J.A.C. Redford Waltzing with Shadows Chamber Music, Vol. 1 01. PHANTASTES - 11:58 Alison Edwards, Piano 02. DREAM DANCES - 9:15 Peter Kent, Violin & Amy Shulman, Harp FIVE SONGS FOR FLUTE & FRENCH HORN John Barcellona, Flute & Calvin Smith, French Horn 03. I “Our birth is but a sleep and a forgetting” (William Wordsworth) - 3:30 04. II “Behold the Child among his new-born blisses”(William Wordsworth) - 1:48 05. III “The world is too much with us, late and soon”(William Wordsworth) - 3:13 06. IV “Do not go gentle into that good night”(Dylan Thomas) - 2:40 07. V “O soft embalmer of the still midnight”(John Keats) - 3:12 08. VIA GIOIOSA - 10:34 George Boespflug, Piano DIMINUTIAE Peter Kent & Sharon Jackson, Violins 09. I - 1:44 10. II - 3:09 11. III - 1:29 12. IV - 4:07 13. WALTZING WITH SHADOWS - 5:27 Stephen Erdody, Cello & Randy Kerber, Piano NOTES Music is never created in a vacuum. As a veteran composer in the film and television industry, Jonathan Alfred Clawson (“J.A.C.”) Redford has spent his career learning how to fine-tune music for varied audiences, from The Trip to Bountiful (with its touching dramatization of the power of memory) to the stylized action of the James Bond films Skyfall and Spectre. Whether writing scores from scratch or partnering with composers to orchestrate their cues (Thomas Newman for the Bond films and the late James Horner, with whom he regularly partnered), Redford understands the art of collaboration — with musicians, with audiences, with contexts — that is essential for new music to make its mark. The same holds true for the medium of chamber music, which is usually regarded as tending toward the “abstract” end of the spectrum. Redford has stated that for him, “music is not merely a mode of self-expression, but a medium for communication” — a communication that can take place as part of a larger whole (as in film) or as the intimate conversation between musicians and audience in the solo and chamber compositions gathered on this recording. In all of these situations, says Redford, his desire is “to write music that appeals to the whole of a person — heart and mind, body and spirit.” The works chosen for Waltzing with Shadows each evoke a particular inspiration. Among these are a 19th-century Scottish fantasist, the dreamworlds of Shakespeare, Christian theology, the music of J.S. Bach: manifestations of Redford’s voraciously creative outlook. At the same time, these pieces are inseparably anchored in what music alone can express. The chamber works are not programmatic compositions in the sense of “accompaniments” to something already there, outside music. Often, notes Redford, the title of a given piece will emerge during the very process of composition, surfacing only after he’s already worked his way close to one-third of the way through. In contrast to the “tailor-made” demands of film music, which needs to be timed to the precise micro-second (if it doesn’t end up on the cutting-room floor), composing concert and chamber works allows Redford to channel his art into a realm “apart from the suits in Hollywood.” And it’s an impulse he has followed as a parallel track from the start of his career. Waltzing with Shadows spans a good quarter century of his non-film-related composition, from 1982 (Dream Dances) to 2008 (Phantastes). Like his larger-scale concert and choral works, Redford’s chamber pieces are a vehicle for music made for its own sake, intended to bring pleasure and insight by being listened to on its own terms. The realm of chamber music moreover affords the matchless pleasure of close partnerships with fellow musicians. “In recording my chamber music, I was fortunate to collaborate with a group of truly extraordinary professional musicians, whom I also count my friends,” says Redford. “Together we have worked in bands and orchestras, served in churches and universities, and recorded film scores in the studios of Los Angeles, all the while maintaining a passion for art music. I hope some of our pleasure in making this music spills over into the listening experience.” Phantastes is a single-movement piece composed in 2008 for pianist Alison Edwards, a teacher and performer who also leads the nationally recognized Piano Pedagogy Program at California State University, Fullerton (in Southern California). Edwards, says Redford, “combines a vigorous technique with a wide range of color and expressive intimacy.” Phantastes represents a superb example of the connection between self-standing musical process and extra-musical inspiration that is a characteristic of Redford’s chamber composition. Rather than a one-on-one correspondence, the connection is looser, often metaphorical. Characteristically, he became aware of a possible connection between what he was composing and a book he happened to be reading at the time only after he’d already written a portion of the piece. A kind of interplay between musical ideas and images from the book eventually resulted, but not as a direct response to the latter. The composer describes this as a subconscious process of association that often happens while undertaking a new work, as he grapples with the question: “What is this piece trying to tell me?’ The book in question was by the Scottish author and cleric George MacDonald (1824-1905), a mentor of Lewis Carroll and pathbreaking fantasist who deeply influenced Tolkien, C.S. Lewis, and other 20th-century British masters of fantasy. Published in 1858, MacDonald’s novel Phantastes; A Faerie Romance for Men contains as its verse epigraph: “Phantastes from ‘their fount’ all shapes deriving,/In new habiliments can quickly dight.” Redford refers to MacDonald’s prose as “the Scottish equivalent of magical Surrealism. The novel dramatizes the ability of phantasms or ghosts to “dight” (i.e., transform) shapes just as easily as a change of clothes, without deforming their essential nature. This ability in turn might be seen as a metaphor for a composer’s ability to cause musical material to “shape shift” without altering its core DNA. And so it is in Phantastes. The musical material that is developed or transformed in this way consists of two ideas. First is a harmonic one relating the keys of A minor and D-flat minor, which are sufficiently distant to generate a sense of unease and mystery. The second is melodic: it involves a lilting theme, Gaelic in character, that is subjected to the standard transformations of counterpoint (statement in reverse and upside down order, and the like). The title Phantastes further plays on the long tradition of fantasies for piano, juxtaposing the elusive, free-form idiom associated with this genre with MacDonald’s “transformative” idea of phantasms. Dream Dances (1982), the earliest piece here, was commissioned by Peter Kent (violin) and Amy Schulman (harp), active Los Angeles studio musicians with careers that include performances as soloists and with chamber and orchestral ensembles. Redford’s collaborations with them go back to the beginning of his career in Los Angeles, and they have played on many of his film and television scores. Dream Dances derives from still another sphere of Redford’s work: composing incidental music for live theatrical performance, as, in this case, a production of Shakespeare’s A Midsummer Night’s Dream for a small independent company in Southern California. The concept for the score was to use a harp that appeared on stage, with vocal parts performed by the cast. Redford extracted some themes from his incidental score to develop them in Dream Dances, a chamber duo for violin and harp. He admires how Kent and Schulman perform it as “a dynamic pas de deux combining muscular rhythm and soaring lyricism.” The first theme had accompanied Titania and Oberon as they first appear onstage. Redford wove this together with other thematic material, along with some new ideas generated from the rest, to craft an independent chamber piece he initially projected as the first movement of a sonata. This explains the essential contours of sonata form that can be discerned here. Redford indicates that he may in future return to the longer, multi-movement sonata idea he originally entertained. In this, Dream Dances represents something of an exception to Redford’s formal thinking. Elsewhere, in place of such traditional structures as sonata form, this is a composer who tends to mold one-of-a-kind forms in response to the unique content associated with each piece. The (non-chronological) order of compositions on Waltzing with Shadows has been carefully planned to take the listener on a journey of musical and existential preoccupations that are of paramount significance for Redford. The first two pieces thus introduce his metaphorical idea of composing as a kind of “shape-shifting” with musical material — themes, harmonies, elusive melodies — and of music as having a life independent of inspirations that may have triggered it. They also reveal this composer’s rhythmic verse, his love of dance-like rhythms and irregular time signatures. At the heart of this collection stands Five Songs (also from 1982), a cycle for flute and French horn commissioned by John Barcellona and Calvin Smith. Barcellona is the Director of Woodwind Studies and Professor of Flute at CSULB, as well as flutist with the internationally acclaimed Westwood Wind Quintet; Smith was associate professor of horn at the University of Tennessee and an active recording musician in Nashville until he died in May 2011. He played on most of Redford’s early film and television scores Five Songs traces an archetypal narrative of individual human development: but without words or set texts. Rather, the texts here exist in the background — indirect inspirations from the great poets of the Romantic and modern English tradition. Each poem suggests a phase in the stations of life: birth, youth, middle age, old age, death. Respectively, the poem sources are "Our birth is but a sleep and a forgetting” and “Behold the Child among his new-born blisses” (both taken from William Wordsworth’s ode Intimations of Immortality), “The world is too much with us; late and soon” (a sonnet by Wordsworth), “Do not go gentle into that good night” (Dylan Thomas’s famous villanelle), and “O soft embalmer of the still midnight!” (a sonnet by John Keats). Redford generally follows the basic ABA song form here, while the macro scale similarly traces an arch form. Yet he offsets this “circularity” by suggesting musical ideas for the song to follow in what precedes. The specific language of the cycle, explains the composer, “is based on a series of twelve tones which serve as key centers and direct the harmonic progressions.” Redford also exploits the affinity between flute and French horn throughout, despite the obvious differences in their respective sounds. Together, Barcellona’s flute and Smith’s horn engage in a dialogue that Redford describes as “at once thoughtful and sparkling.” As a cycle, Five Songs is a characteristic expression of the aesthetic vision Redford brings to his chamber music in that these wordless songs have a relationship to literature but are not really programmatic: they tell a story, but they do so entirely in musical terms, because, for Redford, music, too, can speak to the quest for deeper philosophical meaning. Five Songs also holds a position of particular significance for Redford. Dedicated to his father, H.E.D. Redford, with whom he longed for a closer connection, the cycle emanates a sense of melancholy and loss that Redford likens to being in exile, to feeling cut off from another or better world. “I find this is something that exists in most of my music,” says the composer. “This also takes shape as the tension between nostalgia and a rigorous quality, between lyricism and dissonance. More than anywhere else, chamber music is where that struggle takes place for me.” Via Gioiosa (2006), another work for solo piano, is a set of theme and variations commissioned by George Boespflug, Director of the Conservatory of Music at Biola University in Southern California, who performed it on tour in China in 2012. The theme in this case centers around the gesture of a descending minor third. But the variations that ensue are more akin to the “phantasms” and transformations of the first work on this collection: reconsiderations of the basic idea in “new habiliments” that range dramatically and unpredictably “from a shout to a whisper, from a Spanish bolero to a soft shoe,” in Redford’s description. While composing the work, Redford began to think of a very different kind of path he had once traced, during a trip to Jerusalem the decade before: the Via Dolorosa (“Way of Sorrow”), referring to the path Jesus walked on his way to the crucifixion. Via Gioiosa (“Way of Joy”) suggests a joy deeper than routine, everyday enjoyment, he explains: “joy deep enough to absorb and transform suffering, even while one is in its grip.” Redford says he is intrigued by “this relationship of joy and sorrow, especially the working of joy out of sorrow.” While Via Gioiosa represents the religious-spiritual sphere of experience that is also an ongoing theme in Redford’s art, he notes that it is by no means necessary for the listener to share those beliefs to appreciate his music. “These considerations simply illuminated my work as I finished its composition, informing a piece which, despite its descending minor thirds, feels to me like a reflection on the many-textured varieties of joy.” He describes Boespflug’s performance as “crisp, vibrant, witty, and perceptive.” Diminutiae (1986) turns directly to music history as a point of reference. Like so many of J.S. Bach’s successors, Redford became intrigued by the sonic illusionism of the Baroque master’s unaccompanied keyboard and string compositions: his ability to evoke an impression of complex harmonic webs with just two lines, for example, in the Two-Part Inventions. Five Songs (with its two lines of flute and French horn) in fact also began as part of an effort to imitate such Bachian feats. Cast for a pair of violins, Diminutiae explores this principle of limited resources that can generate musical abundance. Also as in Five Songs, ideas heard earlier in the cycle generate what will come later. Redford wrote four sets of inventions for violin duo focusing on the contrapuntal technique of diminution, in which time durations of an initial statement are shortened. Together they form a kind of suite, with two slow movements (nos. 2 and 4) and a scherzo (no. 3). The two violinists here are Peter Kent (described above) and Sharon Jackson, a sought-after Los Angeles freelance musician who performs live and also works in studios for film, television, and records. She plays on several of the scores Redford has orchestrated for Thomas Newman. “Theirs is a discerning conversation between friends over dinner, alternately edgy and wistful,” says the composer. The idea of diminution is further illustrated by the small size of this ensemble: the pair of violins represent half of a string quartet, for whose other half (viola and cello) Redford additionally wrote some other pieces. “The idea was for the members of a string quartet to be able to give each other a break during one of those home concerts in a salon,” recalls the composer. “So the violinists could play their pieces while their peers get a dinner break, and vice versa.” The “diminished” string quartet here speaks in a stark, restricted, contemporary musical idiom that paradoxically turns out to be capable of making “an intensely dramatic, almost operatic statement,” as Redford puts it. The finale gestures of the fourth violin duo in Diminutiae lead naturally into another duo, this time for cello (Stephen Erdody) and piano (Randy Kerber): Waltzing with Shadows (2000). Erdody is very active in the motion picture and recording industry and can be heard as solo cellist in John Williams’s Angela’s Ashes, Munich, and Memoirs of a Geisha, where he performs a duo with his good friend, the cellist Yo-Yo Ma. Kerber, a composer, orchestrator, and keyboard player, has worked on over 800 motion pictures (including Titanic) and played piano on Redford’s own scores for The Trip to Bountiful, Bye Bye Love, and episodes of the television series St. Elsewhere. “Steve and Randy deliver a beautifully resonant and poignant performance, rooted in a deep sense of mutual listening,” the composer observes. Lending this collection its title, Waltzing with Shadows brings it full circle by alluding once again to the fiction of George MacDonald and the imagery of phantasms, of fleeting apparitions from a lost era. Redford recalls a scene in MacDonald’s novel that conveyed with riveting beauty the phenomenon of a collision of worlds: “this idea of the breaking in of the supernatural into the natural world, of being in a historic building where what happened in earlier eras is still somehow present.” Besides the spine-tingling thrill of it, what makes this so intriguing? “It can bring you for the moment out of your own materialistic view of the universe. And it’s linked to the sense of exile that runs through a lot of my work: this sense that there is some other world that co-inhabits with our own.” Here past and present embrace in a melancholy waltz that evokes a fin-de-siècle sensibility, which Redford defines as an “almost unbearable sense of loss, of a world that has passed away.” This outlook is what he finds so haunting about some of the musical landmarks of the period, such as Mahler’s Ninth Symphony or Ravel’s La Valse. For all its vitality, the rhythm that pulses through Waltzing with Shadows brings into the foreground that sensation of loss, especially evident in Five Songs, that is a signature of Redford’s chamber music. Notes by Thomas May BIOGRAPHIES J.A.C. Redford is a composer, arranger, orchestrator and conductor of concert, chamber and choral music, film, television and theater scores, and music for recordings. Artists and ensembles that have performed his work include Academy of St. Martin in the Fields, Joshua Bell, Cantus, Chicago Symphony, de Angelis Vocal Ensemble, Israel Philharmonic, Kansas City Chorale, LA Chamber Singers, LA Master Chorale, London Symphony Orchestra, Anne Akiko Meyers, Millennium Consort Singers, New York Philharmonic, Phoenix Chorale, St. Martin's Chamber Choir, St. Paul Chamber Orchestra, Utah Chamber Artists and Utah Symphony. His music is published by G. Schirmer, Roger Dean, Fatrock Ink, AnderKamp, Fred Bock and Plough Down Sillion Music. His many recordings include four collections of his concert, chamber and choral music, Eternity Shut in a Span, Evening Wind, The Alphabet of Revelation and Let Beauty Be Our Memorial. JAC has written the scores for more than three dozen feature films, TV movies or miniseries, including The Trip to Bountiful, Oliver & Company and Newsies. His 500 episodes of television include multiple seasons of Coach and St Elsewhere, for which he received two Emmy nominations. His collaborations with other artists include conducting The Little Mermaid, and orchestrating the scores for Avatar, Bridge of Spies, Spectre, WALL-E and Skyfall, for which he also arranged and conducted Adele’s Oscar-winning title song. Alison Edwards (Piano) is active nationally as solo recitalist and chamber musician. In addition, Edwards has been featured soloist with several orchestras and has performed chamber music with members of the Los Angeles Chamber Orchestra and the Pacific Symphony. Her playing has been described as “alternating strength with delicacy, playing with incredible fluency… a truly thrilling performance” (Sunday Peninsula Herald). Her performances have taken her to venues including the Irvine Barclay Theater, Steinway Hall and Christ Cathedral. A passionate teacher of piano pedagogy, Edwards most recently completed residencies at the University of Arizona and Southern Methodist University. Merging pedagogy and performance, her first-person lecture-recitals have been well-received, her most recent program being, “My Impressions of Liszt: A Personal Portrait by Amy Fay.” Currently, Edwards is Professor of Piano at California State University, Fullerton, and she also maintains a private teaching studio in Fullerton, where she resides with her husband and two sons. Peter Kent (Violin) is concertmaster of several orchestras, chamber groups and studio orchestras in Los Angeles and has performed at the Carmel Bach, Ojai, San Luis Obispo Mozart,  Abbey Bach Festivals, and  other chamber series and festivals throughout the USA and Canada including touring on Columbia Artists CAMI Recital Series with harpist Amy Shulman in the violin and harp ensemble “51 Strings.” He studied with Joseph Silverstein and Berl Senofsky and Henri Temianka. He is currently active playing concerts and  recording for the Motion Picture, Television and Record Industries. Amy Shulman (Harp) received her Bachelor’s and Master’s Degrees from the Juilliard School of Music. She has performed as a soloist in France, Canada and the USA including live television and radio broadcasts in Paris, New York and Los Angeles. She toured nationally on the Columbia Artists CAMI Recital Series for several seasons with violinist Peter Kent. Ms Shulman has performed with several orchestral, chamber, opera and contemporary music groups including the Los Angeles Chamber Orchestra, Los Angeles Opera and the Los Angeles Master Chorale. Very active as a recording harpist in the Motion Picture, Television and Record Industries, she has appeared and recorded with numerous artists including Andrea Bocelli, Placido Domingo and Aretha Franklin. She has been on the Applied Music faculty at Occidental College since 2003. John Barcellona (Flute) is Professor of Flute and Director of Woodwind Studies at California State University Long Beach, teaches doctoral students at Claremont Graduate University and is flutist with the internationally acclaimed Westwood Wind Quintet (recordings on Columbia, Crystal and WIM labels). He recorded a CD of Chrisopher Caliendo’s trio music with the Caliendo Trio and performs with the Caliendo Barcellona Duo and Concordia Clarimontis - Claremont Graduate University faculty ensemble. He is the former Principal Flutist with the Pacific Symphony and Piccolo with the Long Beach Symphony. An active freelance musician in southern California, he has played Principal Flute with many international ballet companies and on Hollywood film scores. His solo album, Is This the Way to Carnegie Hall?, was nominated to the National Academy of Recording Arts and Sciences for a Grammy award. John is a former member of the Moyse Duo with pianist, Louis Moyse. He has been a Muramatsu Performing Artist for over 30 years. Calvin Smith (Horn) was associate professor of horn at the University of Tennessee and an active recording musician in Nashville when he died in May 2011. For nearly twenty years he had been one of the busiest freelance hornists in Los Angeles. He was principal horn of the Knoxville Symphony Orchestra and the Knoxville Wind Symphony, a substitute principal horn for the Buffalo Philharmonic and the Chautauqua Festival Orchestras and a member of the Annapolis Brass Quintet, the Westwood Wind Quintet, the Hollywood Bowl Orchestra, the Cascade Festival of Music Orchestra, the Los Angeles Brass and the Los Angeles Opera Orchestra. Smith performed with the Los Angeles Philharmonic, the Los Angeles Chamber Orchestra, the Pacific Symphony Orchestra, the Nashville Symphony Orchestra, Orchestra Nashville, the Eastern Music Festival Orchestra, the Ojai Music Festival Orchestra, the San Luis Obispo Mozart Festival Orchestra, the Cincinnati Symphony Orchestra. He recorded with the Hollywood Bowl Orchestra, the Long Beach Symphony, the Los Angeles Chamber Orchestra, with the Knoxville Jazz Orchestra. George Boespflug (Piano) has served as Director of Biola University’s Conservatory of Music since 2001.   In recent years, Dr. Boespflug has performed in China, Indonesia, and Japan on a number of occasions as solo pianist and member of the Biola Trio.  Recent concerto performances include performances with the Yunnan Province Orchestra and the Chinese National Military Orchestra. He is a graduate of the Eastman School of Music, holding a doctorate of musical arts in piano performance and literature. In addition to several solo performances on public radio, he has appeared as soloist with the Rochester Philharmonic Orchestra, Colorado Symphony Orchestra, Boulder Chamber Players, Alfred University Orchestra and Houghton College Philharmonia.  He has collaborated with members of various major orchestras, including the Boston Symphony Orchestra, St. Louis Orchestra, Rochester Philharmonic and the Chinese National Orchestra. Sharon Jackson (Violin) is the daughter of a voice professor. She began her music training very early, studying piano at around age three and singing throughout her childhood. She began playing the violin when she was ten years old. Ms. Jackson was formerly solo violinist for the groups Aural Illusions and Go For Baroque. She has performed with numerous orchestras. She is currently a sought-after Los Angeles freelance musician, performing live but also working in studios for film, television and records. In these capacities she has worked with the most prominent musicians of our time from Itzak Perlman, Leona Mitchell, Emmanual Ax and Joshua Bell to Stevie Wonder, Nellie Furtado, Ray Charles, Alicia Keys, Sheryl Crow, Harry Connick Jr. and Lenny Kravitz. She has played on hundreds of film soundtracks and her television appearances are numerous. Ms. Jackson is on faculty at Sessione Senese per la Musica e l’Arte in Siena, Italy. Steven Erdody (Cello) is a graduate of the Juilliard School where he received both his Bachelor and Master of Music degrees. While there, he was principal cellist of the Juilliard Orchestra. He was the founding cellist of the New York String Quartet, and has served as principal and solo cellist of the Pacific Symphony, Opera Pacific, American Ballet Theater, the Dance Theater of Harlem and the Joffrey Ballet. Stephen has performed chamber music with artists including Emanuel Ax, Jeffrey Kahane, Yehudi Menuhin, and Lynn Harrell. From 1987 until 2002, Stephen was the cellist of the highly acclaimed Angeles String Quartet, which won the 2002 Grammy Award for Best Chamber Music Performance for their complete recordings of the Haydn String Quartets. In 2003, Mr. Erdody founded Chamber Music Los Angeles, an organization that supports non-profit organizations that enrich children’s lives through the performing arts, particularly children who are terminally ill, at risk, or have little exposure to the arts. Stephen is very active in the motion picture and recording industry and can be heard as solo cellist in John Williams’ Angela’s Ashes, Munich, and Memoirs of a Geisha, where he performs a duo with his good friend, cellist Yo-Yo Ma. Randy Kerber (Piano) is a composer, orchestrator and keyboard player, who has had a prolific career in the world of cinema. He began his first national tour with Bette Midler in 1977, at the age of 19. Kerber was nominated for an Oscar in 1986, along with Quincy Jones and others, for Best Original Score for the motion picture, The Color Purple. He was nominated for a Grammy for his arrangement of Over the Rainbow for Barbra Streisand. As a studio keyboardist, Randy Kerber has worked on over 800 motion pictures including Titanic, A Beautiful Mind, and Harry Potter I, II, & III. He has been an orchestrator on over 50 films, including work with Academy Award winner James Horner. He worked with Eric Clapton as keyboardist, orchestrator, and conductor on the film Rush-playing on the Grammy Award-winning song, “Tears in Heaven” from that movie. CREDITS Producer – J.A.C. Redford Recording Engineers – Bob Minor, Meng Hall, Cal State Fullerton, CA (Phantastes). Shantih Haast, Studio 770, Brea, CA (Dream Dances, Via Gioiosa, Diminutiae, Waltzing with Shadows). Lester Remsen (Five Songs for Flute & French Horn). Editing – Shantih Haast, Studio 770, Brea, CA (Phantastes, Dream Dances, Via Gioiosa, Diminutiae, Waltzing with Shadows). Lester Remsen, (Five Songs for Flute & French Horn). Mastering – Jon Polito, Audio Mechanics, Burbank, CA. Design & Artwork – Jon Strong, Brea, CA Cover Image – Study in White by Katie Ward. © 2011 by Katie Ward. Used by permission. © ℗ 2016 by J.A.C. Redford. All rights reserved. MUSIC COPYRIGHTS Phantastes - Copyright © 2008 by J.A.C. Redford. Dream Dances - Copyright © 1982 by J.A.C. Redford. All rights reserved. Five Songs for Flute & French Horn - Copyright © 1982 by J.A.C. Redford. All rights reserved. Via Gioiosa - Copyright © 2006 by J.A.C. Redford. All rights reserved. Diminutiae - Copyright © 1986 by J.A.C. Redford. All rights reserved. Waltzing with Shadows - Copyright © 2000 by J.A.C. Redford. All rights reserved.