Future Classic Women Awards – Garth Knox, Hana Gubenko 170122

Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte on the women's radio station, the program where we search for the most amazing new artist of the classical panorama. Today on Future Classic Women Awards, we have our finalist of the third edition of Future Classic Women Awards, Hannah Gubenko, the amazing viola player from Switzerland and a very special guest that is Garth Knox, who is an incredible violist, composer and international artist. Good morning. Good morning, Good morning, Good morning. Good morning, Hannah. Good morning, Garth. Hannah, welcome back to Future Classic. Win awards. And I'm very happy that we can finally play the album we've been talking about on the third edition of Future Classic Women Awards that was a work in progress and has not just been with great success. And today we are having the program dedicated to the tracks to the music composed by Kart Knox for you for this album that is called homage to Isai, Volume 1. Would you like to tell us about this album, first of all, Anna? Yeah, I would love to do it. Well, all my life as on the work bringing violin and the violence to the same level and getting all the differences out of the game. So for me, and also the biggest work I spent on it was to bring the contemporary music like on a big stage, to make it as established as all other musics. So actually my wish is that one day we will be back in the 30s when 70% of the program a contemporary music and 30 the underworld. So, yeah, it's all together. This album was an idea from the beginning only to bring the ideas of Eugene Isai back to life and especially to find a composer who is equivalent to Isai. But nowadays and preferably on the viola. So I had luck. After graduating my postgraduate in Madrid, I met Gars and it was clearly from this first second that this is the composer I was searching for. So this was. That's the story. Because if you say Isai developed dramatically the art of writing the music for the violin, bringing it all as much as possible to polyphone and at different colors and possibilities which were not there before. So the same way is Garth working with the viola, opening a new world of colors, new world of possibilities, new world of combining different styles and the violas especially. Yeah. So actually the album take his name from the piece that is the first piece from composed by Garth Knox, that is Homage to Isai. Garth, would you like to tell us about this piece and how actually you transitioned from being an incredible viola soloist to becoming as well a composer for viola? Yes, well, I met Hannah a few years ago and she came to me for some lessons and we were working together and she brought some Izai with her to play. And of course, I admire greatly Isaiah. I think his music is great. I think he's has two very interesting sides to him. One, he's a great master of his own instrument, but he's also searching for something else in his music. There's two sides. There's one which is very established and very virtuosic in the existing techniques, and another side in which he tries to take things a bit further. And I had never actually played any Isai because as far as I knew there wasn't any profiola or there's hardly anything. And Hannah came with the Isai violin setters playing them on the viola, which seemed to be a very original idea. And I was very emeritative because already they're extremely hard on the violin, on the old. They become. They become really virtuoso. Yeah. And. And she was interested in doing something new. I thought this was a new approach to Isaiah. And then she asked me would I be interested in writing a piece inspired by Isai? And I must say it would never have occurred to me. But when she's. When she mentioned this to me, I thought, well, yes, maybe there is some kind of correspondence here I could. I could work on. And so I listened to the Izaiah a lot on the violin. I listened to Hannah Zviole versions. And, you know, Izaiah played violin and viola himself, so he was very, very familiar with viola. And I thought there were maybe some ideas in Isaiah which could be interesting to explore on the viola. So for this piece, I really copied Isaiah in his own technique, which is he in the Isaiah. Violence, as you probably know, are full of quotations from Bach, or there are many little quotations from Bach and those little, little things. And so in the first movement, I thought it'd be nice, interesting to imagine someone who's playing a piece of Izai in a concert and a piece of Bach. I thought of the violence, not in C, and perhaps try and combine the two a little bit together. My idea of the first movement. And so I was inspired by Isai's harmonic language, the very opening of his sonata, and then slowed down, like taking a microscope, just what he does in those few opening bars and made them into something longer. And then the. The Bach solo appears and then they kind of mix together. And then there's a kind of Bach Isai nox mixture which forms and works itself out in this first movement. Wow, that's so interesting. I mean, I was reading the program notes of course in the album and it was very, very interesting disharmonic progression that you were doing combining with back violin Sonata in C. Now you are a violist. Do you also play the violin? No, not really. No, I don't. When I was very small, when I first started on violin, because I began at the time it was considered, you know, we were small. You had to be until you were big enough. You should learn the violin. Then you could switch to viola. So I started on the violin, but I was always planning to play the viola. I had two sisters who played violin and a mother who played cello. So for her to drink string quartet, I was marked from birth as the viola. It actually corresponded to me very, very well. I was very happy to be the viola player. Yeah. So in answer to your question, no, I don't currently play the violin. I fool around in the violin sometimes to give myself ideas. If I'm writing a piece for violin. I have written some pieces for violin. Then I try it. But I'm really a basic viola player. That's amazing. I mean, it's something I always had in my mind that violin and viola are two different instruments like cello or double bas. Although there is a lot of things that sometimes the double bass takes from the cello and I guess the viola takes from the violin. Maybe because they're like the bigger sister or the older brother. But it's the first time actually I meet someone that had already planned to go since he was a child to become a viola player and not violinist, who actually then switched to viola. And I have other friends, amazing violin soloists that also plays the viola. So you know, as a pianist myself, it's hard to understand. How can you play two different instruments? I mean, they're similar. But am I right? Hannah does it much more than I do. Hannah switches from violin viola, don't you, Hannah? Yeah, I do. I do play violins too. You do? You play the violin? I never heard you play the violin yet so. Well, I had. I had a huge break in my really, really huge one. And then I came back for a year and actually preparing for. For these I recordings is a concert. I decided myself just to go out there and to play recital on the violin. Also the ballad Paisai and Tigan by Ravel. So. And they even prepared there's a part of Siberia's concerto just to. To come to the violinistic ground. So it helped me a lot. Oh, wow. To come back. It was a hard year. But. But where. Where does Your heart stand at the violin or the viola. It's both. It's like imagine you, you. I don't know. I can't separate them. It's like having two child. Two children, I mean. Or a double relationship. Double relationship. Are these words. Let's listen. By Garth Knox, performed by Hannah Kubenko at the viola. And we're actually listening to the very first movement, the prelude lento tempo rubat. Sa. Very beautiful. This was homage to Isai by Carnaux. The first movement performed by Hannah Kubinko at the viola. Gartha, you know, you talked about the fact that the inspiration for this one, for this homage to Isai, was the fact that Isai was inspired and taking bits and bits from, for example, the diesire from his Sonata from B. You know, this relationship with Bach, how does that work for you as a viola player and as a composer? Well, I think everyone who composes will tell you that you can't ignore Bach, that he's always there somewhere in the background, and especially writing for a solo instrument. The Bach suites for violin, the suites for cello, have so marked musical history. As soon as you start to write something for a solo string instrument, the reference is there. Whether you. Whether you ignore it or whether you do something different, it's definitely there. So I find it helpful to build on it. I've often found it nice to start from somewhere rather than starting from a complete blank. Start for an idea, then see where that idea leads you. I think I find it very stimulating. Yeah, absolutely. I mean, it's just that as a pianist, I know that Bach somehow was left behind during the classical period and then forgotten until it was rediscovered in way and then used as an inspiration again for even Chopin at the third movement of the third Sonata has the voices going into each other like a fugue. And it's unbelievably difficult, really. But the beauty of this line. And you can only appreciate the extent of the genius, I think when you hear the solo pieces for. For a string instrument, I think because with the piano, somehow you have two hands. It's like you have two instruments and then you can have up to four voices. But when you actually do that with just one bow. Yes, but that I think is quite interesting because the string is. You more imply counterpoint than you actually do it. You can't physically do four part counterpoint. You make it sound as if you're doing it by jumping voice to voice. And that's the interesting part, is a challenge. It's a bit like. Because you imagine the Rest. It's like, you know, listening to a radio play or going to the theater on a radio play. You don't see anything, but you see much more in a way, because you imagine it for yourself. Well, I remember I was listening to. Are We All There? Yes. Yes. Sorry I missed you. Sorry. I remember the first time I heard the cello sonatas by Bach played by the Cello Suites by Ro. I was a child and I think I was completely hypnotized. I couldn't stop listening. I was just watching. And how all this come out from just one person alone and one instrument. I mean, this is incredible. And I think I had the same feeling right now listening to Euromastrizai. Of course, it's. Thanks as well. We have to give some credit to Hannah, who is an amazing soloist. But Gaf, I really loved it and I can't wait to listen to the next pieces like the Three Wedding and A Fight. Well, actually, the last one actually in this. In the. Before we leave the ASAI one was also an interesting idea because it's a motto perpetual, which is a running figure. And how this stops. And here is where we hear the dies. Iris. The dies is not a Bach court. It's a much older chord. It's a medieval thing about death. Yeah. And Isaiah was obsessed with this, you know, especially in the Valse. It appears everywhere. So this one I turned into a very obsessive piece. We just can't let go of this thing. But it. But each time it comes is what is interesting that it appears three times, each time in a slightly different disguise. So every. Every knows the theme, but. And the reference to it is enough to make everyone hear this theme. But it's never actually played normally, if you like. The first time it comes, it comes in very high harmonics. The second time comes in pizzicato. The third time is these big, big chords, like a full. Like a seasickness, seasick orchestra going up and down. So I think that having a reference there is a very strong point, but it's what you do with the reference that counts. Sort of, you know, guiding people just to hear things in a different way, in a new way, like they've never heard it before. Although it's a very familiar theme. So that was. That was the challenge for me in the last moment. Yeah. It is a way to understand in this specific way that. But also bringing me back to life. So it's incredible because it comes back all the time in a different way, and it's somehow a metaphor of our existence, I think that's why maybe music, classical music in particular, it's so enchanting. And so, you know, as I was saying, hypnotizing you sometimes, because it's really making you to become aware of things that you wouldn't know otherwise if you were not listening and understanding the pieces you just explained to us. Yes, because I think there's two approaches in contemporary music. You can either introduce things which are totally strange to people they've never heard before and hope to seduce them by the quality of the stuff you're to going, or you can give them an entry point into the piece, which is present them with something they know very well, but then lead them because of their recognizing that thing. They're then ready to follow the path that material takes. And if that material goes somewhere else, then they have been brought along with it. And this is more my approach not to present anything particularly strange, especially at the beginning of the piece, but to begin with something very familiar and then gradually lead people on the path. I hope to lead them down and show them that actually things we thought we knew, there's many more aspects to them than we thought. Well, you know, talking about these. I once hosted a concert with all dedicated to contemporary music. So I had a nice group of contemporary composers, all very famous for different things. And then we had a chat after the concert, an informal chat. And I was saying they were asking me, you know, if I was playing contemporary music. And I said, well, I'm afraid I don't manage to go much farther than Rachmaninoff. Because as soon as, for example, example, just Scribin, that is a tiny little bit after is the same period in a way, but he was more contemporary than Rachmaninoff at the time or modern. He gets too complicated and my brain cannot follow, and so I get lost. So although I love it, I can listen to it. I adore Scriabin. But when I have to play it myself as a performer, I get lost into it because I can't find the reference that would guide me from one part to another. Becomes too intellectual, probably. I don't know. I'm not sure what the problem is, but becomes really complicated. So I do play some Scrabbin, but very, very little. And this composer was really, if I may say, very rude. You don't know who is. So we can say that, telling me, well, you know what? You are just stuck to the 1800 and you know nothing about music and contemporary music. And I'm like, I do know about contemporary music and of contemporary music. One is made in a way that can help me understand it. When you have composers that somehow they are just full of themselves, I think that they compose for themselves. They don't compose for other people to listen to, understand it and love it. That's, I think, when you break the link between the audience and the composer, and then you break the link between loving and evolving classical music towards new horizons, isn't it? That is the job of a composer, I think. What do you think you are a composer? No, absolutely. I think, yes. I think very humble to be a composer. If you're arrogant and you think you know everything and you're teaching people, then it's the wrong approach. I think you have to listen first. It's the most important thing you do as a composer. Listen to something, and then if you hear something in that something, and then try and share that with somebody else. That's my approach. But in particular, why do you compose? Like in this case, it was Hannah, she came over to you and she said, would you compose this pie? So it's a sort of a commission, Bastille. You know, it's not enough that someone asks you to do something. You need to want to do that. So why do you want to compose? Yes, well, I think I need to compose. It comes through playing. I've played. I've played a lot of contemporary music in my time, and it gives you ideas. You know, when I play a piece and I see in that piece one little idea which is very. Not very developed, perhaps, I say, yeah, this idea is more interesting than the place it has in this piece. And perhaps, you know, in another piece, it could expand more. Yeah, but I always compose with the instrument in my hand. I'm a very physical. You know, I try everything I play, of course, the piece for Hannah, I tried everything. I played everything myself, just to make sure it all works. It's all very thought through. The instrument, it's not. It's a mixture of paper and it's mostly. Mostly instrument and thinking what sounds good on the viola, what will work well, and what was. What will put across the message. This last move, the one we're about to hear, is very virtuosic. There's no rest at all. So it's great that Hannah managed to get through the whole thing. I adore the motor perpetuum. You know, most of Chopin, most beautiful pieces. And that's because I'm a pianist and my favorite composer. If you didn't guess yet, it's Chopin. But there is others as well. There is Beethoven as well. The last movement somehow often ends up in a motor perpetuum or sort of perpetuum. And it's a fantastic way of making you not to want to end. A sonata or a piece in particular has a beginning and then has an end. And then again could be a metaphor of the life that is born and then the life that finish. And the moto perpetuum instead is a bit like tempo, like the time that never stop keeps going. And there is something very mystical, I think, to moto perpetuum in general. So how do you start the motto perpetuum in Pavul. How do you finish it? Do you have the ablipitum at the end, for example? I love what they have, the ablipitum that means in Latin for the audience, because the audience is listening to us. Repeat means when at your pleasure. So you can go on and repeat as many times as you want. They did that with Schumann, for example, with the Cardinal. Yeah, that's great. Yes. In this case, my own runs out of steam. It gets exhausted and it grinds to a halt. Or maybe Hannah dies at that because it's so difficult. She has no more. No more energy to play it. Well, let's listen then. From the homage to Isai, the third movement, Motto perpetuum Pr done. Sa. It. Sa. Sam. Sa. Sam. Wow. And this was homage to Zai, the motto perpetual last movement, composed by Gert Knox and performed by the brilliant Hannah Gubenko. Amazing. I mean, Hannah, how do you prepare to perform? You know, it's three. The homage to is a suite with three pieces. Right. So the first one is virtual, so second one is virtuous. And then you have a bottle perpetual at the end. How do you do that? And also, this is part of a full program. So it's not that you're just playing one piece. When you're going on stage and you play a concert, you don't play just three pieces. You play an hour or an hour and a half of program. So how do you do that? How do you have to prepare to go on stage? Well, as usual, other pieces. So for me, there's no difference between these pieces or Beethoven, others, or Brahms. It's just analyzing, analyzing and making and interpretation. In this case, of course, working, discuss guys together and ask him everything thousand times. And then it was fine. But we had a really, really funny first performance we did together with guys in Paris. And it was outside. Guys, do you remember? Oh, yes, in the garden. And it was really funny because it's like lots of pages. And it was really outside in summer, and suddenly actually in the last movement, the wine came up. The wine? What do you mean? The wine started to blow. You know, the wind, the wind, the wind. Sorry. Yeah, I saw the wine. Like people started spilling wine. The point was it starting to be around. And this was like, I don't know, six pages in one stand. Oh, gosh. And I was just at the beginning of this mortal, perpetual and only hope. I had to get the eye contact to God, which was kind of in front of me, but quite far away. Yeah, you can come and hold the pages. All right. And he did it. He saw this and he came and it was like close to the stand. And people have asked if he was coming to watch. If I'm playing all correctly, I mean, it must be somehow kind of, how do you say, intimidating to perform in front of the composer and also when the composer is also a super violist. Virtuoso, like a gut. How do you do that all the time? A huge inspiration about the virtual. It's long story. I don't feel myself virtual, so I feel just normal. But I had always this. This kind of search around the viola world and I felt lonely. And always everybody say, yeah, you're the violinist. I said, no, no, I'm just a normal player. And it's kind of natural. And once after I came first time to play Forgar, he invited me to a concert of his in Zuri. And I've heard him playing. I don't remember it was something either. I. I really can't remember exactly what it was. And then I said, oh, this is exactly the viola player I wanted to meet for all my life. So it's a kind of natural state of playing. I can't say especially virtuoso. It's just, you know, well, the old. The original terms of virtuoso comes from virtus, from the Latin, having equality and the quality, in this case of being able to play an instrument. There is another saying in Italian, in parallarte metella da parte. Learn the art and put it on a side, because it will be always useful. And virtuoso is someone who can use the art to produce more art. Then it became what it is in the English sense. The international meanings of being extremely gifted and good at playing super fast things. I do believe that virtuoso should be. Should go back to the original meaning. That is being an artist able to produce art and to create more art, not just by performing, but Also by giving their own interpretation. So in that sense, you are a true virtuoso. And Kathy is not only a trouble virtuoso, is also an incredible composer. I really loved all your pieces. I can't wait to showcase your fuga libre or the Three Wedding and the Fight. I think it's the. You know, the fugue libre. Well, Garth, you can tell us more about this piece, but I love this understanding of the world that the fugue as Bach used as a piece of music. You know, they all came from the Italian and the fuga in as an Italian, whenever I'm playing, a fuga means exactly the literal word that means to escape, to run away. And that's the sense because you have this subject, this melody that appears and then disappear and then reappears and then appears upside down. Maybe like, I don't know, like the fairy or the elves, right, in the mythological northern folk stories, you know, and then it's applied mathematically as well. So it's combination of things. Have you ever met mathematician? They are incredibly full of fantasy and imagination and is the only way they can resolve the most impossible and intricated mathematical things. So Mathematic is not at all a boring system of two plus two. And the same is with the music and the fugue in particular. Now, to you, Kart, Fuga libre is a mix between the terms of fugue as it is as a subject, but also with libre that it's more of the Spanish word than the. Well, actually Latin as well. It means free, isn't Is. But the reference, the joke reference was to a Cuba Libre, to the drink. There you go. I love that. So tell us about this piece. Well, this one, the running away was very much part of it because this piece was commissioned by a viola competition in Tokyo, the Tokyo International Viola Competition. Nobuko Imai asked me to write it, and so I felt kind of sorry for all these poor competitors who were going to practice for months to prepare things to play. Probably they were practicing again some Bach. So I wanted to make a little reference to Bach. But my idea about the Bach was that they were practicing Bach, but they kept running away from it in a way, or the music ran away with them. So the music itself begins very sort of classically. And then there's little side diversions where it's like the players got a bit distracted and starts changing style a little. There's some baroque style, there's some folk music styles, but a contemporary style. But there's always this idea of moving forward, especially when we get towards the end. But I like this idea of someone who's trying to do something but then gets distracted and floats off and becomes free somehow. Like as you say in Mathematician, when they leave the ground and they get into free fancy. Just free association in maths is really beautiful. Now I want to try and capture a little that in music somehow. Yeah. Well, I don't know if we have the time to listen to all of it. It's 9 minutes 15. But if we don't, I do recommend our audience to look for Hannah's album homage to Isaiah, Volume 1, and listen to the full version of both Homage to Isaiah, so the three movements and the Fugitive Libre. But let's listen to it right now. Sam. Sa. Sa. And this was an extract from Fouca Libre by Garth Knox, Hesitando performed by Hana, I should add, actually, just in relation to that last track, that part of the freedom is actually physically in the music. There are two little cadenzas we just heard a little just before the end there where Hannah was actually freely improvising what she played. I wanted to give some freedom to the performer, really play anything they want to in the free cadenzas. Oh, wow, that's amazing. So that was the cadenza part then, that we just heard part of that was the cadenza. Yes. Amazing. Well, the last piece of today that we're gonna listen to is Trivet Wedding and a Pipe. And they is such a brilliant story behind it. I'd like you to tell us about the inspiration to the title and to the composition. Sure. Well, it's a clear reference to Four Weddings and a Funeral, of course, as a little joke, but I didn't get that. But the story is that a very good friend of mine taught me some folk tunes, wedding tunes, Three very beautiful tunes which go together as a set of three tunes. 18th century Danish tunes. I thought these were so good. I wanted to do something with the them and I thought I could make the tunes. You know, tunes can tell stories I thought could tell. Make each tune tell the story of the wedding it was being used at. And so there are three weddings, and in each wedding the tune is played twice, once in the in partner A's version and once in partner B's version. The two versions are very different. Usually the first one is simpler and the second one is more an imaginary, more contemporary version, actually. So we get two versions of each wedding until we come to the third wedding in which the partners are. So there are couples like this. I'm sure you know, people as soon as One of them speaks, the other one interrupts to contradict the first one, and they're always arguing. So in the last wedding, there's always this person trying to say something, and the other one is always saying, no, no, no, no, no. And it turns into a big fight because the families, of course, at the wedding join in on each side of the thing and their chairs pushed over and tables are broken. It turns a really big scramble so that at the end of this big struggle. So it's a great party, but a terrible wedding. A great wedding, but a terrible. Well, Hannah, how important it is to know the story when you're playing these type of pieces? You know this. Absolutely. This is the most important. And I have to. I have to point something when executing this piece brought me to the point of being able to write this kind of stories as librettus. And then after 2020. Yeah, before I met Garth, it was all kind of in my head in the same way, But I was never paying attention to the stories which are ghosting through my head. When I met Gash and especially was preparing this piece, it turned my brain to, like, you know, another side. So I started to. To work on this story, implicating the story. While I'm preparing this piece, I have. I started to. To do the same with all other. With all other pieces too. So at the end, I. I was able to. To make a winterizer or the tango sweet or the pasta. Caleb, just because. Especially of the work on this piece. Yeah, well, it's brilliant. I mean, I. As a performer and as a teacher as well, I always tell my students and master classes that they have to make up their own story. They need to have something to say in the piece, otherwise it doesn't make sense. So I'd like to listen to the figue libre and then we're going. Hey, pardon. The Three Weddings and a Fight and a Fight by Garnotte. And let's see if our audience can also see these three weddings and identify maybe with their own wedding. For example, It. Sa. Sa. I like this last note. I think it's like someone just left the party. Goodbye. That's it. We're done before we even start. Brilliant. I mean, thank you so much for this wonderful music. It was lovely to hear all the inspiration behind the pieces and the whole album, really, of Anna Gubenko and all the original composition by Card Knox dedicated to Hannah. Now what? For both of you. I mean, I forgot to mention that this is the very first episode of the 2022. So we have big Hope of a lot of brilliant music and brilliant actors and the health above all. And the end of this worldwide pandemic. We're going towards a new lockdown, unfortunately, but we are now experienced, I guess, for what happened in 2020 and 2021. So what's your biggest hope for this? Is 2022, Hannah, your next project, for example? Oh, yeah, my next project is to make this story with the musical theater and ensemble in Moscow play. And my biggest hope is to get it all on stage and to have guards on my side and board as Violeta more player and composer, to bring this first edition of New Art of Musical Theater. And while you, you also have some important international events where you're going to be teaching and performing, and that's through the London Performing Academy of Music. We've done master classes with Kiev. We're talking about an event as well with Tokyo, Moscow, Switzerland. So at the moment you are in Zurich. If that happens, you're going to be more lockdown in. In Switzerland, I guess. So let's hope we are not going to make any lockdown. Please, please. And let's hope we are gonna record Beethoven together. Ah, yes, absolutely. Beethoven. Don't forget that we are going to make a publication. This is of Beethoven. Yeah, Original. Original, yes, Transcription. And for you guys, what's the biggest project for the 2022? Well, the one that's coming up right away is I have to write a piece for the Conservatoire of Lyon, which is a very inspiring project to get young children to play a little bit contemporary music. The idea is that all the children play together, all levels. So there'll be three different levels of difficulty in the piece. A very easy part, a middling part and quite difficult part. And so they can all for once play together and learn from each other. So that's a very inspiring project. Oh, that's fantastic. And so I. I don't think I mentioned you guys. So you are in Paris at the moment. And how is the. How is the feeling there? It's not a bad place to be stuck. I guess it's. There are worse places. Yes. Things are okay here. Yeah, they're enjoying us. In any case, for anyone who's worried about the future, remember we have this wonderful music that we can go to to imagine a new landscape and new parties like this wedding and a fight and above all, you know, being together through the women's radio station, so. And the men's radio station. So if you have any questions that you would like to ask to our guest or nomination for our Future Casingman Awards, please email present@womensradiostation.com or Twitter Women's Radio SDN Again, a big thanks to our guests Hannah Gubenko and Gareth Knox for their fantastic music play today. Oh, thank you. Thank you so much. You are very welcome. And you've been listening to Future Classic Women Awards on Women's Radio Station Live every day at 10am and 10pm London time or 3am 3pm EST. And if you would like to listen to it again or catch up on our previous programs, you can head to my presenter's page. Stefania Passam Future Classic men awards on womensradiostation.com Again, a very warm, happy new year to everyone, full of music, health and success. And thank you for listening.