A Voices Christmas TOWer VOICES new zealand karen grylls CONDUCTOR
A Voices Christmas TOWer VOICES new zealand karen grylls CONDUCTOR 1 Benjamin Britten (1913-1976)
6 David Griffiths (b.1950)
‘Hodie Christus natus est’ from
Dormi Jesu
A Ceremony of Carols
1:32
2 Francis Poulenc (1899-1963) ‘O magnum mysterium’ from Quatre motets pour le temps de Noël
3:32
3 Traditional British carol Ther is no rose of swych vertu
3:55
7 Bob Chilcott (b.1955) Nova! nova!
‘Quem vidistis’ from Quatre motets pour le temps de Noël 9 Bob Chilcott (b.1955)
Virginia LeCren soprano solo
The Shepherd’s Carol
Stille Nacht! heilige Nacht! 2:36
5 Jan Sandström (b.1954)
Matthew Marshall guitar Celia Aspey-Gordon, Pepe Becker,
3:58
Virginia LeCren soprano solo
Pepe Becker, Shona McIntyre-Bull
Andrea Cochrane, Chris Warwick,
soprano solo
Elise Bradley alto solo
Andrea Cochrane alto solo
3:53
(1787-1863)
4 John Joubert (b.1927)
Es ist ein Ros entsprungen
2:36
q0 Franz Xaver GrUber
Elise Bradley alto solo
There is no rose of such virtue
2:41
8 Francis Poulenc (1899-1963)
Pepe Becker, Celia Aspey-Gordon, Chris Warwick, Andrea Cochrane,
1:35
4:15
qa Francis Poulenc (1899-1963)
qj Richard Rodney Bennett
‘Videntes stellam’ from Quatre motets
(b.1936)
pour le temps de Noël
3:09
qs Richard Rodney Bennett (b.1936) ‘Susanni’ from Five Carols
1:37
qk Traditional West Country Carol arr. Arthur Warrell (1900-1970) We wish you a merry Christmas
qd Jonathan Dove (b.1959) The Three Kings
‘Sweet was the song’ from Five Carols 2:31
4:39
qf Herbert Howells (1892-1983) Here is the little door
3:35
qg Peter Wishart (1921-1984)
2:18
1:43
ql Benjamin Britten (1913-1976) ‘Hodie Christus natus est’ from A Ceremony of Carols Total Time
1:51 57.19
Alleluya, A new work is come on hand qh Traditional Gaelic song
arr. Peter Hayward (b.1948) The Christ-Child’s Lullaby
5:12
Virgina LeCren, Shona McIntyre-Bull soprano solo Robert Wiremu bass solo
MMT2052 Digital Stereo Recording Copyright Clearance via AMCOS 2004 HRL Morrison Music Trust 2004 HRL Morrison Music Trust
A Voices Christmas Benjamin Britten (1913-1976)
Francis Poulenc (1899-1963)
1 & ql ‘Hodie Christus natus est’ from
from Quatre motets pour le temps de Noël
A Ceremony of Carols
2 O magnum mysterium
This plainsong antiphon precedes and follows
8 Quem vidistis
the settings of medieval and sixteenth-century
qa Videntes stellam
poems that comprise A Ceremony of Carols
Francis Poulenc once wistfully stated that he
Op.28. It was composed during Britten’s
should have been born in the 15th century,
perilous voyage home from the USA in 1942,
since polyphonic music was so natural to
the year in which he also wrote the Hymn
him. However, his Quatre motets pour le
to Saint Cecilia. A Ceremony of Carols was
temps de Noël, written in 1951-52, are largely
premiered by the Morrison Boys’ Choir at the
homophonic settings of two Responsaries
Wigmore Hall in London on 4 December 1943.
for Christmas Matins and two Magnificat
Hodie Christus natus est: Hodie Salvator apparuit: Hodie in terra canunt angeli laetantur archangeli: Hodie exsultant justi dicentes: Gloria in excelsis Deo. Alleluia. On this day Christ is born: On this day the Saviour has appeared On this day angels sing and the archangels rejoice: On this day the righteous exult, saying: Glory to God in the highest. Alleluia
Antiphons. In this programme we hear three of the motets; each interprets a different aspect of the Christmas story: the mystery (‘O magnum mysterium’); the earthly, as represented by the shepherds (‘Quem vidistis pastores’) and the celestial, represented by the magi following the star (‘Videntes stellam’). O magnum mysterium O magnum mysterium et admirabile sacramentum ut animalia vederent Dominum natum jacentem in praesepio.
Beata Virgo cujus viscera meruerunt portare Dominum Christum O great mystery and wondrous sacrament that the animals should see the new-born Lord lying in a manger. Blessed be the Virgin whose womb was worthy to bear Christ the Lord.
Quem vidistis Quem vidistis pastores dicite: annuntiate nobis in terris quis apparuit. Natum vidimus et choros angelorum collaudantes Dominum. Dicite quidnam vidistis et annuntiate Christi nativitatem. Shepherds, whom have you seen? Tell us: make known who has appeared on earth. We have seen the new-born child, and choirs of angels all praising the Lord. Tell out all you have seen, and proclaim the birth of Christ.
obtulerunt Domino aurum, thus et myrrham. Seeing the star the Wise Men rejoiced with great gladness and, going into the house, they offered unto the Lord gold, frankincense and myrrh.
TRADITIONAL 3 Ther is no rose of swych vertu The image of Mary the Virgin as ‘the rose’ is a popular one in medieval literature. During this period the cult of Mary was at its peak and England, along with the rest of Christian Europe, was swept up in a wave of passionate adoration of the Virgin. Ther is no rose of swych vertu is a setting of the 15th century English text transcribed from a medieval manuscript. As with most medieval carols, the form consists of two components, the burden (refrain) and stanza (verse). The burden usually represents a kind of summary of the themes presented in the stanzas and is sung at the opening of the carol, then repeated after
Videntes stellam Videntes stellam Magi gavisi sunt gaudio magno: et intrantes domum
every stanza. This setting is interesting in that while it is written for two voices, the burden lends itself to fauxbourdon, an improvisatory
technique in which the third harmonising voice is added between the two outer voices. The edition used in this recording is prepared and published by the New York-based medieval specialists Anonymous 4.
John Joubert (b.1927) 4 There is no rose of such virtue Born in Cape Town, Joubert studied at the South African College of Music, the Royal Academy of Music in London and at Durham University. It is interesting that his lyrical setting of this medieval text was written in 1954, the same year as the birth of Joubert’s first child, while he was teaching at Hull University. In 1962, Joubert moved to the University of Birmingham, and in 1979 he was
Be that rose we may weel see That he is God in personys thre, Pari forma. The angelys sungyn the sheperdes to: ‘Gloria in excelsis Deo’. Gaudeamus. Leue we al this worldly merthe, And folwe we this joyful berthe; Transeamus. There is no rose of such virtue as is the rose that bore Jesus; Alleluia. For in this rose was contained both heaven and earth in a little space, a thing to wonder at. By that rose we may well see that he is God in persons three, but of equal form.
visiting professor at the University of Otago. Joubert sets verses 1, 2, 3 and 5 of the text. Ther is no rose of swych vertu As is the rose that bar Jhesu; Alleluya. For in this rose conteynd was Heuen and erthe in lytyl space, Res miranda.
The angels sang to the shepherds, ‘Glory to God in the highest’. Let us rejoice! Let us leave this worldly mirth And follow this joyful birth. Let us go.
Jan Sandström (b.1954)
David Griffiths (b.1950)
5 Es ist ein Ros entsprungen
6 Dormi Jesu
This carol is another example of the image of
This lullaby written by New Zealand
Mary the ‘spotless rose’. Swedish composer
composer David Griffiths in 1969, pictures the
Jan Sandström’s 12-part double-choir
Virgin Mother with the sleeping infant Jesus.
arrangement is based on the setting by Michael
Griffith’s four-art setting is simple yet haunting
Praetorius of this 15th century German text
with its long lines and the characteristic
which goes back to Isaiah XI: “there shall come
fourths which permeate both its melodic and
forth a shoot out of the stock of Jesse”.
harmonic language.
Es ist ein Ros entsprungen aus einer Wurzel zart, als uns die alten sungen: von Jesse kam die Art und hat ein Blümlein bracht mitten im kalten Winter wohl zu der halben Nacht.
Dormi Jesu! Mater ridet Quae tam dulcem videt Dormi Jesu blandule Si non dormis, mater plorat Inter fila cantans orat, Blande, veni, somnule.
Lo, how a Rose e’er blooming from tender stem hath sprung! Of Jesse’s lineage coming, as men of old have sung. It came, a floweret bright amid the cold of winter, when half-spent was the night.
Sleep, Jesus! Your Mother smiles To see such sweet sleep. Sleep, little Jesus If you don’t sleep, your Mother weeps As she sings. So may sleep come, little one.
Bob Chilcott (b.1955) 7 Nova! nova! 9 The Shepherd’s Carol Bob Chilcott is a full-time composer and conductor, who has worked with TOWER Voices New Zealand and the TOWER New Zealand Youth Choir. For 12 years he was a member of the King’s Singers and during that time composed a number of pieces for the group. Nova! nova! is a setting of a 15th century text written in celebration of the 80th birthday in 1999 of Sir David Willcocks. The refrain ‘Ave fit ex Eva’ (Ave is made from Eva) was a favourite medieval play on words reflecting the two faces of woman: Mary the virgin and Eve the temptress. The Shepherd’s Carol, which
He met a maiden in a place, He kneeled down afore her face, He said: ‘Hail, Mary, full of grace!’ When the maid heard tell of this She was full sore abashed I-wys And wened that she had done amiss. Then said the angel: ‘Dread not you, You shall conceive in all vertue A child whose name shall be Jesu’ “It is not yet six months agone Since Elizabeth conceived John As it was prophesied before’ Then said the maiden verily: ‘I am your servant right truly. Ecce ancilla Domini’
is set to an anonymous text, was written for
The Shepherd’s Carol
Stephen Cleobury and the Choir of King’s
We stood on the hills, Lady, our day’s work done, Watching the frosted meadows that winter had won. The evening was calm, Lady, the air so still, Silence more lovely than music folded the hill.
College, Cambridge, where Chilcott was a former Choral Scholar. Nova! nova! Nova! nova! ‘Ave’ fit ex ‘Eva’ Gabriel of high degree He came down from Trinity to Nazareth in Galilee
There was a star, Lady, shone in the night, Larger than Venus it was and bright, so bright. Oh, a voice from the sky, Lady, it seemed to us then Telling of God being born in the world of men. And so we have come, Lady, our day’s work done, Our love, our hopes, ourselves we give to your son.
Franz Xaver GrUber (1787-1863) q0 Stille Nacht! heilige Nacht! Franz Gruber’s Stille nacht! heilige Nacht! (Silent Night) is probably the most popular of all Christmas carols. It was first performed in
Stille Nacht! heilige Nacht! Hirten erst kundgemacht durch der Engel Alleluja; tönt es laut bei Ferne und Nah: ‘Jesus der Retter ist da!’
Oberndorf in Bavaria (then Lower Austria) in 1818, with Gruber playing a guitar accompaniment. The original manuscript score has been lost, but has been reconstructed from a later version for voices and ‘quiet organ accompaniment’ thought to be a direct transcription of the original guitar part. Stille Nacht! heilige Nacht! Alles schläft; einsam wacht nur das traute heilige Paar. Holder Knab im lockigten Haar, schlafe in himmlischer Ruh! Stille Nacht! heilige Nacht! Gottes Sohn, o wie lacht Lieb’ aus deinem göttlichen Mund da uns schlägt die rettende Stund Jesus, in deiner Geburt! Stille Nacht! heilige Nacht! die der Welt Heil gebracht aus des Himmels goldenen Höhn. Uns der Gnaden Fülle läßt sehn Jesum in Menschengestalt.
Silent night! Holy night! All are asleep; the only ones awake are the beloved holy couple. Dear little boy with curly hair, sleep in heavenly peace! Silent night! Holy night! Son of God, oh how love smiles from your divine mouth and strikes for us the redeeming hour, Jesus, of your birth. Silent night! Holy night! on which salvation was brought to the from the golden heights of heaven. By thy abundant grace we see God in human form. Silent night! Holy night! Shepherds first proclaimed it having heard the angel’s ‘Alleluia’; it resounds both far and near: ‘Jesus, the Saviour, is here!’
Richard Rodney Bennett (b.1936) qs ‘Susanni’ and qj ‘Sweet was the song’: Nos. 5 and 4 from Five Carols The title for ‘Susanni’ comes from an old German word for lullaby: from sausen, meaning to hum or sing in a low voice and ninne, an obsolete word for baby. The carol has a jazzy mixed-metre swing perhaps influenced by the medieval text, which, in its original setting, would not have been subject to the ‘tyranny of the barline’. ‘Sweet was the Song’ is a setting of a lullaby taken from William Ballet’s lute book of around 1600. Bennett’s Five Carols were written for the choir of St Matthew’s Church, Northhampton (the church in which,
And he sprang out of Jesse’s thorn, Alleluya, alleluya. To save all us that were forlorn. Now Jesus is the childes name, Eia, eia, susanni, susanni, susanni. And Mary mild she is his dame, Alleluya, alleluya. And so our sorrow’s turned to game. It fell upon the high midnight Eia, eia, susanni, susanni, susanni. The stars they shone both fair and bright Alleluya, alleluya The angels sang with all their might Three Kings there came with their presents, Eia, eia, susanni, susanni, susanni. Of gold and myrrh and frankincense Alleluya, alleluya. As clerkes sing in their sequence.
incidentally, Britten’s Rejoice in the Lamb was premiered). The Five Carols were immediately successful: they were performed at the Wigmore Hall, London, the day after their first performance, and two of the five went on to
Now sit we down upon our knee, Eia, eia, susanni, susanni, susanni. And pray we to the Trinity, Alleluya, alleluya. Our help and succour for to be.
be sung at the Christmas Eve service at King’s College three months later. Susanni A little child there is y-born, Eia, eia, susanni, susanni, susanni.
Sweet was the song Sweet was the song the Virgin sang, When she to Bethlem Judah came And was delivered of a son, That blessed Jesus hath to name:
Lulla, lulla, lulla, lullaby Lulla, lulla, lulla, lullaby. “Sweet babe,” sang she, “my son, And eke a saviour born, Who hast vouchsafed from on high To visit us that were forlorn”: Lalulla, lalullaby, Lulla lullaby, “Sweet babe,” sang she And rocked him gently on her knee.
Jonathan Dove (b.1959) qd The Three Kings The most recent of the carols in this programme, The Three Kings by young British composer Jonathan Dove was commissioned by King’s College, Cambridge for the Festival of Nine Lessons and Carols on Christmas Eve, 2000. This beautifully crafted carol, set to a poem by Dorothy L. Sayers, describes the individual characters of the three wise men and the gifts they brought for the baby. A feature of it is its steady rocking ‘balow la lay’ refrain.
Herbert Howells (1892-1983) qf Here is the little door Herbert Howells wrote Here is the little door in 1918, when he was in his mid-20s. Described as a carol-anthem, it sets words by Frances Chesterton on the giving of gifts to the infant Jesus. Here is the little door, lift up the latch, o lift! We need not wander more but enter with our gift, Our gift of finest gold, That was never bought or sold; Myrrh to be strewn about His bed; Incense in clouds above His head; All for the child that stirs not in His sleep, But holy slumber holds with ass and sheep. Bend low about His bed for each He has a gift; See how His eyes awake, lift up your hands, o lift! For gold, he gives a keen-edged sword (Defend with it Thy little Lord!) For incense, smoke of battle red Myrrh for the honoured happy dead Gifts for His children, terrible and sweet Touched by such tiny hands and Oh such tiny feet.
Peter Wishart (1921-1984)
Traditional GAELIC SONG
qg Alleluya, A new work is come on hand
arr. Peter Hayward (b.1948)
Alleluya, A new work is come on hand, like Ther is
qh The Christ-Child’s Lullaby
no rose earlier in the programme, is a setting of
The Christ-Child’s Lullaby (Taladh Chriosta)
an anonymous 15th-century text. In this carol
is an arrangement by Peter Hayward of a
Mary is symbolised not by a rose, but by a
traditional Gaelic song from the Isle of Eriskay
green branch, and her son Jesus is the fruit of
in the Outer Hebrides. Legend has it that an
the tree. Peter Wishart’s setting of this text was
uncaring stepmother’s heart is melted when,
written in 1952 for the Birmingham Singers’
in a vision, she sees her stepchild sitting at the
Club. Its tumbling cascades of alleluias are like
feet of the Virgin Mary, who is rocking her
a joyous peal of bells ringing out in celebration
baby to sleep, singing this lullaby.
of the birth of Christ. Alleluya, A new work is come on hand Through might and grace of God’s son To save the lost of every land. Alleluya. For now is free that erst was bound we may well sing Alleluya. Now is fulfilled the prophecy Of David and of Jeremy And also of Isaiah. Alleluya. Sing we therefore both loud and high Alleluya. Alleluya, this sweete song Out of a green branch it sprung God send us the life that lasteth long. Now joy and bliss be him among That thus can sing Alleluya.
My joy, my love, my darling thou! My treasure new, my rapture thou! My lovely beauteous babe-son thou, unworthy I to tend to thee. Alleluia. Bright sun of hope and light art thou! Of love the heart and eye art thou! Tho’ but a tender babe, I bow in heav’nly rapture unto thee Alleluia.
Traditional West Country Carol arr. Arthur Warrell (1900-1970) qk We wish you a merry Christmas In the days of Merrie Olde England, a good
We wish you a merry Christmas And a happy New Year. Now bring us some figgy pudding… And bring some out here.
part of life went on to the sound of music. Rich merchants hired bands to accompany them on strolls; peddlers enhanced their sales pitches with song; and a municipal chorus of singers, called waits, were licensed to sing out the hours of day or night, to greet visiting dignitaries, and to enliven weddings of the rich and near-rich. Waits were especially busy at Christmastime, serenading on frosty nights, telling the Nativity story in song, and generally making the festivities of that favourite holiday even merrier. In return, they might receive coins, or a bit of fig pudding, spiced ale or roasted pig. Many of the oldest carols are waits’ carols, including We Wish You a Merry Christmas. We wish you a merry Christmas We wish you a merry Christmas We wish you a merry Christmas And a happy New Year. Good tidings we bring To you and your kin
For we all like figgy pudding… So bring some out here. For we won’t go until we’ve got some… So bring some out here.
TOWER Voices New Zealand TOWER Voices New Zealand was formed in
to collaboration with the prestigious Aradia
1998 as a nationally selected chamber choir
Ensemble from Canada, resulting in the
of the highest calibre. Adding to the well-
completion of a world premiere recording
established reputation and base of the TOWER
of the Vanhal Masses for the Naxos. The
New Zealand Youth Choir, TOWER Voices
recording was released to great critical acclaim
New Zealand provides a senior choir, flexible
in 2001.
in size, and capable of performing a wide repertoire. The choir made its debut at the 1998
The choir was resident at the International Summer School for Conductors in Auckland in 2001, and then in August represented
New Zealand Festival in a recital of Bach’s St
New Zealand at the first Asia South Pacific
John Passion with the New Zealand Chamber
Symposium on Choral Music in Singapore,
Orchestra and Keith Lewis in June, and then
where they undertook workshops,
later in the year won gold and silver awards at
masterclasses and gave the closing concert.
the Tolosa International Choral Competition
In March 2002 they performed a sold-
in the Basque region of Spain; the choir
out recital at the New Zealand Festival, and
was subsequently invited to compete at the
appeared alongside the TOWER New Zealand
European Grand Prix Competition in Bulgaria.
Youth Choir, soloists and the NZSO in the
In March 1999, Voices performed the Fauré
closing concert of the Festival. Later that
Requiem and Poulenc’s Gloria with the New
year TOWER Voices joined the Youth Choir
Zealand Symphony Orchestra. In 2000 they
and the New Zealand Secondary Students’
appeared at the New Zealand Festival in a
Choir – the first time that the three national
solo recital and with the NZSO in Gluck’s
choirs have sung together. The occasion was
Orphée et Eurydice. Their participation in the
Mahler’s Symphony No.2 with the Auckland
International Chamber Music Festival led
Philharmonia. In December 2002 TOWER
Voices New Zealand completed a very
Karen Grylls
successful tour to four South Island centres,
Karen Grylls, Associate-Professor in
presenting a programme of Christmas music.
Conducting and Head of Choral Studies at
In January 2003 the choir recorded
the University of Auckland, New Zealand,
Hummel’s Missa Solemnis in C and Te Deum for
directed the Auckland Dorian Choir from1985
Naxos. This CD received extremely favourable
to 1998. She assumed the position of Musical
reviews worldwide.
Director of the TOWER New Zealand Youth Choir in 1989 and the graduate chamber choir
Sopranos Celia Aspey-Gordon, Pepe Becker,
TOWER Voices New Zealand, established
Virginia LeCren, Shona McIntyre-Bull, Jane McKinlay, Brigitte Murray, Wendy Patston, Andra Patterson
under the auspices of the New Zealand Youth
Altos Debbie Alexander, Elise Bradley, Andrea
two choirs at the University’s School of Music.
Cochrane, Jenny George, Megan Hurnard, Cecilia Vakameilalo-Kioa, Chris Warwick, Dinah Wright
Tenors Alastair Carey, Albert Mataafa, Luke Gorton, Ewen Griffiths, Nick Madden Basses Chris Burcin, Ben Campbell , Rowan Johnston, Rowan Payne, Sam Piper, David Squire, Michael Wallace, Robert Wiremu
Choir, in 1998. Grylls also directs the Auckland University Singers and Campus Cantoris, the A graduate of the Universities of both Otago and Auckland, Grylls studied postgraduate Conducting and Music Theory at the University Of Washington, Seattle where she studied for four years with Professors John Rahn, Abraham Kaplan and Joan Catoni-Conlon. Under her directorship the TOWER New Zealand Youth Choir has enjoyed notable successes including the Siver Rosebowl in the ‘Let the Peoples Sing’ radio competition in 1992, the ‘Choir of the World’ at the 1999 International Eisteddfod in Llangollen, ‘Grand Prix Slovakia’ also in 1999, and most recently
at the 43rd International Choral Competition in Gorizia, Italy. At this competition Grylls also received an award for best conductor and for the programme with the highest artistic interest. With equal success TOWER Voices New Zealand won first and second placings in the mixed choir section of the Tolosa International Choral Competition in 1998. Grylls is much in demand as a clinician and has several CD recordings to her credit. She has toured as an international guest with TOWER New Zealand Youth Choir to the American Choral Directors’ Association Convention in Texas and with TOWER Voices New Zealand to the Asia South Pacific Choral Symposium in Singapore. Invitations to adjudicate have taken her to Australia, Singapore, Spain and Hong Kong. In 1996 the University of Auckland honoured her with a Distinguished Teaching Award in Music, and in 1999 she was made an Officer of the New Zealand Order of Merit for services to choral music. She has recently been appointed to the Board of the International Federation of Choral Music.
Gavin Chilcott
(b.1950)
Gavin Chilcott was born in Auckland, New Zealand, in 1950. He is one of New Zealand’s most versatile contemporary artists, working not only with traditional media but creating three-dimensional constructions and assembled art works such as art furniture, rugs, vessels, relief works and installations. His work is perhaps epitomised by a complete dining room, which included his classic painted pots that he installed at the Auckland City Art Gallery. His work displays his interest in graphics and calligraphy, the ‘idea of drawing with the brush, creating forms’. Chilcott has exhibited in Australia and throughout New Zealand, and is represented in museum collections in both countries. He lives and works in Wellington.
A Voices Christmas TOWer VOICES new zealand karen grylls CONDUCTOR
Recorded in the Metropolitan Cathedral of the Sacred Heart, Wellington, New Zealand, 6-8 February 2004
The HRL Morrison Music Trust was established in March 1995 as a charitable trust to support New Zealand musicians of international calibre. All funds received by the Trust are used to make recordings, present concerts – both in New Zealand and overseas – and assist artists to undertake projects to further develop their talents.
Producer Wayne Laird Recording Engineer Paul McGlashan Digital Editing and Mastering Wayne Laird
HRL Morrison Music Trust PO Box 1395 Wellington, New Zealand
Executive Producer Ross Hendy Music Notes Christine Argyle Booklet Coordinator Janey MacKenzie Design Mallabar Music
info@trustcds.com
MMT2052 Digital Stereo Recording 2004 HRL Morrison Music Trust 2004 HRL Morrison Music Trust
Cover Image: Gavin Chilcott (b.1950), Interior with Figure and Lily, 2002, acrylic on canvas, 740 x 535 mm. Private collection. Reproduced by permission of the artist.
www.trustcds.com The HRL Morrison Music Trust gratefully acknowledges the support of the following people and organisations in the making of this recording: Gavin Chilcott, Ineka Vogels (Webbs), Greg O’Brien (City Gallery, Wellington)
TOWER Voices New Zealand would like to thank the many organisations, choirs and individuals whose support and donations have helped towards its achievements including Creative New Zealand and TOWER Ltd.
ALL RIGHTS OF THE PRODUCER AND OF THE OWNER OF THE WORK REPRODUCED ARE RESERVED. UNAUTHORISED COPYING, HIRING, LENDING, PUBLIC PERFORMANCE AND BROADCASTING OF THIS RECORDING IS
General Manager Jenny Jamieson Musical Director Karen Grylls Assistant Musical Director James Tibbles
PROHIBITED.