William O Smith, Legendary
exponent of New Music as Composer and Performer, and Jazz Clarinetist, in
Residence at Arizona State University (Tempe) with Host and VIP Dr
Robert Spring
Tempe, Arizona USA
At 88 years old, William Smith still loves to go to Cold Stone
Creamery to get a scoop of vanilla with M&M’s. This is exactly what
he did on Saturday, when he sat and talked to ASU’s clarinet studio
about his vast array of experiences, ranging from playing for the
Reagans to Soviet leader Mikhail Gorbachev. Then Smith realized his
ice cream was melting and paused to eat it.
He
is the inventor of many extended techniques for the clarinet,
including playing two clarinets at once, playing half a clarinet,
and experimenting with playing multiple notes at once, called
multiphonics. But he keeps coming back to ASU for the ice cream, he
said.
Smith
visited ASU Friday through Sunday to perform a recital of his work,
teach a master class, and share his stories with the clarinet
studio. Although it is his fourth visit, he said he doesn’t tire of
visiting because of the warm, inventive nature of those in the
clarinet studio under professors Robert Spring and Joshua Gardner.
“Many clarinet teachers at universities are trying to
prepare you for playing in a symphony orchestra, but in
addition, we need to keep up with what’s happening with
the music of our day,” Smith said. “(Spring) seems to
infuse his students with curiosity for new things. It’s
always a pleasure for me to play for the students here.
(Spring) is a good host and a good man and he knows this
great ice cream place.”
Smith’s career as a world-famous clarinetist began when
he was 10 and a traveling salesman came to his parents’
apartment.
“(The salesman) said, ‘Every home should have a
musician, and if you’ll pay for 32 lessons for your son,
we’ll give him a free instrument,’” Smith explained. “I
was standing there, and I said, ‘Please Mother, can I?’
… I did well in the clarinet and loved it from the
beginning.”
“Hearing him was like opening the doors of paradise,”
Smith said. “I thought, ‘That’s what I want to do.’”
At 15, he auditioned and was invited to join the
Oakland Symphony. After high school, he decided to
follow the lifestyle of his idol, Goodman, and joined a
touring dance band. But after hearing some advice from a
drummer in the band, Smith decided to focus on his
education and briefly attended the Juilliard School,
where he performed at Carnegie Hall.
He then he decided he wanted to compose, so he left
Juilliard and returned to Oakland to study under the
famous composer Darius Milhaud, who Smith said taught
him some of his greatest lessons in composing.
“It’s not just a numbers game,” he said. “You have to
make music out of it.”
When he was 13, he attended the 1939 World’s Fair and
saw Benny Goodman perform, which inspired him greatly.
Smith’s composing career, both for classical and jazz
clarinet, as well as his performance skill, led him to
many famous venues and people, including concerts at the
White House and the Kremlin.
Smith said during the band’s photo-op with the Reagans,
the band’s manager tried to convince Nancy Reagan to
invite the musicians to perform at a dinner conference
in Moscow for Gorbachev. The manager succeeded, and the
quartet flew to Russia on Air Force One.
He said the trip wasn’t as glamorous as most would
think.
“They had us sleeping on wooden benches and eating
peanut butter sandwiches,” Smith said. “It was no big
deal.”
After the Moscow concert, Gorbachev approached Smith to
shake his hand and congratulate him on the performance.
“I thought I did my little bit to help tear
down the Berlin Wall,” Smith said.
He said his type of experimental techniques for the
clarinet support his general philosophy about music.
“Music will die if you don’t refresh it,” Smith said. “I
think you should explore what the clarinet can do,
beyond just the normal symphonic sound.”
Kristi Hanno, a clarinet performance graduate student,
said she greatly admires all Smith has done for the
clarinet community through his unique compositions.
"I like that he stuck his foot out there for us,” she
said. “It opens up so many doors compositionally and
performance-wise. With those basic building blocks that
he discovered, there’s a whole world waiting for us.”
Hanno said she loves talking to Smith because his
stories and wisdom are inspiring.
“I’d like to get more involved with composition for
contemporary clarinet,” she said. “He’s just a wealth of
knowledge.”
Robert Spring, who teaches clarinet, went even further
to say Smith is responsible for nearly all recent
changes in clarinet music.
“Bill changed the direction of clarinet playing,” he
said. “I think Bill’s responsible, in many ways, for
everything that’s changed in clarinet performance since
the 1960s. I think he’s responsible for quarter tones,
using electronics in performances and giving composers
the OK to expand the palate of musical sounds out
further.”
Quarter tones are another extended technique in which a
note is played which is halfway between the normal
interval for different notes to exist, which is a half
step.
Spring went on to say Smith isn’t just an excellent
musician but is also a genuinely kind person whom he
loves to see interact with his studio.
“Bill’s a very giving person, both with his time and his
talents,” he said. “Bill encourages everyone to be as
creative as he is, and he challenges you if you’re not.”
While introducing Smith before his recital on Saturday,
Spring cut short his prepared speech after he was choked
up by tears.
He said Smith’s impact on his life, also as a
world-famous clarinetist, is immeasurable.
“That’s why I get so emotional, because this man has had
such an impact on my life,” Spring said. “When he comes
here, he doesn’t speak loudly, but he manages to command
a room and I don’t know how he does it, except for what
he’s done.”
Smith finished eating his ice cream and sat contently,
speaking to the clarinet students. Just a few hours
before, when Smith finished playing in his recital after
an encore, he had held his clarinet up over his head, in
satisfaction with his performance. The audience had
laughed, and the applause surged ever louder.
Due to a severe shoulder strain,
clarinetist Martin Fröst had to cancel his appearance at last
night’s final chamber music recital in the San
Francisco Performances (SFP) 2013–2014 season in the SFJAZZ
Center. He had been scheduled to perform with pianist Marc-André
Hamelin and violinist Anthony Marwood in a
program of duos and trios, almost all of which were composed in
the twentieth century. Fortunately, SFP President Ruth A. Felt
was able to find a replacement on very short notice in Alexander
Fiterstein, who made his San Francisco recital
début. One could not have hoped for a better concert, with
Fiterstein performing with his colleagues as if
they had been playing together for considerable time.
The major twentieth-century composition that combines these
three instruments as a trio is Béla Bartók’s three-movement
“Contrasts,” composed in 1938 on a joint commission from
violinist Joseph Szigeti and clarinetist Benny Goodman. It
originally “contrasted” two movements, a highly ironic
“Recruiting Dance,” followed by a wildly uninhibited “Fast
Dance.” After the first performance Bartók decided that these
needed to be separated by something quieter; and he composed the
middle “Relaxation” movement.
Last night “Contrasts” was the final work on the program; and it
put the cap on an evening in which virtuosity and expressiveness
were delivered with equal priority. The dry acoustics of the
SFJAZZ Center were particularly conducive in enhancing the
clarity of the complex interleaving of these three instruments,
where the contrasts were established not only through sonorities
but also performing styles. When this piece was first performed,
Bartók himself took the piano part. Szigeti was a fellow
Hungarian, and the two had performed together in recital on many
occasions. However, Goodman was the wild card, since Bartók
basically knew him through his jazz records. As a result, the
clarinet part emerged as a series of “riffs,” none of which
were, in any way, imitative of Goodman’s characteristic swing
style. Rather, true to Bartók’s title, they were sharply
contrasting interjections, all of which were perfectly
consistent with the other lines of the musical texture.
Last night’s performance perfectly captured this disclosure of
contrasts. Each of the three performers displayed a solid
command of the technical demands Bartók had imposed. However,
that sense of overall texture clearly dominated the
interpretation of the score, emerging through rhythms that
established a thoroughly unique sense of “swing” without
sounding like “highbrow” music trying to be “jazzy.” Through
this rhetorical approach, Bartók’s trio emerged as the summa for
the entire evening.
As
Bartók’s trio concluded the program, so did Igor Stravinsky’s
trio arrangement of movements from his
Histoire du soldat conclude its first
half. In many ways this was also music of contrasts, scored
originally for seven instruments of sharply differing
sonorities. However, when Stravinsky prepared the suite
performed last night, he was less interested in sonority and
more with the highly idiosyncratic thematic material that gave
each movement its own thoroughly unique rhetorical stamp.
(Actually, one movement segues from tango to waltz to ragtime;
and the contrasts within
this movement are as extreme as those distinguishing it from the
other movements.)
Last night this suite was performed with a keen sense of balance
through which each of the thematic elements that defines its own
unique characteristics emerged with impeccable clarity. In this
performance one could appreciate how well Fiterstein had fit his
own part in among those of Marwood and Hamelin, allowing the
attentive listener to appreciate just how inventive Stravinsky
had been in conceiving both the whole and its individual parts.
Furthermore, while Stravinsky himself tended to play up his
capacity for abstraction, this was a highly personable
interpretation, particularly in the sense of humor that
sustained Stravinsky’s particularly arch approach to each of the
popular dance forms.
Fiterstein also performed two duets with Hamelin, Claude
Debussy’s rhapsody (which he called “First Rhapsody,” although
the only other one was for saxophone) and Francis Poulenc’s
sonata. The rhapsody clearly suggests that Debussy was aware of
how the clarinet had become an instrument for popular music; and
the score emerges as a “meeting ground” for an encounter between
“serious” lyricism and more “jazzy” exuberance. Fiterstein was
clearly comfortable with this “other set of contrasts,” allowing
his part to unfold almost as if it were an improvised monologue
against the moody textures established by Hamelin’s
accompaniment. The Poulenc sonata, on the other hand, was a
somewhat more formal affair, seasoned by the occasional
reflection on a earlier sextet he had composed for wind quintet
and piano. Here, again, contrast was of the essence and one
could appreciate an entirely different basis for interaction
between Fiterstein and Hamelin.
The
duos performed by Marwood and Hamelin were even more
contrasting. The program began with Franz Schubert’s D. 895
rondo in B minor, the only work not composed in the twentieth
century. Hamelin was a bit heavy on the keyboard during the
extended introduction that precedes the statement of the rondo
theme. However, the rondo itself was executed at the necessary
level of high energy, creating the sense that, around the time
that a coda would have been in order, Schubert thought of
something else to do. Indeed, he embedded a full ternary-form
exposition of new thematic material in the middle of this piece,
giving the sense that he just could not stop his pen from
writing (any more than John Coltrane could keep from
playing yet another improvisation on whatever tune he had
selected for his combo).
The
“contrasting composer” for Schubert was, again, Debussy, with
the G minor sonata that was his final extended composition.
While the sonata is structured in three movements, they unfold
in a highly discursive rhetorical style, almost creating that
same sense of improvisation established in the clarinet
rhapsody. Nevertheless, one is aware of Debussy’s discipline in
this sonata, particularly in his economic use of thematic
material. In this case the technique behind the score emerged
with greater clarity through a better sense of balance between
Marwood and Hamelin.
The
overall result was a highly satisfying execution of a program
ingeniously conceived for its symmetries and its highly
distinctive contrasts.
Results of the
International Debussy Clarinet Competition
Paris, France
Prizes:
1 Andréa Fallico - Italy -
2 Amaury Viduvier - France - 3 Daniel Mourek - Czech Republic
Summary coming soon
19 April 2014
University of Delaware Clarinet
Day with Artist Faculty and VIP's Miriam Adam (IMANI Winds) and Dr
Stephanie Zelnick
(Solo Clarinetist in the Boulder (Colorado) Philharmonic and Professor at the
University of Kansas - Christopher Nichols, Director
Newark, Delaware USA
Saturday, April 19, 2014 marked the beginning of a new tradition at the
University of Delaware in Newark, Delaware. Twenty-five participants ranging in
age from eighth grade to “retired” joined Christopher Nichols, new UD clarinet
faculty, and the UD Clarinet Studio for this new event in Puglisi Orchestra Hall
in the Roselle Center for the Arts. The day-long event included performances,
festival choir rehearsals, master classes and vendor exhibits for all in
attendance to explore. AdZel, a duo comprised of clarinetists Mariam Adam and
Stephanie Zelnick, served as the guest artist-clinicians.
The day opened with a recital showcasing the UD Clarinet Studio.
Christopher Nichols opened this program with a performance of Paul Harvey’s
Etudes on Themes of Gershwin. Nichols was then joined by UD graduate
students Rachelle Dizon and Robin Lamel to perform Franz Krommer’s Variations
on a Theme of Pleyel. The UD Clarinet Ensemble concluded this recital with a
rousing rendition of Freddie Mercury’s Bohemian Rhapsody arranged by K.
Tod Kerstetter.
The first master class of the day, led by Christopher Nichols, addressed
topics including efficient hand position, phrasing concepts and performance
anxiety with high school students Sarah Johnson, Natalie Willis and Jenna
O’Brien from Avon Grove High School in West Grove, Pennsylvania. After a lunch
break, AdZel presented the featured artist-clinician master class with UD
undergraduate and graduate students, Kourtney Bastianelli, Joanna McCoskey,
Samantha Romero, Rachelle Dizon and Robin Lamel. Over the course of the class,
AdZel discussed a wide variety of topics such as phrasing, sound production and
historical performance considerations. The most resounding and recurrent items
of discussion were relaxed breathing, air management and breath support, which
resulted in a significant improvement in tone quality from each master class
participant.
The featured artist performance by AdZel, entitled The Fish
Tailed Maiden, interwove music with text by Egyptian-American writer Denmo
Ibrahim. Through a woven tapestry of intricate sounds and stories, the program
highlights the similarities between Jewish-American and Arab-American girls and
women. The performance incorporated spoken word, drama and percussive elements
to highlight the unity of these two complex cultures. To conclude the program,
AdZel invited Christopher Nichols to join them for an energetic rendition of
Mike Curtis’ Three Klezmer Trios.
In addition to the master classes and performances, attendees were
able to visit exhibits by Lisa’s Clarinet Shop, Backun Musical Services,
composer Kevin Cope, Music and Arts, Accent Music and RJ Music Group.
Participants received a t-shirt, catered lunch and entry into a drawing for
prizes. The lucky winners received prizes including mouthpieces and accessories
donated by the various exhibitors and the UD Department of Music. Delaware
Clarinet Day acknowledges Buffet Group USA, Conn Selmer, Music and Arts, Accent
Music, University of Delaware Department of Music and the President’s Diversity
Initiative for their generous support of the event.
The day concluded with a performance by the Delaware Clarinet Day
Festival Choir including the following selections: Robert Schumann’s
Träumerei arranged by Daniel Dorff; Charles Gounod’s Funeral March of a
Marionette arranged by Anthony Brackett; Dmitri Shostakovich’s Two
Preludes arranged by William Schmidt; Henry Mancini’s Baby Elephant
Walk arranged by Frank Halferty; Edvard Grieg’s “Sarabande” from Holberg
Suite arranged by Russell Denwood; and the world premiere performance of
John Lennon’s Because arranged for clarinet choir by UD senior Joanna
McCoskey.
The 2nd Annual Delaware Clarinet Day is scheduled for Saturday, March
14, 2015, featuring guest artist clinician Robert Dilutis, associate professor
of clarinet at the University of Maryland, College Park. For more information,
please contact Christopher Nichols at crnichol@udel.edu.
13 April 2014
2014 Harold Wright Merit Award Competition winner with the
Boston
Woodwind Society - Clarinetist Iván Javier Valbuena Páez
Boston, Massachusetts USA
Congratulations to the 2014 Harold Wright Merit Award Competition winner! Born in Bogotá, Colombia, clarinetist Iván Javier Valbuena Páez began his studies at eight years old at the Batuta Fundation and the Wind Band System of Cundinamarca....
He has performed solo recitals in the auditorium of the National University, the Planetarium Oriol Rangel, the Luis Angel Arango Library Concert Hall, as well as the Leon de Greiff, Christopher Columbus, Teresa Cuervo National Museum auditorium and Edward Pickman Hall in Cambridge, MA. Iván has participated in Master classes with Héctor Pinzon, Robert De Gennaro, Philippe Berrod, Timothy Perry, Michael Webster, Jonathan Colher, among others.
Valbuena has won numerous competitions for his performance, including first place in the National University of Colombia's Solo Competition with the Collegium Musicum Orchestra, as well as the Bogotá Philharmonic Young Performers Competition. He was invited to perform with the Bogotá Philharmonic, he was one of the winners of the Clarinetistas Bogotanos Competition, and won second prize in the OFB National Music Performance Competition in Bogotá. Iván is also the winner of the 2013 Longy School of Music Concerto Competition and Honors Competition in 2014. Iván has been a member of the Youth Orchestra of the Americas (YOA) since 2010, and has been selected as one of eight musicians from throughout the Americas to participate in the YOA Global Leaders Program, a leadership training course. He graduate from the National Conservatory of Music at the National University of Colombia and is currently pursuing a Master of Music degree in clarinet performance at Longy School of Music of Bard College. Iván is a student of Jorge Montilla.
The Boston Woodwind Society has established merit awards to honor the artistry and achievements of five legendary woodwind musicians. The awards are presented annually to outstanding young students hoping to fulfill their dreams of entering the world of professional players. Selected through open competitions by woodwind artists and faculty members of leading schools of music, each recipient of an award receives a cash prize of $1,000. The purpose of these awards is to encourage and to recognize achievements of high standards of musical integrity and artistry as exemplified by the artists for whom the awards have been named.
Harold Wright was born in Wayne, Pennsylvania and began playing the clarinet at age twelve. He attended the Curtis Institute of Music, where he studied clarinet with the Philadelphia Orchestra's principal clarinetist, Ralph McLane, and chamber music with that orchestra's principal oboist, Marcel Tabuteau.
Upon graduating from Curtis, Mr. Wright joined the Houston Symphony and a year later became principal clarinetist of the Dallas Symphony. For many summers he participated in the Marlboro Music Festival and the Casals Festival Orchestra and was a frequent guest artist with the Lincoln Center Chamber Concerts, the Mostly Mozart Festival, and the chamber music concerts at the 92nd Street "Y" in New York. He also appeared frequently with such leading string quartets as the Budapest, Guarneri, Vermeer, and Juilliard. In 1970 he joined the Boston Symphony Orchestra as principal clarinet and taught at New England Conservatory, Boston University, and the Tanglewood Music Center until his untimely death in August 1993. He has left a legacy of memorable recordings.
South Florida University Clarinet Fest, Calvin Falwell, Director, with Guest Artists VIP Dr Rapheal Sanders (Professor at State University of New York at Potsdam), VIP Dr Timothy Phillips (Professor at Troy University ((Alabama)) - 12 April 2014
Harry Sparnaay, Renowned Bass Clarinetist and Proponent of New Music, receives the 1st Honorary Membership Award from the European Clarinet Association - ECA at the Bimhuis, Amsterdam April 11, Presented by ECA President and VIP Stephan Vermeersch
9th Annual Single Reed Symposium with VIP's Julia Heinen from California State University at Northridge, and VIP Director Christy Banks - Millersville, Pennsylvania - 11 April 2014
Master Class with Dr Michele Gingras, Professor at Miami University (Ohio) at Penn State University at State College, Pennsylvania - Dr Anthony Costa, Host professor - 10 April 2014
When you have an excellent clarinetist at your disposal, you send
him out on stage with the Mozart concerto and crowds will swoon. But Ricardo
Morales is no excellent clarinetist. He is a superlative one. For him on
Thursday night, nothing less than the formidable Weber
Clarinet
Concerto No. 1 would do, and the capacity audience roared.
Christoph von Dohnányi was on the podium, and, rounding out the Philadelphia
Orchestra program in Verizon Hall with Brahms and Beethoven, he won
traditionalist hearts. But without knowing the date on the Weber (1811), it
would have been easy to miss what a radical avatar of romanticism it was.
Written just two decades after Mozart's concerto, it stretched not only
technique but also the ear. Is that slow middle section, embedded in an
otherwise jocular third movement, not a textbook bit of Italian bel canto?
Morales channeled Joan Sutherland thrillingly when, at the end of the first
movement, a series of ever-higher trills gave way to a triumphant high G.
This level of playing exists in a rarefied stratum. Not long ago,
Morales threatened to steal out of town, to the New York Philharmonic. Not so
fast, Philadelphia said, and persuaded Morales to stay. It was an important
save. His presence raises standards in the ensemble.
He has technical mastery, a sweet tone throughout the register (which
the Weber certainly exploits), and a good instinct for filling out
characterizations. If Woody Woodpecker had been set in the early-19th-century
Schwarzwald, a more precise leitmotif could not be found than the main theme of
the third movement. Here Morales struck a beautiful blend of light comedy.
Dohnányi, music director laureate of the Cleveland Orchestra, paced the opening
of Brahms' Variations on
a Theme of Joseph Haydn quickly, more like something you'd whistle
on a brisk country walk than hear in a concert hall - unlike the way Sawallisch
heard it - but it fit. He etched with menacing fine details the slithering,
nocturnal eighth variation, and gave a rather patriotic glow to the
broad-shouldered finale.
At
peace with himself and Beethoven, Dohnányi was judicious and modest with the Symphony No.
7. Nothing flustered him; all was correct. Even the coiled, dotted
rhythm persistent in the first movement was relaxed. The approach fell
comfortably on the orchestra, even if a player or two struggled a bit with
solos. Still, Dohnányi presided over an interpretation convincing because it
avoided any personal incursions other than those Beethoven indicated himself.
When you have an excellent clarinetist at your
disposal, you send him out on stage with the Mozart concerto and crowds will
swoon. But Ricardo Morales is no excellent clarinetist. He is a superlative
one. For him on Thursday night, nothing less than the formidable Weber
Clarinet Concerto No. 1 would do, and the capacity audience roared.
When you have an excellent clarinetist at your
disposal, you send him out on stage with the Mozart concerto and crowds will
swoon. But Ricardo Morales is no excellent clarinetist. He is a superlative
one. For him on Thursday night, nothing less than the formidable Weber
Clarinet Concerto No. 1 would do, and the capacity audience roared.
Cary Bell, Solo Clarinetist in the San Francisco Symphony,
performs Nielsen Clarinet Concerto Op 57 with Herbert Blomstedt Conductor
San Francisco, California USA
When it comes to the clarinet, there
doesn't seem to be anything
Carey Bell can't do. And all of
it comes into play in
Carl Nielsen's demanding
Clarinet Concerto, which was the
vehicle for Bell's dazzling solo
turn in Davies Symphony Hall on
Thursday afternoon with the
San Francisco Symphony under
conductor
Herbert Blomstedt.
Bell's seven-year tenure as the
Symphony's principal clarinetist (he
succeeded the late
David Breeden in 2007) has been
a joyride for the orchestra's
audiences. We've learned to be
attuned to the particular virtues of
his contributions to a range of
symphonic repertoire - his
recognizable instrumental sound, at
once light-footed and muscular, and
the crisp yet flexible precision of
his execution.
But Thursday's performance offered
the most extensive helping yet of
Bell's artistry, aside from the
Mozart concerto in 2008. It did
not disappoint.
Here, in a luxuriantly unbroken span
of 25 minutes of music, were all the
splendors that listeners have been
getting in smaller doses, from
rapid-fire instrumental virtuosity
to a rich and soulful expressive
vein. If the daunting difficulty -
on both the technical and
interpretive levels - of this
showpiece held any terrors for Bell,
the evidence was nowhere onstage.
Nielsen's 1928 concerto, the last
major work of his career, was
conceived as one in a series of
character sketches for the members
of the Copenhagen Wind Quintet,
whose personalities he knew well
(only the concertos for flute and
clarinet actually got written). Its
dedicatee, Aage Oxenvad, was by all
accounts a mercurial character,
given to unpredictable fits of anger
within an essentially warm and
agreeable temperament.
So the concerto traces an aptly
unpredictable path. There are
sections that are so sweet-tempered
and lyrical as to be almost cloying,
beginning with the ingratiating and
rhythmically square opening theme.
Those in turn are interspersed with
wild, aggressively untrammeled
outbursts in which the harmonic
scaffolding that is Nielsen's
constant reference point seems at
risk of blowing apart altogether. By
the time the concerto coasts into
its closing measures, which are
marked by an ethereal sense of
serenity, the audience feels
properly whiplashed.
Together, Bell and Blomstedt helped
bring out the emotional logic of
this journey without ever stinting
on its essential weirdness and
volatility. Bell used his instrument
to lend an elegant, singing cast to
the concerto's lyrical passages,
then imparted an air of ferocity to
the more unhinged passages. Perhaps
Bell's finest moments came in the
concerto's two cadenzas - the first
shadowy and ominous, the second
pugnacious and full of hooting jabs.
After intermission, Blomstedt led
the orchestra in a superb
performance of Schubert's "Great"
C-Major Symphony, a reading infused
by deep love and understanding of
the score (if nothing else,
Blomstedt established his mastery by
taking the repeats indicated in
the music).
The first movement sounded
especially fervent, helped along by
Blomstedt's brisk tempos and robust,
gleaming contributions from the
brass. Oboist
Jonathan Fischer's plangent solo
got the slow movement off to a
buoyant start, and the finale was as
fearless and focused as I've
heard it.