graindelavoix - Tasteful or Nauseating?

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[@PotatisenSimme]

This is one of the best crafted reviews/videos Ive watched in a long time. You deserve more appreciation.

[@memomusica]

Thanks a lot, also for subscribing! Telling friends and whoever else might be interested in this about me:mo is the most effective way to help the show find a wider audience, it's a grass-roots thing. :-)

[@the.galant.cadential.formula]

This is one of the most erudite, well researched, and beautiful videos I have seen about early music let alone a review of an early music recording. What is more we are treated to an exceptional performance by the presenter himself. Bravi, dottore!

[@tonyvillamotte4339]

You are SO funny! I love your sense of sarcasm. 🤣😂😅

[@dryadd56]

Mr. Henning, I adored your interpretation of the piece you played in this episode! The lute is such an expressive instrument, but very rarely do I hear aggressive playing. Aggression is too often overlooked by interpreters, especially in early music.

[@memomusica]

Dear Nicholas, thank you for your comment, I'm happy to hear you enjoy the music! I agree that the gamut of expressions of the lute is far wider than phlegmatic whispering.

[@zappafile123]

Lucas, I must say you're really a super impressive musician. The analysis you provide, the curation of the videos and you're playing are just fucking great. Thanks so much for making the effort and making our lives richer for it. Now... I'd really love to see you play baroque lute... if you have one? Also I'd quite like to see a lute-centric mini series on the evolution of the instrument and how the instrument adjusted itself to suit new compositional forms or styles. That would be fascinating!

[@memomusica]

Hi Jay, that's a super nice comment, thank you very much - feels real good to read that! There are some videos with mostly theorbo on my channel, mostly done before me:mo, and I play some in the episodes on Salterio (#08) and Traverso (#12). There's really only one bit where I play (french) baroque lute, it's in the middle of my concert film "Roma 1623" (also on my channel). Not sure if I'm that proud of it, as it was in the middle of a live concert and I'm struggling through tuning problems as the thing was gut-strung. Anyway, you can have a listen there, if you like. There's a list of all the pieces in that video in it's description or comment section. All the best, hope you'll also enjoy the videos to come! Lukas

[@jameslouder]

As I was taken up with professional work when this episode came out, I am only getting to it now. You surpass yourself, my dear Lukas, with the subtle and nuanced commentaries your bring to this still more subtle music. Whether it is the doctrine of the great cornettist of old, or the inspiration of your own intabulation, what rings through it all is the pure poetry that is , verbo, carno, spiritu, the essence of everything we call Art. My thanks and my homage.

[@romulo-mello]

After listening to different recordings of Dufay, Binchois, and Ockeghem, graindelavoix really grabbed my attention. This video is just what I needed for better comprehension of their unique style! Schmelzer is a genius.

[@carlamorais-art]

Amazing episode. Thank you so much for it!

[@johnweretka280]

Thank you, Lukas, for a very fair examination of the work of Graindelavoix. I haven't heard the new CD, but I was lucky enough to buy a recording of them, included in an exhibition catalogue for an exhibition held in Antwerp (the music was of George de la Hèle and others). I still can't work out whether I think their music making is tasteful or nauseating, although I'm sorry to say I lean more towards the latter. You make a very good point of the ambiguity of authorities like Zenobi but, regardless of what someone dead several centuries says, shouldn't we be fearless in using our own judgement? Thanks for 'Memo', which is always very stimulating!

[@memomusica]

Dear John, thank you for this comment, and I'm happy to hear you liked this presentation! The intention was definitely less to convince and more to inspire to have another look with a slightly different perspective. Regarding using our own judgement on historical sources: Absolutely agree. But then I'd have to ask why we don't apply it to the black dots on lines aswell. If we know so well what our artistic message and style is that we intentionally go for "modern approaches" to that old music, why are we still slavishly follow note for note for note and hardly write two of our own notes? And if the answer is: "Because the music composed by those people is so much better to our ears than everything we could possibly write ourselves?" - well how can one then be confident to consciously go for an approach fundamentally different from that of the composer and his contemporaries. Again, this thought isn't useful as an argument, but much more as a point of departure, an inspiration. Many thanks again, I hope to stay in touch! Lukas

[@Scriabin_fan]

Graindelavoix has some of the most beautiful and emotive interpretations of early music I've heard. I don't care if it's not how the early musicians sung, their interpretations are beautiful and really bring the music alive to me. This idea in classical music that old pieces must be performed in the way that it was performed at the time is utter bullshit. With all the musical knowledge we've gained, it is possible and it would be a total waste not to improve upon how our ancestors would've performed the music of their day. If it sounds beautiful, is able to move people, and doesn't fully destroy the piece itself, it's permissible in my eyes.

[@ludustestudinis]

Thanks for pointing us to this wonderful approach. I think that taking the risk of musical overinterpretation (can there be such a thing?) is always better than no interpretation (it is telling that you have chosen the Tallis Scholars as an example for the anglicnan tradition).

[@memomusica]

Dear Christoph, thank you for this comment, I think our views there intersect, as in many other aspects. I must confess that I made the Tallis Scholars look somewhat "worse" in this video than they deserve, mostly just to more effectively illustrate my point in a short amount of time. Their recordings are sort of what I grew up on, but to be honest: before studying this music and learning about Ensemble Organum, graindelavoix and others I did indeed somehow believe that "Flemish Polyphony sounds really nice, but after one hour you tend to fall asleep", only these more forward-thinking ensembles showed me the exact opposite. "If we were to here 15th century singers, the results may strike us as ugly." makes about as much sense to me as "If we were to see the work of 15th century painters the results may strike us as ugly." Well... do they?

[@ludustestudinis]

In an interview in 1994, Peter Philips (director of the Tallis Scholars) explained that his main goal was a beautiful sound. I personally prefer a different approach whose foremost goal is to touch the listener and that goes a considerable way beyond the written music. As an extreme example consider the singing of Amalia Rodriguez: it could be outright ugly (and many are offended for this reason), but it was definitely expressive and that made a great experience. Whether this would be appropriate for sacred music, is a different debate, and it must be said in defense to the Tallis Scholars that they sing exclusively sacred music (I heard them twice live, and never had the impression that they sang with a pious attitude, though, but that it was just a vanilla concert performance for them, not sure why I had this impression).

[@memomusica]

That opens up another aspect of this debate: How can faith be interpreted in a way that is so, as you said, "vanilla"? It was perhaps a little too subtle to work, but the opening track was a Palestrina Agnus Dei meant to contrast with the Corsican Agnus dei a minute later, and then there's the "hostia".

[@ludustestudinis]

With "vanilla concert performance" I meant "Mucke". They seemed so unafffected both by the music and the religious context from which they had trasplanted it into a concert situation.

[@danabonacina9543]

Hermoso video, muchas gracias

[@JimMurrayDunn]

This is great! You are probably already aware of the 60s/70s recordings of Michael Morrow's Musica Reservata, but if not, give them a listen, they make Graindelavoix look extremely well behaved. They took the concept of incorporating eastern European vocal traditions to a greater extreme, and the result is quite uncanny and definitely not to the taste of the majority of Early Music bods. Personally I like it; I find the sloppiness and forceful nature of the performances compelling. Meanwhile I'm ever jealous of your playing Lukas; your tone is always so wonderful! If you ever feel the need to make a recording of your Cipriano available, I'd certainly gobble it up, grains and all...

[@memomusica]

Dear Jim, thank you for these kind words! I think I've heard Musica Reservata during my studies (we have a huge repository of early music vinyl in our library there), but I'll have to check again, this time with fresh ears. I'm also happy to hear you enjoy my playing. I am actually in the midst of trying to organize a CD recording (of Marco dall'Aquila), but as the recording market has changed a lot this is surprisingly difficult to manage... In the seventies my first LP would've been out by last autumn. Freaky hair-do and all. ;-)

[@JimMurrayDunn]

I remember reading an article quoting a music critic of the time describing the most prominent female vocalist (whose name I forget) of the group as sounding like "a hyena with lockjaw". Pretty rock n roll stuff. I look forward to it! Embrace the hair, it helps!

[@simonlomberg9633]

Interesting dipping back into Music Reservata, which I have barely heard since my student days. I'm not sure their approach was as carefully researched as Björn Schmelzer's (although I'm open to correction there ;-) , but it certainly was a tonic and an antidote to the white bread English choral style that was still so prevalent. The same could be said, I think, for much of David Munrow's work (remind yourself by listening to his Agincourt Carol, kzbin.info/www/bejne/iYiZdpuhmtmrj9E), and even such strange outliers as Alfred Deller's Perotin recording(s). But in any case, I love this new recording!

[@garudel]

Thanks. Very nice and informative overview of this ongoing debate...

[@JellyBean-jb7em]

Excellent examination of the many musical ideas at play here. I only take issue with the title and underlying question "Tasteful or nauseating". To me, that seems to be of secondary consideration. As it is not fully possible to know exactly how the music may have sounded it it's time, we might want to consider other asks such as "is the performance style effective, does it communicate the story?" For myself, I am convinced that Bjorn and the crew are on a righteous path. In a way the recording legacy is the proof in the pudding when it comes to Early Music interpretation. Recordings come along now and then that are revelations and open our ears to the possibilities in the music. I feel that Graindelavoix have the distinct honor of being among the groups whose legacy grows and shapes our understanding of how the music could or should sound. Taste might be a fickle fancy, it is the qualities that transcend taste that make the endeavor most worthwhile.

[@beejaybeejaybeejay]

Graindelavoix are transcendently beautiful, and curse you for this clickbait title

[@ido9988]

Another great episde! Infact, when I heard Graindelavoix singing, I immidietly thought about Georgian polyphonic singing, with all it's embellishment. And while it's not really related to Early western music, I think that an episode about that tradition, or maybe about traditional polyphony in general can be pretty awesome!

[@memomusica]

Dear Ido, thank's for the comment! You know, I've been thinking about doing an episode on Georgian polyphony for a while now. I've sort of grown up hearing it. My father is Georgian and I'm born in Tbilisi. I'll have to think of a good concept, but eventually I'll find a moment to cover it. I think it has more connections to western polyphony than it may seem at first.

[@ido9988]

me:mo By the way, If you are planning to do such an episode, I recommend the Iberi, Rustavi, and Anchisxanti choirs, and you can also find some sheet music, but unfortunately, it is hard to find these videos without knowing Georgian. But maybe you can use your father for this. :) My favorite piece is Romelni Qerubimta, by the way: kzbin.info/www/bejne/hqK8hqhtqqyLoNU

[@memomusica]

On a sidenote, I can also recommend the ensemble Mdzlevari!

[@Zualio]

Vielen Dank für diesen Einblick in die Kultur der Aufführungspraxis Alter Musik! Was mich als Thema auch interessieren würde, wäre, warum im deutschsprachigen Raum die Literatur und Musik der Renaissance so wenig im "Kanon" der Musikkultur verankert ist. Für viele ist ja bereits Bach das Ende der Fahnenstange. In England liest man Shakespeare, singt Byrd, spielt Dowland u.v.m., in Spanien Cervantes und ist stolz auf seine lange Vihuela/Gitarrentradition. Italien hat ein Bewusstsein, kulturell von Dante und Palestrina beeinflusst zu sein. Im deutschen Schulunterricht springt man bei der Literatur aber von Walter von der Vogelweide ("versucht mal es zu lesen, es ist ganz lustig") über Gryphius ("schwülstig, ne?") direkt zu Sturm und Drang, als ob es vor Goethe nichts wirklich lesenswertes gegeben hätte. In der Chormusik sind franko-flämische Komponisten nicht unbekannt, aber obwohl ich einiges an Musik treibe, habe ich erst vor Kurzem etwas von Hans Gerle, Leonhard Lechner, Melchior Franck uvm. erfahren. Obwohl die Musikszene so international ist, merkt man hier sehr stark verschiedene nationale Erinnerungskulturen. Ist das nicht seltsam? (Entschuldige, das musste ich mal loswerden, leider ist mein geschriebenes Englisch nicht gut, deswegen auf Deutsch)

[@memomusica]

Lieber Zualio, Vielen Dank für diesen Kommentar, dessen Aussagegehalt ich eigentlich nur beipflichten kann. Ich habe das auch so beobachtet und mich ähnlich darüber gewundert. Bei uns im Musikunterricht/Deutschunterricht ist es ziemlich genau so abgelaufen, wie du beschreibst. Ob ich die Frage allerdings zufriedenstellend beantworten kann? Ich denke, das ist eher etwas für wirkliche Historiker und Anthropologen, mir sind diese beiden Gebiete natürlich nur durch die Musik- und Kunstlinse bekannt, und durch diese sehen die Medici eigentlich echt nett aus. ;-) Ich denke, es spielen beim beschriebenen Phänomen sowohl unsere Erinnerungskultur (und deren Vergangenheit) eine Rolle, wie auch die tatsächlichen Verhältnisse damals. Ein Faktor wird wohl sein: Das was heute das frühneuzeitliche Kulturerbe des deutschsprachigen Raumes ausmacht hat sicherlich seine ganz großen Figuren - aber es gibt keinen »deutschen Dante«, der sich mit diesem messen könnte, keinen »deutschen Dowland«, keinen »deutschen Monteverdi«. Gleichzeitig brauchen die Italiener keinen "Schutz italiano", die Engländer keinen "The English Hoffmannswaldau" und die Franzosen keinen "Le Gerle François". Jemanden mit Stolz in jedes Schulbuch zu stecken, der im internationelen Vergleich nichtmal auf’s Treppchen kommt... widerspricht sich ja selbst. Dass die Lehrer sich dann auch noch selbst quasi darüber lustig machen ist einfach ein Bildungsproblem - dummerweise sind viele Schullehrer nur knapp gebildeter als der durchschnittliche Sachbearbeiter eben. Sonst würden sie ja was anderes machen. Wenn die Gelder geboten wären, könnte man sicherlich Musikunterricht von Musikologen geben lassen und Deutschunterricht von Germanisten. (Und so war das ja auch bei "gebildeten Leuten" früher...) Und hätte man gleichsam dem Herrn Holbein damals eine wunderbare Stelle in München geboten, hätte er sicherlich nicht seine berühmtesten Werke in England gelassen - ebenso Sir George Frederick Handel. Fällt das nicht im weitesten Sinne alles unter den Begriff "braindrain"?

[@Zualio]

Danke für die Antwort! Ich denke auch nicht, dass man nicht aus falschem Nationalstolz weniger bedeutende Autoren und Komponisten in das Curriculum drängen sollte. (Was aber de facto in Deutsch- und Musikunterricht getan wird, indem deutschsprachige Autoren und Musiker dominieren). Andererseits fand ich in deinen Videos sehr gut beschrieben, dass Alte Musik nicht nur Wiederholung von Vergangenem ist, sondern auch heute Räume für den Ausdruck von MusikerInnen eröffnet. Damit wird aber der Fortschrittsgedanke bereits relativiert: Auch Komponisten, die nicht die Speerspitze der Entwicklung waren, eröffnen möglicherweise neue Ausdrucksräume. Vielleicht muss man auch in Literatur und Musik von einer „Geschichte der großen Männer“ abkommen, obwohl das romantische Bild des einzelnen künstlerischen Genies verführerisch ist. Dann würden vielleicht auch mehr Menschen Traditionslinien an der Peripherie entdecken, die es lohnt zu erkunden. Die Schwierigkeit bleibt, dass es trotzdem noch bessere und schlechtere Komponisten gibt, wie du beim Vergleich von Marco Dall’Aquila und Spinacino demonstriert hast. Aber in der schulischen und populärwissenschaftlichen Musikgeschichte wird nicht nur unter den Komponisten einer Zeit der eine dem anderen bevorzugt. Große Zeitabschnitte und Regionen werden nicht behandelt. Eine Auswahl ist sicherlich unumgänglich. Es erstaunt mich aber immer wieder, wie sehr der Kanon sich immernoch so stark an den Bewertungen des 19. Jhds orientiert. Als Student der Ev. Theologie habe ich das Glück, in einem der wenigen Studiengänge mit humanistischem Bildungsideal eingeschrieben zu sein. Ich könnte in meiner Examensarbeit spätantike syrische Kirchenmusik, französische Philosophen oder religiöse Symbolik in Computerspielen behandeln. (Wenn ich einen Prof. dafür begeistern könnte und mich in die Fachliteratur einlesen wollte.) Ich habe bei KommilitonInnen in Lehramtsstudiengängen leider gemerkt, dass durch das im Vergleich kurze fachliche Studium weniger Raum für Ungewöhnlicheres ist. Reste vom Ideal sind aber auch dort zu finden: Derzeit müssen angehende Deutschlehrer Mittelhochdeutsch lernen, ohne Zeit, Raum und Motivation für Lektüre mittelhochdeutscher Werke. Es scheint mir nichts Halbes und nichts Ganzes zu sein. Der derzeitige Ruf nach mehr "Praxis" wird aber die Ausbildung eher auf den derzeitigen Lehrplan hin orientieren, anstatt Bildung auch außerhalb von Lehrplanthemen zu fördern. Also eher mehr Weißbrot statt Vollkorn.

[@sammiiorourke2822]

Hello! This video is wonderful. I'd love to know who the group is (and what he piece is), at around 8min30?! It's so beautiful!

[@heavynov]

Wait a minute. One minute in I assume what you want to get at, but as a bread-maniac and amateur baker, I have to rant a bit. First off; "toast-bread" is an abomination hateful to artisan baking. Secondly, saying that white bread is the most boring and bland item in European cuisine (especially as a German :-P ) implies ignorance of ciabatta, focaccia, baguette, pain de champagne, michetta, pane pugliese, pagnotta, pane toscano, kolak, gevrek and that's not even getting into Spanish, Portugese or Cyprian and Greek bread. Note that I left out enriched dough breads like the brioche, pane alla cioccolata, tresse, kozunak, krendel, potato-bread and plenty others or less common bread types (lamper, Schüttelbrot, carta da musica,...) Not to mention that even the simplest bloomer or cottage loaf is absolutely amazing if it is freshly made by a baker and not bought from a supermarket. Sorry for the rant, I'm quite passionate about bread, though :D

[@memomusica]

Haha, the history of bread is indeed fascinating, and I was of course over-generalizing there. But bread as something that is not only nourishing, cultural, the origin of cilization itself, but also a matter of taste and a topic to get very invested in (we German's would indeed know!) does seem to work quite well as an analogy to singing and music. ;-) Thanks for watching and this comment! Best wishes, Lukas

[@robertallair7278]

In a similar vein, I have always been perplexed that in English we describe something cheap or of low quality as being “cheesy”. Cheese is of course, like bread (including white bread!) one of the great achievements of human culture. I think I will have a cheese sandwich.

[@memomusica]

Right! Another curious case like that: In German the phrase for "I couldn't care less." is: "Das ist mir Wurst." - literally: "That's sausage to me." The irony here is that sausages are the exact opposite of irrelevant to us Germans. Perhaps the correct interpretation is that, for us, the epitome of égalité is the consistency of a sausage, which of course can only apply to very certain variants like the Frankfurter (Weener) for example. Btw did you know that a Bavarian term for thin and long sausages is "Saiterl", literally meaning "thin Strings", as they are of course stuffed guts...

[@heavynov]

Really like your explanation for it! This saying has always confused me, especially given the saying "Jetzt geht's um die Wurst" (now it is about the sausage) to signify that now the stakes are on.

[@Oceananswer]

Kind of funny since white bread in previous centuries were considered something only reserved for the rich.

[@atay099]

fantastic review, very well informed

[@tonyvillamotte4339]

Considering what some baroque period ensembles sound like, graindelavoix is neither worse nor better. We know little about performance practices in the baroque era, and even less about what renaissance musicians did. What we do know, however, is that embellishments, slides and the like were used by instrumentalists, not singers. It's likely that ornamentation was used in notated worldly vocal music starting in the 16th century Italy and France, but it is extremely unlikely that such embellishments were used in church settings. As for adding a "nasal" rustic quality and whetever else graindelavoix does, it is also undocumented. Notated music throughout West European history from at least the 14th century ars nova polyphony was used mostly by the church and nobles, and they wanted to distance themselves from low-class peasants as much as possible. Peasants and professional town musicians (most larger cities West European cities had musicians' guilds from the 13th-14th century and the city would employ the best on an ad hoc basis to provide fanfares on festive occasions and even weekly public concerts in public squares) rarely knew how to read notated music and worked using improvisation and memorization much like today's jazz musicians do. For this reason, almost all of their music and traditions are lost, because if they couldn't read or write music, they couldn't read or write words either. Nobody has really researched stylistic transfer of musical performance and composition between Byzantium, Western Europe, and the Caliphates from the 10th century until the end of the Crusades and the end of the reconquista in Spain in 1492, so it is extremely difficult to judge whether they had any influence on each other. Certainly, the Greek modes were used in Gregorian plainchant, and the one-note drones used in Byzantine chant were introduced in Gregorian plainchant around the 10th century. Beyond that, it's impossible to say if either Buzantium or the West adopted. Muslim culture developed 72 heptatonic tone rows or scales (maqamat) constructed from augmented, major, neutral, and minor seconds, which they used in homophonic performance (one melody, no harmonization, even if the melody is played by multiple instruments at the same time) with - perhaps - rhythmic instruments. It seems inconceivable that Crusader musicians didn't learn anything from Byzantium or the Arabs during the 300 years spanning from just before the Crusades until their end, but I can find no evidence or discussion of this topic. So while written descriptions of how music was or should be performed start to occur in the second half of the 16th century due to rising literacy in general, little was written by nobles and churchmen in the middle ages. Nobles would have thought it beneath them to comment on peasants' singing, and church choirs had cathedral schools where music performance tradition was passed on orally. Ercole d'Este I, Duke of Ferrara, sent talent scouts out to various European courts to find the best court composer he could hire, and his secretary wrote a letter to the Duke in 1502, where he recommends the hiring of Isaac instead of Josquin Desprez (then arguably the most famous composer-singer in Europe) because Isaac is "able to get on better with his colleagues and composes new pieces quicker. It is true, Josquin composes better, but he does it only when it suits him and not when it is requested. More than this, Josquin asks 200 ducats while Isaac is pleased with 120." Ercole still hired Desprez. However, the letter is typical for the Middle Ages and Renaissance, inasmuch it doesn't discuss the composer's stylistic merits or his qualities as a singer. Nobles at courts could certainly hear the difference between a good performance and ones less so, or troubadours and trouveres wouldn't in the 12th-13th centuries would not have been mentioned by name (just liike painters and sculptors at this time were named only very exceptionally) and their notated music wouldn't have been preserved. The issue here is that troubadours and trouveres were nobles themselves who wrote both poetry and music. They knew how to perform their own stuff, so they never left any instructions about how to perform it. Their vocal parts are often very complicated rhythmically and difficult to perform except by trained and specialized singers today. Troubadours and trouveres, accompanied themselves on harps, plucked instruments and bowed vielles and many of their instrumental accompaniments have been preserved. These are all written for one instrmental part only, and iconographical evidence suggests that the troubadour or trouver accompanied himself without additional musicians performing as well. me.me, you have quite the nerve to ask for contributions for making an amateurish review of a CD by a group that basically "transcribes" ancient music to make it easier to listen to for modern audiences. Not that there is anything wrong with that. Composers in the renaissance often performed movements from masses in 4-5 parts, motets, chansons, and madrigals in viol consorts (e.g., at the court in Ferrara and Mantua in Isabella d'Este's and Francesco II Gonzaga's time), and J.S. Bach and others performed keyboard music on various types of keyboards that happened to be available and suitable. But using Tizian's style of painting to discuss whether Willaert's music should be performed with ornamentation is patent nonsense. A style of painting tells us nothing about performance practice, unless performers with instruments are featured, in which case they can show us how instruments were held and illustrate the types of ensemble combinations at most. The best way to describe graindelavoix performances is: Renaissance music sung using "transcribed" performance practice to sound appealing to 21st century ears.

[@GaetandeTruchis]

Magnifique, merci !

[@GaetandeTruchis]

Done ! I'ma proud to be a "patron" ;)

[@GaetandeTruchis]

sorry : I'm proud

[@memomusica]

Dear Gaetan, thank you so much! (I sent you an e-mail.)

[@fffffwwww]

The difference is really not that great for someone who is not drilled into thinking that music should be sound exactly the same every time. In other musical traditions a wider variety of human voices are accepted. The attempt at "purity" in classical music voices is at stake. I can't stand the pure sound at all either in rennaissance music or opera etc.. and I really enjoy being able to hear the character of the voices. However it really is a tempest in a teacup.

[@miguelullaberdullas]

Te BEST KZbin Channel!!!

[@S.Lijmerd]

Underrated channel. Outstanding review, the only part I did not like about it was the cheap jab at the modern music from the musicoligist, but in all fairness he did seem like a pretentious twat.

[@camilovazquez4113]

4:00 LOL

[@joshjams1978]

11:20 noves me so much

[@lindakhanapanya5928]

Wow woah

[@ede8000]

Curse you, Lukas, now I have to go down to Our Price and buy CDs!

[@memomusica]

;-)

[@1001Balance]

Poor Fabrice 😜

[@owen261]

#TeamWholeGrain

[@memomusica]

Make Early Music Grain Again #MEGA