+ + +
Press Comments on the Music of Ivan Moody
+ + +
"In Passion and Resurrection
Moody creates…a surprising power and beauty. Moody's work kept returning to the
mystery of the divine made flesh. It was fitting that we'd been able to marvel at
his treatment of that message."
Willamette Week, USA
*
"[Lamentation of the Virgin]
Schon allein der Variantreichtum in der Vertonung des Klagelauts
"awe" faszinierte. Wie Balsam wirkt das zarte "Erbarme dich
unser" nach der schrillen Klage."
Nürnberger Zeitung, Germany
*
"Mariposa del aire…is
beguilingly simple and intensely wrought from musical images which themselves
seem like a perfect translation of words into another, even better
language."
Choir & Organ, UK
*
"The sound of the pieces…is immediately
familiar and yet still quite personal. The second song, Endechas a la muerte
de Guillén Peraza, is a keening, utterly memorable lament that has the
sound of an ancient, cross-cultural, art-folk music hybrid."
Fanfare, USA
*
"Ivan Moody’s four Endechas y Canciones…sound
to me to have carried Gesualdo a few twisty miles further along the mannerist
road. Very sexy stuff indeed! […] The collection concludes with Ivan Moody’s
touching and beautiful Canticum Canticorum."
Fanfare, USA
*
"And Moody’s resonant ‘Canticum
Canticorum I’, with which the album concludes, is just simply beautiful."
Glenn McDonald, The War against Silence, http://www.furia.com/twas/twas0105.html
*
"Moody set the entire Akathistos Hymn,
a feat that has not been attempted since the middle ages. ..listening to the
slowly unfolding work became a new and deeply satisfying experience. [His]
handling of gentle dissonances for key words showed imagination. […] The effect
was hair-raising. […] Something new, substantial and profound."
Sunday Oregonian, USA
*
"The
Meeting in the Garden […] mostrou como é possível escrever bela música
religiosa nos dias de hoje. O compositor […] regressa às mais arcaicas raízes
da música de igreja com uma pureza e uma sensação de novidade desconcertantes.
A narrativa do encontro de Jesus ressuscitado com a Virgem Maria é dada com uma
limpidez e uam eficácia que nos faz sentir como os fiéis de tempos remotos,
ouvindo uma história com o espanto de crianças."
Público, Portugal
*
"The music of Ivan Moody's Passion
and Resurrection is given such a compelling performance on this recording
that there are times when it touches sublimity. […] The entire drama of the
Passion is here given a freshened meaning, at least to Western Europeans,
because the certainty of the Resurrection imparts something warm, even
ecstatic, to grief. […] The effect, I may say, is very powerful indeed. […] The
choruses are ineffably beautiful even when there is an edge of reproach or a
dazzle of death-defying gratitude about them. It is hard to explain how music
which is not understated but never shoutingly draws attention to itself or
waves rowdy rhetorical flags nevertheless conveys, over the span of an hour of
more, an overwhelming sense of completion, of things felt and understood with a
rare, strange wholeness."
Choir and Organ, UK
*
"…a major addition to the literature.
[…] Moody's setting [of the Akathistos Hymn] combines traditional
Byzantine melodic lines - in monophonic chant over a drone- with polyphony that
grows more complex as the work progresses, culminating in occasional stunning
10- and 12- part passages. The harmonies are lush and dark in Russian style,
though periodically the shadows disperse as in a cloudbreak and the sound
brightens. The effect over the whole hymn is of a slow revelation of light and
warmth over an ancient musical ground."
Willamette Week, USA
*
"Ivan Moody's Words of the Angel
- beautifully conceived, and in this poised, pure performance, truly
ethereal."
Classic FM Magazine, November 2001, UK
*
"Ivan Moody's Words of the Angel,
written specially for Trio Mediaeval, and making superb use of their voices,
adds a nice touch of something slightly different before the end. "
"A cult disc in the making?"
Gramophone, January 2002, UK
*
"...the disc is spellbinding. [...] It
is a tribute to Moody's piece, a Resurrection motet with vivid effects of
dazzling light, that it can follow these without anticlimax. An
exceptional coupling, finely and atmospherically recorded."
International Record Review, February 2002, UK
*
"...e un
lavoro del contemporaneo Ivan Moody (classe 1964), Parole degli Angeli.
Anche in questo caso, l'accostamento tra antico e moderno non provoca
fratture, ma sottende piuttosto l'idea di non considerare il passato solo come
expressione museale, bensì come stimolo per la creatività contemporanea."
24 Ore Domenica, 30th September, 2001, Italy
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"Highlights for me included (...)
Moody's contribution, which sits at exactly the right place in the spiritual
journey of the CD."
Early Music News, November 2001
*
"Moody’s expert vocal writing soars
frequently and thrillingly into the singers’ highest registers."
Iclassics.com review of Words of the Angel, available online at: http://www.iclassics.com/iclassics/feature.jsp?featureId=479
*
"The 14th century ‘Tournai’ Mass, consisting
of a Kyrie, Gloria, Credo, Sanctus, Agnus Dei, and Ite missa est, is the first
known complete polyphonic mass to come down to us. Its sections were probably
written by different composers, and it's a stunning, fascinating look into
early polyphony. This performance is combined with other pieces from the same
period, as well as a five-minute piece by contemporary composer Ivan Moody,
which--though clearly from six centuries later--blends to make this a gorgeous
whole. If you like Anonymous 4, you're in for a real treat here. The three
Scandinavian women who make up Trio Mediaeval have astonishingly beautiful
voices, with individual timbres that nonetheless mingle seamlessly, whether in
simple, chantlike moments or in the high-flying Moody piece. And they sing with
feeling, depth, and, well, soul. This is a magnificent disc, not to be
missed." --Robert Levine
Editorial Reviews at Amazon.com (www.amazon.com)
*
"…Words of the Angel by Ivan
Moody. It’s a haunting and intensely
expressive piece that fits this program surprisingly well, its sharp harmonies
and otherworldly aura nicely paralleling the mood and texture of the ancient
music."
Editorial reviews at Barnes and Noble.com (http://music.barnesandnoble.com)
*
"Words is a tour de force of
sinuous chant and unadorned contrapuntal statements, alternating with a broad
and occasionally dissonant brush of soaring and cascading polyphonies."
Online Review by Lou Wigdor (Lou’s
Reviews: http://www.filbert.com/pvfs/LousReviews/0302.htm)
*
The sheer vocal dynamics of the title track
– composed especially for Trio Mediaeval by Ivan Moody – would make Leonardo da
Vinci’s jaw drop."
David Lynch, Austin Chronicle
(http://www.austinchronicle.com/issues/dispatch/2002-04-05/music_phases4.html)
*
“At the other end of the program, the Moody
title piece "Words of the Angel" (1998) seems to have been included
to remind us that all the music here might best be perceived as modern objects,
not to be mistaken for historical recreation. This orthodox prayer, which was
composed specifically for them, has no other kin remotely like it in the set
and yet this lone performance unambiguously places Trio Mediaeval on their own
ground, safely outside any problem of authenticity. It is far and away the most
potent moment on the recording with its (recent) close harmonies and dramatic
spire-like punctuations.”
Steve Taylor, hollowear.com http://www.hollowear.com/reviews/ecm-medeival.html
*
The Word’s the thing: Ivan Moody’s Passion
and Resurrection
In his 1992 oratorio, Passion and
Resurrection, performed Friday night in St. Mary’s Cathedral by the
Portland-based choral ensemble Cappella Romana, British composer Ivan Moody
(who conducted) carries on a fitting heritage: some of the earliest settings of
the passion of Christ emerged from fifteenth century England.
But Moody’s tonal world, like that of his teacher, composer Sir John Tavener,
is much closer to that of the Greek and Slavic churches, especially that of
Russian Orthodoxy, where the unaccompanied choral tradition is strongest and
collective faith in Christian mysteries at its most potent. In fact, Moody’s Passion
does more than just echo the music of the Orthodox church, it paints images
with all the compressed message and gesture of Russian icons. Appropriately,
and brilliantly, Moody’s oratorio is divided into eight such icons, from
Incarnation (Ikon I) to The Resurrection (Ikon VIII). And as with the most
spiritually and artistically effective religious art, the starkest image can
speak the richest of meanings. Therein lies the foundation of this oratorio’s
moving beauty and power: Moody’s adroit shaping of the material, and Cappella
Romana¹s sensitive interpretation of it.
"In the beginning was the Word," chants Moody’s Evangelist, sung with
tender intensity by tenor Scott Tuomi, and the Word - be it in English, Greek
or Slavonic - is what makes this work run. In strictly modal plainchant
recitatives, Tuomi told the familiar story - Last Supper, Agony in the Garden,
Trial, Crucifixion and Resurrection--interspersed with harmonically jeweled
choral responses from the ensemble, setting a mesmeric mood that left the
curious impression of having watched a play rather than listened to music. This
is where Moody’s faith supersedes his art. Like the oklad or silver
plaque placed over an icon’s image, Moody’s submission to orthodoxy frames and
disciplines the gorgeously colored scenes within. Even his orchestral resources
are kept in check. To the traditional string quartet grouping of violins, viola
and cello were added contrabass and chimes, providing subdued accompaniment;
the brief yet delicately descriptive orchestral interludes were like prayer
made visible as well as audible. Even Christ seemed subsumed in the Word: the
wonderful bass John Vergin sang with quiet, submissive nobility. Soprano
LeaAnne DenBeste, in her chaste solos as the Mother of God, meshed perfectly
with Moody’s iconic vision of world-altering action frozen at the moment of
highest dramatic import. Amid all these rocky peaks and solemn valleys, there
was one blooming garden. Tuomi’s aria, "Give me this Stranger, Who has no
place to lay His head," accompanied by the choir and soprano soloist, came
off not so much as an appeal to selfless compassion than as a kind of cosmic canzona
d’amore.
Grant Menzies, Critic of the Willamette Week, USA, October 2002
*
Moving 'Passion' lovingly voiced
Cappella Romana's transporting delivery
drew on the spare Byzantine style.
Purer, sweeter, more austere and impersonal
than Baroque composer Heinrich Schutz, who makes Bach sound like an overwrought
Romantic, is the music of the Byzantine liturgy. Ivan Moody drew on that
glorious tradition for his deeply moving "Passion and Resurrection,"
heard Friday at St. Paul Greek Orthodox Church in Irvine.
Sung gorgeously by the Portland, Oregon-based Cappella Romana, led by Moody,
the performance set a high-water mark at the start of the fourth Eclectic
Orange Festival sponsored by the Philharmonic Society. The concert was
presented by the church.
This is a vocal tradition uncommon in the Western concert hall and takes some
getting used to. A narrator chants the story of Christ's Passion and
resurrection, staying within a very narrow dynamic, expressive and melodic
range. The choir sings hymns and antiphons, mostly a cappella, often in unison.
When it breaks into harmony, the effect is like jeweled light flooding the
space.
Moody added a small string ensemble to provide occasional, discreet accompaniment.
A string bass, however, sounded pedal notes throughout the work, except at the
moment of Christ's death. Its absence then was shocking.
Absence is the critical characteristic of this style: absence of display, ego,
of anything that draws attention from the involving narrative. Following the
practice of the Greek Orthodox Church, however, the composer sets off sections
of the work, which he calls "Ikons," with chimed notes. That and the
symbolic three-fold repetitions of certain lines remind us that this is not
meant as entertainment.
Indeed, "Passion and Resurrection" is very close to being a church
service, and that may have accounted for the respectful rather than
overwhelming applause at the end. You don't applaud a Mass at which you have
been transported.
The 16 singers were exemplary in breath and dynamic control, creating timeless,
endless melody by starting every new line at exactly the same dynamic and color
as the one they had just finished. Tenor Leslie Green was the gentle, marathon
Evangelist. Bass John Vergin was the warm, authoritative Christ. LeaAnne
DenBeste sang the Mother of God with aching purity.
Moody's a cappella In You, All Creation Rejoices, also in Byzantine
style, was the encore.
Chris Pasles, Los Angeles Times, 14 October 2002
*
[Ivan Moody’s] three Canticum
Canticorum motets are masterly in using the modern to evoke the past.
Chords are prismatically sung and the sound quality and engineering are
pristine.
Vancouver Sun, Saturday, 12th October,
2002
(review of "INVOCATION" by
musica intima, on Atma 2284 ***** [5 stars]))
*
"It’s truly beautiful work, and a rare
understanding of the choral instrument. Some of your music reminds me of the
Rachmaninov Vespers."
Cary Boyce, composer, University of
Indiana
*
Meditative
Zeitensprünge
Winterthurer
Vokalensemble und Frauen-Choralschola St. Gallen gestalteten geistliche
Musik vom Feinsten
In
der Kathedrale führten musikalische Zeitreisen zu musikalischer Zeitlosigkeit.
Und zeigten die ungebrochene Kraft ferner geistlicher Musik als Anregerin für
moderne Auseinandersetzung.
Es
mochte symbolisch wirken, dass der englische Komponist Ivan Moody sich als
Sänger einreihte ins Winterthurer Vokalensemble, nur heraustretend, um sein
diesem Chor gewidmetes Werk «Isconsolada» zu dirigieren. Moody, dessen
musikalische Wurzeln stark von der Orthodoxie geprägt sind, reiht sich auch mit
dieser Uraufführung respektvoll in die grosse und nach wie vor unerschöpfliche
Tradition geistlicher Musik ein.
«Isconsolada»
(sardisch: die Untröstliche) ist Musik, die stehend wirkt, die unaufdringlich,
aber einprägsam Jahrhunderte zusammenfasst und auf bewusst engem Raum grosse
Emotionsbreite «zusammenpacken» will. Die Sekundreibungen zu Beginn sind aus
der Feder eines Zeitgenossen, erinnern aber gleichzeitig an «atonale»
Stimmexperimente der Renaissance.
Die
Tradition geachtet
Ausbrüche
gibt es wenige, dann aber - subtil gesetzt - von spannender Wirkung. Die
griechischen und sardischen Texte fassen konzis und prägnant Erbe zusammen:
östliches und westliches. «Isconsolada» macht Appetit auf einen Tonsetzer, der
einer überreichen Tradition mit Achtung etwas abgewinnen kann, um ihr dann
wiederum etwas gegenüberzustellen.
[...]
Martin
Preisser, Tagblatt St Gallen, September 2003
*
Akáthistos Hymn
The Byzantine Akáthistos Hymn probably dates
from the early 6th century and comprises 24 stanzas, one for each letter of the
Greek alphabet. Moody's is believed to be the first complete setting of the
hymn, a meditation on the Virgin Mary, since medieval times.
Moody has combined authentic Byzantine
melodies with some he has composed himself, suited to this English translation
of the hymn. His use of voicings,
influenced by Russian Orthodox choral traditions, gives a 'chestier' quality to
the music than we normally expect from contemporary 'Holy Minimalists' such as
Tavener, with whom Moody studied, or even from plainsong. The ancient Byzantine
modes (codified in the 8th century but extant for several centuries before),
the intervals, the occurrence at crucial points of expressively flattened
pitches, the graceful arc of the phrases and the use of pedal tones or drone
effects: all strongly evoke Indian music - though their real roots probably lie
in Persian tradition.
Somewhat ironically, the strictures of
the Church authorities against making music too attractive, and thus taking the
worshippers' thoughts away from the devotional purpose of the liturgy, produced
music of such purity and radiance that, to modern sensibilities at least, the
beauty of the sound is a sensuous pleasure which is its own justification,
regardless of the intention of the text. Moody's realization is sinfully
lovely. Cappella Romana specializes in the Slavic and Byzantine traditions, so
the excellence of this performance is no surprise: the soloist is the aptly
named bass-baritone John Vergin.
As if 96 gorgeous minutes of the
Akáthistos Hymn were not value for money, the album is rounded off with a
shimmering performance of O Tebe Raduetsya, Moody's 1990 setting of
another hymn to the Virgin, this time from the Russian Orthodox tradition.
Barry Witherden
Gramophone, Awards Issue, 14th
Oct 2003
*
...”Words of the Angel”. In Ivan Moody’s setting of passages from the
Orthodox Easter Liturgy, haunting, spiky dissonances suggest a joy born of
unspeakable sorrow.
Marion Lignana Rosenberg
Newsday.com, 11 February, 2004 ( http://www.newsday.com)
*
When we arrive at Ivan Moody’s A Lion’s
Sleep, however, we appreciate certain clues to its 21st century
origin while remaining solidly in a medieval harmonic and textually expressive
idiom. It’s an ingenious and memorable
piece that we’re sure to hear in the Trio’s upcoming concert programs.
David Vernier
ClassicToday.com, February 2004 (http://www.classicstoday.com/review.asp?ReviewNum=7342)
*
Akáthistos Hymn
That the Orthodox church in Britain has a
contemporary musical voice is largely the result of John Tavener’s commitment to
his adopted faith. Having moved away in recent years from liturgical music to
grander works for the concert-hall, his baton has been firmly picked up by his
one-time pupil, my reviewing colleague Ivan Moody. The extensive list of works
on his website shows a particular focus on choral music for the Orthodox
Church, of which he is also a member, and performances and recordings
world-wide in the last two decades show wide interest in his music. The
Akáthistos Hymn was written for Cappella Romana in 1998 and recorded in 2002
after a very successful American tour.
The name Akáthistos (“not sittingˆ) refers
to a performance of the hymn in the sixth century in thanks for Mary’s divine
intervention for the raising of the siege of Constantinople, and given standing;
the 24 sections (one for each letter of the Greek alphabet) comprise a hymn of
praise to the Virgin Mary. There is a great deal of text to set - no one has
done this complete since the Middle Ages - and even with Moody´s efficient
word-setting, the work lasts around 100 minutes. This is in fact his largest
work to date, longer even than Passion & Resurrection (recorded by
Cappella Amsterdam on Hyperion in 1996).
As the composer pointed out in a recent
interview, the text is so full of imagery that the challenge was almost one of
restraint, to conceive the whole span of the work as a whole; the interplay of
Byzantine chant, Russian Medieval music and Moody’s own characteristic voice
provides the necessary variety. As the text is less obviously narrative than
that of Passion & Resurrection, the dramatic impulse here is
subservient to the liturgical, with the majority of the 24 Ikos including an
individual hymn of praise, each line beginning, “Hail”. And there are no
instruments or soloists this time, except a single baritone.
Moody draws a wide variety of moods from
often-simple harmony, aided by a careful interplay of major and minor modes,
where a single accidental can change the whole character of a line. The
stylistic integrity of the musical narrative allows sudden moments of
illumination, like “Hail, for thou dost illumine multitudes with thy knowledge”
in Ikos 9, to register with real force; and the appearance of a single E major
chord seems revelatory after an hour of tonal areas based around C and D. Along
the way there are moments of great richness (Ikos 11), and serenity (Kontakion
7). Throughout, Moody has succeeded in creating an organically developing
whole, aided both by a sense of continuous harmonic evolution and increasing
rhythmic complexity; all is brought to a climax with writing for ten-part
double choir in Ikos 23. What seems like a calm ending then dissolves into an
ecstatically lush setting of “O mother worthy of all praise”, before the final
Kontakion reprise. Two moments did seem to lie outside the normal parameters in
Kontakion 4, where a hint of the Anglican cathedral tradition emerges - plus a
chant theme coincidentally similar to John Barry’s Bond theme music for You
Only Live Twice!
Portland-based choir Cappella Romana was founded
in 1991 by the conductor and musicologist Alexander Lingas to explore the
centuries of Orthodox sacred music. They tackle The Akáthistos Hymn with
confidence and commitment, undaunted by the composer’s unending melodies and
the four-octave range of the work. That there are minor flaws is principally a
result of the ensemble’s small size (21 voices), for maintaining the
architecturally long lines requires either iron lungs or more voices. The sound
itself is certainly full, but stronger low basses would have been useful; a
slight tendency to flatness, and occasional American vowels (as in the word
“thoughts” in Ikos 1) among the English can grate, especially from baritone
soloist John Vergin. While this is a fine first reading, I suspect there is even
more than Lingas and his team find in the score - a greater sense of dynamic
range and drama, and a less metrical pulse. That the performance rarely seems
spiritually ecstatic owes something to the recorded sound, which is clear
rather than atmospheric - you can’t smell the incense! Nevertheless, this comes
strongly recommended.
Francis Knights
International Record Review, March 2004
*
“Particularly outstanding are Ivan Moody’s Troparion
of Kassiani and A Lion’s Sleep which, in powerfully expressive music
combining great simplicity with piercingly appropriate responses to certain
crucial words in each text, convey the inconsolable anguish of St Mary
Magdalene and the Blessed Virgin as they contemplate the body of the crucified
Christ.”
Elizabeth Roche
Telegraph, Saturday 1 May, 2004
*
Les voix
pures et vibrantes du Trio Mediaeval explorent les sources de la musique
chrétienne et appellent leurs profondes résonances chez les compositeurs de
notre époque. Leur précédent enregistrement chez ECM (Words of the Angel,
ECM 1753) insérait une pièce d'Ivan Moody écrite en 1998 au coeur d'une oeuvre
médiévale. Cette fois, c'est la messe Alma Redemptoris Mater de Leonel
Power (c.1370 - 1445) qui éveille l'inspiration des compositeurs contemporains
sollicités pour composer des pièces autour de la thématique mariale, usant de
la belle simplicité du plain-chant comme des couleurs de la polyphonie plus
tardive. Ainsi, nous survolons les nuages au-dessus de l'Ukraine d'Oleh
Harkavyy ou de l'Angleterre d'Andrew Smith tout imprégnées des racines de la
musique médiévale, succombant à l'éclat des compositions de Gavin Bryars qui
subliment la lumière vocale du soprano solo. La complicité qui lie le
Trio Mediaeval à Ivan Moody depuis plusieurs années se devine dans la riche
délicatesse d'A Lion's Sleep où la voix soliste s'élève telle une épure
pour rejoindre la tenue des deux autres dans un même élan, étincelant de
ferveur, se retire et revient plus intense encore, plus vivante et lumineuse.
Ce très bel album, offrande d'une bienfaisante fraîcheur, invite à la
plus douce des méditations.
Isabelle
Françaix, Bruxelles, le 30 avril 2004, Ramifications http://www.ramifications.be/Nouveautes/sacre.htm
*
Soir,
dit-elle is only the second release from Trio Mediaeval, but these three
Scandinavian women are already widely regarded as A4’s logical successors.
Individually, they probably have even more distinctive and flexible
voices—soprano Anna Maria Friman can really nail a high note when required—but
TM’s most salient strengths are those of the American group: a flawless vocal
blend, a profound musical intelligence, and a deep spiritual connection to the
texts. Soir, dit-elle intersperses
the four sections of a fifteenth-century mass (“Alma redemptoris mater”) by the
English composer Leonel Power with new works written for Trio Mediaeval by Oleh
Haravyy, Gavin Bryars, Andrew Smith, and Ivan Moody. The effect of the program
is spellbinding, as the Trio moves effortlessly back and forth across the span
of 600 years without ever breaking the musical mood. All of the new music is
exemplary, but the two pieces by Moody, The
Troparion of Kassiani and A Lion’s
Sleep, which set ninth- and tenth-century texts that give voice to the two
Maries associated with Christ (His mother and Mary Magdalene), are especially
wonderful.
Andrew
Quint, AVguide.com
http://www.avguide.com/film_music/music/musicreviews/tas148/148_classical_caps.jsp
*
The most telling journey is in the nine minutes of Ivan Moody's A Lion's
Sleep. This is Mary's Lament, as told by St Simeon Metaphrastes and translated
by Elizabeth Barrett Browning. The British composer is unerring in his response
to images of great poetic power.
William Dart, The New Zealand Herald, 16
June 2004
*
Aufregend, überraschend und
zeitweilig richtig virtuos Ivan Moodys The Troparion of Kassiani. Eine
Steigerung all dessen ist sein sehr fantasievolles A Lion's Sleep.
*
Lamentation of
the Virgin
(Singer Pur CD Oehms Classics OC354)
Ivan Moodys
wunderbare "Klage der Jungfrau Maria, die unter dem Kreuz den Tod und das
Leiden ihres Sohnes beweint", ist die 1995 entstandene Vertonung eines
tatsächlich ergreifenden Textes aus den Carmina Burana, jener berühmten
Benediktbeurer Handschrift. Moody, 1964 geboren und Schüler John Taveners,
schrieb dazu eine Musik, die von fast mittelalterlich anmutenden weiten Bögen
und großen Linien geprägt ist, auch an die große Mehrstimmigkeit der
Renaissance fühlt man sich immer wieder erinnert. Trotzdem findet Moody zu
einem eigenständigen, individuellen und letztlich faszinierenden Ton.
Oswald Beaujean, Bayern
4 Klassik (Klassikportal des Bayerischen Rundfunks), October 2004
http://www.br-online.de/kultur-szene/klassik/pages/cdtipps/cd20041021.html
*
Return to
Homepage: http://members.lycos.co.uk/ivanmoody
+ + +
Last revised 31.10.2004
© 2004 Ivan Moody