Spirit of the Land: New Zealand Choral Music

1-3

Lie Deep, My Love

Madeleine Pierard Elise Bradley Alistair Carey Robert Wiremu

David Griffiths ( .1950)

soprano alto tenor bass Helen Fisher ( .1942)

4

Pounamu

Richard Nunns Elise Bradley

koauau alto

5

The Moon’s Glow Once Lit

Sarah McCallum ( .1983)

6

Veni, Sancte Spiritus

David Hamilton ( .1955)

Virginia LeCren

soprano

7

Taiohi taiao

Richard Nunns Andrea Cochrane Albert Mataafa

koauau alto tenor

8

Lux Aeterna

David Hamilton ( .1955)

9-11

Widow’s Songs

Anthony Ritchie ( .1960)

12

Chaos of Delight III

for women’s voices Madeleine Pierard

13

O Magnum Mysterium

Gillian Whitehead ( .1941)

Eve de Castro-Robinson ( . 1956)

soprano David Childs ( .1969)

MMT2065 Digital Stereo Recording

2006 HRL Morrison Music Trust

2006 HRL Morrison Music Trust

This recording aspires to present works from over three decades of New Zealand composition which draw upon the words of New Zealand poets and takes their inspiration from the landscape of Aotearoa (NZ). From one of the earliest, David Hamilton’s Lux Aeterna, to the newly commissioned works by Gillian Whitehead, Anthony Ritchie and Sarah McCallum, the choir engages with the diversity of musical styles and the uniqueness of the colours and textures on the pages of these scores. These are New Zealand’s voices, sung

by TOWER Voices New Zealand.

Lie Deep My Love David Griffiths

The composer selected three James K. Baxter poems for this cycle Lie Deep, My Love. The first is slow-moving and evocative of the deeply felt lament for a loved one. Solo voices highlight moments in the text, and choral textures are dark, with harmonies weighted by low divisions in the bass parts. The second in the cycle has more movement, with varied choral textures and solo highlights. The third is built on canons that serve to convey the restlessness of the wind and its effects upon the land.

All three songs mirror New Zealand images that run through much of Baxter’s work.

Pounamu Helen Fisher

Pounamu means ‘greenstone’, a type of jade prized by the Maori people for use in making jewellery and tools. The word also evokes the sea; this particular work is inpired by the sparkling summer waters of Tasman Bay, Nelson.

The resonance of the Maori vowel sounds is explored, and mid-way through the piece a waiata (chant) emerges, based on a whakatauki (proverb) of the Tainui people.

Pounamu was performed at the 1990 Asian Music Festival in Japan by the Sendai Hoso Choir, using the shakuhachi (Japanese flute). Other options include the flute or (as on this recording) the koauau.

The Moon’s Glow Once Lit Sarah McCallum The composer writes: “This poem was inspired by a photograph taken by my father of Murray’s Bay beach where I have grown up on the North Shore of Auckland. The photograph depicts a beautiful sunrise that is glowing red on the water with a pohutukawa tree appearing to overlook the sea longingly. The poem describes the pohutukawa tree and the sea as lovers, calling to one another. The sea is distraught by the changes humans have caused such as clay run off the cliff-top mansions above. The pohutukawa tree calms her, telling of how children grow up to become fond of the beauty and memories the beach leaves with them. In the piece the female voices take on the fragility of the sea and the men the strength of an ancient tree. The overlapping of the women’s humming represents the continuous layering of waves.”

Veni, Sancte Spiritus David Hamilton Veni, Sancte Spiritus for SSATB choir was written in early 2000 for an international competition organised by the Music Department at the University of Bologna, Italy. The competition sought works suitable for university choirs to perform. Veni, Sancte Spiritus was awarded first prize in the category for unaccompanied works. The text is a traditional sacred Latin text that has been widely set by composers down the centuries.

It is a prayer that the Holy Spirit will send the love and peace of God. Musically, the work uses melodic material suggestive of plainsong. The opening section gradually fans out from a central pitch. When this music is repeated, it is underpinned by a pedal note (drone) in the bass voices.

The middle section also makes use of pedal notes, and features the upper voices repeating a phrase over and over against an extended melody in the tenors. The work builds to an emphatic conclusion in B flat major.

Taiohi taiao Gillian Whitehead This waiata (song) acknowledges the vital role natural springs have in providing clean, delicious drinking water, which nourishes humankind and the wider environment. The water is also used in traditional and contemporary forms of blessing our young. The line ‘wairoa waimarama’ refers to the life-giving force of the water, its clarity and purity, and the spiritual essence that pervades it and every other life force.

The second verse focuses on the importance of generation after generation preserving all that is important. ‘Te puna o tangata’ refers to the fountain of humankind; that is, the womb which produces the future progeny of our people. From woman is born humankind – generations of people who continue to nurture and maintain those treasures passed through eons of time: knowledge and wisdom, the importance of caring for others and looking after the environment. The final line, ‘tamaiti taiohi taiao’, creates a link between the (tiny) infant, youth and the wider environment, and ultimately the Universe.

The work is devised so that it can be performed with or without the taonga puoro (koauau ponga ihu and koauau koiwi kuri). In the event that it is sung with the taonga, there can be considerable flexibility to allow the weaving of the soloist and the koauau.

Taiohi taiao is set to a poem by Aroha Yates-Smith. It was commissioned by TOWER Voices New Zealand with the assistance of Creative New Zealand, and premiered at the Otago Arts Festival 2004.

Lux Aeterna David Hamilton This work, written in 1979 for 6-part choir, is based on a small number of simple tonal triads (A flat major, F minor, C major and minor) with added sevenths, ninths and augmented fourths. The result is a series of almost static chords which are intended to mirror the ideas of ‘eternal light’ and ‘eternal rest’ contained in the text. The text, which is from the Latin Requiem Mass, is often broken up between the vocal lines so that one line may sing a single syllable from a three or four syllable word, rather like the medieval ‘hocket’ technique.

Widow’s Songs Anthony Ritchie Widow’s Songs comprises settings of three poems by Cilla McQueen, taken from the cycle Rope. They set out to describe the thoughts and feelings of a woman grieving for her dead husband. In the process, surrounding images and activities seem to take on extra meaning. In the second song, for example, making bread becomes too difficult to do because of the memories it stirs. Widow’s Songs is one of several works

by Ritchie inspired by Cilla McQueen’s writings, including an opera called The Trapeze Artists and the well-known song Dogwobble.

This set of pieces was commissioned by TOWER Voices New Zealand with the assistance of Creative New Zealand and premiered at the Otago Arts Festival, 2004.

Chaos of Delight III Eve de Castro-Robinson Like its predecessors Chaos of Delight I, commissioned by bass clarinettist Andrew Uren, and Chaos of Delight II, written for British soprano Jane Manning, Chaos of Delight III takes its inspiration from birdsong, with its trills, clicks, coos and warbles. The cicadas of the New Zealand summer are evoked by the singers’ use of metal-tongued clickers, a favourite sound-source of the composer. The piece is scored for female choir with a soprano soloist.

The composer uses both voiced and unvoiced ‘mouth noises’ – the voiced used mainly in sustained close harmony and the unvoiced to induce the percussive, chaotic sounds of the New Zealand forest. The title comes from the following: “There are still many quiet places, far from the madding crowd, where the mind can become, in Darwin’s phrase, ‘a chaos of delight’ at the abundance and variety of birds with bass before the eye or perplex the ear” (from A field guide to the birds of New Zealand by Falla, Gibson and Turbott).

O Magnum Mysterium David Childs The composer writes: “The Christmas Day Responsory text O Magnum Mysterium has always been a favourite of mine; Poulenc’s rich setting of the same passage in his Quatre Motets pour le temps de Noël left an indelible impression on my musical psyche at an early age, and since hearing it for the first time I was determined to compose an interpretation of my own. It is perhaps not surprising then that O Magnum Mysterium was the first serious work of mine to be published; it was written for Havelock North’s Colla Voce in 1997 and has since had numerous performances in New Zealand and abroad. The work represents my first explorations into the juxtaposition of plainsong (chant) and full-bodied ‘added-note’ chords, but in a manner most high school or church choirs would find accessible. The harmonies can hardly be considered extremely dissonant or avant-garde; however there are occasional ‘open’ or angular chords, which serve as a bridge between the two harmonic languages in the work - the old and the new. I had great fun with musical imagery and symbolism in the piece; why are the phrases ‘Dominum’ and ‘Beata virgo’ pitched at the high end of the tenor and soprano tessituras? Do the sopranos represent Mary and the tenors Christ?”

TOWER Voices New Zealand TOWER Voices New Zealand was formed in 1998 at the instigation of Karen Grylls as a nationally selected chamber choir of the highest calibre. The choir made its début at the 1998 New Zealand International Festival of the Arts in a recital with the New Zealand Chamber Orchestra and Keith Lewis; later that same year they won gold and silver awards at the Tolosa International Choral Competition in the Basque region of Spain. In March 1999 the choir performed Fauré’s Requiem and Poulenc’s Gloria with the New Zealand Symphony Orchestra, and in 2000 they appeared at the New Zealand International Festival of the Arts in a solo recital and with the NZSO in Gluck’s Orphée et Eurydice.

Their participation in the International Chamber Music Festival led to collaboration with the prestigious Aradia Ensemble from Canada, resulting in the completion of a world première recording of Masses by Vanhal for Naxos.The recording was released to great critical acclaim in 2001.

The choir was resident at the International Summer School for Choral Conductors in Auckland in 2001, and then represented New Zealand at the first Asia South Pacific Symposium on Choral Music in Singapore, where they took part in workshops, masterclasses and were invited to give the closing concert.

In March 2002 they undertook a sell-out solo recital at the New Zealand International

Festival of the Arts, as well as appearing alongside the TOWER New Zealand Youth Choir, soloists and the NZSO in the closing concert of the Festival.

Later that year TOWER Voices appeared alongside the Youth Choir and the New Zealand Secondary Students’ Choir – the first time that the three national choirs had sung together.

The occasion was Mahler’s

2nd Symphony with the Auckland Philharmonia.

In December 2002 TOWER Voices New Zealand completed a successful tour to South Island centres, presenting a programme of Christmas music. Early the following year the choir recorded Hummel’s Missa Solemnis in C and Te Deum for Naxos. Later that year the choir presented highly-acclaimed concerts in Auckland, Hamilton and Napier, and in February 2004 recorded a CD of their Christmas repertoire (MMT2052) – a recording which has received critical acclaim. The choir also performed a concert at the Otago Festival of the Arts.

In May 2005 the choir represented New Zealand at the 9th International Chamber Choir Competition in Marktoberdorf, Germany. TOWER Voices New Zealand were invited to perform at the prestigious Icon Awards in July 2005 as an acknowledgement of the work of Professor Peter Godfrey, who received an Icon Award, and was a former conductor of the New Zealand National Youth Choir.

Sopranos

Tenors

Altos

Basses

Pepe Becker

Alastair Carey

Debbie Alexander

Simon Baskerville

Virginia LeCren

Peter Dyne

Elise Bradley

Ben Campbell

Shona McIntyre-Bull

Luke Gorton

Andrea Cochrane

Rowan Johnston

Jane McKinlay

Nick Madden

Jenny George

David Squire

Brigitte Murray

Albert Mataafa

Megan Hurnard

Michael Wallace

Dinah Wright

Robert Wiremu

Andra Patterson Madeleine Pierard

Richard Nunns has a long history of personal commitment to researching, presenting and performing the traditional musical instruments of the Maori, and to organising this body of knowledge into a form that is immediately understandable. He regularly performs internationally, and with Hirini Melbourne produced two CDs: Te Ku Te Whe and Te Hekengaa-Rangi. Richard has also been awarded an honorary life membership of the New Zealand Flute Association, and in 2001 was honoured by the Composers’ Association of New Zealand with a Citation for Services to New Zealand Music.

the current Artistic Director of both of these national choirs Karen also conducts the Auckland Chamber Choir at the University of Auckland and directs courses in choral ensemble skills.

Karen Grylls ONZM, Associate Head of Undergraduate Studies, Associate-Professor in Conducting and Head of Choral Studies at the University of Auckland, directed the Auckland Dorian Choir (1985-1998), assumed the position of Musical Director of TOWER New Zealand Youth Choir in 1989 and founded TOWER Voices New Zealand in March 1998. In addition to being

A graduate of the Universities of Otago and Auckland, Karen studied post-graduate Conducting and Music Theory at the University of Washington, Seattle where she studied for four years with Professors John Rahn, Abraham Kaplan and Joan Catoni-Conlon.

In 1985 she returned to New Zealand to teach at the University of Auckland take up the directorship of the Auckland Dorian Choir.

As a result of her musical directorship, the prestigious National Youth Choir of New Zealand has enjoyed notable international successes including: the Silver Rosebowl in the “Let the Peoples Sing” radio competition in 1992, the “Choir of the World” at the 1999 International Eisteddfod in Llangollen and the “Grand Prix Slovakia” also in 1999. With equal success TOWER Voices New Zealand won first and second placings in the mixed choir section of the Tolosa International Choral Competition in October 1998.

With these choirs, she has participated and won further prizes and accolades in Gorizia 2004 and Marktoberdorf 2005.

Karen is much in demand as a choral clinician and has many CD recordings to her credit. Invitations to adjudicate have taken her to Australia, Singapore, Tolosa and Hong Kong. In 1996 The University of Auckland honoured her with a Distinguished Teaching Award in Music and in 1999 she received a New Year’s Honour ONZM for her services to choral music. Karen has recently been appointed to the board of the International Federation for Choral Music.

In May 2005 she was awarded an Artistic Leadership Scholarship Award 2005 from Creative New Zealand to attend the Seventh World Choral Symposium in Kyoto. Most recently she was awarded the KBB Citation for Services to New Zealand music from the Composers’ Association of New Zealand.

Lie Deep, My Love Lie deep, my love

Earth does at length

Lie deep my love, and listen now To loud surf groaning in the strait

Earth does at length her own sweet brood devour

The frail tree trembles under weight

Not pelican to blood them at her breast

of brooding darkness on the bough:

But doubtful boons at usured interest

And deeper shall your body lie

Salt in the bud and angered in the flower

Where neither moon nor sun is known;

Summer for this is sweeter, snow more sour

Heart sheds her living sympathy

Since it is sun alone that does invest our day with richness or our night with rest and under the shadow of the ruined tower

Yielding dominion to the bone.

Yet in my touch forget all fears: The timeless tumult in the vein

Beyond the dune surf groans in narrow cove

Makes minute hour, though late in pain

Lie still: let thunder beat upon the brain

The clock was numbered with your tears.

Sun clothe the naked shoulders like a grave

Rain shakes the roofs

Till air and earth and sea revive again

I cannot sleep

The mountains and the dark imagined plain

But turn the leaves of infancy

The wild lost city of a mother’s love.

Remembered streams I could not keep Until you turn and compass me.

Blow, wind of fruitfulness Blow, wind of fruitfulness

Birds that are silent now

Blow from the buried sun:

And buds of barren springing.

Blow from the buried kingdom

Blow from beyond our day.

Where the heart and mind are one.

The hillborn streams complain;

Blow, wind of fruitfulness,

Hear from their stony courses

The murm’ring leaves remember;

The great sea rise again.

For deep in doorless rock

Blow on the mouth of morning

Awaits their green September.

Renew the single eye:

Blow from the wells of night:

And from remembered darkness

The blind flower breathes thy coming

Our immortality.

Pounamu Kia hora te marino

May the calm be widespread

Kia whakapapa pounamu te moana

May the sea glisten as the greenstone

Kia tere te karohirohi

May the shimmer of summer

I mua o tou huarahi.

Ever dance across your pathway.

(Whakatauki of Tainui)

(trans. Dr Pei Te Hurinui Jones)

The Moon’s Glow Once Lit “Why do I stay here?” she called to her lover, lapping on rocks that are covered in clay that seeped down from the cliffs entwined into wasteland, Caverns for buildings that man’s hands have made, That man’s hands have made, That man’s hands have made, That man’s hands have made and are covered in clay I look down to you through my blossoms of fire, as treasured as children that lay in my arms.

I see onlookers that rise in the morning to watch the sun kiss you and make you turn red, And make you turn red, And make you turn red, And make you turn red as the yachts grace your bed So stay!

Stay with me!

Stay with me lover!

The air has adopted the taste of love’s lips.

Crochet your shadows that lie on my skin, In exchange a smudged painting the moon’s glow once lit.

Veni, Sancte Spiritus Veni, sancte spiritus et emitte caelitus lucis tuae radium.

Veni pater pauperum, veni, dator numerum, veni, lumen cordium.

Consolator optimae, dulcis hospes animae, dulce refrigerium.

In labore requiae, in aestu temperies, in fletu solatium.

O lux beatissima, reple cordis intima tuorum fidelium.

Sine tuo numine nihil est in homine, nihil est innoxium.

Lava quod est sordidum, riga quod est aridum, sana quod est saucium.

Flecte quod est rigidum, fove quod est frigidum, rege quod est devium.

Da tuis fidelibus in te confidentibus sacrum septinarium Da virtutis meritum, da salutis exitum, da perenne gaudium.

Amen. Alleluia.

Come, Holy Ghost, send down those beams, which sweetly flow in silent streams from Thy bright throne above.

O come,Thou Father of the poor, O come,Thou source of all our store, come fill our hearts with love.

O Thou of comforters the best, O Thou the soul’s delightful guest, the pilgrim’s sweet relief.

Rest art Thou in our toil, most sweet refreshment in the noonday heat, and solace in our grief.

O blessed light of life Thou art, fill with Thy light the inmost hearts of those that hope in Thee.

Without Thy Godhead nothing can have any price or worth in man, nothing can harmless be.

Lord wash away our sinful stains, water from heaven our barren clay, our wounds and bruises heal.

To Thy sweet yoke our stiff necks bow, warm with Thy love our hearts of snow, our wondering feet recall.

Grant to Thy faithful dearest Lord, whose only hope is in Thy word, Thy sevenfold gift of grace.

Grant us in life Thy grace that we in peace may die and ever be in joy before Thy face.

Taiohi taiao waiora waimarama wairua

Water – life-giving, clear – the spirit

koropupu ake ana

Bubbling upwards rise

nga wai o te matapuna

the waters from the spring

he wai matao

cool, refreshing water

he wai reka ki te korokoro

fluid delighting the taste buds

he wai tohi i te punua

blessing the young

wairoa waimarama wairua

water – life-giving, clear – the spirit

te puna o te tangata

The springs of humankind

te putanga mai o nga reanga

producing generations

hei poipoi i nga taonga tuku iho

who will nurture their inheritance

pukenga wananga

learning from the storehouse of knowledge

manaaki tangata

hospitality/generosity to all

tiaki whenua

guardianship of the land

tamaiti taiohi taiao

Child Youth Universe

Lux Aeterna Lux aeterna luceat eis, Domine:

Let light eternal shine on them, O Lord:

cum sanctis tuis in aeternam:

with Thy saints forever:

quia pius es.

for Thou art merciful.

Requiem aeternam, dona eis, Domine:

Rest eternal grant them, O Lord:

et lux perpetua luceat eis.

and let perpetual light shine on them.

Widow’s Songs Over The Back

Bread

Haloed with spray

Frosty morning, ash

in a southerly gale

in a golden cloud

a rocky and treeless

above the ashcan.

descent to the strait

With fresh-splintered kindling and

where the roaring ocean

full coal bucket stagger in

swipes the rocks

like a drunken sailor, a cheerful

and I am a wisp of fleece on a barbed wire fence since he is gone, passed on, like a storm,

blaze, push in the damper so flame streaks over and she starts to hum-- -

cut a track

I think of you

over the back

riddling the fire enjoying my bread and cannot make it.

Frost Time comes when my compass trembles to your true absence and I must turn you to the third person, whispering to the kowhai, the patient constructions of spiders, to the frost, he is history, gone from this round world, he is starlight.

O Magnum Mysterium O magnum mysterium, et admirabile sacramentum,

O great mysterious and wondrous sacrament,

ut animalia viderent Dominum natum

that animals should see the newborn Lord

jacentem in praesepio!

lying in their manger!

Beata virgo,

Blessed is the Virgin,

cujus viscera meruerunt

whose womb was worthy

portare Dominum, Christum.

to bear the Lord Jesus Christ.

Alleluia!

Alleluia!

Domine audivi auditum tuum et timui.

Lord, I heard your voice and was afraid.

Consideravi opera tua, et expavi:

I considered your works and trembled:

in medio duorum animalium.

[lying] between two animals.

DON BINNEY Don Binney was born in Auckland and although he has travelled widely, continues to make Auckland his home base. He attended the Elam School of Fine Arts between 1958-62, where his tutors included Ida Eise, James Turkington and Robert Ellis. His first exhibition with Ikon Gallery in 1963 marked the beginning of his successful career and the quick rise in popularity of the bird paintings. With their edge of conservation and obvious love of nature these works were in tune with the 1960’s social ideal they emerged into. They were also very much New Zealand paintings, with the distinct landforms and native birds and as such struck a chord in a country still seeking its own identity.

A social commentary has often run alongside or as an undercurrent to Binney’s work. His conservationist views were made apparent in many of his bird paintings, notably Last Flight of the Kokako, 1979 which was used in environmental protest movements. Equally he has not shied away from making political statements with work such as EII Exocet, 1982, which deals with the Falklands War. In the piece VRII/Tokatoka, 1982 Binney places Queen Victoria’s head and a moko onto the landscape in a comment on colonisation of New Zealand and the Maori. Binney has consistently used Maori names for both birds and places in his paintings, this, suggests Damian Skinner in his recent book on Binney’s work, “reads as a claim to Pakeha identity because such engagements are structured through an awareness of being Pakeha here, and the recognition that the presence of both Maori and Pakeha is unavoidable”. Binney himself has alluded to his own sense of respect for the land and the Maori relationship to it “The forest is the abiding place of Tane, and when, as a Pakeha, I go there I am prepare to acquiesce to the god of the Maori” (quoted in: Skinner, Damian, Don Binney, Nga Manu/Nga Motu – Birds/Islands, Auckland University Press, 2003, p13).

Don Binney continues to maintain his practice as an artist. His work is held in all major public collections within New Zealand including Te Papa Tongarewa Museum of New Zealand, Auckland Art Gallery Toi o Tamaki, Waikato Museum Te Whare Taonga o Waikato, and Pataka Museum of Art and Culture.  

Don Binney (b. 1940), Under the Hill of the Homestead oil and acrylic on canvas, 1200x1520 mm. Private collection, Rotorua. Reproduced by permission of the artist.

MMT2065 Digital Stereo recording © 2006 HRL Morrison Music Trust 2006 HRL Morrison Music Trust Recorded in the church of St. John of God, Halswell, Christchurch, New Zealand October 2004 and September 2005 Producer

Kenneth Young

Engineers

Keith Warren Philip Brownlee Noel Maginnity

Digital Editing and Mastering Wayne Laird, Atoll Executive Producers

Ross Hendy, Stuart Coats

Design

Cato Partners NZ Ltd

TOWER Voices New Zealand would like to thank the many organizations, choirs and individuals whose support and donations have helped towards its achievements, including Creative New Zealand and TOWER Ltd. General Manger

Jenny Jamieson

Artistic Director

Karen Grylls

Assistant Musical Director

James Tibbles

The HRL Morrison Music Trust was established in March 1995 as a charitable trust to support New Zealand musicians of international calibre. All funds received by the Trust are used to make recordings, present concerts – both in New Zealand and overseas – and assist artists to undertake projects to further develop their talents.

HRL Morrison Music Trust PO Box 1395 Wellington, New Zealand info@trustcds.com www.trustcds.com ALL RIGHTS OF THE PRODUCER AND OF THE OWNER OF THE WORK REPRODUCED ARE RESERVED. UNAUTHORISED COPYING, HIRING, LENDING, PUBLIC PERFORMANCE AND BROADCASTING OF THIS RECORDING IS PROHIBITED. The HRL Morrison Music Trust gratefully acknowledges the support of the following people and organisations in the making of this recording: Don Binney, Webb’s, Aroha Yates-Smith, Cilla McQueen.

1-3

Lie Deep, My Love

David Griffiths ( .1950) 11.23

(i) Lie deep, my love MMT2042

(ii) Earth does at length Digital Recording Stereo (iii) Blow, wind of fruitfulness © 2005 HRL Morrison Music Trust

4

Pounamu

2005 HRL Morrison Music Trust

4.44 3.20 3.19

Helen Fisher ( .1942) 7.11

5

The Moon’s Glow Once Lit

Sarah McCallum ( .1983) 5.05

6

Veni, Sancte Spiritus

David Hamilton ( .1955) 8.43

7

Taiohi taiao

Gillian Whitehead ( .1941) 10.48

8

Lux Aeterna

David Hamilton ( .1955) 5.26

Anthony Ritchie ( .1960)

9-11 Widow’s Songs

2.35

(i) Over the Back (ii) Bread (iii) Frost

12

Chaos of Delight III

Eve de Castro-Robinson ( . 1956)

6.39

13

O Magnum Mysterium

David Childs ( .1969) 3.22

Total Time

2.23 3.20

MMT2065 Digital Stereo Recording

2006 HRL Morrison Music Trust

2006 HRL Morrison Music Trust

67.03