booklet description and track list

CHRIST CHURCH SCHOLA CANTORUM
• STEPHEN KENNEDY DIRECTOR
L RCD –112 6-2 7
PHOTO: R. SHERMAN
A Sunday in Paris
JORIS VERDIN HARMONIUM
A Sunday in Paris
STEPHEN KENNEDY DIRECTOR
CHRIST CHURCH SCHOLA CANTORUM
CD 1 “A l’église”
1 | Prière du Matin
Hector Berlioz
(1803-1869) 4:18
“La Messe”
Messe Brève (aux Chapelles)
2 | Entrée en mi majeur
Charles Gounod
(1818-1893)
César Franck
(1822-1890) 2:46
3 | Kyrie
Gounod 3:14
4 | Gloria
Gounod 5:18
TENOR: Thatcher Lyman BASS: Jordan Wilson
5 | Offertoire: Domine Deus in Simplicitate,
pour les premiers dimanches du mois
SOPRANO: Adelaide Boedecker TENOR: Thatcher Lyman
BASS: Jordan Wilson DOUBLE BASS: Julie Shulman
6 | Sanctus
Franck 4:40
8 | O Salutaris
Gounod 2:37
9 | Agnus Dei
TENOR: Thatcher Lyman
Gounod 3:03
BASS: Jordan Wilson
10 | Panis Angelicus
MEZZO-SOPRANO: Zorica Pavlovic
11 | Sortie: Marche en sol, L’Office Catholique, Op. 178
7 | Elévation en ut, Vademecum de l’organiste Op. 187
Louis James Alfred Lefébure-Wely
(1817-1869) 2:01
Lefébure-Wely 2:53
“Salut du Saint Sacrement”
12 | Ecce Panis Op. 66
Alexandre Guilmant
TENOR: Thatcher Lyman SOPRANO: Adelaide Boedecker
(1837-1911) 5:24
VIOLIN: Molly Werts HARP: Kristina Finch
13 | Tantum Ergo
BASS: Jordan Wilson
14 | Laudate Dominum, Gloire au Seigneur
Gounod 1:42
Théodore Dubois
(1837-1924) 3:21
Franck 3:31
Jacques-Nicolas Lemmens
(1823-1881) 4:40
TOTAL: 49:31
CD 2 “Au salon”
1 | Romance sans Paroles Op. 92
Lefébure-Wely 3:44
2 | Pifferari
Lefébure-Wely 3:53
3 | Soupirs et Regrets
Lefébure-Wely 3:51
4 | Sur le Golfe, from “Nuits Napolitaines” Op. 183
Lefébure-Wely 3:19
5 | Vieille Gavotte Op. 142
H.P. Toby
(fl. 1880-1900) 2:02
6 | Mélodie Op. 42
Guilmant 2:52
7 | Recueillement Op. 23/1
Guilmant 5:00
JORIS VERDIN HARMONIUM
PHOTO: R. SHERMAN
“Un dimanche a Paris”
11 | Rigaudon, from “Suite Symphonique pour Orgue-Mustel” Op. 9
Mouquet 2:48
12 | Nocturne
13 | Barcarolle Op. 1
14 | Les Bateliers de Venise
15 | Pastorale
Lemmens 3:29
Camille Saint-Saëns
(1835-1921) 3:29
Joseph Leybach
(1817-1891) 6:36
Théodore Dubois
(1837-1924) 4:17
8 | Souvenir de Madrid
Charles Loret
(1835-1870) 3:48
16 | Rêverie
Victor Dubois
(1832-1869) 3:14
9 | Thème varié
Jules Mouquet
(1867-1946) 4:36
17 | Élégie, from “6 Compositions pour Harmonium”
Victor Dubois 4:10
10 | Sarabande
Mouquet 4:30
18 | Caprice original pour Harmoniophone 1854
Edouard Grégoir
(1822-1890) 9:35
TOTAL: 75:14
ABOU T TH E M U SIC
M
usical life in 19th-century France was both rich and diverse. Each social context
had its own music, instruments and musical forms. Some of this music survives
today in the symphonic and chamber music repertoire, and also the opera and
ballet. Other forms have all but disappeared: military music, folk, dance, cabaret, the
“salon” repertoire, and a great deal of sacred music.
This recording is the first of selected choral works by well-known composers in the
their original version with harmonium accompaniment. The music is presented as it was
played in a French Catholic circle on a Sunday, the day of rest after a long week of work,
when people dressed in their ‘Sunday best’ and had special lunches and dinners, and visited
family or friends. Strong state support for Catholicism under the reign of Napoléon III
allowed churches to purchase magnificent furniture, art, and musical instruments. Schools,
monasteries, and chapels acquired similar high-quality equipment, though on a smaller
scale. The flexibility of the harmonium often made it preferable to a small organ, which
explains the great number of sacred pieces written for voices with harmonium or organ
accompaniment—but always playable on the harmonium. A typical example is Gounod’s
mass “for the chapels”. The Ordinary of the mass, Kyrie, Gloria, Credo, SanctusBenedictus, Agnus Dei, were composed as a whole. The other main moments like “Introït,”
“Graduel”, and occasionally “Alleluia”, “Offertoire,” “Élévation,” and “Communion”,
were either performed as “Plain Chant” (Gregorian Chant), sung in a polyphonic setting,
or played by the organist. The first and last pieces of the mass, the “Entrée” and “Sortie”,
were generally for organ.
6
Mass always took place in the morning but families
often spent part of the afternoon in church as well: “le
Salut”, or Benediction of the Blessed Sacrament was a
shorter ceremony using standard repertoire like the Tantum Ergo, Magnificat, Salve Regina, or Ave Maria. Here
again, the music comprised a flexible alternation of Gregorian chant, choir, solo voice, and organ or harmonium.
The evenings also provided an opportunity to make
music. The upcoming “bourgeoisie” amassed great
wealth and, in addition to building large townhouses,
“hôtels de maître”, purchased expensive instruments as
a mark of success. Pianos were very much the fashion,
but around the middle of the century the number of harmoniums produced was nearly as high. Very fine builders
like Victor Mustel proposed instruments of the highest
quality, “Harmonium d’Art”, with a price comparable
to that of an 8-stop Cavaillé-Coll organ. Lefébure-Wely,
Guilmant, and Lemmens were among Mustel’s clients.
Franck apparently didn’t earn enough money to buy
one, as the price was more or less equal to three years of
his salary at the Conservatory. The program of the second
CD gives a selection of pieces exclusively written for
the harmonium. They make use of the instrument’s typical features: expressive sound, the split keyboard with
different colors in bass and treble, and use of the “Percussion” stop for fast movements. Playing these pieces
on other instruments demands special adaptations for
the registration and sacrifices the harmonium’s distinct
expressive character.
C H OR AL TEXTS
On dit que ce brillant soleil
N’est qu’un jouet de ta puissance;
Que sous tes pieds il se balance
Comme une lampe de vermeil.
On dit que c’est toi qui fais naître
Les petits oiseaux dans les champs,
[Et] qui donne aux petits enfants
Une âme aussi pour te connaître!
Mon Dieu, donne l’onde aux fontaines,
Donne la plume aux passereaux,
Et la laine aux petits agneaux,
Et l’ombre et la rosée aux plaines.
Oh! Father whom mortals adoring
Ever a morning bow the knee,
Hear little children cry to Thee,
Grace and guidance humbly imploring:
Donne au [malade la santé,
Au] mendiant le pain qu’il pleure,
À l’orphelin une demeure,
[Donne] au prisonnier la liberté.
Yon sun that shines above the land
Is but a bauble in Thy hand,
‘Tis like a rosy lamp set high,
Swinging for ever in the sky.
Mets dans mon âme la justice,
Sur mes lèvres la vérité,
Qu’avec crainte et docilité
Ta parole en mon cœur mûrisse!
They say that by Thy loving direction
Little birds have food downy nests;
Lord, then fill ev’ry childish breast
With love for Thee and fond affection:
PHOTO: S. KENNEDY
1. Prière du Matin
Ô père qu’adore mon père!
Toi qu’on ne nomme qu’à genoux!
Toi, dont le nom terrible et doux
Fait courber le front de ma mère!
On dit que c’est toi qui produis
Les fleurs dont le jardin se pare,
El que, sans toi, toujours avare,
Le verger n’aurait point de fruits.
Et que ma voix s’élève à toi
Comme cette douce fumée
Que balance l’urne embaumée
Dans la main d’enfants comme moi!
Alphonse Marie Louis
de Prat de Lamartine
‘Tis Thou givest life to each root,
And makest our gardens gay with flowers;
‘Tis Thou that sendest sun and showers,
Till our orchards abound with fruit.
The Lord God doth fill each stream and river
Decks ev’ry bird in plumage bright,
Clothes each lamb in its fleece so white,
Of all good gifts is He the Giver.
Health to each suff ’rer He restores;
Bread with the hungry He divideth,
Home for the orphan He provideth,
Opens the captive’s prison doors.
Lord, in my heart take up Thy dwelling
Touch my lips with truth all divine,
To Thy word let me e’er incline
Grant me joys that are past the telling.
So let my song of praise and love
In the golden morning arise,
Floating upward unto the skies,
Till it reach Thy Kingdom above.
9
Lord have mercy; Christ, have mercy; Lord, have mercy.
4. Gloria
Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te,
benedicimus te, adoramus te, glorificamus te, gratias agimus tibi propter magnam
gloriam tuam, Domine Deus, Rex caelestis [coelestis], Deus Pater omnipotens.
Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris, qui tollis
peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Sanctus, tu
solus Dominus, tu solus Altissimus, Jesu Christe, cum Sancto Spiritu in gloria Dei Patris. Amen.
Glory to God in the highest, and on earth peace to men of good will. We praise You,
we bless You, we adore You, we glorify You, we give thanks to You for Your great
glory, Lord God, heavenly King, almighty God the Father. Lord Jesus Christ, only
begotten Son, Lord God, Lamb of God, Son of the Father, who taketh away the sins
of the world, Have mercy on us; You who take away the sins of the world, hear our
prayers. Who sits at the right hand of the Father, have mercy upon us. For You are
the only Holy One, the only Lord, the only Most High, Jesus Christ, with the Holy
Spirit in the glory of God the Father, Amen.
10
5. Offertoire: Domine Deus in Simplicitate
pour les premiers dimanches du mois
Domine Deus, in simplicitate cordis mei laetus obtuli universa,
et populum tuum qui repertus est vidi cum ingenti gaudio.
Deus Israel, custodi hanc voluntatem, Domine Deus.
O Lord God, in the simplicity of my heart I have joyfully offered all these things;
and I have seen with great joy Thy people which are here present: O God of Israel,
keep this will.
6. Sanctus
Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth;
pleni sunt coeli et terra gloria tua.
Hosanna in excelsis.
Holy, Holy, Holy Lord God of Hosts;
Heaven and earth are full of Your glory.
Hosanna in the highest.
8. O Salutaris
O Salutaris Hostia, quae cæli pandis ostium: bella
premunt hostilia, da robur, fer auxilium. Uni trinoque domino sit sempiterna gloria, qui vitam sine
termino nobis donet in patria. Amen.
O, Salutary Victim, who expandest the door of
heaven, hostile wars press, give strength; bear aid.
To the Triune Lord, may there be everlasting glory;
that life without end He to us give in our homeland.
Amen.
PHOTO: S. KENNEDY
3. Kyrie
Kyrie eleison; Christe eleison; Kyrie eleison.
9. Agnus Dei
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Lamb of God, who takes away the sins of the world, have mercy upon us.
Lamb of God, who takes away the sins of the world, have mercy upon us.
Lamb of God, who takes away the sins of the world, grant us peace.
PHOTO: R. SHERMAN
10. Panis Angelicus
Panis angelicus
fit panis hominum;
dat panis cœlicus
figuris terminum:
o res mirabilis!
manducat Dominum
pauper, servus et humilis.
Te trina Deitas
unaque poscimus:
Sic nos tu visita,
sicut te colimus;
Per tuas semitas
duc nos quo tendimus,
Ad lucem quam inhabitas.
Amen.
Bread of the Angels
Is made bread for mankind;
Gifted bread of Heaven
Of all imaginings the end;
Oh, thing miraculous!
This body of God will nourish
the poor, the servile, and the humble.
Thee Triune God,
We beseech;
Do us Thou visit,
Just as Thee we worship.
By Thy ways,
lead us where we are heading,
to the light Thou dwellest in.
Amen.
13
Behold the Bread of the angels, made food for the wayfarers; it is truly the Bread of
the children; it should not be heady to the dogs. Isaac’s immolation, the Sacrifice of
the paschal lamb and the manna given to our parents had served as premature
figures. Good Shepherd, true bread, o Jesus, have mercy on us. Graze and protect us.
Make us to see the goods in the earth of the alive ones. You who know all and you
who can, who graze us here when we are even mortal, make us there your diners,
coheirs and the saints’ partners. Amen. Alleluia.
14
Hence so great a Sacrament
Let us venerate with heads bowed
And let the old practice
Give way to the new rite;
Let faith provide a supplement
For the failure of the senses.
To the Begetter and the Begotten,
Be praise and jubilation,
Hail,[6] honour, virtue[7] also,
And blessing too:
To the One proceeding from Both
Let there be equal praise.
Amen.
PHOTO: S. KENNEDY
PHOTO: S. KENNEDY
12. Ecce Panis (Op. 66)
Ecce Panis angelorum, factus cibus viatorum, vere panis filiorum, non mitendus
canibus. In figuris praesignatur cum Isaac immolatur, Agnus Paschae deputatur,
datur manna patribus. Bone Pastor, Panis vere, Jesu, nostri Miserere. Tu nos pasce,
nos tuere, Tu nos bona fac videre in terra viventium. Tu, qui cuncta scis et vales, qui
nos pascis hic mortales, Tuos ibi comensales, cohaeredes et sodales fac sanctorum
civium. Amen. Alleluia.
13. Tantum Ergo
Tantum ergo Sacramentum
Veneremur cernui:
Et antiquum documentum
Novo cedat ritui:
Præstet fides supplementum
Sensuum defectui.
Genitori, Genitoque
Laus et jubilatio,
Salus, honor, virtus quoque
Sit et benedictio:
Procedenti ab utroque
Compar sit laudatio.
Amen.
15
14. Laudate Dominum
Gloire au Seigneur Gloire au Seigneur, le Créateur du monde:
Toutes les voix célèbrent sa grandeur;
Gloire à ce Dieu, bonté toujours féconde;
Cieux éclatants, chantez sans fin sa splendeur!
Astres d’or, soleils sans nombre,
Anges du Ciel, Louez le Créateur!
Il tira le monde du néant,
Sa puissance partout sema la vie;
Il fit régner au firmament
Une immense harmonie,
Et dans l’éternité Son trône brille exalté!
Monde habité, sombres abîmes, Chefs d’œuvre de son bras!
Pluie, air, brises, blancs frimas, Noires fléaux, lois sublimes;
Mers, collines, monts puissants, Océans Magnifiques,
Que vos cantiques Montent dans le Ciel Vers L’Immortel!
PHOTO: S. KENNEDY
Voix de l’aurore et voix de la nuit sombre,
Vaste chœur des ondes, Chantez le Roi des mondes:
Gloire au nom, au nom du Seigneur,
Gloire au nom, au saint nom du Seigneur!
Princes et rois, vous qui jugez la terre,
Peuples errants à l’ombre de sa main,
Vierges naïves et vous vieillards austères,
Que votre encens monte au trône divin!
C’est votre Dieu: louez ses doux mystères;
Cœurs aimants, chantez sa grandeur,
Cœurs aimants, chantez, bénissez sa grandeur!
Gloire à jamais au nom du Créateur, du Créateur!
Praise ye the Lord, the Lord from the heavens:
Praise ye Him in the high halls.
Praise ye Him, all His angels:
Praise ye Him, praise Him all his hosts.
Praise ye Him, O sun and moon:
Praise Him all ye stars and light.
Praise ye Him, ye heaven of heavens:
And let all the waters that are above the heavens,
Praise the name, the name of the Lord.
continued on next page
For He spoke, and they were made:
He commanded, and they were created. He hath established them forever, and for ages of ages:
He hath made a decree, and it shall not pass away.
Praise the Lord, from the earth,
Ye dragons, and all ye deeps.
Fire, hail, snow, ice stormy winds:
Which fulfill His word:
Mountains and all hills: fruitful trees, and all cedars.
Beasts, and all cattle:
Serpents, and feathered fowls:
Kings of the earth, and all people:
Princes, and all judges of the earth.
Young men and maidens:
Let the old with the younger praise the name of the Lord:
For His name, alone is exalted.
Praise the name of the Lord:
For His name alone is exalted.
The praise of him is above heaven and earth.
18
PHOTO: R. SHERMAN
-from the English text that is in the Lemmens score
ABOU T TH E H AR M ON IU M
• Sound is formed by free reeds (similar to those in the accordion).
• Wind is provided by a bellows system, manipulated by two pedals.
• The instrument is played from a keyboard with a compass of five octaves.
• Each instrument has a minimum of four standardized stops, and a split keyboard
(stops are drawn separately for the bass and treble). A wide variety of color is
possible with this arrangement.
PHOTO: R. SHERMAN
T
here is no single musical instrument with a history as clearly defined as that of the
harmonium, whose existence is entirely linked to the musical character common in
the period 1830-1930. Towards the end of the 18th century, a new wave of
developments began in the world of keyboard instruments. The intent was to combine
sustained sounds with dynamic expression. Organ builders such as Sébastien Erard
experimented with special stops, piano makers developed new forms of the pianoforte, while
the harpsichord and clavichord gradually disappeared altogether. Instrument makers puzzled
over how to combine practicality and compactness with a durable instrument that could be
produced on a large scale. Furthermore, instrument makers failed to find a manner of making
the organ, or pianoforte, truly ‘expressive’. Following various forms of the so-called ‘orgue
expressif’, developed during the first decades of the 19th century, Alexandre François Debain
finally invented an instrument that would radically change the keyboard world. In 1842, he
took out a patent on a keyboard instrument that he called the “Harmonium.” It was the
prototype of an instrument whose use would spread throughout Europe, America and Asia
during the subsequent 100 years. The characteristics of Debain’s ‘Harmonium’ are as follows:
In this manner, a keyboard instrument had been created that fulfilled a primary desire
of the time: a sound supple enough to make a wide variety of musical expression possible.
Other instrument makers imitated Debain and made their own models, initially under
another name, but, following the expiry of the patent, as the “harmonium.” The two most
important firms were Alexandre, who utilized the modern concept of mass production and
21
combined it with socially-responsible conditions for his employees, and Mustel, whose
extremely artistic and craft-driven approach produced a limited number of ‘perfect’
instruments.
Victor Mustel also developed various new devices designed to increase the player’s
ability to manipulate the sound. This effort culminated in the “Harmonium d’Art”, which
was found in the homes of the more elite pianists and organists during the 1860s but did not
threaten the dominance of the classic model. This situation remained more or less constant
until the instrument’s disappearance in the middle of the 20th century.
The harmonium heard on this CD is an excellent example of a quality instrument
produced by the house of Mustel. Only the bellows have been restored, while the playing
mechanism and wind chest are completely original. Mustel’s work displays extraordinary
craftsmanship, which explains why he could charge high prices for his instruments
comparable to those paid for concert grand pianos. His customers included Alexandre
Guilmant, Jacques Lemmens, Clément Loret, Aristide Cavaillé-Coll, Lefébure-Wely,
Alphonse Mailly, Théodore Salomé, and Fernand de la Tombelle.
Specification of the instrument on this recording:
Harmonium Victor Mustel, Paris (1885)
Basses:
Forte Expressif - Harpe Eolienne - Basson - Clairon
Bourdon - Cor Anglais - Cor Anglais ou Percussion
Dessus: Flûte ou Percussion - Flûte - Clarinette - Fifre - Hautbois
Musette - Voix Céleste - Baryton - Forte Expressif
Double Expression
PHOTO: S. KENNEDY
Grand Jeu
Expression
ABOU T TH E ARTISTS
J
Joris Verdin, Harmonium
oris Verdin is both organist and musicologist. This combination is the reason for his preference of reviving forgotten music at the same time as he creates contemporary compositions. He has recorded over forty CDs as a soloist, spanning many musical eras and
styles. After various activities as accompanist, arranger and producer he now focuses on the
organ as well as the harmonium. He teaches the organ at the Royal Conservatory of Antwerp
and is professor at the University of Leuven, Belgium.
Master classes, musical editions and articles are
an important part of his activities. Amongst them are
the first complete edition of César Franck harmonium
works and the first handbook of harmonium technique. The Spanish town Torre de Juan Abad (Ciudad
Real) appointed Joris Verdin as honorary organist of
the historical organ built by Gaspar de la Redonda in
1763. He obtained Diapason d’Or (France), Ceciliaaward (Belgian Press), and Musician of the year of
the Flanders Festival 2002. Awards include the “Preis
der deutschen Schallplattenkritik” (Germany) for
several of his recordings. He also served as Artistic
Director of the Gothenburg International Organ
Academy 2015.
24
Stephen Kennedy, Director
Christ Church Schola Cantorum
tephen Kennedy is Director of Music and Organist of Christ
Church Rochester, Professor of Sacred Music at the Eastman
School of Music, and Instructor of Organ for Eastman’s Community Music School. Stephen established the Office of Compline at
Christ Church in 1997, and in that same year he founded the Christ
Church Schola Cantorum.
Stephen has appeared as organ soloist in programs of standard repertoire as well as recitals
consisting solely of improvisations. He has performed and lectured for local and regional
events of the American Guild of Organists, and has given workshops on choral music, chant,
and improvisation in the U.S. and abroad. He is also a composer of choral, instrumental, and
chamber music, and has collaborated in performances with dancers and choreographers.
S
T
Christ Church Schola Cantorum
he Christ Church Schola Cantorum was founded in 1997 by Stephen Kennedy for
the purpose of performing the weekly Office of Compline at Christ Church. Participation in the Schola is offered for course credit at the Eastman School of Music. This
critically acclaimed ensemble specializes in Gregorian chant, choral music from the Renaissance and baroque, and choral improvisation. The Schola has collaborated with Manfred
Cordes and Weser-Renaissance Bremen, Boston Early Music Festival Chamber Players, and
organists Edoardo Bellotti, Hans Davidsson, David Higgs, Olivier Latry, William Porter, Joris
Verdin, and Harald Vogel. The ensemble is also devoted to choral improvisation and to new
music, having commissioned, premiered, and recorded works by a growing list of composers.
The artists wish to thank: David Higgs, Christopher Huebner, Thatcher Lyman,
Nancy Norwood and the staff at the Memorial Art Gallery, Rev. Ruth Ferguson, contributors to “Friends of Music “at Christ Church, and Douglas Lowry, Gail Bradley, Carol
Cowan, Lorraine Hems, Laura Hood, Heide Jorgensen-Murray, William L. and Mary
Catherine Kennedy, Dave and Maggie Richey, Judy Viken, Anne Yeager.
CHRIST CHURCH SCHOLA CANTORUM
CREDITS
Catalog number | LRCD-1126-27
SOPRANO
Jennifer Bellor
Adelaide Boedecker
Amy Steinberg
Kelly Suthers
Reagan McNamee King
Sarah McConnell
Zorica Pavlovic
Sarah Winstein-Hibbs
ALTO
Honey Meconi
Katherine Evans
Lydia Kirkpatrick
Lyndon England
Naomi Gregory
TENOR
Thatcher Lyman, Assistant Director
Benjamin Mccormack
Brian Lustig
Chris Petit
Gilad Rabinovitch
Robert Laird
BASS
Mark Ballard
Daniel Brottman
Mark Austin
Aaron James
Kyle Quarles
Steven Seigart
Executive Producer
Roger Sherman
Recording, editing and mastering
Roger Sherman
Program notes
Stephen Kennedy
Loft Recordings CDs
are available from
THE
CATALOG
Booklet editor
Victoria Parker
Graphic Design
Tim Braun
Cover photo
Stephen Kennedy
French, and French Latin diction coach
Valerie Couderc
Visit the gothic catalog
Web site to see our full range
of organ & choral recordings:
www.gothic-catalog.com
Rehearsal accompanists
Chris Petit, Aaron James, Naomi Gregory, Sonja Shelton
Stephen Kennedy, Director
Thatcher Lyman, Assistant Director, Schola Cantorum
Christopher Huebner, Librarian and Coordinator
Harmonium technician:
Mark Austin
Recorded: May 4-6, 2011
This recording and the booklet are m
and r by Loft Recordings, LLC, 2016
All rights of the producer and the owner
of the work reproduced are reserved.
Unauthorized copying, hiring, lending,
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