Tips, Techniques and Info
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REPERTOIRE 2026
Sample Listening
Sample Listening
Spotify Playlist
Tracks in the Sporify window are preview only.
Click on the button to hear the complete works
Tracks in the Sporify window are preview only.
Click on the button to hear the complete works
Mozart Requiem: Brissler Edition
The Brissler Edition of Mozart’s Requiem in D Minor, K. 626 refers to a classic 19th-century vocal score prepared by Friedrich Brissler for C.F. Peters. It relies on the traditional completion by Mozart’s student, Franz Xaver Süssmayr, and is the structural foundation for many widely used choral scores available today.
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Program Notes: Mozart's Requiem
The Genesis of the Work
In the summer of 1791, a mysterious messenger commissioned Wolfgang Amadeus Mozart to compose a Requiem (a Mass for the Dead). The patron was Count Franz Walsegg, who intended to pass the work off as his own to honor his late wife. Plagued by declining health and a premonition of his own death, Mozart died on December 5, 1791, leaving the piece unfinished. His widow, Constanze, turned to several of his students to finish the composition. Ultimately, Franz Xaver Süssmayr completed the orchestration, filled in missing movements, and brought the masterwork to the form we know today.
Musical Structure & Themes
The Requiem balances the stark fear of the Last Judgment with the eternal hope of God’s grace. It is generally divided into five major sections:
CSO! 2026 Performance:
Not included in CSO! 2026 performance:
The Brissler Edition of Mozart’s Requiem in D Minor, K. 626 refers to a classic 19th-century vocal score prepared by Friedrich Brissler for C.F. Peters. It relies on the traditional completion by Mozart’s student, Franz Xaver Süssmayr, and is the structural foundation for many widely used choral scores available today.
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Program Notes: Mozart's Requiem
The Genesis of the Work
In the summer of 1791, a mysterious messenger commissioned Wolfgang Amadeus Mozart to compose a Requiem (a Mass for the Dead). The patron was Count Franz Walsegg, who intended to pass the work off as his own to honor his late wife. Plagued by declining health and a premonition of his own death, Mozart died on December 5, 1791, leaving the piece unfinished. His widow, Constanze, turned to several of his students to finish the composition. Ultimately, Franz Xaver Süssmayr completed the orchestration, filled in missing movements, and brought the masterwork to the form we know today.
Musical Structure & Themes
The Requiem balances the stark fear of the Last Judgment with the eternal hope of God’s grace. It is generally divided into five major sections:
CSO! 2026 Performance:
- Introitus & Kyrie: The work opens with a dark, mournful plea for eternal rest, soon bursting into a powerful, complex fugue for the Kyrie (Lord, have mercy).
- Sequentia: This highly dramatic sequence features the famous Dies Irae (Day of Wrath), depicting the terror of judgment. It includes Rex Tremendae and Confutatis, with individual solos (Tuba mirum, Recordare) and climaxes with the emotionally devastating Lacrymosa (Day of Weeping), the point where Mozart's original manuscript tragically breaks off.
Not included in CSO! 2026 performance:
- Offertorium: Focuses on the deliverance of souls from the "lion's mouth" and includes beautiful, overlapping fugal sections.
- Sanctus & Benedictus: This section shifts to a joyful, trumpet-laden praise of God, leading into a serene and quartet-driven Benedictus.
- Agnus Dei & Communio: The final movements ask for peace and grant eternal rest, with Süssmayr cleverly bringing the work full circle by repeating the musical themes from the opening Introitus
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Tchaikovsky’s 1812 Overture, Op. 49 (1880)
A programmatic spectacle celebrating Russia's 1812 defeat of Napoleon.
Choral versions, notably Igor Buketoff’s famous arrangement as sung in this year's Celebration Sing Out!, enhance the grandiosity by adding vocals to the quiet opening hymn and the triumphant, cannon-backed finale.
The Narrative & Musical Themes
The overture famously maps out a dramatic, auditory battle:
The Choral Elements
While the original composition was strictly orchestral, choral arrangements introduce majestic vocal lines to heighten the programmatic drama:
For further historical context on the piece's commission—originally intended for the consecration of the Cathedral of Christ the Savior in Moscow—read the Denver Philharmonic Orchestra Program Notes.
A programmatic spectacle celebrating Russia's 1812 defeat of Napoleon.
Choral versions, notably Igor Buketoff’s famous arrangement as sung in this year's Celebration Sing Out!, enhance the grandiosity by adding vocals to the quiet opening hymn and the triumphant, cannon-backed finale.
The Narrative & Musical Themes
The overture famously maps out a dramatic, auditory battle:
- The Calm (Mother Russia): The piece opens with a solemn Russian Orthodox hymn, "God Save Thy People" (Troparion of the Holy Cross), representing the people's peaceful piety.
- The Invasion (France): Suddenly, a turbulent, march-like rhythm signals the gathering of Napoleon’s army. The overture incorporates fragmented strains of the French national anthem, La Marseillaise, representing the encroaching forces.
- The Clash: Back-and-forth themes represent the bitter battles of the Russian campaign. La Marseillaise and Russian military themes battle for dominance, with the French theme frequently overpowering the Russian retreat.
- The Victory: Ultimately, the Russian forces prevail. The main themes return in a massive crescendo accompanied by live cannons (or large bass drums indoors) and cathedral bells, symbolizing the liberation of Moscow.
The Choral Elements
While the original composition was strictly orchestral, choral arrangements introduce majestic vocal lines to heighten the programmatic drama:
- Opening: The choir quietly introduces the somber Orthodox chant, setting a tone of spiritual reverence before the military conflict begins.
- Finale: The chorus triumphantly joins the orchestra, singing words of national pride, thanksgiving, and victory (often set to traditional liturgical and celebratory texts). Their voices soar over the brass fanfares, church bells, and cannon fire.
For further historical context on the piece's commission—originally intended for the consecration of the Cathedral of Christ the Savior in Moscow—read the Denver Philharmonic Orchestra Program Notes.
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Tommy Tycho (1928 - 2013)
Arranger of I Still Call Australia Home Recognised as Australia's most distinguished & versatile artist in the field of contemporary music, the name Tycho has earned an International reputation for excellence & is synonymous with high achievement in arranging, composing, conducting & performing. At the birth of television in 1956, Tommy joined Channel 7 where he soon became their first Musical Director. Network 7 needed a complete musician who could conduct an orchestra, compose, arrange, orchestrate, improvise and perform live - Tommy was the perfect choice. He was one of the first faces seen on Australian television. During his career Tommy toured as accompanist and musical director for every major local and international performer including Frank Sinatra, Jack Benny, Jerry Lewis, Roy Orbison, Peggy Lee, Sammy Davis Jr, Peter Allen, Anthony Warlow and Julie Anthony to name a few. Read more of his bio here |
Peter Allen AM
(1944–1992)
Peter Allen AM was one of Australia’s most joyful and much-loved entertainers. Born Peter Richard Woolnough in Tenterfield, New South Wales, he began performing as a child, playing piano and singing for audiences from the age of eleven. His early life took him from country New South Wales to the bright lights of Sydney, Asia, and eventually New York.
Peter became famous for his energy, humour, warm smile, and unforgettable stage presence. Wearing his trademark bright shirts, he filled theatres with music, movement, and laughter. As a songwriter, he created songs that have become part of Australia’s shared musical memory, including Tenterfield Saddler, I Go to Rio, and the beloved I Still Call Australia Home. He also co-wrote I Honestly Love You, made famous by Olivia Newton-John, and Arthur’s Theme, which won an Academy Award.
In 1990 Peter Allen was appointed a Member of the Order of Australia for his contribution to the performing arts. His music continues to speak to children, families, choirs, and communities because it is full of heart, courage, fun, and a deep love of home. For Celebration Sing Out! 2026, we celebrate Peter as a storyteller whose songs help us sing together with pride, hope, and joy.
(1944–1992)
Peter Allen AM was one of Australia’s most joyful and much-loved entertainers. Born Peter Richard Woolnough in Tenterfield, New South Wales, he began performing as a child, playing piano and singing for audiences from the age of eleven. His early life took him from country New South Wales to the bright lights of Sydney, Asia, and eventually New York.
Peter became famous for his energy, humour, warm smile, and unforgettable stage presence. Wearing his trademark bright shirts, he filled theatres with music, movement, and laughter. As a songwriter, he created songs that have become part of Australia’s shared musical memory, including Tenterfield Saddler, I Go to Rio, and the beloved I Still Call Australia Home. He also co-wrote I Honestly Love You, made famous by Olivia Newton-John, and Arthur’s Theme, which won an Academy Award.
In 1990 Peter Allen was appointed a Member of the Order of Australia for his contribution to the performing arts. His music continues to speak to children, families, choirs, and communities because it is full of heart, courage, fun, and a deep love of home. For Celebration Sing Out! 2026, we celebrate Peter as a storyteller whose songs help us sing together with pride, hope, and joy.
Boy From Oz
The Musical
“My songs are my biography”…Peter Allen
The Boy From Oz is the most successful Australian musical ever and the first to make it to Broadway. It is a musical biography/tribute to the late great Peter Allen.
In the US Peter enjoyed the highs of success by winning an Oscar, selling out performances in Radio City Music Hall, and receiving adulation when he returned to Australia. Peter Allen had an extraordinary life which producer Ben Gannon realized had the potential to become a magnificent musical and with Robert Fox they turned it into the smash hit it became.
ABOUT THE SHOW
The Boy From Oz is a class above all other ‘jukebox’ musical. The late Nick Enright. skillfully weaved his plot around the life and complexities of Peter Allen. The songs and lyrics sit easily with the rhythm of the piece and with the characters as they enter and re-enter his life, be they dead or alive. It leaps, as does Peter himself, from past to present and back to past all within the familiar context of one of his energy packed concerts.
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Sing along with the lyric sheet!
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Sing Along Finale: O Come, All Ye Faithful
Verses 1, 2, 6 & 7
Choirs, Orchestra, Pipe Organ and Audience.
Verses 1, 2, 6 & 7
Choirs, Orchestra, Pipe Organ and Audience.
TRADITIONAL CONCERT ENDING
This famous Christmas carol has been sung at the conclusion of all children's charity concerts and Celebration Sing Out! at Sydney Town Hall since 1939, due to these concerts being at the start of the Christmas season. This carol gives full voice to the mighty and culturally significant Sydney Town Hall pipe organ, accompanying the primary, high school and adult choirs, and the TOPS symphony orchestra. No other Christmas carol offers such musical and historic richness.
The carol can be sung by religious and non-religious alike, in the Australian tradition of sharing participation in each others faiths and cultures. It can be sung with just a syllable such as "ah" or "noo" for example, if preferred, rather than singing the words.
The music features rich four part harmonies, sung in full by the High School and Adult Choir, sometimes a descant (high and decorative part above the main choir), sometimes unison and always with both orchestral and the traditional grand pipe organ accompaniment. Primary singers and members of the audience are invited to sing along with the melody, while the choirs sings harmony.
The arrangement we will sing was composed in 1961 by Sir David Wilcox (1919–2015), who was a renowned British choral conductor, organist, and composer, best known as the Director of Music at King’s College, Cambridge (1957–1974).
The origins of this English Christmas carol go back 800 years. "O Come, All Ye Faithful", also known as "Adeste Fideles", is a Christmas carol that has been attributed to various authors. The earliest printed version is in a book published by John Wade in 1751.
The original four verses of the were extended to a total of eight, and these have been translated over the centuries from the original Latin into many languages. Some verses are omitted or changed words to suit the time of year when O Come All Ye Faithful is sung.
In 1841, an English Catholic priest translated the hymn into English as "O Come All Ye Faithful". This version has became commonly sung in English-speaking countries, and notably in ancient English churches, especially as the second last hymn sung at the "Festival of Nine Lessons and Carols" every Christmas, by the very famous Choir of King's College, Cambridge.
This famous Christmas carol has been sung at the conclusion of all children's charity concerts and Celebration Sing Out! at Sydney Town Hall since 1939, due to these concerts being at the start of the Christmas season. This carol gives full voice to the mighty and culturally significant Sydney Town Hall pipe organ, accompanying the primary, high school and adult choirs, and the TOPS symphony orchestra. No other Christmas carol offers such musical and historic richness.
The carol can be sung by religious and non-religious alike, in the Australian tradition of sharing participation in each others faiths and cultures. It can be sung with just a syllable such as "ah" or "noo" for example, if preferred, rather than singing the words.
The music features rich four part harmonies, sung in full by the High School and Adult Choir, sometimes a descant (high and decorative part above the main choir), sometimes unison and always with both orchestral and the traditional grand pipe organ accompaniment. Primary singers and members of the audience are invited to sing along with the melody, while the choirs sings harmony.
The arrangement we will sing was composed in 1961 by Sir David Wilcox (1919–2015), who was a renowned British choral conductor, organist, and composer, best known as the Director of Music at King’s College, Cambridge (1957–1974).
The origins of this English Christmas carol go back 800 years. "O Come, All Ye Faithful", also known as "Adeste Fideles", is a Christmas carol that has been attributed to various authors. The earliest printed version is in a book published by John Wade in 1751.
The original four verses of the were extended to a total of eight, and these have been translated over the centuries from the original Latin into many languages. Some verses are omitted or changed words to suit the time of year when O Come All Ye Faithful is sung.
In 1841, an English Catholic priest translated the hymn into English as "O Come All Ye Faithful". This version has became commonly sung in English-speaking countries, and notably in ancient English churches, especially as the second last hymn sung at the "Festival of Nine Lessons and Carols" every Christmas, by the very famous Choir of King's College, Cambridge.
