PHIBBS & MOZART JOSEPH PHIBBS second movement, a fast and unsettled type CLARINET CONCERTO of nocturne-fantasy whose principal thematic CLARINET CONCERTOS material is defined by a short recurring scalic Composer’s introduction figure in the clarinet which expands and transforms as the movement progresses. A Clarinet Concerto (2017) Joseph Phibbs (b. 1974) This 24-minute work is the result of a long and number of contrasting episodes allude to creative friendship with Mark van de Wiel, whose various non-classical traditions to which 1 I. Adagio – Allegro moderato [6.47] extraordinary expressive and technical scope – the clarinet is often linked, including Eastern 2 Cadenza [2.58] ranging from standard classical repertoire to European folk music, before the movement the most demanding contemporary works – in closes abruptly. 3 II. Allegro molto [6.08] large part shaped the work’s form and character. 4 III. Adagio [3.50] The third movement, a slow and at times 5 IV. Moderato - Doppio movimento [6.46] Comprising four movements, the work opens mournful vocalise, is reminiscent of the work’s with a slow introduction, the unfolding of the opening by way of its pared-down orchestral clarinet’s opening theme supported by soft, scoring, and features a simple repeated Clarinet Concerto in A major, K. 622 Wolfgang Amadeus Mozart (1756-1791) sustained strings. A type of rondo emerges, harmonic pattern over which the soloist 6 I. Allegro [12.37] signalled by a soft pizzicato ostinato in the ‘sings’ in an often impassioned and at times lower strings, over which the clarinet’s earlier strident manner. 7 II. Adagio [6.52] theme is transformed into a solitary, blues- 8 III. Rondo: Allegro [8.44] inspired refrain. The mood here is urban, Following without a break, the fourth movement snatches of dance rhythms accompanying the harks back to the urban-inspired world of Total timings: [54.44] soloist’s ever-expanding melodic gestures, while the first, though here with greater abandon. elsewhere a myriad of orchestral figuration Ever denser, rising chords in the orchestra (first in the woodwind, and later the strings) punctuate florid gestures in the clarinet, is suggestive of city lights. before leading to a faster coda. A syncopated MARK VAN DE WIEL CLARINET / BASSET CLARINET passacaglia emerges, inspired by its literal (PHIBBS) A more lyrical theme appears towards the end meaning (‘street walk’), the soloist’s at times LONDON CHAMBER ORCHESTRA (MOZART) of the movement, before giving way to a fast wild, quasi-improvisatory lines weaving through CHRISTOPHER WARREN-GREEN CONDUCTOR coda. A cadenza serves as a bridge to the a constantly shifting orchestral backdrop, www.signumrecords.com - 3 - underpinned by the repeated bass line which WOLFGANG AMADEUS MOZART the lowest. This basset-clarinet was the orchestral sound, while the key of A major – characterises this form. This in turn accelerates CLARINET CONCERTO IN instrument for which Mozart originally composed as in the Piano Concerto K. 488 – seems, towards the end of the movement to form a A MAJOR, K. 622 both the concerto and the quintet, but it soon for Mozart, to have been associated with a faster ‘walking bass’, before a final ascending became obsolete. Also the manuscripts of certain characteristic tone-colour. Many flourish brings the work to a close. Often, throughout musical history, the supreme both works were lost, so the concerto was composers favoured a more classical purity artistry of a particular performer has inspired published in an adaptation (by an unknown of language in their late music, and of My thanks to Mark, the work’s dedicatee; the a composer to create some of his most editor) for orthodox clarinet. Here Mark van course one may wonder how Mozart would Philharmonia, at the suggestion of former distinctive works. Thus Mozart wrote his horn de Wiel plays a reconstruction of the original have continued had he lived beyond the age Managing Director David Whelton; and Malmö concertos for the cheese-monger Joseph basset-clarinet version. of thirty-five. However, we should guard Live Konserthus, at the suggestion of Per Leutgeb, Weber and Brahms composed glorious against the notion that Mozart was aware of Hedberg, Head of Programming, for their clarinet works for Heinrich Baermann and Mozart was the absolute professional in his impending death when he completed works generous support. The world and London Richard Mühlfeld respectively, and Britten treatment of every orchestral instrument, such as the Piano Concerto K. 595 or this premieres were given by Mark van de Wiel wrote numerous operatic roles and song-cycles showing deep understanding of the special Clarinet Concerto in 1791, because sketched and the Philharmonia under Edward Gardner especially for the tenor voice of Peter Pears. character and technique of each one. For material for the first movement of each on 4 and 5 November 2017 in the Anvil, instance, in this concerto he exploits the work actually dates from about three years Basingstoke, and the Royal Festival Hall, The last and greatest of Mozart’s several clarinet’s easy agility of movement from earlier. Anton Stadler gave the premiere in followed by the premiere by a non-professional wind concertos is the Clarinet Concerto, one extreme of its range to the other, often Prague on 16th October 1791. orchestra with the Oxford Symphony Orchestra completed only weeks before his premature requiring the soloist to leap between high under Robert Max on November 18. Mark also death. At this time he was inspired by the and low registers even on successive notes © Philip Borg-Wheeler gave the Nordic premiere with the Malmö outstanding musicianship of the clarinettist in a melody. Elsewhere alternating high and Symphony Orchestra under Alexander Shelley in Anton Stadler, composing this concerto – as low phrases occasionally suggest an operatic The wonderful gift of Mozart’s concerto March 2019. well as a trio with viola and piano, a quintet dialogue between soprano (or mezzo-soprano) permeates our lives as clarinettists, both as and obbligato parts in two operatic arias – and baritone (or bass). In common with other performers and teachers. Its emotional range, © Joseph Phibbs especially for him. Stadler, a close friend of works of Mozart’s last year – including The elegance, technical challenges and operatic Mozart and fellow-member of the Masonic Magic Flute and the finalPiano Concerto in exploration of a wide range of voices and Lodge to which he belonged, had recently B flat, K. 595 – the Clarinet Concerto colours constantly inspire us. Throughout the developed a new type of clarinet with an combines a new degree of simplicity with first movement we can hear Mozart celebrating extension of four extra semitones to the limpid grace and transparency of texture. The his admiration for Stadler and his instrument register which particularly fascinated him – omission of oboes contributes to the mellower with a constantly developing melodic line

- 4 - - 5 - moving from tenderness and yearning to home in the key of three sharps, a bright MARK VAN DE WIEL passages of considerable virtuoso display. counterpart to the three flats of the Magic Flute. The clarinet is established as a lyric soprano Thea King has pointed out the coded threes As principal clarinet of the Philharmonia from the outset, but soon starts to explore within this concerto - towards the end of the Orchestra, the London Chamber Orchestra, the its range in duet with itself as soprano and first movement the same music, in three sharps and as a well-known soloist, tenor or even soprano and baritone. The extra and using intervals of a third, is played in Mark van de Wiel performs at major venues range of the basset clarinet allows for dramatic three successive bars in three octaves. The throughout the world. He has appeared as contrasts of register, with frequent plunges landing of the third repetition at bar 333 can soloist with the Philharmonia (Ashkenazy, Gardner, from the upper register down to the lowest only be a code between the two friends, adding Järvi, Wilson), the London Sinfonietta (Atherton, notes, particularly in the central section which yet another level to this sublime concerto. But Brabbins, Knussen, Masson), and the LCO explores the world of Don Giovanni. The Adagio’s even with Mozart’s wonderful advertisements (Warren-Green, including a solo appearance theme offers a serenity which the clarinet can in the Concerto, Quintet and La Clemenza di at La Scala, Milan). Noted for performances portray perhaps better than any other wind Tito, the basset clarinet did not come into of contemporary music, Mark gave the world instrument, and its middle section presents general use, probably because of the technical premiere of the clarinet concerto by Joseph a succession of operatic voices - perhaps difficulties caused by the extra keywork and Phibbs (2017) which he jointly commissioned Donna Anna, Fiordiligi, Don Ottavio and the extra weight. A concerto fragment of 1792 with the Philharmonia and Malmö Live Konserthus, Leporello all appear together here. The bubbling intended for Stadler by Mozart’s pupil Süssmayr the world premiere of the Van der Aa concerto rondo theme of the finale, with its uses an even wider full four octave range, Hysteresis (2014), commissioned for him by the © Timothy Ellis characteristic 3 repeated notes (a reference but it took another 176 years before Sir London Sinfonietta, and the world premiere of to a Masonic knock, perhaps?) launches a expanded it one semitone Morgan Hayes’s concerto Dark Room, commissioned and Debussy and Busoni in São Paulo with wide ranging movement of high spirits and further in his Linoi of 1968, written for for him by Jouko Heikura. He has given several the Orquestra de Campinas (Toro). drama with many shadows and moments of Alan Hacker, one of the pioneers of playing the London premieres in the Philharmonia’s Music melancholy on the way. Mozart Concerto in the original version. of Today series, and elsewhere the Spanish Mark has been the clarinettist with Endymion premiere of the Carter Concerto, the UK premieres since its formation in 1980. Other chamber The significance of Mozart writing for Stadler © Mark van de Wiel of the Carter Clarinet Quintet and of Taverner’s music collaborators have included Vladimir as his fellow Mason, is considerable. The Cantus Mysticus (at ), and the Ashkenazy, Elizabeth Leonskaja, Geoffrey concerto began life as a concerto for in G major London première of Graham Fitkin’s Agnostic. Parsons, Pascal Rogé, Kate Royal, the Quarteto for basset horn, but once Stadler finished work He played Boulez’s Domaines at the Proms, the Camargo Guarneri of Sao Paolo, the Dante on his basset clarinet in A, it found its true Berio Sequenza at the Sydney Opera House, Quartet, and the Brodsky Quartet, with whom

- 6 - - 7 - he gave the London premiere of Sir Peter National Opera and subsequently with PHILHARMONIA ORCHESTRA Maxwell Davies’s Hymn to Artemis Locheia. Glyndebourne Touring Opera. For several years Recordings include the Nielsen Concerto he was the clarinet and basset horn soloist in 1ST VIOLIN VIOLA FLUTE HORN with the Philharmonia and Paavo Järvi, and Mozart’s La clemenza di Tito at the Bayerisches Zsolt-Tihamér Visontay Yukiko Ogura Claire Wickes Nigel Black Bartok’s Contrasts with Zsolt-Tihamer Visontay Staatsoper. Mark is an Honorary Member of the Victoria Irish Amanda Verner June Scott Kira Doherty Karin Tilch Michael Turner Rebecca Larsen Daniel Curzon and Yefim Bronfman on Signum, MessIaen’s Royal Academy of Music, where he is a Professor, Adrián Varela Fiona Dalgliesh Jonathan Maloney Quartet for the End of Time on Psalmus, and a and has been awarded an Honorary Doctorate Eleanor Wilkinson Cameron Campbell PICCOLO Alexander Oon disc of chamber works by Alissa Firsova on Vivat. by Northampton University. He is the clarinet Michael Trainor Stephanie Edmundson Rebecca Larsen Grace Lee Claire Newton TRUMPET professor for the I, Culture Orchestra, and for OBOE Ingrid Button Meghan Cassidy Jason Evans Born in Northampton and educated at Merton the British Isles Music Festival. Mark is a Gordon Hunt Peter Fisher Graeme McKean Catherine Knight College, Oxford and the Royal College of Music, committed teacher, with ex-students holding Eugene Field Edward Bale Matthias Wiesner Ruth Shaddock Christine Pendrill (studying with Colin Bradbury), Mark was principal positions in a number of major Ann Criscuolo TROMBONE appointed principal clarinettist with Welsh orchestras. He gives masterclasses worldwide. Galina Tanney CELLO COR ANGLAIS Byron Fulcher Judith Choi-Castro Timothy Walden Christine Pendrill Philip White Minn Majoe Deirdre Cooper Lauren Steel CLARINET BASS TROMBONE 2ND VIOLIN Ella Rundle Christopher Richards Edward Hilton Emily Davis Michael Hurwitz Jennifer McLaren Fiona Cornall Anna Mowat Laurent Ben Slimane TUBA Jan Regulski Judith Fleet Ben Thomson Teresa Pople Tamsy Kaner E FLAT CLARINET Nicola Goldscheider Jennifer McLaren TIMPANI Emanuela Buta BASS Nigel Thomas BASS CLARINET Emma Martin Tim Gibbs Laurent Ben Slimane PERCUSSION Maya Bickel Michael Fuller Adam Wynter Stephen Burke Ruth Funnell BASSOON Rebecca Welsh Kevin Hathway Simon Baggs Luke Whitehead Ryan Smith Richard Cartlidge Fenella Barton Dominic Tyler Jakub Cywinski Alice Barron Laura Vincent HARP Heidi Krutzen CONTRA BASSOON Laura Vincent © Camilla Greenwell

- 8 - - 9 - Founded in 1945, the Philharmonia is a world- Internationally, the Philharmonia is active Finnish conductor and composer Esa-Pekka Conductor Laureate. Composer Unsuk Chin is class symphony orchestra for the 21st century. across Europe, Asia and the USA. In 2018/19, Salonen has been Principal Conductor & Artistic Director of the Music of Today series. The Orchestra’s home is Southbank Centre’s the Orchestra performed extensively in Europe Artistic Advisor since 2008. Jakub Hrůša and Royal Festival Hall, in the heart of London, and undertakook three major international Santtu-Matias Rouvali are Principal Guest The Philharmonia’s Principal International Partner where the Philharmonia has been resident tours, to China and South Korea (October Conductors. Christoph von Dohnányi is Honorary is Wuliangye. since 1995 and presents a season of around 2018); to Cartagena in Colombia, in a joint Conductor for Life and Vladimir Ashkenazy is philharmonia.co.uk 50 performances each year. Under Principal digital installation-live concert tour (January Conductor & Artistic Advisor Esa-Pekka 2019); and to the USA (March 2019). Salonen, the Philharmonia has created a series of critically-acclaimed, visionary projects, The Philharmonia’s international reputation LONDON CHAMBER ORCHESTRA distinctive for both their artistic scope and in part derives from its extraordinary recording supporting live and digital content. Recent legacy, which in the last 10 years has been VIOLIN VIOLA FLUTE series include Stravinsky: Myths & Rituals built on by its pioneering work with digital David Juritz Kate Musker Karen Jones (2016), which won a South Bank Sky Arts technology, most recently blazing a trail for Ksenia Berezina Becky Low Chris Hankin Alan Brind Graeme McKean Award. In 2019, Salonen presents his newest classical music in Virtual Reality. VR experiences featuring music by Sibelius, Mahler and Manon Derome Mariam Ruetschi BASSOON series with the Orchestra, Weimar Berlin: Jo Godden Meyrick Alexander Beethoven, placing the viewer at the heart of Bittersweet Metropolis. John Mills CELLO Graham Hobbs the orchestra, have been presented at Peter Nall Joely Koos The Philharmonia is resident orchestra at Southbank Centre and internationally. Alexandra Reid Julia Graham HORN Bedford Corn Exchange, De Montfort Hall in Sarah Sew Katherine Jenkinson Pip Eastop The Philharmonia records and releases music Charles Sewart Naomi Samuel Adrian Uren Leicester, The Marlowe in Canterbury, The across multiple channels and media. An app Kathy Shave Anvil in Basingstoke, the Three Choirs Festival for iPad, The Orchestra, has sold tens of James Toll DOUBLE BASS in the West of England, and Garsington thousands of copies; Hollywood composers Catherine van de Geest Stacey Watton Sara Wolstenholme Andy Marshall Opera. At the heart of these residencies is an choose to record their scores for films, video education programme that empowers people games and television series with the Orchestra; in every community to engage with, and the Philharmonia is Classic FM’s ‘Orchestra participate in, orchestral music. on Tour’ and broadcasts extensively on BBC Radio 3; with Signum Records the Philharmonia releases live recordings of signature concerts.

- 10 - - 11 - “Our mission at LCO is to change the way that project, Music Junction. They also enjoy the Over the last 30 years Christopher Warren- you experience classical concerts. Working Patronage of Her Royal Highness The Duchess Green has been personally invited to conduct with inspirational international performers, of Cornwall, performing at the royal wedding for the Royal Family on many occasions. In we aim to break down the barriers between in 2011 to about two billion people worldwide. April 2005, he conducted the Service of orchestra and audience so that we can all And all this without receiving any public subsidy Dedication and Prayer following the marriage share the thrill of live music. Our programming during their entire history. of TRH the Duke and the Duchess of Cornwall. combines the well-loved with the less familiar, He also led the London Chamber Orchestra so there’s always something new to discover, CHRISTOPHER WARREN-GREEN during the marriage ceremony of TRH The whether this is your first concert or your 1,000th.” Duke and Duchess of Cambridge at Westminster Christopher Warren-Green is Music Director Abbey in 2011, which was broadcast to a You can learn a lot in almost 100 years. The of the Charlotte Symphony in North Carolina global audience of two billion. Other notable London Chamber Orchestra (LCO) combines and Music Director and Principal Conductor occasions have included HM The Queen’s 90th the skills of some of London’s most exceptional of the London Chamber Orchestra. Working birthday concert at Theatre Royal, Drury Lane musicians with a rich history at the heart of extensively in the US, key North American with the Philharmonia as well as HRH The 20th-century classical music. engagements have included The Philadelphia Prince of Wales’ 60th birthday concert in Orchestra, the Detroit, Houston, St. Louis, Toronto, Buckingham Palace. Most recently he conducted Having been founded in 1921, LCO are the UK’s Milwaukee, Seattle and Vancouver symphony the wedding of TRH The Duke and Duchess of oldest professional chamber orchestra. They orchestras, the Minnesota Orchestra and Sussex at St.George’s Chapel, Windsor. have premiered works by a Who’s Who of 20th- Washington’s National Symphony Orchestra. century composers, including Stravinsky, Bloch, Warren-Green is a fellow of the Royal Academy Vaughan Williams, Prokofiev, Hindemith, Poulenc Warren-Green opened the 2018-19 season in of Music and has recorded extensively for Sony, and Villa Lobos. And that continues today, with Charlotte with an all-Beethoven programme, © Jeff Cravotta Phillips, Virgin EMI, Chandos, Decca and premieres by figures such as Sir Peter Maxwell as well as concerts including a vast range of and Gabriel Prokofiev. Guest engagements in Deutsche Grammophon. He also records with the Davies, James MacMillan and Graham Fitkin. music from Mozart to Rachmaninov, through also included re-invitations to the Rhode Island London Chamber Orchestra for Signum Classics. to Mahler and Richard Strauss, to Shchedrin, Philharmonic Orchestra, Pacific Symphony, As well as their annual season of concerts at Adams and Whitacre. With the London Armenian Philharmonic Orchestra, and two Cadaogan Hall, London they also tour globally, Chamber Orchestra he performed an eclectic programmes with Tampere Philharmonic Orchestra record with major labels and their own LCO season including music by Mozart, Mendelssohn, featuring music by Ligeti, Bartok, Bruckner, Live imprint, and run a large-scale community Suk, Dvořák, Roxanna Panufnik and both Sergei Britten, Sibelius and Elgar.

- 12 - - 13 - Swan, Piatti Quartet,Krzysztof Chorzelski, Quartet, BrittenSinfonia, Orchestraofthe by, amongothers, London Sinfonietta,Navarra Phibbs’s chambermusic hasbeencommissioned that achievesexactlywhatitsetsouttodo”. nowadays, agenuinelywell-madechamber opera described bytheGuardianas“thatrare thing Vass atthe2018CheltenhamFestival, was chamber operaJuliana,premieredunderGeorge Vassily Petrenko,andGianandreaNoseda.His (LastNightoftheProms), championed hisorchestralmusicinclude under SakariOramo.Otherconductors to have was premieredtowidespreadacclaimin2016 fifth commissionforBBCSymphonyOrchestra, Composer Award;andthemorerecentPartita,his Esa-Pekka Salonenin2012,winningaBritish commissioned bythePhilharmoniaOrchestra/ scale orchestral works: His recentoutputincludesanumberoflarge- . Param Vir,SirHarrisonBirtwistle,and included and Cornell University. His teachers have at The Purcell School, King’s College London, Joseph Phibbs was born in London, and studied Joseph Phibbs Rivers to the Sea was

- 14 www.josephphibbs.com Ricordi. Furtherinformation maybefoundat His publishersinclude BooseyandHawkes of hisoutputhasbeenbroadcastonBBC Radio 3. including forTheSixteen/HarryChristophers. Much in 2021.Healsocomposesfrequentlyfor choir, will be toured in Europe by the prior toaLondonpremiereatWigmoreHall, and Quartet, waspremieredatCarnegieHall in 2018, His StringQuartetNo.3,writtenfortheBelcea Hampstead Arts,Bath,andCityofLondon. Cheltenham, Presteigne,ThreeChoirs,Spitalfields, regularly atfestivalsincludingBBCProms, Michael Chance,andIestynDavies,features

© Malcolm Crowthers Any unauthorisedbroadcasting,publicperformance,copyingorre-recordingofSignum CompactDiscsconstitutesaninfringementofcopyrightandwillrendertheinfringerliabletoaction by law.LicencesforpublicperformancesorbroadcastingmaybeobtainedfromPhonographic PerformanceLtd.Allrightsreserved.Nopartofthisbookletmaybereproduced,stored in aretrievalsystem,ortransmittedanyformbymeans,electronic,mechanical, photocopying,recordingorotherwise,withoutpriorpermissionfromSignumRecordsLtd. SignumClassics, SignumRecordsLtd.,Suite14,21WadsworthRoad, Perivale,MiddxUB67JD,UK. Mozart ClarinetConcertorecordedliveinconcertCadoganHall,Londonon23rdJanuary2013. Phibbs ClarinetConcertorecordedinHenryWoodHall,Londonon12thNovember2017. © 2019ThecopyrightinthisCDbooklet,notesanddesignisownedbySignumRecordsLtd Cover Image–©TimothyElliswww.timothyellisphotography.co.uk P 2019ThecopyrightinthissoundrecordingisownedbySignumRecordsLtd Design andArtwork–Wovenwww.wovendesign.co.uk +44 (0)2089974000E-mail:[email protected] Assistants –BrettCox,GeorgePierson,DaveRowell Producer andEditor–ChrisHazell Assistant –JamesWaterhouse www.signumrecords.com Producer –MatthewDilley Engineer –MikeHatch Engineer –MikeHatch Editor –ChrisHazell - 15

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ROSSINI, MOZART, BEETHOVEN NIELSEN: Flute and Clarinet Concertos, London Chamber Orchestra Aladdin Suite Susan Gritton soprano Samuel Coles flute Christopher Warren-Green conductor Mark van de Wiel clarinet SIGCD201 Paavo Järvi conductor SIGCD477

“In the Beethoven Gritton catches all the distraught heroine’s “Samuel Coles neatly personifies the fastidious Gilbert grief, self-pity and indignation...Warren-Green conjures fine, Jesperson, maintaining elegance and integrity…Mark van de fiery playing from his orchestra here” Wiel is equally convincing as the choleric Aage Oxenvad, Gramophone responding angrily to the orchestra, and in the virtuoso cadenzas equally capable of picking a fight with himself” BBC Music Magazine

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- 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN Customer SignumClassics MAGENTA YELLOW Catalogue No.SIGCD578 BLACK Job Title: Clarinet Concertos SIGNUM CLASSICS

SIGCD578 PHIBBS & MOZART

CLARINET CONCERTOS PHIBBS & MOZART: CLARINET CONCERTOS VAN DE WIEL / WARREN-GREEN

Clarinet Concerto (2017) Joseph Phibbs (b. 1974) 1 I. Adagio – Allegro moderato [6.47] 2 Cadenza [2.58] 3 II. Allegro molto [6.08] 4 III. Adagio [3.50] 5 IV. Moderato - Doppio movimento [6.46]

“a new concerto that will surely be performed all over the world” The Sunday Times

Clarinet Concerto in A major, K. 622 Wolfgang Amadeus Mozart (1756-1791) 6 I. Allegro [12.37] 7 II. Adagio [6.52] 8 III. Rondo: Allegro [8.44]

Total timings: [54.44]

MARK VAN DE WIEL CLARINET / BASSET CLARINET PHILHARMONIA ORCHESTRA (PHIBBS) LONDON CHAMBER ORCHESTRA (MOZART)

VAN DE WIEL / WARREN-GREEN / WIEL DE VAN PHIBBS & MOZART: CLARINET CONCERTOS CHRISTOPHER WARREN-GREEN CONDUCTOR

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD578 Road, Perivale, Middx UB6 7JD, United Kingdom. P 2019 Signum Records DDD SIGCD578 © 2019 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 05782 7 SIGNUM CLASSICS