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IDENTITY 13TH BIENNIAL Sydney Opera House Concert 19 MAY 2015


Welcome to MLC School’s 13th Biennial Sydney Opera House Concert From the Principal Denice Scala

Denice Scala

Ambitious and creative music making has always been a strong feature of the life of MLC School. The School’s founders were confident that young women would thrive with an emphasis on both scholastic achievement and ambitious studies in the creative arts, music and sport. The School’s founding Principal Rev Prescott championed the pursuit and recognition of excellence in music, and from the 1880s until today music theory and performance has played a central role in the life of MLC School. Music is central to our identity as a learning community – it is in our DNA. From the first ever MLC School concert in 1933, to the Grand Concert at the Sydney Opera House to celebrate our centenary in 1986 (led by Helen Watson, Head of Music Department) and the biennial Sydney Opera House Concerts led by Karen Carey from 1993 to 2013, and this year by James Allington, to the spectacular annual Music Awards held in the Sydney Town Hall, the presentation of music at the very highest level has held an honoured place in our School. The study of music engenders self discipline, a marked ability to work with others and recognised benefits across disciplines. Music not only helps us to learn from the greats, it helps us to know their hearts, to understand their thoughts and to pursue excellence. Mastering difficulties and rising to the heights of successful performance creates resilience, confidence and creativity in our young women. Music expresses the ineffable and it brings us all joy. Woven into tonight’s musical journey is our commemoration of the ANZAC Centenary, shaping Australia’s identity. I thank the MLC School Council, staff, students, parents and donors for their ongoing support of this fearless undertaking. I know you will enjoy tonight’s concert as much as I will as our Year 3 to Year 12 students weave the story of aspects of MLC School’s rich Identity.

Denice Scala Principal 2

‘Music is central to our identity as a learning community – it is in our DNA.’

From the Director of Music James Allington

James Allington

‘In the world of music, the word ‘identity’ has many connotations. I trust you will find pieces within tonight’s program that have a particular meaning as we reflect upon our own distinctive existence both as individuals and as a community.’

Elizabeth Scott is one of Australia’s leading young choral conductors. An emerging conductor of note, Elizabeth was Assistant Chorus Master at Sydney Philarmonia Choirs Australia’s largets choral organisation) from 2006 to 2008, and has been the Musical Director of Vox (the Philarmonia’s youth choir) since 2008. The partnership with Elizabeth has resulted in our young women receiving an unrivalled experience in choral performance.

‘What does it mean to be a student at MLC School?’ This is the question that we asked students last year as Alice Chance (2011) sought a suitable text to set to music, one of the five specially commissioned works for the 2015 Sydney Opera House Concert. The poem ultimately chosen is Filiae, written by Emma Cross (Year 12). One of the most meaningful parts of our rehearsal process has been Emma and Alice sharing their inspiration with the students.

MLC School continues to seek ways to build on its tradition of excellence, and working with the best Australian professional musicians provides us all an opportunity to enhance our teaching and learning. We invite you to enjoy their contribution and that of all our MLC School students and staff at this evening’s very special event.

The compositional setting of Filiae and Waltzing Matilda includes the MLC School Taiko ensemble combining at different times with pitched percussion, claves, harps, didgeridoo and the Sydney Opera House organ, which overall makes for a distinctive instrumental colour. The vocal parts are scored for girls voices only, and in up to ten parts; frequently in sections of ‘a cappella’ or unaccompanied singing. In the world of music, the word ‘identity’ has many connotations. I trust you will find pieces within tonight’s program that have a particular meaning as we reflect upon our distinctive existence both as individuals and as a community. MLC School has always enjoyed working with Australia’s leading musicians, some of whom have directed performances at previous Sydney Opera House concerts.

James Allington Director of Music


Program Waltzing Matilda................................................................................................................... Ruth McCall MLC School Choir, Senior Choir, Chamber Choir, Years 3, 4 and 5 Choir,Taiko Drums and MLC School Dancers Conductor James Allington Didgeridoo William Barton

Violin Concerto Op. 14....................................................................................................... Samuel Barber 1st Movement – Allegro Moderato MLC School Sinfonia Conductor Louise Keller Soloist Jasmine Tan

Old Man Platypus....................................................................................................................... Liane Papantoniou Years 3, 4 and 5 Choir and Senior School Chamber Choir Conductor Annette McClure Violin Rebecca Zhong, Louise Wang, Charis Chiu, Fiona Lee, Chloe Cheong Viola Tiffany Son, Christina Burjan Cello Sheree Kuan, Georgie Robinson Bass Teresa Du, Olivia Tanevski Piano Celine Kang

Concerto for Violin and Cello Op. 102........................................................................... Johannes Brahms 2nd Movement – Andante MLC School Sinfonia Conductor Louise Keller Violin Sarah Sung Cello Rachel Siu

Mestizaje................................................................................................................................. Adrian Kingwell MLC School Dancers Conductor Elizabeth Gilberthorpe Flute Anna Wilson Clarinet Tessa Iversen Alto Saxophone Anna Michael Tenor Saxophone Milly Day-Collett Trumpet 1 Phoebe Hunter-Mole Trumpet 2 Rebecca Zhong Trombone Ashley Litptak Guitar Zane Banks Vibraphone Rebecca Chou Piano Eliza Stewart Bass Teresa Du Drums Claris Foo Percussion Sandy So

Inner Eye................................................................................................................................. Alicia Grant Violin Louise Wang, Rebecca Zhong, Charis Chiu, Fiona Lee, Chloe Cheong Viola Tiffany Son, Christina Burjan Cello Sheree Kuan, Adelaide Grisard Bass Francesca Lee, Jade Di Girolamo Flute Adalita Young, Georgia McNaughton Clarinet Victoria Tong, Suzanna Steele Bassoon Tarisha Gunaratnam Vibraphone Gabriella Searle Harp Elena Viatos 4

Uranus, the Magician from The Planets......................................................................... Gustav Holst MLC School Orchestra Conductor Christopher Hayles

Benedictus from The Armed Man: A Mass for Peace..................................................... Karl Jenkins MLC School Choir, Senior Choir, Gentlemen of Cantillation and MLC School Orchestra Conductor Elizabeth Scott Cello Rachel Siu

INTERVAL The Loaded Dog................................................................................................................... Graham Lloyd MLC School Combined Concert Bands Conductor Guy de Villiers Narrator Ella Finlay

String Quartet No. 1, Op. 20.............................................................................................. Alberto Ginastera 1st Movement – Allegro violento ed agitato Violin Jasmine Tan, Catherine Jang Viola Sarah Sung Cello Rachel Siu

Overture from Candide...................................................................................................... Leonard Bernstein MLC School Concert Band Conductor Christopher Hayles

ANZAC Anthem..................................................................................................................... Alicia Grant MLC School Chamber Choir and Gentlemen of Cantillation Conductor Elizabeth Scott Organ Kurt Ison

Serenade for Strings Op. 22............................................................................................... Antonin Dvorak 3rd Movement – Scherzo MLC School Chamber Orchestra Conductor Louise Keller

Prelude and In Te Domine Speravi from Te Deum...................................Marc-Antoine Charpentier Chamber Choir, Gentlemen of Cantillation and MLC School Sinfonia Conductor James Allington Trumpet Matt Dempsey Organ Kurt Ison

Concerto for Vibraphone and Orchestra....................................................................... Ney Rosauro 1st Movement –Recitativo and Allegro MLC School Sinfonia Conductor Nathaniel Primrose-Heaney Vibraphone Rebecca Chou

Filiae......................................................................................................................................... Alice Chance MLC School Choir, Senior Choir, Chamber Choir, Junior School Years 3, 4 and 5 Choir, Harps, Organ, Percussion and Taiko Drums Conductor James Allington Soprano Tarisha Gunaratnam 5

Waltzing Matilda

Ruth McCall

Ruth McCall

I wrote Waltzing Matilda with the idea of combining several melodies: an Aboriginal chant, the common familiar tune, the Queensland tune and a new modern melody. This blend of material reflects our nation’s mixed heritage and our cultural desire to identify with ‘the underdog’ who struggles against authority. The Aboriginal words are a string of botanical names suggestive of the billabong around which trees gather. Like the sheep, the squatter and eventually the troopers, they congregate around water. Originally written for the six male and female voices of The Song Company, this version of Waltzing Matilda has been specially arranged for MLC School, and I am delighted that the Taiko drums will add yet another musical dimension to the performance.

kallara tea-tree marlee elder tree patanga place of gum trees green trees growing yanagin carawatha place of pine trees yarrabee many gum trees tyalla eucalyptus maroong cypress pine yallaroo beautiful flowers tumbeelluwa evergreen

‘This blend of material reflects our nation’s mixed heritage and our cultural desire to identify with ‘the underdog’ who struggles against authority.’ Project, and solos for voice by John Cage with the Song Company. She has also performed hundreds of concerts for primary school children in association with the Musica Viva in Schools program and holds an Associate Diploma in piano performance.

Ruth McCall graduated with First Class Honours from the Elder Conservatorium of Music at the University of Adelaide in 1995 and was involved in the music scene there as a singer and accompanist. She joined the Song Company as a soprano between 1996 and 2010. She toured extensively in over 17 countries, including Europe, China, the USA, England, and Asia. Highlights include the Dresden Early Music Festival and performing Berio’s A-Ronne with the Malaysian Philharmonic Orchestra. Ruth has also performed with a variety of Sydney based ensembles; including singing the part of a barbie doll in Matthew Hindson’s What that spell? with the Aurora festival, Couperin’s Lecons de Tenebrae with The Marais

In recent years Ruth has also been working as an arranger and song-writer, and her works have been performed by vocal groups and individuals. She was composer-inresidence for the Sydney Children’s Choir in 2011, and directed The Song Company’s 2012 production of Ship to Shore with Slava and Leonard Gregorian on guitars. She currently teaches singing in schools, is an accompanist, and works for the Sydney Children’s Choir.


Violin Concerto Op. 14 1st Movement Allegro Moderato Samuel Barber

The Violin Concerto by Samuel Barber is a relatively early work commissioned by Samuel Fels, a wealthy industrialist and philanthropist from Philadelphia. It was intended as a vehicle for Iso Briselli, a gifted young violinist who was Fels’ ward and protégé. Barber sketched the first two movements in Switzerland during the summer of 1939. However, due to the increasing threat of war, Barber returned to the USA in September where he sent the completed movements to Briselli. Briselli was pleased with these movements, but his approval did not extend to the finale that Barber sent him in November. Briselli considered it too difficult to play and insufficiently substantial to balance the first two movements. He suggested that Barber rewrite the last movement, but the composer declined to do so. Briselli returned the music to Barber and, controversially, did not play the concerto at the premiere performance. This task fell to the distinguished American soloist, Albert Spalding, who premiered the work on 4 February 1941 with Eugene Ormandy conducting the Philadelphia Orchestra. It quickly entered the international repertoire where it remains one of the most frequently performed violin concertos of the 20th century.

‘The concerto quickly entered the international repertoire where it remains one of the most frequently performed violin concertos of the 20th century.’

The first movement of the violin concerto is built around two themes. Dispensing with any orchestral introduction, the solo violin introduces the first lyrical theme immediately. The second theme is played by the clarinet and is a rhythmically contrasting melody using the ‘Scottish snap’, a short-long figure also predominant in jazz idioms. These two themes alternate throughout the first movement, culminating in the soft and sombre final bars.

‘The first movement of the violin concerto is built around two themes.’


Old Man Platypus Liane Papantoniou

Liane Papantoniou

The platypus is quite a contrary creature, with a bill and webbed feet like a duck, and fur and a tail like a beaver. When the first platypus was brought from Australia to Britain, it was thought that some tricksters had sewn parts of different animals together! Old Man Platypus is a setting of A.B. ‘Banjo’ Paterson’s poem of the same name, and seeks to capture the charm of Paterson’s descriptive poetry while musically portraying aspects of the platypus’ unique identity. The faster sections of the piece incorporate elements of jazz to create a sense of playfulness, liveliness and individuality. In contrast, the slower sections are written in a more traditional style, with a dreamlike, storytelling quality fitting the more introspective aspects of the platypus’ world. Small musical gestures spread throughout the piece aurally depict features of the aquatic environment, like the rustling of reeds and the splashing of water. Old Man Platypus was commissioned by MLC School for the 2015 Sydney Opera House Concert and is dedicated with much gratitude to all of the music staff who helped me to become the musician I am today.

‘The faster sections of the piece incorporate elements of jazz to create a sense of playfulness, liveliness and individuality.’

Liane Papantoniou Sydney Children’s Choir, Kompactus Youth Choir, Sydney University Wind Orchestra and Splash Percussion. She is also an avid performer, having participated in various choir tours to Europe, Hong Kong, Taiwan and New Zealand, and has performed in Westminster Abbey and Notre Dame Cathedral. Liane is currently a member of Sydney Chamber Choir, Gondwana Chorale and Sydney University Wind Orchestra and is studying a Doctor of Medicine at the University of Sydney.

For Liane Papantoniou (2010) music was all encompassing at MLC School. She performed in many Sydney Opera House Concerts herself as part of the School’s Chamber Choir, Orchestra and Concert Band. Whilst at MLC School, she was also a finalist in the Sibelius Young Composers Awards in 2008, achieved her AMusA in Musicianship in 2009, and had her compositions performed at Australian Music Day in 2009 and 2010. After completing her International Baccalaureate Diploma, Liane studied a Bachelor of Music Studies in Composition at the Sydney Conservatorium of Music, which she completed in 2013. Her compositions and arrangements have been performed by many ensembles, including


Concerto for Violin and Cello Op. 102 Johannes Brahms

It has been claimed that the Double Concerto for violin and cello is Brahms’ renewal of the eighteenth century concerto grosso, the form in which a small group of two or more soloists is pitted against the larger orchestral ensemble. However Brahms, who was very knowledgeable about Baroque music, never mentioned such an influence on the Double Concerto and its style and construction bear no resemblance to the Baroque form other than in its instrumentation. In all respects, this work is a Romantic concerto for two soloists, written with the integration of orchestra and soloists in mind. Nonetheless, Brahms admitted some difficulties in finding a satisfactory balance between the violin and cello in terms of tone color, range and dynamic, but managed to solve these difficulties, partly by keeping the orchestra somewhat restrained. Brahms wrote to Clara Schumann in 1887 ‘I have had the amusing idea of writing a concerto for violin and cello … If it is at all successful, it might give us some fun.’ Despite the lighthearted tone of Brahms’ letter, the core of his concerto for violin and cello came from a painful loss, namely his strained friendship with longtime colleague, violinist Joseph Joachim. Brahms and Joachim had not spoken for seven years and Brahms felt the loss of the friendship keenly. He sought to regain Joachim’s friendship through the double concerto. After the public premiere in Cologne, Brahms told a friend, ‘Now I know what it is that has been missing in my life for the past few years … it was the sound of Joachim’s violin.’ In 1887, despite their fractured friendship, Joachim premiered the work with Robert Hausmann on cello and Brahms conducting. In a final homage to Joachim, Brahms’ inscription on the piece reads ‘To him for whom it was written.’


Mestizaje Adrian Kingwell Composer in Residence at MLC School

‘The concept of Mestizaje endeavours to integrate African and European influences as they interact in the creation of a new cultural definition of Cubanness.’

Mestizaje is a musical response to the poetics of Cuban poet Jose Lezama Lima (1910–76). The word ‘Mestizaje’ is the cultural intermixing of Spanish, American, Indian and African people in Latin America. Despite the limitations of this word, the rationale for using this term stems from the writings of F. M. Gonzales. ‘The concept of ‘Mestizaje’ endeavours to integrate African and European influences as they interact in the creation of a new cultural definition of Cubanness.’

Adrian Kingwell

Lezama’s poetics and use of wide-ranging inspirations, quotes and references mirror Gonzales’ concept of ‘Mestizaje’; both are inclusive and integrative. Lezama also rooted himself in the style of baroque poetry, which he saw as the cultural bridge between the Spanish past and the Latin American present (Latin American colonialism began in the Baroque period). This informs his use of dense language and imagery as well as his very long and open grammatical structures. Though, Lima uses this Baroque style as a way to define a poetic and cultural ‘Mestizaje’ voice.

Adrian Kingwell is a composer and music educator based in Sydney. As a composer of contemporary classical music, stage, dance, film music and musical theatre, Adrian’s musical comprehension and compositional style is wide-ranging. This has allowed him to have original works and arrangements performed by schools and ensembles around the country, particularly in his native Perth. Adrian has

In musically interpreting Lima’s poetics, I have utilised Baroque devices. The forms and structures of the piece are loosely inspired by the Baroque dance suites. However, in keeping with his wide-ranging inspirations and aesthetic inclusivity, this piece draws upon many other reference points such as Jazz, Latin-American musical styles and Classical Contemporary Music to name a few. This piece will be performed in Cuba as part of MLC School’s Jazz Ensemble 2015 tour.

completed a Bachelor of Music Education at the University of Western Australia and is currently completing a Masters of Music (Composition) at the Sydney Conservatorium.

Adrian Kingwell

‘Lezama’s poetics and use of wide-ranging inspirations, quotes and references mirror Gonzales’ concept of Mestizaje; both are inclusive and integrative.’


Inner Eye Alicia Grant The title of this work is partly inspired by reading Nicholas Humphrey’s book The Inner Eye (1986) which analyses the social function of intellect. Humphrey describes human consciousness as an ‘inner eye’ which allows awareness of thought processes, sense perceptions and emotions. This idea, also known as the ‘mind’s eye’ is variously interpreted in numerous religious traditions, where the general belief is that an invisible eye provides perception beyond usual sight. With this inspiration in mind, the music of Inner Eye intends to convey that subtle ‘looking out’ onto the world behind a foreground narrative led by the solo violin (as protagonist). The ensemble is often in shadow to this central figure which experiences diverse emotions. Another idea at play in this piece is the musical tradition of mirror canon, most meticulously executed in J.S. Bach’s Quaerendo invenietis from ‘A Musical Offering’ (1747). In a mirror canon, the leading voice is echoed in inversion, that is, essentially turned upside down. In Inner Eye, a mirror-canon structure can be heard in the second section, introduced by the first and second violins and then taken up by the whole ensemble.

– Oleg Ledeniov (MusicWeb)

Alicia Grant

‘Her music sometimes verges on the minimalistic, but is never schematic; it is approachable, and at the same time musically deep. It was a pleasant discovery.’

Alicia Grant is known for her specially commissioned work, ANZAC Anthem, for choir and organ, which was premiered by the Choir of Westminster Abbey in the presence of Her Majesty Queen Elizabeth II and the Duke of Edinburgh in 2005. This anthem continues to be regularly performed at Westminster Abbey and other memorial services that mark Australia and New Zealand’s national day of remembrance. She is a Composer in Residence at MLC School.

The works of Australian composer Alicia Grant have been performed by renowned orchestras and ensembles, including the Melbourne Symphony Orchestra, the Choir of Westminster Abbey, the BBC Singers, New College Choir, the Oxford Philomusica, and the Tasmanian Symphony Orchestra. Twice premiered at Carnegie Hall, New York, her pieces have featured at prestigious venues across the globe and are recorded on labels such as Tall Poppies, Divine Art, Transatlantic Records, and Riverrun UK. Grant achieved the distinction of Doctor of Philosophy (DPhil) from the University of Oxford in 2008. The recipient of an ORS Award and Clarendon Fund scholarship, she studied composition with Professor Robert Saxton at Worcester College. Grant also holds an ARAM, LRAM and first-class BMus(Hons) degree from the Royal Academy of Music, University of London, where she studied with Simon Bainbridge. She

‘Her music sometimes verges on the minimalistic, but is never schematic; it is approachable, and at the same time musically deep. It was a pleasant discovery.’


Uranus, the Magician from The Planets Gustav Holst

At the time he composed this work, Holst was firmly established in his roles as Director of Music at St Paul’s Girls’ School in Hammersmith and at Morley College in Waterloo, London. Uranus is the sixth of seven movements from Holst’s orchestral suite entitled The Planets. It was written between the years 1914 and 1916 and draws musical inspiration from the astrological character and identity of each planet of our solar system, excluding the Earth and Pluto which had yet to be discovered. Much to Holst’s irritation, this work became immensely popular with concert going audiences and still stands the test of time as his most famous and identifiable composition. The British Empire was built on the science of the Industrial Revolution, creating an emerging middle class hungry for culture and mysticism from the East. This was reflected in the art of the era as well as some of the musical influences found throughout the suite. Much of the musical material of Uranus, the Magician is derived from what seems to be a simple elemental phrase of four notes. These notes are constantly developed and passed around the orchestra as if conjuring a spell which becomes increasingly complex each time it is heard. Once the spell is cast the music moves into what can be described as a macabre romp. While this movement is not programmatic, it definitely takes a darker turn after the climax where one could imagine that the magician realises he is dabbling in something much more powerful than he first realised. The end of this movement is eerily quiet and leaves the audience in the ensuing silence and vacuum of space.


Benedictus From The Armed Man: A Mass for Peace Karl Jenkins moving chords. The completely contrasting climactic ‘Hosanna in Excelsis’ is one of the most thrilling moments in the choral repertoire. Jenkins’ success can be attributed to his versatility as a composer and he has won many awards for his music.

The complete Benedictus A Mass for Peace by Karl Jenkinshas clocked up over 1500 performances in 20 different countries. The piece was commissioned by the Royal Armouries Museum for the millennium celebrations, and was dedicated to the victims of the Kosovo crisis. Based on the Catholic Mass, it is essentially an anti war piece.

His ability to fuse different musical styles was first, and arguably best, demonstrated by his Adiemus project, where he combined the traditional sounds of a symphony orchestra with ethnic vocal sounds.

Benedictus is the best known part of the work, the opening and closing beautifully arched and sweeping melody is played first by solo cello before the choir repeat over slow

Overture from Candide Leonard Bernstein

‘Jenkins’ success can be attributed to his versatility as a composer.’

The Operetta Candide opened on Broadway on 1 December 1956 and closed a scant two months later as a well-publicised, expensive and resounding flop. The drama is based on the wickedly joyful satire of the same name by Voltaire, the premise of which is that ‘all is for the best in this best of all possible worlds.’ It tells the story of a young man in search of his identity and his efforts to survive according to this improbable philosophy. Happily racing through a series of bizarre disasters, his adventures take him from Lisbon, Paris, Cadiz, Buenos Aires, a jungle, the mythical Eldorado, an unidentified desert island and Venice, before finally returning him to Germany. In the end, Candide settles down and spends his remaining days peacefully and productively on a small farm – at which point, his cow suddenly drops dead.

‘It tells the story of a young man in search of his identity and his efforts to survive according to this improbably philosphy.’

Below the surface of this seemingly farcical narrative runs Voltaire’s satire of the fashionable philosophies of his day, especially the Catholic church whose Inquisition routinely tortured and killed ‘heretics.’ In 1953, the renowned playwright Lillian Hellman proposed to Leonard Bernstein that they adapt Voltaire’s Candide for the musical theatre. In so doing they drew parallels between the Inquisition’s church-sponsored purges and tirals being conducted by the House Un-American Activities Committee. Leonard Bernstein (1918–90) was the first US-born conductor to be appointment as Music Director of the New York Philharmonic from 1958 to 1969. In addition to his very busy international conducting career Bernstein composed music throughout his life which ranged from ballets scores and symphonies to light-hearted songs and stage musicals.

Bernstein said he always wanted to write ‘the Great American Opera.’ He said of this work, “there’s more of me in that piece than anything else I’ve done.” In 1989 Bernstein spent the last years of his life recording what is now seen to be the definitive version of the work before he died the following year. 13

String Quartet No. 1, Op 20 Alberto Ginastera Alberto Ginastera was born in Argentina in 1916. He graduated from the National Conservatory of Music in Buenos Aires and early success as a composer led to his appointment in 1941 as Professor of Music at the National Conservatory. In 1945 the regime of Juan Perón took issue with Ginastera’s political views (he signed a petition supporting civil liberties) and he was forced to leave his position and accept a Guggenheim Fellowship in the United States. Ginastera divided his career into three distinct periods, characterised by increasingly abstract music. The String Quartet No.1 falls into the second period called ‘Subjective Nationalism’, where Ginastera drew deeply on Argentine folk music, especially the music of the Argentine gauchos. This personal style, inspired by melodic and rhythmic traditions, created folk-like melodies without actual quotations from indigenous music, much like the later works of Bartok and Kodaly.

The Loaded Dog Graham Lloyd

In 1997 while Director of Music, Royal Australian Air Force (RAAF) and Commanding Officer of the RAAF Central Band, Graham Lloyd was commissioned to compose a new ‘test piece’ for D Grade Brass Band. He decided to write a descriptive work based on something uniquely Australian, choosing one of Henry Lawson’s humorous short stories, The Loaded Dog for inspiration. It tells the tale of three gold miners, Dave, Jim and Andy and their retriever dog Tommy, who decide to blow up a nearby waterhole in their efforts to catch a large amount of fish the easy way. With a love of Bugs Bunny cartoons and their brilliant orchestral arrangements accompanying the action on screen, The Loaded Dog story seemed perfect to adapt to similar musical treatment.

The first movement ‘Allegro violento ed agitato’ is driven by primal energy, with repetitive rhythms suggestive of the Argentine gaucho dance known as malambo, a men-only competition in which skilled footwork (stamped as in flamenco) and movement combine with machismo. The music has an underlying tonality, yet is strongly dissonant at various points in the movement. In 1971 Ginastera emigrated to Switzerland, where he spent the last years of his life, composing prolifically and with increasing international renown.

The Loaded Dog is based on four motifs using an alphabet ‘matrix’ related to the music alphabet. It uses the names of the three miners to establish three groups of notes. For example, Andy’s theme uses the notes A, G and two Ds. Tommy the retriever is represented by a simple arpeggio/scalic figure finishing with a lower auxiliary note. These four motifs appear throughout the work in many guises – sometimes melodically and sometimes harmonically. It is a work of great fun, energy and vitality.


ANZAC Anthem Alicia Grant

This work is a setting of an abridged version of Te Hokinga Mai (The Homecoming) by Vincent O’Sullivan, a poem commissioned by the Government of New Zealand for the ‘Interment of the Unknown Warrior’, held at the New Zealand War Memorial in Wellington, 11 November 2004. The musical setting is in the manner of a slow funeral march, conveying the image of a procession behind the coffin of an unknown World War I soldier. The anthem marked the 90th Anniversary of the Gallipoli Landings in 1915 and was performed at this special service in the presence of Her Majesty Queen Elizabeth II and the Duke of Edinburgh in Westminster Abbey, London, on ANZAC Day 2005 by The Choir of Westminster Abbey, directed by James O'Donnell. Following a performance by New College Choir in Oxford in 2006, reviewer Samuel Hogarth wrote ‘The work is a slow lament, whose held organ notes act as a drone, and whose choral entries superimpose tension and release. The style is marked out by its simplicity of approach, which however is highly sophisticated in its use of harmonic colour and inflection.’

The Homecoming The notes behind a song that seem Another song, a different dream The past we harvest that was yours, The present that you gave for ours. The life in places once your own And left behind, and what was said To husband, father, lover, son, Are stories that were lost indead, That ran to darkness where you bled Life allows us, one another What we have and you do not, our brother. Vincent O’Sullivan

Greater love has no more than this; that a man lay down his life for his friends. John 15:13

Serenade for Strings Op. 22 Antonin Dvorák

The young Dvorák began work on the Serenade for Strings, Op.22, on 3 May 1875 and completed the entire work just eleven days later. 1875 was a particularly productive year for Dvorák. In addition to this Serenade, he composed the String Quintet in G, Op.77, the Trio in B-flat, Op.21, and the first Piano Quartet, Op.23. Later in the year Dvorák began work on his Fifth Symphony, the first of his works to find a permanent place in the orchestral repertoire. All of these compositions are a product of a particularly happy period of the composer’s life. Dvorák was newly married and expecting his first child. He was employed as an organist for a church in Prague and had recently received a substantial Government grant. Dvorák’s reputation as a composer was spreading to Vienna and beyond. The Serenade is a charming work in five movements. Movement no. 3, the Scherzo, begins in F major with a sparkling theme introduced by the cellos and imitated immediately by the first violins. There is a wistful and slower middle section which modulates to A major before the opening theme returns. The work was first performed on 10 December 1876 in Prague, at a concert given by the joint orchestras of the Czech and German theatres, conducted by Adolf Cech.


Prelude and In te domine speravi from Te Deum Marc-Antoine Charpentier Charpentier (1645 to 1704) was a leading French Baroque composer who held several important musical posts in Paris at the end of the 17th century. His compositions include oratorios, masses and operas.

or thanksgiving part of a church service from many faith traditions.

The Te Deum dates back to early Christian faith and is a hymn of praise. The Latin text has inspired many composers and is usually written in a series of short movements. While founded in the early Catholic church, the liturgical relevance of Te Deum has meant it has transcended denominations, and is frequently sung at a celebratory

Charpentier wrote six settings of the Te Deum. The instrumental prelude to this setting in D major is probably Charpentier’s best known work and frequently heard as a separate processional piece. In te domine speravi non confundar in aeternum is the final movement of Te Deum and an affirmation of faith and eternal hope. ‘In you, O Lord, I hope (and trust); let me not be confounded (as I enter) into eternity.’

‘An affirmation of faith and eternal hope. ‘In you, O Lord, I hope (and trust); let me not be confounded (as I enter) into eternity.’

Concerto for Vibraphone and Orchestra Ney Rosauro Ney Rosauro is widely recognised as one of the most dynamic percussionists in the world today. He has performed internationally while also having a prolific career as a composer with more than 100 compositions, many of which have become staples in the percussion repertoire. From 1975 until 2000 he directed the Percussion Department at the Federal University of Santa Monica in Brazil and from 2000 to 2009 he was director of Percussion Studies at the University of Miami, Florida. His Concerto for Vibraphone and Orchestra, dedicated to Evelyn Glennie, is one of the few concerti for vibraphone in existence and expresses his experience of life in Brazil. The first movement in particular seeks to allude to the constant struggle of poor people in the dry lands of the northeast of the country. Later movements represent a variety of Brazilian elements from lullabies to sounds of seagulls.


Alice Chance Filiae, in Latin, translates as ‘daughters.’ You may recognise it from MLC School’s beautiful school motto, ut filiae lucis ambulate, meaning walk as daughters of the light. To me, it represents all the beautiful history and tradition of MLC School which is so inherent to what it is now, and what it will be in the future. I have created a piece that juxtaposed these feelings and finally combined them to create the most vivid musical picture of MLC School that I could. The angular melodies and falsely related chords I have used to voice the text of current student Emma Cross’ poem are intended to create a sense of awe of the collective power, momentum and strength of past, present and future MLC School girls. The mechanical quaver pulse, distilled with irregular time signatures, conjures an image of an engine that never stops. However this is bookended by the reflective voicing of our motto and a look over the shoulder at all the souls who have contributed to making MLC School the place that it is. In a final nod of respect, the girls cover their mouths and reflect on those whose voices are yet unheard. The piece ends with hope that one day every person will have a voice as loud and listened to as MLC School girls and young women.

Emma Cross

Filiae What it means to be at MLC School A woman rises from the earth The glass sky hangs above Her tongue sharp as the clean lunar orb Infusing word and love Beyond the skyline a world unfurls Blossoms swell and fall Summoning the challenges that Lurk beyond its walls Channels of mindlessness begin to dry With each new, brimming year The truth of continents and galaxies Confronted with pure ideas Framed by strokes of blue and green Romantic visions grown faint The desert gunfire rings through stone Innocent blood darkens the paint The husk of innocence starts to split Its riches spice the mind A palm emerges from its pocket Connected to the needs of its kind A modern hub of glass and wire Heralds the peace of the past A blooming mind of truth and challenge Can serve to break the fast

Alice Chance

Emma Cross Year 12

Composer Alice Chance (2011) has worked with the Australian Brandenburg Orchestra, Sydney Symphony Orchestra Fellowship, Sydney Children’s Choir and Sydney Youth Orchestras. Alice plays the viola de gamba, has written musicals and numerous other works, arranged pieces for professional orchestras and performs with the Sydney Philarmonia’s Vox ensemble. As a composer her she is rapidly gaining critical acclaim and her work has already been performed in Australia, the US and England.


‘The angular melodies and falsely related chords I have used to voice Emma’s words are intended to create a sense of awe at the collective power, momentum and strength of past and present MLC School girls and young women.’

Performers PROFESSIONAL PLAYERS Violin Reafen Liu (2002) Carolyn Chen Jessie Tu Cello Robyn Godfrey Double Bass Nicole Murray Prior Guitar Zane Banks Piccolo Samantha Joseph (2005) Cor Anglais Rhonda Jones Bassoon Jennifer Yeh Horn Milen Boubbov Denbigh Morris (2005) Bourian Boubbov Trumpet Matt Dempsey Trombone Roslyn Jorgensen Jacob Shaw Tuba Liam Acheson Harp Solveig Hu Percussion Stefania Kurniawan (2007) Adranne Teh (2009) Taiko Kerryn Joyce

SENIOR CHOIR Artemis Alfonzetti Isabella Anderson Samantha Anderson Semela Angelides Hannah Arnold Keertana Avalur Venkateshwar Angela Bai Emily Bailey-Hughes Lotte Beckett Olivia Bersais Erin Bofinger Emmeline Booth Nicole Bor Ellen Brown Olivia Bubalo Christina Burjan Mia Burjan Claudia Byrne Jessie Cai Sarah Carvolth Hayley Cavanagh Megan Cavanagh Sammy Cavanagh Annie Chen Elizabeth Chen Lifei Chen Sydney Chen Tiffany Chi Sabrina Chiu Rebecca Chou Sarah Chou Alyssa Ciarroni Leona Cohen Zoe Cross Anjali Cuganesan Emma Dauparas Alicia Davies Sarah Day Milly Day-Collett Olivia Debs Amity Dent Emma Denton Georgia Dunn Nicola Economides Briony Farquhar Claudia Feng Georgia Ferguson Jacqueline Field Alyssa Filippoff Ella Finlay Emily Fitzgerald


Claris Foo Nina Frissel-Thomas Gabrielle Giannakos Natalia Giannakos Maneesha Gopalan Meghana Gopalan Imogen Greenslade Adelaide Grisard Madeleine Grisard Lyla Groom Annie Gu Clare Gu Katie Gu Tarisha Gunaratnam Catelyn Ha Isobel Hageman Ariana Haghighi Emily Hart Ellena Hartzenberg Anastasia Hatzisarantinos Tahlia Hatzisarantinos Cindy He Georgia Hewitt Frankie Howard-White Monique Hrsto Luci Hughes Isabelle Ingham Carma Jackson Vani Jaidka Jade Jameson Clara Janssen Rebecca Janssen Eva Jessurun Angel Jiang Ivy Jiang Yuting Jin Charlie Kairaitis Caitlyn Kakakios Celine Kang Ria Kapoor Anastasia Kennett Rosie Kethel Elizabeth Kim Yevin Kim Michelle Kong Desiray La Tiffany Lai Federica Lannan Zoe Latham Amanda Lee Caroline Lee Tiffany Lee Vicky Lee

Josephine Lewis Cathy Liang Sophie Liang Vanessa Liang Natalie Lin Nicole Lin Tracie Lin Claire Lindsay Jane Liu Tracy Liu Cindy Lo Carissa Long Georgia Long Danah Maher-Lee Katrina Marshall Darcy Martin MacKenzie McCowan Lucy McKindlay Georgia McNaughton Diya Mehta Holly Miller Tess Morrison Madeleine Murphy Joanna Nam Hanna Nash Rebecca Nash Audrey Nguyen Mikaela Nguyen Ivy Ning Megan Nipatcharoen Eva Novikov Ashley Oliver-Sjahry Claudia Orr Tiffany Pang Haelin Park Tanya Ponggun Eloise Proctor Sienna Prowse Vivian Qiao Abigail Rae Olivia Redwin Lucia Ren Eloise Riviere Georgie Robinson Lily Rodgers Amelie Roediger Emma Rutherford Eva Scoufis Bella Seales Connie She Anica Shen Vivian Shen Hyehee Shin

Sahana Sivathas Grace Sixsmith Cailey Smith Christine Song Mia Stavropoulos Isabella Suckling Hannah Suster Julia Tanevski Ivy Tang Felicity Thomas Yasmin Tinaz Jasmine Todoroska Lydia Todoroska Ella Tomkins Tori Tong Maekayla Tran Natasha Tran Anabelle Truong Teagan Truong Stephanie Valaris Ayla Varol Lily Velez Sarina Wan Anna Wang Michelle Wang Michelle QuiQi Wang Mieko Wang Rachel Wang Rosa Wang Crystal Warner Mina Watkins Jacqueline Lee Wesiak Georgia Wilde Angelica Wilson Anna Wilson Olivia Winlaw Cecilia Wong Cynthia Woo Adele Woods Katrina Wu Tina Wu Angie Xu Victoria Xu Candy Yao Amy Yarrow Nicola Yarrow Klara Zhao Zara Zuccolotto Chloe Zurynski


Mia Stavropoulos Isabella Suckling Hannah Suster Felicity Thomas Yasmin Tinaz Lily Velez Michelle Wang Rosa Wang Adele Woods

Samantha Anderson Hannah Arnold Yu Bai Lotte Beckett Erin Bofinger Emmeline Booth Olivia Bubalo Christina Burjan Jessie Cai Hayley Cavanagh Megan Cavanagh Sammy Cavanagh Rebecca Chou Leona Cohen Emma Dauparas Alicia Davies Milly Day-Collett Amity Dent Claudia Feng Nina Frissel-Thomas Adelaide Grisard Madeleine Grisard Tarisha Gunaratnam Catelyn Ha Isobel Hageman Ariana Haghighi Georgia Hewitt Frankie Howard-White Rebecca Janssen Eva Jessurun Charlie Kairaitis Caitlyn Kakakios Rosie Kethel Tiffany Lai Caroline Lee Vicky Lee Josephine Lewis Claire Lindsay Carissa Long Danah Maher-Lee Holly Miller Madeleine Murphy Eva Novikov Tiffany Pang Georgie Robinson Amelie Roediger Eva Scoufis Anica Shen Hyehee Shin Grace Sixsmith Jessica Song

ORCHESTRA Samantha Anderson Lauren Barclay Juliet Bladon Tess Bradford Christina Burjan Hayley Cavanagh Elizabeth Chen Chloe Cheong Charis Chiu Rebecca Chou Sherrie Chung Leona Cohen Yijun Cui Alicia Davies Julia De Sterke Teresa Du Adelaide Grisard Tarisha Gunaratnam Catelyn Ha Phoebe Hunter-Mole Tessa Iversen Catherine Jang Clara Janssen Rebecca Janssen Ivy Jiang Celine Kang Sheree Kuan Zoe Latham Lilian Le Annabel Lee Fiona Lee Francesca Lee Annabella Lewis Ashley Liptak Danah Maher-Lee Georgia McNaughton Divya Mehta Tanya Ponggun Esther Rizk Georgie Robinson Gabriella Searle


Emily Shum Rachel Siu Sandy So Tiffany Son Jessica Song Suzanna Steele Sarah Sung Laura Sutherland Jasmine Tan Olivia Tanevski Tori Tong Michelle Tran Natasha Tran Olivia van Gelder Elena Viatos Louise Wang Michelle QuiQi Wang Anna Wilson Bonnie Wong Joanne Wong Adele Woods Victoria Xu Halle Yang Simone Yoo Adalita Young Rebecca Zhong

CHAMBER ORCHESTRA Christina Burjan Chloe Cheong Charis Chiu Sherrie Chung Yijun Cui Teresa Du Adelaide Grisard Catherine Jang Sheree Kuan Lilian Le Annabel Lee Fiona Lee Francesca Lee Danah Maher-Lee Georgie Robinson Rachel Siu Tiffany Son Jessica Song Sarah Sung Jasmine Tan Michelle Tran Olivia van Gelder Louise Wang

Joanne Wong Halle Yang Rebecca Zhong

SINFONIA Tess Bradford Hayley Cavanagh Leona Cohen Alicia Davies Julia de Sterke Tarisha Gunaratnam Phoebe HunterMole Ivy Jiang Celine Kang Annabella Lewis Claire Lindsay Sandy So Suzanna Steele Laura Sutherland Tori Tong Adalita Young

SINFONIETTA AND CONCERTANTE Hannah Arnold Uma Barrett Chloe Beraldo Rebecca Bisseh Erin Bofinger Olivia Bubalo Mia Burjan Megan Cavanagh Sammy Cavanagh Christie Ch’ng Eden Cheng Emilie Choi Coco Chung Shakira Chung Gracelyn Dao Kirsten Dao Emma Dauparas Olivia Debs Fiona Deng Jade Di Girolamo Nancy Faraj Maya Felice Gabrielle Giannakos Natalia Giannakos Madeleine Grisard Lyla Groom Ariana Haghighi Zoe Hannam

Selina Cho Rebecca Chou Alicia Davies Milly Day-Collett Julia De Sterke Cassandra Economides Maya Felice Navini Fernando Claris Foo Emily Francis Nina Frissel-Thomas April Guest Tarisha Gunaratnam Elizabeth Hewish Georgia Hewitt Olivia Hill Phoebe Hunter-Mole Tessa Iversen Clara Janssen Ivy Jiang Celine Kang Zoe Latham Annabella Lewis Judy Lin Ashley Liptak Jane Liu Adele Marwood Georgia McNaughton Divya Mehta Anna Michael Alexis Norington Ashley Oliver-Sjahry Emily Osborne Katie Papachatgis Christiana Perdis Amelie Roediger Gabriella Searle Christina Shin Sahana Sivathas Sandy So Suzanna Steele Laura Sutherland Jasmine Todoroska Tori Tong Elena Viatos Anna Wilson Adele Woods Ella Woolbank Tina Wu Megan Wyllie Victoria Xu Adalita Young

Tahlia Hatzisarantinos Lilian Hunt Yuting Jin Charlie Kairaitis Ria Kapoor Hannah Kingsley Jessica Kuo Desiray La Tiffany Lai Jennifer Lee Amanda Lee Emily Li Nicole Lin Elizabeth Liu Georgia Long Jess MacMaster Lauren Madden Darcy Martin Yasmin Mills Afamia Moussa Neethika Naidu Livia O’Dea Tiffany Pang Virginia Peter Eloise Riviere Eva Scoufis Vivian Shen Anica Shen Mia Stavropoulos Isabelle Tang Mia Tsirekas Georgia Ventouris Anna Wang Angelica Wilson Natalie Wong Olivia Wu Megan Xie Joy Xu Angie Xu Bethany Xue Katie Zheng

CONCERT BAND I Emily Bailey-Hughes Lauren Barclay Juliet Bladon Emmeline Booth Tess Bradford Anna Brew Bella Burton Rose Callaghan Hayley Cavanagh Briana Chapman 20

CONCERT BAND II Rachel Bai Chanel Boudib Gabrielle Cadena Olivia Cain Sammy Cavanagh Annie Chen Ashleigh Childs Brittany Childs Amelie Coman Emma Dickson Katherine Du Trinity Elghitany Jacqueline Flett Kayla Graham Sophie Graham Annie Gu Ellena Hartzenberg Anjelica Issa Jade Jameson Emma Juffermans Morgan Kelaher Alice Kreis Bella Leighton Isabel Leung Josephine Lewis Annike Lindhout Zoe Lindhout Madison Long Hayley Ma Fiona MacKenzie Claire McLelland Emily Millar Paris Mitropoulos Sashira Mulholland Madeleine Murphy Nicola Oddie Tina Papamanuel Meera Patel Claudia Seales Arya Sharma Tiahna Sortwell Lucy Squier Ella Tomkins Sabrina Tran Samara Tucker Ayla Varol Renae Varvaris Rachel Wang Olivia Winlaw Macayla Wong Angie Xu Marie Yan

Amy Yarrow Nicola Yarrow Daisy Zheng

TAIKO Keertana Avalur Venkateshwar Madeline Bide Tess Bradford Olivia Cain Victoria Chang Jacqueline Field Claris Foo Natalia Giannakos Aleksia Grbic Isha Gupta Annaliese Konidaris Sophie Liang Rhiannon Macleod Chantelle Man Darcy Martin Paris Mitropoulos Hanna Nash Amanda Ong Katie Papachatgis Kate Papadimitriou Mikayla Papadimitriou Alanah Paras-Cho Virginia Peter Eloise Riviere Maeve Ryan Julia Spiker Lydia Todoroska Angelina Tran Maekayla Tran Kim Trang Georgia Ventouris Katrina Wong Colleen Zhang Klara Zhao

MLC SCHOOL DANCERS Artemis Alfonzetti Shakira Chung Jasmine Dowidar Kaitlyn Duong Nicola Economides Courtney Fletcher Amira Hatoum Elizabeth Hewish Michelle Joseph Olivia Klianis Yevin Kim

Mina Kotoric Jessica Kotselas Tiffany Lai Alanah Paras-Cho Alice Patterson Alexia Riotto Ashlyn Tredinnick Felicia Ventouris Ella Viney


Zoe Jameson Bariah Khaznadar Isabella Kristallis Joanne Law Aileen Leong Isabelle Lin Claire Liu Zara Luong Joyce Mai Sienna Marriott Jana Mourad Nevaeh Nicholas Amelia Norton Keira O’Connor Gabrielle Palmer Raashi Parmar Sophia Pavlovic Georgie Roediger Tiana Roins Anikah Sanan Sophia Sefein Santina Signorelli Gwenyth Smith Seraya Srikumar Lara Stojkovic Georgia Terzis Mia Tsaousidis Bella Upcroft Alexandra Walker Ruby Wiefler Sofia Wilson Lucinda Winlaw Cara Wu Azzurra Zappacosta



Naja Abas Isabel Baudille Isabella Bednaic Clare Butcher Genevieve Cesarano Zara Constance Amelia Cosmidis Holly Dauparas Danielle Dib Ivana Dolenac Fiona Feng Jody Feng Isabella Gadelrabb Nicole Giannacopoulos Harriet Gohil Olivia Gouganovski Angelina Hu

Dalia Alsaad Chloe Bofinger Brooke Bucholtz Zaara Chalak Madhavi Chauhan Erica Chou Chloe Chu Matilda Clayton Giselle Cruz Keiralyn Dao Aadhya Dhanpal Mia Eker Elizabeth Giannacopoulos Alannah Gill Aimee Goodridge Jennisa Ha Zahli Harris

GENTLEMEN OF CANTILLATION TENOR Richard Black Marcus Bortolotti Owen Elsley Andrei Laptev Dominic Ng Joel Roast Joseph Toltz Michael Warby BASS Philip Barton Richard Bell Mark Donnelly Ashley Giles Dsve Hidden Kirk Hume Simon Masterton Andrew O’Connor

Charlize Hosking Taotao Jiang Laura Kardasis Amisha Khatri Rachel Lao Abigail Latham Georgina Lim Stella Lin Julia Lok Helena Lu Breanna Mar Elsa McDonald Isabel McKeough Yianna Mitropoulos Seetha Nathan Sanjana Natkunamanickam Destiny Nicholas Athena Nikolakopoulos Trisha Prabhu Zoe Proctor Ivy Ross Jana Roy Abbie Sen Mahi Shah Mikaela Sitaramayya Jasmine Stavros Eshwari Surendran Cassandra Tong Sarah Truong Chantelle Wan Rochelle Wang Charlotte Waters Yasmin Yogaratnam Kylie Zhou Shelley Zhou  



Mounica Akula Lia Al-Soufi Marlene Anderson Sravya Bandaru Sophie Beraldo Zoe Brase Amelia Bresolin Sophia Cairns Tess Callaghan Briar Campbell Natalie Cavallaro Jeyda Ceylan Amelia Chan Tori Charalambous Annading Chen Gabriella Chen

Sophie Ciesielski Zoe Clark Anna Constantinidis Christyn Cordato Chloe Correia Jade Di Girolamo Eloise Drake Armita Dutta Gupta Trinity Elghitany Ivana Fernando Jacqueline Flett Madison Floros Evie Gallagher Tara Grasso Himani Gupta Layla Hare Caitlin Hartnett Coco Huang Mia Jameson Sarah Kanaan Elke Krassoi Erykah Lakkis Laryssa Latt Madeleine Lewis Hayley Ma Emma Mahant Zunairah Mahfuz Mahibhana Mahinthan Aisling Matthews Charlotte McCrory Kirsten Moller Georgia Mouscas Molly Rose North Helena Panos Tina Papamanuel Sophie Reid Courtney Roberts Alexandra Robinson Dylan Rose Ruby Scott-Wishart Mirabella Shang Arya Sharma Gauri Sharma Dakota Sinozic Olivia Smith Shivani Spencer Anna Sundquist Lara Taleb Soina Thind Sophie Thomas Charlotte Trieu Marissa Tsaousidis Renae Varvaris Sophie Walker

Beth Balas Zoe Berg Marina Chan Isabelle Choi Karen Chung Laura Cincotta Tiarna Cominos Sophia Copp Sofia Costa Maria Antonia Costantino Eliza Crossley Amala Cuganesan Sarah Dejanovic Katerina Delis Cienna Dent Daphne Doumanis Beatrice Drake Lilly Dummett Katherine Eggleton Emily Eker Mouna El-Ahmad Eliana Farr Elizabeth Farrow Caitlin Field Maddison Fisher Ella Fletcher Sienna Fresta Anastasia Giannakakos Darani Gilchrist Erin Glover Madison Gollan Ruby Guminski Kendall Harris Sarah Healey Ava Heine Taylor Hosking Emily Hunt Nicole Hussein Lauren Huynh Ruby Ince Grace John Monique Jomaa Ziya Kalra Jaimie Kappas Jessica Karabesinis Olivia Keeble Otero Eliza Kennedy Patria Koutsogiannis Imogen Kuah Anika Lammers Vivian Law Minh Tam Le Elizabeth Linardos Bethany Lo

Maggie Wang Brittany Warner Tiffany Weng Mei Yan Sophia Wong Sen Sen Xie

YEAR 6   Anoushka Adam Isabella Al-horani Te’jhaan Altiok-Brown Kayla Andreopoulos Sarvani Bala Laurette Bechara Kylie Becvarovski Claudia Catania Emma Christie Olivia Codevelle Amy-Grace Docherty Jaclyn Duncombe Grace Gilhawley Aleyna Gunduz Leilani Innes Amara Kalcev Rachel Kardasis Amelia Kilby Ava Lee Gloria Lim Alexis Madden Preeyangka Manogaran Marissa Matthews Georgia Melhem Serena Nguyen Miranda Norton Sophie Ogilvy Emma Randell Phillipa Signorelli Jane So Gemma Sorial Elle Tamvakolos Jocelyn Ting Daiety Vezza Amelia Whitmont Lilly-Rose Williams Georgia Wyatt Mariam Yassine Kelly Zhang Sarah Zikovski

YEAR 7 Antonique Amperidis Menawish Asif Kate Baker 22

Vittoria Loprevite Philippa Machin Bella Macken Simone Maddison Aisling McCreery Amy Miller Sarah Moller Zoe Morrison Samantha Naayen Layla Nazha Mia Novati Rahni Ong Prerna Pabathi Olivia Papasavvas Grace Potts Charlotte Pullinger Zara Rashid Kaisha Rollason Hannah Ross Alyssa Scott Lily Smith Charlie Sodbinov Liv Sodbinov Shannon Song Alex Stackpool Hazel Sung Emma Suster Samar Taleb Eliza Tallon Eugenie Tan Josefine Ticic Ella Tsaousidis Zoe Westbrook Audrey Williams Eva Wright Vanessa Yakasem Isabella Zhang Joy Zhang Layla Ziade Alyssar Zogheib

YEAR 8 Madeleine Aitken Elle Andreopoulos Rasika Bains Lucy Baker Tayla Casey Christina Catania Eleni Charalambidis Maggie Collins Gemma Dessent Christiane Diamantis Natashja Eyles

Vicky Feng Giorgia Ferrari Amelia Fox-Jacobe Chloe Gentle Hannah Gilhawley Grace Gilmore Annika Haller Nehreen Hassan Emily Huynh Tiara Huynh Sherry Jiang Stephanie Kalamvokis Eleni Kaloterakis Saskia Kanellos Grace Karras Zahra Kemp-Tollefsen Alice Lam Laura Libro Madeleine Lysaght Capri Maher Olivia Makhlouf Katerina Malafouris Ellen Margaritis Ava McGrigor Gabriella Melhem Hope Mersal Lilly Mijatovic Sarah Monaha Sophie Newby Alyssa Nguyen Julia Oddie Olivia Otto Jessica Pizzinga Olivia Robb Claudia Sale Breanna Scott Zoe Scoufis Charlotte Seales Georgia Softsis Natalie Sorial Eliza Swann Matilda Swann Sian Thomas Eleanor Thorpe Lilie Tyler Claire Wang Milla-Kate Webb Billie Whittaker Sabrine Yassine Amanda Yu Phoebe Zhou


Georgia Pollitt Sandy Qiu Anja Seeto Isabelle Sherbon Madeleine Sherbon Wendy Shi Ruth Snelling Lisa Soliman Amy Song Ana-Maria Stevans Sarah Taleb Jennifer Tang Jessica Tippett Sabina Tom Elizabeth Tran Anthea Trent Ava Tsaousidis Katrina Tsaousidis Rosa Ueon Ashley Waters Hanna Woodward Anousha Xegas Jasmine Ypermachou Nikki Zanuttini Jessica Zhu  

Sarita Alam Julia Athos Mia Boursiani-Lawrence Georgia Bowrey Rita Cammaroto Catalina Canas Leanne Chan Hannah Chau Kitty Chen Emma Clark Dakota Comino Sarah Cooper Malia Crawford Gabriela Delgado Chloe Donkin Alexandra Farrow Catalina Floros Eva Gouganovski Asena Gunduz Natassia Gutierrez Tess Hallion Dyana Hamed Nicole Healey Avalon Hopkins Swathi Ilanko Ashna Kapoor Claudia Kendrovski Stella Kochanowicz Ananya Krishna Josephine Lam Isabella Lasovski Michelle Law Jayfel Lee Joyce Lin Tina Liu Angelica Lovel Sabrina Lowe Therese Makarious Ella Makovec Veronika Males Katia Matar Nicole Miloucheva Abbie Milton Beccy Minett Atoufa Mohanna Kimberley Ngo Anna Nguyen Sophia Nikiforidis Jaya Ong Molly Pinnock Carla Platania

YEAR 10 Maddie Allan Kaelyn Bachir Sargun Bhatia Lakshmi Bhuphatiraju Elizabeth Borodin Edie Buckland Watts Emerald Bui Mia Caputo Demi Charalambous Katerina Chen Shirley Chen Annelise Chu Sophia Sienna Costantino Amelia Dale Stephanie Dimovski Olivia Dodd Jasmine Dowidar Kitty Du Brittany Duncombe Caitlin Farrell Janjane Feng Bridget Goonan Olivia Grasso Tiana Gutierrez Shreeya Haridas Alyson Huynh 23

Chantelle Huynh Tedaree Jamieson Rebecca Janes Sachi Jhingran Holly Jones Michelle Joseph Hannah Kelly Chloe King Jessica Kotselas Jasmine Kyaw Laura Laman Sarah Law Imogen Locke-Sodhi Charlotte Mackie Pawson Lauren McLean Victoria Michael Giulia Milazzo Sophie Norton Sreya Parakala Alice Patterson Annika Pienaar Mary Pilkinton Vishaya Pracy Vicky Rule Tania Sakoutis Maria Salman Ellyn Sheehy Eloise Smith Georgie Smith Ashley So Lily Soliman Ava Sukkar Zoha Syed Kayla Tanevski Imogen Turner Felicia Ventouris Anita Watkins Belle Watson Grace Webster Sarah Wellfare Tara Wilkie Lillian Wu Jasmine Yip

YEAR 11 Anna Abourizk Divya Ahlawat Crist Aung Angelique Barrett Ella Beere Kiara Bletsas Alana BraxtonBoal Isabel Chan

Teresa Chan Nikita Chawla Lisa Chen Rebecca Chen Samantha Constantinidis Jobeth Emarita Dator Isabelle Decaria Sonali Dewan Ella Esposito Doolan Kaitlyn Duong Sienna Eggleton Courtney Fletcher Sonja Florio Neusha Ghahreman Harriet Gibson Jessica Gnanaratnam Tamara Graham Amira Hatoum Selina Ho Elizabeth Jo Makayla Kalcev Chehlsea Kanangara Mellita Kang-Vertigan Niomi Karunaratna Marissa Kassapakis Melissa Kearney Georgia Keogh Olivia Klianis Bethany Kolos Mina Kotoric Taya Lacey Vivian Lai Janice Lee Renee Li Edlyn Liew Monique Lin Shuyu Lin Cherry Liu Yoko Liu Holly Mason Imogen Moore Nicole Moore Ruby New Rita Nguyen Trang Nguyen Natasha Opacic Jamie Oslington Angela Peng Nikita Qian Anastasia Rimagmos Alexia Riotto Claire Rogers Batoul Sabsabi Nazla Sajed

Bronte Gossling Deborah Greenbaum Olivia Gunawan Aniela Haigh Rachel Hammond Helena Harpas Beatrice Hay Maxine Heim Mariana Helidoniotis Vindhiya Jayashri Mia Jessurun Lucy Jin Taylor Jones Matilda Kopff Meryem Kopuz Nisa Kopuz Shevon Lau Jessica Luo Alicia Machalias Louise Makarious Anjelica Margaritis Chelsea Martin Natasha Matsias Kaitlyn McCaw Alessandra McCluskey-Voigt Georgina McCrohon Rosie Min Marissa Motsos Melody Moy Stephanie Musumeci Jamie Ng Ivy Nguyen Michelle Nguyen Cassandra Nicomede Brittany O’Hare Elizabeth Park Charlotte Patterson Jessica Pitty Louise Poole Sophie Pyrgiotis Kate Quinn Julia Rajcevski Jacinta Rassan Stephani Rassan Rachel Ribeiro Bianca Riley Dana Royle Francesca Searle Milan Sharma Ellie Shearer Lucy Southwick Taylah Stapleton Bobbi Stavropoulos Lily Stewart

Cheryl Shen Jasmine Shenouda Elena Sladkova Izzy Stackpool Eliza Stewart Grace Susuairara Madeline Sutherland Vivian Szeto Stephanie Tanevski Eve Taylor Ashlyn Tredinnick Hope Tzannes Rohita Vimalarajah Ella Viney Priyanka Visvalingam Erika Vuki Ella Whitehurst Isabelle Whitfield Milly Xouris Gizem Yavuz Cathy Zeng Jenny Zhang Cindy Zhi Danielle Zhu Margaret Zhu Linlin Zhuang

YEAR 12 Olivia Adoncello Sarah Al-horani Maia Alfonzetti Taylor Atkins Jasmin Baker Mathilda Barnard Jade Brooks Roshana Carmody Seda Ceylan Tilda Cook Alexandra Corbett Emma Cross Siyumi Dassanayake Genevieve de la Motte Cassandra Diamantis Rebecca De Domeneghi Nina Dillon Britton Yasmin Dowla Wenjing Fan Caroline Fernandes Jessie Field Emily Florio Olivia Fresta Vanessa Fu Dana Gan 24

Tiffany Sun Latifa Tasipale Alice Tornaros Emma Tucker Mary Valtas Maria Ventouris June Wang Jasmond Wong Emma Workman Janice Yoon Jessica Zhang Alex Zoras

MLC SCHOOL STAFF CHOIR Anne Conway Alison Duncan Sujatha Gunja Joanna House Sally Marks Pam McGowan Caitlin White

MLC SCHOOL PRODUCTION TEAM Lighting Designer Dawn Martin Film Director Sarah Hansen MLC School Dance Co-ordinator Blake Fatouros Dance Teacher Jenna Skipper

MLC School MLC School Council Chair Pauline Johnston Deputy Chair Anne Empson Coleman Chan Helena Grahame Joanne Hawkins Fiona Hollier Robert Kell Jim Mein Carolyn Mole John Oldmeadow Howard Packer

Principal Denice Scala BA Ed, Dip Ed, Dip RSA, COGE, Med Acting Deputy Principal and Head of Senior School Mrs Anne Layman BEd, MBA Head of Junior School 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 D’Amore BA 25

Director of Music James Allington GTCL, FTCL, LTCL, AmusTCL, ARCO, PGCE

Music Staff 2015 CLASSROOM TEACHING STAFF Jessie Tu Head of Learning and Curriculum BMus, BMus (Ed) Annette McClure Head of Junior School Music DipTeach, B.Ed(mus), Diploma of Orff Schulwerk

Luke Byrne Accompanist (Term 1) BA AMusA Bethany Cook Head of Keyboard MMus LMusA LRAM Richard Coward Classroom Music (Term 2) BMus (Ed) Guy de Villiers Classroom Music BMus (Hons), MA, LRAM, PGCE Elisabeth Finlayson Classroom Music BMusEd, BA Australian Kodaly Certificate AMEB Certificate (Voice & Comms) Elizabeth Gilberthorpe Classroom Music BMus (Ed) Alicia Grant Director of Composition BMus (Hons), DPhil, ATCL, LRAM Christopher Hayles Head of Woodwind, Brass and Percussion

CSCM (Merit), BMus Nathaneal Heaney Classroom Music, Cello BMus (Perf), GradDipMus, GradDipT&L (Secondary) AMusA, LMusA, ATCL Louise Keller Head of Strings BMusEd, AMusA, ATCL, LTCL Adrian Kingwell Composition MMus, BMusEd Phillipa Knight Classroom Music BA Hons. (Music), Dip.Ed Laura McDonald Accompanist (Term 2) MMus, BMus, LMusA, AMusA

INSTRUMENTAL TEACHING STAFF Danika Allars Clarinet BMusEd, AMusA Joanne Arnott Recorder MMus (Perf)

Samantha Joseph Flute MMus (Perf) Gayoon Jung Piano BMus (Comp)

Sarah Ash Violin BMus (Hons), MA, DipA.B.R.S.M

Samantha Kelson-Gray Clarinet MMus (Perf) BMus (Hons)

Zane Banks Guitar

Susan Kim Cello BMus (Perf)

Eleanor Betts Cello BMus (Hons), MMus (Perf), AMusA Milen Boubbov French Horn BMus, HfMDK Frankfurt am Main

Stefania Kurniawan Percussion BMus (Perf) Reafen Liu Violin MMus (Perf)

Ben Carey Saxophone BMus (Hons) Classe PrĂŠparatoire Conservatoire Jacques Thibaud AMusA

Ruth McCall Voice BMus Hons (Perf), Assoc Dip

Jo Chan Percussion

Rachel Miller Violin & Viola BMus (Perf), AMusA, Suzuki Cert 3 & 4

Carolyn Chen Violin BMus (Perf) Mauro Colombis Piano MMus, BMus Alicia Crossley Recorder MMus (Perf) Matt Dempsey Trumpet BMus, DipEd, DipMus, AMusA James Forsyth Violin PhD, MMus. DipEd. FRSCM

Nicole Murray-Prior Double Bass BA Andrew Rumsey Piano MMus, BMus (1st Class Hons), DipABRSM, AMusA Lauren Salanitro Cello AMus, LMus Catherine Seet-Lee Cello Jacob Shaw Trombone MMus (Perf), BMus (Perf)

Annie Gard Violin LMus, BMus (Perf), BMus Studies (Hons)

Shirley Shen Violin

Annie Graham Recorder

Nick Southcott Piano

Robyn Godfrey Cello

Shaun Tarring Percussion B.Mus (Perf), GradDip (Education)

Hamish Gullick Cello Benjamin Haire Violin AMus, LMus, BMus (Perf), GradCert Music (Orch) Josh Hill Percussion BMus, GradDip Mus Prudence Holloway Voice BMus (Voice), GradDip (Ped)


Solveig Hu Harp

Alison Duncan Music Manager

Kurt Ison School Organist BMus, GradDipMusPerf (Organ), LTCL (Voice), AMusA (Voice)

Gladys Uy Music Administrator

Roslyn Jorgensen Trombone, Euphonium, Tuba BA (Mus), MMus (Perf)

Rhonda Jones Oboe BMus, BA, AMusA


Adranne Teh Percussion BMus (Perf) Maria Timofeeva Voice Brendon Venner Percussion Stacey Yang Piano BMed Science, AMusA University Honorary Carillonist Jennifer Yeh Bassoon Piano MMus, BMus (Perf) (bassoon) LMusA (piano) Lucy Zheng Double Bass AMusA (Piano)

MLC School’s mission is to educate young women to be fearless thinkers with moral courage and compassion to be agents of change in their own lives and the lives of others. When you support the MLC School Scholarship Fund you are providing a life changing opportunity for an outstanding girl to receive an unrivalled education and grow into her potential as an extraordinary young woman. To give to the MLC School Scholarship fund, please go to


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