A garden teeming with temptation and desire, grotesque creatures and improbable scenes of surrender: the uninhibited world of Hieronymus Bosch’s 500-year-old triptych “De tuin der lusten”. Baffling his Dutch contemporaries and the casual tourists in Madrid’s Prado in equal measure (not to mention generations of art critics) Bosch’s Garden of Earthly Delights is ever-enigmatic. Whether it is interpreted as a paradise of indulgence or as a stark warning about moral decay during a time of rapid change, this art exudes dread and seduction in equal measure. 

Trust Luminescence Chamber Singers to turn this surreal feast of the senses into an aural tapestry as pleasurable and perilous as Bosch’s vision. Drawn from the vaults of Renaissance raunch, and daring modern transgressions, Garden of Earthly Delights offers a vocal cornucopia of surprise and surreptitiously cheeky delight.

Program to include music by Hildegard von Bingen, Josquin des Prez, Philippe Verdelot, Gavin Bryars, as well as newly commissioned works by Nicole Murphy and Archie Tulk.

Audiences are advised that some works in this concert contain coarse/explicit language, sexual references and adult themes. This performance may not be suitable for children under 15 years.

1 hour no interval, conducted by Roland Peelman AM

A garden teeming with temptation and desire, grotesque creatures and improbable scenes of surrender: the uninhibited world of Hieronymus Bosch’s 500-year-old triptych “De tuin der lusten”. Baffling his Dutch contemporaries and the casual tourists in Madrid’s Prado in equal measure (not to mention generations of art critics) Bosch’s Garden of Earthly Delights is ever-enigmatic. Whether it is interpreted as a paradise of indulgence or as a stark warning about moral decay during a time of rapid change, this art exudes dread and seduction in equal measure. 

Trust Luminescence Chamber Singers to turn this surreal feast of the senses into an aural tapestry as pleasurable and perilous as Bosch’s vision. Drawn from the vaults of Renaissance raunch, and daring modern transgressions, Garden of Earthly Delights offers a vocal cornucopia of surprise and surreptitiously cheeky delight.

Program to include music by Hildegard von Bingen, Josquin des Prez, Philippe Verdelot, Gavin Bryars, as well as newly commissioned works by Nicole Murphy and Archie Tulk.

Audiences are advised that some works in this concert contain coarse/explicit language, sexual references and adult themes. This performance may not be suitable for children under 15 years.

1 hour no interval, conducted by Roland Peelman AM

A garden teeming with temptation and desire, grotesque creatures and improbable scenes of surrender: the uninhibited world of Hieronymus Bosch’s 500-year-old triptych “De tuin der lusten”. Baffling his Dutch contemporaries and the casual tourists in Madrid’s Prado in equal measure (not to mention generations of art critics) Bosch’s Garden of Earthly Delights is ever-enigmatic. Whether it is interpreted as a paradise of indulgence or as a stark warning about moral decay during a time of rapid change, this art exudes dread and seduction in equal measure. 

Trust Luminescence Chamber Singers to turn this surreal feast of the senses into an aural tapestry as pleasurable and perilous as Bosch’s vision. Drawn from the vaults of Renaissance raunch, and daring modern transgressions, Garden of Earthly Delights offers a vocal cornucopia of surprise and surreptitiously cheeky delight.

Program to include music by Hildegard von Bingen, Josquin des Prez, Philippe Verdelot, Gavin Bryars, as well as newly commissioned works by Nicole Murphy and Archie Tulk.

Audiences are advised that some works in this concert contain coarse/explicit language, sexual references and adult themes. This performance may not be suitable for children under 15 years.

1 hour no interval, conducted by Roland Peelman AM

A garden teeming with temptation and desire, grotesque creatures and improbable scenes of surrender: the uninhibited world of Hieronymus Bosch’s 500-year-old triptych “De tuin der lusten”. Baffling his Dutch contemporaries and the casual tourists in Madrid’s Prado in equal measure (not to mention generations of art critics) Bosch’s Garden of Earthly Delights is ever-enigmatic. Whether it is interpreted as a paradise of indulgence or as a stark warning about moral decay during a time of rapid change, this art exudes dread and seduction in equal measure. 

Trust Luminescence Chamber Singers to turn this surreal feast of the senses into an aural tapestry as pleasurable and perilous as Bosch’s vision. Drawn from the vaults of Renaissance raunch, and daring modern transgressions, Garden of Earthly Delights offers a vocal cornucopia of surprise and surreptitiously cheeky delight.

Program to include music by Hildegard von Bingen, Josquin des Prez, Philippe Verdelot, Gavin Bryars, as well as newly commissioned works by Nicole Murphy and Archie Tulk.

Audiences are advised that some works in this concert contain coarse/explicit language, sexual references and adult themes. This performance may not be suitable for children under 15 years.

1 hour no interval, conducted by Roland Peelman AM

A garden teeming with temptation and desire, grotesque creatures and improbable scenes of surrender: the uninhibited world of Hieronymus Bosch’s 500-year-old triptych “De tuin der lusten”. Baffling his Dutch contemporaries and the casual tourists in Madrid’s Prado in equal measure (not to mention generations of art critics) Bosch’s Garden of Earthly Delights is ever-enigmatic. Whether it is interpreted as a paradise of indulgence or as a stark warning about moral decay during a time of rapid change, this art exudes dread and seduction in equal measure. 

Trust Luminescence Chamber Singers to turn this surreal feast of the senses into an aural tapestry as pleasurable and perilous as Bosch’s vision. Drawn from the vaults of Renaissance raunch, and daring modern transgressions, Garden of Earthly Delights offers a vocal cornucopia of surprise and surreptitiously cheeky delight.

Program to include music by Hildegard von Bingen, Josquin des Prez, Philippe Verdelot, Gavin Bryars, as well as newly commissioned works by Nicole Murphy and Archie Tulk.

Audiences are advised that some works in this concert contain coarse/explicit language, sexual references and adult themes. This performance may not be suitable for children under 15 years.

1 hour no interval, conducted by Roland Peelman AM

A garden teeming with temptation and desire, grotesque creatures and improbable scenes of surrender: the uninhibited world of Hieronymus Bosch’s 500-year-old triptych “De tuin der lusten”. Baffling his Dutch contemporaries and the casual tourists in Madrid’s Prado in equal measure (not to mention generations of art critics) Bosch’s Garden of Earthly Delights is ever-enigmatic. Whether it is interpreted as a paradise of indulgence or as a stark warning about moral decay during a time of rapid change, this art exudes dread and seduction in equal measure. 

Trust Luminescence Chamber Singers to turn this surreal feast of the senses into an aural tapestry as pleasurable and perilous as Bosch’s vision. Drawn from the vaults of Renaissance raunch, and daring modern transgressions, Garden of Earthly Delights offers a vocal cornucopia of surprise and surreptitiously cheeky delight.

Program to include music by Hildegard von Bingen, Josquin des Prez, Philippe Verdelot, Gavin Bryars, as well as newly commissioned works by Nicole Murphy and Archie Tulk.

Audiences are advised that some works in this concert contain coarse/explicit language, sexual references and adult themes. This performance may not be suitable for children under 15 years.

1 hour no interval, conducted by Roland Peelman AM

Presented by Arts in the Valley.

A garden teeming with temptation and desire, grotesque creatures and improbable scenes of surrender: the uninhibited world of Hieronymus Bosch’s 500-year-old triptych “De tuin der lusten”. Baffling his Dutch contemporaries and the casual tourists in Madrid’s Prado in equal measure (not to mention generations of art critics) Bosch’s Garden of Earthly Delights is ever-enigmatic. Whether it is interpreted as a paradise of indulgence or as a stark warning about moral decay during a time of rapid change, this art exudes dread and seduction in equal measure. 

Trust Luminescence Chamber Singers to turn this surreal feast of the senses into an aural tapestry as pleasurable and perilous as Bosch’s vision. Drawn from the vaults of Renaissance raunch, and daring modern transgressions, Garden of Earthly Delights offers a vocal cornucopia of surprise and surreptitiously cheeky delight.

Program to include music by Hildegard von Bingen, Josquin des Prez, Philippe Verdelot, Gavin Bryars, as well as newly commissioned works by Nicole Murphy and Archie Tulk.

Audiences are advised that some works in this concert contain coarse/explicit language, sexual references and adult themes. This performance may not be suitable for children under 15 years.

1 hour no interval, conducted by Roland Peelman AM

Presented by South Coast Music Society.

Luminescence celebrates our first decade!

Join Luminescence Chamber Singers and Luminescence Children’s Choir as we reflect on 10 years of song, and look toward building the next chapter. This fundraising gala features performances by Luminescence Children’s Choir and Luminescence Chamber Singers, including the premiere of a new work by Elena Kats-Chernin. 

Ticket price includes a performance by Luminescence Chamber Singers and Luminescence Children’s Choir, followed by celebratory drinks and light canapés. With thanks to our generous sponsors, Hatherleigh and Brokenwood Wines. 

Newly commissioned work by Elena Kats-Chernin has been generously supported by Catherine Hawkins and an anonymous donor, in celebration of Luminescence’s 10th Anniversary. 

Oscar-nominated film, Memoir of a Snail, premiered in cinemas around the world to great fanfare last year, including picking up Best Film at London Film Festival.

Now, Luminescence Chamber Singers joins the Australian Chamber Orchestra, Elena Kats-Chernin (composer/piano), James Crabb (classical accordion) for a special series of screenings at ACO On The Pier, featuring live performances of the original score. 

Originally recorded by the ACO, the sumptuous score by award-winning composer, Elena Kats-Chernin is every bit as rich, moving and absorbing as Elliot’s story that unfolds on screen.

ABOUT MEMOIR OF A SNAIL

Grace Pudel is a lonely misfit with an affinity for collecting ornamental snails and an intense love for books. At a young age, when Grace is separated from her fire-breathing twin brother Gilbert, she falls into a spiral of anxiety and angst. Despite a continued series of hardships, inspiration and hope emerge when she strikes up an enduring friendship with an elderly eccentric woman named Pinky, who is full of grit and lust for life.

From Academy Award®-winning animation writer and director Adam Elliot (Harvie Krumpet), Memoir of a Snail is a poignant, heartfelt and at times hilarious chronicle of the life of an outsider finding her confidence and silver linings amongst the clutter of everyday life.

Starring Sarah Snook, Kodi Smit-McPhee, Eric Bana, Magda Szubanski, Dominique Pinon, Tony Armstrong and Jacki Weaver.

Please note Memoir of a Snail is rated M and unsuitable for children under 15 years.

Oscar-nominated film, Memoir of a Snail, premiered in cinemas around the world to great fanfare last year, including picking up Best Film at London Film Festival.

Now, Luminescence Chamber Singers joins the Australian Chamber Orchestra, Elena Kats-Chernin (composer/piano), James Crabb (classical accordion) for a special series of screenings at ACO On The Pier, featuring live performances of the original score. 

Originally recorded by the ACO, the sumptuous score by award-winning composer, Elena Kats-Chernin is every bit as rich, moving and absorbing as Elliot’s story that unfolds on screen.

ABOUT MEMOIR OF A SNAIL

Grace Pudel is a lonely misfit with an affinity for collecting ornamental snails and an intense love for books. At a young age, when Grace is separated from her fire-breathing twin brother Gilbert, she falls into a spiral of anxiety and angst. Despite a continued series of hardships, inspiration and hope emerge when she strikes up an enduring friendship with an elderly eccentric woman named Pinky, who is full of grit and lust for life.

From Academy Award®-winning animation writer and director Adam Elliot (Harvie Krumpet), Memoir of a Snail is a poignant, heartfelt and at times hilarious chronicle of the life of an outsider finding her confidence and silver linings amongst the clutter of everyday life.

Starring Sarah Snook, Kodi Smit-McPhee, Eric Bana, Magda Szubanski, Dominique Pinon, Tony Armstrong and Jacki Weaver.

Please note Memoir of a Snail is rated M and unsuitable for children under 15 years.

Oscar-nominated film, Memoir of a Snail, premiered in cinemas around the world to great fanfare last year, including picking up Best Film at London Film Festival.

Now, Luminescence Chamber Singers joins the Australian Chamber Orchestra, Elena Kats-Chernin (composer/piano), James Crabb (classical accordion) for a special series of screenings at ACO On The Pier, featuring live performances of the original score. 

Originally recorded by the ACO, the sumptuous score by award-winning composer, Elena Kats-Chernin is every bit as rich, moving and absorbing as Elliot’s story that unfolds on screen.

ABOUT MEMOIR OF A SNAIL

Grace Pudel is a lonely misfit with an affinity for collecting ornamental snails and an intense love for books. At a young age, when Grace is separated from her fire-breathing twin brother Gilbert, she falls into a spiral of anxiety and angst. Despite a continued series of hardships, inspiration and hope emerge when she strikes up an enduring friendship with an elderly eccentric woman named Pinky, who is full of grit and lust for life.

From Academy Award®-winning animation writer and director Adam Elliot (Harvie Krumpet), Memoir of a Snail is a poignant, heartfelt and at times hilarious chronicle of the life of an outsider finding her confidence and silver linings amongst the clutter of everyday life.

Starring Sarah Snook, Kodi Smit-McPhee, Eric Bana, Magda Szubanski, Dominique Pinon, Tony Armstrong and Jacki Weaver.

Please note Memoir of a Snail is rated M and unsuitable for children under 15 years.

Oscar-nominated film, Memoir of a Snail, premiered in cinemas around the world to great fanfare last year, including picking up Best Film at London Film Festival.

Now, Luminescence Chamber Singers joins the Australian Chamber Orchestra, Elena Kats-Chernin (composer/piano), James Crabb (classical accordion) for a special series of screenings at ACO On The Pier, featuring live performances of the original score. 

Originally recorded by the ACO, the sumptuous score by award-winning composer, Elena Kats-Chernin is every bit as rich, moving and absorbing as Elliot’s story that unfolds on screen.

ABOUT MEMOIR OF A SNAIL

Grace Pudel is a lonely misfit with an affinity for collecting ornamental snails and an intense love for books. At a young age, when Grace is separated from her fire-breathing twin brother Gilbert, she falls into a spiral of anxiety and angst. Despite a continued series of hardships, inspiration and hope emerge when she strikes up an enduring friendship with an elderly eccentric woman named Pinky, who is full of grit and lust for life.

From Academy Award®-winning animation writer and director Adam Elliot (Harvie Krumpet), Memoir of a Snail is a poignant, heartfelt and at times hilarious chronicle of the life of an outsider finding her confidence and silver linings amongst the clutter of everyday life.

Starring Sarah Snook, Kodi Smit-McPhee, Eric Bana, Magda Szubanski, Dominique Pinon, Tony Armstrong and Jacki Weaver.

Please note Memoir of a Snail is rated M and unsuitable for children under 15 years.

Oscar-nominated film, Memoir of a Snail, premiered in cinemas around the world to great fanfare last year, including picking up Best Film at London Film Festival.

Now, Luminescence Chamber Singers joins the Australian Chamber Orchestra, Elena Kats-Chernin (composer/piano), James Crabb (classical accordion) for a special series of screenings at ACO On The Pier, featuring live performances of the original score. 

Originally recorded by the ACO, the sumptuous score by award-winning composer, Elena Kats-Chernin is every bit as rich, moving and absorbing as Elliot’s story that unfolds on screen.

ABOUT MEMOIR OF A SNAIL

Grace Pudel is a lonely misfit with an affinity for collecting ornamental snails and an intense love for books. At a young age, when Grace is separated from her fire-breathing twin brother Gilbert, she falls into a spiral of anxiety and angst. Despite a continued series of hardships, inspiration and hope emerge when she strikes up an enduring friendship with an elderly eccentric woman named Pinky, who is full of grit and lust for life.

From Academy Award®-winning animation writer and director Adam Elliot (Harvie Krumpet), Memoir of a Snail is a poignant, heartfelt and at times hilarious chronicle of the life of an outsider finding her confidence and silver linings amongst the clutter of everyday life.

Starring Sarah Snook, Kodi Smit-McPhee, Eric Bana, Magda Szubanski, Dominique Pinon, Tony Armstrong and Jacki Weaver.

Please note Memoir of a Snail is rated M and unsuitable for children under 15 years.

"There is something deeply troubling and inscrutable in Gesualdo’s music, something that any listener will unfailingly experience. This most particularly holds for Tenebrae responsoria (1611), his definitive statement, his monument, his testament. It is as if this work would constantly extend over its boundaries and transgress its time and setting, immediately addressing modernity…”
Mladen Dolar, Out of Joint (2020)

More than 400 years later, the music of Carlo Gesualdo still seems strikingly avant-garde. Composed for his own private use during his final years, and likely unheard during his lifetime, Gesualdo’s Tenebrae Responsories are of unmatched intensity. This is music at the end of an epoch; at once steeped in and a radically unsettling subversion of the traditions of the sixteenth century.

The first set of Responsories for Maundy Thursday (Feria V) evoke Christ’s abandonment, betrayal, and death. Gesualdo’s dramatic settings reflect the angst of the passion story, alongside his own bloody encounter with death – in 1590 he murdered his wife Maria d’Avalos and her lover Fabrizio Carafa, Duke of Andria, when he discovered them “in flagrante delicto’’. Gesualdo’s punishment was as self-inflicted as the crime. His status as prince saved him from criminal persecution; instead he saw out his days living as a recluse, tormented by grief and guilt.

Translating literally to ‘darkness’, the plural form of ‘Tenebrae’ is fitting; it implies a multiplicity, all-encompassing shadows;  a plunge into darknesses of both deeply personal grief and of universal sorrow.

Tickets on sale from December 12.

Programme:

Carlo Gesualdo, Responsoria et alia ad Officium Hebdomadae Sanctae spectantia  (1611) 

Feria quinta (Maundy Thursday)

In monte Oliveti

                  Tristis est anima mea

                  Ecce vidimus eum

                  Amicus meus osculi

                  Judas mercator pessimus

                  Unus ex discipulis meis

                  Eran quasi agnus innocens

                  Una hora non potuistis

                  Seniores populi consilium

  Miserere mei, Deus

1 hour no interval

"There is something deeply troubling and inscrutable in Gesualdo’s music, something that any listener will unfailingly experience. This most particularly holds for Tenebrae responsoria (1611), his definitive statement, his monument, his testament. It is as if this work would constantly extend over its boundaries and transgress its time and setting, immediately addressing modernity…”
Mladen Dolar, Out of Joint (2020)

More than 400 years later, the music of Carlo Gesualdo still seems strikingly avant-garde. Composed for his own private use during his final years, and likely unheard during his lifetime, Gesualdo’s Tenebrae Responsories are of unmatched intensity. This is music at the end of an epoch; at once steeped in and a radically unsettling subversion of the traditions of the sixteenth century.

The first set of Responsories for Maundy Thursday (Feria V) evoke Christ’s abandonment, betrayal, and death. Gesualdo’s dramatic settings reflect the angst of the passion story, alongside his own bloody encounter with death – in 1590 he murdered his wife Maria d’Avalos and her lover Fabrizio Carafa, Duke of Andria, when he discovered them ‘in flagrante delicto’. Gesualdo’s punishment was as self-inflicted as the crime. His status as prince saved him from criminal persecution; instead he saw out his days living as a recluse, tormented by grief and guilt.

Translating literally to ‘darkness’, the plural form of ‘Tenebrae’ is fitting; it implies a multiplicity, all-encompassing shadows;  a plunge into darknesses of both deeply personal grief and of universal sorrow.

Programme:

Carlo Gesualdo, Responsoria et alia ad Officium Hebdomadae Sanctae spectantia  (1611) 

Feria quinta (Maundy Thursday)

In monte Oliveti

                  Tristis est anima mea

                  Ecce vidimus eum

                  Amicus meus osculi

                  Judas mercator pessimus

                  Unus ex discipulis meis

                  Eran quasi agnus innocens

                  Una hora non potuistis

                  Seniores populi consilium

  Miserere mei, Deus

1 hour no interval

 "There is something deeply troubling and inscrutable in Gesualdo’s music, something that any listener will unfailingly experience. This most particularly holds for Tenebrae responsoria (1611), his definitive statement, his monument, his testament. It is as if this work would constantly extend over its boundaries and transgress its time and setting, immediately addressing modernity...”
Mladen Dolar, Out of Joint (2020)

More than 400 years later, the music of Carlo Gesualdo still seems strikingly avant-garde. Composed for his own private use during his final years, and likely unheard during his lifetime, Gesualdo’s Tenebrae Responsories are of unmatched intensity. This is music at the end of an epoch; at once steeped in and a radically unsettling subversion of the traditions of the sixteenth century.

The first set of Responsories for Maundy Thursday (Feria V) evoke Christ’s abandonment, betrayal, and death. Gesualdo’s dramatic settings reflect the angst of the passion story, alongside his own bloody encounter with death – in 1590 he murdered his wife Maria d’Avalos and her lover Fabrizio Carafa, Duke of Andria, when he discovered them ‘in flagrante delicto’. Gesualdo’s punishment was as self-inflicted as the crime. His status as prince saved him from criminal persecution; instead he saw out his days living as a recluse, tormented by grief and guilt.

Translating literally to ‘darkness’, the plural form of ‘Tenebrae’ is fitting; it implies a multiplicity, all-encompassing shadows;  a plunge into darknesses of both deeply personal grief and of universal sorrow.

Programme:

Carlo Gesualdo, Responsoria et alia ad Officium Hebdomadae Sanctae spectantia  (1611) 

Feria quinta (Maundy Thursday)

In monte Oliveti

                  Tristis est anima mea

                  Ecce vidimus eum

                  Amicus meus osculi

                  Judas mercator pessimus

                  Unus ex discipulis meis

                  Eran quasi agnus innocens

                  Una hora non potuistis

                  Seniores populi consilium

  Miserere mei, Deus

1 hour no interval

 "There is something deeply troubling and inscrutable in Gesualdo’s music, something that any listener will unfailingly experience. This most particularly holds for Tenebrae responsoria (1611), his definitive statement, his monument, his testament. It is as if this work would constantly extend over its boundaries and transgress its time and setting, immediately addressing modernity….”
Mladen Dolar, Out of Joint (2020)

More than 400 years later, the music of Carlo Gesualdo still seems strikingly avant-garde. Composed for his own private use during his final years, and likely unheard during his lifetime, Gesualdo’s Tenebrae Responsories are of unmatched intensity. This is music at the end of an epoch; at once steeped in and a radically unsettling subversion of the traditions of the sixteenth century.

The first set of Responsories for Maundy Thursday (Feria V) evoke Christ’s abandonment, betrayal, and death. Gesualdo’s dramatic settings reflect the angst of the passion story, alongside his own bloody encounter with death – in 1590 he murdered his wife Maria d’Avalos and her lover Fabrizio Carafa, Duke of Andria, when he discovered them ‘in fragrante dilicto, di flagrante peccato’. Gesualdo’s punishment was as self-inflicted as the crime. His status as prince saved him from criminal persecution; instead he saw out his days living as a recluse, tormented by grief and guilt.

Translating literally to ‘darkness’, the plural form of ‘Tenebrae’ is fitting; it implies a multiplicity, all-encompassing shadows;  a plunge into darknesses of both deeply personal grief and of universal sorrow.

Programme:

Carlo Gesualdo, Responsoria et alia ad Officium Hebdomadae Sanctae spectantia  (1611) 

Feria quinta (Maundy Thursday)

In monte Oliveti

                  Tristis est anima mea

                  Ecce vidimus eum

                  Amicus meus osculi

                  Judas mercator pessimus

                  Unus ex discipulis meis

                  Eran quasi agnus innocens

                  Una hora non potuistis

                  Seniores populi consilium

  Miserere mei, Deus

1 hour no interval

 "There is something deeply troubling and inscrutable in Gesualdo’s music, something that any listener will unfailingly experience. This most particularly holds for Tenebrae responsoria (1611), his definitive statement, his monument, his testament. It is as if this work would constantly extend over its boundaries and transgress its time and setting, immediately addressing modernity...”
Mladen Dolar, Out of Joint (2020)

More than 400 years later, the music of Carlo Gesualdo still seems strikingly avant-garde. Composed for his own private use during his final years, and likely unheard during his lifetime, Gesualdo’s Tenebrae Responsories are of unmatched intensity. This is music at the end of an epoch; at once steeped in and a radically unsettling subversion of the traditions of the sixteenth century.

The first set of Responsories for Maundy Thursday (Feria V) evoke Christ’s abandonment, betrayal, and death. Gesualdo’s dramatic settings reflect the angst of the passion story, alongside his own bloody encounter with death – in 1590 he murdered his wife Maria d’Avalos and her lover Fabrizio Carafa, Duke of Andria, when he discovered them ‘in flagrante delicto’. Gesualdo’s punishment was as self-inflicted as the crime. His status as prince saved him from criminal persecution; instead he saw out his days living as a recluse, tormented by grief and guilt.

Translating literally to ‘darkness’, the plural form of ‘Tenebrae’ is fitting; it implies a multiplicity, all-encompassing shadows;  a plunge into darknesses of both deeply personal grief and of universal sorrow.

Programme:

Carlo Gesualdo, Responsoria et alia ad Officium Hebdomadae Sanctae spectantia  (1611) 

Feria quinta (Maundy Thursday)

In monte Oliveti

                  Tristis est anima mea

                  Ecce vidimus eum

                  Amicus meus osculi

                  Judas mercator pessimus

                  Unus ex discipulis meis

                  Eran quasi agnus innocens

                  Una hora non potuistis

                  Seniores populi consilium

  Miserere mei, Deus

1 hour no interval

An evening of uplifting Christmas music from around the world. From Medieval carols to classic Yuletide songs and traditional Nativity hymns, this concert features the sublime sounds of Luminescence Chamber Singers with internationally acclaimed organ virtuoso Thomas Heywood, and the angelic strains of Luminescence Children’s Choir, bundled into one heavenly hour. Directed by Roland Peelman.

70 minutes, no interval.

Presented in partnership with Canberra International Music Festival and Wesley Music Centre.

ARTISTS
Luminescence Chamber Singers
Luminescence Children’s Choir
Thomas Heywood, organ
Roland Peelman AM

PROGRAMME

Once in Royal David’s City H.J. Gauntlett, arr. David Willcocks
Kindelwiegen (Vom Himmel Hoch) Traditional German, Arr. A.V. Othegraven
Noël Nouvelet Traditional French Carol, arr. Stephen Jackson
Coventry Carol Traditional
Rui Rui Chiu  Ascribed to Mateo Flecha the Elder (1481 - 1553) 
Corpus Christi  Benjamin Britten (from A Boy Is Born, 1933) arr. Ruth McCall
Joseph and Mary (Cherry Tree Carol) Kentucky, arr. Roland Peelman
Before the Paling of The Stars Cecilia McDowell (2012)
Carol of the Birds W. James & J. Wheeler, arr. Roland Peelman
The Christmas Card [WP] Deborah Cheetam, arr. Dan Walker 
A Child Is Born Roland Hanna/Thad Jones, arr. Roland Peelman
We Three Kings John Henry Hopkins, arr. Roland Peelman
Sleeping Child Bob Chilcott
O Little Town of Bethlehem Traditional English, arranged by David Willcocks
Hark The Herald Angels Sing F Mendelssohn, Arr. David Willcocks
O Come All Ye Faithful J.F. Wade Arr. David Willcocks
Stille Nacht Franz Xaver Gruber

From Mariah Carey to Wham, Luminescence’s own Rachel Mink brings her high-powered vocals and a uniquely entertaining twist to this Christmas classics-turned-cabaret. After the musical feast, loosen up your paper hat and let your hair down as Luminescence indulges in Christmas at its trashy, tinselled best.

Presented in partnership with Canberra International Music Festival and Smith's Alternative. This event is restricted to 18+.

Please note that doors will open at 9.30pm for a 9.40pm performance.
1 hour no interval.

ARTISTS
Rachel Mink, voice
Luminescence Chamber Singers
Alex Raupach, trumpet and musical director
Tom Fell, saxophone
Chris Pound, bass/guitar
Eli Adisa, drums

A world premiere that rings out around the globe! Commissioned by Luminescence Children’s Choir together with choirs in Perth, Estonia, and Belgium, Andrew Ford’s new Christmas cycle is one for our time. Accompanied by Melbourne sensation Theo Carbo (electric guitar), this major new work aims to bring joy to all the children singing it for the first time this year, and all the children who will Sing The Birth in years to come. 

Co-commissioned in collaboration with the Flanders Boys Choir, Estonian Girls’ TV and Radio Choir, and the Schola Cantorum of St Aquinas College. Supported by Helen Moore AM, and the APRA AMCOS Art Music Fund 2023. 

Performed concurrently in Canberra, Perth, Antwerp, and Tallin, this December 2024.

1 hour, no interval

Presented in partnership with Canberra International Music Festival and Wesley Music Centre.

ARTISTS
Luminescence Children’s Choir, directed by AJ America
Theo Carbo, electric guitar
Dan Walker, tenor
Lucien Fischer, baritone
Michelle Ryan, soprano
Thomas Heywood, organ
Roland Peelman AM, percussion
Valdas Cameron, percussion

PROGRAMME

Arvo Pärt Sarah Was 90 Years Old (1976)

Andrew Ford I Sing The Birth (2004) [World Premiere]

Experience the brilliance of Australia’s most acclaimed concert organist, Thomas Heywood, in an exclusive recital for A Luminous Christmas. Performing festive gems of the organ repertoire, this is a rare and unmissable opportunity to hear a master of this mighty instrument.

60 minutes, no interval.

Presented in partnership with Canberra International Music Festival and Wesley Music Centre.

ARTISTS
Thomas Heywood, organ

PROGRAMME

Théodore Dubois (1837-1924)
Fiat lux [Let there be light] from 12 Pièces Nouvelles pour Orgue [1893]

Two pieces by Théodore Dubois (1837-1924) from 12 Pièces pour Orgue [1886]

1. Marche des Rois Mages [‘March of the Magi Kings’], No. 9

2. Grand Choeur [in B-flat major], No. 12

Alan Gray (1855-1935)
Fantasia on Christmas Carols

Arcangelo Corelli (1653-1713), transcribed by Edward John Hopkins (1818-1901)
Pastorale from Concerto Grosso – ‘Christmas Concerto’, Op. 6 No. 8

Eugène Gigout (1844-1925)
Rhapsodie sur des Noels from Dix Piéces [10 Pieces for Organ] (1892)

Pyotr Il’yich Tchaikovsky (1840-1893), trans. Dr Frederick Hohman (b.1955)
Dance of the Sugar-Plum Fairy from The Nutcracker Suite, Op. 71a No. 3

Théodore Dubois (1837-1924)
Sortie (Grand Choeur) [in E major] from 10 Pièces pour Grand Orgue [1921]

John Ebenezer West (1863-1929)

Fantasy on Two well-known Christmas Carols

Johann Sebastian Bach (1685-1750)
Chorale Prelude on In dulci jubilo, BWV 729

Sigfrid Karg-Elert (1877-1933)
Choral-Improvisation on In dulci jubilo, Op. 75 No. 2

An evening of uplifting Christmas music from around the world. From Medieval carols to classic Yuletide songs and traditional Nativity hymns, this concert features the sublime sounds of Luminescence Chamber Singers with internationally acclaimed organ virtuoso Thomas Heywood, and the angelic strains of Luminescence Children’s Choir, bundled into one heavenly hour. Directed by Roland Peelman.

70 minutes, no interval.

Presented in partnership with Canberra International Music Festival and Wesley Music Centre.

ARTISTS
Luminescence Chamber Singers
Luminescence Children’s Choir
Thomas Heywood, organ
Roland Peelman AM

PROGRAMME

Once in Royal David’s City H.J. Gauntlett, arr. David Willcocks
Kindelwiegen (Vom Himmel Hoch) Traditional German, Arr. A.V. Othegraven
Noël Nouvelet Traditional French Carol, arr. Stephen Jackson
Coventry Carol Traditional
Rui Rui Chiu  Ascribed to Mateo Flecha the Elder (1481 - 1553) 
Corpus Christi  Benjamin Britten (from A Boy Is Born, 1933) arr. Ruth McCall
Joseph and Mary (Cherry Tree Carol) Kentucky, arr. Roland Peelman
Before the Paling of The Stars Cecilia McDowell (2012)
Carol of the Birds W. James & J. Wheeler, arr. Roland Peelman
The Christmas Card [WP] Deborah Cheetam, arr. Dan Walker 
A Child Is Born Roland Hanna/Thad Jones, arr. Roland Peelman
We Three Kings John Henry Hopkins, arr. Roland Peelman
Sleeping Child Bob Chilcott
O Little Town of Bethlehem Traditional English, arranged by David Willcocks
Hark The Herald Angels Sing F Mendelssohn, Arr. David Willcocks
O Come All Ye Faithful J.F. Wade Arr. David Willcocks
Stille Nacht Franz Xaver Gruber

In 1940, refugees from Nazi persecution who had fled to Britain were suddenly classified as enemy aliens, transported to Australia on the ship Dunera, and held in camps in Hay and Orange, NSW, and in Tatura, Victoria. In their attempts to re-create traces of their former lives, internees ran a remarkable range of activities inside the camps, from art classes to university-style lectures and theatrical performances. As a result, they produced an extraordinary array of personal art and artefacts, from beautiful portraits and landscapes to pop-up paper models and even an unofficial camp currency. The Library has spent many years compiling collections that piece together this little-known chapter in Australian history and now holds one of largest Dunera collections in the world.

The Dunera Mass is a dramatised concert, telling the story of these refugees using the recently rediscovered music manuscripts of Dunera composer Max-Peter Meyer, with projections of artworks created by fellow Dunera refugees to illuminate the story.

Writer-researcher-narrator: Dr Nicole Forsyth

Performers:
Luminescence Chamber Singers
The Oriana Chorale
Roland Peelman AM
Dr Anna McMichael (violin)
Nicole Forsyth (viola)
Stephanie Li (cello)
Jem Harding (piano)

Sound engineer & producer: Jim Atkins

Presented by the State Library of NSW in association with the exhibition Dunera: Stories of Internment.

This performance is part of a project funded by Creative Australia.

In 1940, refugees from Nazi persecution who had fled to Britain were suddenly classified as enemy aliens, transported to Australia on the ship Dunera, and held in camps in Hay and Orange, NSW, and in Tatura, Victoria. In their attempts to re-create traces of their former lives, internees ran a remarkable range of activities inside the camps, from art classes to university-style lectures and theatrical performances. As a result, they produced an extraordinary array of personal art and artefacts, from beautiful portraits and landscapes to pop-up paper models and even an unofficial camp currency. The Library has spent many years compiling collections that piece together this little-known chapter in Australian history and now holds one of largest Dunera collections in the world.

The Dunera Mass is a dramatised concert, telling the story of these refugees using the recently rediscovered music manuscripts of Dunera composer Max-Peter Meyer, with projections of artworks created by fellow Dunera refugees to illuminate the story.

Writer-researcher-narrator: Dr Nicole Forsyth

Performers:
Luminescence Chamber Singers
The Oriana Chorale
Roland Peelman AM
Dr Anna McMichael (violin)
Nicole Forsyth (viola)
Stephanie Li (cello)
Jem Harding (piano)

Sound engineer & producer: Jim Atkins

Presented by the State Library of NSW in association with the exhibition Dunera: Stories of Internment.

This performance is part of a project funded by Creative Australia.

“Identity oversimplifies humans.
It denies the hybrid, as trees can't.
[…] Eons on, their concentric years
will be eloquent on suffering and old airs.” [Les Murray, Cool History]

As the legendary poet Les Murray reminded us, trees are the silent storytellers of human history. Amidst our relentless pursuit of modernity, their rings record deep time, carving stories of fire, flood, and slow growth. Join Luminescence Chamber Singers for a tapestry of old songs and stories. From ancient melodies to troubadour songs, timeless tunes, and the lyrics that summon nostalgia, Luminescence breathes new life into old airs.

Conducted by Roland Peelman AM

1 hour no interval

Programme to include:
SEIKILOS EPITAPH Anon (2nd Century BCE) - Oldest surviving complete composition
TSINTSKARO Georgian folk song
ALS ICK U VINDE Hubert Waelrant (1584)
QUE FAREM DEL POBRE JOAN Mateu Fletxa el Vell (1481 – 1553)
KAIPAAVA trad. Finnish arr. Chydenius (1999)
EDO LULLABY trad. Japanese arr. Paul Smith (Japan) 
TROIS BEAUX OISEAUX DU PARADIS Maurice Ravel (1914)
S’POSIN P. Denniker/A. Razaf (1929)
A NIGHTINGALE SANG IN BARKLEY SQUARE E. Maschwitz/M. Sherwin (1939)
OLD AIRS Frank Nuyts (2008)

“Identity oversimplifies humans.
It denies the hybrid, as trees can't.
[…] Eons on, their concentric years
will be eloquent on suffering and old airs.” [Les Murray, Cool History]

As the legendary poet Les Murray reminded us, trees are the silent storytellers of human history. Amidst our relentless pursuit of modernity, their rings record deep time, carving stories of fire, flood, and slow growth. Join Luminescence Chamber Singers for a tapestry of old songs and stories. From ancient melodies to troubadour songs, timeless tunes, and the lyrics that summon nostalgia, Luminescence breathes new life into old airs.

Conducted by Roland Peelman AM

1 hour no interval

Please note that this performance will be held at Wesley Music Centre, Forrest.

Programme to include:
SEIKILOS EPITAPH Anon (2nd Century BCE) - Oldest surviving complete composition
TSINTSKARO Georgian folk song
ALS ICK U VINDE Hubert Waelrant (1584)
QUE FAREM DEL POBRE JOAN Mateu Fletxa el Vell (1481 – 1553)
KAIPAAVA trad. Finnish arr. Chydenius (1999)
EDO LULLABY trad. Japanese arr. Paul Smith (Japan) 
TROIS BEAUX OISEAUX DU PARADIS Maurice Ravel (1914)
S’POSIN P. Denniker/A. Razaf (1929)
A NIGHTINGALE SANG IN BARKLEY SQUARE E. Maschwitz/M. Sherwin (1939)
OLD AIRS Frank Nuyts (2008)

“Identity oversimplifies humans.
It denies the hybrid, as trees can't.
[…] Eons on, their concentric years
will be eloquent on suffering and old airs.” [Les Murray, Cool History]

As the legendary poet Les Murray reminded us, trees are the silent storytellers of human history. Amidst our relentless pursuit of modernity, their rings record deep time, carving stories of fire, flood, and slow growth. Join Luminescence Chamber Singers for a tapestry of old songs and stories. From ancient melodies to troubadour songs, timeless tunes, and the lyrics that summon nostalgia, Luminescence breathes new life into old airs.

Conducted by Roland Peelman AM

1 hour no interval

Please note that this performance will be held at Drill Hall Gallery, Acton.

Programme to include:
SEIKILOS EPITAPH Anon (2nd Century BCE) - Oldest surviving complete composition
TSINTSKARO Georgian folk song
ALS ICK U VINDE Hubert Waelrant (1584)
QUE FAREM DEL POBRE JOAN Mateu Fletxa el Vell (1481 – 1553)
KAIPAAVA trad. Finnish arr. Chydenius (1999)
EDO LULLABY trad. Japanese arr. Paul Smith (Japan) 
TROIS BEAUX OISEAUX DU PARADIS Maurice Ravel (1914)
S’POSIN P. Denniker/A. Razaf (1929)
A NIGHTINGALE SANG IN BARKLEY SQUARE E. Maschwitz/M. Sherwin (1939)
OLD AIRS Frank Nuyts (2008)

“Identity oversimplifies humans.
It denies the hybrid, as trees can't.
[…] Eons on, their concentric years
will be eloquent on suffering and old airs.” [Les Murray, Cool History]

As the legendary poet Les Murray reminded us, trees are the silent storytellers of human history. Amidst our relentless pursuit of modernity, their rings record deep time, carving stories of fire, flood, and slow growth. Join Luminescence Chamber Singers for a tapestry of old songs and stories. From ancient melodies to troubadour songs, timeless tunes, and the lyrics that summon nostalgia, Luminescence breathes new life into old airs.

Conducted by Roland Peelman AM

1 hour no interval

Programme to include:
SEIKILOS EPITAPH Anon (2nd Century BCE) - Oldest surviving complete composition
TSINTSKARO Georgian folk song
ALS ICK U VINDE Hubert Waelrant (1584)
QUE FAREM DEL POBRE JOAN Mateu Fletxa el Vell (1481 – 1553)
KAIPAAVA trad. Finnish arr. Chydenius (1999)
EDO LULLABY trad. Japanese arr. Paul Smith (Japan) 
TROIS BEAUX OISEAUX DU PARADIS Maurice Ravel (1914)
S’POSIN P. Denniker/A. Razaf (1929)
A NIGHTINGALE SANG IN BARKLEY SQUARE E. Maschwitz/M. Sherwin (1939)
OLD AIRS Frank Nuyts (2008)