¹ T.L. enlisted the aid of a French germanist to provide him with translations as a guide to setting the originals. These translations are nicely turned and show a scholar's familiarity with French 15th-century versification. Unfortunately they do not always successfully elucidate Brant's gnarled emblems, for which a knowledge of renascence symbolism over and above lexical proficiency is essential. Whether the nuances of word-setting are thwarted by this state of affairs in the context of Lancino's fairly abstract approach the listener will need to decide for himself.

² It was not always so. Ali Bab in his Gastronomic pratique (1928) states that the vins de côte (of which St. Emilion is the type) are not classed. Nevertheless he agrees that among them Chateau Ausone is ‘le plus réputé’.

³ Though between the eights of Narboni's setting and the eight that is a symbol of infinity one glimpses structural implications as well.

⁴ In fact a 1950s recording of the piece by the ORTF continued to circulate long thereafter among sister radios throughout the world, thanks to the cultural service of the Quai d'Orsay.