"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
ISABELLE FRANÇAIX Beat
ISABELLE FRANÇAIX Beat by Beat | On Opera Boesmans’ Julie Comes to CanStage CHRISTOPHER HOILE An unusual event that bodes well for opera in Toronto takes place in November. Canadian Stage and Soundstreams have combined forces to produce the chamber opera Julie by Belgian composer Philippe Boesmans. This will not only be the North American premiere of Julie, but, amazingly, the North American premiere of any opera by Boesmans, one of the most highly regarded contemporary composers of opera. This will also mark the first time that an opera has been included in Canadian Stage’s subscription series. Julie, which had its world premiere at La Monnaie in Brussels in 2005, is based on August Strindberg’s classic play Miss Julie from 1888, a portrait of class and gender politics that was far ahead of its time. The libretto was written by the director Luc Bondy and Marie- Louise Bischofberger in German. For the Toronto production, director Matthew Jocelyn has decided to use an English-language translation, with English super-titles, first presented by Music Theatre Wales in London in 2007. The cast is entirely Canadian. Singing the aristocratic Julie will be Lucia Cervoni, a mezzo-soprano from Toronto who has a great career singing all the major mezzo roles in Europe, but until now, has never sung in Canada. Jean, the servant with whom Julie is enamoured, is baritone Clarence Frazer, who graduated from the COC Ensemble last year. Christine, the servant engaged to Jean, will be sung by coloratura soprano Sharleen Joynt. The conductor will be Leslie Dala. To discover how the Canadian Stage/Soundstreams production came about, I spoke with Jocelyn in mid-October. Jocelyn noted that there are both practical and philosophical reasons: “Soundstreams and Canadian Stage have been speaking for two or three years about various forms of collaboration and this one seemed like an ideal project. It’s not the kind of thing Canadian Stage could have done alone, but by partnering with another organization we have the resources with which to do it. There is a philosophical reason as well. For me, from the very beginning, it has been important to say of Canadian Stage that we are no longer a ‘theatre’ – we are a place of contemporary performance practice, and some of that is straight plays, and some of that is contemporary dance and new musical theatre like London Road, that we did in 2014 – which was a radical departure from the more standard type of musical fare that had been presented at Canadian Stage in the past. London Road was our first foray into a new form of contemporary musical vocabulary. So now with Julie we are going one stage further into an actual piece of contemporary classical music. It is just one stage further in the sophistication of the palette that we are offering audiences here.” When asked whether he is confident that his audience will follow Canadian Stage in this next step, Jocelyn answered, “The audience has not only been following us, they have been increasing over the course of the past few years and becoming more diverse. At present more than half of our audience is under the age of 50, which no other largescale theatre in the country can claim. “We find that each of these adventures brings us new audiences. I think that there are a lot of opera aficionados in the city who don’t go to the theatre, don’t go to contemporary dance. The opportunity of seeing the North American premiere, in Toronto, of an opera by Philippe Boesmans is extraordinary. There may be many in the audience who have never been to Canadian Stage before. On the other hand, for theatre lovers, the opera is based on a classic of dramatic literature so there is automatically a point of reference, a point of recognition. And the opera follows the storyline very closely, though very economically, since the entire opera is only 70 minutes long. Reducing the play to a libretto has left the work incredibly precise, incredibly heart wrenching, and a powerful form of music theatre.” There are at least two other wellknown operatic versions of Miss Julie – one by Ned Rorem from 1965 and one by William Alwyn from 1977 – besides that of Boesmans. So I asked Jocelyn why he chose this version, “I have a long-standing relationship with Philippe Boesmans. I met him over 20 years ago when I was Patrice Chéreau’s assistant for a production of Matthew Jocelyn (left) and Philippe Boesmans Hamlet by Shakespeare and he engaged Philippe to write the music for the Ophelia songs. Later he came to see the work I was doing for Opera Studio of the Strasbourg National Opera; I asked him to do a chamber version of his opera Reigen [from 1993], based on the play La Ronde by Arthur Schnitzler, and he agreed to do it. “That chamber version is now the one done around the world far more than the full orchestral version because it’s just got that extra theatrical quality and it’s a great piece for younger singers. And Philippe has come to prefer the chamber version himself because he says it brought him closer to the theatre, and his real love is the theatre. So when he received his next commission from La Monnaie, he asked to do a chamber opera and wrote Julie.” “After the world premiere,” Jocelyn continues, “I did my own production of Julie, two or three years later, that played in Orléans, Paris, and toured to about 12 or 14 theatres in France, Belgium and Switzerland. So because of this long relationship with Philippe and because I have done the opera before and know it so well, that’s why I wanted to do it again.” “Besides that,” Jocelyn emphasizes, “Philippe really is one of the top opera composers, if not the top, in the world today. This year he won the International Opera Award for his latest opera Au Monde. He is an exceptional composer. He has an understanding of dramaturgy, an understanding of theatre on the stage. He has a complexity of musical languages at his disposal.” Asked to characterize Boesmans’ music, Jocelyn responded that “Boesmans is a non-dogmatic composer. He’s free of the Boulezian orthodoxy or the 12-tone orthodoxy or the new American music orthodoxy. Philippe was a master of baroque music and so he has the facility of tempo changes and the facility of the relationship with the spoken word of the baroque and an absolute virtuosity in terms of rhythm. His greatest inspiration probably comes from [Alban] Berg and a bit from Richard Strauss. In terms of other 21st-century composers, he has the brio and the orchestral sophistication of a George Benjamin. He’s really in a class of his own. He is also 80 years old and had the opportunity to live through many, many schools of music. But even though he may quote or play with specific styles, you hear a page of his music and you know it’s Boesmans.” “The Philadelphia Opera is co-producing his next opera in 2018, 14 | Nov 1 - Dec 7, 2015 thewholenote.com
“I am delighted that we are the first but I am also ashamed that we are the first since Boesmans should have been recognized in North America long ago.” –Matthew Jocelyn but that is still three years away. But our Julie will be the first time ever that one of his operas will be done in North America. I am delighted that we are the first but I am also ashamed that we are the first since Boesmans should have been recognized in North America long ago. Still, it is fantastic that such an important event as this should take place in Toronto.” Asked about the future at Canadian Stage, Jocelyn says: “We won’t be doing an opera every year, but in our modest way we’re already looking toward the future to what that kind of project might be. We have to make sure it’s the right partnership and a work we can really defend because a project like this is a very heavy project for us. Over the next couple seasons I hope that we will be doing more opera and more musical theatre of a more challenging variety. Opera is a form I am enamoured of and continue to work in. I’m working on a couple of other projects right now for elsewhere so I do remain very plugged in to the world of opera.” Play Many readers may not know just how connected Jocelyn is to the Sunday November 15 2015 8:00pm Concert Koerner Hall world of opera. Before coming to Toronto, he led the Atelier du Rhin in Alsace, France, for ten years, establishing it as a major centre for theatre, opera and contemporary dance. In 2008 he was named Chevalier des Arts et des Lettres by the French Ministry of Culture, one of the country’s most prestigious arts honours. Last year he won the ACMA Award for best opera production in Argentina for Requiem for a Nun by Oscar Strasnoy, based on the novel by William Faulkner which Jocelyn directed for the Teatro Colón and for which he wrote the libretto. Currently Jocelyn has been at work on the libretto for a new opera for Glyndebourne, an experience he calls “joyful” and “a real pleasure” since it is the first new commission from Glyndebourne for their main stage in a decade. The source text is no less than Shakespeare’s Hamlet and the composer is the Berlin-based, Australian composer, Brett Dean. The opera will have its world premiere in 2017 as part of Glyndebourne’s celebration of Shakespeare. Describing his ability to run Canadian Stage and still have the chance “to disappear for a little while to work on opera in houses like the Teatro Colón and Glyndebourne – it’s like dying and going to opera heaven.” Julie by Philippe Boesmans and directed by Matthew Jocelyn runs at the Bluma Appel Theatre November 17, 19, 20, 22, 25, 26, 28 and 29. Director Matthew Jocelyn gives us a sneak peek into his creative process and a first chance to hear excerpts from the opera before its North American premiere at the Berkeley Street Theatre, November 12. Free; PWYC. Christopher Hoile is a Toronto-based writer on opera and theatre. He can be contacted at opera@thewholenote.com. Season Sponsor we’re not voting for our bank balance. Concert Sponsor Anonymous ESPRIT ORCHESTRA Alex Pauk, Founding Music Director & Conductor Andrew Norman (U.S.A.) Thomas Adès (England) John Rea (Canada) Play* Tevot** Zefiro torna (Zephyr Returns) *Canadian Premiere **Canadian Premiere generously supported with funding from The Koerner Foundation Box Office 416 408 0208 espritorchestra.com #EspritO The Koerner Foundation The Mary-Margaret Webb Foundation The Max Clarkson Family Foundation thewholenote.com Nov 1 - Dec 7, 2015 | 15
Long promised, Vivian Fellegi takes a look at Relaxed Performance practice and how it is bringing concert-going barriers down across the spectrum; Andrew Timar looks at curatorial changes afoot at the Music Gallery; David Jaeger investigates the trumpets of October; the 30th anniversary of the Velvet Revolution (and the 20th Anniversary of our October Blue Pages Presenter profiles) in our Editor's Opener; the Toronto Mendelssohn Choir at 125; Tapestry at 40 and Against the Grain at 10; ringing in the changing season across our features and columns; all this and more, now available in Flip Through format here, and on the stands commencing this coming Friday September 27, 2019. Enjoy.
Vol 1 of our 25th season is now here! And speaking of 25, that's how many films in the upcoming Toronto International Film Festival editor Paul Ennis, in our Eighth Annual TIFF TIPS, has chosen to highlight for their particular musical interest.
Also inside: Rob Harris looks through the Rear View Mirror at past and present prognostications about the imminent death of classical music; Mysterious Barricades and Systemic Barriers are Lydia Perović's preoccupations in Art of Song; Andrew Timar reflects on the evolving priorities of the Polaris Prize; and elsewhere, it's chocks away as yet another season creaks or roars (depending on the beat) into motion. Welcome back.
What a range of stuff! A profile of Liz Upchurch, the COC ensemble studio's vocal mentor extraordinaire; a backgrounder on win-win faith/arts centre partnerships and ways of exploring the possibilities; an interview with St. Petersburg-based Eifman Ballet's Boris Eifman; Ana Sokolovic's violin concert Evta finally coming to town; a Love Letter to YouTube, and much more. Plus our 17th annual Canary Pages Choral directory if all you want to do is sing! sing! sing!
Arraymusic, the Music Gallery and Native Women in the Arts join for a mini-festival celebrating the work of composer, performer and installation artist Raven Chacon; Music and Health looks at the role of Healing Arts Ontario in supporting concerts in care facilities; Kingston-based composer Marjan Mozetich's life and work are celebrated in film; "Forest Bathing" recontextualizes Schumann, Shostakovich and Hindemith; in Judy Loman's hands, the harp can sing; Mahler's Resurrection bursts the bounds of symphonic form; Ed Bickert, guitar master remembered. All this and more in our April issue, now online in flip-through here, and on stands commencing Friday March 29.
Something Old, Something New! The Ide(a)s of March are Upon Us! Rob Harris's Rear View Mirror looks forward to a tonal revival; Tafelmusik expands their chronological envelope in two directions, Esprit makes wave after wave; Pax Christi's new oratorio by Barbara Croall catches the attention of our choral and new music columnists; and summer music education is our special focus, right when warm days are once again possible to imagine. All this and more in our March 2019 edition, available in flipthrough here, and on the stands starting Thursday Feb 28.
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.
When is a trumpet like a motorcycle in a dressage event? How many Brunhilde's does it take to change an Elektra? Just two of the many questions you've been dying to ask, to which you will find answers in a 24th annual combined December/January issue – in which our 11 beat columnists sift through what's on offer in the upcoming holiday month, and what they're already circling in their calendars for 2019. Oh, and features too: a klezmer violinist breathing new life into a very old film; two New Music festivals in January, 200 metres apart; a Music & Health story on the restorative powers of a grassroots exercise in collective music-making; even a good reason to go to Winnipeg in the dead of winter. All this and more in Vol 24 No 4, now available in flipthrough format here.
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.
Presenters, start your engines! With TIFF and "back-to-work" out of the way, the regular concert season rumbles to life, and, if our Editor's Opener can be trusted, "Seeking Synergies" seems to be the name of the game. Denise Williams' constantly evolving "Walk Together Children" touching down at the Toronto Centre for the Arts; the second annual Festival of Arabic Music and Arts expanding its range; a lesson in Jazz Survival with Steve Wallace; the 150 presenter and performer profiles in our 19th annual Blue Pages directory... this is an issue that is definitely more than the sum of its parts.
In this issue: The WholeNote's 7th Annual TIFF TIPS guide to festival films with musical clout; soprano Erin Wall in conversation with Art of Song columnist Lydia Perovic, about more than the art of song; a summer's worth of recordings reviewed; Toronto Chamber Choir at 50 (is a few close friends all it takes?); and much more, as the 2018/19 season gets under way.
PLANTING NOT PAVING! In this JUNE / JULY /AUGUST combined issue: Farewell interviews with TSO's Peter Oundjian and Stratford Summer Music's John Miller, along with "going places" chats with Luminato's Josephine Ridge, TD Jazz's Josh Grossman and Charm of Finches' Terry Lim. ) Plus a summer's worth of fruitful festival inquiry, in the city and on the road, in a feast of stories and our annual GREEN PAGES summer Directory.
In this issue: our sixteenth annual Choral Canary Pages; coverage of 21C, Estonian Music Week and the 3rd Toronto Bach Festival (three festivals that aren’t waiting for summer!); and features galore: “Final Finales” for Larry Beckwith’s Toronto Masque Theatre and for David Fallis as artistic director of Toronto Consort; four conductors on the challenges of choral conducting; operatic Hockey Noir; violinist Stephen Sitarski’s perspective on addressing depression; remembering bandleader, composer and saxophonist Paul Cram. These and other stories, in our May 2018 edition of the magazine.
In this issue: we talk with jazz pianist Thompson Egbo-Egbo about growing up in Toronto, building a musical career, and being adaptive to change; pianist Eve Egoyan prepares for her upcoming Luminato project and for the next stage in her long-term collaborative relationship with Spanish-German composer Maria de Alvear; jazz violinist Aline Homzy, halfway through preparing for a concert featuring standout women bandleaders, talks about social equity in the world of improvised music; and the local choral community celebrates the life and work of choral conductor Elmer Iseler, 20 years after his passing.
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.
In this issue: composer Nicole Lizée talks about her love for analogue equipment, and the music that “glitching” evokes; Richard Rose, artistic director at the Tarragon Theatre, gives us insights into their a rock-and-roll Hamlet, now entering production; Toronto prepares for a mini-revival of Schoenberg’s music, with three upcoming shows at New Music Concerts; and the local music theatre community remembers and celebrates the life and work of Mi’kmaq playwright and performer Cathy Elliott . These and other stories, in our double-issue December/January edition of the magazine.
In this issue: conversations (of one kind or another) galore! Daniela Nardi on taking the reins at "best-kept secret" venue, 918 Bathurst; composer Jeff Ryan on his "Afghanistan" Requiem for a Generation" partnership with war poet, Susan Steele; lutenist Ben Stein on seventeenth century jazz; collaborative pianist Philip Chiu on going solo; Barbara Hannigan on her upcoming Viennese "Second School" recital at Koerner; Tina Pearson on Pauline Oliveros; and as always a whole lot more!
In this issue: several local artists reflect on the memory of composer Claude Vivier, as they prepare to perform his music; Vancouver gets ready to host international festival ISCM World New Music Days, which is coming to Canada for the second time since its inception in 1923; one of the founders of Artword Artbar, one of Hamilton’s staple music venues, on the eve of the 5th annual Steel City Jazz Festival, muses on keeping urban music venues alive; and a conversation with pianist Benjamin Grosvenor, as he prepares for an ambitious recital in Toronto. These and other stories, in our October 2017 issue of the magazine.
In this issue: a look at why musicians experience stage fright, and how to combat it; an inside look at the second Kensington Market Jazz Festival, which zeros in on one of Toronto’s true ‘music villages’; an in-depth interview with Elisa Citterio, new music director of Tafelmusik Baroque Orchestra; and The WholeNote’s guide to TIFF, with suggestions for the 20 most musical films at this year’s festival. These and other stories, in our September 2017 issue of the magazine!
CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.
From science fact in "Integral Man: Music and the Movies," to science fiction in the editor's opener; from World Fiddle Day at the Aga Khan Museum to three Canadians at the Cliburn; from wanting to sashay across the 401 to Chamberfest in Montreal to exploring the Continuum of Jumblies Theatre's 20-year commitment to the Community Play (there's a pun in there somewhere!).
In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!
On our cover: Owen Pallett's musical palette on display at New Creations. Spring brings thoughts of summer music education! (It's never too late.). For Marc-Andre Hamelin the score is king. Ella at 100 has the tributes happening. All; this and more.
In this issue: an interview with composer/vocalist Jeremy Dutcher, on his upcoming debut album and unique compositional voice; a conversation with Boston Symphony hornist James Sommerville, as as the BSO gets ready to come to his hometown; Stuart Hamilton, fondly remembered; and an inside look at Hugh’s Room, as it enters a complicated chapter in the story of its life in the complex fabric of our musical city. These and other stories, as we celebrate the past and look forward to the rest of 2016/17, the first glimpses of 2017/18, and beyond!
In this issue: a conversation with pianist Stewart Goodyear, in advance of his upcoming show at Koerner Hall; a preview of the annual New Year’s phenomenon that is Bravissimo!/Salute to Vienna; an inside look at music performance in Toronto’s health-care centres; and a reflection on the incredible life and lasting influence of the late Pauline Oliveros. These and more, in a special December/January combined issue!
In this issue: David Jaeger and Alex Pauk’s most memorable R. Murray Schafer collabs, in this month’s installment of Jaeger’s CBC Radio Two: The Living Legacy; an interview with flutist Claire Chase, who brings new music and mindset to Toronto this month; an investigation into the strange coincidence of three simultaneous Mendelssohn Elijahs this Nov 5; and of course, our annual Blue Pages, a who’s who of southern Ontario’s live music scene- a community as prolific and multifaceted as ever. These and more, as we move full-force into the 2016/17 concert season- all aboard!
Music lover's TIFF (our fifth annual guide to the Toronto International Film Festival); Aix Marks the Spot (how Brexit could impact on operatic co-production); The Unstoppable Howard Cable (an affectionate memoir of a late chapter in the life of of a great Canadian arranger; Kensington Jazz Story (the newest kid on the festival block flexes its muscles). These stories and much more as we say a lingering goodbye to summer and turn to the task, for the 22nd season, of covering the live and recorded music that make Southern Ontario tick.
It's combined June/July/August summer issue time with, we hope, enough between the covers to keep you dipping into it all through the coming lazy, hazy days. From Jazz Vans racing round "The Island" delivering pop-up brass breakouts at the roadside, to Bach flute ambushes strolling "The Grove, " to dozens of reasons to stay in the city. May yours be a summer where you find undiscovered musical treasures, and, better still, when, unexpectedly, the music finds you.
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
From 30 camp profiles to spark thoughts of being your summer musical best, to testing LUDWIG as you while away the rest of so-called winter; from Scottish Opera and the Danish Midtvest, to a first Toronto recital appearance by violin superstar Maxim Vengerov; from musings on New Creations and new creation, to the boy who made a habit of crying Beowulf; it's a month of merry meetings and rousing recordings reviewed, all here to discover in The WholeNote.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
What's a vinyl renaissance? What happens when Handel's Messiah runs afoul of the rumba rhythm setting on a (gasp!) Hammond organ? What work does Marc-Andre Hamelin say he would be content to have on every recital program he plays? What are Steve Wallace's favourite fifty Christmas recordings? Why is violinist Daniel Hope celebrating Yehudi Menuhin's 100th birthday at Koerner Hall January 28? Answers to all these questions (and a whole lot more) in the Dec/Jan issue of The WholeNote.
"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Paul Ennis's annual TIFF TIPS (27 festival films of potential particular musical interest); Wu Man, Yo-Yo Ma and Jeffrey Beecher on the Silk Road; David Jaeger on CBC Radio Music in the days it was committed to commissioning; the LISTENING ROOM continues to grow on line; DISCoveries is back, bigger than ever; and Mary Lou Fallis says Trinity-St. Paul's is Just the Spot (especially this coming Sept 25!).
