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Le Quintette date de 1932, l’une des premières années musicaux, et sous l’influence de son professeur Vincent de la prolifique carrière de Françaix. Le bref premier d’Indy, finit par se faire connaître comme un compositeur mouvement, Andante tranquillo, présente un aspect au style néoclassique extrêmement individuel. Si son sens FRENCH FLUTE gracieux et tendre. La limpide mélodie est confiée à la flûte, du chromatisme lui venait sans doute de la tradition de les cordes et la harpe soutenant la régularité rythmique. Un Wagner et Franck, il sut finalement trouver une marque vif Scherzo à 3/4 marqué Presto, léger, délicat et unique et distinctive. CHAMBER MUSIC virevoltant, évoque une danse. La stabilité atteint un pic La Sérénade nous montre un Roussel parvenu au faîte d’agitation vers la section centrale du mouvement, et à de sa période néoclassique. A partir du milieu des années partir de là l’ensemble de cordes et la flûte se joignent à 1920, il s’intéressa plus particulièrement à la discipline et Tournier • Schmitt • Pierné l’exaltation générale. Le mouvement s’achève par un retour à la structure de la musique de chambre. Dédiée au flûtiste de l’esprit de sa section d’ouverture. L’Andante, sur un René le Roy, la Sérénade met en valeur, de par sa nature schéma alterné de mesures à 5/4 et 3/4, évoque les même, le rôle de l’instrument à vent. L’ouvrage est souple Françaix • Roussel souvenirs d’une simple mélodie appartenant à un passé et gracieux, teinté d’un certain humour rare chez Roussel. lointain. Le quatrième mouvement, Rondo, s’appuie sur la Le premier mouvement Allegro obéit à la forme-sonate, chanson comique populaire “Savez-vous planter les choux” son trait le plus frappant étant son flux rythmique interne. Mirage Quintet et donne une impression de mouvement perpétuel, comme Le second mouvement Andante débute par un dessin une course joyeuse et juvénile. mélodique confié à la flûte et joué au-dessus des harmonies Albert Roussel : Sérénade op. 30 pour Flûte, Harpe, lentement changeantes des cordes, formant un brocart aux Violon, Alto et Violoncelle textures et aux coloris délicats. Avec la ravissante entrée de Devenu orphelin à sept ans, marin dès l’âge de dix-huit la harpe, le mouvement atteint son niveau d’expression le ans, les hasards de la vie et ses propres choix firent de plus intense. L’énergie du troisième mouvement Presto, Roussel un homme éloigné des modes. Le sentiment de forme ternaire, progresse avec légèreté jusqu’à une d’isolement qu’il éprouva très jeune, à la fois du point de conclusion débonnaire. vue familial et de l’éducation musicale traditionnelle, lui La Sérénade fut composée à la fin de l’été 1925 et fut permit de cultiver sa propre identité artistique. Pendant créée en octobre de cette même année lors d’un festival toutes ses années de service dans la Marine, Roussel parvint organisé par le Société Musicale indépendante de Paris. à mener des études indépendantes, mais en 1894 il démissionna et partit à Paris poursuivre une carrière de Renée Silberman, 2008 musicien. Roussel absorba toute la palette des idiomes Traduction: David Ylla-Somers

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French Chamber Music for Flute, Harp and Strings Marcel Tournier : Suite op. 34 Vigueur, élégance et passion sont parmi les attributs de Marcel Tournier (1879-1951): Suite, Op. 34 Marcel Tournier, interprète, pédagogue et compositeur la Suite en rocaille. Cette pièce fut présentée le 21 juin Florent Schmitt (1870-1958): Suite en rocaille, Op. 84 éminent, était une figure phare parmi les harpistes et les 1937 durant le quinzième Festival de la Société Gabriel Pierné (1863-1937): Variations libres et finale, Op. 51 aficionados de cet instrument. Tournier ne fut pas internationale de Musique Contemporaine, et Nicolas Slonimski en parla comme d’“une œuvre dans un élégant Jean Françaix (1912-1997): Quintette uniquement un important défenseur de la théorie et de la pratique de la harpe : sa singularité de musicien fut une style rococo signée Florent Schmitt, doyen des modernistes Albert Roussel (1869-1937): Sérénade, Op. 30 source d’inspiration pour de nombreux compositeurs, et français.” The magic and originality of fin-de-siècle French aesthetics Constantly exploring the tonal possibilities of the harp, notamment Fauré, qui composa des œuvres pour le maître (Henri Constant) Gabriel Pierné : Variations libres et were not the result of spontaneous combustion, but rather an Tournier advanced the expressive capacity of his instrument. harpiste. finale op. 51 unusual confluence of historic happenings. In music, the The opening movement, Soir, begins in a plaintive vein Tournier apporta sa propre contribution au répertoire Pierné joua un rôle assez important dans les progrès épiques nascent search for a fresh voice was magnetically drawn at which is succeeded by a sweep of accelerated momentum, pour harpe avec des compositions qui exploitaient tout le de la musique française au tournant du XXè siècle. Plus the outset to the potent Wagnerian model; however, in the eventually returning to a pensive conclusion. The second potentiel de cet instrument. La Suite révèle bon nombre qu’un témoin des temps, c’était un conservateur de la wake of the Franco-Prussian War (1870-71), political movement Danse is scored as lushly as a tropical breeze. A des qualités associées à la musique française du XXè tradition romantique et du répertoire français du XIXè tensions subtly effected a desire for emancipation from languid melody belongs to the flute, but the harp, in its siècle : des tournures de phrases raffinées, des textures et siècle. Ami de toujours de Debussy, Pierné employa sa Germanic cultural values. Composers found inspiration in surging fullness, provides the foundation of the movement. des coloris limpides. Explorant sans relâche les possibilités profonde intelligence musicale pour condenser les éléments literature and visual art or they took a serious look at the pre- The third movement Lied is introspective and thoughtful, tonales de la harpe, Tournier fit progresser les capacités essentiels du style moderne. La première qualité qu’on lui Romantic musical traditions of their own land. The while the fourth, Fête, contains poetic elements, by turns expressives de son instrument. reconnaissait était l’élégance. distinctive flavour of French music of the late nineteenth serious and playful. The writing is compact and richly Le mouvement initial, Soir, débute dans une veine Pierné composa ses Variations libres et finale en 1933 and early twentieth centuries evolved as part of a process of textured. plaintive ; après une accélération, c’est le retour du calme pour le Quintette instrumental de Paris. La combinaison self-discovery and renewal. Traits now associated with turn Florent Schmitt: Suite en rocaille, Op. 84 pour une conclusion pensive. Le second mouvement, de flûte, violon, alto, violoncelle et harpe permettait de of the century ideals included delicate shadings of sound, Florent Schmitt lived a full, robust life in the world of music. Danse, présente une orchestration aussi luxuriante qu’une confier à chaque instrument un rôle autonome, leur union exotic chromaticism and new rhythmic pulses. All the Composer, pianist, and critic, he viewed himself as an artist brise tropicale. Une langoureuse mélodie est confiée à la donnant à l’ensemble sa cohésion. L’écriture des Variations composers represented on this recording in their writings outside any particular school. The facts perhaps suggest flûte, mais c’est la harpe qui par sa plénitude donne au est virtuose, avec un contrepoint serré, une légèreté et une share attributes of clarity and refinement, brio, wittiness otherwise, at least concerning his rôle as a composer. mouvement son assise. Le troisième mouvement, Lied,est pureté dénotant sans doute l’influence de Ravel et de and a subtle sensuality that permeates the music of the Schmitt was a contemporary of Ravel, a fellow member of introspectif et songeur, tandis que le quatrième, Fête, Roussel, mais qui proviennent largement du propre cœur de period. The profound influence of Debussy and Ravel can Les Apaches, a group of young artists who joined together contient des éléments poétiques, tour à tour sérieux et Pierné. be felt in these works which are fruits of the first half of the for discussions of contemporary aesthetics. He studied under espiègles. L’écriture est compacte et la texture opulente. Le preste finale, sorte de divertissement destiné à mettre twentieth century and the culmination of a dramatic chapter Fauré and was greatly influenced by Debussy. His work Florent Schmitt : Suite en rocaille op. 84 les solistes en valeur, est écrit dans le mode lydien et ses in French art. shows definite links to the tradition of Impressionism. He Florent Schmitt mena une existence de musicien solide et rythmes débordent de vitalité. Une influence ibérique se Marcel Tournier: Suite, Op. 34 was a founding member of the Société Musicale actif. Compositeur, pianiste et critique, il se considérait fait jour vers sa conclusion, suivie de la réapparition de Marcel Tournier, distinguished performer, pedagogue and Indépendante in 1909. Off and on over many years Schmitt comme un artiste n’appartenant à aucune école particulière. l’exposition, à l’unisson, puis d’une évocation du récitatif composer, was a figure of great stature among harpists and contributed criticism to a number of important journals. Les faits semblent le contredire, du moins en ce qui du thème original. aficionados of the instrument. Tournier was not only a major Vigour, elegance and passion are attributes of the Suite concerne ses activités de compositeur. Schmitt était un Jean Françaix : Quintette pour Flûte, Violon, Alto, exponent of the theory and practice of the harp – his en rocaille. This work was presented on 21st June 1937 at contemporain de Ravel, comme lui membre des Apaches, Violoncelle et Harpe singularity as a musician was a source of inspiration to the fifteenth Festival of the International Society for groupe de jeunes artistes qui se réunissaient pour discuter Françaix était un musicien grand style. Ses compositions numerous composers, among them Fauré, who created Contemporary Music, and was listed by Nicolas Slonimsky d’esthétique moderne. Il fut l’élève de Fauré et fut sont pleines d’animation et de délicieuses étincelles works for the master. as “a work in an elegant rococo style by the dean of French profondément influencé par Debussy. Son œuvre présente spirituelles. Il ne chercha pas à s’éloigner des formes tonales Tournier himself contributed to harp literature with modernists, Florent SCHMITT.” d’indéniables liens avec la tradition de l’impressionnisme. familières, conservant la structure classique exposition- compositions that demonstrated the full potential of the (Henri Constant) Gabriel Pierné: Variations libres et En 1909, il fut l’un des membres-fondateurs de la Société développement-récapitulation dans la plupart de ses œuvres. instrument. The Suite reveals many of the qualities finale, Op. 51 Musicale Indépendante. Pendant de nombreuses années, Il adorait le coloris tonal et n’hésitait pas à écrire pour des associated with French music of the twentieth century: Pierné occupied a not insignificant niche in the epic advance Schmitt rédigea épisodiquement des critiques pour combinaisons d’instruments inhabituelles. Son style se refined turn of phrases, pellucid textures and colours. of French music at the turn of the twentieth century. He was plusieurs revues importantes. caractérise par son élégance et son charme plein d’esprit. 8.570444 2 7 8.570444 570444bk Tournier:570034bk Hasse 4/6/09 10:56 AM Page 6

Winona Zelenka more than a witness of the times – Pierné was a conservator patterns of 5/4 and 3/4 rhythm, evokes memories of a simple The cellist Winona Zelenka obtained her Bachelor of Music and Artist Diploma at of the Romantic tradition and of nineteenth-century French melody drawn from the distant past. The fourth movement the University of Indiana, and studied with the legendary János Starker. Ontario repertoire. A longtime friend of Debussy, Pierné employed Rondo is based on the humorous folksong Savez-vous born and raised, her main teachers included William Findlay, Vladimir Orloff and his deep musical intelligence in encapsulating the essentials planter les choux? and conveys a feeling of perpetual William Pleeth. As a soloist she has performed with the Toronto Symphony of the modern style. Elegance was considered his hallmark motion, a joyous, youthful, sprint. Orchestra, the Mississauga Symphony, the Scarborough Philharmonic, and the characteristic. Albert Roussel: Sérénade Op. 30, for Flute, Harp, Violin, Photo: Elaine Ling Huronia Sinfonietta. A proponent of new music, she gave the world première of Pierné composed Variations libres et finale in 1933 for Viola and Cello Invocation II for cello and orchestra with Huronia Sinfonietta, a work written for her the Quintette Instrumental de Paris. The combination of Orphaned by the age of seven, a seafarer from the age of by Canadian composer Michael Pepa. Winona Zelenka is currently serving as Acting flute, violin, viola, cello and harp lent itself to a kind of eighteen, Roussel was by chance and choice a man apart Principal of the Toronto Symphony Orchestra, and has held that position since the writing in which each instrument enjoys an autonomous from the mainstream. His early sense of isolation, both from 2004/2005 season. She has also been Assistant Principal of the Santa Fe Opera rôle that when put together forms a unified whole. The family and traditional musical education were a fine Orchestra since 2005, and served as Principal during the summers of 2007 and 2008. writing of the Variations is virtuosic, with tight counterpoint, stimulus for him to cultivate his own musical voice. A dedicated recitalist and chamber musician, she recently formed Trio Arkel with a lightness and translucence perhaps suggestive of the Throughout his years of service in the Navy, Roussel violinist Marie Bérard and violist Teng Li. She plays the “Starker Guanerius”, influence of Ravel and Roussel, but very much from the managed to advance his studies independently, but in 1894 formerly owned by János Starker, on loan to the Toronto Symphony Orchestra for heart of Pierné himself. he resigned his commission and went to Paris to pursue a her use, thanks to the generosity of Dr Edward Pong. Her début CD was recorded The finale, written in the Lydian mode is agile and on this cello. www.winonazelenka.com. musical career. Roussel absorbed the gamut of musical rhythmically vital. It could be considered a divertissement language, and under the influence of his teacher Vincent for soloistic display. An Iberian influence appears toward the d’Indy, eventually emerged as a composer with a highly conclusion and is followed by the reappearance of the personal neo-classical style. His sense of chromaticism may exposition, in unison, followed by an evocation of the have flowed from the Wagnerian-Franckian tradition, but in récitative of the original theme. the end, revealed a unique, distinctive flavour. Jean Françaix: Quintette for Flute, Violin, Viola, Cello The Sérénade shows Roussel entering the prime of his and Harp. neo-classical period. From the mid-1920s onward, he Musique de chambre française pour flûte, harpe et cordes Françaix was a man of musical high style. His compositions demonstrated a particular interest in the discipline and Marcel Tournier (1879-1951) : Suite op. 34 exude animation and a witty, charming spark. He did not structure of chamber music. Dedicated to the flautist René Florent Schmitt (1870-1958) : Suite en rocaille op. 84 seek to move away from familiar tonal forms, and he le Roy, the Sérénade by its very nature emphasizes the rôle Gabriel Pierné (1863-1937) : Variations libres et finale op. 51 preserved classical exposition-development-recapitulation of the wind instrument. The work is supple and graceful, structures in much of his music. He loved tonal colour and with, for Roussel, a rare touch of humour. The first Jean Françaix (1912-1997) : Quintette felt no hesitation is writing for unusual combinations of movement Allegro follows sonata form, its arresting feature Albert Roussel (1869-1937) : Sérénade op. 30 instruments. It is spirited elegance and charm that define of interest being the internal rhythmic current. The second La magie et l’originalité de l’esthétique française fin de française de la fin du XIXè siècle et du début du XXè se Françaix. movement Andante begins with a strand of melody given to siècle ne furent pas le résultat d’une combustion spontanée, développa dans le cadre d’un processus de découverte de The Quintette dates from 1932, an early year in the flute and played above the slowly changing harmonies mais plutôt la confluence insolite d’événements historiques. soi et de renouveau. Parmi les traits désormais associés aux Françaix’s prolific career. The brief first movement Andante of the strings, forming a brocade of delicate texture and En musique, la quête naissante d’une voix nouvelle était idéaux du tournant du siècle, on dénombrait de délicates tranquillo possesses a graceful and tender aspect. The colour. With the exquisite entry of the harp, the movement irrésistiblement inféodée au pesant modèle wagnérien ; nuances sonores, un chromatisme exotique et de nouvelles flowing melody belongs to the flute, the strings and harp, all achieves its most intense level of expressive meaning. The toutefois, dans le sillage de la Guerre franco-prussienne pulsations rythmiques. Tous les compositeurs représentés sustaining rhythmic steadiness. A lively Scherzo, marked energy of the third movement Presto in ternary form, drives (1870-71), les tensions politiques menèrent subtilement à sur cet enregistrement ont pour attributs communs une Presto in 3/4 time, has a dance-like quality, light, delicate forward with a light touch to a high-spirited conclusion. un désir d’émancipation des valeurs culturelles écriture claire et raffinée, du brio, de l’esprit et une subtile and whirling. There is a steadiness brought to a pitch of The Sérénade was composed late in the summer of 1925 germaniques. Les compositeurs puisèrent leur inspiration sensualité qui baignait alors toute la musique. On ressent la excitement as the movement approaches its central section, and was first performed in October of that year at a festival dans la littérature et les arts plastiques ou se penchèrent profonde influence de Debussy et de Ravel dans ces and from there, the string ensemble and flute join in the organized by the Société Musicale Indépendante in Paris. sérieusement sur les traditions musicales pré-romantiques œuvres, fruits de la première moitié du XXè siècle et exhilarating play. The movement ends with a return to the de leur propre pays. La saveur distinctive de la musique apogée d’un chapitre majeur de l’histoire de l’art en France. spirit of its opening section. The Andante, in alternating Renée Silberman, 2008 8.570444 6 3 8.570444 570444bk Tournier:570034bk Hasse 4/6/09 10:56 AM Page 4

Robert Aitken Jacques Israelivitch After his studies in flute with Nicolas Fiore in Toronto (1955–59), Robert Aitken was After making his début on French National Radio at the age of eleven, Jacques appointed principal flute of the Vancouver Symphony. He later served as second flute Israelievitch went on to graduate from the Paris Conservatoire at sixteen and was player for the CBC Radio Orchestra (1960–64) and co-principal with the Toronto subsequently prize-winner at the International Paganini Competition. His teachers Symphony (1965–70). Aitken studied with Marcel Moyse intermittently over a period include Henryk Szeryng, János Starker, William Primrose, and Josef Gingold. As a of nine years in Vermont and Europe, a profound influence on his development as a soloist he has collaborated with Solti, Giulini, Slatkin, Davis, and Frühbeck de

Photo: André Leduc musician. He also worked with Jean-Pierre Rampal (Paris, Nice), Severino Gazzelloni Burgos, appearing with many of the world’s major orchestras. As a distinguished (Rome), André Jaunet (Zurich), and Hubert Barwähser(Amsterdam). His competition chamber musician, he has performed with Emanuel Ax, Yefim Bronfman and Yo- prizes include the Concours international de flûte de Paris (1971) as well as the Concours Yo Ma, and is violinist for the twice Naumburg Award recipient New Arts Trio. He international de flûte pour la musique contemporaine in Royan, France (1972). He has Photo: Cylla von Tiedemann served as Concertmaster of the Toronto Symphony Orchestra for a record-setting given master-classes in a number of countries, including Cuba, France, Germany, twenty years, and was formerly Assistant Concertmaster of the Chicago Symphony Hungary, Iceland, Mexico, Norway, Poland, Sweden, and the United States. Aitken Orchestra for six years and Concertmaster of the Saint Louis Symphony Orchestra has more than forty recordings to his credit and John Cage, George Crumb, Elliott for ten years. He is currently chair of strings at the Chautauqua Institution and a Carter, Toru Takemitsu, Gilles Tremblay and Bruce Mather have dedicated works to full-time faculty member at York University in Toronto. In growing demand as a him. Among his many awards as both a composer and flautist are the Canada Music conductor, he has been Music Director of the Koffler Chamber Orchestra since 2005. Citation, the Canadian Music Council Medal, the Jean A. Chalmers National Music His discography features more than a hundred albums. In 2004 the French Award, the Order of Canada, and the William Harold Moon Award. He holds the title government named him Officer of the Order of Arts and Letters. He is also the of Chevalier de l’Ordre des Arts et des Lettres from the government of France and was recipient of a Lifetime Achievement Award for his distinguished contribution to the presented with a Lifetime Achievement Award by the National Flute Association (USA) performing arts in Canada. in 2003. In 2004 he retired as Professor of Flute at the Hochschule für Musik in Freiburg, a post he had held for sixteen years. In 1971 he founded New Music Concerts with Teng Li Norma Beecrott and continues to serve as NMC’s Artistic Director. Teng Li was appointed Principal Viola of the Toronto Symphony Orchestra in 2004 at the astonishing age of 21. Her engagements have included Bartók’s Viola Erica Goodman Concerto, Berlioz’s Harold in Italy, Mozart’s Sinfonia Concertante and Strauss’s Born in Toronto, Erica Goodman received her training as a harpist at the Royal Don Quixote. She has given recitals in Asia, Europe, and North America and her Conservatory of Music there, the National Music Camp at Interlochen, Michigan, performances have been broadcast by North American and European public radios. and the Curtis Institute of Music in Philadelphia. Already in her teens, she played under As a chamber musician she has participated in many prestigious festivals, including the baton of Igor Stravinsky when he recorded in Toronto, and was a concerto soloist Photo: Lindsay Lozon Marlboro, Santa Fe, and Caramoor, and has collaborated with the Guarneri Quartet, with the Philadelphia Orchestra. She also was a member of the National Arts Centre and performed at Carnegie Hall’s Weill Recital Hall. She is also a member of the Photo: Moy Nahon Orchestra under Mario Bernardi and was featured as soloist at the orchestra’s New prestigious Lincoln Center Chamber Music Society Two. A recipient of numerous York début. She is currently a member of Toronto’s Esprit Orchestra which specialises awards, Teng Li was the first prize-winner at the Johansson International and the in contemporary music. In chamber music she has a long association with colleagues Holland-America Music Society competitions, and second prize-winner at the 2003 such as the flautist Robert Aitken, oboist Lawrence Cherney and Trio Lyra, and with Primrose International Viola Competition and the Irving M. Klein International the Swedish horn-player Sören Hermansson has performed old and newly String Competition. She was accepted into the Central Conservatory in Beijing in commissioned works for French horn and harp. She is a charter member of Toronto’s 1992 and at sixteen entered the Curtis Institute of Music in Philadelphia, where her New Music Concerts Ensemble, which has recorded for Naxos the music of Toru teachers were Michael Tree and Joseph DePasquale. Takemitsu (8.555859) and George Crumb (8.559205). In addition to performing extensively abroad, she has many recordings to her credit. In 1995, she won a Juno for her solo BIS CD Erica Goodman Plays Canadian Harp Music. In 1980 she won the Grand Prix du Disque for her BIS recording Flute and Harp with Robert Aitken. NOW magazine selected her as Best Canadian Classical Musician in its 1996 “Best of Toronto” readers’ poll. ericagoodman.tripod.com

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C M Y K 8.570444 8 Also available:

8.550934 8.554561

8.557356 8.570529 NAXOS NAXOS The five composers on this disc share the clarity and refinement, brio and wit, and subtle sensuality that permeate French music in the early years of the twentieth century. Each found in literature, the visual arts and the music of Debussy and Ravel touchstones for their own compositions, while expressing their individual personalities. Refinement and pellucid textures characterise Tournier’s Suite; vigour, elegance and passion Schmitt’s. Françaix’s 8.570444 FRENCH FLUTE CHAMBER MUSIC Quintet, much-loved for its charm and delicacy, matches Roussel’s neo-classical Serenade and FRENCH FLUTE CHAMBER MUSIC complements Pierné’s virtuosic and translucently scored Variations. DDD Playing Time FRENCH FLUTE CHAMBER MUSIC 63:53 Marcel TOURNIER (1879–1951) Gabriel PIERNÉ (1863–1937) Suite, Op. 34 13:46 9 Variations libres et finale, 1 I. Soir: Calme et expressif 3:26 Op. 51 10:52 2 II. Danse: Naïvement 2:01 Jean FRANÇAIX (1912–1997) 3 III. Lied: Assez lent, avec Quintette 9:16 mélancolie 3:22 0 I. Andante tranquillo 2:27 4 IV. Fête: Animé 4:48 ! II. Scherzo 2:30 Florent SCHMITT (1870–1958) @ III. Andante 2:40 Suite en rocaille, Op. 84 13:41 # www.naxos.com ൿ IV. Rondo 1:30 Printed & Assembled in USA Disc Made in Canada Booklet notes in Englis Ltd. Naxos Rights International 5 I. Sans hâte 3:40 Albert ROUSSEL (1869–1937) & 6 II. Animé 3:49 Sérénade, Op. 30 15:53 Ꭿ

7 2009 III. Sans lenteur (mouvement très $ I. Allegro 4:32 modéré de menuet) 3:38 % II. Andante 6:55 8 IV. Vif 2:31 ^ III. Presto 4:26 Mirage Quintet h • Notice en français français en h • Notice Robert Aitken, Flute • Erica Goodman, Harp • Jacques Israelivitch, Violin Teng Li, Viola • Winona Zelenka, Cello C M 8.570444 8.570444 Recorded at St Anne’s Church, Toronto, Canada, 6–9 October 2007 • Booklet notes: Renée Silberman Y Producers: Bonnie Silver & Norbert Kraft • Engineer: Norbert Kraft • Editor: Bonnie Silver Publishers: Henry Lemoine (tracks 1–4); Durand (5–8, 14–16); Salabert (9); Schott (10–13) K Cover photo: In the village of Saint-Paul de Vence, Southern France (© Sean Nel / Dreamstime.com)