OUR GOLDEN CHAPTER
Music by Evelyn Cahill (Year 11)
Lyrics by Avery Mravunac (Year 6)
Conducted by Mrs Casey Allen
Accompaniment by Mr Andrew Basile, Clara Oh (Year 5) and Emma Zhang (Year 11)
Our Golden Chapter, commissioned by Mrs Allen for PLC Voices in 2024, was composed by Evelyn Cahill (Year 11) with lyrics by Avery Mravunac (Year 6). It is written for SA choir, two cellos and piano.
Notes from the Composer:
I was very grateful when Mrs Allen gave me the opportunity to write a piece for Speech Day. It has been an incredibly fulfilling experience to be able to work alongside PLC Voices, Mr Basile, Emma Zhang and Clara Oh. Year 6 students from PLC Voices were given the opportunity to write a poem to be set to music and Avery Mravunac’s poem was selected. Avery’s poem is about what she describes as the “golden chapter”, the transition from Year 6 to high school, filled with emotional goodbyes and the exciting times ahead. She was inspired by nature and the imagery of the sky to convey these complex and strong emotions, and remarkably, it only took her a few hours to write the entire poem.
I wrote Our Golden Chapter during the September-October holidays and workshopped it with Mrs Allen during the first two weeks of Term 4. I chose Avery’s lyrics because of their originality and their potential to generate evocative musical ideas. After reading her poem, I annotated different opportunities for word-painting and worked through the structure, choosing the “A song of courage” stanza to be the chorus and the “The sunrise of the future” stanza to be the bridge. From there, I composed the melodies for the voices, repeating melodies and motifs where possible. As a piano player, I aimed to write a supportive yet beautiful accompaniment that enhanced the reflective sentiment of Avery’s lyrics.
Originally, I wrote the piece for choir and piano, but Mrs Allen suggested I add two cello parts. A Hamilton cellist and a Senior cellist were selected to represent the transition from primary school to high school on stage. Clara Oh and Emma Zhang on Cello 1 and Cello 2, respectively, are beautiful players who brought a new dimension of expression and lyricism to the piece with their performances. The cellos initially play separately, showcasing each player’s talents. The two cellos come together for the first time during the climax of the piece, with an interplay that reflects the melody of the piano part and leads to the piece’s final chorus.
It has been both a great privilege and a learning experience to compose this choral work for Speech Day 2024. I hope you enjoy this world premiere of Our Golden Chapter.
Evelyn Cahill (Year 11 2024)
Our Golden Chapter
Lyrics by Avery Mravunac
The trees around us take a chance,
And they show us a wonderful dance.
As we continue our golden chapter,
Faith carrying us forward.
A song of courage,
Of knowledge and joy,
A time to slow down,
And to just enjoy.
The sunrise of the future,
Vibrant colours filling the light.
The sunset of the past,
Everything vanishing from sight.
A song of courage,
Of knowledge, and joy,
A time to slow down,
And to just enjoy.
Glowing buildings start to fade,
Farewells taking over,
As we close our golden chapter,
The next one starts to open
A song of courage,
Of knowledge, and joy,
A time to slow down, slow down,
And to just enjoy.
Avery Mravunac (Year 6)
FOUR TRANSYLVANIAN DANCES: І LASSU, ІV DOBBANTÓS
Music by Sándor Veress
Conducted by Mrs Sylwia Waples
Veress’s Four Transylvanian Dances for String Orchestra invites listeners to explore the transmission of Hungarian folk traditions into classical music.
A student of Zoltán Kodály and Béla Bartók, Veress was inspired by their deep commitment to integrating the melodies and rhythms of rural life into sophisticated musical forms. The first movement, Lassu, meaning slowly, and the third movement, Dobbantós, meaning stamping, portray contrasting moods that explore the possibilities of treating fundamental principles of melody, harmony and texture differently.
True to its name, the first movement exudes a more measured and introspective character compared to the lively dances that follow. Veress captures the essence of a traditional Hungarian slow dance, often performed as an introductory or ceremonial piece in rural communities. The building of emotional intensity is amplified through beautiful instrumental solos and all-encompassing accompaniment lines, reflecting the expressive depth found in the folk traditions of Transylvania.
The fourth movement’s title translated to “Stomping Dance”, reflecting the percussive, rhythmic nature of the dance, characterised by its vigorous energy and marked accents. Here, Veress draws inspiration from traditional Transylvanian jumping dances (ugrós) or stamping dances, where the physicality of the performers becomes part of the musical expression - reflected by our performers on stage. The audience is invited to immerse themselves in the infectious energy of this lively movement.
Ultimately, Veress captures the richness of Hungarian folk music while exploring the possibilities of blending tradition with modernity to bring you these two beautiful movements.
Author: Emma Zhang (Year 11 2024, 2025 Music Captain)
THE CHICKEN
Arranged by Kris Berg
Conducted by Phil Harper
Pee Wee Ellis’ instrumental Funk tune, The Chicken, invites listeners into a soundscape filled with raw energy and joy. Composed in 1969, during Ellis’ lead as James Brown’s bandleader, this piece embodies the groovy and soulful energy of its time. By using infectious rhythms and bold melodic lines, Ellis has skillfully transcended decades and allows audiences to enjoy this piece in the present. Ellis’ use of articulation and motifs create an atmosphere of groove and infectious energy.
A hallmark of The Chicken is its use of memorable riffs, delivered by a punchy horn section that evokes soulful music. The blend between the horns, saxophones and percussion section is skillfully developed through syncopated grooves of Funk and the improvisational freedom of jazz. As the piece unfolds, motifs and improvisational freedom create energy and joy, ultimately reflecting the Funk of the 1960s.
Ellis employs expressive techniques and dynamics to further emphasise the Jazz elements in the piece. The horn section uses sharp, staccato attacks to accentuate the syncopated riffs, creating a crisp and punchy texture that feels rhythmically taut. Furthermore, the dynamic variation brings The Chicken to life by emphasising its playful nature. The piece alternates between punchy, energetic sections and more controlled movements. These contrasts create a sense of tension, keeping the listener engaged.
Kris Berg’s arrangement seeks to honour the original spirit of Pee Wee Ellis’ composition, capturing the raw energy and joy that define The Chicken. As the groove takes hold and the solos soar, we hope to bring the audience into the vibrant world of Funk and Jazz. The Chicken reminds us that music, like the groove itself, is a universal language that connects and inspires. We invite you to move, listen and enjoy Big Band’s performance.
Author: Zoe Albin (Year 11)
GRAND CHOEUR IN G MAJOR
By Theodore Salomé
Performed by Katie Lee (Year 10) on the Organ
Théodore Salomé’s Grand Choeur in G Major is a monumental work that exemplifies the grandeur and beauty of choral music, designed to inspire awe and uplift the spirit. Composed during the height of the Romantic era, this piece epitomises the grandeur and ceremonial brilliance of 19th-century French organ music, blending the elegant rhythms with vibrant harmonies to create a triumphant musical illustration.
The piece’s opening immediately commands attention with bold, processional chords that echo the splendour of a grand cathedral. Salomé’s skilful use of the organ’s full tonal range, from luminous reeds to resonant principals, creates a tapestry of sound that evokes both spiritual depth and architectural vastness. As the piece unfolds, moments of lyrical contrasts emerge offering reflective interludes that enhance the grandeur of the surrounding passages. Throughout the piece, the voices of the melody and harmonies intertwine, creating a rich harmonic foundation that is grounded and soaring. The melodic contours are bold and sweeping, inviting the choir to explore a wide range of dynamic contrasts—from the most delicate, hushed passages to the triumphant, full-voiced moments of climax.
At the heart of Grand Chœur is its harmonic richness and rhythmic vitality. Salomé employs luminous modulation and cascading melodic phrases, infusing the work with forward motion and celebratory energy. The interplay between manuals and the pedalboard adds dynamic texture, with the bass lines anchoring the music’s regal character while the upper voices soar with expressive freedom.
Théodore Salomé’s Grand Chœur in G Major is a poignant metaphor for the culmination of the year. Its majestic and celebratory nature eloquently mirrors the collective accomplishments, dedication, and milestones achieved. As the final triumphant chords resound, may you find inspiration to reflect upon your own journey of growth, resilience, and personal discovery throughout 2024.
Author: Katie Lee (Year 10)