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Home , Andrew Carter (composer), Carols for Choirs, Kenneth Leighton, Percy Dearmer, St Edmundsbury Cathedral

RES10176 A W WELLS CA MA ells Chris TTHEW OWENS

THEDRAL t

mas Traditional English Alfred Hollins (1865-1942) arr. Bob Chilcott (b. 1955) 11. Cradle Song [3:06] A Wells Christmas 1. * [2:02] Bob Chilcott Traditional French 12. The Sparrow’s Carol * [2:31] arr. Andrew Carter (b. 1939) 2. A maiden most gentle [2:52] Thomas Hewitt Jones (b. 1984) 13. What child is this? [4:52] Wells Choir Jefferson McConnaughey (b. 1952) 3. * [4:19] Jonathan Vaughn organ 14. Child [3:22] Matthew Owens conductor Traditional Czech arr. (1895-1967) Traditional English 4. Zither Carol [2:37] arr. John Rutter 15. [2:15] Matthew Owens (b. 1971) 5. Lullay, my liking * [5:22] Traditional French arr. (1929-88) Traditional Welsh 16. O leave your sheep [4:52] arr. (1919-2015) 6. Deck the hall [1:19] James Lord Pierpont (1822-93) arr. David Willcocks [2:10] John Rutter (b. 1945) 17. Jingle, bells 7. Donkey Carol [4:34] Traditional English Traditional English arr. Richard Elliot [2:06] arr. David Willcocks 18. I Saw Three Ships About Choir and Matthew Owens: 8. Tomorrow shall be my dancing day [2:04] Traditional English ‘The choir is, in a word, magnificent; Traditional English arr. Arthur Warrell (1883-1939) [1:34] singing with impressive self-assurance’ arr. (1872-1958) 19. A Merry Christmas International Record Review 9. This is the truth sent from above [3:02] Hugh Martin (1914-2011) and Ralph Blane (1914-1995) Cornish Traditional arr. Peter Gritton (b. 1963) [3:31] ‘Glorious, life-affirming and distinctive choral arr. John Rutter 20. Have yourself a merry little in superbly polished performances’ 10. Sans Day Carol [3:13] Gramophone Total playing time [61:54] * world premiere recording A Wells Christmas Vindication of Christmas in 1652, in which he singled out communities in the West of Traditional carol tunes have been arranged England for continuing to celebrate it. by composers for centuries, certainly from Cromwell became Lord Protector in 1653 and the time of in the early he maintained the ban on public celebrations 1600s. In Britain, carols took longer to of Christmas, underlining the point by become established, partly because the transacting government business on 25 seventeenth century was a difficult era for December. The feast was still celebrated in the celebration of Christmas. Carols had private, but it wasn’t until the Restoration often been sung by wassailers (street in 1660 that Christmas Day was re-established singers) or included in Christmas mystery in the calendar. plays, and Puritans in England tried to stamp out these tunes, especially given For at least another century, Christmas was their associations with drinking, with almost entirely a domestic festival, enjoyed secular origins, or – worst of all – with quietly at home for those fortunate enough the Roman Catholic church. It wasn’t just to have a holiday. Many were not, and carols, but the feast itself that was under working conditions during the early years threat of extinction. In 1644, Parliament of the Industrial Revolution led to the virtual decreed that since 25 December that extinction of the feast in many parts of the year was a fast day, it should kept as such, country. There were still outposts of the rather than for feasting, or ‘by giving liberty ‘traditional’ Christmas. In Jane Austen’s to carnal and sensual delights’. A month Persuasion (her last novel, published in later, Parliament attempted to abolish the 1817), Jane Austen described the celebrations public celebration of Christmas altogether: by the Musgroves at Uppercross Hall: its new Directory for the Public Worship of On one side was a table occupied by some God, a Puritan alternative to the established chattering girls, cutting up silk and gold , made no reference paper; and on the other were tressels and to Christmas at all. Cancelling Christmas trays, bending under the weight of brawn aroused considerable public resentment, and cold pies, where riotous boys were and making the celebration of Christmas a holding high revel; the whole completed punishable offence in 1647 made matters by a roaring Christmas fire, which seemed

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Photography: Rudi Wells some are narrative, some dramatic, some published in 1961 and was a tremendous including this distinctive arrangement of Master of the Choristers at Wells Cathedral, personal, a few are secular; and there are commercial success (to date, well over a A maiden most gentle. Other publishers Matthew Owens has composed some some which do not possess all the typical million copies have been sold). Four further followed the lead of Carols for , and particularly successful carols. Among the most characteristics. Simplicity, for instance, was volumes followed, with the prodigious in 1962 Novello published the anthology recent of these (published in 2016) is Lullay, often lost in the conceits of Jacobean poets, John Rutter (b. 1945) joining Willcocks as Sing Nowell. This included O leave your sheep, my liking, a setting of a famous fifteenth- who yet wrote some charming carols.’ co-editor for 2–4. Morris an arrangement of an old French carol tune century text notable for music of quiet died in November 2014 and in a broadcast by Kenneth Leighton (1929–1988), who had simplicity, continuing the tradition of carol The innate folkish simplicity of many carol tribute, Rutter said: ‘I don’t think it’s putting been composing carols of great individuality settings and arrangements that are both melodies was celebrated in the Oxford Book it too strongly to say that Christopher Morris since the 1940s. musically sophisticated and true to the of Carols, but with the growing popularity changed the whole sound of Christmas […] simpler origins of the words (and, where of carol services in , university because that volume transformed the kind Carols for Choirs 5 – was issued in 2011 to relevant, the tunes). This delicate artistic colleges and parish churches with good of music that we all sang.’ Morris also celebrate the fiftieth anniversary of the balancing act for composers was in evidence choirs, there was a growing need for a encouraged the young Rutter to compose first volume, edited by Bob Chilcott decades before the first ‘green book’ of volume that provided more elaborate carols, many of which were subsequently (b. 1955) and David Blackwell. Chilcott Carols for Choirs first appeared – not least arrangements suitable for choirs with or included in volumes of Carols for Choirs, sang in the choir of King’s College, in works like Britten’s A Boy was born and without congregations, and for new such as the endearingly lopsided Donkey Cambridge, as both a treble (he was A Ceremony of Carols – and the challenge settings. Christopher Morris (1922–2014) Carol, the delightfully ingenious and easy- the soloist on Willcocks’s famous 1967 of carol composition and arranging continues was a boy chorister at going arrangement of the west-country recording of Fauré’s Requiem) and to inspire composers to this day. who sang under Elgar before becoming Sans Day Carol and the lively Jesus Child. as a tenor, subsequently joining the at St George’s, Hanover Square David Willcocks’s arrangements of traditional King’s Singers, of which he was a member © 2016 Nigel Simeone and then taking up a position in the carols (as well as his famous ) for twelve years. His choral music ranges Music Department of Oxford University have been a central feature of Carols for from works for children’s choirs to much Press. It was Morris who had the idea Choirs from the outset, and three of his more elaborate works for chorus and of Carols for Choirs. Morris’s aim, when most engaging and inventive are included orchestra, including a Requiem. Blackwell he asked Reginald Jacques (1894–1969) here – brilliantly re-imagined versions for was Head of Music Publishing at OUP and David Willcocks (1919–2015) to produce skilled choirs that also manage to retain before becoming a freelance composer. the first volume of Carols for Choirs, was for the folk-like spirit of the originals. The Carols for Choirs 5 includes carols by the a book that would give church choirs momentum created by Carols for Choirs next generation of composers, including interesting arrangements of famous carols extended well beyond the volumes What child is this? by Thomas Hewitt Jones in one volume, along with interesting themselves, and other composers quickly (winner of the BBC Young Composer modern carols, by the likes of Benjamin took up the challenge of writing Christmas Competition in 2003). Britten, Zoltan Kodály, , music for choirs, and Andrew Carter (b. 1939) Arnold Cooke, and Phyllis Tate. It was has produced a substantial body of work, In addition to his duties as Organist and Texts Jefferson McConnaughey (b. 1952) (excluding texts in copyright) 3. In the bleak midwinter

Traditional English In the bleak midwinter arr. Bob Chilcott (b. 1955) Frosty wind made moan, 1. Sussex Carol Earth stood hard as iron, Water like a stone; On Christmas night all Christians sing, Snow had fallen, snow on snow, To hear the news the angels bring. Snow on snow, News of great joy, news of great mirth, In the bleak mid-winter News of our merciful King’s birth. Long ago.

Then why should men on earth be so sad, Our God, Heav’n cannot hold Him Since our Redeemer made us glad? Nor earth sustain; When from our sin he set us free, Heav’n and earth shall flee away All for to gain our liberty? When He comes to reign: In the bleak midwinter When sin departs before his grace, A stable-place sufficed Then life and health come in its place; The Lord God Almighty, Angels and men with joy may sing, Jesus Christ. All for to see the newborn King. Angels and archangels Traditional English May have gathered there, Cherubim and seraphim Thronged the air - Traditional French But only His mother arr. Andrew Carter (b. 1939) In her maiden bliss 2. A maiden most gentle Worshipped the Beloved y: Iain MacLeod-Jones) With a kiss.

aph Text by Andrew Carter

ogr What can I give Him, Poor as I am? (phot If I were a shepherd I would bring a lamb; ens If I were a wise man I would do my part; Yet what I can, I give Him - thew Ow t Give my heart. Ma Christina Rosetti (1830-1894) Traditional Czech Pray we now to that child, Heedless of the wind and weather, Traditional English arr. Malcolm Sargent (1895-1967) And to his mother dear, Fa la la la la, fa la la la. arr. Ralph Vaughan Williams (1872-1958) 4. Zither Carol God grant them all his blessing 9. This is the truth sent from above That now maken cheer: Traditional Welsh Text by Malcolm Sargent This is the truth sent from above, Lullay... The truth of God, the God of love; John Rutter (b. 1945) Therefore don’t turn me from your door, Matthew Owens (b. 1971) Anonymous fifteenth century 7. Donkey Carol But hearken all, both rich and poor. 5. Lullay, my liking Text by John Rutter The first thing which I do relate, Lullay, my liking, my dear son, my sweeting; Traditional Welsh Is that God did man create Lullay my dear heart, mine own dear darling. arr. David Willcocks (1919-2015) Traditional English The next thing which to you I’ll tell, 6. Deck the hall arr. David Willcocks Woman was made with man to dwell. I saw a fair maiden sitten and sing: 8. Tomorrow shall be my dancing day She lulled a little child, Deck the hall with boughs of holly, Thus we were heirs to endless woes, A Sweete lording: Fa la la la la, fa la la la, Tomorrow shall be my dancing day: Till God the Lord did interpose; ‘Tis the season to be jolly, I would my true love did so chance And so a promise soon did run Lullay... Fa la la la la, fa la la la. To see the legend of my play, That he would redeem us by his Son. Fill the mead cup, drain the barrel, To call my true love to my dance: That eternal Lord is he Fa la la la, fa la la la, And at that season of the year That made alle thing; Troll the ancient , Sing O my love, O my love; Our blest Redeemer did appear; Of alle lordes he is Lord, Fa la la la la, fa la la la. This have I done for my true love. He here did live, and here did preach, Of alle kinges King: And many thousands he did teach. See the flowing bowl before us, Then was I born of a virgin pure, Lullay... Fa la la la la, fa la la la, Of her I took fleshly substance; Thus he in love to us behaved, Strike the harp and join the chorus, Thus was I knit to man’s nature, To show us how we must be saved There was mickle melody Fa la la la la, fa la la la. To call my true love to my dance: And if you want to know the way, A that childes birth: Follow me in merry measure, Be pleased to hear what he did say. Although they were in heaven’s bliss Fa la la la, fa la la la, Sing O my love... They made mickle mirth: While I sing of beauty’s treasure, Traditional English Fa la la la la, fa la la la. In a manger laid and wrapp’d I was, Lullay... So very poor, this was my chance, Fast away the old year passes, Betwixt an ox and a silly poor ass, Angels bright they sang that night Fa la la la la, fa la la la, To call my true love to my dance: And saiden to that child Hail the new, ye lads and lasses, ‘Blessed be thou, as so be she Fa la la la la, fa la la la. Sing O my love... That is both meek and mild: Laughing, quaffing, all together, Fa la la la, fa la la la, Traditional English Lullay... Cornish Traditional Bob Chilcott arr. John Rutter 12. The Sparrow’s Carol 10. Sans Day Carol Text by Charles Bennett (b. 1954) Now the holly bears a berry as white as the milk, And Mary bore Jesus, Thomas Hewitt Jones (b. 1984) who was wrapped up in silk: 13. What child is this?

And Mary bore Jesus Christ What Child is this who, laid to rest our Saviour for to be, On Mary’s lap is sleeping? And the first tree in the greenwood, Whom Angels greet with sweet, it was the holly. While shepherds watch are keeping? This, this is Christ the King, Now the holly bears a berry Whom shepherds guard and Angels sing; as green as the grass, Haste, haste, to bring Him laud, And Mary bore Jesus, The Babe, the Son of Mary. who died on the cross: Why lies He in such mean estate, And Mary bore... Where ox and ass are feeding? Good Christians, fear, for sinners here Now the holly bears a berry The silent Word is pleading. as black as the coal, Nails, spear shall pierce Him through, And Mary bore Jesus, The cross be borne for me, for you. who died for us all: Hail, hail the Word made flesh, The Babe, the Son of Mary. And Mary bore... So bring Him incense, gold and myrrh, Now the holly bears a berry, Come peasant, king to own Him; as blood is it red, The King of kings salvation brings, Then trust we our Saviour, Let loving hearts enthrone Him. who rose from the dead: Raise, raise a song on high, The virgin sings her lullaby. And Mary bore... Joy, joy for Christ is born, The Babe, the Son of Mary. Traditional Cornish William Chatterton Dix (1837-98) om Lindsey y: T aph ogr Phot John Rutter Traditional French James Lord Pierpont (1822-93) Traditional English 14. Jesus Child arr. Kenneth Leighton (1929-88) arr. David Willcocks arr. Arthur Warrell (1883-1939) 16. O leave your sheep 17. Jingle, bells 19. A Merry Christmas Text by John Rutter O leave your sheep, Dashing thro’ the snow We wish you a merry Christmas, Your lambs that follow after, In a one horse open sleigh, We wish you a merry Christmas, Traditional English O leave the brook, O’er the fields we go, We wish you a merry Christmas arr. John Rutter The pasture and the crook, Laughing all the way; And a happy New Year. 15. I saw three ships No longer weep, Bells on Bobtail ring, Turn weeping into laughter, Making spirits bright; Now bring us some figgy pudding, I saw three ships come sailing in O shepherds, seek your goal. What fun it is to ride, and sing Now bring us some figgy pudding, On Christmas Day in the morning. Your Lord, who cometh to console. A sleighing song tonight. Now bring us some figgy pudding and bring some out here. Pray wither sailed those ships all three You’ll find him laid Jingle, bells, jingle, bells, jingle all the way; On Christmas Day in the morning? within a simple stable, Oh, what fun it is to ride in a one horse open sleigh! Good tidings we bring A babe new born, To you and your kin; O, they sailed into in poverty forlorn, Now the ground is white; We wish you a merry Christmas On Christmas Day in the morning. In love array’d, Go it while you’re young, And a happy New Year. A love so deep ‘tis able Take the girls tonight, And who should be in those three ships To search the night for you, And sing this sleighing song. For we all like figgy pudding, But Joseph and his Lady? ‘Tis he! The Shepherd true. Just get a bobtailed bay, We all like figgy pudding, Two-forty for his speed; We all like figgy pudding, And he did whistle and she did sing O kings so great, Then hitch him to an open sleigh So bring some out here. On Christmas Day in the morning. a light is streaming o’er you, And crack! you’ll take the lead. More radiant far Good tidings... And all the bells on earth shall ring than diadem or star, Jingle, bells... On Christmas Day in the morning. Forego your state, And we won’t go till we’ve got some, A baby lies before you James Lord Pierpont We won’t go till we’ve got some, And all the angels in heav’n shall sing Whose wonder shall be told: And we won’t go till we’ve got some, On Christmas Day in the morning. Bring myrrh, bring frankincense and gold. So bring some out here.

Then let us all rejoice amain Traditional French Good tidings... On Christmas Day in the morning. Traditional English Traditional English Hugh Martin (1914-2011) and Ralph Blane (1914-1995) arr. Peter Gritton (b. 1963) 20. Have yourself a merry

Text by Hugh Martin and Ralph Blane Wells Cathedral Choir Queen’s Music), Tarik O’Regan, John Rutter, Howard Skempton, and Sir . Wells Cathedral Choir was hailed in 2011 by an international jury from Gramophone Wells Cathedral Choir broadcasts regularly magazine as the greatest choir with children on BBC Radio 3 and its innovative recordings in the world, and the sixth greatest overall. over the last eleven years for Hyperion The choir celebrated its 1100th birthday in Records and Regent Records have won 2009: boys first sang at Wells Cathedral in international praise and has had two discs 909 and the full choral tradition dates back made Editor’s Choice in Gramophone over 800 years. In 1994 the choral foundation magazine. at Wells was enriched by the addition of girl choristers. Today the choir consists of 18 boy As well as the liturgical musical repertoire y: Iain MacLeod-Jones) choristers, 18 girl choristers and 12 Vicars the choir performs larger scale choral works aph Choral (the men of the choir). The boys and in concert, with recent collaborations ogr girls usually sing separately with the Vicars including the BBC National Orchestra of (phot Choral but occasionally come together for Wales (Britten War Requiem), Jools Holland larger events and tours. and his band (Jools Holland ), Wells Cathedral Oratorio Society (Britten St Nicolas tmas 2015 The choir is at the heart of the worshipping and War Requiem),Dame Felicity Lott, Dame life of the Cathedral, and sings a wide Emma Kirkby, James Bowman CBE, and

al, Chris repertoire of music ranging from the Wells Cathedral School Chamber Orchestra Renaissance period to the present day. It (at a royal gala concerts at the Royal Opera thedr sings throughout the cathedral’s festival, House, Covent Garden, and St James’s launched in June 2008: new music wells, Palace, London). In September 2014 the ells Ca giving a number of premieres as well as choristers sang with the Berlin Radio Choir featuring music from the previous forty and the Berlin Philharmonic Orchestra s of W er t years. It has premiered works from some under the baton of Sir Simon Rattle OM, in a of today’s finest composers, including performance of Bach’s St Matthew Passion Lord Michael Berkeley CBE, Judith Bingham, at the BBC Proms. Geoffrey Burgon, Bob Chilcott, Jonathan Dove, Gabriel Jackson, , Sir The choir has toured extensively with recent James MacMillan CBE, Sir Peter Maxwell tours to France, Germany, The Netherlands, Davies CH CBE (former Master of the Hong Kong and Beijing. The boy and girl choris Jonathan Vaughn (organ) Dame Gillian Weir. Matthew Owens (conductor) He is Musical Director of the Wells Cathedral Oratorio Society, a chorus of over 150 singers Jonathan Vaughn was born in Croydon in On leaving St John’s he spent three years as Matthew Owens became Organist and Master with which he has performed many major 1981 into a musical British-American family. Assistant Director of Music at St Edmundsbury of the Choristers of Wells Cathedral in January works by J.S. Bach, Bernstein, Brahms, Britten, As a boy he sang in the Addington Palace Cathedral. While at St Edmundsbury Cathedral 2005, having previously been Organist and Elgar, Fauré, Finzi, Handel, Purcell, Rutter, Choristers under Martin How whose he played for services commemorating the Master of the Music at St Mary’s Episcopal Vaughan Williams, Verdi and Vivaldi, with encouragement led to his appointment completion of the Cathedral Tower, and was Cathedral, Edinburgh, and Sub Organist of some of the south of England’s leading as at Croydon Parish Church Musical Director of the St Edmundsbury . In addition to being professional orchestras. Matthew has directed at the age of thirteen. He attended St Singers and the Phoenix Singers. responsible for the 1100 year old tradition choral workshops and summer schools Olave’s Grammar School in Orpington, of daily sung worship at Wells Cathedral, throughout the UK and abroad – including where he began his organ studies at the In 2007 he moved to his present position of Matthew has toured, broadcast, and recent visits to , China, Germany, age of eleven with Simon Williams and Assistant Organist of Wells Cathedral. His recorded extensively with Wells Cathedral Hong Kong, Luxembourg, , and before reaching seventeen he had gained principal duty is to the Cathedral’s daily round Choir. Matthew is the Founder Artistic Director the USA – and has made over thirty recordings both diplomas from the Royal College of of services and the nurturing of its choristers’ of three initiatives at Wells: Cathedral as a conductor with major labels including , winning most of the prizes. On talents and extra-liturgically he has played the Commissions, a scheme which commissions Hyperion, Signum, and Resonus Classics. leaving school Jonathan spent a year as organ for several recordings of contemporary new works from pre-eminent British Organ Scholar at St George’s Chapel, composers and toured internationally with composers; the cathedral’s innovative As an organist, Matthew has given recitals in Windsor Castle. the Cathedral Choir. In 2009 he played the festival, new music wells; and its counterpart, Australia, France, Ireland, Spain, , organ and directed the choir for the funeral Early Music Wells. New Zealand, the USA, and throughout the For four years he was Organ Scholar at St of Harry Patch, the Last Fighting Tommy. UK, including many festival appearances, and John’s College, Cambridge under Dr Matthew was educated at Chetham’s School at venues such as St Paul’s Cathedral, Christopher Robinson and Dr David Hill. Jonathan regularly performs recitals around of Music; The Queen’s College, Oxford; the Westminster Cathedral, and St John’s Smith At St John’s, Jonathan accompanied and the UK, and has also played in The Netherlands Royal Northern College of Music; and the Square, and is currently performing the assisted in the direction of the world and Poland. In 2014 he made his United States Sweelinck Conservatorium, Amsterdam. complete works of Bach at Wells Cathedral famous choir, toured around the world, and debut with a five recital tour. He is also Musical His major organ studies were with Gordon over a series of thirty-six recitals. He has accompanied broadcasts and recordings, Director of the Somerset Singers, a ninety Stewart, Margaret Phillips, and Jacques van championed new music, particularly of including acclaimed performances of the strong choir whose performances have Oortmerssen. From 1994-99, he was Tutor British composers, conducting over 180 works of Sir and Sir included Elgar’s The Dream of Gerontius and in Organ Studies at the RNCM and Chetham’s, world premieres, including works by leading Edward Elgar on the Naxos label. At Verdi’s Requiem, and teaches the organ at and worked for BBC Religious Broadcasting; composers ranging from Jools Holland to Cambridge he became increasingly busy Wells Cathedral School. he was Conductor of The Exon Singers from Sir James MacMillan, and John Rutter to as a conductor, including being an Assistant 1997-2011, and President of the Cathedral Sir Peter Maxwell Davies. As a composer Conductor of Cambridge University Musical Organists' Association from 2010-13. himself, he is published by Oxford University Society. During this time he studied with Press and Novello. More titles from Resonus Classics Wells Cathedral Choir Altos Simon Clulow Dancing Day: Music for Christmas Boy Choristers Stephen Harvey Saint Thomas Choir of Men and Boys, Tom Bates Damien Macedo Fifth Avenue, New George Blundell Tim Wilson (conductor) Dylan Cox RES10158 Henry Dukes Tenors Hugo Fisher Edward Goater ‘The abiding impression is one of intimacy, innocence and wonder [...] This is a moving, James Gooding †† Iain MacLeod-Jones memorable recital’ Xavier Hobday-Padamadan Matthew Minter BBC Music Magazine (Christmas Choice 2015) Alexei James-Cudworth Ben Tambling Robert King Jack Wilde Nova! Nova!: Contemporary Carols from St Catharine’s Hugh Latta † The Choirs of St Catharine’s College, Cambridge Ozzie Latta Basses Edward Wickham (conductor) James MacGeoch Craig Bissex RES10159 Bailey Roberts William Drakett † Taylor Thompson Andrew Kidd ‘[...] a wide range of styles [...] unified by a thread Christopher Sheldrake of tenderness and warmth that runs through the Girl Choristers whole disc.’ The Telegraph Rosa Bonnin Harriet Carlill * Soloist, track 5 Carla Coombs † Soloist, track 9 Erin Davies †† Soloist, tracks 8 & 13 Niamh Davies © 2016 Resonus Limited Orla Donoghue è 2016 Resonus Limited Recorded in Wells Cathedral, Somerset on 24-25 February and Eliza Green Thanks are due to the Molly Johnson 2-3 March 2016 by kind permission of the Chapter. following for their assistance Producer, engineer and editor: Adam Binks Frederica Lindsey-Coombs in the making of this recording: Recorded at 24-bit/96kHz resolution (DDD) Beth Mitton Cover image: Christmas glittering stars by Hollygraphic (fotolia.com) Jessica Morell Bryan Anderson (Senior Organ Scholar) RESONUS LIMITED – UK Sophie Morrell Elsa van der Zee Harriet Perring Peter Kingston [email protected] Madeleine Perring * Stuart and Kathryn Beer www.resonusclassics.com Astrid Rose-Edwards RES10176