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Home , Alexander Baillie, Heinz Holliger, John Carewe, Michael Tilson Thomas, Mstislav Rostropovich

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Landscape No 1 Hidden Variables • Memorial Quatrain • Machines & Dreams cello London Radio Symphony conductor London Symphony Orchestra conductor booklet pdf template.qxd 24/04/2008 17:07 Page 2

COLIN MATTHEWS

DISC 1 DISC 2 Sonata No 5: ‘Landscape’ No.1 1 Hidden Variables 12’24 Helena Baillie, James Cummings, 1 Ia 9’51 I – Scherzo-Notturno Sarah Gillinson, Andrew Hume, Memorial 2 Ib 1’43 11 Introduction 2’29 Megan Hume, Sonya Knussen, 2 Section 1 3’56 3 Ic 1’04 12 Scherzo 1 1’01 Rebecca Lawley, Joseph Lipton, 3 Section 2 3’57 4 IIa 1’27 13 Trio 1 0’55 Lucy Matthews, Thomas McDonough, 4 Section 3 2’25 5 IIb 6’18 14 Scherzo 2 1’26 Alexandra Storey, Katharine Storey, 5 Section 4 2’06 6 IIc 2’26 15 Trio 2 0’21 Daniel Worters and Sophie Worters 6 Section 5 3’52 7 IIIa 1’54 16 Scherzo 3 0’56 8 IIIb 2’43 17 Centre 0’50 Quatrain 9 IIIc 2’05 18 Scherzo 4 1’16 7 Section 1 2’29 10 Coda 1’32 19 Trio 3 0’38 8 Section 2 1’46 20 Scherzo 5 – Coda 1’36 9 Section 3 2’08 Berlin Radio Symphony Orchestra II – Adagio 10 Section 4 2’23 John Carewe conductor 21 Molto sostenuto 1’45 Machines and Dreams* 22 Più mosso 2’04 11 Meccanico 2’46 23 Tempo 1 1’44 12 Sostenuto 1’42 24 Tempo 2 2’25 13 Andante 3’26 25 Tranquillo 3’37 14 Presto volando 1’41 26 Sostenuto 2’21 15 Molto vigoroso 3’26 27 Subito allegro 1’44

Disc 1 total 58’11 Disc 2 total 50’37

Alexander Baillie cello London Symphony Orchestra London Sinfonietta Michael Tilson Thomas conductor John Carewe conductor *with Martina Baillie, Max Baillie,

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ANCORA by Andrew Clements

Before settling upon what was to problems of building large-scale formal As with all music, the work of living benefits become his mature idiom, Colin structures with increasing confidence from repeated hearings, but all too often the first Matthews’s music investigated a and originality. Formal intuition cannot performance of a new work is followed by, at best, a long number of alternative modernist be learnt; a either has the gap before the music can be heard again, at worst, by routes, including a brand of capability to conceive his music silence. Second performances are increasingly hard to influenced by Maxwell Davies and a organically and think it through, or he come by, broadcasts more sporadic, recordings rarer still. In systemic approach after the manner of must devise other methods of creating the nineteenth century, when performances were accessible . But his music in the continuity. Matthews, undoubtedly, is a only to a few, duet versions would be made so that 1980s, as represented here by the natural, as the impressive edifices on enthusiasts could get to know new music in their own ANCORA First Cello Concerto, was a long way this recording demonstrate. At the homes. Radio and recordings have long since brought removed from both of these extremes; same time, it would be surprising if his music to everyone, but new music remains the poor a critic eager to pigeonhole period of work on the manuscript of relation, and even when recordings are made, they seldom contemporary composers might have Mahler’s Tenth Symphony under the sell fast enough to stop the accountants deleting them; or assigned Matthews to the section watchful eye of the late Deryck Cooke, the record label changes its policy, or goes out of business. marked ‘conservative’, both for his and his role as amanuensis to NMC’s policy, from the start, has been never to delete: the attitude to harmony and tonality, and in the composer’s entire catalogue, from its launch in 1989, remains for the debt his works sometimes last years, had not left their mark on permanently available. So the acquisition and re-issue of showed to the English tradition of his powers of organisation. significant recordings that have disappeared from other Tippett and Britten. catalogues is a natural development. Ancora is more than In the genesis of both Landscape and an archive: it aims to combine such previous releases with If one looks through these pieces for a the First Cello Concerto it seems as if newly recorded material as a way of keeping alive music common thread of individuality, a general concept of the formal outline that deserves to be heard again. The response so far has however, a single characteristic stands was the creative starting point. The been heartening. out. From the earliest scores which twin thrusts of Matthews’ attitude to Matthews now recognizes, he has form and tradition can be seen in the shown a willingness to tackle the two movements of the Cello Concerto.

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The first movement unfolds against the landscape that one sees from many transformed. By now the music is and the scherzo material begin background of a familiar scheme; it different angles sometimes in detail, consistently fast, as Matthews reveals regularly enough; the first theme is disturbs because it repeatedly denies sometimes blurred, in daylight and at his ability to incorporate aspects of presented by the soloist, his lyrical line that familiarity. The second movement night,” he has written. “It is not really traditional usage in a context that is woven around an equally long-limbed is essentially synthetic; it defines its a direct journey, nor even a single one, essentially highly original. The whole melody for the trumpet, and the tempo own parameters as it develops, and in since there are three starts and several final section functions as a steadily increases until the scherzo that respect is closer to the way in false arrivals. Perhaps the best way to recapitulation in a symphonic sense, proper is launched as a fully fledged which the single-movement form of think of it is as having something of providing the weight and intellectual fast movement, complete with a pair of Sonata No.5 operates. Labelling a work the irrational logic of a dream.” closure that the scheme consistently trio sections. Yet the expected regular a ‘sonata’ was asking for trouble in the implies. recapitulation of this sequence of last quarter of the twentieth century, The three ‘journeys’ to which Matthews events simply does not happen: at the but sonatas were a feature of refers correspond essentially to the For the Cello Concerto, commissioned climax of the first movement, heralded Matthews’ early orchestral output, in progressions from darkness to light in by the BBC for the 1984 Promenade by a sonorous bell stroke, the music which the term was used without any his original conception for the work. Concerts and given its first performance dramatically changes gear, and sets off connotations of detailed structure. Each begins from the depths, where by Alexander Baillie, a formal plan on a headlong gallop, whose musical images struggle to articulate again preceded detailed composition. nightmarish mood gradually becomes In evolving the plan for the work, themselves and to gain forward Matthews knew the length of the work less oppressive. There is a reprise, but Matthews conceived the idea of a momentum. The music twice pulls (approximately 25 minutes) and that it one from a vividly close perspective, in sequence of progressions out of itself up by its thematic bootlaces, would consist of two movements, the which elements crowd in upon one darkness into light, and his working constantly accelerating, only to first fast, the second predominantly another. Only one trio returns, allotted title for the work was ‘Light Music’. collapse again into inchoate gloom. slow. From that point it was merely (!) to the cello pizzicato, and the music But, as would also happen in the Cello The second ‘journey’ is less single- a process of fleshing out that skeleton eventually plunges into the catharsis of Concerto, the process of realising those minded than the first; it has with music, though in the event the the coda, at last fulfilling expectations initial ideas produced so much interruptions – woodwind nature of that music affected the layout with its recollections of the opening. unexpected detail that the original efflorescences, a brass chorale. The of the work quite profoundly. scheme was superseded, and Matthews third begins by returning to the mood It’s hardly surprising that after such a chose ‘Landscape’ as a more of the opening, and goes on to provide The idea of a gigantic arch, framed by hallucinatory journey the second appropriate subtitle: “The music might a reprise of the important features of an introduction and coda, lies behind movement sets out to restore some be compared to a journey through a the previous journeys, often radically the first movement. The introduction kind of equilibrium. The Adagio stirs 6 7 booklet pdf template.qxd 24/04/2008 17:07 Page 8

into life over a pedal C-sharp, loss and remembrance in Memorial, Between these allusions Matthews’s Variables, but the two works inhabit providing a tonal reference point after though Hidden Variables and Machines ‘own’ music is allowed to assert itself, totally dissimilar musical territory. It the vertiginous flights of the scherzo. and Dreams are both stylistically far as if reminding the listener that it is was commissioned for Mstislav The cello’s role is now that of more discursive. The one aspect that omnipresent, and always working in the Rostropovich’s 1993 festival of commentator and musical philosopher; unites them is that all were written for background to support and sustain all Benjamin Britten’s music at the a sequence of -like the London Symphony Orchestra, the surface glitter. That ever-changing in London, and if ruminations is interwoven with the during Matthews’ period as the relationship between what is visible and Matthews’ music evokes any distant development of slow-moving orchestra’s Associate Composer. what is obscured yields the work’s model, it is that of early Britten, and progressions in the orchestra. The enigmatic and somewhat tongue-in- the world of the da Requiem dialogue eventually resolves into a In fact Hidden Variables, whose original cheek title; in quantum physics, the perhaps most of all. The work grew out brief nine-chord chorale, until the version was composed in 1989 for 15 much disputed theory of hidden of a visit Matthews made to northern violent world of the first movement players, for the Birmingham variables suggests that, beneath the France to visit the grave of his returns, this time turned to more Contemporary Music Group, positively observable behaviour of particles, with grandfather, who died on the Somme, optimistic effect. To close the concerto celebrates Matthews’s multi-lingual all their intrinsic uncertainties, lies and the Thiepval War Memorial there. the work’s two most stable elements tendencies. What is essentially a set of another layer of relationships, as yet It’s the austere detachment of that are combined – the cello’s melody with variations – though one in which one undiscovered, in which everything is memorial which he sought to express which the soloist introduced himself is variation frequently overlaps with the regular and scrupulously exact. In musically in the orchestral work, with overlaid on the chorale, to provide an next, and cast within the framework of expanding the original version of Hidden its steadily accumulating string chords uneasy kind of resolution. an orchestral scherzo – careers off into Variables in 1992 into the score for at the opening, the woodwind wicked little vignettes of a number of large orchestra on this recording, the threnodies of the second section, an If the sonata and the concerto share a the leading minimalist composers. “The course of the music remains exactly the eruption of metallic percussion in the common tone of creative voice, the minimalist ideas are my own,” says same. But in the expansion, both third; the fourth section provides a works on the second disc are a far Matthews, “and not quotations. Any foreground and background are précis of those earlier ideas, and more stylistically heterogeneous resemblance to the music of living considerably enriched, and the introduces a final processional, whose quartet. They have points of contact composers is wholly intentional and ambiguities and ironies of the musical elegiac intention is perfectly clear. with the Cello Concerto No 1 and Fifth reflects the ambivalence of my feelings allusions deepened still further. Sonata, of course, especially in the about them. I don’t have any What is relatively expansive in metallic-edged expressionism of compunction about treating these ideas Memorial was completed the year after Memorial had been much more Quatrain, and the Mahlerian sense of badly and letting them self-destruct.” the orchestral version of Hidden compressed in Quatrain, composed 8 9 booklet pdf template.qxd 24/04/2008 17:07 Page 10

four years earlier. There too, the in itself but as a means to generating For those movements the orchestration cushioning effect of the orchestral and sustaining a particular kind of is scaled down (though everyone, strings is absent: Quatrain is scored musical texture; this yields the including an invading gang of football only for woodwind, brass and ‘machines’ of the work’s title. And hooligans, joins in for the coda of the percussion. Within its relatively short even in such an essentially light- finale). The full orchestra is reserved span there are four movement-types, hearted work there is evidence of for the two dream interludes that break along the lines of the single-movement Matthews’ abiding respect for the the sequence, the first a miniature form developed by Schoenberg in his Mahlerian inheritance, especially as nocturne, the second, over in a First Chamber Symphony – an refracted through the work of Berg and moment, a whirling scherzo. exposition is followed by a slow Schoenberg; that emerges in the development of the basic material in second and fourth movements, the © 2004 Andrew Clements the form of a set of six variations; ‘dreams’. there is a brief spectral scherzo before the brassy exuberance of the opening Yet ‘machines’ turn out to dominate returns to close the work. the odd-numbered movements literally as well as musically: each has its own In Machines and Dreams, however, the quota of mechanical instruments, two most characteristic strands of intended to be played by children, and Matthews’s musical development are operating alongside the conventional juxtaposed, although the context is a orchestra. For the opening Meccanico, much less serious one, since the work a ‘white-note’ musical clockwork, they is, in effect, an updated ‘Toy are toy ; for the Andante Symphony’, involving children as uccelloso it is a wonderful array of bird performers. Nevertheless, behind the calls, heard against an orchestral first, third and fifth movement lurks ostinato that strongly suggests his interest in the work of the Messiaen (no stranger to musical bird American minimalist composers, very calls himself!), while the march-like much a feature of the 1970s, and finale is counterpointed by the which Matthews retained not as an end electronic sounds of the games arcade.

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COLIN MATTHEWS the 50th anniversary of Radio 3 Birmingham Contemporary College of Music, a Governor of BBC Proms, the Walton Concerto in 1996, was given that year’s Music Group and Sir Simon the Royal Northern College of under the late Sir Alexander Colin Matthews was born in Royal Philharmonic Society Rattle the following year. More Music, and Distinguished Gibson with the Royal London in 1946; he read Classics Award for large-scale recent works include Pluto, the Visiting Fellow in Composition at Philharmonic, and Dvor˘ák’s Cello at the University of Nottingham, composition. Renewer (2000), an addition to the University of Manchester. Concerto with the City of photo: Terrence McCarthy photo: Terrence afterwards studying composition Holst’s Planets – written for the In 1989 Quatrain was given its Birmingham Symphony under Sir there with Arnold Whittall, and at Hallé Orchestra and Kent first performance by the London ALEXANDER BAILLIE . Baillie has also the same time with Nicholas Nagano, and already performed Symphony Orchestra and CELLO directed and performed the Haydn Maw. In the 1970s he taught at throughout the world – and the Michael Tilson Thomas; this was and Boccherini with the University of Sussex, where Horn Concerto (2001), given its Alexander Baillie is the first of a series of LSO the English Chamber Orchestra. he obtained a doctorate for his first performance by Richard internationally recognised as one work on Mahler, an offshoot of commissions, followed by Watkins and the Philharmonia of the finest cellists of his Baillie’s contribution to his long collaboration with Machines and Dreams, for the Orchestra under Esa-Pekka generation. He began playing the contemporary music has seen Deryck Cooke on the performing orchestra’s 1991 Childhood Salonen. Colin Matthews is cello at the comparatively late the Canadian premieres of version of Mahler’s Tenth Festival, Memorial in 1993 with currently Composer-in- age of twelve, having been Penderecki’s Second Cello Symphony. During this period he as Association with the Hallé directly inspired by the late Concerto in 1992 and the HK Tippett ) and the also worked at Aldeburgh with conductor, and the Second Cello Orchestra, and is completing a Jacqueline du Pré, and went on to Gruber Concerto in Winnipeg; world premiere recording of Benjamin Britten, and with Concerto, for Rostropovich, in series of orchestrations of study at London’s Royal College over the last two decades his Stanford’s concerto, lost since Imogen Holst. 1996. Matthews was Associate Debussy’s Preludes. His music of Music (with Joan Dickson and performances at the BBC Proms 1880. His recordings of Britten’s Composer with the LSO from has been recorded on many Anna Shuttleworth) and with have included premieres of Colin and Sonata Since the early 1970s his music, 1992 until 1999. labels, including Deutsche André Navarra in Vienna. Matthew’s Concerto No.1 (1984), ranging from solo piano music achieved great acclaim, as have Grammophon and NMC (on The Henze’s Sieben Liebeslieder his three recordings for NMC, of through three string quartets A version of Hidden Variables Appearances with British Great Journey, NMC D033). under the composer’s direction concertos by Minna Keal (on and many ensemble and was commissioned by the Royal have included the (1988), and Takemitsu’s Orion NMC D048S) and Gordon Crosse orchestral works, has been Ballet for the reopening of the In 1998 Colin Matthews was Elgar Concerto with the London and Pleiades in 1989. (NMC D058), and the recital disc played widely both in the UK and Royal Opera House in December awarded an Honorary Doctorate Symphony Orchestra under Wavesongs (NMC D019). worldwide. The huge choral/ 1999, and the large-scale by the University of Nottingham. Andrew Litton, the Schumann Recordings include the Elgar orchestral work Renewal, ensemble piece Continuum was He is currently Prince Consort Concerto with Marek Janowski Concerto, Tippett’s Triple Alexander Baillie is Professor of commissioned by the BBC for toured in Europe by the Professor of Music at the Royal and the BBC Symphony at the Concerto (with Sir Michael Cello at the Bremen Hochschule,

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and is co-founder of Gathering of Director of the Brighton MICHAEL TILSON THOMAS London Symphony Orchestra, the Clans, a holiday study camp Philharmonic Society, and with whom he has mounted CONDUCTOR for young cellists; he is also principal conductor of the Fires several major festivals focusing visiting Guest Professor at of London. Since 1980 he has Michael Tilson Thomas is Music on individual composers photo: Hanya Chlala

London’s . been chiefly occupied as guest Director of the including Brahms, Mahler, photo: Susan Schelling Baillie is a founder member of conductor throughout Europe, Symphony, the Founder and Debussy and Takemitsu. Noted Berlin chamber music group Alia appearing in Sweden with the Artistic Director of the New World for his commitment to music Musica, whose appearances have Stockholm Philharmonic and Symphony, and Principal Guest education, in 1988 Tilson included recitals at the Wigmore Stockholm Opera; in Zurich he Conductor of the London Thomas founded the New World Hall and the Berlin Festwoche. gave the world premiere of Symphony Orchestra. Born in Symphony in Miami to be a ’s Concerto , he is the third national training orchestra for JOHN CAREWE with . In March generation of his family to follow the most gifted graduates of CONDUCTOR 1996 he joined Sir Simon Rattle an artistic career. As Music America’s music conservatories. conducted the first British Director of the Young Musicians John Carewe’s teachers included (his former pupil) and Daniel Tilson Thomas’ recordings cover performance of Boulez’s Le Foundation Debut Orchestra, he Walter Goehr and Max Deutsch Harding (Sir Simon’s pupil) in a wide range of mainstream recorded cycle of the complete marteau sans mâitre in 1959, worked on premières by (both pupils of Schoenberg), performances of Stockhausen’s repertoire as well as his Mahler symphonies with them. and was one of the conductors Stravinsky, Boulez, Stockhausen Messiaen – with whom he , in Birmingham, pioneering work with composers Tilson Thomas has also worked in the British premiere of and Copland with their studied in Paris on a French London, and Vienna. such as Ives, Ruggles and Cage. extensively for television, Stockhausen’s Gruppen, given in composers; he was also Government scholarship – and In 1994 he received the Ditson including educational Glasgow in the early 1960s. Carewe’s recordings include Assistant Conductor at the . His career has Award for contributions to broadcasts with the New York Debussy’s Pelléas et Mélisande, , Principal reflected this interest in Alongside his involvement in American Music, two Philharmonic, and a BBC series Milhaud’s La Création du Monde Guest Conductor of the Boston twentieth-century music, and he contemporary music, John Gramophone awards, and was with the London Symphony Symphony Orchestra and Music has given British premieres of Carewe has always conducted and Stravinsky’s The Soldier’s named Musical America’s Orchestra. He is increasingly Director of the Buffalo music by composers including the standard repertoire, and in Tale. His recordings of David Conductor of the Year. His being heard as a composer; his Philharmonic. Birtwistle, Boulez, Bennett, 1966 he was invited by William Matthews’ Cantiga, Introit and recordings with the San Poems of Maxwell Davies, Goehr, Glock to become the principal September Music have been He has toured widely with the Francisco Symphony have won received their world première in Messiaen, Milhaud, Maderna, conductor of the BBC Welsh reissued in NMC’s Ancora series four Grammy Awards, and he 2002, with Renée Fleming and Nono, and Stockhausen. He Orchestra. He was also Music (NMC D084). Orchestra and also with the has recently embarked on a the San Francisco Symphony.

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LONDON SINFONIETTA Sir , LONDON SYMPHONY opened LSO St Luke’s, the UBS & Concerto (NMC D010S), , Toru Takemitsu, ORCHESTRA LSO Music Education Centre. Muldowney’s Oboe Concerto (NMC The London Sinfonietta, founded John Adams, , Housed in the converted 18th- D018S) and Robin Holloway’s in 1968, is the UK’s flagship Oliver Knussen, George Founded in 1904, the London century Hawksmoor church of St Concerto for Orchestra No.3 (NMC contemporary music ensemble. It Benjamin, Magnus Lindberg, Symphony Orchestra was the Luke in Old Street, London, the D039). has been described as “the pre- Mark-Anthony Turnage, Judith UK’s first independent, self- centre provides a home for the eminent champion of new and Weir, Julian Anderson, Tom Adès, governing orchestra. It soon LSO’s education and community innovative music in the country”, Jonathan Cole, Stuart MacRae became a limited company, programme, LSO Discovery, as and can consist of anything from and Tansy Davies.The ensemble owned and managed by the well as a rehearsal space for the two players to a full orchestra, cares as much about reaching a players. The LSO was the first Orchestra and a venue for though it has a core of eighteen curious and sympathetic British orchestra to travel functions and conferences. audience as it does about the abroad when it visited Paris in Principal Players, two of whom After nearly 90 years of making 1906 and later became the first are sound designers. Many of its music it performs, and its world- recordings, the LSO launched its to visit America (1912), Israel players have thriving solo careers renowned education programme, own CD label, LSO Live, in 2000. (1960) and Japan (1963). In alongside their work with the launched in 1983, continues to Berlioz’s Les Troyens, released in 1966, the Orchestra took up a ensemble, and the London bring the music of living Summer 2001, has become one biennial residency at the Florida Sinfonietta’s standard of composers to as many people as of the fastest-selling opera International Festival and it was performance is regarded as possible. The London recordings ever in the UK, and the first British orchestra to be unbeatable by composers and Sinfonietta’s many recordings won two Grammy Awards (Best invited to appear at the public alike. The ensemble is include three for NMC: Opera and Best Classical prestigious Salzburg Festival. dedicated to performing the best Birtwistle’s Melencolia I (NMC Recording) in February 2002. contemporary music from Britain D009); Live from State of the In 1982 the LSO took up Other releases include Elgar’s and the rest of the world, and Nation 2001, a snapshot of work residency in the new Barbican symphonies, conducted by Sir has commissioned over 180 produced by young composers Centre; in 2001 the Barbican Hall , and jazz legend works since it was founded. working in Britain today (NMC was refurbished, and the LSO Dave Brubeck’s 80th birthday Composers with whom the D078); and, in the Ancora series, now plays in what is undoubtedly concert with the LSO. ensemble has worked closely Alexander Goehr’s Sinfonia and the finest symphony hall in The LSO has also recorded three include Sir , other works (NMC D095). London. In March 2003, the LSO discs for NMC: Panufnik’s Cello 16 17 booklet pdf template.qxd 24/04/2008 17:07 Page 18

Disc 1: Sonata No. 5: Landscape was recorded for Sender Freies Berlin live at the Grosser Sendesaal on 27th October 1984. GÜNTER GRIEWISCH Recording Engineer PROFESSOR HANS-LUDWIG FELDGEN Recording Producer Cello Concerto No.1 was recorded at Watford Town Hall on 27-28 August 1985. BOB AUGER Recording Engineer ANTONY HODGSON Recording Producer Disc 2: Machines & Dreams was recorded live at the Barbican Centre on 24 January 1991. JUDITH ROLES Recording Producer All other works on Disc 2 were recorded in Studio 1, Abbey Road Studios London on 19-20 July, 1995. MIKE CLEMENTS Recording Engineer COLIN MATTHEWS Recording Producer MARIAN TRYGGVASON for Modus Music Remastering COLIN MATTHEWS, VIRGIL BLACKWELL (for disc 2) Executive Producers FRANCOIS HALL CD booklet and cover design Cover photo © Maurice Foxall Colin Matthews’s music is published by Faber Music Ltd. The recordings on Disc 1 were previously released on Unicorn-Kanchana; those on Disc 2 were previously released on Collins Classics, with the support of the Rex Foundation, the Musical Explorations Society and The John S. Cohen Foundation. NMC Recordings is a charitable company established for the recording of contemporary music by the Holst Foundation. COLIN MATTHEWS Executive Producer HANNAH VLC˘EK Administrator HANNAH TEALE Assistant Administrator ANNE RUSHTON Business & Development Executive DISTRIBUTION NMC recordings are distributed in the following territories: Australia, Austria, , China, , Germany, Holland, Hong Kong, Italy, Malta, New Zealand, Sweden, United Kingdom, USA.

FOR FURTHER DETAILS PLEASE CONTACT: NMC Recordings Ltd. at 18-20 Southwark Street, London SE1 1TJ, UK. Tel: +44 (0)20 7403 9445 Fax: +44 (0)20 7403 9446 E-mail: [email protected] Website: www.nmcrec.co.uk All rights of the manufacturer and owner of the recorded material reserved. Unauthorised public performance, broadcasting and copying of this recording prohibited. Catalogue number: NMC D101 Disc 1: ® 1993 Unicorn-Kanchana Records Disc 2: Hidden Variables/Memorial/Quatrain ® 1996 Lambourne Productions Ltd Machines & Dreams released by arrangement with BBC Worldwide ® BBC 1991 © 2004 NMC Recordings Ltd

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