Rossini's Petite Messe Solennelle by Nancy P. Fleming

he Petite me8se solennelle was motivated Rossini to compose a full­ for its execution: that is, eight written in 1863, more than scale mass so late in life. One for the chorus, four for the solos, T, thirty years after the composer biographer has suggested that he was a total of twelve Cherubim. had abruptly quit the operatic scene inspired by hearing a performance of Dear God, forgive me the and only five years before his death. It Liszt's Missa solemnis, written for the following comparison: Twelve is one of a group of over one hundred cathedral at Gran.2 Although this also are the Apostles in the alld fifty pieces which Rossini work was not actually performed in celebrated jaw-stroke [coup-de­ produced during the last thirteen years Paris until 1866, three years after the machoire] painted in Fresco by of his life. Most of these compositions composition of the Petite messe, it is Leonardo, called The Last are vocal and instrumental chamber possible that Rossini borrowed a score Supper, who would believe it! works which were performed by and Among thy Disciples are some for the intimate group of friends who who strike false notes!! Lord, gathered at the famous samedi soirs ~'I was born for opera buffa rest assured, I swear thatthere held by Rossini and his wife. Many of as you well know! Little will be no Judas at my supper these pieces are humorous musical and that mine will sing properly parodies, and Rossini referred to them technique, a little heart, and con amore your praises and as his peches de vieillesse, his "sins of that is all. So be Thou this little composition which is, old age." , alas, the final mortal sin of my While the Petite messe solennelle blessed and grant me old age. dates from the ,same happy period as Paradise. " the peches de vieillesse and shares with them a small-scale scoring (hence the At the end of the manuscript is another note: adjective petite in the title), it differs from Liszt sometime in 1860.3 It is from those pieces in several respects. also possible that the Petite messe was Dear God. There you have it, First, it is a much longer work. commissioned by the family of the Second, it was given three public finished, this poor little mass. Is Comtesse Louise Pillet-Will. Rossini it really sacred music that I have performances during Rossini's lifetime. dedicated the mass to the Comtesse, Finally, while the music is typically created? [Est-ce bien de la and the first performance was given in musique sacree que ie viens de charming and ebullient, the mass' her house. However, no evidence to seems to have sprung from much faire ou bien de la sacree this effect is extant, and the musiqueP] I was born for opera deeper feelings on the part of the implication in early biographies is that composer. bujja as you well know! Little the dedication came after the offer by technique, a little heart, that is Sacred music had not previously the Comtesse to underwrite a been a genre of great importance to all. So be Thou blessed and performance of the mass in her grant me Paradise. Rossini. The Petite messe was private chapel. 4 preceded only by three youthful More compelling evidence of G. Rossini. Passy, 1863. attempts at mass-setting! and by the Rossini's motivation is found on the , a work produced on manuscript of the Petite messe itself. Apparently Rossini's sense of his own commission and completed under On the second page of the autograph impending mortality compelled him to duress. Therefore, it is not is the following inscription: express himself in such an atypical . immediately evident what stimulus manner. This hypothesis is supported Petite messe solennelle, in four by the fact that the composer spent Fleming is Assistant Professor of Music and Director of Choral Activities at Hendrix parts with accompaniment of 2 two full months at work on the mass, College in Conway, Arkansas. She has pianos and harmonium, an unprecedented length of time for prepared a performing edition of the Petite composed during my country one whose compositional speed was Messe Solennelle which is scheduled to be sojourn at Passy. Twelve singers legendary. (, for published by Oxford University Press of three sexes Men, Women example, was composed in less than sometime lin 1990-91. and Castrati - will be sufficient three weeks.) During those two February 1990 I Page'15

• I summer months, the composer was mass. It is unified through the use of rhythmically vital, perennial reported to be unusually moody, even modulating links between the trademarks of Rossini's style. Tuneful grumpy.s predominantly third-related tonalities vocal melody predominates. The lines, of the individual sections and by the however, are never florid. By The Music reappearance of musical material from comparison with the composer's the opening "Gloria in excelsis," at the operas (and his early masses), they are Formally, the five movements of beginning and ending of the "Cum positively austere. Ornamentation is the Ordinary are treated in a Sancto Spiritu" . (This fugue, limited to occasional cadential turns traditional manner. The Kyrie is incidentally, was singled out as a and trills, and the most melismatic ternary: an a cappella Christe cast in supreme achievement by several writing, found in the slow and Rossini's version of the stile antico, reviewers at the first performances of sustained Agnus Dei, is quite flanked by accompanied Kyries which the Petite messe.) The Credo hearkens restrained. share. musical material. The Gloria is to a later tradition; it is basically in a More unexpected, perhaps, is the subdivided into seven movements in single movement, with contrasting composer's predilection for spicy the manner of a Baroque cantata music provided only for the harmonic twists. The work abounds "Crucifixus" and for the "Et vitam with felicitous and idiosyncratic uses venturi" fugue. The main body is of chromatic chords (augmented and POSITION AVAILABLE unified by rondo-like repetitions of Neapolitan sixths, diminished "Credo in unum Deum," a technique sevenths) and modal interchange, and The Music Department at Califor­ which has precedents in works by after the first perfprmance of the nia State Polytechnic University, Jommelli, Mozart, Beethoven, and Petite messe, critics commented Pomona, announces an Assistant Professor Tenure Track Position others. The Sanctus is a cappella and especially on the manifestation of rich available Fall 1990. Teaching freely through-composed, and the harmonic invention. Rossini's powers areas include: Choral Conductor! Agnus Dei is a solo with of observation had not been dormant Music Eduction. Recruitment choral responses, the only format during his retirement, and the mass, skills highly desirable. Minimum 2 which Rossini may have borrowed along with the other compositions of years college teaching experience from operatic practice. . required. Doctorate required at There are two additional time of appointment. Salary: movements in the Petite messe: a $31,668-$34,752. For further infor­ Prelude religieux, to be played during "The composer of William mation and application materials, the Offertory, and a setting of 0 contact: Tell stands proudly before salutaris hostia, a text in honor of the Dr. Charles Edward Lindsley, you in his eminence, and Search Committee Chair Blessed Sacrament, for solo. Music Department Both of these pieces predate the you realize with California State Polytechnic composition of the rest of the mass University Pomona and were originally included in astonishment that neither 3801 West Temple Avenue Pomona CA 91768-4092 volumes of the peches de vieillesse. time nor inactivity have or call 714/869-3548. Rossini's insertion of these two movements in the mass demonstrates caused any loss of the All materials must be postmark­ his awareness of contemporary French intelligence with which he is ed by the deadline, February 15, liturgical practice; reviews of new so marvelously endowed." 1990. AA!EEO Employer. Cal Poly mass settings in La France musicale Pomona hires only individuals during the years 1863-1869 frequently lawfully authorized to work in the mention an instrumental offertoire U.S. The California State Universi­ and! or a motet, generally either 0 this late period, demonstrate his ty recognizes degrees only from salutaris hostia or Domine salvum jac. awareness of current musical accredited educational institu­ developments. tions. Not surprisingly the musical language of the mass is lyrical and In his last major work Rossini affirmed an optimistic and deeply felt faith. Critics who claim that the Recordings Especially Selected For The Choral Director music of the Petite messe is "operatic" -- -- and only robs the text of meanint TAKE 6 • .. THE RITZ have failed to understand the mass in THES~GLESINGERS terms of the composer's own aesthetic THE HI-LOS • THE SINGERS UNLIIvIITED • THE NYLONS vocabulary. The solo, "Domine Deus," for example, is sometimes WESTERN WIND dismissed as a facile aria di bravura. NEW RELEASE! ana :Featuring Certainly it is vocally demanding and energetic, abounding in dotted AMERICA! rhythms, syncopations, and wide T'HI&; KING'iS.m·' ..." •.• "". .•.. ' .. ,' .•.. / SINGERS.... ,~! _ ..!" .', l {.... ,; .. ".... ;. ',. ._~. ~" '. .r'; Songs of upward leaps. But it is these very Paul Simon musical qualities which make it such a For FREE Catalog of other Distinguished Choral . superb description of the power, Ensembles Write: Doug Anderson, DJ RECORDS glory, and majesty appropriate to the The King's Singers PO Box 95· McMinnville, OR 97128 "King of Heaven." Furthermore, not all is bravura in the Petite messe. The Page 16/CHORALJOURNAL section preceding "Domine Deus," harmonies, how many new which animated this great artist "Gratias," could not be more effects in the disposition of the thirty years ago at the ,time contrasting. Instead of the single, parts in the vocal ensembleP when he chose to put a stop to heroic, tenor voice, this movement is his glorious career at its The mass was repeated the next day scored for a trio of soloists (contralto, culminating point. The composer tenor, ), graphically illustrating for a much larger audience which of stands proudly the plurality implied in the text (Le. included members of the press. before you in his eminence, and Reviews echoed Meyerbeer's ecstasy; "We give thanks," etc.). The simple you realize with astonishment Rossini was compared to Dante vocal lines move within narrow ranges that neither time nor inactivity (L'Opinion nationale), and it was and are accompanied by a gently have caused any loss of the declared that his genius had never rocking figure. Occasiomil intelligence with which he is so touches of jalso canone, a procedure been more powerful or more radiant marvelously endowed. The same habitually reserved by Rossini for (Le Moniteur). The critic for facility of invention, the same serious contexts, add a certain gravity. L'Illustration wrote: melodic abundance, the same Nothing about this movement could One could sense, from the first nobility of style and the same be described as flashy; it is measures, the powerful spirit elegance, the same novel twists, appropriately and humbly reverent. A sympathetic examination of the music reveals numerous other examples of Rossini's sensitivity to the text. The mass must be evaluated, however, within the parameters of the composer's own musical aesthetic, which was based on tuneful melody and bouyant rhythm. To compare the Petite messe unfavorably with weightier and more learned mass settings is to unjustly accuse the composer of insincerity.

Performances and critical reaction

The Petite messe solennelle was performed for the first time on Sunday, March 14, 1864, in the Pillet­ Will townhouse. Rossini involved himself eagerly in the preparations, and at the performance he stood by the first piano, nodding his head to set tempos and turning pages for Georges Mathias, the principal pianist. The audience that day was small but elite and included Daniel-Fran~ois Auber, , and . By all accounts, everyone present was delighted with Rossini's new masterpiece. Meyerbeer was especially ecstatic and reportedly remarked to his fellow listeners: See, this man is the same as he always has been, the master of us all. He himself has never known and never Will know the extent of his genius, because his genius has no limits! As soon as he puts his hand to a subject, whatever it is, see what is born under the powerful action of his inspiring breath, marvels which he himself could neither imagine nor glimpse. How many stupefying discoveries, how For information, please contact: Esther Boyer College of Music many unforeseen passages, Alan HarIer, Dir. of Choral Activities Temple University, Box Cll obtained without effort or Telephone (215) 787-8304 Philadelphia, P A 19122. exertion! How much art in his February 1990 I Page 17 the same richness of harmony, The basilica performance never messe was performed for the first time the same audacity and happy took place. Rossini had an aversion to on February 28, 1869, at the Theatre­ choice of modulation, the same the sound of boys' voices, which he Italien in Paris. This performance was vigor of conception and of considered harsh and unmusical. He extraordinarily successful - box office expression, the same ease of therefore launched an energetic receipts totalled 26,000 francs - and part-writing and disposition of campaign to convince Pope Pius IX to was followed by fourteen more in the voices, the same masterful grant a dispensation permitting a Paris before the Petite messe was and authoritative skill in the cathedral performance using female taken on tour to other parts of France, overall scheme of the work, as and altos. When his efforts Holland, and Belgium. Strakosch was well as in the structure of each an energetic promoter, and by 1870 movement ....8 the mass had been heard as far away as New York, Moscow, and Sydney, Following this triumphant Much of the charm of Australia. premiere, friends and journalists urged Rossini's origina~ petite, Despite such' overwhelming box Rossini to orchestrate his mass in order office success, critical reaction to the that it might be performed in a large version of the mass lies in mass in its new orchestral guise was basilica. At first the composer resisted, the delightful and mixed. Reviewers were particularly claiming he had not kept abreast of thoroughly idiomatic uncomfortable with the orchestration, the latest advances in orchestral which they found to be weak and old· practice. The notion of a performance writing for the two pianos fashioned. Filippo Filippi, a friend of in a cathedral did intrigue him, and the piquant contrast the composer's, wrote that it was however, and in 1866-67, he rescored the instrumental parts for large 'provided by the . . . without the variety of orchestra, including , harp, harmonium. combinations which distinguishes and organ. the orchestration in the works of Meyerbeer, of Counod, of Wagner, and the latest ones by proved in vain, Rossini locked the Verdi. And it is for this reason manuscript of the Petite messe that, if a few movements solennelle away with his other pec-hes benefited greatly from the de vieillesse.9 The original version was Finest Fabrics including introduction of instruments, Permanent Press and Wash heard once more before the others by contrast had the same and Wear. Superior Quality. composer's death, again at the Pillet­ Free Color Catalog and Fab­ or greater effect with the ric Swatches on Request. Will Mtel, on April 24, 1865. original accompaniment of piano Guaranteed Satisfaction. Rossini died on Friday, November' and harmonium .10 Toll Free 13, 1868, and almost immediately his ·.lliGENCy widow, Olimpe Pelissier, sold the This opinion has been echoed by : ....,·'iI:'ij·i'4¢'S·. rights to the mass to the impresario critics and scholars for more than a P.O. Box 10557CJ Maurice Strakosch for 100,000 francs. '. Jacksonville, Florida 32207 century, and the criticism is valid. The orchestrated version of the Petite Much of the charm of Rossini's original, petite, version of the mass lies in the delightful and thoroughly idiomatic writing for the two pianos and the piquant contrast provided by MARK CUSTOM RECORDING SERVICE the harmonium. This intimate ensemble allows the voices to soar and 10815 Bodine Rd .• Clarence. NY 14031 dominate without forcing. The later (716) 759-2600 orchestration is, by contrast, turgid and pedantic. Not only is the The Official Recording Company of the 1989 instrumentation large, but Rossini ACDA National Convention is proud to announce added more octave doublings in this version, creating a much thicker that we have been chosen as the texture. The use of instrumental color Official Recording Company is unimaginative, and the voices are forseveral19~~tQ~AG.Oi\ Regional Conventions. less prominant. It is therefore easy to agree With the composer himself-who reportedly told Barbara Marchisio, soprano soloist at the Pillet-Will Please call or write us for complete information performances, "I prefer it with the on the convention performances available on cassette and compact disc. We also offer complete record, cassette and For a new bibliography, Emily Dickin­ son and Music, composers who have compact disc packages for YOUR grou~ set music to her poems and ,letters should write to Carlton Lowenber, 737 St. Mary's Rd., Lafayette, CA 84549

Page 18/CHORALJOURNAL accompaniment of . . . piano and implicit or explicit suggestion that the from the first edition and reinstated in harmonium, as we harmonium part is optional, "having the second. Also, the keyboard parts performed it ..."11 been written more especially to in these sections do not match the support the voices" (Chappell). No original ones by Rossini. Editions of the Petite messe solennelle accurate edition of the Petite messe The editions published by Chappell was published until 1980, more than a and Ditson are clearly based on the Nonetheless, it was in the orchestral century after the composer's death. first Brandus score. While each one version which the Petite messe was Consequently the five early editions exhibits certain idiosyncracies, they first heard by the general public, and have been responsible for perpetuating share enough characteristics to make publishers were quick to take a number of misconceptions about the their relationship unquestionable. For advantage of the publicity original scoring of the mass well into example, all of them include surrounding the premiere the twentieth century. significant omissions: a bar at the end performances. Five editions as well as In general, scholars have assumed of the "Domine Deus," the first seven numerous excerpts and arrangements that these early editions were all measures and one at the end of the (e.g. the "Quoniam" for soprano or prepared as reductions of the "Qui tollis," nineteen bars of postlude tenor instead of bass; the "Crucifixus" orchestrated version. This assumption to the "Quoniam." (It is noteworthy for contralto or bass instead of is logical given the immense publicity that several of these cuts involve soprano) were produced during the enjoyed by the later version. modulatory material between sections decade following Rossini's death. However, an examination of the of the Gloria. Such amputation must Undoubtedly the first complete score instrumental parts in the Brandus & have facilitated excerpting the to appear was published by the Dufour edition reveals that the French movements to sell as individual Parisian firm of Brandus & Dufour. It editors must have worked from . numbers.) The Schott edition is clearly went on sale the very day of the first Rossini's original keyboard, parts; the derived from the second Brandus performance at the Theatre-Italien.12 correspondences are,too close to have issue, and therefore contains fewer of The French publisher was promptly resulted from a retranslation back these cuts. In all four of the editions, followed by Chappell in London, from the orchestral version. Curiously, however, the inserted movement 0 Ricordi in Milan, and Oliver Ditson in in 1878, when the Parisian publishing salutaris hostia appears in Boston. Somewhat later an edition house issued a second, "corrected" instead of G. (When Rossini originally was published by the German house edition of the mass, the "corrections" composed the aria for the peches de of B. Schotts Sohne,l3 were apparently based on the vieillesse, he did indeed choose the key All of these early editions are orchestral score. This approach is most of E major. When he later transcriptions for harmonium and obvious in portions of music omitted appropriated it for the Petite messe, only one piano, a format which is useless except as a curiosity to modern . musicians for it is inaccurate as a representation of Rossiirl's original .conception and cumbersome as a reduction of the orchestral version, for which a piano part alone would l)ec1)enf)Orst . Pr~~, Inc. suffice. In the late nineteenth century, Publishers of Distinguished Music for the Church Since 1972 however, these scores would have found a large market among the newly affluent middle class. Most . parlors contained at least a piano and

often a harmonium as well. The ~Oi'i:0 ~f;S:.~ (~'G<; latter, a type of reed organ, was :\.SJ,,:"\Y, especially prized for its ability to imitate orchestral sounds and to swell

expressively from silence to fortissimo. .' ", ~' ,,,'t.,, .. ( " :". . i Many duets for the two instruments : were written, and the combination can be found in works by Liszt, Saint

Saens, and 'others, as well as in earlier I~', compositions by Rossini. Liszt was so entranced by the mixture of timbres, he had a special "pianoforte­ (1~~~~~~.f:itf't();1l~·.···.• ·9r.·.~~llt2~~ig!~E~£t~~,,2;~~.lgg;.··· harmonium" built for his own use. 81)". This instrument had two manuals: the 'I cliorat, ..slJ;)llp!~s cass~.tt~. ~~co~" mg" ", upper one controlled a piano action, and the lower one was connected to a blower which activated a number of harmonium stopS.14 \1:~;~i~~ih:~;;l:~~J~:~;~;~~ .•. ; Unfortunately for posterity, none of the early editions acknowledges the existence of a second piano part. Furthermore, each contains the February 1990 I Page 19 he transposed it to G, presumably to rhythm nito ill lin measures 37, adjusting certain expressive markings prevent monotony with the succeeding 41, and 45. TheS~alterations are to match the orchestral score, Agnus Dei, also a contralto solo in E.) reflected in the Ricordi score. however, no major changes were Finally, scattered throughout all four Although copies can still be found made. Only the most glaring errors in editions are miscellaneous mistakes in American libraries, the Brandus & the old edition (such as the omission . and unidentified editorial changes Dufour, Chappell, Ditson, and Schott of three bars between "Qui tollis" and which are shared in common. editions are now out of print. The "Quoniam") were rectified. Alone among the five early editions, Ricordi edition, on the other hand, Unfortunately, ambivalences and Ricordi's is truly an orchestral has enjoyed an extremely long misconceptions are perpetuated by this reduction. The instrumental parts do publication life. Between 1888 and score. The ersatz harmonium part is not resemble Rossini's original 1941 it was reprinted 22 times. In inexplicably retained although the keyboard parts in figuration or chord 1954 the old plates were restored edition states that it "is intended as a disposition, and furthermore, there are ("ripristinata"), and the mass was practical one for choirs who propose certain changes in musical detail made issued four more times before 1970. to give performances with orchestra." by the composer for the orchestrated During the 1960's it was appropriated The preface further states that version. For example, in the "Domine by Kalmus. Deus," Rossini added bits of melodic In 1968, Ricordi's London branch [t]he original performance ... material to the otherwise rather published a new edition intended to was indeed it seems given with simple accompaniment between vocal supersede all its previous publications. accompaniment for harmonium phrases. In addition, he changed the Except for new typesetting and and two pianos, but the second

MASTER CLASS IN CHORAL .. ORCHESTRAL CONDUCTING Oregon Bach Festival June 24 to July 8, 1990

Helmuth Rilling, artistic director and conductor Krzysztof Penderecki, guest conductor Dale Warland, guest conductor

Seminars (Graduate Credit ayailable) . Conducting Stylistic Interpretation Choral-orchestqtl Performance

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For more information, contact the Oregon Bach Festival University of Oregon School of Music Eugene, Oregon 97403 Tel.: 503/686-5666 Fax.: 503/686-5669

Page 20 I CHORAL JOURNAL piano was a ripieno part, only Notes reinforcing, the first piano at Festive Choruses suitable places. The first part 'For a full discussion of the early mass­ settings by Rossini, see Nancy Fleming, appears, with the original "Rossini's Petite messe solennelle" (D,M,A, dynamics and phrasing, in the dissertation, University of Illinois, 1986), pp, THERON KIRK Milan edition, which is still 41-76, available for hire. 2Giuseppe Radiciotti, Gioacchino Rossini; vita Fanfare for Christmas documentata ed influenza su l'arte (Tivoli, Brass & Perc. Kjos 8685 1927-1929), vol. II, p. 436. To supplement 'this part in the older 'Edmond Michotte, "Richard Wagner's Visit edition, Ricordi now also rents a to Rossini," quoted in Herbert Weinstock, separate second piano part. Unlike the Rossini: A Biography (New York, 1968), p. 299. A Jubilant Song of Praise first piano part, which is, of course, 'Cf. Radiciotti II, 437. Trpt. & Organ C. Fischer 5Radiciotti II, 436. CM 8240 an orchestral reduction, the second "Elwyn A. Wienandt, Choral Music of the part is quite faithful to Rossini's Church (New York, 1965), p. 415. original. The combination of ,the two 7Radiciotti II, 438-439. in performance produces a bizarre "Review by G. Hequet, reprinted in Revue et The Temple of the Living God hybrid, the incongruity of which is Gazette musicale de Paris, XXXI, 12 (20 March, Brass & Perc. C. Fischer 1864): 90-91. CM 7788 oFor a discussion of this episode and transcriptions of the documents involved, see 'No accurate edition of the Stefano Alberici, "Rossini e Pio IX: Alia luce di documenti dell' Archivio Segreto Vaticano," God Is My Salvation Petite messe was published BoUettino del Centro rossiniano di studi, n. 1-2 Organ bup 94.226 (1977): 25-26. until 1980, more than a 'OFilippo Filippi, Musica e musicisti (Milan, century after the composer's 1867), p. 138, quoted in Radiciotti II, 463. This Is the Day the "Radiciotti II, 463n. death. I2Radiciotti II, 467. Lord Hath Made "For a detailed discussion of all the editions, Brass & Organ Augsburg see: Fleming, 143-175. 11-4658 particularly noticeable in the two '4Sandor Margittay, ed., Ferenc Liszt: . Throughout the greater part of Complete Organ Works (Budapest, 1971), vol. these movements, unlike anywhere II, p. vi. Festive Fanfare CP 346 else in the mass, the composer intended for the pianos to double each Brass & Perc. Coronet Press other exactly. Rossini's charming "final sin" is currently regaining some of its earlier A metronome ticks popularity. Certainly it deserves the a predetermined tempo. opportunity to be heard more widely The Tempowatch® tells you in the original guise preferred by the what the tempo is - and it composer himself as well as by most does so precisely, quietly, and others who know both versions. quickly - while you are Fortunately for modern conductors a conducting or listening to a viable solution to the thorny problem recording! of edition,s is now available. In 1980 a It is especially useful in catch­ beautiful, minimally edited ing fluctuation of tempo during transcription of the Petite messe, rehearsal or performance. lovingly prepared by Angelo Coan, Also, whenever a tempo feels was published by Edizioni musicali "just right" you can easily find Otos in Florence. While the score is the precise marking (so you 'too large and expensive to be can use it next time). purchased by most institutions in Tempowatch® will time the multiple copies, Coan's Urtext edition duration of any musical can be used for conductor and composition, and may be used instrumentalists in conjunction with as a split-second timer in Ricordi's vocal parts, which are for recording or film-making. the most part complete and accurate. Fully guaranteed. Comes with This solution is the only acceptable special protective carrying one until an accurate performing case. edition is published. C] Made in Switzerland. Service Purchase of masler copy includes permission 10 make as available everywhere. many copies as needed for your organizalion, For more information and choral music samples, wrile 10: Music Print Corporation (makers of the Musicwriter II) ~ "Ihe budgel slrelcher" 2450 Central Avenue Boulder CO 80301 ~ music publications Phone: 303-442-5500 408 W, Jefferson Ave. Whealon, IL 60187

February 1990 I Page 21