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cover [cover painting by], painting [cover painting by] Alexander Melamid
cover [cover painting by], painting [cover painting by] Vitaly Komar
design Tomoyo T.L.
tracks 9 engineer [assistant] Shari Weingarten
engineer, mastered by Rory Young
executive-producer Disk Union
executive-producer John Zorn
executive-producer [associate producer] Kazunori Sugiyama
music by David Soldier
tracks 9 music by Rory Young
photography by [artist's photograph by] Aldo Mauro
producer David Soldier
producer Rory Young
typography [typesetting by] Lisa Wells
Copyright (c) Disk Union
Phonographic Copyright (p) Disk Union
Published By Rigglius Music
Recorded At Acme Recording Studios
Designed At Karath=Razar
recorded at ACME STUDIOS, Mamaroneck, New York
mastered by RORY YOUNG on the AKAI DD1000

For CHOREA LASCIVIA, thanks to Louisa Kamps and the family of Thomas Stehling for permission to reprint translations
from Medieval Latin Poems of Male Love and Friendship (Garland Publishing, 1984), and to Mark Steinbrink.
For Matarile, thanks to the children's musical coach, Lanchy, and to Yolanda Torres, Bernardo Palombo and Dorothy Potter.
Special thanks to Komar and Melamid and Ronald Feldman.

all music by DAVE SOLDIER, ASCAP except Matarile by RORY YOUNG and DAVE SOLDIER, ASCAP
published by RIGGLIUS MUSIC
©℗ 1994 DISK UNION

CHOREA LASCIVIA (1991)
The texts are adapted from homo- and heteroerotic Latin poetry of the Middle Ages.
Dedicated to Robert Mapplethorpe and David Wojnarowicz.
English translations of II, V, VII, & VIII by the late Thomas Stehling by permission of his family. Translations of I & IV by Soldier.

I. DUM CAUPONA VERTEREM — from the Carmina Burana
II. AD PUERUM ANGLICUM — Hilary the Englishman (12th century)
IV. MISER, MISER — from the Carmina Burana
V. GRAFFITTI FROM A NINTH-CENTURY MANUSCRIPT — rhymes scribbled in the margins of a 9th century textbook
VII. PARISIUS PARIDI — Serlo of Wilton (c. 1110-1181)
VIII. LETTER TO AUSONIUS — Paulinius of Nola (c. 353-431)

MATARILE (1993)
The form of this piece emulates the way children reflect their surroundings.
Built into the structure are several mirrors. Like opposing mirrors in a barber-
shop, the children imitate the world, and we in turn imitate them imitating the
world. In Matarile, we try to evoke 1990's New York as Karlheinz Stockhausen
evoked 1950's Cologne, Germany in Gesang der Junglinge (1955-56).

The children we recorded meet twice a week to sing meringue and religious
songs of Our Lady of Lourdes in Harlem. They range in age from five to ten,
except for fourteen-year old Wilson Arias who contributed the rap fragment.
Most of the timbres, including most of what appear to be electronic effects, are
actually derived from sounds made by the children. These are supplemented
by unidentified children recorded in Harlem in the 1950's and city noises.

(On the back cover):

1-8 performed by CHOREA LASCIVIA
on Matarile (9):
CHILDREN'S CHOIR OF OUR LADY OF LOURDES, Harlem, New York

A project of HIP'S ROAD
DISK UNION 2-13-1 Iidabashi Chiyoda-Ku Tokyo 102, Japan

(On the OBI-Strip):

HIP'S ROAD
COMPOSER SERIES

Tomoyo T.L. ([l351744])
Barcode: 4 988044 900196 (Text, on obi strip)
Rights Society: JASRAC (R-410500)
Matrix / Runout: AVAN-019