CHANTICLEER
Psallite !
A Renaissance Christmas
CHANTICLEER
TIIOMAS STOI.TZER (c. 1475-1526)
This Christmas antiphon for five voices is a setting of the mystery of the Incarnation.
T h e "wondrous exchange" is here evoked by a hushed, drawn-out "o" in the bass,
answrred 1)y rich harmony in the full choir. Stoltzer himself was a German composer
of great ~ ~ o p u l a r i ti yr l the first half of the sixteenth century; this particular work was
s o I)ol)t~larthat i t has I)een fountl in no fewer than 11 source manuscripts. T h e work is
a 1)eautiful example of genius in the matching of words a n d music; Stoltzer has illustrated
the text down to the srrtallest detail, simultaneously integrating t h e Gregorian melody
of t h r nntiphort s o that i t is rtrarly undetectable.
0 admirabile cummercium!
Crrator g r n r r i s Iit~niani,
anirnatum c:orl)us s u m e n s ,
tle virgine nasc:i clignatus est:
r t I ) r o ( . ~ I ~honio
ts
s i n r s(~niin(;,
largiti~sest n o l ~ i ssuarn Deitatern.
0 wondrous exchange!
T h e (:reator of mankind,
taking on o u r living flesh,
willed to b e born of a virgin;
a n d , coming forth a s man
froni rto Iiuntan s e r t l ,
has m a d e u s the gift of H i s divinity.
JACOB HANDI. (1530-1591)
Jac.01) Hiln(ll wits tli(' niost f t t n t o ~ ~ofs Cot~~iter-Rrforrnation
composers in Bohemia. H i s
c~ornpositionsshow his intlivitlual style., which fusc:s the tec.hniques of the Netherlantlers
ant1 t h r Venetians.
Cnrlitc. tuhn in Sion is the responsory for the fourth Sunday in Advent, the Sunday
immerliatrly ~)rcc.rtlingChristmas. In keeping with the responsory form, "ecce Deus"
is r r l ) e n ~ e t lin a refrain-like fashion. 'The motet tloes not use the liturgical melody, but
ratl1t.r scts t h r 1)riltc.ipal it1t.a of the text "sing wit11 the trr~tnpet"in a series of ehc~llient
trurril)et-like tunes; these, set in low fivr-voic:ed texture, sountl a t once solemn ant1
festlvt!.
. '
OCatlite tol~nin Sion, voc,atr g r n t e s ,
;uint~ntiatc.p o p t ~ l i s('1 tlic,itc.:
Sound the trumpet in Zion, call the nations,
pro(~lsinito t h r 1)eol)lrs. saying:
ecce, Deus, salvator noster adveniet;
annuntiate et auditum facite,
loquimini et clamate:
ecce, Deus, salvator noster adveniet.
Behold, God our Savior shall come.
Proclaim and make it heard,
speak it and shout it:
Behold, God our Savior shall come.
JOSQUIN DES PREZ (c. 1440-1521)
Of the great Renaissance genius Josquin des Prez, the most versatile and influential
composer of his time, Martin Luther said, "He is master of the notes; others are
mastered by them." His six-voice motet 0 uirgo virginum attests to his wealth of creative
ideas, contrasting the rich sonority of the lower three voices with the lighter texture of
the upper parts. A tenacious cantus firmus melody, holding forth in the soprano part
(or in the tenor when only the lower parts are singing), provides sturdy momentum.
0 virgin of virgins,
0 virgo virginurn,
quomodo fiet istud?
Quia nec primam similem visa est,
nec habere sequentem.
how will this come to pass?
Since nothing like you was seen before
nor has been since.
Filiae Jerusalem,
quid me admiramini?
Divinum est mysterium hoc
quod cernitis.
0 daughters of Jerusalem,
why do you marvel at me?
This mystery you see
is from God.
This four-voice motet is justifiably one of the most famous works by Josquin des Prez.
The opening lines are set in perfect imitations, flowering into independent counterpoint
at "Virgo serena;" the composer expressively alternates homophonic, imitative and freely
contrapuntal writing throughout. The striking beauties of this work include the ingenious
setting of "Ave Vera virginitas," where the tenor line is simply one beat behind the
other parts, texturally as well as rhythmically. Most moving of all is the bare eloquence
of the final couplet. The text for once is cast in the first person singular, rather than
the plural; the chorus declaims, as one, the plea for intercession: "0 Mother of God,
remember me."
O A VMaria,
~
Gratia plena,
Dominus tecum, Virgo serena,
Ave cujus conception
Hail Mary, full of grace,
The Lord is with thee, Joyous Virgin
Hail thee whose conceiving
solemni plena gaudio,
Coelestia, terrestria,
Mundum replens laetitia.
full of solemn gladness,
fills heaven and earth
with joy.
Ave cujus nativitas.
Nostra fuit solemnitas;
Ut lucifer lux oriens,
Verum solem praeveniens.
Hail thee whose birth was to us
a holy day, 0 thou who surpassest
the shining light in the east,
the very sun.
Ave pia humilitas,
Sine viro foecunditas,
Cujus annunciatio
Nostra fuit salvatio.
Hail thy humility,
thy conception without a man,
thou whose annunciation
was our salvation.
Ave Vera virginitas,
Immaculata castitas,
Cujus purificatio
Nostra fuit purgatio.
Hail thy true virginity,
thy spotless chastity,
thou whose purification
was our expiation.
Ave praeclara omnibus
Angelicis virtutibus,
Cujus fuit assumptio
Nostra glorificatio.
0 Mater Dei,
Memento mei. Amen.
Hail thee, most excellent
in all angelic goodness,
thou whose assumption
was our glorification.
0 Mother of God,
remember me. Amen.
ANONYMOUS (English 15th century)
English music of the early Renaissance was marked by conservative tastes and musical
techniques that were more appropriate to the Gothic era than the Renaissance. In fact,
most English musicologists place the beginning of the English "renascence" a century
later than its Continental beginnings, at around 1550. These carols were written in
styles that were already antique on the Continent at the time of their writing: florid,
often parallel lines are written independently, with a perfect disregard for text expression. The great beauty of these carols stems from their medieval complexity combined
with the English predilection for the softness of thirds. The first piece includes the textural peculiarity common in English and German carols of mixing Latin with the
vernacular in the same verse.
ONow make we joy in this fest.
in quo Christw natus est
(on which Christ was born)
A Patre unigenitw
(the only begotten of the Father)
through a maiden is come to us:
sing we to him and say: Welcome!
Veni, Redemptor gentium.
(Come, redeemer of the nations.)
OHail Mary, full of grace, mother of virginity.
The Holy Ghost is to thee sent from the Father omnipotent;
now is God within thee went, when the Angel said Ave.
When the angel Ave began, Flesh and blood together ran;
Mary bore both God and man through virtue and through dignity.
Nowell!
Out of your sleep arise and wake,
For God mankind now hath y-take.
All of a maid without any make;
Of all women she bear'th the bell:
Nowell!
Now, blessed brother, grant us grace
At Domesday to see thy face
And in thy court to have a place.
That we now there sing nowell.
Nowell!
JEAN MOUTON (c. 1459-1522)
Mouton, one of the most gifted of Josquin's students, was of the line of great teacherlcomposers that also included Ockeghem, Wlllaert and Zarlino. Mouton served in the court
of France under Louis XI1 and Francis I; he was, however, internationally popular in
his day. Glaraneus, the Swiss theorist, described his melodic style a s "facili fluentem
filo cantum" (melody flowing in a supple thread). This is intended to describe his
smoothly rising and falling melodies, that have few leaps,even in the lowest part. This .
motet was clearly popular in her-yems, as Wlilkaert and Morales both wrote masses ,
based on it; Cabezdn also wrote a long keyboard fantasia derived froni its themes.
Let us seek with the shepherds
Quaeramus cum pastoribus
Verbum incarnatum;
the incarnate Word;
let us hymn with all mankind
cantemus cum hominibus,
for the King of all ages. Noel, noel.
regem saeculorum. Noe, noe.
What you see in the stable
Quod tu vides in stabulo
is Jesus, born of a Virgin.
Jesum natum d e Virgine.
Quid audis in praesepio?
Angelos cum carmine,
et pastores dicentes: Noe, noe.
Ubi pascas, ubi cubes,
dic, si ploras aut si rides:
Te rogamus, Rex Christe. Noe, noe.
Cibus est lac virgineum,
lectus durum praesepium,
carmina sunt lacrimae. Noe, noe.
What hearest thou in the manger?
Angels with a song
and shepherds saying: Noel, noel.
Where wilt thou be fed, where dost
thou lie? Tell us if thou weepest or
smilest, we ask thee, Christ our King. Noel, noel.
The food i s the Virgin's milk,
the bed the hard manger,
the songs are tears. Noel, noel.
ORLANDO Dl LASSO (1532-1594)
Orlando di Lasso was born in Flanders. When h e was a choirboy, the beauty of his
voice attracted so much attention that he was abducted by other churches no less than
three times before he was nine. His parents finally sent him to Sicily, where they
thought he would be safe. This five-voice motet opposes rhythmic motives in a rich,
virile manner; the sections in compound meter set up a homophonic texture, only to
break it up dramatically. The middle section, more factual and less wild in its rejoicing,
is set for three voices in complex counterpoint.
Resonet in laudibus
cum jucundis plausibus
Sion cum fidelibus:
apparuit quem genuit Maria.
Sunt impleta quae praedixit Gabriel.
Eja, eja! Virgo Deum genuit,
quod divina voluit clementia.
Hodie apparuit in Israel,
per Mariam Virginem est natus Rex.
Let Zion and the faithful
ring with praise
and joyous applause:
he has appeared whom Mary bore.
What Gabriel foretold has come to pass.
Joy, joy! A virgin has given birth to God,
as God's own mercy chose.
Today he has appeared in Israel;
of Mary the virgin is born the King.
Magnum nomen Domini, Emmanuel, Great is the Lord's name, Emmanuel,
quod annuntiatum est per Gabriel. the name made known through Gabriel.
Eja, eja! Virgo Deum genuit,
Joy, joy! A virgin has given birth to God,
quod divina voluit dementia.
as God's own mercy chose.
Eja, eja! Virgo Deum genuit,
quod divina voluit dementia.
Joy, joy! A virgin has given birth to God,
as God's own mercy chose.
HEIRONYMOUS PRAETORIUS (1560-1629)
MICHAEL PRAETORIUS (1571-1621)
These three German choruses are cradle songs. Heironymous Praetorius' pieces are
based upon well-known Christmas songs, of a characteristic sweetness and gentleness
which derives from their triadic melodies and moderate triple meters. The mixture of
German and Latin juxtaposes the hieratic with the intimate, and their setting for double
choir adds to the fullness of this harmony. Michael Praetorius' Psallite expresses the
cradle song through its initial word, since it imitates the plucking sound of the stringed
instrument.
"
mJoseph, lieber Joseph mein,
hilf mir wiegen das Kindelein,
Gott der wird dein Lohner sein,
im Himmelreich der Jungfrau Kind Maria.
Eya! Virgo Deum genuit,
quem divina voluit clementia.
Omnes nunc concinite,
Nato regi psallite,
voce pia dicite:
Sit gloria Christo nato infantulo.
Hodie apparuit in Israel:
quem praedixit Gabriel, est natus rex.
Joseph, my dear Joseph,
help me rock my little child,
God, who will reward you in heaven,
the child of the Virgin Mary."
Joy! A virgin has given birth to God,
as God's own mercy chose.
Now sing in song, everyone!
Sing praise to the new-born King,
with heartfelt words:
"Glory be to Christ, the infant newly born.
Today He has appeared in Israel:
the one foretold by Gabriel is born a King."
OPsallite unigenito Christo, Dei filio,
psallite redemptori Domino, puerulo
jacenti in praesepio.
Ein kleines Kindelein liegt
in dem Krippelein,
Strike the harp to Christ,
God's only begotten son!
Strike the harp to our redeemer Lord,
a tiny boy lying in a manger.
The little child lies in his crib,
alle leiben Engelein
dienen dem Kindelein
und singen ihm fein:
Psallite unigenito Christo, etc.
The beloved angels all
minister to the child,
and sing sweetly to him:
Strike the harp, etc.
In ddei jubilo
nun singet und seid froh,
unsers Herzen Wonne
liegt in praesepio
und leuchtet als die Sonne
matris in gremio.
Alpha es et 0.
Now let us sing
and be happy in sweet rejoicing.
Our heart's joy
lies in the manger
and shines like the sun
in his mother's lap.
You are the Alpha and the Omega.
ANONYMOUS (Spanish, 16th century)
This anonymous work is typical of Spanish music of the sixteenth century in its use of
syncopation and mixture of mode. It is taken from the Cancionero de Upsala.
OEla don don, Verges Maria,
E la don don.
E la don don Virgin Mary,
E la don don.
Peu cap desanque que nos dansaron.
Let's all dance and sing.
0 garqons, aquesta nit
Una verges na parit
Un fillo qu'es tro polit
Que non aut au en lo mon.
Digas nos qui t'ho la dit
Que verges n'haja parit
Que nos mai havem audit
Lo que tu diu, giranthom.
A eo dian 10s angeus
Que cantaven altas veus
La grolla n'ecelsis Deus
Qu'en Belem lo trobaron.
Listen, lads, tonight on earth
Has a virgin given birth
To a son of peerless worth,
Like none other ever seen.
Tell us who has spread this word,
That a virgin birth occurred,
For we have never yet heard
Such a thing, you silly sheep.
Angels told us this is true,
Singing joyfully the news,
Glory to Gad in the highest,
There in Bethlehem he sleeps.
ANONYMOUS (Spanish, 16th century)
The most well-known of the Spanish "villancicos," Riu, riu, chiu embodies a fiercely
rhythmic dance quality. Percussion emphasizes the moving accents of the solo verse;
the refrain deftly resolves the canonic entrances into homophonic statements. The
opening words, meant to resemble a nightingale's song, lead into the colorfully metaphorical text.
ORiu, riu, chiu,
la guarda ribera:
Dios guard6 e l lobo d e nuestra cordera.
El lob0 rabioso la quiso morder,
mas Dios poderoso la sup0 defender;
quiso la hazer q u e no pudiesse pecar,
ni aun original esta Virgen no tuviera.
Este qu'es nascido e s el gran monarca,
Christo patriarca d e carne vestido;
hanos redimido con se hazer chiquito,
aunqu'era infinito finito s e hiziera.
Muchas profecias lo han profetizado
y aun en nuestros d i b lo hemos alcancado.
A dios humanado vemos e n e l suelo
y a1 hombre nel cielo porqu'61
l e quisiera.
Riu, riu, chiu. H e who herds by
the river: God kept the black wolf
far from our ewe, our Lady.
The mad wolf attempted to bite her,
but God the Almighty protected her.
Pure he wished to keep her so she would never sin:
aVirginunstained by our first father'sfault.
The newly born child is our mighty Monarch
Christ patriarchal in flesh incarnate.
Through his humble birth he has redeemed us;
H e who was infinite has become finite.
Many ancient prophets foretold his coming;
In our own time it has come to pass.
God in human form we s e e on earth.
To help us, h e who reigns in heaven has
become man because h e willed it.
WILLIAM BYRD (1543-1623)
This jubilant sacred motet is by the English composer called the "Father of Musicke"
by his contemporaries. The vocal lines dance to the text and climax in a trumpet-like
fanfare before returning to the stately close.
OSing joyfully unto G o d o u r strength.
Blow the trumpet in the new moon,
Sing loud unto the God of Jacob.
even in the time appointed,
Take the song, and bring forth the timbrel,
and at our feast day.
the pleasant harp and the viol,
For this i s a statute for Israel
the merry harp and the viol.
a n d a law of the God of Jacob
PEROTIN (c. 1183-1238)
Perotin was one of the first composers of western polyphonic music. This piece illustrates
many of his important departures from Gregorian chant. Perotin does include the original
chant melody in long notes in the lowest voice, but the upper two voices are freely
composed. The open harmonies, rhythmic complexities, and grand structures are a
reminder of how many centuries separate us from thirteenth-century Paris.
Benedicamus Domino.
Let us bless the Lord.
JOHN TAVERNER (c. 1495-1545)
Taverner was the greatest of the early Tudor composers and a contemporary of King Henry VIII.
This piece is based on a melody by the composer "Leroy" (French for "The King"), who
is thought to be either Henry Vor Henry VI. The melody runs through the soprano line.
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Lord have mercy.
Christ have mercy.
Lord have mercy.
GERONIMO GONZALEZ (ii. 1600)
Gerdmino Gonzllez, a priest living in Mexico around the turn of the century, wrote
the dance-like Serenissima una Noche on a sacred Spanish text. This villancico shows
some surprising syncopations that the good father may have learned from Central
American sources.
Serenissima una noche
mas que si fuera un infante.
En lo crespo d e Diciembre,
quiso pro dicha estrellarse.
Ande a1 baile y al sol
que ha nacido por dios verdadero.
Hoy todos le aclamen.
Calm was the night
when the baby shone forth
like a star
in the cool of December
Come to the dance, and to the sun,
for the child of the true God is born.
today let all acclaim Him.
GIOVANNI MARIA NANINO (c. 1543-1607)
Nanino, though somewhat obscure to us, was better known than Palestrina in his day.
This lovely, sophisticated antiphon to the Virgin sets its sensual psalm text with classic
High Renaissance style and spirituality.
Diffusa est gratia in labiis tuis,
propterea benedixit te Deus in aeternum.
Myrrha, et gutta
et casia a vestimentis tuis,
Grace is poured out upon your lips:
thus God has blessed you forever.
Your robes are fragrant
with myrrh and aloe and cassia.
A domibus eburneis,
ex quibus delectaverunt
et filiae regum
in honore tuo.
From the ivory palaces,
where the daughters of kings
have entertained you
in your glory.
JOSQUIN DES PREZ
The carefully crafted canons, imitative entrances, and extraordinary vocal lines of this
sacred motet are typical of Josquin's work. The motet is constructed in three parts:
after the main body of the text is presented by all six voices, a duet for the top two
voices presents the Per illud ave prolatum. Their gorgeous falling melodies lead into a
grand coda for all six voices, ending with a gracefully rising amen.
Benedicta es, coelorum regina,
et mundi totius domina,
et aegris medicina.
Blessed are you, Queen of heaven,
mistress of all the world,
the health of the sick.
Tu praeclara maris stela vocaris,
quae solem justitiae paris,
a quo illuminaris.
You are called the bright star of the sea,
giving birth to the Sun of Justice,
from whom comes your splendor.
Te Deus Pater, ut Dei Mater
fieres et ipse frater,
cujus eras filia
God the Father, and our very Brother
whose daughter you were,
hallowed you to become
Sanctificavit sanctam servavit,
et mittens sic salutavit:
ave plena gratia.
the Mother of God; kept you holy,
and sent this salutation:
Hail, full of grace.
Per illud ave prolatum
et tuum responsum gratum
est ex te Verbum incarnatum,
quo salvantur omnia.
By that Ave he offered,
and your gracious reply,
the Word by whom all are saved
took flesh from you.
Nunc mater exora natum,
ut nostrum tollat reatum,
et regnum det nobis paratum
in coelesti patria. Amen.
Now, Mother, exhort your Son
to take away our guilt,
and bestow the kingdom prepared for us
in our heavenly homeland.
Psallite!
A Renaissance Christmas
with selections from Chanticleer in Concert
Thomas Stoltzer (c. 1475-1526)
0 admirabile eommereium
Jacob Handl (1550-1591)
Cauite tuba in Siou
Josquin d e s Prez (c. 1440-1521)
0 virgo virginum
Josquin d e s Prez
Ave Maria
Anonymous (English, 15th century)
Now Make We Joy
(soloists: Wong, Rogers)
Anonymous (English, 15th century)
Hail Mary, full of grace
(soloists: Bell, Dole)
Anonymous (English, 15th century)
Nowell
(soloists: Bakkila, Wyatt, Freeman)
Jean Mouton (1458-1522)
Quaeramus cum pastoribus
Orlando d i Lasso (1532-1594)
Resonet in laudibus
(soloists: Rogers, Bakkila, Freeman)
Hieronymous Praetorius (1560-1629)
Joseph, lieber Joseph mein
(3:ll)
(1:49)
(733%)
(524)
(208)
(2:lO)
(1:53)
(3:38)
(3:38)
Total Time:
(213)
Psallite!
Rob Bell, Louis Botto, Randall Won , Countertenors
rs,
Jim Armington. Sanford Dole, ~ e a f ~ o ~ eTenors
Ted Bakkila, Tom Hart, Jonathan Klein, Baritones
Kevin Freeman, Marc Smith, Doug Wyatt, Basses
Peter Maund, Percussion
Louis Botto, Director
Joseph Jmnings. Music Director
Louis Botto, Artistic Director
Adrian R . Flseher. Executive Producer
Digitally mastered from the original analog
master tapes by Don Ososke.
Design: Carolyn Leopard. Ace Leading Co.
Michael Praetorius (1571-1621)
Psallite unigenito
(1:12)
Hieronymous Praetorius
In dulei jubilo
(0:57)
Anonymous (Spanish, 16th century)
E la don don
(1:4Q)
Anonymous (Spanish, 16th century)
Riu, riu, ehiu
(2:OO)
(soloist: Hart)
William Byrd (1543-1623)
Sing joyfully unto Godt
(214)
Perotin (c. 1183-1238)
Benedieamus Dominot
(3%)
John Taverner (c. 1495-1545)
Kyrie "Leroy"t
(320)
Ger6nimo GonzAles (fl. 1600)
Serenissima uua noehet
(1:42)
Giovanni Maria Nanino (c. 1543-1607)
Diffnsa eat gratiat
(233)
Josquin d e s Prez
Benedieta es, coelorum reginat ( 5 4 2 )
(soloists: Rogers, Wong)
tchanticleer in Concert
Louis Botto, Michael Bower, Randall Wong, Countertenors
Ter Larsen, Neal Ro ers, Tenors
Ted Bakkila, %itchell Sandler, k e d Hosea, Baritones
Kevin Freeman, Mark Keller, Basses
Peter Maund, Percussion
Louis Botto, Director
tchanliclerr in Concert was recorded at
St. lgnatius Church. San Francisco. CA
May and June, 1983
Prudueed by Don O~vske& Mark Keller
DonOsuske, Digital Rrcurding&Editing
Cover: The Adoration of the Magi (c. 1480);
Rottirelti ( e . 1444-1510); Natl. Gallev ofAn.
Washington; Andrew W. Mellon Collection
Psollite! was recorded at
St. lgnatius Church. San Francisco. CA
January. 1982
Kevinn Tamm, Recording Engineer
Library of Congress Catalog No.82-743327
@ 1983 Sine Qua Non Records
Chanticleer Records 650 Fifth Street,
Suite 311
@ s @ 1991 San
59:40
San Francisco, CA 94107
(415) 896-5866
Francisco Chanticleer, Inc.
FAX (415) 896-1660
CHANTICLEER
Psallite !
A Renaissance Christmas
with selections from Chanticleer in Concert
Thomas Stoltzer (c. 1475-1526)
0 admirabile eommercium
Jacob Handl (1550-1591)
Canite tuba in Sion
Josquin des Prez (c. 1440-1521)
0 virgo virginum
Jasquin d e s Prez
Ave Maria
Anonymous (English, 15th century)
Now Make We Joy
Anonymous (English, 15th century)
Hail Mary, full of grace
Anonymous (English, 15th century)
Nowell
Jean Mouton (1458-1522)
Quaeramus cum pastoribus
Orlando d i Lasso (1532-1594)
Resonet in laudibus
Hieronymous Praetorius (1560-1629)
Joseph, lieber Joseph mein
(311)
(1:49)
(7:04)
(524)
(2:08)
(2:lO)
(1:53)
(338)
(338)
(2:13)
Michael Praetorius (1571-1621)
Peallite unigenito
Hieronymous Praelorius
In dulei jubilo
Anonymous (Spanish, 16th century)
E la don don
Anonymous (Spanish, 16th century)
Riu, riu, chiu
William Byrd (1543-1623)
Sing joyfully unto God?
Perotin ( c . 1183-1238)
Benedicamus Dominot
John Taverner ( c . 1495-1545)
Kyrie "L.roy"t
Cerbnimo Gonzlles (fl. 1600)
Serenissima una nochet
Giovanni Maria Nanino (c. 1543-1607)
Diffusa est gratiat
Josquin des Prez
Benedicta es, coelorum reginat
Total 'lime:
tSeleulions previously released on
Y
<:ha~ltic-c'cr
Chanticleer in Conren,CK-8301.
R E C O R D S
This recording was produced in part wilh grants from the National Endowmml for the Arts.
California Arls Council and the L.J. & Mary C. Skaggs Foundation.
Chanticleer Records 6 5 0 Efth Sweet.
Suite 311
San Francisco. CA 9 4 1 0 7
(415) 8 9 6 - 5 8 6 6
@ a @ 1991 San Francisco Chanticleer. Inc.
FAX (415) 8 9 6 - 1 6 6 0
mm