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The music that made Britain great CROWN IMPERIAL LAND OF HOPE AND GLORY JERUSALEM ZADOK THE PRIEST THE DAM BUSTERS FAIREST ISLE 2 [78’39] CD1 1 GEORGE FRIDERIC HANDEL 1685-1759 La Réjouissance (Rejoicing) from Music for the Royal Fireworks, HWV351 Tasmanian Symphony Orchestra, Graham Abbott conductor 2’00 2 GUSTAV HOLST 1874-1934 Jupiter, the Bringer of Jollity from The Planets, Op. 32 Queensland Symphony Orchestra, Nicholas Braithwaite conductor 8’10 3 RONALD BINGE 1910-1979 The Watermill Diana Doherty oboe, Sinfonia Australis, Mark Summerbell conductor 3’32 4 WILLIAM WALTON 1902-1983 Crown Imperial – Coronation March Tasmanian Symphony Orchestra, Marc Taddei conductor 6’03 5 JEREMIAH CLARKE c.1674-1707 orch. HENRY J. WOOD 1869-1944 The Prince of Denmark’s March (Trumpet Voluntary) West Australian Symphony Orchestra, Benjamin Northey conductor 2’24 6 ERIC COATES 1886-1957 Youth of Britain: The Princess Elizabeth from The Three Elizabeths Suite West Australian Symphony Orchestra, David Measham conductor 5’33 7 8 JOHN BACCHUS DYKES 1823-1876 arr. MICHAEL LEIGHTON JONES b. 1947 Eternal Father, Strong to Save (The Royal Navy Hymn) Words by William Whiting 1825-1878. Choir of Trinity College, University of Melbourne, Jonathan Bradley organ, Michael Leighton Jones conductor KENNETH ALFORD 1881-1945 Colonel Bogey – March Australian Army Band, Perth, Capt. Craig Johnson conductor 3 3’07 3’30 9 0 RALPH VAUGHAN WILLIAMS 1872-1958 arr. RALPH GREAVES Fantasia on Greensleeves Tasmanian Symphony Orchestra, David Stanhope conductor 5’06 GEORGE FRIDERIC HANDEL Zadok the Priest – Coronation Anthem No. 1, HWV258 5’32 Words based on I Kings 1:38-40. Sydney Philharmonia Symphonic Choir, Sydney Philharmonia Orchestra, Antony Walker conductor LIVE RECORDING ! EDWARD ELGAR 1857-1934 Nimrod from Variations on an Original Theme, Op. 36 ‘Enigma’ Adelaide Symphony Orchestra, David Stanhope conductor 4’26 @ ERIC COATES The Dam Busters – March The Queensland Orchestra, Michel Swierczewski conductor 4’04 LIVE RECORDING £ FREDERICK DELIUS 1862-1934 On Hearing the First Cuckoo in Spring Adelaide Symphony Orchestra, Carl Pini conductor 6’02 LIVE RECORDING $ EDWARD ELGAR Pomp and Circumstance March in C minor, Op. 39 No. 3 Queensland Symphony Orchestra, Patrick Thomas conductor 6’27 % RALPH VAUGHAN WILLIAMS The Lark Ascending – excerpt Dimity Hall violin, Sinfonia Australis, Antony Walker conductor 7’13 ^ THOMAS ARNE 1710-1778 arr. MALCOLM SARGENT 1895-1967 Rule, Britannia! Words by James Thomson 1700-1748. Nicole Car soprano, Tasmanian Symphony Orchestra and Chorus, Marc Taddei conductor 4 3’44 [79’41] CD2 1 EDWARD ELGAR Pomp and Circumstance March in D major, Op. 39 No. 1 (Land of Hope and Glory) 6’47 Words by Arthur Christopher Benson 1862-1925. Sydney Philharmonia Symphonic Choir, Sydney Philharmonia Orchestra, Antony Walker conductor LIVE RECORDING 2 3 4 HENRY PURCELL 1659-1695 Fairest Isle from King Arthur Words by John Dryden 1631-1700. Sara Macliver soprano, Australian Brandenburg Orchestra, Paul Dyer director RONALD BINGE Elizabethan Serenade Sydney Symphony Orchestra, Patrick Thomas conductor GEORGE FRIDERIC HANDEL Hallelujah! from Messiah, HWV56 Sydney Philharmonia Motet and Symphonic Choirs, Sydney Philharmonia Orchestra, Antony Walker conductor 4’19 3’00 3’51 LIVE RECORDING 5 GEORGE FRIDERIC HANDEL Let the Bright Seraphim from Samson, HWV57 Words by Newburgh Hamilton 1691-1761. Yvonne Kenny soprano, Geoffrey Payne trumpet, Melbourne Symphony Orchestra, Vladimir Kamirski conductor 5 5’15 6 7 8 9 0 ! @ £ $ % ARTHUR SULLIVAN 1842-1900 arr. CHARLES MACKERRAS 1925-2010 Pineapple Poll – Suite from the Ballet I. Opening Number II. Poll’s Dance III. Captain Belaye’s Dance IV. Pas de Trois V. Jasper’s Dance VI. Belaye’s Hornpipe VII. Reconciliation of Poll and Jasper VIII. Finale Tasmanian Symphony Orchestra, Marc Taddei conductor GEORGE FRIDERIC HANDEL Arrival of the Queen of Sheba from Solomon, HWV67 West Australian Symphony Orchestra, David Measham conductor RALPH VAUGHAN WILLIAMS Bright Is the Ring of Words from Songs of Travel Words by Robert Louis Stevenson 1850-1894. Teddy Tahu Rhodes bass-baritone, Sharolyn Kimmorley piano [19’47] 3’47 1’10 1’49 1’54 3’47 1’48 1’53 3’13 2’53 1’39 ^ ERIC COATES Knightsbridge – March from London Everyday West Australian Symphony Orchestra, David Measham conductor 4’31 & EDWARD ELGAR Pomp and Circumstance March in G major, Op. 39 No. 4 West Australian Symphony Orchestra, David Measham conductor 4’18 * RALPH VAUGHAN WILLIAMS orch. GORDON JACOB 1895-1984 Somerset: Folk Songs – March from English Folk Song Suite West Australian Symphony Orchestra, David Measham conductor 3’00 6 ( JOHN LENNON 1940-1980 and PAUL McCARTNEY b. 1942 arr. JOHN LANCHBERY 1923-2003 The Yesterday Concerto from The Fool on the Hill 7’46 Isador Goodman piano, Sydney Symphony Orchestra, John Lanchbery conductor ) RON GOODWIN 1925-2003 633 Squadron – Main Theme Australian Army Band, Perth, Capt. Craig Johnson conductor ¡ ™ # HUBERT PARRY 1848-1918 Jerusalem Words by William Blake 1757-1827. Cantillation, David Drury organ, Brett Weymark conductor TRADITIONAL God Save the Queen Words: Anonymous. Tasmanian Symphony Orchestra and Chorus, Marc Taddei conductor TRADITIONAL Auld Lang Syne Word: Anonymous, collected and adapted by Robert Burns 1759-1796. Tasmanian Symphony Orchestra and Chorus, Marc Taddei conductor 7 3’00 2’23 2’08 3’19 They don’t place their hands on their hearts and gaze up at it reverently with heart a-throb and a tear in the eye, as the Americans are wont to do with the Stars and Stripes, but Britons are no less attached to their Union Jack. The traditional British stiff upper lip is swept away in the flag-filled exuberance of the Last Night of the Proms, not only in London’s Royal Albert Hall, but cramming nearby Hyde Park as well as town squares, market places, greens and commons around the country, from Dundee to Plymouth and from Dover to Swansea to Hillsborough in Northern Ireland. In all the jostling for standing room, there’s a jubilant egalitarianism which shrugs aside divisions of class and privilege. British patriotism is, at heart, a pride in the freedom and dignity of the nation and of its citizens, and this is expressed full voice in one of the most famous Proms anthems, Rule, Britannia!: ‘Britons never, never, never will be slaves.’ The composer, Thomas Arne, wrote almost exclusively for the theatre, with music for over 90 stage shows to his credit: all of it now forgotten, except for Rule, Britannia!. The song was first performed in 1740 as part of a masque – a kind of 18thcentury multimedia spectacular – on the subject of King Alfred the Great, at a private event in the country home of the Prince of Wales, but five years later it had slipped the shackles of privilege and was at large in London. It has been part of the British cultural identity ever since, and musicians from Beethoven to Johann Strauss to Pink Floyd have used it as a kind of musical shorthand to symbolise the nation and its heritage. A more gentle approach had been taken some fifty years earlier by Henry Purcell in Fairest Isle. This too was written as part of a masque in honour of a legendary British hero, though this time more a mythical figure than a historical one: the masque comes at the end of the opera King Arthur. Arthur has defeated the Saxons and rescued his fiancée, the blind Princess Emmeline, and in celebration, Merlin conjures up a vision of the island Britannia rising from the waves. The goddess Venus herself appears to bless the island and make it a ‘seat of pleasure and of love’. With a title like The Prince of Denmark’s March, Jeremiah Clarke’s piece might seem like an odd inclusion in an album of British music. But the prince in question, Prince Jørgen, in 1683 had married Her Highness the Lady Anne, who in 1702 would become Queen Anne of England, Scotland and Ireland. Jørgen was now Prince George, Knight of the Garter, Duke of Cumberland, Earl of Kendal and Baron Wokingham. Clarke’s march is a unique blend of stately dignity and festive cheer, and is a favourite 8 at wedding celebrations, but during World War II it was broadcast daily by the BBC as a boost to public morale. Had Clarke been alive to hear it, however, he might have found his personal morale at a low ebb, as the piece was at that time being credited to Henry Purcell! It was not until 1963 that the March, or ‘Trumpet Voluntary’ as it had become known, was once again acknowledged as Clarke’s work. Queen Anne was succeeded by George I. George was not a popular monarch but he should be remembered with gratitude by music lovers: one of the last things he did before his death in 1727 was to make British citizens of a number of foreigners – including the German composer Georg Friederich Händel. The King’s declaration came just in time for George Frideric Handel (as he is known in English) to be eligible to write the music for the coronation of the new king, George II, and as a result, British monarchs ever since have been able to enjoy Handel’s magnificent Zadok the Priest at their coronation ceremonies – as have audiences around the world at countless concerts. The excitement builds through the music’s slow orchestral introduction, the chords unfolding inexorably, tension mounting almost to breaking point until the choir bursts in with words taken from the Old Testament’s first book of Kings, describing the coronation of Solomon, famous for his wisdom and for the glories of his reign. Twenty years later, King George II ordered a public display of fireworks in London’s Green Park to celebrate the signing of the Treaty of Aix-la-Chapelle, which brought to an end the War of Austrian Succession. Handel was commissioned to provide music for the occasion. His Music for the Royal Fireworks caused a sensation at the public rehearsal six days earlier, creating traffic chaos as 12,000 people crowded into Vauxhall Gardens; the fireworks themselves turned out to be a spectacle rather different from that originally planned, when the specially-designed wooden building in which the musicians were playing caught fire and burned to the ground, bringing the performance to an unexpectedly early close. Handel’s brilliant sense of musical drama made him a great success as a composer of opera, which was enormously popular in early 18th-century London. But when public tastes shifted away from opera in the late 1730s, Handel brought the same theatrical flair to a different kind of drama. Oratorios, a kind of sacred drama in music, performed with soloists, chorus and orchestra but without staging or costumes, were especially popular during Lent, the period of abstinence leading up to Easter. Opera was too frivolous for this solemn season, but audiences flocked to hear Handel’s oratorios. The church authorities were unhappy at the general lack of reverence displayed by the often boisterous audiences, but the listeners could perhaps be forgiven their excitement, given that Handel had invested his oratorios with as much drama and emotion as his operas. The Arrival of the Queen of Sheba, from Solomon, is full of bustling excitement and eager anticipation; Let the Bright Seraphim, from Samson, is an ecstatic hymn of triumph that soars to heaven. 9 Handel’s best-known oratorio is of course Messiah, first performed in 1742, in Dublin. By requesting that the ladies not wear hooped skirts, and that the gentlemen leave their swords at home, an extra hundred people were squeezed into the music hall on Fishamble St; audiences have been crowding in to experience Messiah ever since. Handel was always a fast worker but he completed Messiah in just 24 days; in writing the piece, he declared, ‘I did think I did see all of Heaven before me, and the great God himself.’ The Hallelujah! chorus is the most famous part of the oratorio. Legend has it that when the King attended a performance in 1743, he rose to his feet during the chorus; whether out of admiration for the music, reverence for the text (which acclaims Christ as the King of Kings), or to ease his gout is not known, but the audience was obliged to stand too, and the tradition of standing for the ‘Hallelujah!’ chorus persists to this day. Something strange happened to English music after Handel. Continental Europe produced Haydn, Beethoven, Mozart, Schubert and Mendelssohn; but there are no equivalent ‘big names’ from England until the start of the 20th century. The one 19th-century English composer whose music still enjoys widespread popularity is Arthur Sullivan, and he was constantly frustrated by the success of his comic operas with W.S. Gilbert, which he felt undermined his reputation as a ‘serious’ composer. Even Queen Victoria once said to him, ‘You ought to write a grand opera, Sir Arthur: you would do it so well.’ Sullivan did eventually write one, Ivanhoe, which was very well regarded at the time, but has since sunk into oblivion. Meanwhile, his comic operas are constantly being performed by everyone from national opera companies to high schools. Pineapple Poll is a ballet score created by Australian Sir Charles Mackerras using music from almost all of the Gilbert and Sullivan operas: The Mikado, Trial by Jury, Patience, The Sorcerer, The Gondoliers, The Pirates of Penzance, Ruddigore, The Yeoman of the Guard, Iolanthe, H.M.S. Pinafore, Princess Ida and even Cox and Box, a comic opera Sullivan wrote with librettist F.C. Burnand before teaming up with Gilbert. But comic opera doesn’t hold up well on the international stage, not against heavyweights like Wagner and Mahler, and in 1904, the German critic Oscar Schmitz contemptuously dismissed England as ‘the land without music’. Schmitz was behind the times, though. Five years earlier, Edward Elgar had written one of the great glories of English Romantic music: the ‘Enigma’ Variations. The piece had come about by accident. Elgar at that stage was earning his living as a humble country music teacher, increasingly resentful of the success of younger composers like Schoenberg and Debussy. Doodling away at the piano one evening, he chanced upon a brief musical theme that pleased him, and began to play around with it, imagining how it might sound performed by one of his friends, or how he could capture their personalities by changing the mood or the style. The ‘Enigma’ is that we don’t actually 10 know what the tune was: Elgar claimed that the theme we hear is a variation on a well-known melody which he refused to identify, and nobody has ever been able to solve the puzzle. The Nimrod variation represents Elgar’s publisher and great friend A.J. Jaeger; the title is a pun on Jaeger’s name, ‘Jaeger’ being German for ‘hunter’, and Nimrod being a biblical character referred to in the book of Genesis as ‘a mighty hunter’. Two years later, in 1901, Elgar published the first of his Pomp and Circumstance Marches. The Boer War was generating a massive wave of British patriotism, and the march’s rousing Trio clearly struck a chord with the general public. At its first Proms outing, ‘the people simply rose and yelled,’ wrote conductor Henry Wood. ‘I had to play it again – with the same result; in fact they refused to let me get on with the programme… I went off and fetched Harry Dearth who was to sing [the next piece] but they would not listen. Merely to restore order, I played the march a third time.’ The march at that point had no words. Arthur Benson’s poem ‘Land of Hope and Glory’ was added while Elgar was adapting the Trio for incorporation into the Coronation Ode he was writing for Edward VII. It was also performed at the coronations of George V, George VI and the current monarch, Elizabeth II. The other four Pomp and Circumstance Marches are less well known, but deeply satisfying all the same. William Walton’s Crown Imperial was also written for a coronation: that of Edward VIII, scheduled for 12 May 1937. Edward, however, abdicated in 1936 to marry Mrs Wallis Simpson; the coronation went ahead as scheduled, but with a replacement monarch, George VI. The central section is clearly modelled on Elgar; the outer sections are lighter in texture and perhaps show the influence of Stravinsky and Prokofiev, both of whom Walton greatly admired. Parry’s mighty hymn Jerusalem, like ‘Land of Hope and Glory’, was born during a time of war, in 1916. But rather than being the crest of a wave of enthusiastic national pride, Jerusalem was a deliberate attempt to rouse public morale from a trough of pessimism in the face of mounting casualties and receding hopes of peace. It was commissioned as part of a campaign by the women’s suffrage movement Fight for the Right, which had set aside its political agenda in order to support the war effort. Its aims were now ‘to brace the spirit of the nation that the people of Great Britain, knowing that they are fighting for the best interests of humanity, may refuse any temptation, however insidious, to conclude a premature peace, and may accept with cheerfulness all the sacrifices necessary to bring the war to a satisfactory conclusion.’ William Blake’s prophetic vision of the city of God established in ‘England’s green and pleasant land’, married to Parry’s incomparable tune, has been taken up by women’s institutes, rugby teams, political parties of all colours, and public school assemblies, and it 11 recently beat God Save the Queen and Land of Hope and Glory to become the victory anthem for Team England in the Commonwealth Games. Parry is best known today for his sacred music, which is a mainstay of the Anglican cathedral tradition, but his most significant contribution to the history of British music was as the Director of the Royal College of Music, and teacher of composers like Ralph Vaughan Williams and Gustav Holst who were at the forefront of the renaissance of British music that Elgar had begun. Holst was something of an unconventional thinker – he was, for example, profoundly interested in Hindu spirituality, and wrote several pieces based on the Ramayana, the Mahabharata and the Rig Veda, teaching himself Sanskrit in order to read the sacred texts in the original language – and his most famous piece, the orchestral suite The Planets, was inspired by astrology rather than astronomy. Each movement is intended to evoke the influence of a planet on the human psyche, according to Holst’s rather idiosyncratic understanding. Thus the music of Jupiter evokes not the planet’s size, but concepts of prosperity and good fortune. That said, the central section features a grand and supremely dignified melody which has been used as the tune for one of the most patriotic hymns of all: ‘I vow to thee, my country’. As English composers looked for ways to revitalise the nation’s music, one of the places that many found inspiration was folk music. The traditional songs and dances of Britain, sprung, as it were, from the very soil of the nation, had an integrity which made them fascinating to many composers, including Ralph Vaughan Williams. His English Folk Song Suite was written in 1923 for military band, and later arranged for full orchestra and brass band by his student Gordon Jacob. The final movement Somerset: Folk Songs – March, features the folk tunes Blow Away the Morning Dew, High Germany, Whistle, Daughter, Whistle and John Barleycorn. Probably the best-known English folk song of all is Greensleeves. Vaughan Williams’ Fantasia on Greensleeves, however, is no rustic celebration of folk culture, but rather an exquisite study of beauty in full Romantic flight. Like all good Romantics, Vaughan Williams looked to the past as a place of innocence and truth, and the music evokes an idyllic pastoral age – which of course never really existed, though that has never stopped anyone from wishing that it had! Bright Is the Ring of Words, from Vaughan Williams’ Songs of Travel, taps into that same yearning for times past. It’s not folk music or folk poetry (the verses are by Robert Louis Stevenson), but there’s a sense of nostalgia in the imagery of swains in fields of heather, and long-dead bards taking their songs from village to village. The poem’s message, that art has the power to move us long after its maker is gone, is eloquently expressed in the generous, warm-hearted opening chords that gradually melt into a lingering whisper. 12 Pastoral sweetness also flavours The Lark Ascending; its delicate beauty becomes even more poignant with the knowledge that the piece was sketched by the composer while watching troop ships cross the English Channel at the start of World War I. (The pathos turned to bathos when Vaughan Williams was arrested by a police officer who believed that the dots and lines he was jotting down were some kind of secret code.) On Hearing the First Cuckoo of Spring, by Frederick Delius, was written two years earlier. With its imitation cuckoo calls from the clarinet, it is less subtle than The Lark Ascending but still intensely beautiful. Delius was living in France at the time, and the folk melody on which the piece is based is Norwegian (Delius being close friends with Edvard Grieg), but he remained passionately nostalgic for England, as shown in his wish to be buried ‘in a quiet country churchyard in a south of England village’ – a wish which was ultimately granted. The textures are lusher but Ronald Binge’s The Watermill is steeped in the same pastoral yearning. Binge began his career as a cinema organist in the days of silent movies, when most picture houses had a light orchestra; he later worked as a composer and arranger for the BBC. Light music, with its emphasis on the sheer pleasure of music, began in the late nineteenth century as an upper-class pastime in the Palm Courts of elegant resorts, hotels, spas and ocean liners, but through the new medium of radio it brought an air of sophistication to popular entertainment. The melodies were simple and attractive, the orchestrations lavish and rich. Elizabethan Serenade is perhaps the most famous example. It originally bore the generic title Andante cantabile, but when Binge’s publisher heard a broadcast performance of it, he rang the composer and said, ‘That’s what I call a tune! I think we’ve got something here. Damned if I know what you’re going to call it. Sounds like some kind of Elizabethan serenade’ – an inspired choice in 1952, the year which had seen the young Princess Elizabeth accede to the British throne. That ‘second Elizabethan age’ was still a decade away when Eric Coates composed his suite The Three Elizabeths. The first movement recalled the glory days of the reign of Queen Elizabeth I; the second was a musical portrait of the Queen Mother, and the third, Youth of Britain, captured in its proudly, irrepressibly cheerful tribute to the Princess Elizabeth the nation’s hopes for a new, confident future, even in the midst of World War II. Coates, unlike most composers of light music, had no qualms about the lack of ‘serious’ works in his catalogue. He was perfectly happy to stick with popular, easy-listeningstyle pieces, and he wrote them magnificently well; the BBC, in an obituary of Coates, dubbed him ‘the uncrowned king of light music’. When his Knightsbridge March was first broadcast, the BBC was flooded with requests from listeners desperate to know the name of the piece. 13 Coates’ music was perfect for lifting British spirits during the war years, and he wrote a number of explicitly patriotic pieces such as Calling All Workers and Salute the Soldier. His most famous ‘wartime’ contribution, however, was written in the 1950s, long after the end of the war. According to the composer’s son, the Dam Busters March wasn’t composed specifically for the film; Coates just happened to have completed it, as an exercise, around the time when the BBC approached him. Coates hated writing for film and had turned down numerous requests, but the producers managed to convinced him of the ‘national importance’ of the film. The tune has since been turned into a hymn, set to the words ‘God is our strength and refuge’. Ron Goodwin, on the other hand, worked primarily as a composer of film music, with such epic themes as Those Magnificent Men in Their Flying Machines, The Guns of Navarone and The Battle of Britain to his credit. 633 Squadron is set during World War II: an RAF squadron is assigned to knock out an apparently impregnable German rocket fuel factory in Norway. Though the mission and indeed the squadron are fictitious, the aerial scenes were spectacular (George Lucas has said that the final sequence, with the planes flying up a deep fjord under heavy anti-aircraft fire, was the inspiration for the ‘trench run’ sequence in Star Wars) and Goodwin’s thrilling music was a highlight of the film. The iconic Colonel Bogey March has become forever associated with the World War II after featuring in the movie Bridge on the River Kwai, but it was actually written in 1914, not long before the outbreak of World War I. The composer, Kenneth Alford, was a lieutenant in the British Royal Marines, writing under a pseudonym; his real name was F.J. Ricketts. The Yesterday Concerto is based on a more recent icon of British popular music: the songs of The Beatles. In 1975, the Australian Broadcasting Corporation collaborated with The Australian Ballet to create a ballet that non-ballet fans could watch and enjoy on the then relatively new medium of colour television. Composer John Lanchbery reworked themes from songs such as Sgt Pepper’s Lonely Hearts Club Band, Michelle, The Fool on the Hill and of course the wistful ballad Yesterday. God Save the Queen is the national anthem of the United Kingdom – proof of the unique esteem and affection the British hold for their monarch. The origins of both words and music are a mystery; the anthem, more or less as we now know it, was first published in 1744, though the tune seems to be based on a 1619 piece by John Bull. Eternal Father, Strong to Save is often known as the Royal Navy Hymn, with its prayer ‘for those in peril on the sea’. The tune, by the Anglican clergyman John Dykes, is called ‘Melita’: a reference to the island of Malta, where the apostle Paul was shipwrecked, as recounted in the Acts of the Apostles. 14 The poem Auld Lang Syne was written by the Scots poet Robbie Burns in 1788, based on ‘an old song, of the olden times, and which has never been in print, nor even in manuscript until I took it down from an old man’. It is sung in English-speaking countries around the world on New Year’s Eve, when its evocation of days gone by – ‘auld lang syne’, literally ‘old long since’, is the Scots equivalent of ‘for old times’ sake’ – is both an acknowledgment of and a farewell to the old year. It has also been variously adapted into dozens of other languages, from Bengali to Hungarian and Japanese, as a song of farewell, a graduation anthem and a funeral hymn, and it traditionally closes the Last Night of the Proms in a rousing chorus from the audience. Natalie Shea Executive Producers Martin Buzacott, Robert Patterson Mastering Virginia Read Editorial and Production Manager Hilary Shrubb Publications Editor Natalie Shea Booklet Design Imagecorp Pty Ltd Cover Photo Creatas / Photolibrary CD1 4, ^, CD2 6-£, ™, # recorded 12-14 May 2010 in the Federation Concert Hall, Hobart. Recording Producer, Editor and Mastering Engineer: Virginia Read. Recording Engineer: Veronika Vincze. Crown Imperial (Coronation March King George VI) by William Walton and Rule Britannia by Thomas Arne arranged by Malcolm Sargent are published by Oxford University Press of Oxford. ABC Classics thanks Alexandra Alewood, Claudia Crosariol, Laura Bell and Katherine Kemp. 1992 CD2 $; 1994 CD2 5; 1995 CD1 £, $; 1998 CD1 8, CD2 2, ); 2001 CD1 0, CD2 1, 4; 2002 CD2 3, ^, (; 2003 CD1 9, @, CD2 ¡; 2004 CD1 3; 2005 CD1 6, CD2 %, &, *; 2006 CD1 7; 2007 CD1 %; 2008 CD1 !; 2009 CD1 1, 5; 2010 CD1 2, 4, ^, CD2 6-£, ™, # Australian Broadcasting Corporation. This compilation was first published in 2010 and any and all copyright in this compilation is owned by the Australian Broadcasting Corporation. 2010 Australian Broadcasting Corporation. Distributed in Australia and New Zealand by Universal Music Group, under exclusive licence. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting, lending, diffusion, public performance or broadcast of this record without the authority of the copyright owner is prohibited. 15 476 4061