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Image by Marco Pieri
USA
Bang on a Can All-Stars
AUSTRALIAN EXCLUSIVE
Solo
WHEN
Wednesday 2 March
WHERE
State Theatre Centre
of WA Courtyard
This performance is 2 hours
including interval
Perth INTERNATIONAL Arts Festival
in association with
tura new music presents
Music for Airports
WHEN
Friday 4 March
WHERE
Bishops Garden, Perth
This performance is 1 hour and 20
minutes with no interval
Steve reich's 2x5
WHEN
Sunday 6 March
WHERE
Perth Concert Hall
This performance is 2 hours
including interval
Supported by
Tura Logo
Steve Reich's 2x5 is being recorded by ABC Classic FM for future broadcast.
11 February– 7 March
perthfestival.com.au

2
BANG ON A CAN ALL-STARS
Ashley Bathgate
Robert Black
Vicky Chow
David Cossin
Mark Stewart
Evan Ziporyn
Cello
Bass
Piano and Keyboards
Percussion
Electric Guitar
Clarinets
Founded in 1992 by Bang on a Can co-founders Michael
Gordon, David Lang and Julia Wolfe, Bang on a Can All-Stars
quickly forged a distinct identity and have come to be known
world-wide for their ultra-dynamic live performances and
recordings of today’s most innovative music.
A new generation of virtuosic and passionate performers was
needed to make this music come alive. These new players
needed new skills. They had to be able to cross musical
boundaries and be at home with many styles and technologies.
And they had to be amazing. Michael, David and Julie quickly
started assembling a core of such exciting, dedicated and
versatile players, and these performers started showing up
with regularity from festival to festival. Out of this core, in
1992, they assembled the Bang on a Can All-Stars.
The instrumentation itself shows the aesthetic intention for
which the All-Stars were designed. Clarinets, cello, keyboard,
electric guitar, bass, and drums – it is part rock band and part
amplified chamber group. Constructed specifically to blur
the lines between classical and pop ensembles, the line-up
was chosen to give voice to a huge range of music and styles,
and the players have the musical backgrounds and abilities
to match. Each player is completely at home with new music
but has lived somewhere else as well – collaborating with
Yo-Yo Ma, leading a gamelan, backing Mikhail Baryshnikov,
touring with Paul Simon and Bob Dylan. The players bring their
otherworldly experiences back to their life with the All-Stars,
and their mixing creates an intense, hard-rocking approach to
performance that no other group can match.
Like the Bang on a Can Festival, the All-Stars have a
powerful mission – to give the most persuasive and exciting
performances of the most genre-defying music in the
world. They go about their mission in a few different ways
– by performing and recording definitive versions of the
groundbreaking music of our day, by working closely with a
diverse assortment of musical masters from our and other
cultures, and by commissioning actively new works from both
the unknown and the famous, from all walks of musical life.
Together, the All-Stars have worked in unbelievably close
collaborations with some of the most important musicians of
our time, including Philip Glass, Steve Reich, Meredith Monk,
Brian Eno, Ornette Coleman, Sonic Youth’s Thurston Moore,
Don Byron, Burmese circle drum master Kyaw Kyaw Naing, Iva
Bittova, Nobukazu Takemura, Terry Riley, Glenn Branca, Cecil
Taylor, DJ Spooky and Louis Andriessen. The All-Stars have
formed lasting relationships with many of these musicians,
commissioning and performing their works, recording them
and touring them all over the world.
The All-Stars are one of the most active touring contemporary
ensembles, on the road for much of the year in such venues
as Carnegie Hall, the Venice Biennale, the Holland Festival,
The Next Wave Festival at the Brooklyn Academy of Music,
the Sydney Olympics, UCLA’s Royce Hall, London’s Barbican
Center, Lincoln Center’s Alice Tully Hall and Paris’s Theatre
De La Ville and appearing as regulars at numerous festivals
in Italy, Scandinavia and throughout Eastern Europe. They
are also active in the recording studio, with discs on awardwinning
discs on Cantaloupe and Nonesuch, and a certified
hit on Point, their live reconstruction of Brian Eno’s ambient
landmark Music for Airports.
The Bang on a Can All-Stars, with their unparalleled musicality,
their international touring, award-winning CDs and far-ranging
commissioning programs, have become one of the most
powerful ambassadors for contemporary music in the world.
For all their efforts, Musical America recognised the All-Stars
in 2004 as Ensemble of the Year. ‘One of the most visceral
performing groups around,’ the Independent raved.
In the 21st century, the All-Stars continue their
ambassadorship, bringing their brand of beauty to concert halls
across the world. ‘We roll into town with a fantastic program of
semi-popular music, and people come,’ explains guitarist Mark
Stewart. ‘They don’t know what it is, and they say afterwards,
‘What is this? Why don’t we hear this more? Who are you?
Where did you come from? Is there more music like this?’ It’s a
little bit like the Lone Ranger. ‘Who are you masked man?’ ‘Our
work here is done. We must move on.’’
http://bangonacan.org/
Image by Christine Southworth

3
Tom Johnson
Failing
A former music critic at Village Voice, Tom Johnson is a
conceptual composer with a provocative wit who highlights
odd aspects of the music world and uses them to make a
piece. ‘Failing was written in 1975 at a time when composers
were writing impossible music to play, so complex and
involved,’ says soloist Robert Black. ‘I feel Tom is making a
comment on that historical moment in new music, parodying
that whole impossible music to play.’
Image by Stephanie Berger
SOLO
The individual All-Stars show their stunning
virtuosity in a program of solo performances.
WHEN
Wednesday 2 March
This performance is 2 hours including an interval
WHERE
State Theatre Centre of WA Courtyard
Steve Reich (born 1936) Electric Counterpoint (1987)
Tom Johnson (born 1939) Failing (1975)
Andy Akiho (born 1979) Vick(i/y) (2008)
David Cossin (born 1972) A.C.T.
INTERVAL
David Lang (born 1957) Press Release (1991)
Michael Gordon (born 1956) Industry (1993)
Evan Ziporyn (born 1959) Be in (1991)
ROBERT BLACK
Andy Akiho
Vick(i/y)
Vick(i/y) is a solo prepared piano work that uses auditory and
structural palindromes throughout the work to symbolise the
subtle differences that lie beneath an assumed symmetrical
structure or state of being. The bell-like preparation notes
of diminishing pulses, which are continuously interrupted by
the conventional notes, represent a consistent, yet fading
image of a forgotten dream. My goal was to create a miniature
percussion ensemble with the piano by incorporating extended
instrument preparation and composition techniques inspired by
John Cage, George Crumb, Béla Bartók and Jacob Druckman.
The piece was written for and dedicated to Vick(i) Ray and
Vick(y) Chow, two amazing contemporary pianists who have
been a major musical inspiration for me over the past two
years. It was composed in October 2008 and premiered by
Chow on November 1 at The Stone in New York City. Ray gave
the West Coast premiere in 2009.
Note by Andy Akiho
David Cossin
A.C.T.
A.C.T. (Amplified Cardboard Tube) is as much as a piece as it
is an instrument. A.C.T. is a structured improvisation. Through
amplifying this found instrument using control feedback I can
create a singing drum. And I can accompany myself with a real
time looping sampler (Echoplex) that records instantaneously
what I play.
Note by David Cossin
David Lang
Press Release
I wrote Press Release in 1991 for Evan Ziporyn. When you
compose for one person, you can’t get all the colours that you’d
have with an ensemble or orchestra, so you have to imagine
some sort of interesting problem. I wanted to do something
that was really rhythmic. The original idea behind this piece
BANG ON A CAN FOUNDERS
Steve Reich
Electric Counterpoint
Electric Counterpoint was originally composed for guitarist
Pat Metheny as the third in a series of pieces (first Vermont
Counterpoint for flute followed by New York Counterpoint
for clarinet) all dealing with a soloist playing against a prerecorded
tape of themselves. In Electric Counterpoint the
soloist pre-records as many as ten guitars and two electric
bass parts and then plays the final 11th guitar part live against
the tape. I would like to thank Pat Metheny for showing me
how to improve the piece in terms of making it more idiomatic
for the guitar.
Note by Steve Reich
Image by Peter Serling
DAVID LANG
MICHAEL GORDON
JULIA WOLFE

4
was that of a high melody alternating with a low bass line, so
that you get a high pop and a low pop switching back and forth
as fast as possible, and these two worlds coexist. I wanted the
upper melody to be recognisable and the bottom bass line to
be recognisable, to be a real bass line, a driving funk thing. In
classical music, the bass is only there to support the melody,
which is where the action is. But the bass line is the place where
funk music really shines. Who has the best bass lines in the
business? I am a big James Brown fan, and, I thought, if you want
a bass line, you got to go to James. So I made the key changes
sound like James Brown. Because of the way the bass clarinet
works, I thought you’d have to press the keys down to make all
the low notes, and you’d release the keys to make the high notes
... Press Release. I was really proud of myself because I thought
I had made this funny joke, and then of course Evan said, ‘You
know, a lot of those high notes you play with all your fingers
down, and a lot of those low notes you play with all your fingers
up.’ But I didn’t think it was worth it to change the title.
Michael Gordon
Industry
When I wrote Industry in 1993, I was thinking about the
Industrial Revolution, technology, how instruments are tools
and how industry has crept up on us and is all of a sudden
overwhelming. I had this vision of a 100-foot cello made out of
steel suspended from the sky, a cello the size of a football field,
and, in the piece, the cello becomes a hugely distorted sound.
VICKY CHOW
I wrote this piece for Maya Beyser, a previous member of
the All-Stars, and it was an incredible process. I would fax
her the music and she’d play it to me over the phone. We did
this maybe ten times, trying things out. She was constantly
teaching me about the cello, and I was making her play things
that were really awkward and dark.
Note by Michael Gordon
Evan Ziporyn
Be in
My earliest goal in life – formulated during a 1968 trip to San
Francisco with my parents – was to be a hippie. My family drove
our Ford Country Squire from Chicago; we went to Haight-
Ashbury to gawk, and I was hooked. At age 13 I spent a week
at my aunt’s Ann Arbor commune and my aspirations were
confirmed. Only later was this replaced by the marginally more
respectable goal of writing music. The two remain intertwined:
anything I’ve done that was musically worthwhile was made
possible by the 60s. Everyone who was anyone was reaching
out to non-western music – not just Stockhausen and The
Beatles, but also BJ Thomas and the Partridge Family – all
‘went raga’ at some point or another. Much of my work is built
around the anomalies and contradictions of cross-cultural
exchange, but in this piece there are no such problems:
gestures from a variety of genres are combined as if all that
were needed to make them get along were good will and
positive energy. Would that it were so ...
ASHLEY BATHGATE
The original version of Be in was written very quickly, for
a group called ‘Evan and the All-stars’, which gave a single
performance in Hartford, in 1991. I had only recently gotten
my first computer – a MacPlus with a 20MB external hard
drive – and this was one of the first pieces I didn’t notate by
hand. Surprise surprise, the system crashed, I lost everything,
so what you will hear is only a memory of the piece I originally
wrote. It has had several other incarnations, re-orchestrated for
the Michael Gordon Philharmonic, for a baroque-folk consort,
for string orchestra, and for clarinet choir. This new version, for
another set of All-Stars, brings it all back home. The C-drone
that starts the piece is homage to Terry Riley and to the late
violist John Lad, who played it dozens of time, and who was
himself a participant in the original ‘be-in’ in San Francisco on
January 14, 1967, the official start of the Age of Aquarius.
Note by Evan Ziporyn
EVAN ZIPORYN

5
Perth International Arts Festival in Association with
Tura New Music Presents
MUSIC FOR AIRPORTS
Brian Eno’s 1978 seminal concept album
WHEN
Friday 4 March
This performance is 1 hour and 20 minutes with no interval
WHERE
Bishops Garden, Perth
Brian Eno (born 1948)
Music for Airports (1978)
Burning Airlines Gives You So Much More (1974)
Everything Merges into Night
Special Guests
Anita Furhmann, Katie How, Molly Johnson, Brianna Louewen,
Courtney Pitman, Rachel Scott, Philippa Tan, Shamara
De Tissera from St George's Cathedral Consort Choir
Michael Howell and Christie Sullivan (flute), Philip Everall
(bass clarinet), Paul Wright (violin), Noeleen Wright and Jon
Tooby (cello), Callum G'Froerer and Jenny Coleman (trumpet),
Tilman Robinson and Bruce Thompson (trombone)
Brian Eno Music for Airports
When we first heard Music for Airports in the late 70s/early
80s it was like a door cracking open. This record-long piece
was mesmerising, dreamy, intense and meant to be played in
or thought of as fitting into a specific environment. It was a
redefinition of how we relate to music in our everyday lives.
Brian Eno was exploring the question of where music could
go. Could its home lie somewhere outside of the muzak of
elevators and dentists’ offices and outside of the concert hall
as well? Could it exist somewhere in between?
Eno was essentially defining Ambient music. Twenty years ago
there were no Ambient departments in record stores. There
were no New Age or techno sections, no chill rooms. Music for
Airports kicked off a whole web of musics that hadn’t existed
previously. But the unique factor about Eno’s work was that
although it could and can exist in the background of everyday
life it is music that carries potency and integrity that goes far
beyond the incidental. It's music that is carefully, beautifully,
brilliantly constructed and its compositional techniques rival
the most intricate of symphonies.
What Eno didn’t imagine was that his piece would be realised
with live musicians. In his analog studio, methodically stringing
out bits of tape and looping them over themselves, he hadn’t
anticipated that a new generation of musicians would take his
music out of the studio and perform it on live instruments in a
public forum. At Bang on a Can, we have always searched for
the redefinition of music, exploring the boundaries outside of
what is expected. This project represents a further step in this
exploration. After 20 years, where does this landmark piece fit
into our ever expanding definition? The effect has only begun.
The Music for Airports revolution is just beginning to unfold.
The live realisation of Music for Airports stays close to the
source. We have had the great pleasure of sharing the project
plans with Brian Eno along the way. We are indebted to him
for giving us the experience of getting inside and out of this
monumental work.
Note by Michael Gordon, David Lang, Julia Wolfe, 1998
Brian Eno
Brian Eno is one of the most pivotal artists in modern music.
As a musician, producer and collaborator he has worked
closely with U2, David Bowie, Peter Gabriel, David Byrne and
many others. As a solo artist he has created some of the most
influential music of our age, most notably as the driving force
behind ambient music.
His early schooling was in visual art, where he steeped himself
in the avant garde and gradually began to explore music as
an ever-changing form of contemporary art. In 1971 he was
co-founder of Roxy Music, syncing atmospheric tonality and
early electronic experimentation with the band’s rock/pop
sensibilities. The collaboration lasted for two albums before
Eno branched out into more surreal electronic realms in solo
albums Here Come the Warm Jets and Taking Tiger Mountain
(by Strategy). Through the early and mid-1970s he moved into
more minimalist territory, eventually creating what he termed
‘ambient’ – low-volume music intended to modify the listener’s
perception of his or her environment, including the conscious
experience of time.
The first real product of Eno’s idea was 1975’s Discreet Music,
which evolved after he spent weeks in a body cast recovering
from a car accident. Forced to listen to hospital music –
often 18th century harp music played at a low volume – he
pondered the effect of music on the environment, as well as
active and passive listening. With ambient, instead of imposing
an idea through a composition, he sought to remove the
human element, creating a space for stillness and emotional
detachment, while allowing the mind to wander in and out of
awareness. Discreet Music led to his Ambient Series: Music for
Airports (Ambient 1); The Plateaux of Mirror (Ambient 2); Day
of Radiance (Ambient 3); and On Land (Ambient 4).
According to Eno, Music for Airports was conceived while
waiting to board his plane on a Sunday morning in Cologne,
Germany. The light was perfect, millions had been spent on the
architecture of the terminal and yet the music was horrible. No
one had considered the impact of sound on the environment.
He went away thinking of music in the public space and
about the rituals of flight, which attended to practical but not
emotional needs. He conceived of a soundscape that would:
last for an extended period of time; wouldn’t interfere with
human communication (necessitating the use of tones higher
or lower than human voices); and would be undiminished by
interruptions such as flight announcements. Not wishing to
trivialise the act of being 40,000 feet above the Earth in a
machine, he also hoped to create music that would calm the
individual and give a sense of being suspended in the universe
– part of a larger existence where one might feel his or her life
or death was not profoundly important.
Over the past several decades, Brian Eno has worn many hats.
He has produced numerous albums, scored films and a video
game, presented the Turner Prize and has recently become
an advocate of architects considering the need for areas of
personal refuge in public spaces – echoing the principles found
in ambient works such as Music For Airports.

6
STEVE REICH'S 2x5
The All-Stars let loose on six phenomenal
pieces in a night of high adrenaline, ferocious
rhythms and razor-sharp playing.
WHEN
Sunday 6 March
This performance is 2 hours including an interval
WHERE
Perth Concert Hall
David Lang (born 1957) Cheating, Lying, Stealing (1993)
Julia Wolfe (born 1958) Believing (1997)*
Steve Reich (born 1936) 2x5 (2009)*
with special guest Derek Johnson
INTERVAL
Michael Gordon (born 1956) For Madeline (2009)*
Thurston Moore (born 1958) Stroking Piece #1 (2003)*
Steve Martland Horses of Instruction (1995)
with special guest Paul Tanner
*Australian Premiere
David Lang
Cheating, Lying, Stealing
A couple of years ago, I started thinking about how so often
when classical composers write a piece of music, they are
trying to tell you something that they are proud of and like
about themselves – here’s this big gushing melody, see how
emotional I am. Or, here’s this abstract hard-to-figure-out
piece, see how complicated I am, see my really big brain. I am
more noble, more sensitive, I am so happy. The composer
really believes he or she is exemplary in this or that area. It’s
interesting, but it’s not very humble. So I thought, What would
it be like if composers based pieces on what they thought
was wrong with them? Like, here’s a piece that shows you
how miserable I am. Or, here’s a piece that shows you what a
liar I am, what a cheater I am. I wanted to make a piece that
was about something disreputable. It’s a hard line to cross.
You have to work against all your training. You are not taught
to find the dirty seams in music. You are not taught to be
low-down, clumsy, sly and underhanded. In Cheating, Lying,
Stealing, although phrased in a comic way, I am trying to look
at something dark. There is a swagger, but it is not trustworthy.
In fact, the instruction on the score for how to play it says:
Ominous funk.
Note by David Lang
Julia Wolfe
Believing
The title for Believing came to me after the music had been
written. During the time I was working on the piece I had been
listening to a song by John Lennon called ‘Tomorrow Never
Knows’. It’s a fantastic song – very psychedelic – written at a
time when the Beatles were exploring spiritual questions. You
can hear it in the music, and in the words. There’s a line, ‘It is
believing’ that comes back again and again. Believing is such
a powerful word – full of optimism and struggle. It’s hard to
believe and it’s liberating to believe. The music is very much
written for the Bang on a Can All-Stars. It is my second piece
Image by Jeff Herman
STEVE REICH
for the group and I feel that I have really gotten inside their
sound. Believing was commissioned by NPS Dutch Radio for
the Bang on a Can All-Stars. I am very grateful for their support
for this work.
Note by Julia Wolfe
Steve Reich
2x5
My first thought was that with two electric basses I could write
interlocking bass lines that would be clearly heard. This would
not be possible on acoustical basses played pizzicato. I then
began to think about two pianos and two electric basses being
the motor for a piece that would use electric guitars and small
drum kit as well. The classic rock combination of two electric
guitars, electric bass, drums and piano seemed perfect – so
long as it was a doubled quintet resulting in two basses, two
pianos, two drums and four electric guitars. This made possible
interlocking canons of identical instruments. The piece can be
played either with five live musicians and five pre-recorded or
with ten musicians.
2x5 is clearly not rock and roll. Like any other composition, it's
completely notated while rock is generally not. 2x5 is chamber
music for rock instruments.
We're living at a time when the worlds of concert music and
popular music have resumed their normal dialogue after a
brief pause during the 12 tone/serial period. This dialogue has
been active, I would assume, since people have been making
music. We know from notation that it was active throughout
the Renaissance with the folk song L'homme Armè used in
masses by composers from Dufay to Palestrina. During the
Baroque period dance forms were used by composers from
Froberger and Lully to Bach and Handel. Later we have a folk
songs in Haydn's 104th, Beethoven's 6th, Russian folk songs in
Stravinsky's early ballets, Serbo Croatian folk music throughout
Bartok, hymns in Ives, folk songs and jazz in Copland, the
entire works of Weill, Gershwin and Sondheim and on into my
own generation and beyond. Electric guitars, electric basses
and drum kits, along with samplers, synthesisers and other
electronic sound processing devices are now part of notated
concert music. The dialogue continues.
Note by Steven Reich
Michael Gordon
For Madeline
I spent most of 2009 going in and out of synagogues to say
Kaddish, the Jewish prayer of mourning, for Madeline. Of
course she wouldn’t have approved. She was a communist.
Madeline lived in a different world, a world of transplanted
Yiddish secular culture. I realised all of this only much later.
There’s plenty of time to think about these things in synagogue
because there are numerous prayers and who can concentrate

7
on so many of them? Madeline loved music and she would take
me to concerts when I was little. I would fall asleep but that
didn’t deter her. She wanted me to love music as much
as she did but she certainly did not want me to be a composer.
Madeline, are you listening? I dedicate this piece to
your memory.
Note by Michael Gordon
Thurston Moore
Stroking Piece #1
Stroking Piece #1 was written as a fairly typical example
of a mid-period Sonic Youth-centric guitar instrumental:
an episode of dynamic build with resultant tone-shards
culminating in a noise improvisation/meditation released
into repetition as thought-stroke release. Stroking Piece #1
was commissioned for the Bang on a Can All-Stars with the
generous contributions from the members of the Bang on a
Can People’s Commissioning Fund.
inherited. The struggle to achieve this task mirrors the struggle
people live with, particularly in a political sphere. In a recent
article, Steve reveals his commitment to this cause: ‘The late
20th century is racked with doubts, skeptical of certainties,
scornful of ready-made panaceas, unsure about the future.
This fear of the future has created a culture of nostalgia. The
past is seen as an infinitely more comforting place where
problems can be ignored. In the face of this huge regression,
both of political will and poverty of imagination, music has a
function as never before – not to reflect reality (all art does
that anyway) but to confront it: music as a weapon against
despair. This is the challenge that faces the contemporary
composer... Music should be a protest for human values, a
prophecy for change. In an apocalyptic world, it gives the
possibility, however remote, of affirmation.’
Note by David Lang
Steve Martland
Horses of Instruction
Steve Martland’s compositions contain a driving vernacular
sense of being music of our time, of the street, of pop culture,
yet they are organised with a tremendous amount of clarity.
Essential to his work is the conviction that his pieces are being
dropped into a struggle and they have the power to influence
that struggle, that music exists in a political world. Classical
music is all about authority and respecting what you have
learned in the past. Like his teacher, Louis Andriessen, Steve is
a revolutionary. His music is not about beautiful orchestration
or beautiful notes, but about musicians working together with
a common difficult task, challenging the musical ideas we have
Image by Peter Serling
MARK STUART
DAVID COSSIN
AEG OGDEN (PERTH) PTY LTD
STATE THEATRE CENTRE OF WESTERN AUSTRALIA
General Manager .............................................................................................................................. Brendon Ellmer
Deputy General Manager .................................................................................................. Alice Jorgensen
Technical Manager ................................................................................................................................ Graham Piper
Operations Manager ......................................................................................................................... Lorraine Rice
State Theatre Centre of Western Australia is managed
by AEG Ogden (Perth) Pty Ltd Venue Manager for the
Perth Theatre Trust Venues
AEG OGDEN (PERTH) PTY LTD
PERTH CONCERT HALL
General Manager ......................................................................................................................................... Andrew Bolt
Deputy General Manager (Acting) ..................................... Miranda Lancaster-Allen
Technical Manager .................................................................................................................................. Peter Robins
Event Coordinator ......................................................................................................................... Penelope Briffa
Perth Concert Hall is managed by AEG Ogden
(Perth) Pty Ltd, Venue Manager for the
Perth Theatre Trust Venues
AEG OGDEN (PERTH) PTY LTD
Chief Executive ............................................................................................................................ Rodney M Phillips
Hawaiian is a passionate supporter of
the Arts in our community and proud
to host Bang on a Can All-Stars for the
2011Perth Festival
THE PERTH THEATRE TRUST
Chairman ................................................................................................................................................... Dr Saliba Sassine
www.hawaiian.com.au

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Graham Forward and Jacqui Gilmour
Terry Grose and Rosemary Sayer
Mack and Evelyn Hall
Sue and Peter Harley
Kerry Harmanis
Dale Harper and Derek Gascoine
Richard and Nina Harris
Maxine Howell-Price
Adam Lenegan
Peter and Lynne Leonhardt
Murray and Suzanne McGill
Ian and Jayne Middlemas
Michael Murphy and Craig Merrey
Helen and John Owenell
Mimi and Willy Packer
Richard Payne and Cim Sears
Philip Griffiths Architects
Pearl Proud
Bill Repard and Jane Prendiville
Sam and Dee Rogers
Peter Smith and Alexandrea Thompson
Gary and Jackie Steinepreis
Craig Suttar
Dr Phillip and Jill Swarbrick
Sue Thomas
Thompson Estate Vineyard
Joe and Debbie Throsby
Tim and Chris Ungar
Ian and Margaret Wallace
Kieran Wong
Michael and Edit Wood
Melvin Yeo
Anonymous (3)
tHe festival WisHes to tHanK
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