COPLAND Duo for Flute & Piano; WEIR Airs from Another Planet; MOZART Quintet for im Horton’s Piano and Wind in E flat K452: Ensemble 360

Not really a great deal to say here. I found the Copland work as undistinguished as other works I have come across of his recently. It was very well performed by flautist and pianist

The Judith Weir piece promised to be fun, but actually wasn’t really…..it was premised on the idea of space colonists remembering the Scottish folk songs from several generations back their ancestors sung before moving to Mars. Anyone expecting an Orkney Wedding style would be disappointed……

The Mozart was very well played, and lovely to listen to. Not one of Mozart’s darker pieces…..

BEETHOVEN Piano Sonatas No.30 in E Op.109; No.31 in A flat Op.110; 32 in C minor Op.111; WALLEN The Negro Speaks of Rivers; FRANCES-HOAD Invocation; BEETHOVEN Cello Sonata Op.102 No.2 Tim Horton, Ensemble 360

These are very difficult works to listen to with many incidental – indeed transcendental –  beauties,  but often with quirks and turns which make it difficult to know where the music is going – as I seem to remember Barenboim saying, even if you play two notes on a piano you are in a way telling a story because you are setting up a relationship between the two and asking the question ‘what next?’. Telling a story, however complex, does seem particularly important in these sonatas. One of my favourite movements in these great works, the final movement of Op109 ends particularly abruptly – and indeed I’m put in mind of the end of the Missa Solemnis which has a similar ‘that’s it, take it or leave it’ feel. In the case of the latter work, it’s very much up to the conductor and the speed relationships established in the Agnus Dei as to whether that ending makes sense and the same of course is true of the pianist in these sonatas. So in Op 109 I felt, in Tim Horton’s performance, that the first movement was too fast and unvarying, while the slow movement seemed under characterised and too quick. Consequently, the ending seemed too abrupt and without clear meaning. In Op 110 I didn’t get a sense of ‘the story’ either. In Op111 however there was a much better sense of narrative and the second, slow, movement was taken at a much slower pace than Op 109 and was very beautiful, with a real sense of peaceful resolution at the end.

It will be interesting to hear how Andras Schiff plays these works at the Proms in early September (I bought a Proms weekend standing pass for that and the two Berlin Phil concerts)

I had planned to stay for the second half of this concert but felt so emotionally drained after 80 mins or so of these works without a break that I felt the better course was to go home at the interval!

Director, David Alden; Set designer Paul Steinberg; Costume designer, Gideon Davey; Lighting designer, Adam Silverman. Conductor, Jakub Hruša; Brandon Jovanovich, Lohengrin; Jennifer Davis, Elsa; Maida Hundeling, Ortrud; Craig Colclough, Telramund; Gábor Bretz, King Henry

This is only the third live production I’ve been to of Lohengrin. The first was in 1972 at Bayreuth (a Wolfgang Wagner production), the second was the Moshinsky production at Covent Garden in the late 1970’s (Haitink conducting, Rene Kollo, Lohengrin) to which I went maybe 2-3 times, and the third was this, David Alden  one which I saw in its first outing in 2018. I have to say this time round the Alden production made a much more powerful impression – I’m not sure why the 2018 one didn’t: maybe it was where I was sitting, possibly I was tired…….certainly I had it in my mind that it was good but I had no memory it had been THIS good. This was another of those evenings when you think – of all the art forms, when opera gets it right there’s nothing to beat it

The design context is post First World War – partially ruined buildings, wounded civilians. Clothing for the chorus is generally 1920s. The buildings are mainly brick/concrete/metal-looking structures, distorted to look shelled or partially destroyed by fire, and  which can be moved around cleverly to represent the town square, Cathedral  a dungeon and so forth. The German presence is threatening – soldiers with guns oversee the Brabant populace. The Brabantines are needy, wanting a leader. King Henry is not the leader they hope for – he’s portrayed as weak,  lacking authority. When Lohengrin arrives, he is seen as the leader the Brabantines have wished for and he becomes a cult figure – a giant white Swan monument Albert Speer-style is at the back of the stage for the conclusion of Act 2, and red, white and black Swan banners decorate the last part of Act 3, with fairly obvious but still powerful connotations. The one totally different scene is Act 3 scene 1, a white/faun coloured bedroom with a huge Neuschwanstein painting of the arrival of Lohengrin on the wall. The lighting by Adam Silverman was beautiful and effective. The one thing that may be didn’t work in the production was the use of the auditorium at the end of Act 2 and very beginning of Act 3 – the toasting of the happy couple by Ortrud from a box made some sort of in-character sense, but why Lohengrin and Elsa were wandering around the Stalls seats on the way to the bedroom didn’t really add much…..though quite amusing

The very clear trajectory of the opera as seen by Alden is from delusional belief – in leaders, in a religious saviour figure, in love and a perfect romantic partner – towards a clearer understanding of self and others. Lohengrin himself is to some extent delusional – he seems willing to combine at first his role as a Knight of the Grail with his marriage to Elsa, and leadership of the Brabantines to war, yet these are unreconcilable opposites which he has to choose between. The pivotal question both Lohengrin and Elsa have to ask themselves and answer is – who are you? By the end of the opera there has been some kind of progress towards a new reality, based upon  as so often in Wagner a sort of renunciation:

• Renunciation by Lohengrin of an ordinary ‘human’ life for his real vocation as a Grail Knight
• Renunciation by Elsa of her marriage to Lohengrin for either life with her new-found brother (though the stage directions say she falls lifeless into Gottfried’s arms at the end, to me she still looked alive in this production), or, if a death, a death that represents a new understanding of her failings and transforms her death into a new truth
• Renunciation by the community from Lohengrin as supreme leader to a new rightful heir to the throne of Brabant, Gottfried.

Gottfried’s gradual emergence from a crumpled rally banner, holding up a sword – which  in a Wagnerian setting, is something positive, representing new life – is one of the great coups of this production and gives it a more positive and moving ending than most (the other great coups are Telramund bursting through the paper walls to kill Lohengrin at the climax of Act 3 Scene 1, and the collapse of the banners as the Brabantine community realises it delusions about leadership in the last scene ). The one person who consistently speaks the truth is Ortrud, and she sees through both Lohengrin’s and Elsa’s delusions. However, she uses that understanding, integrity and insight, that self-knowledge, only to promote her own and her husband’s interests, and to destroy Elsa – in some ways almost a prototype of Wotan. The concept of how religious faith ‘works’ is explored – Lohengrin is seen by Elsa as a saviour figure, to be believed uncritically. By the last act, her last words essentially to us are ‘ Lord, Have mercy upon me’ as she realises the extent of her delusion (and here I wonder if Wagner was aware of the resonances with ‘Erbarme Dich’ in the St Matthew Passion – would he have heard one of Mendelssohn’s performances) – she has moved from her image of an idealised Saviour to a radical emptying of self and a reliance on God’s mercy.. Telramund is a weak self interested figure unable to measure up to any of the three major protagonists

There are many glorious moments in this score and musically chorus and orchestra were on top form. The chorus was in fact tremendous – quite the best singing I’ve heard from them in a long time. I don’t remember them being quite as good in 2018. Similarly the conductor in 2018 was Andris Nelsons  but Jakob Hrusa’s conducting was equally effective In bringing out the power and beauty of this score (rumour has it he might be one of the contenders for Pappano’s position in 2024)

As Lohengrin Brandon Jovanovitch was very effective – he looked good, moved well, engaged fully with the other singers . He also sung sensitively. His voice was getting tired towards the end of Act 3. Jennifer Davis’ Elsa was much more variedly and sensitively sung than in 2018. The last two performances of this run had a different Ortrud – this was Maida Hundeling, who was extremely ‘in your face’ ,- which is a totally reasonable way to play the role. She’s a mid- career German singer, with a powerful voice; not much subtlety, but in this role subtlety might be a disadvantage! Telramund  played by Craig Colclough, is a protoGunther type  manipulated by a powerful woman. Mr Colclough didn’t make much of an impression but then that’s also possibly in-character. Gabor Bretz conveyed the right sort of unsteadiness as King Henry, in a good way – his is an excellent Wagnerian bass voice (I remember him singing a good Act 3 Parsifal Gurnemanz with Mark Elder in York Minster)

All in all, a very memorable evening! This will have to be in my top ten live musical events of the year!

Richard Strauss: Don Juan, Burleske, Also sprach Zarathustra: Gewandhausorchester Leipzig, Andris Nelsons conductor, Rudolf, Buchbinder, piano

All the paeans of praise about this great orchestra from last night are equally applicable again tonight. A few points I perhaps missed out:

• The clarity and precision of the orchestral sound, even in very dense passages. In these complex scores, with many different things happening on different instruments at once, it was extraordinary how much you could hear of the individual lines, particularly in Also Sprach Zarathustra
• At the same time, unlike, say, Rattle occasionally, the clarity and beauty of line did not get in the way of drama and pushing the music forward when it needed to be – the blend seemed to me just right, and we didn’t move in to ‘beauty at all costs’ territory

There was so much to enjoy in this second concert – in Don Juan, the rush of the strings at the start, the glorious sound of the horns in their big tune in that piece, and the sheer strength and passion of the strings when they repeat the horn theme at the climax of the work, plus the beauty of the oboe in the second love scene, for instance.

Burleske is not a work I know – apparently, it’s an early piece originally written when Strauss was 21 and after various revisions eventually published in 1894. It became eventually one of his favourite works, and he programmed it in his last concert in London with the Philharmonia Orchestra in September 1947, along with Don Juan, the Symphonia Domestica and the waltzes from Der Rosenkavalier. I can’t say I would particularly welcome a second hearing but it’s a pleasant enough piece and Rudolf Buchbonder dashed it off with brilliance although with also what sounded to me like quite a small tone. His encore was a piece elaborating music from Die Fledermaus, I am not quite sure by who. I wonder what Yuja Wang, originally down to play the Burleske, would have made of the piece?

Also Sprach Zarathustra received the most engaging performance I’ve heard live. It’s always seemed to me a rather poor cousin of Ein Heldenleben, Don Quixote, the Alpine Symphony and even the Symphonia Domestica – without the melodic invention of these works and much ‘bittier’ in some ways. But the brilliance of the orchestra engaged me more than I ever have been before as I listened to the piece unfolding, and the sequences, and how they fit together, made more sense.

All in all these two concerts have been terrific. As the Times reviewer said this morning “In the way that the starving man dreams of roast dinners with all the trimmings, so in the endless Covid winter a visit from an orchestra like the Leipzig Gewandhaus with huge romantic works was the sort of thing that classical music lovers fantasised about.”. And now it’s come true! My only slight grouse is that those promoting the tours of these big European orchestras seem to have a short memory of what they have played in the same venue previously. In the case of the Leipzigers, it didn’t bother me because I wasn’t there for it, but Chailly and the Leipzig Orchestra played Don Juan, Also Sprach Zarathustra and Ein Heldenleben in 2015; it seems strange to be doing the same pieces 7 years and only 1 visit later. Similarly I note that the Berlin Philharmonic is performing Mahler 7 at the Proms with Kirill Petrenko, yet it is only ?6 years since Rattle and the BPO performed this work. Strange….

Dinara Klinton piano: Beethoven Piano Sonata No. 32 in C minor Op. 111; Prokofiev, Piano Sonata No. 8 in B flat Op. 84

The Benjamin Britten Piano Fellowship was won in 2014 by Ukrainian-born Dinara Klinton who currently combines the role of Professor of Piano at the Royal College of Music with her career as a concert and recording artist.  Like Heldenleben in my last blog post, the late Beethoven piano sonatas are also in the London buses category – I’m hearing them several times in the next few months – next week in Sheffield and Andras Schiff in September at the Proms

Ms Klinton gave what I thought was a very clear exposition of the Op 111 Beethoven sonata – muscular and rhythmically tense in the first movement and taking me on a story I could understand in the 2^nd. It probably wasn’t a performance strong on mystical insights, but I found it very satisfying, with the different stages of the variations clearly delineated. I enjoyed also the Prokofiev Piano Sonata, apparently the third and longest of the Three War Sonatas he wrote, first performed at the end of 1944, in Moscow, by Emil Gilels. Again, Ms Klinton signposted very clearly for me the different stages of the sonata’s journey, with the wistful ballet-like melodies very well-done, and some ferociously clear and steely playing in the finale. One of the better of the lunchtime recitals I have been to recently…..

Ms Klinton played two encores – one was a piece called ‘Song’ by a Ukrainian composer written in 1929; the other piece might have been by Rachmaninov

Richard Strauss: Macbeth, Der Rosenkavalier suite, Ein Heldenleben: Gewandhausorchester Leipzig, Andris Nelsons conductor

The concert was supposed to be the first of four this week, with not only the Leipzig but also the Boston Symphony, Nelsons’ two orchestras, and featuring with the BSO at the Festival Hall the Alpine Symphony, the Sinfonia Domestica, Lisa Davidsen singing the 4 Last Songs and extracts from Salome – a completely mind-blowing week in prospect! Sadly the Boston bit fell through but at least the Leipzig part has gone ahead and this, the first of two, was a very fine concert indeed. It’s 3 years almost since I heard one of the great European orchestras live (oddly enough amongst other things also playing the Rosenkavalier Suite – the Bavarian RSO with Yannick Nezet-Seguin at the Proms in July 2019). I last heard – I think – the Leipzig Orchestra in 2017 at the Barbican – playing Bruckner 7 with Herbert Blomstedt  

The Leipzig Orchestra – coming up for its 280th birthday – is truly excellent and clearly enjoys working with Nelsons, their chief conductor.  Their sound is ideal for Strauss – the firmness and fruitiness of the combination of cellos and horns at the opening of Ein Heldenleben, the glorious interweaving of the principal horn and other principal woodwind in lyrical passages, the voluptuousness of the upper strings, the assertiveness of the timpani – all seem part of an organic whole. Ein Heldenleben had the most distinctive and enjoyable reading of the three pieces in the concert, and indeed I don’t think I’ve ever heard it live since a memorable performance at the RFH with the Berlin PO and Karajan in 1972, so it was doubly exciting to hear it in concert after nearly 50 years! Oddly, as seems to be the way with concert programming, some works come along a bit like London buses – nothing for ages but then actually there are three performances of Ein Heldenleben I am going to this year (others being the Oslo Phil and Klaus Makela at the Proms and Mark Elder and the Halle in Manchester). This was certainly a more characterful and sensitive performance than the old Chicago S 0 /Reiner RCA recording I got to know the work from (I can remember very little of the Karajan performance). Among its many excellent aspects were:

• Some very varied and really characterful violin solo playing – much better than the Reiner recording
• Nelsons’ judging of the degrees of climax in the music which were very carefully handled, particularly in the battle scene
• Some beautiful phrasing, the sheer lushness of the Leipzig strings at full stretch, and ultra quiet playing in the love scene and the closing sequence
• The malevolence of the woodwind critics – somehow spot-lit and made much more characterful, sometimes more amusing, sometimes more malevolent than I remember, by the orchestra and Nelsons
• The power and noise of the orchestra at full throttle when unleashed by Nelsons, and the splendour of the return of the main theme after the battle

There are aspects of Ein Heldenleben which can make you slightly queasy, but this was as good a case as you could make for the piece, I think, and the final bars were really very moving.

The Rosenkavalier Suite featured beautiful woodwind playing, particularly in the orchestral simulation of the glorious final trio, whooping horns superbly done, and the whole thing was superbly played, huge fun, and a great reminder of what a wonderful piece this is. The Macbeth tone poem is an early work and frankly not that interesting.

Though it was not sold out, there was a good very appreciative crowd – indeed this is the first really world-class major orchestra I think to have come to London from outside the UK since the pandemic

Turandot, Liudmyla Monastyrska; Calaf, Yonghoon Lee;  Liu, Ermonela Jaho; Timur, Ferruccio Furlanetto; conductor, Marco Armiliato; director, Franco Zeffirelli

Oh dear…… Turandot is a bit of a problem really in any performance but particularly in this – presumably fairly ancient – Zeffirelli one. Orientalist, sexist (at least as far as Liu is concerned, and to some extent Turandot as well), racist, patronising (even for its time Turandot as a work must have seemed backward looking in terms of story and attitudes), badly acted, over-busy, stuffed full with sets, too many people on stage, ridiculous costumes….it’s the kind of thing that gives opera a bad name and it’s not a comfortable view. The Zeffirelli production is frankly monstrous – every corner of the stage is filled with ‘business’ and over-large sets, with constant unnecessary movement and dancing. But, conversely, the music is often marvellous – wonderful harmonies which move beyond Wagner to Mahler and Debussy, maybe Stravinsky, too, despite the silly Chinoiserie of some of the melodies at times. The fact that Puccini did not live to complete the opera doesn’t help – the final duet seems weak both dramatically and musically in the Alfano completion. For the most part, I just shut my eyes and wallowed in the Met orchestra on top form. I came across a nice quote from the LA Times that I think makes a reasonable point about the music – “What makes “Turandot” a true Chinese opera is not that it sounds Chinese but it follows the Tao. The orchestra is like the sky above and the ocean below, hurling clouds and surging waves, ever changing, ear-catching in colours and surprising in harmonies that don’t predictably resolve, keeping you off guard just often enough. This is the environment, and as striking as the demands of the singers, the orchestra is the environment with which they must become one.” Turandot is one of those works that positively screams for regietheater, but we were a million miles away from it here.

The Zeffirelli production tries to deal with the evident non-Chinese faces of most of the performers on stage by getting quite a lot of them to wear masks – however inevitably that doesn’t apply to the principals, and so the production looks inescapably Western focused.

As indicated above, for the most part, the acting was poor and there was little chemistry between the performers – Turandot dealt in semaphore signals, Calaf didn’t even bother with those but just stood still, ocasionally bending his legs, to deliver , Timur and the Emperor just have to be static anyway. The one person who really made an effort (and what an effort) was Ermonela Jaho, who was very convincing and passionate as Liu.

The singing – again with one exception – was good but not more than that. Liudmyla Monastyrska produced some lovely legato singing at times, and she banged out the high notes appropriately but she remained a cypher – which up to a point is what she is, so acceptable, but there was no change in the final act. There was sometimes quite a wide vibrato to her voice which occasionally was wearing. There’s one exception to these comments – Lyudmilla Monastyrska is Ukrainian (and in fact replaced the now boycotted Anna Netrebko in this run of performances) and the aria ‘In Questa Reggia’’s lines are extraordinarily appropriate to Ukraine’s situation at present, menaced by an aggressive enemy. She said in an interview that she totally identified with the state of her country in singing that aria, and this came across very movingly. Yonghoon Lee was a good proponent of can belto – reliable, always delivering on the high notes, but with little sensitivity or lightness of touch. Ermonela Jaho was in a completely different league to these two – floating some beautiful high notes, wonderfully varied in tone, her’s was a masterclass in how to do opera well on stage. Although, as I said above, I enjoyed wallowing in the music I did think that Marco Amiliato’s conducting didn’t produce the sort of visceral effects good Puccini conducting – I still remember the glorious sounds Zubin Mehta conjured up in the 1979 ROHCG production of La Fanciulla del West – can produce, and I thought the first act dragged.

On the whole, I felt I should have done something else that evening……….

Edale Music Festival 2022

April 29, 30 & May 1st

This was an exciting weekend where Martin Cropper, the Director, some staff and ex-students, and current advanced students, at the Sheffield Music Academy performed a weekend of chamber music at Edale Parish Church. As I was involved in organising this, I am simply placing this on record rather than attempting to ‘review’. Of the 5 concerts, my personal favourites were the Schubert Quintet and the Vivaldi……but each concert had masses going for it and much to enjoy. I enjoyed getting to know the Brahms Sextet a little better – and indeed the Schubert Piano Trio is something I’ve not heard that often – but the Schubert Quintet is a work I have known since I was 13 – I remember sitting in Finsbury Park in North London at that age, listening to this on the BBC Third Programme (as it was called in 1965) and being overwhelmed by the beauty of the music. A strange journey from North London in 1965 to Edale in 2022….(57 years later…..) . The skills and abilities of the current students were well displayed and truly remarkable, in some cases – and never less than wholly excellent.

The programme was as follows

Friday 29 April 7pm

Oakham Piano trio

• Beethoven Op.70 no.1 (Ghost)
• Schubert Op.100 in E Flat

Saturday 30th April 11:45am

Sheffield Music Academy soloists. Various solos by current students, culminating in a performance of Prokofiev’s Variations on a Hebrew Theme

Saturday 30th April 7pm

• Brahms Sextet no. 2 in G Op.36
• Schubert Quintet in C

Sunday 1 May 11.30am

Duos – two by two: Bartok – Duo for two violins; Kodaly – Duo for violin and cello

Sunday 1 May 7pm

Edale Festival Orchestra

• Haydn Cello Concerto in C
• Vivaldi Four Seasons

London Philharmonic Orchestra, Enrique Mazzola conductor, Renée Fleming soprano. Dvořák: Overture, Othello; Verdi: Dances, Willow song, Ave Maria from Otello; Strauss: Introduction; Moonlight Music; Finale from Capriccio

The programme of this (great) concert was built around Ms Fleming, and the Othello/Richard Strauss themes of the first and second had little connection between the two other than Ms Fleming’s feeling comfortable singing extracts from both of them.

Enrique Mazzolla seemed to run a tight ship as conductor, and the LPO sparkled and crackled in the (silly Orientalist) Otello ballet music, with tight rhythms and a general sense that the players were enjoying themselves. Dvorak’s Othello overture was frankly a bit of a bore, despite an attractive 11 note theme I vaguely recognised and which sounded as though it had popped out of one of the mature symphonies – but again it was well played. It was one of those Dvorak works where Wagner, rather than Brahms or Czech folk song predominated – a distinct melody that sounded like Brunnhilde’s sleep motive in Die Walkure at one point……

So…..the stage was set for Ms Fleming. I last saw her in 2016 at ROHCG, when she was singing one of her last Marschallins before retiring from the stage (with Andris Nelsons conducting, and very good it was too, though not effacing memories of the 1974 Carlos Kleiber performances I went to with Helga Dernesch and Yvonne Minton). But, although now in her early 60s, she clearly feels confident enough to continue to do shortish extracts in the concert hall, and on the evidence of this performance justifiably so. The highlight was undoubtedly ‘Capriccio’ – a lovely performance of the sextet by the LPO front desk strings, a warm glowing horn solo introducing the final scene and a wholly absorbing performance by Ms Fleming as the Countess. Her diction was excellent, with a real sense of the pointing of, and of the meaning of, the words, coming from long experience of playing the role on stage, and she offered some lovely floated high notes, and smooth legato singing. Altogether her voice sounded truly ‘Straussian’. I have never heard any part of this work live before, though I am hoping to experience it in full in Munich in July, with Diana Damrau, so it felt a true privilege to hear this performance. I enjoyed the Willow Song and Ave Maria almost as much – a real sense of drama and tension, again, good clear diction, and a voice that conveyed the pathos of the role without ever descending into melodrama. I have no idea how Ms Fleming might have sounded in these roles 20 years earlier, but I loved these performances….The audience was clearly diva- focused, and cheered enthusiastically at the end. The encore was the orchestrated version of the R Strauss song, Morgen, movingly, simply, and beautifully sung

Vaughan Williams: Symphony No. 7 (Sinfonia Antarctica); Symphony No. 2 ‘A London Symphony’).  BBC Philharmonic- John Wilson, conductorh

I suppose the connection in the programming here would be that (apart from similar orchestral resources being needed, which makes it sensible and efficient to put the two works together), like Richard Strauss’ Alpine Symphony, these works are both not only depictions of a particular place but also have something more universal about them, as ‘life journeys’ – so that there is much more connection between these two works than one might initially think.

The ’Antarctica’ symphony was very well characterised and played by Wilson and the BBC Phil – the opening theme seemingly displaying/resonating with the tragic fate of all us humans, creative, brave and loving but ultimately (at least in Vaughan Williams’ view) returning to dust and desolation. There seemed to me to be a special rightness and force in the use of human voices here, singing into the desolation – and also the organ, as a voice of religious authority. As played by John Wilson and the BBC Philharmonic, the performance was well-structured, with a spectacular climax in the 4^th movement, and a beautiful consoling episode before the final bleak ending, and the whirr of the wind machine

Before the symphony, John Wilson, being a film music buff, provided an extra element to the programme, the short but beautiful prelude Vaughan Williams wrote for the film music for ‘ 49^th Parallel’ (1941, a war film with  Laurence Olivier and Leslie Howard (1941)

Released into the wonderful acoustic of the Bridgewater Hall, I realised the BBC Philharmonic / Wilson performance of VW2 was an exceptional reading of the work. There was beautifully quiet horn playing and a  lovely solo viola in the slow movement and distinguished trumpet playing throughout. There were, as in Sheffield, moments of unsteadiness and untidiness but what I appreciated more in Manchester was the sheer quality of Wilson’s reading of the piece – fastish, not over-indulgent, but with moments of searing beauty and anguish. What a great work……….