eden Cheng Ashleigh Childs Isabelle Choi Karen Chung Laura Cincotta Amelie Coman Tiarna Cominos Sofia Costa Maria Antonia Costantino Eliza Crossley Amala Cuganesan
Madison Gollan Meghana Gopalan Annie Gu Ruby Guminski Ariana Haghighi Zoe Hannam Kendall Harris Ellena Hartzenberg Sarah Healey Ava Heine Taylor Hosking Emily Hunt Nicole Hussein Lauren Huynh Ruby Ince Jade Jameson Grace John Monique Jomaa Emma Juffermans Charlie Kairaitis Ziya Kalra Jaimie Kappas Jessica Karabesinis Olivia Keeble Otero Morgan Kelaher Eliza Kennedy Annaliese Konidaris Patria Koutsogiannis
Minh Tam Le
Alyssar Zogheib 23
MLC School Council
MLC School Executive
Chair Mrs Pauline Johnston
Principal Mrs Denice Scala BA Ed, Dip Ed, Dip RSA, COGE, MEd
Deputy Chair Ms Anne Empson Council Ms Joanne Hawkins Mr Jim Mein Mr Colman Chan Ms Helena Grahame Ms Fiona Hollier Mr Robert Kell Mr Archie Law Dr Carolyn Mole Mr John Oldmeadow Mr Howard Packer
Deputy Principal and Head of Senior School Mr Paul Brown B.A. (Eng/Hist), M.A. (Uni Syd), Cert HRM (MGSM), MACEL, MAHRI Head of Junior School Mrs Suzanne Floro Dip Ed, BEd, Dip CL, Cert Gft Ed Head of Learning Design and Innovation Carolyn Rhodes Dip Ed, BEd, COGE Head of Finance, Systems and Administration Ross Kirby BBus Studies, Dip Cert Acc Head of Marketing and Community Relations Alison Dunn BA, FGLF Head of Human Resources Angela Dâ€™Amore BA
MLC School Music Staff
Classroom Teaching Staff James Allington Director of Music GTCL, FTCL, LTCL, AmusTCL, ARCO, PGCE Tristan Coelho Acting Director of Composition MMus, BMus (Hons), AMusA Bethany Cook Head of Keyboard MMus, LMusA, LRAM Richard Coward Classroom Music BMus (Ed) Guy de Villiers Classroom Music BMus (Hons), LRAM, PGCE Elizabeth Gilberthorpe Classroom Music BMus (Ed) Christopher Hayles Head of Woodwind, Brass and Percussion CSCM (Merit), BMus Nathaneal Heaney Classroom Music and Cello BMus (Perf), GradDipMus, GradDipT&L (Secondary), AMusA, LMusA, ATC
Louise Keller Head of Strings BMusEd, AMusA, ATCL, LTCL
Sarah Ash Violin BMus (Hons), MA, DipA.B.R.S.M
Adrian Kingwell Composition MMus, BMusEd
Zane Banks Guitar PhD (Music Philosophy), BMus (Perf) 1st Class Hons
Phillipa Knight Classroom Music BA Hons (Music), Dip.Ed Annette McClure Head of Junior School Music DipTeach, BEd (Mus) Diploma of Orff Schulwerk Administrative Staff Alison Duncan Music Centre Manager Gladys Uy Music Administrator Instrumental Teaching Staff Danika Allars Clarinet BMusEd, AMusA Joanne Arnott Recorder MMus (Perf)
Eleanor Betts Cello BMus (Hons), MMus (Perf), AMusA Milen Boubbov French Horn BMus, HfMDK Frankfurt am Main Karen Bruce Head of Voice BMus, AMus Hannah Buckley Violin Ben Carey Saxophone BMus (Hons) Classe PrĂŠparatoire Conservatoire Jacques Thibaud, AMusA Jo Chan Percussion Carolyn Chen Violin B.Mus (Perf)
Alicia Crossley Recorder MMus (Perf) Matt Dempsey Trumpet BMus, DipEd, DipMus, AMusA James Forsyth Violin PhD., MMus, Dip.Ed, FRSCM Nicole Forsyth Violin BMus (Perf), GradCert (Scriptwriting) Annie Gard Violin LMus, BMus (Perf.), BMus Studies (Hons) Annie Graham Recorder Robyn Godfrey Cello
Kurt Ison School Organist BMus, GradDipMusPerf (organ), LTCL (Voice), AMusA (Voice)
Andrew Rumsey Piano MMus, BMus (1st Class Hons) DipABRSM, AMusA
Rhonda Jones Oboe BMus, BA, AMusA
Lauren Salanitro Cello AMus, LMus
Roslyn Jorgensen Trombone, Euphonium, Tuba BA (Mus), MMus (Perf)
Catherine Seet-Lee Cello
Samantha Joseph Flute MMus (Perf) Gayoon Jung Piano BMus (Comp) Samantha Kelson-Gray Clarinet MMus (Perf), BMus (Hons)
Hamish Gullick Double Bass
Stefania Kurniawan Percussion BMus (Perf)
Benjamin Haire Violin and Viola AMus, LMus, BMus (Perf), GradCert Music (Orch)
Reafen Liu Violin MMus (Perf)
Jonathan Hendi Violin BMus (Perf), MMus (Perf) Josh Hill Percussion BMus, Grad Dip Mus Prudence Holloway Voice BMus (Voice), GradDip (Ped) Solveig Hu Harp BMus (Perf)
Ruth McCall Voice BMus Hons (Perf), Assoc. Dip
Shirley Shen Violin Nick Southcott Piano BMus Hons (Hons) Hayasa Tanaka Violin BMus (Perf) Shaun Tarring Percussion B.Mus (Perf), GradDip (Education) Adranne Teh Percussion B.Mus (Perf) Maria Timofeeva Voice
Laura McDonald Piano MMus, BMus, LMusA, AMusA
Brendon Venner Percussion
Rachel Miller Violin and Viola BMus (Perf), AMusA, Suzuki Cert 3 and 4
Stacey Yang Piano BMed Science, AMusA University Honorary Carillonist
Nicole Murray-Prior Double Bass BA Rachel Pogson Cello BMus
Jacob Shaw Trombone MMus (Perf), BMus (Perf)
Jennifer Yeh Bassoon and Piano MMus, BMus (Perf) Bassoon, LMusA (Piano) Alina Zamfir Violin and Viola BMus (Perf), MMus (Perf)
A UNITING CHURCH DAY SCHOOL FOR GIRLS, PRE KINDERGARTEN TO YEAR 12 Rowley Street, Burwood NSW 2134 Australia Telephone 61 2 9747 1266 Facsimile 61 2 9745 3254 ABN 75 549 644 535 CRICOS No. 02328D PO Box 643 Burwood 1805 www.mlcsyd.nsw.edu.au