HUBERT PARRY SONGS OF FAREWELL British Choral Music remarkable for its harmonic warmth and melodic simplicity. Gustav Holst (1874-1934) composed The Evening- 1 The Evening-Watch Op.43 No.1 Gustav Holst [4.59] Watch, subtitled ‘Dialogue between the Body Herbert Howells (1892-1983) composed his Soloists: Matthew Long, Clare Wilkinson and the Soul’ in 1924, and conducted its first memorial anthem Take him, earth, for cherishing 2 A Good-Night Richard Rodney Bennett [2.58] performance at the 1925 Three Choirs Festival in late 1963 as a tribute to the assassinated 3 Take him, earth, for cherishing Herbert Howells [9.02] in Gloucester Cathedral. A setting of Henry President John F Kennedy, an event that had moved Vaughan, it was planned as the first of a series him deeply. The text, translated by Helen Waddell, 4 Funeral Ikos John Tavener [7.41] of motets for unaccompanied double chorus, is from a 4th-century poem by Aurelius Clemens Songs of Farewell Hubert Parry but only one other was composed. ‘The Body’ Prudentius. There is a continual suggestion in 5 My soul, there is a country [3.52] is represented by two solo voices, a tenor and the poem of a move or transition from Earth to 6 I know my soul hath power to know all things [2.04] an alto – singing in a metrically free, senza Paradise, and Howells enacts this by the way 7 Never weather-beaten sail [3.22] misura manner – and ‘The Soul’ by the full his music moves from unison melody to very rich 8 There is an old belief [4.52] choir. The work has something of the austerity of harmony. This deeply-felt work is among his 9 At the round earth’s imagined corners [7.27] Holst’s other works of this period, an impression finest shorter anthems, and was performed at 0 Lord, let me know mine end [10.58] intensified by his instruction that the voices Howells’s own funeral 20 years later. should sing sempre pp until near the end; but q They are at rest Edward Elgar [3.39] the final efflorescence of passion and vocal Sir John Tavener’s (b.1944) Funeral Ikos, which w The Turtle Dove Ralph Vaughan Williams [3.18] colour feels all the more powerful for the has become one of his best-known shorter works, Soloist: Gabriel Crouch previous restraint. was composed in 1981 and is a calm, even serene e The long day closes Arthur Sullivan, arr. Philip Lawson [3.48] setting of words from the Greek Orthodox service Soloists: Gabriel Crouch, William Gaunt, Matthew Long Sir Richard Rodney Bennett (b.1936) com- for the Burial of Priests, evoking (rather like r Rest Ralph Vaughan Williams [3.51] posed A Good-Night, a setting of prose by Elgar’s They are at Rest) the bliss of the righteous t Bring us, O Lord God William H. Harris [4.01] the 17th-century writer Francis Quarles, in 1999 in Paradise. In order to place the words at the as his contribution to A Garland for Linda, a forefront of the experience, the music is of extreme Total timings: [75.54] collaborative series of works written in memory simplicity, much of it in unison or with only of Linda McCartney (to which John Tavener the most exiguous of harmonies. The chant is TENEBRAE also contributed). Bennett had known Linda shared between upper and lower voices and NIGEL SHORT DIRECTOR McCartney, and this touching tribute is then the full choir, and each verse ends with a www.signumrecords.com - 3 - spell-binding Alleluia. two stanzas from Nosce Teipsum, a didactic The last two motets are the most ambitious: is closely associated with that of Cardinal Henry poem on human knowledge by Sir John Davies the fifth sets John Donne’s (1572-1631) ‘At the Newman (1801-1890) through his masterwork Sir Charles Hubert Hastings Parry (1848-1918) (1569-1626). This is the simplest of the motets, round earth’s imagined corners’, a vision of The Dream of Gerontius, which is a setting of has always been paid at least lip-service as one almost entirely homophonic in style, but Parry the Last Judgement. Parry’s contrapuntal gifts Newman’s philosophical poem of that title. In of the founding fathers of the English musical makes it highly effective through his use of are displayed at their finest in the monumental 1909, Elgar turned again to Newman for the renaissance. For a long time, although his memory dramatic pauses and unexpected changes of seven-part writing that evokes the fanfares of text of the partsong They are at rest (which he was kept green through such fine works as the chord and dynamics. the angelic trumpets, the rising from the grave of also titled ‘Elegy’), a commission from Sir Walter choral song Jerusalem and the Coronation anthem the ‘numberless infinities of souls’, and the Parratt which was premiered at the Royal I was glad, his large output of music was largely In the third motet, ‘Never weather-beaten sail’, distress of the sinner who has repented too late. Mausoleum at Frogmore on 22 January 1910, forgotten and unregarded. Recent years, however, the number of parts is increased to five by the the anniversary of the death of Queen Victoria. have seen the beginning of a revaluation of Parry’s addition of a mezzo-soprano line. From here The climax of the entire cycle, and the longest The words, from Newman’s poem ‘Waiting for the orchestral and choral works, foremost among on, each motet in the cycle has one more voice of the motets, is ‘Lord, let me know mine end’, Morning’, evoke the souls of the blessed at rest which is his noble series of motets collectively than the one that precedes it, building eventually a setting of verses from Psalm 39 for double in paradise, surrounded and protected by an entitled Songs of Farewell. Composed between to eight parts. For the charming poem by Thomas choir. The two four-part (SATB) groups allowed angelic host; Elgar’s tender setting, which seems 1913 and 1915, they are superbly written for Campion (1567-1620) Parry also eschews the Parry to compose antiphonal responses as a little like an echo of Gerontius, aptly realizes unaccompanied voices; in their contrapuntal dramatic style of the first two motets in favour of well as very full eight-part harmony and very the vision. mastery and harmonic richness they must a much more flowing, essentially lyrical approach. elaborate eight-part polyphony, as well as giving be ranked among the masterpieces of English For ‘There is an old belief’, Parry chose words by him a tremendously varied vocal palette from The two works here by Ralph Vaughan Williams choral music. the Scottish poet, novelist and biographer John the leanest to the fullest textures. He took (1872-1958), perhaps the greatest of Parry’s Gibson Lockhart (1794-1854) which declare that advantage of all these possibilities in a work pupils, illustrate different aspects of his Probably the best-known of the motets is the first, a better world lies ‘beyond the sphere of Time that is a tour-de-force of a cappella technique. many-sided genius. At the beginning of his ‘My soul, there is a country far beyond the stars’ and Sin, and Fate’s control’. Serenity is the The final section, ‘O spare me a little’, has a career he emerged first as a composer of songs a four-voice setting of words by the 17th-century distinguishing characteristic of this motet, wonderful luminous delicacy and poignancy that and partsongs, and the mellifluousRest is a metaphysical poet Henry Vaughan (1622-1695). expressed by Parry in a sonorous six-part suggests that the composer, who by now was very early work indeed: its performance at The constant changes of rhythm and tempo polyphonic texture, changing to a unison suffering from a serious heart condition, may St James’s Hall, London on 14 May 1902 must make this beautiful piece quite a challenge; reference to the plainsong of the Credo where have known he had less than three years to live. have been one of the very first times that a work the rising phrases with which the work opens the text mentions ‘that creed I fain would keep’, of his was heard in public. While Rest is an return at the end with a new strength and and the motet ends with majestic choral writing. Sir Edward Elgar (1857-1934) was not a Parry attempt to emulate the manner of the Elizabethan confidence. ‘I know my soul hath power’ sets pupil, though he was a firm admirer. His name madrigal – a cause in which Vaughan Williams

- 4 - - 5 - was deeply interested – he is even more firmly William Henry Harris (1883-1973) was one of TEXTS He fills it; days and hours are blinds. associated with the Folk Song Revival that did so the best-loved and most stalwart cathedral Yet this take with thee. The last gasp of time much to revivify English music in the early years musicians of the first half of the 20th century. 1 The Evening-Watch, Op.43 No.1 Is thy first breath, and man’s eternal prime. of the 20th century, and the beautiful setting Professor of organ and harmony at the Royal Gustav Holst (Edited by Imogen Holst) Henry Vaughan (1621-1695) of The Turtle Dove is one of his many folksong College of Music from 1921 to 1955, he also arrangements, made in 1919, here of a tune became organist at St George’s Chapel, Windsor The Body 2 A Good-Night that Vaughan Williams had himself collected. in 1933 and conducted for the Coronation Richard Rodney Bennett services in 1937 and 1953. A famously efficient Farewell! I go to sleep; but when The long day closes has become the best-known and inspiring choir-trainer, he wrote mainly The day-star springs, I’ll wake again. Close now thine eyes and rest secure; of all the partsongs composed by Sir Arthur Anglican church music, and his services and Thy soul is safe enough, thy body sure; Sullivan (1842-1900). Composed to a poem canticles are still in use. The anthem Bring us, The Soul He that loves thee, he that keeps by his friend Henry F Chorley, it was published O Lord God is a comparatively late work, And guards thee, never slumbers, never sleeps. in 1868 and quickly became successful with dating from 1959, and setting a religious poem Go, sleep in peace; and when thou liest The smiling conscience in a sleeping breast Victorian choral societies. The plaintively of John Donne that paints a radiant picture Unnumber’d in thy dust, when all this frame Has only peace, has only rest; expressive harmonies with which Sullivan clothes of heaven. Harris builds to a grand, resplendent Is but one dram, and what thou now descriest The music and the mirth of kings the text’s gentle meditation on death have climax but reserves his most mystical page for In sev’ral parts shall want a name, Are all but very discords, when she sings; made this work a popular choice at funerals and the concluding ‘Amens’ and their final cadence. Then may his peace be with thee, and each dust Then close thine eyes and rest secure; memorial services. Sullivan’s beautiful partsong Writ in his book, who ne’er betray’d man’s trust! No sleep so sweet as thine, no rest so sure. forms an appropriate introduction to a © 2011 by Malcolm MacDonald programme of English choral music that is The Body Francis Quarles (1592–1644) largely concerned with acts of farewell, or mourning, or contemplation of the souls of the Amen! but hark, ere we two stray 3 Take him, earth, for cherishing departed in Paradise. Central to the programme How many hours dost think ‘till day? Herbert Howells is the majestic succession of Parry’s Songs of Farewell, and most of the other composers The Soul Take him, earth, for cherishing, represented here (apart from Elgar, Tavener and to thy tender breast receive him. Bennett) were at one time or another Parry’s pupils Ah go; th’art weak, and sleepy. Heav’n Body of a man I bring thee, at the Royal College of Music. Is a plain watch, and without figures winds noble even in its ruin. All ages up; who drew this circle, even

- 6 - - 7 - Once was this a spirit’s dwelling, Take, O take him, mighty leader, We go forth on the path eternal and as condemned, With ecstasy are we inflamed by the breath of God created. take again thy servant’s soul. with downcast faces, if we but hear that there is light eternal yonder; High the heart that here was beating, Grave his name, and pour the fragrant present ourselves before the only God eternal. that there is Paradise, Christ the prince of all its living. balm upon the icy stone. Where then is comeliness? Where then is wealth? wherein every soul of Righteous Ones rejoiceth. Where then is the glory of this world? Let us all, also, enter into Christ, Prudentius (348–413) from Hymnus circa Exsequias Defuncti Guard him well, the dead I give thee, There shall none of these things aid us, that all we may cry aloud thus unto God: translated by Helen Waddell (1889–1965) not unmindful of his creature but only to say oft the psalm: Alleluia. shall he ask it: he who made it Alleluia. 4 Funeral Ikos Orthodox Service / Tavener symbol of his mystery. John Tavener If thou hast shown mercy unto man, 5 My soul, there is a country Comes the hour God hath appointed O man, that same mercy shall be shown thee there; Why these bitter words of the dying, from Songs of Farewell to fulfil the hope of men, and if on an orphan thou hast shown compassion, O brethren, which they utter as they go hence? Hubert Parry then must thou, in very fashion, the same shall there deliver thee from want. I am parted from my brethren. what I give, return again. If in this life the naked thou hast clothed, All my friends do I abandon, and go hence. My soul, there is a country, the same shall give thee shelter there, But whither I go, that understand I not, neither Far beyond the stars, Not though ancient time decaying and sing the psalm: what shall become of me yonder; Where stands a wingèd sentry, wear away these bones to sand, Alleluia. only God, who hath summoned me knoweth. All skillful in the wars. ashes that a man might measure But make commemoration of me with the song: in the hollow of his hand: Youth and the beauty of the body fade Alleluia. There, above noise and danger, at the hour of death, Sweet Peace sits crowned with smiles, Not though wandering winds and idle, and the tongue then burneth fiercely, But whither now go the souls? And One born in a manger drifting through the empty sky, and the parched throat is inflamed. How dwell they now together there? Commands the beauteous files. scatter dust was nerve and sinew, The beauty of the eyes is quenched then, This mystery have I desired to learn, is it given to man to die. the comeliness of the face all altered, but none can impart aright. He is thy gracious Friend the shapeliness of the neck destroyed; Do they call to mind their own people, as we do them? And (O my soul, awake!) Once again the shining road and the other parts have become numb, Or have they forgotten all those who mourn them Did in pure love descend, leads to ample Paradise; nor often say: and make the song: To die here for thy sake. open are the woods again, Alleluia. Alleluia. that the serpent lost for men

- 8 - - 9 - If thou canst get but thither, 7 Never weather-beaten sail 8 There is an old belief All whom the flood did and fire There grows the flower of peace, from Songs of Farewell from Songs of Farewell shall overthrow The rose that cannot wither, Hubert Parry Hubert Parry All whom war, death, age, agues, tyrannies, Thy fortress, and thy ease. despair, law, chance hath slain; Never weather-beaten sail more There is an old belief, And you whose eyes shall behold God Leave, then, thy foolish ranges; willing bent to shore, That on some solemn shore, For none can thee secure Never tirèd pilgrim’s limbs Beyond the sphere of grief And never taste death’s woe, But One, who never changes, affected slumber more, Dear friends shall meet once more. But let them sleep, Lord, and me mourn apace, Thy God, thy Life, thy Cure. Than my wearied sprite now longs Beyond the sphere of Time and Sin For, if above all these my sins abound, to fly out of my troubled breast: And Fate’s control, ‘Tis late to ask abundance of Thy grace Henry Vaughan O come quickly, sweetest Lord, and Serene in changeless prime When we are there.

take my soul to rest! Of body and of soul. 6 I know my soul hath power to know all That creed I fain would keep Here on this lowly ground, things Ever blooming are the joys of That hope I’ll ne’er forgo, Teach me how to repent, for that’s as good from Songs of Farewell heaven’s high Paradise, Eternal be the sleep, As if Thoud’st sealed my pardon with Hubert Parry Cold age deafs not there our ears If not to waken so. Thy blood. nor vapour dims our eyes: I know my soul hath power to know all things, John Gibson Lockhart (1794–1854) John Donne (1572–1631) Glory there the sun outshines; Yet she is blind and ignorant in all: whose beams the Blessèd only see: I know I’m one of Nature’s little kings, 9 At the round earth’s imagined corners 0 Lord, let me know mine end O come quickly, glorious Lord, and Yet to the least and vilest things am thrall. from Songs of Farewell from Songs of Farewell raise my sprite to Thee! Hubert Parry Hubert Parry I know my life’s a pain and but a span; Thomas Campion (1567–1620) I know my sense is mocked in every thing; At the round earth’s imagined corners Lord, let me know mine end and the number And, to conclude, I know myself a Man, blow your trumpets, angels of my days, Which is a proud and yet a wretched thing. and arise from death That I may be certified how long I have to live. you numberless infinities of souls Thou hast made my days as it were a span long; John Davies (1569–1626) and to your scattered bodies go! And mine age is as nothing in respect of Thee, And verily, ev’ry man living is altogether vanity,

- 10 - - 11 - For man walketh in a vain shadow q They are at rest So fair though art, my bonny lass, The clock hath ceased to sound, And disquieteth himself in vain, Edward Elgar So deep in love am I; The long day closes. He heapeth up riches and cannot tell But I never will prove false to the bonny lass I love, who shall gather them. They are at rest; Till the stars fall from the sky, my dear, Sit by the silent hearth And now, Lord, what is my hope? We may not stir the heav’n of their repose Till the stars fall from the sky. In calm endeavour, Truly my hope is even in Thee. By rude invoking voice, or prayer addrest To count the sounds of mirth, Deliver me from all mine offences In waywardness to those The sea will never run dry, my dear, Now dumb for ever. And make me not a rebuke to the foolish. Who in the mountain grots of Eden lie, Nor the rocks melt with the sun; Heed not how hope believes I became dumb and opened not my mouth And hear the fourfold river as it murmurs by. But I never will prove false to the bonny lass I love, And fate disposes: For it was Thy doing. Till all these things be done, my dear, Shadow is round the eaves, Take Thy plague away from me, And soothing sounds Blend with the Till all these things be done. The long day closes. I am even consumed by means of Thy neighb’ring waters as they glide; heavy hand. Posted along the haunted garden’s bounds, O yonder doth sit that little turtle dove, The lighted windows dim When Thou with rebukes does chasten man Angelic forms abide, He doth sit on yonder high tree; Are fading slowly. for sin Echoing, as words of watch, A-making a moan for the loss of his love, The fire that was so trim Thou makest his beauty to consume away o’er lawn and grove As I will do for thee, my dear, Now quivers lowly. Like as it were a moth fretting a garment; The verses of that hymns which Seraphs As I will do for thee. Go to the dreamless bed

Ev’ry man therefore is but vanity. chant above. Where grief reposes; Traditional text Hear my pray’r, O Lord Thy book of toil is read, Cardinal John Henry Newman (1801–1890) And with Thy ears consider my calling, The long day closes. e The long day closes Hold not Thy peace at my tears! w The Turtle Dove Arthur Sullivan, arr. Philip Lawson Henry F. Chorley (1808–1872) For I am a stranger with Thee and a sojourner Ralph Vaughan Williams As all my fathers were. No star is o’er the lake, r Rest O spare me a little, that I may recover Fare you well, my dear, I must be gone, Its pale watch keeping, Ralph Vaughan Williams my strength before I go hence And leave you for a while; The moon is half awake, And be no more seen. If I roam away I’ll come back again, Through gray mists creeping, O Earth, lie heavily upon her eyes; Text – Psalm XXXIX V.V. 5—15 Though I roam ten thousand miles, my dear, The last red leaves fall round Seal her sweet eyes weary of watching, Earth; Though I roam ten thousand miles. The porch of roses, Lie close around her; leave no room for mirth

- 12 - - 13 - With its harsh laughter, nor for sound of sighs. She hath no questions, she hath no replies, BIOGRAPHIES

Hush’d in and curtain’d with a blessèd dearth Of all that irk’d her from the hour of birth; TENEBRAE With stillness that is almost Paradise. Darkness more clear than noonday holdeth her, “... is there any finer chamber choir in Britain today Formed in 2001, the group was launched to critical Silence more musical than any song; than Nigel Short’s outfit, Tenebrae?” acclaim with a performance of Nigel Short’s own Even her very heart has ceased to stir: The Independent composition, The Dream of Herod. Since then Until the morning of Eternity they have collaborated with composers Sir John Her rest shall not begin nor end, but be; Hailed as “one of the country’s most outstanding Tavener, Karl Jenkins, Pierre Thilloy, Alexander And when she wakes she will not think it long. vocal ensembles” (Evening Standard), Tenebrae Levine, and Joby Talbot. Tenebrae’s dedication Christina Rossetti (1830–1894) has established itself as the chamber choir of to the music of today is complemented by a choice for critics and audiences in the UK and commitment to the music of the past; from t Bring us, O Lord God around the world. Founded and directed by Nigel mediaeval chant to Romantic masterworks, they William H. Harris Short, the group blends the passion of a large respond to the demands inherent in whatever they cathedral choir with the precision of a chamber sing with equal passion and musicality. Bring us, O Lord God, at our last awakening ensemble to create a unique and enchanting into the house and gate of heaven, sound, one which is as dazzlingly effective in The group has toured Europe, the USA and to enter into that gate and dwell in that house, mediaeval chant as it is in contemporary works. Bermuda, performing in many renowned festivals where there shall be no darkness nor dazzling, With every performance exploiting the unique (BBC Proms, Montreux Choral Festival, Edinburgh but one equal light; acoustic and atmosphere of each venue in which Festival) and tailoring their distinctive no noise nor silence, but one equal music; they perform with movement and light, often performances to many venues (Royal Albert no fears nor hopes, but one equal possession; using candlelight as the sole means of Hall, Barbican, King’s College Chapel, Lausanne no ends nor beginnings, but one equal eternity; illumination, the carefully chosen team of Cathedral). Working with the LSO under Sir Colin in the habitations of thy glory and dominion, singers enable the audience to experience the Davis, the English Concert, the Chamber world without end. power and intimacy of the human voice at its Orchestra of Europe, the Scottish Ensemble, and very best. the Endymion Ensemble, the choir have proved John Donne themselves as adept at larger orchestral works

- 14 - - 15 - as the a cappella repertoire for which they are so Sopranos well known. Grace Davidson Susanna Fairbairn Recording on the Signum, LSO Live, Decca, Joanna Forbes L’Estrange EMI Classics and Warner Classics labels, the Alison Hill group has so far released twelve albums; from Emilia Hughes Christmas carols to solemn vespers, their Laura Oldfield revelatory performances have thrilled listeners Katie Trethewey across the world and ensured their continued position as one of the world’s favourite choirs. Altos David Allsopp For more information please visit Martha McLorinan www.tenebrae-choir.com Clare Wilkinson or scan the QR code below into your mobile device. Tenors Benjamin Alden Benedict Hymas Matthew Long Nick Todd Christopher Watson

Basses Gabriel Crouch Joseph Cullen William Gaunt Simon Grant Thomas Guthrie Stephen Kennedy

- 16 - - 17 - NIGEL SHORT space, combining his love of traditional choral repertoire with a more “theatrical” style Tenebrae is a dream realised for Nigel Short. of performing. Growing up in the Midlands (UK) Nigel began his musical life as a chorister at Solihull Parish Like many such ideas, the realisation of the Church going on to study singing and piano at dream eventually came about through discussions the Royal College of Music in London. As a young with like-minded musicians, singers and counter-tenor he was soon working with various friends, who together realised the formation of Tenebrae is managed by opera companies, was in demand as an oratorio Tenebrae – a combination of talented composers Edition Peters Artist Management. and early music soloist, sang at Westminster and arrangers, pianists and organists, www.editionpeters.com/epam Cathedral, with The Tallis Scholars and various specialists of jazz and renaissance, instrumentalists Recorded at St Alban’s, Holborn, London other specialist choral groups. and singers. from 3 - 5 January 2011 except track 1*, recorded 4 November 2011

Producer - Nicholas Parker In 1993, Nigel joined the world-renowned vocal Nigel has now conducted Tenebrae in concert Recording Engineers - Andrew Mellor and Mike Hatch* ensemble The King’s Singers. Whilst touring the performances and recordings with some of Editors - Andrew Mellor and Craig Jenkins world with them Nigel began to seriously consider the world’s finest orchestras, most notably the Cover Image - Shutterstock the possibility of starting up a new choral group London Symphony, the Royal Philharmonic, Design and Artwork - Woven Design which would combine a larger force of singers the Chamber Orchestra of Europe, the English www.wovendesign.co.uk with movement around the performance venue Concert and the Scottish Ensemble. P 2011 The copyright in this recording is owned by Signum Records Ltd. © 2011 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. as well as considerations of lighting, ambience, Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable time and space. It would not only mean that to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, the singers were more physically involved in the stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. performance but also that the audiences could SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. become caught up in the experience. This would +44 (0) 20 8997 4000 E-mail: [email protected] be a team that had all the discipline and www.signumrecords.com precision of a world-class ensemble yet with the dynamic power and range of a large choral group. Such a team would be able to use ecclesiastical buildings as a performance

- 18 - - 19 - ALSO AVAILABLE on signumclassics

Poulenc: Figure Humaine Victoria: Requiem Mass, 1605 Tenebrae Tenebrae SIGCD197 SIGCD248

“It’s a fabulous disc, I can’t stop listening to it at the moment; it’s “Victoria’s Requiem Mass is one of the acknowledged masterpieces practically cemented itself to my CD player – it’s beautiful.” of Renaissance choral polyphony, and Tenebrae here exquisitely Jeremy Summerly, Critics Choice 2010, CD Review, BBC Radio 3 conveys the flowing relationships between its six voices.” ★★★★★ – The Independent

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000