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ALSO on signumclassics

Mother and Child SIGCD501 Rachmaninoff Vespers SIGCD054 Path of Miracles SIGCD078 A distinctive and distinguished A live recording of the stirring account Commissioned from Joby Talbot, Path collection of works by a number of by Tenebrae of Rachmaninoff’s All- of Miracles is an ambitious and far living composers, including five world Night Vigil – first performed in 1915, reaching choral cycle, telling the story première recordings. The centre-piece this is a politically and spiritually of the pilgrimage to Santiago de of the disc is a new commission for influenced work of rare beauty. Compostela. Taking in vocal traditions Tenebrae from the world acclaimed from around the world, and combining composer Sir John Tavener (Mother “Tenebrae sing with the precision and medieval sources with contemporary and Child). Other composers are: finely produced tone that one has poetry, the listener is taken on a sonic Dove, Pott, Swayne, L’Estrange, come to expect from them. Their journey of unparalleled richness, Filsell and Rodney Bennett. singing is splendidly controlled, guided by the voices of Tenebrae, whether in soft passages or in the directed by Nigel Short. fervent climaxes.”Musicweb www.signumrecords.com www.tenebrae-choir.com

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 085Booklet3 28/9/06 16:52 Page 3

Allegri Miserere Tenebrae: Allegri Miserere

1. John Tavener (b. 1944) [6.11] Song for Athene The fusion of a line from Shakespeare’s Hamlet Alleluia. 2. John Ireland (1879-1962) [4.05] with Eastern Orthodox chant in the opening May flights of angels sing thee to thy rest. Ex ore innocentium moments of John Tavener’s Song for Athene sets Alleluia. 3. John Tavener [3.51] the tone for a divergent and diverting aggregate of Remember me, O Lord, when you come The Lamb creeds, songs, and prayers performed by Tenebrae into your kingdom. 4. Sergei Rachmaninov (1873-1943) [4.39] Hymn to the Cherubim under the direction of Nigel Short. Songs of Alleluia. 5. Count Alexander Sheremetiev (1859-1931) [3.42] innocence and experience, war, remembrance and Give rest, O Lord, to your handmaid Now ye heavenly powers hope mingle with Orthodox hymns, Roman who has fallen asleep. 6. Benjamin Britten (1913-1976) [10.59] Catholic motets and Anglican anthems. From the Alleluia. Hymn to St Cecilia secretive Vatican of the Seventeenth Century to The Choir of Saints have found the 7. Pawel Lukaszewski (b. 1968) [3.57] present-day Poland, by way of the American Civil well-spring of life and door of paradise. Ave Maria War, there are plenty of crosscurrents, Alleluia. 8. Antonio Lotti (1667-1740) [3.39] 8-part Crucifixus concurrences and reflections with which to Life: a shadow and a dream. conjure in this programme. Alleluia. 9. Gregorio Allegri (1582-1652) [11.59] Miserere Weeping at the grave creates the song: 10. Zoltán Kodály (1882-1967) [3.08] 1. John Tavener (born 1944) composed Song for Alleluia. Esti Dal Athene in 1993 to commemorate the tragic death Alleluia. 11. Trad. arr. Nigel Short [4.34] of actress Athene Hariades. The opening ‘Alleluia’ Come, enjoy rewards and crowns The Dying Soldier reflects Tavener’s devotion to the Eastern Orthodox I have prepared for you. 12. Gustav Holst (1874-1934) [4.53] faith and his fascination with its musical Psalm 148, Lord who has made us for Thine own traditions while the quotation from the final scene Baritone solo: Andrew Rupp 13. William Henry Harris (1883-1973) [5.23] Faire is the Heaven of Hamlet, ‘flights of angels sing thee to thy rest’, Total time [71.03] brings Hariades’ profession to the foreground. 2. From untimely death to young life and the The combined effect is of extreme simplicity and distinctly English strains of John Ireland’s Ex ore TENEBRAE emotional purity. The work now serves as a duplex innocentium - ‘from the mouths of the innocent’. DIRECTED BY NIGEL SHORT memorial having been performed as the Despite sympathies for pagan mysticism, recessional Hymn at the funeral of Diana, Princess socialism and humanism, Ireland (1879-1962) www.signumrecords.com www.tenebrae-choir.com of Wales in 1997. - 3 - 085Booklet3 28/9/06 16:52 Page 5

never flinched from his devotion to English church And I will love thee more and more, Little Lamb, I’ll tell thee, Holy, Holy, Holy, music. The text of this little Passiontide motet (by Until I see thee as thou art. Little Lamb, I’ll tell thee. Ever blessed Lord God Almighty: Bishop W.W. How) reflects on Christ’s suffering He is called by thy name, Holy, Holy, Holy, through the eyes of a single innocent - how Jesus Poem by Bishop W.W. How For He calls Himself a Lamb. God in three persons, blessed, blessed Trinity Christ chose a ‘poor and humble lot’ and died ‘to He is meek, and He is mild; Saints and Martyrs bless and praise Thee, save a child like me’. The pathos of the music is 3. Tavener’s carol, The Lamb was written for the He became a little child. Hearts and voices swell one hymn heightened at the child’s imagining of the composer’s young nephew in 1982. The poem, by I a child, and thou a lamb, Holy, Holy, Holy crucifixion, the simple song breaking into two William Blake, begins by asking questions of the We are called by His name. Lord, Heaven and earth are full of Thy great glory, emotionally heightened streams before re-grouping lamb (‘Little lamb, who made thee?’) before Little Lamb, God bless thee! Holy blessed Trinity for a reposeful close. answering them in the second stanza. Blake Amen entwines the gentleness of creation with the idea Poem by William Blake Glory be to Thee, Glory to Thee in the highest, It is a thing most wonderful, of God coming into the world as both innocent St John Chrysostom Hosannah, Hosannah, Hosannah Almost too wonderful to be, child and meek, sacrificial lamb. These complex 4. Rachmaninov’s setting of the Divine Liturgy of In the highest to Father and Son and Holy Spirit That God’s own Son should come from heaven, and competing images are softened by Tavener’s remains, for many, the most Glory to Thee in the highest, in the highest, And die to save a child like me. treatment of the text - by turns haunting, musically satisfying setting of this particular Cherubim and Seraphim And yet I know that it is true: enchanting and mesmerising. Russian Orthodox service. Although Rachmaninov Angels and Archangels praise and worship He chose a poor and humble lot, (1873-1943) never stipulated whether it was Thee singing And wept, and toiled and mourned and died, Little Lamb, who made thee? intended for performance in church or concert Alleluia. For love of those who loved him not. Dost thou know who made thee? hall, it works well in both contexts due to its I sometimes think about the Cross, Gave thee life, and bid thee feed, formal clarity and the spiritual splendour of the 5. Count Alexander Sheremetiev (1859-1931) And shut my eyes, By the stream and o’er the mead; choral writing. The Hymn to the Cherubim calls was a Russian nobleman and philanthropist who, And try to see the cruel nails and crown of thorns, Gave thee clothing of delight, for us to lay aside the cares of this life and receive following the lead of his father, founded his own And Jesus crucified for me. Softest clothing, woolly, bright; the ‘King of All’. The sublime, undulating opening orchestra and choir in order to further the cause of But even could I see him die, Gave thee such a tender voice, soon gives way to hushed tones before building music in Russia. His vast inherited wealth gave I should but see a little part Making all the vales rejoice? into a grand climax, glorifying the Holy Trinity. The him access to the finest musicians around and Of that great love, which, like a fire, Little Lamb, who made thee? hymn ends gently, like Tavener’s Hymn to Athene, enabled him to mount concerts at prices low Is always burning in his heart. Dost thou know who made thee? with long-spun Alleluias. enough for the general public to afford. His few And yet I want to love thee, Lord; surviving compositions include a setting of Now O light the flame within my heart, ye heavenly powers from the Liturgy of the

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Pre-sanctified Gifts. Calling the Orthodox faithful I Whom I belong to, So small beside their large confusing words, to communion, this quietly powerful piece bids In a garden shady this holy lady Whom I could wrong. So gay against the greater silences them to partake in everlasting life. With reverent cadence and subtle psalm, I am defeat Of dreadful things you did: O hang the head, Like a black swan as death came on When it knows it Impetuous child with the tremendous brain, Now ye Powers of Heaven do serve invisibly with us; Poured forth her song in perfect calm: Can now do nothing O weep, child, weep, O weep away the stain, Lo, the King of Glory enters. And by ocean’s margin this innocent virgin By suffering. Lost innocence who wished your lover dead, Lo, the mystical sacrifice is upborne, fulfilled. Constructed an organ to enlarge her prayer, All you lived through, Weep for the lives your wishes never led. Let us draw near in faith and love And notes tremendous from her great engine Dancing because you O dear white children casual as birds, And become communicants of life eternal. Thundered out on the Roman air. No longer need it Playing so small, so gay. Alleluia, alleluia, alleluia. Blonde Aphrodite rose up excited, For any deed. O cry created as the bow of sin Moved to delight by the melody, I shall never be Is drawn across our trembling violin. Arranged and edited by Vladimir Morosan White as an orchid she rode quite naked Different. Love me. O weep, child, weep, O weep away the stain. In an oyster shell on top of the sea; Blessed Cecilia, appear in visions O law drummed out by hearts against the still 6. In complete contrast to the lush, low, close At sounds so entrancing the angels dancing To all musicians, appear and inspire: Long winter of our intellectual will. harmonies of the Orthodox tradition, Benjamin Came out of their trance into time again, Translated Daughter, come down and startle That what has been may never be again. Britten’s Hymn to St. Cecilia is full of light, space And around the wicked in Hell’s abysses Composing mortals with immortal fire. O flute that throbs with the thanksgiving breath and grace - fitting qualities to celebrate the The huge flame flickered and eased their pain. Of convalescents on the shores of death. patron saint of music on whose feast day the Blessed Cecilia, appear in visions III O bless the freedom that you never chose. composer was born. Completed on his voyage To all musicians, appear and inspire: O ear whose creatures cannot wish to fall, O trumpets that unguarded children blow home from the United States in 1942, the hymn Translated Daughter, come down and startle O calm of spaces unafraid of weight, About the fortress of their inner foe. was his final collaboration with poet W. H. Auden. Composing mortals with immortal fire. Where Sorrow is herself, forgetting all O wear your tribulation like a rose. The piece consists of three poems, dedicated to The gaucheness of her adolescent state, Blessed Cecilia, appear in visions Britten and follows the English tradition of II Where Hope within the altogether strange To all musicians, appear and inspire: celebratory odes by invoking the muse, in this I cannot grow; From every outworn image is released, Translated Daughter, come down and startle case to ‘appear in visions / To all musicians’, and I have no shadow And Dread born whole and normal like a beast Composing mortals with immortal fire. by describing instruments with vocal soloists in To run away from, Into a world of truths that never change: the final section. I only play. Restore our fallen day; O re-arrange. Soprano 1 - Grace Davidson I cannot err; O dear white children casual as birds, Soprano 2 - Natalie Clifton-Griffith There is no creature Playing among the ruined languages, Alto - Anna Stephany

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Tenor - Chris Watson services and even found the time to teach many of might ensue if certain works were removed or For I acknowledge my iniquity: and my sin is Bass - Simon Grant the next generation’s most talented Italian copied by choir members or visitors. Death was an always before me. composers. As the senior choirmaster at the unlikely vengeance from the Vatican, but even the Words by W. H. Auden prestigious Basilica of St Mark in Venice, he threat of excommunication didn’t deter the 14 5. Choir I: Tibi soli peccavi et malum coram te produced a great deal of high-quality sacred year-old Mozart, who copied the Miserere after a feci: ut justificeris in sermonibus tuis, et vincas 7. In the Western Christian tradition there is no music. His 8-part Crucifixus is a wonder of single hearing in 1770. At its heart, the piece is a cum judicaris. shortage of settings of the Angelic Salutation or polyphonic writing, depicting the pain of the relatively straightforward treatment of the Against you only have I sinned and done evil in Ave Maria, with the versions by Bach-Gounod and crucifixion through striking harmonies, with one plainchant, but the music is transformed by a your sight: that you Schubert leading the field in terms of popularity. part after another piercing the dense texture, second, ornamented choir part, which rises, sentence, and fairmay in your be justifiedjudgement. in your Undaunted, one of Poland’s younger generation of rising to the foreground and falling back again, as thrillingly, to a top C, an uncommon feature for composers, Pawel Lukaszewski (born 1968) has if in pain and exhaustion. this period. 6. Cantor: Ecce enim in iniquitatibus conceptis sum produced an affecting and genuinely devotional sum: et in peccatis concepit me mater mea. setting of the Marian prayer. Like his older Crucifixus etiam pro nobis 1. Choir I: Miserere mei, Deus: secundum magnam For behold, I was conceived in sin: and in sin compatriot, Penderecki, Lukaszewski composes in sub Pontio Pilato passus et sepultus est. misericordiam tuam. my mother conceived me. a largely tonal style shot through with unexpected He was crucified also for us Have mercy on me, God: according to your but appropriate effects. His style marks him out Under Pontius Pilate. great mercy. 7. Choir II: Ecce enim veritatem in corde dilexisti: as both a thoroughly modern composer of sacred He suffered and was buried. incerta et occulta sapientiae tuae music and a worthy inheritor of an ancient 2. Cantor: Et secundum multitudinem manifestasti mihi. tradition. Published by Dr J.A. Bank miserationem tuarum: dele iniquitate meam. For behold, you have loved truth: and you have © Anne Bank And according to the multitude of your tender shown me your hidden wisdom. Ave Maria mercies blot out my iniquity. Amen. 9. Even earlier within the same tradition, 8. Cantor: Asperges me hyssopo, et mundabor: Gregorio Allegri (1582-1652) is famed for a single 3. Choir II: Amplius lava me ab iniquitate mea: et lavabis me, et super nivem dealbabor. 8. One of Lukaszewski’s many distinguished piece of church music, the Miserere - a setting of a peccato meo munda me. You shall sprinkle me with hyssop, and I shall be forebears in the Roman Catholic tradition, Antonio Psalm 51, composed for the Papal Choir and Wash me from my iniquity: and cleanse me of clean: you will wash me, and I shall be whiter Lotti (1667-1740) was a Venetian composer much traditionally performed exclusively at the Vatican my sin. than snow. celebrated in his day. He attracted the finest during Holy Week. Legends abound surrounding singers to participate in his operatic ventures, the secrecy enveloping the choir’s repertoire, its 4. Cantor: Quoniam iniquitatem meam ego 9. Choir I: Auditui meo dabis gaudium et was able to command huge salaries for his skill in improvising ornamentation and how death cognosco: et peccatum meum contra me laetitiam: et exsultabant ossa humiliata. est semper. - 8 - - 9 - 085Booklet3 28/9/06 16:52 Page 11

You will make me hear of joy and gladness: 15. Choir II: Libera me de sanguinibus, Deus, 20. Choir I: Tunc acceptabis sacrificium justitiae, security and rest is reflected in the music with and the bones you have crushed shall rejoice. Deus salutis meae: et exultabit lingua mea oblationes, et holocausta: tunc imponent super extraordinary sensitivity. justitiam tuam. altare tuum vitulos. 10. Cantor: Averte faciem tuam a peccatis meis: Deliver me from blood guilt, God, the God of Then you will accept the sacrifice of justice, Erdo mellett estvéledtem, et omnes iniquitates meas dele. my salvation: and my tongue shall extol oblations and burnt offerings: then shall they Subám fejem alá tettem, Turn away your face from my sins: and blot out your justice. lay calves upon your altars. Öszszetettem két kezemet, all my iniquities. Ugy kértem jó Istenemet: 16. Cantor: Domine, labia mea aperies: et os meum Quartet: En Istenem, adjál szállást, 11. Choir II: Cor mundum crea in me, Deus: et annuntiabit laudem tuam. Soprano 1 (top) - Grace Davidson Már meguntam a járkáläst, spiritum rectum innova in visceribus meis. You will open my lips, Lord: and my mouth Soprano 2 - Julia Doyle A járkálást, a bujdosást, Create in me a clean heart, God: and renew a shall declare your praise. Alto - Ben Turner Az idegen földön lakást. right spirit within me. Bass - Matthew Brook Adjon Isten jó ejszakát, 17. Choir I: Quoniam si voluisses sacrificium, Küld je hozzám szent angyalát, 12. Cantor: Ne proicias me a facie tua: et spiritum dedissem utique: holocaustis non delectaberis. Edited by George Guest Bátoritsa szivünk álmát, sanctum tuum ne auferas a me. For you do not desire sacrifice, else I would Adjon Isten jó ejszakát. Cast me not from your presence: and take not give it to you: you delight not in a burnt offerings. 10. Zoltán Kodály (1882-1967) set a good few your holy spirit from me. religious texts in his time, but his prime concerns Evening darkness overtook me near the woods; 18. Cantor: Sacrificium Deo spiritus contribulatus: were Hungarian music, ethnomusicology and I have put my coat under my head, 13. Choir I: Redde mihi laetitiam salutaris tui: et cor contritum, et humiliatum, Deus, non despicies. education. He was an indefatigable collector I have put my hands together spiritu principali confirma me. The sacrifice of God is an afflicted spirit: a of folksong, the melodies, rhythms and harmonies To pray to the Lord, like this: Restore to me the joy of your salvation: and contrite and humbled heart, O God, you will of his country’s musical inheritance informing all Oh, my Lord, give me a place to sleep, strengthen not despise. of his compositions. His arrangement of the I am weary with wandering, me with your spirit. Northern Hungarian song, Esti Dal, has achieved With walking around and hiding, 14. Cantor: Docebo iniquos vias tuas: et impii ad 19. Choir II: Benigne fac, Domine, in bona voluntate extraordinary popularity through translation into With living on foreign land. te convertentur. tua Sion: ut aedificentur muri Ierusalem. a multitude of languages. This is hardly a May Lord give me a good night, I will teach the unjust your ways: and the Deal favorably, Lord, in your good will with Zion: surprise given the universal theme; a soldier May he send me a holy angel, wicked shall be converted to you. that the walls of Jerusalem may be built up. prays for divine protection to see him through May he encourage our hearts’ dreams, another night in a foreign land. The fervent, May he give us a good night. but necessarily whispered, longing for home, Soprano solo: Julia Doyle

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Green

11. The Dying Soldier (also known as Brother Baritone solo: Matthew Brook Alleluia. Faire is the heav’n where happy soules have place ) is the lament of a less fortunate fighting American Folksong Earth, ever through the power divine, In full enjoyment of felicitie man, shot and expiring during the American Civil Arranged by Wilberg / Short Seedtime and harvest shall be thine. Whence they doe still behold the glorious face of War. Lying on the cold ground, he asks his friend Alleluia. the Divine, Eternall Majestie to stay by his side and relay his final thoughts to 12. Like John Ireland, Gustav Holst (1874-1934) Sweet flowers that perfume all the air, Thank Yet farre more faire be those bright Cherubins his wife and children, secure in the knowledge was not conventionally religious and tended Him that He hath made you fair. which all with golden wings are overdight that he will, in time, be reunited with them in towards a fusion of socialist thought and mystical Alleluia. And those eternall burning Seraphins heaven. The tune, arranged by Nigel Short, is a beliefs. He was much taken by Indian spirituality Burn, lamps of night, with constant flame, which from their faces dart out fiery light version of another famous song of death - the old and became proficient enough in Sanskrit to Shine to the honour of His name. Yet fairer than they both and much more bright, Scots ballad, Barbara Allen. translate hymns from ancient Hindu texts whilst Thou sun, whom all the lands obey, Renew His Be th’angels and Archangels retaining a strong interest in early English music praise from day to day. Which attend on God’s owne person without rest O Brother Green O come to me, and folksong. His setting of Psalm 148, Lord who Alleluia. or end For I am shot and bleeding. has made us for Thine own, is a fine example of These then in faire eachother farre excelling Now I must die no more to see his unconventional, fresh approach to an ancient 13. A thoroughbred of the Anglican tradition, As to the Highest they approach more neare, My wife and my dear children. art - combining the directness of plainchant and William Henry Harris (1883-1973) held numerous Yet is that Highest farre beyond all telling The fighting foe has laid me low folk music with surprising interjections, complex prestigious positions as organist and educator, Fairer than all the rest which there appear On this cold ground to suffer, rhythms and joyfully clamorous harmonisations. including appointments at New College, Oxford Though all their beauties joynd together were Stay brother stay and lay me away and St George’s Chapel, Windsor, where he How then can mortall tongue hope to expresse And write my wife a letter. Lord, Who hast made us for thine own, Hear as meticulously organised numerous grand ceremonial The image of such endlesse perfectnesse? O brother I am dying now, we sing before Thy throne. services. Steeped in the Church of England’s O I do die so easy. Alleluia. music and worship, his anthem for double choir, Words by Edmund Spenser Surely death has lost its sting Accept Thy children’s rev’rent praise For all Faire is the Heaven, is unerring in its utterance, Because I love my Jesus. Thy wondrous works and ways. pacing and beauty. Although a perennial Go tell my wife she must not grieve, Alleuia. favourite, it requires a confident pair of Go kiss my little children Waves rolling in on ev’ry shore, Pause at His choirmaster’s hands and singers of consummate For they will cam for me in vain foot-fall and adore. ability to release its many glories. When I am gone in to Heaven. Alleluia. Ye torrents rushing from the hills, Bless Him Whose hand your fountains fills.

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BIOGRAPHIES

TENEBRAE

Tenebrae is a professional vocal ensemble, founded and directed by former King’s Singer Nigel Short. Passion and Precision is Tenebrae’s motto and its members are drawn from musical backgrounds reflecting these qualities, such as the choirs of Westminster Abbey and Cathedral, King’s College Cambridge and from Britain’s two major opera houses, Covent Garden and English National Opera. This combination offers an impressive scope of choral experience and interpretative and dramatic skills giving the choir its exceptional range of vocal power and colour.

Tenebrae has built an impressive reputation for innovative and memorable performances at festivals and venues throughout the UK and Europe. Its ever-expandingof Miracles performing schedule includes many return visits to venues, and also sees it making its Spanish debut in 2006 touring Joby Talbot’s Path to the great churches of the Camino route, and the start of an association with the LSO. Recordings on Signum Classics to date cover a wide range of repertoire from the 16th to 21st century.

Tenebrae will also appear on the LSO Live label. Photos by Oliver Haubensak Photo courtesy of Canterbury Festival

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Nigel Short in Spain, Italy, Germany, France, Switzerland, UK, USA and Bermuda. Nigel Short began his musical life as a chorister at Solihull Parish Church going on to study singing Nigel and the group have performed and recorded and piano at the Royal College of Music. He began live with The Chamber Orchestra of Europe for his career as a soloist in opera and oratorio and as Warner Classics and have given several a member of specialist vocal ensembles such as performances with The English Concert. They The Tallis Scholars whilst maintaining a regular record regularly with Signum Classics. involvement in church music, firstly as a member of Westminster Abbey Choir then Westminster Nigel divides his time between directing Cathedral. He joined the King’s Singers when he Tenebrae and giving an ever increasing number was 27 and stayed with them for seven years. of masterclasses and workshops for both professional and amateur vocal groups and choirs After a short break of about one ski season in the throughout Europe. Swiss Alps he set about founding his own group, Tenebrae, aiming to bring together what he loved best as a singer - namely the more passionate sounds of large Cathedral choirs and the precision of ensembles like The King’s Singers – to create a new kind of choral group. Whilst embracing an eclectic repertoire he wanted to have some ‘signature’ works that would make Tenebrae different, adding a theatrical element that would involve singers moving around as if on stage. To that end he wrote The Dream of Herod, with a Miracles central role for baritone Colin Campbell, and Photo by Eric Richmond commissioned Joby Talbot to write Path of , premiered in July 2005. Since its debut performance in 2001 Tenebrae has given concerts

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Soprano: Grace Davidson, Julia Doyle, Joanna Forbes, Juliet Fraser, Amy Haworth, Laura Holmes, Amy Moore Alto: David Allsopp, Mark Chambers, Ruth Massey, Anna Stephany, Ben Turner Tenor: Paul Badley, Andrew Busher, Jeremy Budd, Andrew Tortise, Christopher Watson Bass: Matthew Brook, Gabriel Crouch, Joseph Cullen, William Gaunt, Simon Grant, Daniel Jordan, Adrian Peacock, David Porter-Thomas, Andrew Rupp ORGAN: Jeremy Filsell

Tracks 3 & 6: Recorded at St Michael’s, Highgate, London, UK, 17 May 2004 P 2006 The copyright in this recording is owned by Signum Records Ltd. Producer - Adrian Peacock / Engineer - Mike Hatch C 2006 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Track 10: Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Recorded at All Hallows, Gospel Oak, London, UK, 8 July 2005 Licences for public performances or broadcasting may be obtained from Phonographic Performance Producer - Adrian Peacock / Engineer - Limo Hearn Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or All remaining tracks: otherwise, without prior permission from Signum Records Ltd. Recorded at St Jude’s on the Hill, Hampstead, London, UK, 5 & 7 January 2006 Producer - Adrian Peacock / Engineer - Limo Hearn SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Booklet notes - M. Ross Middx UB6 7JD, UK +44 (0) 20 8997 4000 E-mail: [email protected] All tracks edited by David Hinnitt Photo by Eric Richmond Front cover photo by Oliver Haubensak, Bern/Lausanne, Switzerland www.signumrecords.com Design and Artwork - Woven Design www.wovendesign.co.uk

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