Musical Child Wilford AdultLawrence Wiliford lives in the Woodbine/Danforth area of Toronto with his wife Prof. Katherine Larson and their miniature schnauzer Hermes. When not performing or thinking about the Canadian Art Song Project, Lawrence can often be found gardening, landscaping and doing light renovations of their home.

American-Canadian tenor Lawrence Wiliford’s 2014/15 season includes concert engagements with major symphony  orchestras, choral and early music groups in the U.S. and Canada, You may have heard him in Toronto this past November with the Bach Consort as The Evangelist in Bach’s Christmas Oratorio, or with The Niagara Symphony in Britten’s Serenade for Tenor, Horn and Strings. Perhaps you saw Wiliford make his Canadian Opera Company leading role debut in Mozart's Così Fan Tutte as Ferrando (on five hours' notice, in 2006). He has also appeared with the COC in A Midsummer Night's Dream and Swoon; and with Opera Atelier in Die Entführung aus dem Serail, Acis and Galatea, Persée, and Don Giovanni. Alongside his work as a performer Wiliford is co-artistic director, with pianist Stephen Philcox, of the Canadian Art Song Project.

Born in Muskegon, Michigan. Wiliford  says he  “grew up in  Michigan, Wisconsin, The American Boychoir School in Princeton, New Jersey,  upstate New York …”  His father is a United Methodist pastor, so they moved around a lot. After high school in New York (in Fulton and then in Corning) he went to St. Olaf College in Northfield, Minnesota. He came to the University of Toronto for a Master of Music in Vocal Performance,  studied at Tanglewood, the Internationale Bachakademie of Stuttgart, the Steans Institute at the Ravinia Festival, and the Britten-Pears Young Artist Programme. He is a graduate of the Canadian Opera Company's Ensemble Studio and is a recipient of grants from the Canada Council for the Arts and the Ontario Arts Council.

Suppose a friendly fellow traveller asks what you do for a living? “I am a classical singer.” But generally that statement is followed by a host of questions and at least one “You don’t look at all like a tenor!”

Musical Child Wilford ChildDo you remember that childhood photo being taken? Yes – It reminds me of the wonderful opportunity and education I received while at The American Boychoir School.

Anything you’d like to tell the young person in that childhood photo?  Hmm … I would tell him to relish the experiences he was having and enjoy the ride.

Your earliest memories of music? I’m not sure what my earliest memory of hearing music is, but I was surrounded by music when I was young – hymns being sung or my mom and dad singing 60s folksongs.

[this is the cutline for the ballcap photo]

MysteryChild 3 ABS3I listened to a lot of music in the car riding with my father from church to church on Sunday mornings and on road trips. The soundtrack of my early childhood included John Denver; Peter, Paul & Mary; The Kingston Trio; Neil Diamond; Kenny Rogers; etc.

When I was about 8 or 9 I saw the movie Amadeus and became enthralled with Mozart’s music. I began purchasing recordings of his symphonies, concertos and choral works. That was my introduction to classical music and I never looked back. I sang in choirs at church from when I was very little and had piano lessons.  But when I went to The American Boychoir School from age 9 to 14  I was exposed to music in the broadest way, performing across the U.S. and internationally with amazing conductors and musicians.


Other musicians in the family? My father plays the guitar and sings quite well, but doesn’t read music.  Both of my brothers also went to The American Boychoir School and sang, though my younger brother no longer sings much.  My older brother has a bachelor’s degree in Music and Theatre, and now works in arts administration at Interlochen in Michigan.

First memory of making music? I remember playing in my room making up songs when I was very young. I also remember my younger brother and I playing Beatles records and pretending to sing those songs for my mom. We were very surprised she knew that it wasn’t us playing and singing.

Your first instrument?  Singing. I did take a bit of piano around age 8, but I sang through most of my lessons.

Your first music teacher? I remember he played a harmonium and that I was selected to play the glockenspiel in my first school concert.  I remember that being a big deal.

Earliest experiences of making music with other people? My brothers and I often sang with my dad at church potluck dinners.  We were the entertainment.

When did you first sing all by yourself for an audience other than your family? The first real solo I remember was my first year at the ABS. I was asked to sing the aria “Ja, Komm Herr Jesu, Komm” from the Bach cantata Gottes Zeit ist die allerbeste Zeit” (BWV106). Who knew I would be singing Bach all of these years later?!

Do you remember when you began to think of yourself as a career musician? I don’t think I really thought of myself as a career musician until now.  Weird! I guess now that it has been my career for several years it is safe to say that I have a career as a musician.

MysteryChild 2 astronaut ABS3Did you ever think you would do something else?

When I was little I wanted to be an astronaut.  My undergrad degree is in Church Music and conducting and I had thought of becoming a choral director. 

Where does music fit into your home/ family life today? My wife, Katie, sings with the Exultate Chamber Singers, and I go support her and the choir.  I tend to listen to instrumental music or jazz at home because, in truth, I often find it difficult to shut off when I listen to classical vocal music. 


The Toronto Symphony Orchestra’s Messiah runs Dec. 16, 17, 19, 20 & 21 at Roy Thompson Hall.

In January, I am performing with the Toronto Masque Theatre in their production of Acis and Galatea and with Tafelmusik for the Beethoven Mass in C. 

Canadian Art Song Project (for which I am co-Artistic Director with Steven Philcox) performs at the Richard Bradshaw Amphitheatre at the Four Seasons Centre on January 27th at 12 noon.

Any new recordings?

In March, Canadian Art Song Project released its first CD entitled Ash Roses, which includes several previously unrecorded works for solo voice by Derek Holman. It is on the Centrediscs label (available on itunes, etc.).  The artists included are myself (tenor), Mireille Asselin (soprano), Sanya Eng (harp) and Liz Upchurch (piano).  I’m very proud of this recording.


Musical Child Feb ChildWho is FEBRUARY’s CHILD?

Leading from the first chair (at right) 

in dad’s study: Summerhill Gardens, Toronto, 1969

Toronto’s masqued marvel un-settles old scores.

Where he’ll next appear as conductor, singer or baroque violinist?

Sightings include Tafelmusik, Exultate, Elora, Soundstreams, Toronto OperettaTheatre

But some lucky high schoolers know he’s keeping time for them.

Proud son of his favourite composer, proud husband and father of three favourite singers.

Former producer in the heyday of CBC Radio Music.

see pages 30, 31, 40, 52

Know our Mystery Child’s name? WIN PRIZES! Send your best guess by January 24, to


Messiah: at Roy Thomson Hall. Hallelujah! for the combined forces of the Toronto Symphony Orchestra and the Toronto Mendelssohn Choir, with soloists Jane Archibald, soprano; Allyson McHardy, mezzo-soprano; Lawrence Wiliford, tenor; Philippe Sly, bass-baritone. Grant Llewellyn, conducts while your heart soars. (Dec 16, 17, 19, 20, 21) A pair of Dec 16 tickets each for Doug McInroy and Joan Rosenfeld

Beethoven Symphony No. 5: at Koerner Hall. Kent Nagano (Orchestre symphonique de Montréal), directs the Tafelmusik Baroque Orchestra in Beethoven’s revolutionary Symphony No. 5,  later joined by the Tafelmusik Chamber Choir for Beethoven’s lyrical and joyous Mass in C Major, with Nathalie Paulin, soprano; Laura Pudwell, mezzo-soprano; Lawrence Wiliford, tenor; Sumner Thompson, baritone (Jan 22 to 25). A pair of tickets for Annie Odom

Acis and Galatea: Toronto Masque Theatre in the candle-lit Enoch Turner Schoolhouse .  A perfect love, a spurned giant, an enduring memorial by George Frideric Handel. Featuring tenor Lawrence Wiliford as Acis, soprano Teri Dunn as Galatea, baritone Peter McGillivray as Polyphemus and tenor Graham Thomson as Damon. A period ensemble is led by Larry Beckwith (violin 1), with chorus (Schola Cantorum, Faculty of Music U of T) directed by Daniel Taylor. (Jan 15 to17)  A pair of tickets for Anne-Maria Pennanen

Ash Roses (Centrediscs 2014) This inaugural CD release by the Canadian Art Song Project (CASP) celebrates Canadian composer Derek Holman and a 20-year prolific period of writing art songs. The featured artists are also known for their dedication to song and chamber repertoire: tenor Lawrence Wiliford, soprano Mireille Asselin, pianist Liz Upchurch and harpist Sanya Eng perform works all previously unrecorded.  A copy for you, Sabrina Keyes!

Music’s Children gratefully acknowledges Lawrence & Terry Sue, Teri, Alison, Juliet, and John.

mysterychild nov

In January this “littlest angel” (front row R), now a tenor, will portray a shepherd who’s in love with a nymph.

Meanwhile there are three Messiahs on his horizon

– one in Toronto Dec 16-21.

Also, see our concert listings, Nov 28

Know our Mystery Child’s name?

WIN PRIZES! Send your best guess, by October 24, to 

stephaniemartin adult stef conducting 2014861082 oStephanie Martin lives in Toronto near Eglinton and Dufferin where “pasta meets rasta.” Some of her other pastimes include yoga, French lessons, gardening, travelling and eating excellent food.

Canadian musician Stephanie Martin is a composer, conductor, organist, scholar, and consummate collaborator. While her musical values and appetites and curatorial instincts are deeply rooted in early music her work embraces much that is new. A busy associate professor of music at York University, Martin is the artistic director of Pax Christi Chorale, and the director of Scola Magdalena, an ensemble specializing in the chant and medieval polyphony for women’s voices. She is also a past director of music at the historic church of Saint Mary Magdalene. Somehow in between it all she finds time to consort with chamber groups such as I Fusiosi Baroque Ensemble, and maintains a vigorous blog on her website.

Just the basics? I was born in Tillsonburg Ontario. My earliest years were spent on my great-great-grandfather’s farm in Waterloo, Ontario. My family moved to Sackville New Brunswick where my Dad taught music at Mount Alison University. Then we came back to a dairy farm in Atwood, Ontario. I went to LDSS- Listowel District Secondary School where I sang in the excellent choir that Gerald Fagan created there, was a member of the drama club, and captain of the inter-varsity girls’ volleyball team! After high school I studied music at Wilfrid Laurier University in Waterloo where there was a cutting edge Early Music performance programme, as well as a specialized church music programme. I studied harpsichord with Michael Purvis Smith, organ with Barrie Cabena, recorder with Sue Prior, and lots and lots of history and theory and musicianship, with many opportunities to perform at school and in the community.

Suppose you're chatting with a fellow traveller, who asks what you do for a living? Yes - some people find it difficult to maintain a meaningful conversation once the word “harpsichord” is mentioned. And not everyone warms to “University Professor.” If I feel they can’t handle “medieval polyphony” I usually just move on and say “I’m a musician.”

musicschildren rpt oct mystery-child babystpehWhen you look at your childhood photo today, what do you think about? I do not remember posing for the photo, but I remember my childhood home always being filled with books – storybooks and history books and poetry and National Geographic magazines kept four kids pretty much out of trouble.

Imagine you could travel back through time and visit the young person in that childhood photo? Is there anything you would like to ask or tell her?  I’m not sure what I would tell a two-year old who had just pulled down an entire shelf of books. I probably would not have the patience to snap a photo! I would tell my child self to observe everything, and to keep a diary, since the world has changed so much since I was 2 yrs old. I wish I had recorded my own observations of that way of life, and the people that brought me up, including my grandparents who lived in the Doddy Haus.

petermartin floorplan page 1 petermartin floorplan page 2

If you’d like to learn more about what a “Doddy Haus” is, click here

Other musicians in your family? Everyone in my large extended family has music in them. I come from the Mennonite heritage of singing a cappella in four parts at the drop of a hat.

Earliest memories of hearing music? I have a vivid and beautiful memory of sitting around a shining Christmas tree with my family singing “Silent Night” in our old farmhouse. That could be the first time I realized what music was. My Dad had an extensive vinyl record collection. I remember particular recordings like Britten’s Young Person’s Guide to the Orchestra, and a wonderful kid’s record called Tubby the Tuba. I recall being taken to live performances by my Dad, and often waking up after it was all over.

In Martin’s blog “Abner Turns Eighty” she says this, and more about her dad

 “ … He never regretted giving up academia for a country life. Outside the farming, Abner gathered a group of rag-tag rural choristers to perform a precedent-setting Messiah, and in so doing, passed on a passion for singing big fat oratorios. He now supports what I do with Pax Christi Chorale, and he’s a great proofreader, with a keen eye for errors and omissions. ..”

First memories of making music? As a wee child I started copying what I heard the adults doing. I’d pick out a tune on the piano and then make up my own songs – mostly about animals. My first composition was “Poor little horse in the stable.” All my early works concerned animals.

And making music with others? Singing in the junior choir at Sackville United Church, conducted by my Mom. I remember that we were lifted beyond ourselves  – a whole crowd of kids singing in a church basement sounding very strong and very sweet, and my own tiny voice fitting in as part of something big and wonderful.

Martin’s blog “In Memoriam Pete Seeger” offers us this additional window into the music she grew up with:

“ … The thing is, with Pete you were not a “fan.” You did not sit idly by and merely listen and pledge fan-ship to a performer. You did not “like” him on Facebook. You didn’t even buy the records. You didn’t have to because your parents already had them on the shelf. There wasn’t kid’s music and parent’s music, there was just music.

“‘No, you were not a fan. You were a collaborator. You were part of the band. You sang along with Pete. You kept singing long after the needle on the end of the arm of the record player had hissed and crackled to a halt. You harmonized with the big kids in the back seat of an un-air-conditioned Chevrolet touring around Nova Scotia. You filled the lazy 1970s summers with his songs, not listened to, but sung. You sang all the verses by memory, and then sang them again with a descant, then invented your own verses because you really didn’t understand the words. You tried to pick out the chords on your hopelessly out of tune, missing-stringed ukulele. You sang the songs at the top of your lungs (to confused cows, as if they were listening) thinking the power of your song could change the world. … “

First instrument, first teacher? The piano. My first piano teacher was Nancy Proctor who encouraged me to be creative and write new pieces for my lessons every week, alongside learning inventions by J.S. Bach. My second teacher Mrs.Noble in Sackville NB had a larger studio of students who performed “candy concerts” for each other. She organized us into duets and trios and entered us in festivals. She made performing seem like fun, and always rewarded us for good work. Those early experiences were very positive and so important!

We didn’t ASK Stephanie Martin this next question, she volunteered it.

What was my most embarrassing experience as a child learning music? I was entered in a sight-reading class for Kiwanis Festival. I guess my teacher thought I could do this since I generally played the pieces I was assigned every week. She had no idea that I was painstakingly translating the notes off the staff by their alphabetical names  “All Cows Eat Grass,” and “Good boys eat fudge always” etc. and then memorizing the piece for my lesson. I had absolutely no idea how to sight read music. The sight-reading test began, and I played what I presumed was on the page. It sounded like a very odd piece indeed, but I figured it was supposed to be difficult. I left the stage and could tell by my mother’s expression that I had really screwed up. After that experienced I resolved to read music properly.

When did you first conduct other musicians?  When did you first conduct for an audience? In high school a bunch of us used to get together to sing Palestrina for fun. At Listowel Mennonite Church we learned to lead hymn singing so we were coached on and how to give the right pitches, how to start (very important) how to stop (also important) basic conducting patterns, how to leave appropriate time between verses, how to choose the right tempo for the text. In high school I had my first job as a church organist for a two point Anglican parish in Listowel and Palmerston. I would ride in the Priest’s car and play for two services on Sunday mornings. I had to accompany Anglican chant and had absolutely no idea what I was doing, but the people were encouraging and kind.

Do you remember when you began to think of yourself as a career musician? Yes. I remember the exact moment. I was 12 years old and was allowed to sing in the Mennonite Mass Choir conducted by my Dad, for a performance of Handel’s Messiah. Strangely it was not while singing, but while listening to the orchestra play the Pastoral Symphony that I had my epiphany. It was the double basses pulling out long low notes that drew me into a magical world. I said to myself “I have to find a way to do this for the rest of my life.”

Did you ever think you would do something else? I desperately wanted to be an archeologist. Heinrich Schliemann was my hero. I also wanted to be a Shakespearean actor, an equestrian, a professional athlete, a sculptor, or an architect. I think that’s fairly normal isn’t it?

Where does music fit into your day-to-day life today? I do music every day, either teaching at York University, conducting Pax Christi Chorale, singing with Schola Magdalena, or when I have a spare moment, composing. I am writing a big choral symphony for performance in 2016, and finishing commissions for the Winnipeg Organ Festival, and for St. John’s Cathedral, Albuquerque.


Schola Magdalena sings Compline for Saint Cecilia on Nov 21.

Pax Christi Chorale will perform my cantata “Winter Nights” alongside two cantatas by Bach on December 6 & 7

Any new recordings you are involved in? Recording a CD of my own compositions over the next year. A recent Youtube project of my music is here


“Winter Nights”, (Dec 6 & 7): The Pax Christi Chorale, led by Stepanie Martin, is joined by Michele Bogdanowicz, Sean Clark and Doug MacNaughton, for J.S.Bach’s Christmas Oratorio Part II; his Nun komm der Heiden Heiland; and Stephanie Martin’s own Winter Nights – a four- movement cantata for chorus, tenor soloist, strings, piano four hands, organ and percussion. Victoria Geottler and Ron Greaves each win a pair of tickets.

Alleluia: Sacred choral works by Stephanie Martin, was recorded at The Church of St Mary Magdalene by their award winning choir. These 18 tracks of (mostly) unaccompanied choral beauty are new settings of Anglican liturgical texts derived from the Psalms, the Mass and the evening service of Benediction. Copies of this CD go to Tatiana Voitovitch and Anne-Maria Pennanen.

Schola Magdalena is a six-voice women’s group dedicated to exploring chant and other medieval music, and new music for women’s voices.  Scola Magdalena, led by Stephanie Martin sings Compline for St. Cecilia: plainchant and motets for women’s voices at The Church of St. Mary Magdalene on Nov 21. Virgo Splendens – Medieval music for Women’s Voices is their recent recording, and Richard Diver and Julie Rahn have each won a copy.

Music’s Children gratefully acknowledges Abner and Shirley, Jennifer, Larry, and Tim.

MusicsChildren MYSTERY-CHILD 

Scholarship informs
her every note
as a composer,
and conductor.


In medieval polyphony, 18th-century chamber music, Victorian oratorio,
or in new compositions of her own, knowing the musicology score makes old music leap – 
lively and new –
off the page!

See concert listings:
October 19; October 24.

Know our Mystery Child’s name?

WIN PRIZES! Send your best guess, by October 24, to 

ML-OctChild-ChristopherViolinist Christopher Verrette lives in the Lawrence/Bathurst area of Toronto with his daughter, Eleanor Verrette, a violist, and occasionally other itinerant musicians and strays. Some of his other current interests include reading, crossword puzzles, live jazz and taking long walks, especially when on tour in new places.

Born and raised in Exeter, New Hampshire, U.S.A. Christopher Verrette completed a Bachelor of Music degree and a Performer's Certificate at Indiana University in Bloomington. He was a founding member of the Chicago Baroque Ensemble and Ensemble Voltaire (Indianapolis), and has been a guest director with the Indianapolis Baroque Orchestra. A member of the violin section of Tafelmusik since 1993, Verrette is a frequent soloist and leader with the orchestra. He’s a busy collaborator with numerous ensembles around North America, including Toronto-based The Musicians in Ordinary. Verrette comfortably performs music from seven centuries on violins, viola, rebec, vielle and viola d'amore, and collaborated with Sylvia Tyson on the companion recording to her novel, Joyner's Dream.

Suppose you're chatting with a friendly fellow traveller, who asks what you do for a living? I always just tell people I am a violinist. They are often surprised, either because they have never met one, or that it is even possible to make a living that way. It may lead to a further discussion about how one defines “a living” (or simply “living”). Let’s just say I am grateful I don’t have to rely on doing anything else to get by.


What about that childhood photo?  I don’t specificallyremember the photo being taken, but I certainly remember it being released as the cover for a brochure for the New Hampshire Youth Orchestra: I was too embarrassed at the time to feel honoured. It also brings back memories of those carpools to rehearsal every Saturday morning – it was an hour away; I haven’t seen any of those people in over 30 years! And donuts, we always looked forward to the donuts at break.

If you could speak with that young person …? I think I would ask if he was there because he wanted to be, and not because he was forced to (or just for the donuts?). He might be too shy to answer, but would probably say: “Yup”. Then I would tell him it’s actually okay to smile when you play the violin. (This is something I have gotten better at over the years, but some people tell me I still need to do it more.)

Early memories of music? Music always seemed to be there – radio, LPs, or sometimes live since my father was a musician. The radio tended to be on most of the day; mostly Top 40, I think. But my father liked to leave classical radio on all night, much to the chagrin of my mother. We had lots of LPs and I got to know classical repertoire through those. Also, my father brought me to lots of concerts at the university where he taught, and to family-friendly jazz events. He also played organ at our church.

Musicians in your family?  My father was a pianist. One brother plays cello and the other studied piano briefly. My mother played piano as a child but not as an adult. She did whistle along with the radio a lot, though. My local family in Toronto are all musicians, so we practise and rehearse at home and attend concerts. We do not tend to put music on at home as background music though; it is almost always specifically to listen to it.

First memories of making music yourself? Singing along with the radio or banging on kitchen utensils. I began on piano. I started violin when I was nine, after a demonstration at my school, but I had always wanted to play it. I wish I had known I could have started sooner.

What do you remember about your first music teacher?  I don’t remember my first piano teacher very well; I can recall being at the piano in her house just once. I remember her then-husband better, because he was quite a character. I remember my second teacher well because she was beautiful and I had a crush on her. My first violin teacher I remember extremely well because I was older and studied with her until I was 16. 

Can you remember a first experience of making music with other people?   Probably singing Christmas carols with other kids – I have a very hazy memory of singing with a group on stage at my first school.

Do you know when you began to think of yourself as a career musician? Choosing to major in music at university was certainly a big step in that direction, and by that time I couldn’t imagine doing anything else. Going to the Spoleto Festival after first year and working alongside people with jobs clinched it. I could have taken a position in the Savannah Symphony at that time, but was probably wise to stay in school.

Do you remember a time when you thought you would do something else? As a young child, I think I took a passing interest in many of the professions young boys tend to be interested in: policeman, fireman, truck driver, etc. My family had a farm, so that was of interest for a while. I even remember once aspiring to be an old man – I’m almost there! Once I was playing violin, though, and especially in ensembles, I was pretty sure that’s what I wanted to be doing. 

Here’s what’s UPCOMING for Christopher Verrette

The Musicians in Ordinary present “Motets With Symphonies” on Oct 24:  Monteverdi, Grandi and Marini.  Christopher Verrette leads the consort with Hallie Fishel, soprano, and John Edwards, lute & theorbo.

The Musicians in Ordinary will launch the new year in Italian high baroque style on Jan 1 & 2 with “A New Year’s Day Concert”: Hallie Fishel, soprano, and John Edwards with their guests Christopher Verrette and Patricia Ahern, baroque violins, Borys Medicky, harpsichord, archlute.

Tafelmusik – “Theatre of Magic | Music of the English Baroque” ( Nov 19 to 23) with Pavlo Beznosiuk, violinist and guest director –  works by Locke/Banister, Purcell, Handel, Tartini and Boyce

Tafelmusik – “The French Connection” (Dec 4 to 7) with Amandine Beyer, violinist and guest director, features works by Rameau, Corrette, Campra, Leclair and Rebel.

Tafelmusik – Handel’sMessiahDec 17-20 at Koerner Hall, and Dec 21 at Massey Hall (Singalong

Opera Atelier, (with Tafelmusik) a fully staged period production of Handel’s Alcina (Oct. 23 – Nov. 1) at the Elgin Theatre.


The Musicians in Ordinary present “Motets With Symphonies” on Oct 24:  Monteverdi, Grandi and Marini. Christopher Verrette leads the consort with Hallie Fishel, soprano, and John Edwards, lute & theorbo. A pair of tickets awaits Robert Lescoe (Brampton).

and in 2015 …

Paul Kay (Toronto)will launch the new year in Italian high baroque style with The Musicians in Ordinary at “A New Year’s Day Concert”: Hallie Fishel, soprano, and John Edwards with their guests Christopher Verrette and Patricia Ahern, baroque violins, Borys Medicky, harpsichord,  archlute (Jan 1 and Jan 2, 2015).

Tafelmusik presents “Theatre of Magic | Music of the English Baroque” ( Nov 19 to 23) with Pavlo Beznosiuk, violinist and guest director –  works by Locke/Banister, Purcell, Handel, Tartini and Boyce. There’s a pair of tickets for Maruta Freimuts (Etobicoke).

“The French Connection” (Dec 4 to 7) with Amandine Beyer, violinist and guest director, features works by Rameau, Corrette, Campra, Leclair and Rebel. There’s a pair of tickets for Sharon Barclay (Richmond Hill).

Music’s Children gratefully acknowledges Linda, Tim, Paul & Fran, Abner & Shirley.



Back to top