HARVARD CHORUSES | ANDREW CLARK, CONDUCTOR

Pilgrim PsalmsROSS LEE FINNEY

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1 | Immortal Autumn Harvard-Radcliffe Collegium Musicum Charles Blandy, tenor; Christian Lane, organ 6:40

2 | Psalm XXIV Harvard Glee Club; Radcliffe Choral Society Christian Lane, organ 3:08

3 | Psalm LXIV Harvard Glee Club; Radcliffe Choral Society 2:48

4 | Psalm CXXXVII Charles Blandy, tenor; Christian Lane, organ 3:22

5 | Psalm V Harvard Glee Club 1:16

6 | Prelude on Psalm I Christian Lane, organ 2:42

7 | Psalm CL Harvard Glee Club; Radcliffe Choral Society Christian Lane, organ 1:10

8 | Psalm XCV Harvard Glee Club; Radcliffe Choral Society Christian Lane, organ 1:29

ROSS LEE FINNEY (1906-1997)

Pilgrim Psalms

9 | Psalm LI Harvard Glee Club; Radcliffe Choral Society 2:52

10 | Psalm LV Harvard Glee Club; Charles Blandy, tenor 3:35

11 | Psalm I Radcliffe Choral Society; Margot Rood, soprano 2:56

12 | Psalm CXXXVIII Harvard Glee Club; Radcliffe Choral Society 3:39

13 | Interlude on Psalm CVIII Christian Lane, organ 3:45

14 | Psalm C Harvard Glee Club; Radcliffe Choral Society Christian Lane, organ 3:01

15 | Psalm CXXXIX Harvard Glee Club; Radcliffe Choral Society Christian Lane, organ 1:54

16 | Words to be Spoken Harvard-Radcliffe Collegium Musicum 3:01

Total: 47:19

HARVARD CHORUSES, Andrew Clark, Conductor

solace of people resting from toil. Ed-ward Winslow describes in “HypocrisieUnmasked” (1646) the singing of thesesongs as the congregation bid farewellto those of their members who weresailing for the new world:

“They that stayed at Leyden feastedus that were to go at our pastor’shouse, (it) being large; where werefreshed ourselves, after tears,with singing of Psalms, makingjoyful melody in ourhearts as well as withthe voice, there beingmany of our congre-gation very expert inmusic; and indeed itwas the sweetestmelody that evermine ears heard.”

These melodies areamong America’s great-est folk heritage. Theyhave influenced sacredsinging through each century. Whenone sings the First Psalm with lute orguitar accompaniment, it seems nogreat leap to such folk spirituals as“Wayfaring Stranger” or “I Wonder asI Wander.” Here, indeed, in thesepsalm melodies, is a rich supply ofspiritual song that may perhaps leadthe Protestant composer of Americato religious music.

“Pilgrim Psalms” grew slowly frommy deep love of this material. I wouldmake no pretense that they eitherimprove upon these old tunes or makemusic that can be labeled American.I only hope that my settings havenot spoiled the spirit of the originalsongs. Great care has been taken toevolve a style that springs both fromthe old melodies and from my ownemotional feelings. The quaint charmof the words which comes from the

old spelling and froma certain awkwardnessin matching poetic tomusical accent, may atfirst be a problem forthe singer; but in time,as with all such primi-tive qualities in folkmusic, the singer willnot wish them differ-ent...

I would not pretendthat the Puritan wouldapprove of the treat-

ment that I have given his psalms. Hewas too concerned with the literalmeaning of the Biblical text to permitsuch freedom as I have taken. Butperhaps the modern audience, in re-alizing the beauty of these melodies,will be less inclined to think of hisPuritan ancestors as unmusical anduncontributive to the musical cultureof our country.

Landing of the Pilgrims, Michele Felice Cornè, circa 1803-1807

notes from the composerNotes from Ross Lee Finney’s Preface to Pilgrim Psalms

The Pilgrims brought with them to Plymouth in 1620 a psalm book whichhad been prepared for them in Holland by Henry Ainsworth and published inAmsterdam in 1612. The music in this little volume was sung in America fora hundred years not only at religious meetings but privately for the “godly”

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Ross Lee Finney was born in Wells,Minnesota in 1906 into a family thatcultivated a lifelong interest in Amer-ican history and music. By the age oftwelve, Finney had distinguished him-self as a musician, barnstorming smallcommunities in the Midwest as acellist in a string trio, playing alongsidehis two brothers. In 1924, he enrolledat the University of Minnesota, study-ing composition with Donald Ferguson.Finney would transfer to CarletonCollege where, after graduating, hebriefly taught cello and music history.After a year in Europe performing ina jazz band to subsidize his studywith the master teacher NadiaBoulanger in Paris, Finney returnedto the United States in 1928 to teachat the Tilton School for Boys in NewHampshire.

During his short time at Tilton,Finney regularly traveled some eightymiles south to study at Harvard withcomposers Edward Burlingame Hill(1872-1960) and Walter Spalding(1865-1962). The precocious composerhad mixed feelings about his time inCambridge, writing to his brother thathe had “almost uncontrollable hatredfor the academic nonsense aroundhere,” and that “Harvard ain’t all it’scracked up to be.”

At age 22, Finney was appointedto the faculty at Smith College wherehe met his wife Gretchen, herself adistinguished scholar of 17th-centuryEnglish literature and music. In 1942,Ross Lee developed and taught one

of the first academic courses dedicatedto American music. Year laters, hewrote:

“During the mid-thirties there wasa growing feeling that the UnitedStates should isolate itself from thepolitical tensions in Europe. One effortof this hysteria was an increased em-phasis on American history. A youngergroup of faculty wanted to organizean inter-departmental American studiesdegree program. I did the course inmusic, as best I could…To teach acourse on “Music in America” wasmuch harder in the 1930s. There werefew recordings, few scores, and onlya few studies…I had to get out myguitar and remember the songs I hadsung as a child and learn a few that Ihad not known. Digging out WaldoSelden Pratt’s Music of the Pilgrims,I learned to sing several of the Psalmswith my guitar and I made the classsing psalms and choral works byBillings from scores projected ontothe blackboard… It was fun to teach,but a little unorthodox. I supposenow no good university would bewithout a course on music in America.”

Indeed, a revival of interest in earlyAmerican music swept the countrybeginning in the 1930s. Later, duringthe Second World War, schoolteacherstaught democratic values and nationalpride through song. Performing artsorganizations, government fundingagencies, broadcast radio and othersadvanced American pride and princi-ples through a renewed appreciation,

the composer

Ross Lee Finney

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and appropriation, of early sources.Among these included the hymnodyof the 17th-century, the composerWilliam Billings (1746-1800), and themusic of the Revolutionary War.

As the scholar Annegret Fauserwrites in her book Sounds of War:Music in the United States DuringWorld War II, the “musical modelsfrom the Revolution served a dualfunction: they embodied a preclassicalsound world because of their modaltexture, and they grounded this idiomin a foundational period of Americanhistory...the American Revolutiongained considerable currency both ashistorical evidence of genuinely Amer-ican creativity in art music and asnativist inspiration for contemporarycomposition.”

While teaching his trailblazingcourse in American music, Finneyhad discovered the tunes of theAinsworth Psalter from Waldo SeldenPratt’s 1921 collection, The Music ofthe Pilgrims: A Description of thePsalm-book brought to Plymouth in1620. Henry Ainsworth (1571-1622)was an English Nonconformist cler-gyman and scholar of Hebrew whofled to Amsterdam from England in1593. His Book of Psalmes: Englishedboth in Prose and Metre transcribedand translated tunes from contempo-rary French and English Psalters forhis English-speaking congregation ofreligious exiles in Amsterdam. ThePlymouth colonists brought thePsalter to the Massachusetts BayColony in 1620. Soon, the AinsworthPsalter was superseded by the BayPsalm Book of 1636, the first book

published in British NorthAmerica.

Finney channeled his en-gagement with the AinsworthPsalter into a modernist musi-cal idiom, developing an elab-orate choral work that set in-dividual psalm tunes “plannedso as to distribute the perform-ance between different schoolgroups.” He ultimately createda suite of fifteen compositions,entitled Pilgrim Psalms, basedon the Ainsworth melodies.Pilgrim Psalms consist ofmovements for a variety ofchoral voicings, both a cap-pella and accompanied by or-gan, as well as two organ in-terludes, and a final numberenlisting the audience. InFinney’s settings, all thePsalms retain the archaicspelling of their original Eng-lish texts.

Having nearly completed thework, Finney was drafted into militaryservice in 1943, where he worked forthe Office of Strategic Services in Eu-rope. During one of his journeys, hestepped on a land mine and wasstruck in the back by a shell fragment,later receiving the Purple Heart and aCertificate of Merit for his service. Hecontinued work on Pilgrim Psalmsduring the war, writing to his brotherthat “it is to be a work of severalpieces – each piece a setting of aPsalm from the Ainsworth Psalter us-ing the one tune as a basis but settingthem for mixed chorus in a very freemanner, sort of like a choral prelude…

I have never gotten a greater kick outof working. Time seems too short.”Pilgrim Psalms reveals Finney’s

mastery of compositional economyand craft. He embellishes these early17th-century tunes with a variety ofdexterous techniques: mode-mixture,polychoral antiphony, quartal har-mony, theme and variation, bitonal-ity, mixed meter, textural variety,polyphony and counterpoint, osti-nato, and other devices. Though hetreats the tunes with subtle sophisti-cation and varied artifice, Finneymaintains an essential clarity, natu-ralness, and accessibility in the work.

“Simplicity is something nat-ural to my background,” he re-flected about his style at thetime, “complexity has novirtue to me.”Pilgrim Psalms was pre-

miered on June 2, 1946 at theCornell University Festival ofContemporary American Arts.John Kuypers led the first per-formance with Cornell’s SageChapel Choir and Festival Or-chestra in a version of thework for strings and brass.

While at Smith, Finney de-veloped a close friendship withthe Modernist poet and writerArchibald MacLeish. Finneycomposed numerous works onMacLeish texts, including a setof eight songs entitled “Poemsby Archibald MacLeish”(1935), “Bleheri”s (1937) fortenor solo and orchestra, andseveral choral works: “Wordsto be Spoken” (1946) and “Im-

mortal Autumn” (1952), among them. “Words to be Spoken” appears in

Modern Canons, a collection of thirty-eight contemporary short composi-tions published in 1947 that includesentries by Alberto Ginastera, PaulHindemith, Vincent Persichetti, HannsEisler, Randall Thompson, and others.Finney sets a very short four-partcanon in D-minor that concludes witha homophonic coda. MacLeish haddedicated the poem to the memoryof Baoth Wiborg Murphy, a youngboy who died in 1935 of meningitisat the age of 16. Baoth was the sonof MacLeish’s close friends, the

wealthy Jazz Age socialites Geraldand Sara Murphy. MacLeish describedthe couple as “sort of a nexus witheverything that was going on,” par-ticularly in the expatriate communityliving in the south of France in the1920s that included MacLeish, Hem-ingway, Fitzgerald, Dos Passos, andothers.

“Immortal Autumn” was writtenfor an International ContemporaryMusic Festival at the University ofPittsburgh in 1952. The piece waspremiered by the Heinz Chapel Choirunder the directions of ProfessorTheodore Finney, Ross Lee’s brother

and a longtime choral conductor atthe University of Pittsburgh. “Immor-tal Autumn” is scored for mixed cho-rus, tenor solo, and organ and, likethe movements in Pilgrim Psalms, isbased on a preexisting melody thatFinney had sung in his youth. “Ohlovely appearance of Death” is ahymn from the “the great awakening”movement in 19th-century Americanevangelical Christianity. In “ImmortalAutumn”, Finney shrewdly disguisesthe hymn tune by composing it back-wards, in retrograde – a serial tech-nique. Like many of his contempo-raries in the postwar United States,

Finney would veer away from na-tionalistic works and move towardsserialism. “The rampant nationalismthat I had witnessed in Europe, andloathed, almost erased my interest inAmericana,” he later explained. “Itbecame clear to me that the quotationof folksongs in my compositionscould result in a trivial procedure thatdestroyed my musical intention… Theexperiences during the war made mefeel the need of an expanded musicalvocabulary, and gradually I turned toa more chromatic statement.”

In 1949, Finney began a long andillustrious tenure at the University of

Michigan as professor of music andcomposer-in-residence. There, hementored a group of gifted com-posers, including William Albright,Roger Reynolds, and George Crumb,among others. He would go on towrite several books and compose nu-merous eclectic works. He was the re-cipient of the Brandeis Medal (1968),two honorary degrees, commissionsfrom the Coolidge and KoussevitzkyFoundations, and was elected to theNational Institute of Arts and Lettersin 1962. Finney died in Carmel, Cal-ifornia in 1997 at the age of 90.

—Andrew Clark

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1. IMMORTAL AUTUMN I speak this poem now with grave and level voice In praise of autumn, of the far-horn-winding fall.

I praise the flower-barren fields, the clouds, the tall Unanswering branches where the wind makes sullen noise.

I praise the fall: it is the human season. NowNo more the foreign sun does meddle at our earth, Enforce the green and bring the fallow land to birth, Nor winter yet weigh all with silence the pine bough,

But now in autumn with the black and outcast crows Share we the spacious world: the whispering year is gone: There is more room to live now: the once secret dawn Comes late by daylight and the dark unguarded goes.

Between the mutinous brave burning of the leaves And winter’s covering of our hearts with his deep snow We are alone: there are no evening birds: we know The naked moon: the tame stars circle at our eaves.

It is the human season. On this sterile airDo words outcarry breath: the sound goes on and on.I hear a dead man’s cry from autumn long since gone.

I cry to you beyond upon this bitter air.

— Archibald MacLeish (1892-1982)

PILGRIM PSALMS Text: Ainsworth Psalter (1612)2. Psalm XXIV

Lift up, ye gates, your heads, and ye, Dores of eternal aye,

Be lifed up, that so the King Of glory enter may!

This King of glory, who is He? Jehovah, puissant

And valiant, Jehovah, He In battel valiant.

3. Psalm LXIV God, hear my voice when I doo pray to Thee; Preserve my life from dread of th’enemie.

From secret of yll-doers hide Thou mee, From rage of them that work iniquitie,

Which have their tongue sharp-whetted as a sword, Have bent their arrow, ev’n a biter word. Amen.

4. Psalm CXXXVII Jehovah’s song how sing shal wee Within a foreyn people’s land?

Jerusalem, if I doo thee Forget, forget let my right hand.

Cleav let my tongue to my palat, If I doo not in mind thee bear,

If I Jerusalem doo not Above my chiefest joy prefer. Amen.

5. Psalm V And all that hope in Thee for stay Shal joy, shal showt eternallie;

And Thou shalt cover them; and they That love Thy name, be glad in Thee.

7. Psalm CL O praise Him with sound of the trompet shril; Praise Him with harp and the psalterion;

O praise Him with the fute and tymberel; Praise Him with virginals and organon!

the music

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8. Psalm XCV Come, let us to the Lord showt joyfully, To Rock of our health showt triumphantly

Let us prevent His face with thanksgiving, Let us with psalms to Him triumphant sing. Because the Lord is a great God mightie,

A great King eke, above al gods is Hee.

9. Psalm LI O God, be gracious to me According unto Thy kindnes;

As Thy compassions many bee, Wipe Thou away my trespasses.

Much wash me from my perversenes, And from my syn me purife.

My trespasses for know doo I, And my syn ‘fore me alway is.

10. Psalm LV Mine hart is payned in the mids of me; Terrours of death eke falln upon me be. Fear is into me come and trembling dread,And quaking horrour hath me covered. So that I say, Who wil give me a wing, As dove, that I might fye and fnd dwelling? Loe, wandring fight I would make farr away; Lodge would I in the wildernes. Selah.

11. Psalm I O blessed man, that dooth not in The wicked’s counsel walk Nor stand in synner’s way, nor sit In seat of scornful folk, But seteth in Jehovah’s law His pleasureful delight, And in His law dooth meditate By day and eke by night.

12. Psalm CXXXVIII With al my hart I’le Thee confess, Before the gods to Thee sing psalme; To pallace of Thy holynes I’le bow down and confess Thy name For Thy mercie and veritee. For Thou Thy word hast magnifed ‘Bove al Thy name. Thou answ’redst mee Then in the day wherin I cried.

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14. Psalm C Showt to Jehovah, al the earth; Serv ye Jehovah with gladnes; Before Him come with singing mirth; Know that Jehovah He God is. Amen.

15. Psalm CXXXIXBehind and ‘fore Thou doost me strayt inclose; Upon me also doost Thy hand impose. This knowledge is too marveilous for me; It’s high, to reach I shal not able be. O whither shal I from Thy spirit goe? And whither shal I fee Thy presence fro? If I clime up the heav’ns, Thou art there; Or make my bed in hel, loe, Thou art there.

16. WORDS TO BE SPOKENO shallow ground

That over ledges Shoulders the gentle year.

Tender O shallow Ground your grass is Sisterly touching us:

Your trees are still: They stand at our side in the Night lantern.

Sister O shallow Ground you inherit Death as we do.

Your year also(The young faceThe voice) vanishes.

Sister O shallowGround let the silence of Green be between us

And the green sound.

— Archibald MacLeish (1892-1982)

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e.m. skinner opus 793Harvard Memorial Church has two sig-

nificant pipe organs. In the chancel, betterknown as Appleton Chapel, a vintage E.M.Skinner organ is located inside organchambers above the choir. The three-manual 1929 E.M. Skinner Opus 793 wasrebuilt and relocated to the AppletonChapel by Foley-Baker Inc., and installedin the summer of 2010. Originally madefor Second Church of Christ, Scientist inHartford, Connecticut, Skinner’s Opus 793is one of the few Skinner instrumentsfrom that period that still retains its originalstyle and voicing. The organ console wasreplaced with one from Aeolian-SkinnerOpus 906 (1933), renovated by Richard S.Houghten.

The Skinner organ, which is featuredin this recording, is complemented by alarge C.B. Fisk organ (Opus 139) of con-trasting style in the rear gallery of thechurch.

Appleton Chapelbelow the centralPalladian windows

specif ications

Great16 Diapason 8 First Diapason 8 Second Diapason 8 Harmonic Flute 4 Octave 4 Flute 2 Fifteenth III Mixture 8 Tuba (separately enclosed) 8 French Horn (separately enclosed) French Horn Tremolo Great Unison Off Chimes (2010 addition, in Swell)

Swell16 Bourdon (2010 addition) 8 Diapason 8 Salicional 8 Voix Celeste 8 Rohrflöte 8 Flauto Dolce 8 Flute Celeste (tenor c) 4 Octave 4 Flute Triangulaire V Chorus Mixture 16 Waldhorn 8 Trumpet 8 Oboe 8 Vox Humana 4 Clarion Tremolo Swell 16 Swell 4 Swell Unison Off

Choir16 Gamba 8 ’Cello 8 ’Cello Celeste 8 Concert Flute 8 Dulciana 8 Unda Maris (tenor c) 4 Fugara 4 Flute d’Amour 22/3 Nazard 8 Clarinet Tremolo Choir 16 Choir 4 Choir Unison Off Great Reeds on Choir Harp Celesta Chimes

Pedal32 Bourdon (2010 addition)16 Open Diapason16 Contrebasse 16 Bourdon16 Gamba (CH) 16 Echo Bourdon (SW) 8 Octave (ext.) 8 ’Cello (ext.) 8 Gedeckt (ext.) 8 Still Gedeckt (SW) 4 Super Octave (ext. C.B.) 4 Flute (ext.) 16 Trombone 8 Tromba (ext.)

Note: Chimes come to Pedal at 4’via Great Chimes plus Great to Pedal

Couplers: Great to Pedal Swell to Pedal Choir to Pedal Swell to Pedal 4 Choir to Pedal 4 Swell to Great Choir to Great Swell to Choir Choir to Swell Great to Choir Swell to Great 16 Choir to Great 16 Swell to Great 4 Choir to Great 4 Swell to Choir 16 Swell to Choir 4

Combinations: Great 1-2-3-4-5-6-7-8 Swell 1-2-3-4-5-6-7-8 Choir 1-2-3-4-5-6-7-8 Pedal 1-2-3-4-5 General 1-2-3-4-5-6-7-8-9-10 (thumb and toe) General 11-12 (righthand, thumb and toe)

Great to Pedal (thumb and toe) Swell to Pedal (thumb and toe) Choir to Pedal (thumb and toe) Swell to Great (thumb) Choir to Great (thumb) Swell to Choir (thumb)

Sforzando (thumb and toe)

Next Back All Pistons Next

Memory Up

Memory Down

Crescendo Standard-A-B-C

Console from Aeolian-Skinner Opus 906, 1933 | Renovated Richard S. Houghten

E.M. Skinner Opus 793, 1929 | Rebuilt and relocated to Appleton Chapel, 2010 — Foley-Baker, Inc.

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the artistsAndrew Clark is the Director

of Choral Activities and SeniorLecturer on Music at HarvardUniversity. He serves as theMusic Director and Conductor ofthe Harvard Glee Club, theRadcliffe Choral Society, and theHarvard–Radcliffe CollegiumMusicum, and teaches courses inconducting, choral literature, andmusic and disability studies inthe music department.

Prior to his appointment atHarvard, Clark was ArtisticDirector of the ProvidenceSingers, and served as Director ofChoral Activities at TuftsUniversity for seven years. He

previously held conducting posts with the Worcester Chorus, OperaBoston, Clark University, the Boston Pops Esplanade Chorus, and theMendelssohn Choir of Pittsburgh, the chorus of the Pittsburgh Symphony.

He has commissioned numerous composers and conducted importantcontemporary and rarely heard pieces as well as regular performances ofchoral-orchestral masterworks. His choirshave been hailed as ‘first rate’ (BostonGlobe), ‘cohesive and exciting’ (OperaNews), and ‘beautifully blended’ (Provi-dence Journal), achieving performances of‘passion, conviction, adrenalin, [and] co-herence’ (Worcester Telegram).

Clark earned degrees from BostonUniversity, Wake Forest, and CarnegieMellon Universities. His principal teachersinclude Ann Howard Jones, David Hoose,Robert Page, and Brian Gorelick.

Andrew Clark

CharlesBlandy

Margot Rood, hailed for her “lu-minosity and grace” by The New YorkTimes, performs a wide range of reper-toire across American stages. In addi-tion to opera and oratorio, Ms. Roodhas performed as soloist with some ofthe United States’ premiere new music

ensembles, and was a 2015recipient of the St. BotolphClub Foundation’s EmergingArtist Award for her workin new music.

SWinner of the 2011 Cana-

dian International OrganCompetition and Vice-President of the American Guild of Organists,Christian Lane is one of America’s most accomplished, respected,and versatile young organists. He currently serves as Director ofMusic and Organist of All Saints Episcopal Parish in Brookline,Massachusetts and in similar capacity for the chaplaincy of TuftsUniversity.

ChristianLane

MargotRood

Charles Blandy is the product ofa strong public school arts programin Troy, NY� and graduated fromOberlin College with a BA in religion.He received his Master’s Degree fromIndiana University. Further trainingwas at Tanglewood, where he wasawarded the Grace B. Jackson prizefor excellence� and at the BrittenPears School in Aldeburgh UK.

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Radcliffe Choral Society Harvard Glee Club

the choirsHarvard-Radcliffe Collegium Musicum

The Harvard-Radcliffe Collegium Musicum, Harvard’s celebrated mixed-voice chorus, performs works from the fifteenth century to the present. Though the membersof the ensemble span the full range of academic concentrations at Harvard, the students are united by the joy of singing in community. Together, they work to sustainand advance the choral art through dynamic performances, adventurous collaborations, and community engagement.

The Harvard Glee Club is the oldest collegiate men’s chorus in America,founded by students in 1858. The ensemble of fifty men strives to further the tra-dition of men’s choral music, foster lifelong brotherhood, and contribute to thecommunity through the love and performance of music. Its alumni include VirgilThomson, Elliot Carter, William Christie, Theodore Roosevelt, and Franklin Roo-sevelt, among others.

The Radcliffe Choral Society, founded in 1899, is one of the oldest collegiatewomen’s choruses in America. The chorus performs a distinctive literature fromthe medieval era through the present and cultivates the flourishing of women’schoral music through domestic and international touring, recordings, and commis-sioning new works for women’s voices. The Choral Society has won several inter-national competitions and hosts a quadrennial women’s choral festival at Harvard.

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credits

Executive producer: Roger Sherman

Recording and editing: Joel Gordon

Booklet editor: Victoria Parker

Cover image: Embarkation of the Pilgrims Robert W. Weir, commissioned in 1837 (public domain)

Graphic design: Tim Braun

ROSS LEE FINNEY

PILGRIM PSALMSHARVARD CHORUSES, ANDREW CLARK, CONDUCTOR

CHRISTIAN LANE, ORGAN

Recording dates: April 4, 2011 (tracks 2-15)

January 30, 2013 (tracks 1, 16)

Recording location: Memorial Church, Harvard University

All rights of the producer and the owner of the work reproduced are reserved. Unauthorizedcopying, hiring, lending, public performance and broadcasting of this recording are prohibited.

o&r 2016 by Loft Recordings, LLC All Rights Reserved

Catalog Number: G-49296www.gothic-catalog.com

G-49296 www.gothic-catalog.com