Early Music Alte Musik S.S~OM

French Chansons Josquin Jannequin . Sermisy . Lassus

The Scholars of London

French Chansons Faute d'argent Mille regretz Le chant des oiseaux Je ne le croy Or vien Fa

bm Aime qui vouldra Quand je suis aupres Tant que vivrai Venez, regrets La, la, maistre Pierre En ce mois delicieux Margot, labourez les vignes Du temps que j'estois amoureux Sa grand beaut6 Belle qui tiens ma vie Vray Dieu

@/ Prihre devant le repas Action des Graces II est be1 et bon Ce n'est que fie1 Bonjour mon coeur Si je suis brun Beau le cristal La nuit froide Un jeune moine De nuit, le bien Arr6te un peu mon coeur

Josquin Desprez (c. 1440-1521) Josquin Desprez (c. 1440-1521)

Clement Jannequin (c. 1485-1558) Pierre Sandrin (fl. 1538-61)

Clement Jannequin (c. 1485-1558) Nicolas Gombert (c. 1500-56) Nicolas Gombert (c. 1500-56)

Claudin de Sermisy (c. 1490-1562) Claudin de Sermisy (c. 1490-1562) Claudin de Sermisy (c. 1490-1562)

Jacques Arcadelt (c. 1505-68) Jacques Arcadelt (c. 1505-68) Jacques Arcadelt (c. 1505-68) Jacques Arcadelt (c. 1505-68)

Jehan Tabourot (1520-95) Vassal

Jacob Clemens (c. 1515-c. 1556) Jacob Clemens (c. 1515-c. 1556)

Pierre Passereau (fl. 1509-47) Claude Le Jeune (c. 1530-1600)

Orlande de Lassus (1532-94) Orlande de Lassus (1532-94) Orlande de Lassus (1532-94) Orlande de Lassus (1532-94) Orlande de Lassus (1532-94)

Antoine de Bertrand (fl. 1561-82) Guillaume Costely (c. 1530-1606)

2

This recording comprises a representative selection from the thousands of French polyphonic songs or Chansons which were composed during the 16th century. This type of music, which had much in common with the Italian Madrigal - its composers included - became popular not just in France but all over Europe. The intention here is to celebrate the sheer variety within the genre, ranging from bawdy to bucolic m, from dance B, to devotion Iifl, ne], and from the philosophical O, FlJ to the pleasure lid, DJ and pain El, of requited or unrequited love.

Chansons had already been composed in the 15th century by earlier Franco- Flemish composers such as Machaut, Dufay, Busnois and Ockeghem, to name perhaps the four most famous, but the courtly manner of their music and its verse remained mediaeval in feeling. With the advent of the Age of Humanism however, a musical transformation was brought about through the influence of the leading composer of the time, Josquin Desprez, and his innovative compositional techniques of voice-leading and imitation. His Faute d'argent is a robust canon between alto and baritone, probably based on a scurrilous popular song (see also and 0). Quite different is Mille regretz 0, a tantalizingly short but haunting love song,.later expanded by ~ombe i i n to a6-voice version, on which Morales in turn comoosed a Parodv Mass. Such borrowina and reworkina was a common feature of composition at (he time, and many famois Chansons Govided material for masses and dance music. Sermisy, Arcadelt and Lassus were amongst the most frequently honoured in this way.

The music of continental Europe continued to be dominated by composers from the region of Flanders (roughly speaking, modern-day Belgium) until well into the second half of the 16th century. These men pursued international careers - Gombert in Madrid, Arcadelt in Rome, and Lassus in Munich (the only notable exception was Clemens) - and whilst it would be true to say that no composer of the time escaped their influence, that is in no way to belittle the achievement or originality of others such as Clement Jannequin, a native of Bordeaux, and composer of probably the most famous Chanson of all, Le Chant des oiseaux: the great Gombert himself made a three voice version of it, perhaps for the

enjoyment of his colleagues and fellow-countrymen in the Emperor Charles V's famous Cappilla Flamenca (Flemish Choir).

A markedly different approach becomes noticeable in some Chansons by the Parisian court composers Sermisy and Sandrin. There, a new aesthetic agenda, partly set by progressive poets such as Marot EJ and Ronsard O, demanded greater emphasis on the Gallic virtues of charm, simplicity and textual clarity as against the relative obscurity of abstract polyphony. The maturation of this style can be heard in the songs by Le Jeune and Bertrand m, but the Chanson did also continue to develop to a certain extent in a more Madrigalian direction a.

The printer Attaignant, followed by Le Roy & Ballard in Paris and Susato in Antwerp, successfully published hundreds of Chansons in the course of the 16th century, causing them to be widely disseminated, and incidentally assuring their preservation down to the present day.

(Note and translations by Robin Doveton)

The Scholars of London

Since their professional debut 23 years ago The Scholars have given at least 2000 concerts in more than fifty countries, a record which can be rivalled by very few ensembles in the field of chamber music. In that time they have performed in many of the world's most famous concert halls, from the Royal Festival Hall in London, the Lincoln Center in New York and the opera house in Sydney to smaller, more intimate venues such as the Wigmore Hall in London or the Brahmssaal in Vienna.

The basis of The Scholars' repertoire has always been music from the golden age of the European renaissance, but they are also actively involved in the commissioning and performing of new music and their concert programmes range from a single period of musical history to one which covers more than five hundred years. The Scholars have made many recordings but this CD collection of French Chansons is their first for Naxos.

Faute d'argent, c'est douleur nompareille. Si je le dis, las, je sais bien pourquoi: Sans de quibus il se faut tenir coi; Femme qui dort pour argent on I'eveille.

Mille regrets de vous abandonner Et d'6longer votre face amoureuse J'ai si grand deuil et peine douloureuse Qu'on me verra brief mes jours d6ffiner.

R6veillez vous, coeurs endormis, Le dieu d'amours vous sonne. Vous serez tous en joie mis Car la saison est bonne.

Les oiseaux quand sont ravis En leur chant font merveilles; Ecoutez bien leur devis, Detoupez vos oreilles.

Et fa ri ro frere li joli Ti ti pi ti, chouti toui. Tu, que dis tu? Le petit sansonnet de Paris, Le petit mignon: (q'est la bas? Passe villain. Sainte t6te Dieu, II est temps d'aller boire) Sage, courtois et bien apris.

A sermon, ma maitresse. Sus madame a la messe. A saint Trotin montrer le tetin, Le doux musequin. Teo ticun, frian, frian frian, Tutu tu, qui I'ara. Coqui coqui, oi ti oi ti,

Lack of money is unparalleled misery. If I say it, I well know why: Without the same one has to hold back; Money will awaken a sleeping woman.

In leaving you with a thousand regrets And departing from your loving look My sorrow and grievous pain are so great That one can see my days will not be long.

Rouse yourselves, sleeping hearts, The god of love calls you. You should all be joyful For spring is come.

The birds, all inspired. Do wonders with their song. Listen well to their ditty; Bend your ears.

You, what are you saying? The little starling of Paris, The little thing: (who's there? Pass, knave. By the holy head of God It is time to go drinking) Wise, courteous and well versed.

Go to the sermon, my mistress. Get thee to Mass, Madam. To St. Trotin to show your tits And sweet looks.

Who will have it?

Huyt huyt, ter ter teo, Queo queo, tar tar, fouquet, quibi, Veleci, huyt huyt, ter turri. Cocu coqui, ou est il, le cocu? Fuiez, fuiez, maitre cocu, Sortez de nos chapitre, Vous ne serez point retenu Car vous n'etes qu'un traitre. Par trahison en chacun nid, Pondez sans qu'on vous sonne.

RBveillez vous, etc..

~e ne le croy et le sais surement, II est certain, et si est lncroyable. Peut on avoir chose si agreable Sans le sentir et la voir clairement? Certes neny: mais le contentement En est si grand si doux et amiable Que par effet, en songe ou autrement, Je n'oserois le penser veritable.

W O r vien Fa, vien, m'amie Perrette, Or vien Fa, vien ici jouer!

Ton cul servira de trompette Et ton devant fera la f6te. Si te plait de nous le louer De ce je n'en veux mie, Et en jour de ma vie Je n'y voulu penser. Ta musette godinette nous fera Sur I'herbette, frisque et nette, Puis recommancer. Nous dirons une chansonette Et sur la plaisante brunette

danser

Cuckoo, where is the cuckoo? Away, go away, master Cuckoo, Get out of our company. You will not be missed For you are nothing but a traitor. Treacherously, in every nest You lay without being called.

Rouse yourselves, etc..

I do not believe it, and I know it for sure; It is certain, and so unbelievable. Can one have something so agreeable Without feeling it or seeing it clearly? Certainly nay: but the contentment therein Is so great, gentle and friendly That in effect, in a dream or otherwise I would not dare to think it true.

Come now Perrette, my love Come here and play.

Your behind shall serve as a trumpet And your front shall provide the feast. If it pleases you to show off to us I have nothing against it, Although every day of my life I do not wish to think of it. Your little bagpipe will make us dance On the nice, short grass, So let us begin. We shall sing a little song And, in the pleasant evening,

Nos deux corps irons eprouver. J'en ai si grant' envie, Plus ne m'y faut penser. Mignonette joliette, veux tu t'avancer En chambrette bien secrette Le jeu commancer.

Aime qui vouldra Le mieux qui pourra; Ce n'est que souci, Car jarnais sans ci Amour ne sera. Qui plus aimera Plus fort se tiendra Sujet au merci Ou danger fauldra Cela ou ceci. La chose est ainsi.

Quand je suis aupres de m'amie Je vis toujours sans souci; Je lui dis qu'il m'ennuie Quand j'ai le logis choisi. Elle m'a dit un point Je ne vous connais point, ctes vous b6te, Le voulez vous etre En me disant ce propos ci Gay: serchie proye Allez votre joie Vous ne m'aurez pas ainsi.

Try out our two bodies. My desire is so great That I cannot think about it. Pretty little girl, would you like to come Into a very private little room To begin the game?

Who wishes to love May make the best of it; It is nothing but sorrow, For love will never Be without it. The greater the love The more one is Held to ransom Or danger will Surround one. That is how it is.

When I am near my girlfriend I am always carefree. I tell him that he bores me. When I had chosen the room She made this remark to me: I don't know you at all; Are you stupid? Do you want to be? Whilst making me this merry Proposition: pray go and seek Your pleasure elsewhere; You won't possess me like this.

mTant que vivrai en age florissant, Je sewiray d'amours le roi puissant En fais, en dits, en chansons et accords. Par plusieurs fois m'a tenu languissant, Mais apres deuil m'a fait rejoissant, Car j'ai I'amour de la belle au gent corps. Son alliance, C'est ma fiance. Son coeur est mien, Le mien est sien. Fy de tristesse, Vive liesse, Puisque en amour A tant de bien.

Quand je la veulx sewir et honorer; Quand par escript veulx son nom decorer; Quand je la veoy et visite souvent; Ses envieux n'en font que murmurer, Mais notre amour n'en scauroit moins durer Autant ou plus en emporte le vent. Maulgre envie, Toute ma vie Je I'aimerai, Et chanterai. C'est la premiere, C'est la derniere Que j'ai sewie Et sewirai.

Clement Marot

m ~ e n e z , regrets, venez tous A mon coeur, Venez y tot, nu1 de vous ne me laisse. Venez, souci, venez larmes et pleurs, Venez y tous qui les amants oppressent.

a ~ a la, maistre Pierre, La la, buvons donc! En revenent de Nanterre, Je m'assis sur une pierre, Aupres de moi le flacon. Pour Bviter le caterre A ce flacon fait la guerre En mangant d'un gras jambon.

So long as I am in my prime I shall serve the great god of love In deeds and words, song and harmony: Oft has he left me to languish But, after sorrow, has brought joy, For I have the love of a beautiful woman. Her betrothal Is pledged to me; Her heart is mine And mine is hers. Away with sorrow, Long live joy, For in love there is so much pleasure.

When I wish to serve and honour her, When I wish to write her name's praises, When I see her and visit her often, The envious only complain; Nevertheless, our love will endure As long as the winds blow. In spite of envy, All my life Shall I love her; And 1 shall sing; This is the first, This is the last I have sewed And shall serve.

Come, all you sorrows, into my heart, Come now, let none of you miss me; Come grief, come cries and tears, Come, all that lovers must bear.

Ho there, master Peter (=Stone), Ho there, let us drink! Returning from Nanterre I sat down on a stone With the bottle beside me. To make the road easier, Attack this bottle While eating a fat ham!

En ce mois delicieux Qu'amour toute chose incite Un chacun & qui mieux mieux La douceur du temps invite; Mais une rigueur despite Me fait pleurer mon malheur: Belle et franche Marguerite, Pour vous j'ay ceste douleur.

Dedans votre oeil gracieux Toute douceur est escrite, Mais la rigueur de vos yeux En amertume est confite. Souvent la coulhvre habite Dessous une belle fleur.

Margot, labourez les vignes, Vignes, vignes, vignolet! Margot, labourez les vignes bient6t. En revenant de Lorraine, Margot, Rencontrai trois capitaines; Ils mont saluee vilaine, Margot; Je suis leurs fievres quartaines. Margot, labourez etc..

H D u temps que j'estois amoureux, Rlen que les soupirs langoureux Ne me plaisoit en rien ma lyre; Rien que I'amour ne s~avoit dire, De me rendre un nouveau tourment. Et ne trouvois roc ny fontaine Qui ne reprbsentast ma peine.

In this delightful month, Stimulated already by love, The sweetness of the season More and more invites everyone. Yet one harsh thing Makes me weep my unhappiness. Beautiful, candid Marguerite, For you I have this sorrow.

In your gracious eye All gentleness is written, But the harshness in your looks Is confided in bitterness. Often the serpent lives Beneath a beautiful flower.

Margot, tend the vines, The vines, the vines, the little vines, Margot, go and tend the vines now. Returning from Lorraine, Margot, I met three captains; They greeted me with disgust, Margot; I am their pox. Margot, tend etc..

At the time when I was in love Nothing but languishing sighs Could please my lyre at all. My love did not know how to say Anything but how to give a new torment: And I found neither rock nor fountain That did not depict my suffering.

m S a grand beaute a cause le desir Qui fait en moi renaitre le printemps. Sa loyaute me donne le plaisir De seur repos et joyeux passetemps. Et s'il advient que par longeur du temps

Elle changeast et qu'il me fust notoire, Asseurez vous que I'amour que je sents Ne me permettroit que je le sceuse croire.

Belle qui tiens ma vie Captive dans tes yeux, Qui m'a I'bme ravie D'un sourir gracieux, Viens t6t me secourir Ou me faudra mourir.

Pourquoi fuis-tu, mignarde, Si je suis pres de toi; Quand tes yeux je regarde Je me Derds dedans moi: Cartes perfections Changent mes actions.

Approche donc, ma belle, Approche toy, mon bien: Ne me sois plus rebelle Puisque mon coeur est tien: Pour mon ma1 appaiser, Donne moy un baiser.

Her great beauty has caused the desire Which renews Spring within me; Her loyalty gives me the pleasure Of sure repose and joyful pastime: And should it happen that with the passage of time She may change and I should notice it, Be assured that the love l feel Will not permit me to believe it.

Beautiful one, who holds my life Captive in your eyes, Who has ravished my soul With a gracious smile, Come quickly to help me Or I must die.

Why do you flee, dainty one, When I am close to you? When I regard your eyes I am lost to myself, For your virtues Change my actions.

Come closer then, my lovely, Come closer, my comfort: Be no longer a rebel, For my heart is yours. To ease my pain, Grant me a kiss.

mVrai Dieu, que j'ai le coeur gai! J'ai men6 ma mye au joli vert gai, En un lieu fort loin de gent; Lti j'ai fait danser son corps gent, La danse du houppe gai.

Priere devant le reoas 0 souverain Pasteur et Maistre, Regarde se troupeau petit Et de tes biens souffre le paistre Sans desordonne appetit Nourrissant petit a petit A ce jour d'hui ta creature Par celui qui pour nous vestit Un corps subjet a nourriture.

Action des Graces Pere eternelle, qui ordonnez, N'avoir souci de lendemain Des biens que ce jour a donnes Te mercions de coeur humain Or puis-qu'll ta pleu de ta main

Donner au corps manger et boire Plaise toi du celeste pain Paistre nos ames a ta gloire.

God's truth, I have a merry heart! I led my lady to the merry green sward, To a place far from people. There I made her lovely body dance The dance of the happy hop.

Praver before Mea 0 Sovereign Shepherd and Master, Look upon this little flock And of Thy goodness allow it pasture Without unseemly appetite; Nourishing little by little To this day Thy creature With that which, for us, clothes A body subject to nourishment.

Grace after Meat Eternal Father, who ordains Without caring for the morrow, For the gifts this day has given, We give Thee hearty thanks: And since it has pleased Thee from Thy hand To give the body food and drink, May it please Thee with celestial bread To feed our souls to Thy glory.

II est be1 et bon, commere, mon mari. II Btait deux femmes toutes d'un pays,

Disans I'une 2. I'autre: avez bon mari?

II ne me courouce, ne me bat aussi;

II fait le menage, il donne aux poulailles Et je prens mes plaisirs. Commbre, c'est pour rire Quand les poulailles crient: Petite coquette, qu'est-ce ci?

Ce n'est que fiel, ce n'est qu'amer, ce n'est que tourment Toute la vie des pauvres Bplores amants.

Ils ne sont jamais assures que de I'ennui; Vivent en pleurs, vivent en deuil, vivent en cris; Entre des las, entre des dards, entre des feux.

De repos avoir ne pourront une seule heure: Ire, martel, rage, rancune, desespoir, EnjalousBs, enchev6tres, les abetit.

Se vouant loyaux 51 servir, vielleront nuits, Donneront jours, couleront mois, fileront ans: Pour recompens' un repentir leur demeura.

He is a good fellow, gossip, my husband. There were two women of the same neighbourhood Saying to one another: have you a kind husband? He does not annoy me, neither does he beat me; He does the housework, he feeds the hens And I take my pleasures. Gossip, it is funny When the hens cluck: Little coquette, what is this?

It is nothing but bitterness, spite and torment All their life for poor, weeping lovers.

They are only assured of woe: Living in tears sorrow and groans, Between sighs, darts and flames.

They do not have a single hour's rest:

Fury, fever, rage, rancour, despair, Madden the jealous, unchecked.

Vowing loyal service, nights grow old, Days are given, months, years rush by.

For recompense they are repaid with repentance.

Bonjour mon coeur, bonjour ma douce vie, Bonjour mon oeil, bonjour ma chere amie.

He, bonjour ma toute belle, Ma mignardise, bonjour Mes delices, mon amour, Mon doux printemps, ma douce fleur nouvelle, Mon doux plaisir, ma douce colombelle, Mon passereau, ma gente tourterelle; Bonjour ma douce rebelle.

Ronsard

Si je suis brun et ma couleur trop noire, Ce n'est pas me~eille, s'on me veut croire; Car comme Phebus me hale par dehors, Ainsi me brule Cupido dans le corps.

Ne vous soit Btrange si je suis noir, Car brule je suis de deux feux: assavoir, De Phebus qui me hale par dehors, Et Cupido me brule dans le corps.

Beau le cristal, beau I'albastre et I'ivoire, Beau le porphire et le jaspe luisant, Et beau et I'or, des beaux metaux la gloire;

Beau le rubis aux doigts hautains duisant;

Beau de la terre est le fruit et plaisant;

Beau est le vaincre OD tant d'honneur habonde, Mais de vanqueurs les debats appaisant, Belle la paix seule embellit le monde.

Good day my heart, good day my sweet life, Good day my eye, good day my dear lady-love, Ah good day my all-lovely, My pretty one, good day My delights, my love, My sweet spring, my sweet fresh flower,

My sweet pleasure, my sweet dove, My sparrow, my gentle turtledove; Good day my sweet rebel.

If 1 am brown and my colour too dark, This is no wonder, if you would believe me; For just as Phoebus burns me from without, Even so does Cupid scorch me within.

Do not reject me if I am dark, For I am scorched by two fires: namely, By Phoebus, who burns me from without, And Cupid, who scorches me within.

Beauteous are crystal, alabaster and ivory, Beauteous are porphyry and shining jasper, And beauteous is gold, the glory of beauteous metals; Beauteous are rubies glowing on proud fingers; Beauteous and pleasant is the fruit of the earth; Beauteous is victory where much honour abounds, But of the victors' talks of truce Beauteous peace alone adorns the world.

La nuit froide et sombre Couvrant d'obscure ombre La terre et les cieux Aussi doux que miel Fait couler du ciel Le sommeil aux yeux. Puis le jour, Au labeur duisant, Sa lueur expose: Et d'un tien divers Ce grand univers Tappisse et compose.

J. du Bellay

The night cold and sombre Covering with dark shade The earth and skies Brings sleep, sweet as honey, Flowing from heaven To the eyes. Then the day, Fitted for labour, Exposes its brightness: And with varied light Adorns and perfects This great universe.

Un jeune moine est sorti du convent A young monk was leaving the monastery A rencontre une nonnette au cops gent. To meet a pretty young nun. Se print a lui demander He began to ask her S'elle vouloit brimbaler If she would like to swing Ou dancer le petit pas. Or dance with little steps. Vray Dieu, helas, vous ne brimbalerez pas! God's truth, alas, you won't swing!

He moine, moine, qu'apelles brimbaler? Hey, monk, what do you mean, swing? Ma jeune dame, baiser et accoler My young lady, to kiss and hug En nostre religion In our order Brimbaler nous apellons We call swinging, Corps a cops nus en deux draps. Two naked bodies between the sheets.

Et moine, moine, que diront voz abez? And, monk, what will your abbots say? Ils sont deceus tous voire tres bien gabez. They are deceived that everything

is in order. En lieu de bien entonner Instead of intoning well Vous faites le lit branler, You make the bed shake, La reigle ne I'entend pas. The authorities do not hear.

De nuit, le bien que je de jour pourchasse M'advient en songe image du desir, Car je sens bien ma maitresse gesir Aupres de moi, nu A nu, face face. Doux soupirant, coup a coup je me lasse Sentant mes flancs mignardement saisir, Et au doux point je fondz tout en plaisir

Si doucement la folastre m'embrasse. Par cet ivoire et ces roses mon i m e En cent douceurs et se pert et se pasme Sur son tetin du mien aprivoise. 0 que de bien, de plaisir, de meweille, Quand la baisant je me sens rebaisse,

Mourant tout las, sur sa levre vermeille.

By night, the beloved whom I pursue by day Comes to me in a dream image of desire, For I sense well my mistress lying By me, naked together, face to face. Softly sighing, little by little I grow weary, Feeling my flanks daintily held, And at that sweet moment I melt with pleasure. So softly does the wanton embrace me; Through that ivory and lhose roses my soul Is lost in a hundred sweetnesses, swooning On her bosom crushed by mine. 0 how much joy, pleasure and wonder When, kissing her, I feel myself kissed again, Dying, exhausted, on her ruby lip.

Arrete un peu mon coeur, Stay awhile my heart, where are you oQ vas-tu si.courant? running so fast? Je vais trouver les yeux qui I am going to find the eyes which sain me peuvent rendre. can make me sane. Jete prie' attends moi. I pray you wait for me. Je ne te puis attendre: I cannot wait for you: Je suis presse du feu qui me va devorant. I am driven by a fire which will consume me. HBlas mon pauvre coeur, que tu es ignorant:Alas my poor heart, how ignorant you are: Tu ne saurais encot ta misere comprendre: You still cannot understand your misery: Ces yeux, d'un seul regard te Those eyes, which with one look reduiront en cendre, reduce you to cinders, Ce sont tes ennemis, t'iront ils secourant? Those are your enemies, will they help you? Envers ses ennemis si doucement One does not deal so sweetly with on n'use: one's enemies. Ces yeux ne sont point tels. These eyes are not at all like that. Ha! c'est ce qui t'abuse: Ah, there you are mistaken: Le fin Berger surprend I'oiseau par The cunning shepherd surprises the bird des apats. with snares. Tu t'abuse toi meme, You yourself are mistaken, ou tu m'emporte envie: or are envious of me: Car I'oiseau malheureux s'envole For the unhappy bird flies to his death, a son trbpas, But I fly to the eyes which give me life. Moi, je vole a des yeux qui me donnent la vie.

Philippe Desportes

8.550880

9 lEEl French Chansons Time:

The Scholars of London

(200) W1 S* mmd krYQi ( h d e l t ) (248)

(1:si) @8 tlczr rn dc Crabomt) (1:57) (311) v ~ m ( v d ) (057) (1:s~) P d h kral h v (Clemens) (1:57)' (214) & S h h (aemens) (2:18) ( 2 m IBI ~ 1 ~ d h ' ~ p s s e r e a u ) (0:56) (1:27) &qlQ*wad(LeJeune) (3:39)

(214) m ( L M ~ (124)

(2:07) E l s i#wbUa@=.qd (1:42)

(233)

(1:Ol) rn am*&-) (210) De k4#m pertrand) (3:05)

Recorded at St. Silas The Martyr, St. Silas Place, Kentish Town, London from 15th to 17th May, 1993.

09lse) hducer 1 Engineer: Gary Cole Music Notes: Robin Doveton

I Cover from "Tr&s riches heures du duc de Berry" I

MADE IN GERMANY