Future Classic Women Awards – Yu Wei Hu

Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program where we search for the most amazing female artists on the classical panorama. Today we have a wonderful new guest, and this is Yuehui Hu. Hello, Yuehui. Hello. Hello, Yuehui. Very happy to see you here, to have you on my radio program, Future Classic Women Awards. You are an incredible artist and wonderful woman, so I wouldn't be more pleased to present you to our audience today. And so let's talk about, first of all, Yue, where are you from? Yes, I'm from Taiwan. I was born in Taipei, and that's where I was mostly educated before I came to UK. Wonderful. So when did you come to the UK? Long time ago or recently? I came to the UK in 2008 and I was accepted into Royal College of Music to do master's degree. Well, you went on having a fantastic career. You're both a modern and baroque flutist What is it your preference, the Baroque music or the modern flute? That's a very interesting question because I think I would have said Baroque a few years ago, but I think recently I have thought I love them both. I came to the UK, I auditioned Royal College with the intention I was going to do totally Baroque, But I ended up with both Baroque and modern degree. And then I went on to do artist diploma, exploring more different historical flutes in different period. And then I convert this skills and historical performance back onto my modern flute playing, which give me a lot of more freedom and creativity. So I recently done some Mozart opera projects, which I applied all my knowledge and skill on historical flute on the modern flute orchestra playing. Wonderful. Well, I mean, would you like to explain the difference between the Baroque flute and the modern flute to our audience? Not everyone would know, I mean, what's the difference? Yes, so say Baroque flute is mostly made of wood, hardwood, so you can have them made in granadilla, which is African blackwood, same as modern opal or clarinet, or boxwood, which is another kind of hardwood, or ebony, is it? The ebony? Yeah, there's ebony as well, yes, yes, yes, or some other, like there's collection made of porcelain or glass at the time, so there's a lot of varieties. And then when you play them, because there's only one key on the Baroque flute, and later more keys, but they have much more, say, characters. There are more restrictions on their flutes, but they're more characters. Wow. And on the other hand is— Yeah. Yes. On the other hand, there's an instrument that the composer written for. So when, say, Bach or Telemann or Handel, they wrote for flute. They will have this instrument particularly in their head that they written for it. And this flute, because it's simple system fingering, then you have to use different fingerings on the different keys. So then they will create very different sound tone colors on different keys. So when the composer written for a key at the time, that they will already have this idea in their head. So different, say Bach, Lusinart, when he chose the key, he already chose the character for this instrument. I mean, it's very interesting to know about the flute made of glass. I mean, how is the sound coming out of a flute made of glass? Must be completely different than the one coming out from the wood or from the modern flute that are made in metal. Particularly, you know, I have friends being very proud of having a gold flute. I mean, how do you have a gold flute? No, I don't actually. It is really incredibly expensive. Oh yeah, it's a beautiful sound. Yes, yeah, but I have one which is silver and platinum-plated, so I think that's the most probably popular one when I change the flute. Wow. So do you have a favorite one when you play, or it just depends on the type of music you're playing? Yes, I would say so. No, I try to use the, say, the right period for the right flute for the right period. So I will play Baroque period with Baroque flute and the classical flute, say, for the Mozart and the Beethoven. And then there's also later 19th century flute for the romantic repertoire. And then when we do 20th century, then I will have the silver modern flutes. But so when you travel for a concert, do you bring all your flutes with you? That's a very interesting question. Yes, I will bring the flutes I need. So yesterday when I went to Yili, I actually brought 5 of them. Exactly. Well, actually, tomorrow you're gonna have another concert, so— It must be heavy, you know, already having the luggage with the concert dress that normally, you know, you have concert dress, concert shoes, concert makeup, and then 5 flutes. I think being a pianist myself is much easier because I don't have to bring anything with me. I just improvise on whatever instrument I can find. But yeah, exactly. I mean, okay, well, it's Absolutely fascinating, particularly because the flute, you know, is like one of the very first instruments that have ever been invented. If you think about even the mythology, the flute has such an important role, and in a way is also, you know, when you're blowing, you know, the air through the flute has this idea of being magical, of the soul. If you think about even Orfeone Euridice, and he's playing the flute so well that is bringing back Euridice from the dead. And because she made, you know, she made the wife of the king of death to fall in love with his music, and so he allows or fail to bring her back. I mean, do you feel this magic when you play the flute? Is that something, maybe the reason why you decided to play the flute, for example? Ah, the, the reason I started flute was actually, um, well, very interesting because my mom wanted me to play cello when we were little in a music school, and she loved the cello, so she wanted me to— we all have to choose an orchestra instrument on top of piano. So, um, I, I tried one, one lesson with cello, but then we discovered actually my dad's cousin was a piccolo player in the Taipei City Symphony Orchestra. So we went to her house and we had a taster lesson, and I picked up the flute, and that was like— I found it so fascinating, and it was very, very easy for me to play, and I just loved it immediately. So we chose the flute in the end because I just totally loved it. When I was kids already. And then later on when I grew up, I do find the flute is a very, very— it's instrument very close to human voice. I know people say cello has a beautiful human voice sound, but I think that way you breathe and you breathe out on the flute is so similar to singing. So there's that— I'm obsessed with opera since I was kid, so I was just fascinated about how you can express so much feelings on the flute the same way as you sing. Wow. Well, you know, you made me so curious. I'm sure our audience is as well, that they want to listen to you playing. Now, we're going to start with Paganini. Now, Paganini was a virtuoso for the violin. Is this a piece composed originally for flute? This is from your latest duo, actually. From your latest album, Salon Opera, with the Flauguissimo duo, with your partner in art and in life, Johan Lofting, at the guitar. So was this piece composed originally for guitar and flute, or it is an arrangement? It was originally written for violin and piano, So I think that probably was the most common instrument to be played on at the time when Paganini, he wrote this piece. But Paganini himself was actually a very good guitarist. So he has a dual partner he often played with. And that's a funny story that the guitar player he played with once complained that he always writes something very simple. For the guitar to play. And then once, and then Paganini said, okay, okay, I will write it. Then he wrote a very difficult guitar part, but then that concert Paganini was playing on the guitar because they can swap, both of them can play violin and guitar. Wow, that's amazing. Paganini wrote a hard part for himself to play. That's amazing. Well, can you swap with your partner? Can you play the guitar and can he play the flute? Sadly, I try guitar, but I'm very, very bad. All right, let's listen then to Paganini cantabile. Beautiful. And this was Paganini Cantabile for guitar, for piano, and violin arranged for guitar and flute by Yu Wei Hu and Johan Loftving. Wonderful, wonderful sound, as you were telling me. This Was this a modern flute or a Baroque flute? This is an 8-key classical flute, we call nowadays. So it's a kind of later period, say Beethoven, so early 19th century. Fantastic, very beautiful. Do you actually play historical instruments, or they are a reproduction of the historical instruments? You know, like with the violin, that you can play the Stradivarius, right? Or is actually, then they don't, they're not good anymore? Ah, right. I think, I guess flute is a wind instrument, so you have to blow air into it and they get really humid, so most of them are probably rotten inside. I do own one which is, say, late 19th century flute, which is still good condition, but rest of them are all copies. I see. Yeah, that's exactly what I thought. While with the guitar, for example, or with the other instruments, you might be able to keep the original instruments, like with the violin or with the cello, that is something that we don't do with the piano, for example. There are some historical instruments you can play on historical piano, but it's not as good as when you actually play on a modern one with the new dynamic, you know, the mechanic of the keys, because also the weight of the keys and the repertoire that you're playing on it is really wearing out the wood and the instrument itself. So that happened for the flute. Do you know if this happened for the guitar as well? Yes. Johann was actually performing on a historical, say, original 19th-century guitar. From the period. And so it has a massive crack, obviously, has been mended, and then there were some, say, frets and things, they are, say, with character. I think there is also, again, there is this, I'm sure, magical feeling of playing an historical instrument that has been played by other great musicians, isn't it? And somehow you feel a bit of that music that comes to life again through your fingers or through your blowing. So that's something I'm very jealous of. With the piano, we don't do that. Yes, sometimes. Yeah, that's been performed by famous pianists, that's why, but it's not the same thing. So we were talking about Johann, who is another amazing guitarist and theorbo performer. So how did you meet? You are both— so you are a couple on stage and also in the private life. So tell me a little bit, how did this— did you first become a couple and then you started playing together, or the other way around? And how it is to live together and work at the same time together? Yes, so Johan and I We met in Royal College when we started to study, and we were in the same college hall, so we lived just beside each other. We shared the same kitchen. So before I came to London, I was a passionate Argentine tango dancer. Oh, amateur, amateur dancer. So I spent so much time practicing tango, and I always dreamed about playing piazzolla with very, very good guitarist. So when I realized Johan is a guitarist in the kitchen, I was like, yes, let's play piazzolla together. So that's how we started to play together, and then we became best friends. Then we kept playing and playing, so, and then we became together and we got married. That's a wonderful story. We're still very— thank you. So do you dance the tango sometimes together? Oh yes, we did actually. Just before lockdown, we went to have tango lessons together. So finally we started to dance together after a very long time playing together. That's amazing. That's really— I mean, I'm a super fan of Piazzolla. I think he's one of the most amazing composer of the 20th century, really, and his music is just, you know, just take you away. Did you record Danny Piazzolla, actually? We haven't, actually. Yes, we haven't. So that's something that we need soon. Oh yeah, absolutely. Well, this album that from what we're listening the tracks today is your latest album, it's called A Salon Opera. Would you like to tell us a little bit about what was behind the concept of this album. So the Salon Opera album, the idea behind it is really about the salon concert in the 19th century. So at the time that concerts, they are concert halls concerts, but there are also a lot of domestic events happening in people's home. They organize friendly gatherings. So Schubert's lists, and a lot of people, they play for each other and with each other in this kind of social gathering. So the Salon Opera is really about we playing friends' pieces for each other and with each other. So it's a lot of arrangements and a lot of, say, opera arrangements and also instrumental arrangements. Well, the next piece we're gonna listen to, it's Schubert from the Winterreise. And it's one of the songs called Frühlingsstraum. Now, these are songs written for piano and voice. How did you decide to play this one with the guitar and flute? Yes, we are very big fans of Schubert, and Schubert is actually also a very good guitarist himself, so they said that Schubert had a guitar above his head, above his bed. So he always trying stuff on the guitar first before he put it onto the piano. So his piano part is always actually very good to play on the guitar. But obviously there's something you can't really do on the guitar. So this, the Fürstern, is about dream in the spring. So it started very, very sweet and sunny kind of major section. And in the middle, there's a thundering and lightning of the spring. Dawns, and there was a big octave in a high register on the piano parts above the voice, so we arranged that to be played on the flute instead. So we use the range of the instrument and the character to represent and then rearrange this piece into a good arrangement. Amazing. Well, let's listen then. Schubert, the Frühlingstraum. Arranged by Johan Löfving and Yue Wei Hu for flute and guitar. Absolutely beautiful. This was the Schubert, the Frühlingstraum, performed at the flute by Yuewei Hu and at the guitar by Johan Lofving. Now you need to tell me, you know, what's the secret in having a good marriage with your working partner? I mean, do you manage to separate work from private life? I think that's a very interesting question. Johan and I started playing together, I think, before we became a couple, so the working part has been always very important for both of us. It's almost a separated part of our life, I think. Interestingly, we both found playing with each other, very important. And it's also— we rely on each other very much as best friend and honest music partner to give each other feedbacks. So we are supporting each other both in life and in music. I think it's quite, quite important for both of us. Well, is there any challenging moment that you might say, for example, If you disagree on something, is there any time that something is so important and that you have a big disagreement on work? And— or that never happened? It sounds like you're always happy together. Yes, of course, of course, yeah. Of course it happens. Yeah, because we play a lot together, so yes, of course we would have lots of disagreement, especially in the beginning in playing. And obviously you can't leave the rehearsal because we live together. We have to stay in the same house. You can't leave the house and go somewhere else. So yes, I think that's a very good way for both of us to kind of resolve our— we have this pressure, so we have to resolve our, say, arguments during the rehearsals. So we find a way to discuss and I wouldn't say compromise, but to listen for each other. In an active way during playing. So we resolve the, would I say problem, but I think opinions. Well, I met Johan, both of you, you are professors of the conservatoire that I launched, the London Performing Academy of Music, and I think you're both such beautiful persons that I think I can only see how amazing you are together, both as performers and in private life. Now I know you're gonna be as well, amazing teachers. What would you say was the best advice you got from your teachers, and what would be your advice to your students, the best advice that you would give to your students? So two separate questions: the best advice that you ever received and the best advice that you think you should give. Yes, I would say, yeah, I had very, very many good advices. From my teachers. But I would say the best thing I've got is probably, is probably, say, always think very many different ways of expressing the music. So you're always trying to think about what are you going to say. Say, quote C.P. Bach, "If you want to touch people, you have to touch yourself." So it means very important things, we're going to deliver what we want to say. So having a thought in music, it's very, very important. I was taught this way and I will actually say this to students. I think it's very good and very important for all level of students that to have a thought of what do you want to say in your music. Absolutely. So what would you say was the best place you performed in your career? The most exciting stage you went on? I was very fortunate to be part of the St. Matthew Passion performance, Bach's St. Matthew Passion performance last year in the BBC Proms. It was live recording and videoed and filmed and live on TV, so that was a really amazing experience with amazing orchestra, amazing singer, and amazing venue. Wow, well, I think I missed you. I didn't see that performance. Ah, what a pity. I always like to spot my friends. I'm sure there's a recording somewhere. I'm gonna look for it, definitely. And what would you say instead was the most challenging, um, place you had to perform? Ah, the most challenging place. Yeah, I would say like a lot of like kind of very cold cathedral performance. It's always very challenging, is it like super cold always. I mean, we play historical instrument, so it's a lot of performance in churches, so they are like beautiful buildings, but they're super cold. Yeah, absolutely, absolutely. I mean, if you think about the recordings, do you prefer record an album or perform live on stage? I would say I think live performance and recording are totally different life forms. I like them both, but I really, I would really prefer to have live audience in front of me so I can say adjust, and I adjust my performance according to the audience. So I will say I speak directly to them and feel, feel, it feels like touching the soul. Yeah, yeah, absolutely. So how was your lockdown, uh, in the past 2 years that we, we came out now? I don't know you, but I did my 4th booster already for the COVID because I definitely don't want to go back to what we've been through in the past 2 years. I mean, somehow you were lucky because you had your working partner at home with you and your husband, of course. Did you create a lot during the lockdown? Yes, I think we have been very lucky, as you said, that we live together and we are working partners. We had quite many online live performances together, recorded and live, so that was a lucky part. We can talk a lot about how to develop our career and also our relationship, then we have a lot of time to talk. And yes, so I think that was kind of, in a way, very, very interesting 2 years. Then on the other hand, we also, because of lockdown, we got some unique opportunity, I would say, that we had some recording done wouldn't have otherwise happened because everyone is more into recording or filming because of lockdown, because that's the only way you can deliver music. Yeah, absolutely. I mean, before I had a family and a young daughter, I loved the lockdown and spent my hours practicing the piano without, you know, any— you know, preparing my next album and do as many hours possible and not having to run around the city, because when you perform as well, you have to go to travel a lot, isn't it? And that, how exciting it might be, is also taking away a lot of time from your creative moment, isn't it? So in a way, being home and being able to practice and create together I think it would have been a gift more than anything. Yes. Okay, so now I'll ask you, what was the most, you know, the most faraway place you performed? So sorry, say that again? So the place, you know, the concert that you had to travel the longest. Ah, okay, um, the concert I had to travel the longest, um, let me think. And you've been in a remote location. I mean, if we think about Johan, for example, Johan is not English, um, not sure, is he Swedish or Norwegian? Swedish, I think. He's half Swedish, half Norwegian, but his nationality is Swedish. That's what I thought. So have you been in the far land north of Sweden or Norway, for example? Yes, you did. Yeah, yeah, yeah, we performed there quite a lot, actually. Yeah, so yeah, we've been there performing the, say, the famous Saxo Chamber Music Festival and also the Opera Værberg summer music festivals. So those are all very, very wonderful experience for us. Yeah, but I think for us, because we're now living UK, probably the, the most distant venue was in Taiwan actually, when we went back January 2020. So just right before lockdown, so we went to perform in Taipei. So that's, that's absolutely across the globe. The globe. Yeah, yeah. Really? Yes. Ah, wonderful. Well, you know, I don't know what is the most exotic thing you can think of and of Taipei and what is the most exotic thing of Norway or Sweden. So for example, I've been in Finland a few times performing and I've been in January in the middle of a snowstorm and then having to go back to the hotel walking because all the streets were covered. Covered by the snow, and it was absolutely magical because the moon was a full moon shining, so it was so bright reflecting in the snow. So what would you say is the most charming thing from Taipei and the most charming thing from Sweden or Norway where you've been? Yeah, so the most exotic thing I think we ever experienced in Taiwan was probably not related to concert, but we were on a road trip with my parents down to the countryside where my granddad used to live. And then on the way down there, we stopped somewhere for a quick walk, and then we came back to the car and there was monkeys, wild monkeys, all over our cars. Yeah, trying to get some snacks. Yeah, it was just amazing to see the wild monkeys so, so close distance. Wow, it was just incredible. Yeah. And in Sweden or Norway, did you experience anything wild? Or, uh, in Sweden or Norway? Yeah, um, the, the region that, well, Johan lives was absolutely beautiful. So it was in just 200 meters from the lake. So I absolutely love the wildlife. And once we went out for a walk also, then we saw a male moose, I think, in— right, standing in the middle of the road. And it was after the raining, so there was just sunshine right after the rain, so it was kind of foggy. And then the magical moose just standing in the middle of the road, just bathing in the sunshine. It was just incredible. Wow. Well, so let's go back to music now. The piece we're going to listen to is the Gluck, is from Gluck, The Dance of the Blessed Spirits. We were talking before about Vermeer, Udyce. Would you like to tell us a little bit more about this specific piece? Yes, it's one of my absolute favorite piece in the whole world, really. So it was, it's from the opera Ophelia and Eurydice by Glück. And as we all know, this is a very, say, tragic love story that Ophelia fell in love with this beautiful girl, Eurydice, but she died, was bitten by a snake, so she died and fell into the underworld. And Ophelia was so sad and he had to rescue her no matter what, so he went under the world and with his music, he conquered all the obstacles and bring back Eurodiche. And in opera, it was actually a happy ending. So it was absolutely musical and magical. So in this flute solo, it was just amazing that how the flute solo started with the kind of menuet kind of in 3 kind of slow, like, sections, and in the middle was a very, very dramatic minor section that goes all the way up to the top of the register of the flute at the time, and it was really, really touching with all sorts of diminished 7 chords and all sorts of trills and triplets and all sorts of things, and then it comes back to the major section as if nothing happens, and then, and Eurodicia appears because he touched the God. It was just amazing piece. Yeah, sometimes, I mean, composers, it's like they are touched by something out of this world, to be honest, because the notes are 7, if you like, but they get put together in a way that is just magical, as you said, and it's something that's really— you cannot not cry. So let's listen to this beautiful piece, Glukh, the Dance of the Blessed Spirit. Wonderful. And this was Gluk, the dance of the blast. Spirit performed by Yue Hu at the flute and Jan Löfving at the guitar from their latest album, A Salon Opera. Now this is the first album actually that you recorded together, am I right? It's the debut as a duo. So are you planning a new one? I know it's very recent. But are you already planning a second one? We already recorded the second one last November and it's set to release next year under the same label, Resonance Classics. All right. Can you give us a snippet on what's going to be on that album? Absolutely. Yes, it's an album of the pieces by a Swedish composer Roman. So he's a Swedish Baroque composer who worked at a court as an oboe player and violinist. And then during his youth, he got a royal warrant to come to London to study, and so he worked as the second violinist in Handel's orchestra at the time, so under Gemignani. So after a few years And then he worked as a violinist and oboe player in Orchestra of Handel. So he absorbed all the best bits of the music world of that time in London, and he actually didn't want to go back to Sweden. Oh, wow. But he had to, so he went back later. And this— so he published 12 a set of 12 flute sonatas in 1727. This is only a set of music he published during his lifetime. So it was very interesting because Händel also published his flute sonata in a similar time, but obviously he wrote all those flute sonatas before. So I think Roman must have heard or seen Händel rehearse and also his manuscript of the flute music at the time. So he he put all his efforts into this set of flusonata publication. So it was very interesting. So that we recorded 3 of this, out of this 12 flusonata, plus one triosonata, and also 2 flute obbligato soprano aria. Wow. Which is written at similar time of the published publication of the flute sonata into this album. Fantastic, that's very beautiful. So I mean, we are recording this interview during the day that is dedicated to National Album Day in the UK, and this year the National Album Day by BPI was dedicated to the Debit album, so we would have not done any better than to actually play music from your debut album. So would you like to tell us what does it mean for you to record an album compared to actually making a program for a concert? Is there any difference, or they're very much related to each other? Yeah, that's very interesting because our first album was actually literally our concert program. So it is a literal— this is our concert program because we as a duo, we perform— we like to perform to audience. So then in the end, we kind of think maybe we should reach more audience with our album and as a concert program into a disc. But then the second album, we decided that we are very interested in this composer. So we selected the best— well, we think the best pieces based on flute so centered on flute and the pieces you can represent his, say, his favorite instrument the best around this, yeah, in this album. So it was quite different concept between these two. Yeah, absolutely. But also, you know, the way you recorded the second album, I'm sure, was completely different as mindset than the very first debut album. That's why debut album are so important because the debut album, there is all the excitement of the very first time that you are doing something that you know is gonna last forever, or at least for a very long time until people are reading your album. Then when you've done it and you do a second one, then it's a more mature approach, as you said, you know, you're then planning something different, you want to give a new concept, not just a performance live performance of an enjoyable evening like the Esalon Opera evening. Am I right? Yes, yeah, I think recording is a very different process as a concert performance, so I think it's a very interesting learning curve also as a professional musician for us, and it was very interesting also to work with different sound engineers Yeah, so the first album we worked with the legendary guitarist engineer John Taylor. He recorded so many famous guitarists of the last century, so like Elia Fisk and very many people. So it was— he has a very straightforward, natural approach to guitar music, and he's his understanding of guitar as an instrument, and also the music of 19th century, is incredible. So it was just— it's an incredible experience to work with the, say, expert of your instruments. And then the second album, we work with a totally different sound engineer, which is the owner of the Resonance Classics, Adam Binks. And he is more, say, specialized in chamber music and also a bit bigger setup, so which is very interesting. Also a historical performance specialist, so it was also very interesting to see how the different approach from them as a sound engineer and as a producer. Yeah, well, I have to say it's very interesting that what you said. On my albums, I had two different sound engineers and they were all guitar guitarist as well. And, uh, and yeah, actually 3 albums— 3, 3 engineers in my 12 albums that I recorded so far. Um, I don't know why the guitarist somehow they developed this incredible ear. Um, and as well, even the piano tuner were guitarist. You know, everyone talk about how the piano is developing, opening the brain, because you're using both hands of the guitar. I don't they end up actually doing everything. So it's really good to know. Well, we're gonna finish our interview with the funny part of it. So my traditional questions are if you have any superstition or favorite, you know, ritual that you do before going on stage. I do actually, yeah, I'm a big fan of— it's interesting, so strange to say I'm a big fan of lavender oil, so putting on some lavender oil on my wrist and my neck is absolute ritual I will do before the concert. Wow, well, I guess also lavender has this calming feeling, isn't it? So Yes, I guess so. Yeah, beautiful. And, um, and so do you have any, uh, funny moment that you can share with us of going in tour or going on stage? Yeah, um, it was, um, I think it's very strange that I got attacked by, um, say, insects very often during concert. Yeah, you know, you have a concert the lighting and you probably has like, I don't know, yeah, I don't wear glasses on stage but I wear contact lenses obviously. I don't know, the concert lighting always make maybe my face brighten up, so I got quite many times attacked by insects during playing. That also actually happened on stage in Royal Albert Hall during the Proms. No, sadly, which is— it was filmed live on TV, so I actually dodged a massive insect flying into my face. It was actually on the TV screen. Oh wow, that's crazy. I wonder if it's the flute, like the fact that you're really giving some special, um, waves, um, the sound waves that they're attracting the, the the insect. Did you check with other friends, flutists for example? I don't know actually, yeah, I never really thought about that. That's a very interesting question and I would ask them next time. Yeah, definitely, because I'm thinking, you know, it's possible, I mean, it's strange inside Royal Albert Hall to be honest. I think if you tell me you are outdoor, but if you are indoor, to have insects come to you, I wouldn't know. But could be, you know, because Because when we make music, there is waves that comes out. So for example, when I was practicing the piano, I always have near a window, I always have birds that they come and they start singing next to me. And they get very loud because they are kind of competing with my piano. I was like, you know, shh. That's incredible. Be quiet. I need to listen to what I'm doing, not to you. So I get that with birds. So yes, I wonder if it is. And although, you know, there is— I remember since I was little that there was always this friendly competition between flutists and oboists, and the oboists would say chip chip chip chip chip to the flute, not to the flutists, because it's the most similar instrument to the birds. Yeah, yeah. And the oboists would be quack quack quack quack quack, right, to the— Exactly. Mm-hmm, with a very special song. Well, let's listen then to the last piece of today, uh, that is the Giuliani Grand Serenade, uh, Allegro Brillante, before saying goodbye to our wonderful guest who waved you. Amazing. This was Giuliani, the Grand Serenade Allegro Brillante, performed by Yu Wei Hu and Johan Lofving from their latest album, um, from their debut album, A Salon Opera. A big thanks to our guest, Yue Wei, for performing today for us and for the great chat and beautiful music that we played. You've been listening to Future Classical Music Awards on Women's Radio Station, live every day at 10 AM and 10 PM London time. And if you would like to listen to it again or catch up on our previous programs, you can head to my center page Stefania Passamonte Future Classic Women Awards on womensradiostation.com. Thank you, Yue. Thank you for having me. You're very welcome. It's been a pleasure, and thank you for listening.