Season 20102010----20112011

The Philadelphia Orchestra

Thursday, November 111111,11 , at 8:00 Saturday, November 131313,13 , at 8:00 Tuesday, November 16, at 8:00

Rafael Frühbeck de Burgos Conductor Jennifer Montone Horn

Weber to

Reger Variations and on a Theme by Mozart, Op. 132

Intermission

Strauss Horn Concerto No. 2 in E-flat major I. Allegro— II. Andante con moto III. Rondo: Allegro molto First Philadelphia Orchestra performances

Strauss Suite from Der Rosenkavalier

This program runs approximately 1 hour, 55 minutes.

Born in Burgos, Spain, in 1933, Rafael Frühbeck de Burgos studied violin, piano, music theory, and composition at the conservatories in Bilbao and Madrid, and conducting at ’s Hochschule für Musik, where he graduated summa cum laude and was awarded the Prize. He currently is chief conductor and artistic director of the Dresden Philharmonic.

Mr. Frühbeck has served as general music director of the Berlin Radio Orchestra, principal guest conductor of the National , and music director of the Deutsche Oper Berlin, the Vienna Symphony, the Orchestra Sinfonica Nazionale della RAI Turin, the Bilbao Orchestra, the Düsseldorf Symphony, the Montreal Symphony, and the Spanish National Orchestra, where he was appointed conductor emeritus in 1998. For many seasons he was also principal guest conductor of the Yomiuri Nippon Symphony in Tokyo.

Each season Mr. Frühbeck returns to North America as guest conductor for the Boston Symphony and Tanglewood Music Festival. He regularly appears with The Philadelphia Orchestra, where he made his debut in 1969. Other recent appearances include performances with the Chicago, National, Toronto, Pittsburgh, Cincinnati, Detroit, and Puerto Rico , and the Los Angeles and New York philharmonics. He is also a regular guest conductor with major European ensembles, including the Philharmonia Orchestra; the Berlin, Munich, and Hamburg philharmonics; the German radio orchestras; and the Vienna Symphony. He has also conducted the Israel Philharmonic and the major Japanese orchestras.

Since 1975 Mr. Frühbeck has been a member of the Royal Academy of Fine Arts of San Fernando. He has been awarded numerous honors and distinctions, including the Gold Medal of the City of Vienna, the Bundesverdienstkreutz of the Republic of Austria and Germany, the Gold Medal from the International Society, and the Jacinto Guerrero Prize, conferred in 1997 by the Queen of Spain. He is also the recipient of an honorary doctorate from the University of Navarra in Spain. Mr. Frühbeck has recorded extensively for the EMI, Decca, Deutsche Grammophon, Spanish Columbia, and Orfeo labels.

Jennifer Montone joined The Philadelphia Orchestra as principal horn in 2006. She is on the faculty at the Curtis Institute of Music, the Juilliard School, and Temple University. Previously the principal horn of the Saint Louis Symphony and associate principal horn of the Dallas Symphony, Ms. Montone was an adjunct professor at Southern Methodist University, and performer/faculty at the Aspen Music Festival and School. Prior to her tenure in Dallas, she was third horn of the New Jersey Symphony and performed regularly with the Metropolitan Orchestra, the Orpheus Chamber Orchestra, and the New York Philharmonic.

Ms. Montone has performed as a soloist with The Philadelphia Orchestra, the Saint Louis Symphony, the Dallas Symphony, the National Symphony, the Polish National Radio Symphony, and the Curtis Orchestra, among others. Her recording of the Penderecki Horn Concerto with the Warsaw National Philharmonic will be released in December. She regularly appears as a featured artist at International Horn Society workshops and International Women’s Brass conferences.

As a chamber musician Ms. Montone has performed with the Bay Chamber Concerts, the Society of Lincoln Center, the La Jolla Chamber Music Festival, the Santa Fe Chamber Music Festival, the Bellingham Music Festival, the Spoleto (Italy) Chamber Music Festival, and the Marlboro Music Festival.

In May 2006 Ms. Montone was awarded the prestigious Avery Fisher Career Grant. She is also the winner of the 1996 Paxman Young Horn Player of the Year Award in London and the 1998 Philadelphia Concerto Soloists Competition. She was a fellow in the Tanglewood Music Festival Orchestra in 1996 and 1997. Ms. Montone is a graduate of the Juilliard School, where she studied with Julie Landsman, principal horn of the . A native of northern Virginia, Ms. Montone studied with Edwin Thayer, principal horn of the National Symphony, as a fellow in the Symphony’s Youth Fellowship Program.

FRAMING THE PROGRAM

Before the 19th century it was rare for composers to be overly concerned with timbre, with what particular orchestral instrument was playing and how. The focus was more on melody, harmony, and . was one of the early Romantics to change that and the Overture to his last opera, Oberon, is testimony to his innovations in orchestral color.

Max Reger found much of his inspiration in music from the past and in some of his most successful pieces actually transformed the past. The Variations and Fugue on a Theme by Mozart is constructed on the lilting opening theme of Mozart’s Piano Sonata in A major, K. 331.

Two works by Richard Strauss are featured on the second half of tonight’s concert. The Horn Concerto No. 2, a lyrical and witty work, was written during the Second World War. Strauss was approaching the age of 80, but the Concerto nonetheless displays unusual freshness and youthful vitality. The concert concludes with a Suite drawn from his great opera Der Rosenkavalier, composed 30 years earlier.

Parallel Events 1825 Weber Overture to Oberon Music Boieldieu La Dame blanche Literature Pushkin Boris Godunov Art Constable Leaping Horse History Decembrist Revolt in Russia

1914 Reger Variations and Fugue on a Theme by Mozart Music Stravinsky Le Rossignol Literature Joyce Dubliners Art Matisse The Red Studio History World War I begins

1941942222 Strauss Horn Concerto No. 2 Music Copland Rodeo Literature Camus L’Étranger Art Braque Patience History Fermi splits the atom Overture tttoto Oberon

Carl Maria Von Weber Born iiinin Eutin, Germany, November 18, 1786 Died iiinin London, June 5, 1826

The tragic tale of the composition of Weber’s final opera, Oberon, is perhaps as interesting as the plot of the opera itself. Dying of consumption at the age of 38, the impoverished Weber felt he could not refuse the offer from English impresario Charles Kemble to compose an opera on the subject of Oberon, King of the Elves, for the London stage—even though he sensed that the project would be the death of him. “Whether I travel or not, in a year I’ll be a dead man,” he wrote to a friend after he had completed the Oberon score, of his decision to make the trip to England to see the work through to performance. “But if I do travel, my children will at least have something to eat, even if Daddy is dead—and if I don’t go they’ll starve. What would you do in my position?” Both points of Weber’s prediction proved correct: The 12 initial performances of Oberon netted his family a great deal of money; and within a few weeks of the work’s successful premiere in April 1826, the composer collapsed of exhaustion and died.

Though the composition of had always been the center of Weber’s existence, it was not until the last six years of his life that he had finally been given the opportunity to compose the three stage works that quickly took their place among the masterworks of Romanticism: Der Freischütz, , and Oberon. Their influence on composers later in the 19th century, including Wagner, was deep. Oberon, though perhaps the least carefully polished of the three, is in many ways the most interesting—an erratic mix of brilliant dramatic scenes and fervently lyrical arias and ensembles.

A Closer Look Weber was intrigued from the beginning by the ’s elements of magic, exoticism, and romance, which were the hallmarks of his own operatic interests. Based on an 18th-century retelling by of a 13th-century French chanson de geste, James Planché’s libretto for Weber’s work tells the story of Oberon who, having quarreled with his wife, makes up his mind not to reconcile their differences until the day that he encounters a pair of lovers willing to die for love. Only then, seeing that true love is possible, will he believe in the continued viability of romance. He finally does find this hope, in the love of Huon of Bordeaux (the heroic ) for the lovely Rezia (the ), daughter of the Caliph of Baghdad. Oberon puts the lovers through a series of tests, which they pass—living happily ever after.

Oberon is best known today for its Overture. In addition to being a brilliant concert-opener, the piece is a sonata form in which each theme is derived from an important moment in the opera. The opening horn-call represents the “magic horn” that Huon is given for protection; the descending woodwind chords represent the fairy kingdom; the racing ascent of the main theme (in the violins) is the rescue and flight with Rezia; the lyric solo-clarinet tune is Huon’s prayer for Rezia’s recovery after a shipwreck; and the closing theme reappears at the climax of Rezia’s big second-act aria.

—Paul J. Horsley

The Overture to Oberon was composed from 1825 to 1826.

Fritz Scheel conducted the first Philadelphia Orchestra performances of the Overture in February 1901. It was a favorite of Leopold Stokowski, and Eugene Ormandy frequently took the piece on tour. The most recent subscription performances were in March 2004, with Wolfgang Sawallisch on the podium.

Weber scored the work for pairs of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, timpani, and strings.

The Oberon Overture runs approximately 10 minutes in performance.

Variations and Fugue on a Theme by Mozart

Max Reger Born in Brand, , March 19, 1873 Died in , May 11, 1916

Max Reger’s career never achieved the stature of his great German contemporaries like Strauss, Mahler, and Schoenberg. Poor health played a role, as apparently did heavy drinking, but there were also the musical choices he made and the aesthetic allegiances he pledged. His stance was generally conservative—Bach his god—even reactionary at times. Yet while Reger’s prolific output makes clear his primary loyalty to non-programmatic music (he also avoided theater music), he was nonetheless open to various influences. At age 23, he told composer Ferruccio Busoni, “I utterly detest all forms of musical prejudice—Brahms versus Wagner.” Around the same time he noted that “as a fervent admirer of Bach, Beethoven, and Brahms” he was trying to “develop in their style.” Although the genres he cultivated are based in that tradition, along with the music of Mendelssohn, Schumann, and other more “conservative” figures, his first trip to Bayreuth at age 15 to hear Wagner’s music was life changing.

His initial fame came as a composer of organ music—many considered him the most important German figure since Bach—and he was also a pianist and distinguished teacher. In 1911 he became conductor of the eminent Court Orchestra, a position previously held by Hans von Bülow and Richard Strauss.

Three Sets of Variations Reger’s appointment at Meiningen gave him the chance during his final years to experiment with orchestral effects and hone his skills as an orchestrator. By this late point in his short career he was strongly identified as a champion of absolute music— austere pieces for organ, uncompromising chamber music, complex contrapuntal works— but he suddenly began to write tone poems inspired by the haunting paintings of the remarkable Swiss artist Arnold Böcklin (1827-1901) and by the poetry of Josef Eichendorff and Johann Christian Friedrich Hölderlin.

Reger also wrote three monumental orchestral variation sets based on themes by Beethoven, , and Mozart. In the first two Reger does not use particularly famous tunes, but rather ones that will best suit his purposes in variation form. The first set, written in 1904, employs a theme from one of Beethoven’s late Bagatelles (Op. 119, No. 11). The 12 variations and fugue were initially written for two pianos. Reger orchestrated the Beethoven Variations, Op. 86, in the summer of 1915, cutting some of the variations, rearranging the order of others, and transposing one to another key. For his next variation set, the longest and best known of them, Reger used a very simple tune from a Singspiel called Der Ärndtekranz (1772) by Hiller. The Hiller Variations, Op. 100, were written and first performed in 1907. Reger’s Mozart Variations date from the spring and summer of 1914 and best show the experience gained from his years as conductor in Meiningen. Reger conducted the first performance in Berlin on February 5, 1915. He died of a heart attack the next year at age 43.

A Closer Look In the Mozart Variations Reger once again turned to a theme originally written for keyboard, in this case the familiar first movement of the Piano Sonata in A major (K. 331). After a straight-forward statement of the theme offered by the woodwinds and then the strings, there follow eight variations. Parts of the theme are discernible in most of the variations, although Reger fragments and ornaments the musical material in ways that the listener’s interest is sustained. As in his previous two sets, Reger concludes with a monumental fugue. While previous composers had concluded large variation sets with a contrapuntal tour-de-force (Brahms most notably), the Bach-loving Reger does so with unusual skill and esprit.

—Christopher H. Gibbs

Reger’s Mozart Variations were composed in 1914.

Fritz Reiner was on the podium for The Philadelphia Orchestra’s first performances of the work, in February 1927. The piece wasn’t performed again until January 1979, with Rafael Frühbeck de Burgos conducting. The most recent Orchestra performances the Mozart Variations were in January 2001, with Wolfgang Sawallisch.

The score calls for three flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, harp, and strings.

Performance time is approximately 30 minutes.

Horn Concerto No. 2

Richard Strauss Born iiinin Munich, June 11, 1864 Died iiinin GarmGarmischischisch----Partenkirchen,Partenkirchen, September 8, 1949

“My mother tells of my earliest childhood that I used to react with a smile to the sound of the horn and with loud crying to the sound of a violin.” So Richard Strauss begins a short essay called “Recollections of My Youth and Years of Apprenticeship.” There certainly was a lot of horn playing around for him to hear growing up: His father was one of the leading players of the time, the principal horn in the Munich Court Orchestra for 45 years. Thus began Strauss’s natural love affair with the instrument, which resulted not only in two horn concertos sandwiched at either end of his career, but also in countless wonderful solos for the instrument scattered throughout his tone poems and operas. His late works in particular often end with tributes to his father—brief horn solos conclude his final opera, Capriccio, as well the Four Last Songs.

Strauss composed his First Horn Concerto in 1882, when he was just 18, and the piece proved an early success. During the next 30 years Strauss emerged as one of the leading modernist composers, challenging audiences with his massive tone poems and scandalous operas, notably Salome (1905) and Elektra (1909). He changed his compositional course around 1911, the year his friend Mahler died. For the next 30 years Strauss concentrated on opera, writing such works as Die Frau ohne Schatten (The Woman without a Shadow, 1919), Intermezzo (1924), and Arabella (1933). He viewed Capriccio (1942) as his official farewell, quipping that his next piece would be “scored for harps.”

Salvation ttthroughthrough Composition But more music, glorious music, was to come. Strauss, now approaching age 80, did not tackle another opera or return to the grand orchestral projects of his early years, but rather pursued instrumental pieces and songs. The Second Horn Concerto initiates this astonishing series of late works composed during the Second World War and in its aftermath. Although Strauss, as Germany’s preeminent musician, had served a brief term from 1933 to 1935 as president of the German State Music Bureau, an association that would tarnish his reputation, he soured on the Nazi regime and it on him.

Strauss’s daily life became more difficult in the early 1940s as he endured various indignities and distresses, some because his daughter-in-law was Jewish; she and his grandchildren were repeatedly threatened. He grew increasingly depressed and at the suggestion of friends and family returned to composing. The late works he produced are essentially private ones, mostly scored not for the enormous orchestras of his past, but rather for more intimate ensembles. Some, like the Second Horn Concerto we hear tonight, look back nostalgically to pieces he had written at the very beginning of his career. Strauss himself affected to belittle these compositions as just something to do “so that the wrist does not become too stiff and the mind prematurely senile.” He declared these works for his “posthumous estate” to be “without an iota of music-historical significance”; he was utterly unconcerned with breaking new ground and declined to give them opus numbers.

The Second Horn Concerto was written near the end of 1942, after the successful premiere of Capriccio. It was Strauss’s first full-fledged concerto since his first one for the instrument 60 years earlier, also in the key of E-flat. Two Sonatinas for Winds (subtitled “From an Invalid’s Workshop” and “The Happy Workshop”), the Duet-Concertino for Clarinet and Bassoon with String Orchestra and Harp, Oboe Concerto, and Metamorphosen for 23 strings are the other major instrumental compositions from these last years.

A Closer Look Since Strauss knew the inherent qualities of the horn so well it is no surprise that the writing is idiomatic. The horn is much more limited in what it can do than a violin (that instrument that made young Strauss cry) or even an oboe, another instrument for which he wrote so marvelously and for which he composed his other late concerto. (That one, in fact, was inspired by a visit just after the war from a young American soldier, John de Lancie, who went on to be the long-time principal oboe of The Philadelphia Orchestra.) As a young musician Strauss served as pianist accompanying his father “time and again in Mozart’s beautiful horn concertos.” Mozart was Strauss’s life-long musical ideal and much of his spirit is heard in both horn concertos.

The first movement (AllegroAllegroAllegro) begins with the soloist boldly playing a melody that soon turns to a softer and more lyrical mood typical of the elegiac late Strauss. Much of the thematic material for the movement derives from this opening. As Ernst Krause observes with regard to the beautiful second movement (AndanteAndante con motomoto), Strauss almost seems as if he had forgotten that he was writing a horn concerto as the woodwinds at first dominate. The finale (AllegroAllegro moltomolto) is a lively rondo in 6/8 meter. It was a movement that Strauss was particularly proud of, commenting with typical self-deprecation: “it turned out quite nicely.”

—Christopher H. Gibbs

Strauss composed his Second Horn Concerto in 1942.

These are the first Philadelphia Orchestra performances of the work.

The piece is scored for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, timpani, strings, and solo horn.

The Concerto runs approximately 20 minutes in performance.

Suite fffromfrom Der Rosenkavalier

Richard Strauss

“Light, flowing tempi,” wrote Strauss of the manner in which one should approach the performance of his opera Der Rosenkavalier, “without compelling the singers to rattle off the text. In a word: Mozart, not Lehár.” Indeed Strauss’s incomparable opera has a uniquely lyrical quality that for many listeners is more serious than comic—perhaps the 18th-century term “semi-seria” should be called into service here, a word that was used to describe comic opera with a foundation of profundity. It is not coincidental that Mozart’s “semi- serious” opera The Marriage of Figaro comes to mind, for it clearly served as a model for Rosenkavalier in a number of respects. Strauss composed his opera from 1909 to 1910, working closely with his librettist, the great poet Hugo von Hofmannsthal; it was the second of their six splendid collaborations, and from an artistic standpoint it was the most successful. Already lionized by the German public—partly as a result of the immense popularity of his salacious shocker Salome —Strauss was surprised to see the success of Rosenkavalier nearly surpass that of his earlier tragedy. First performed at the Dresden Court Theater in January 1911, it was gobbled up by the public and snatched up immediately by theaters all over Europe. To this day it remains Strauss’s most popular opera.

Part Bedroom Farce, Part BourgeBourgeoisois Satire Set in the mid-18th-century Vienna of Empress Maria Theresa, Rosenkavalier is permeated with waltz—even though, strictly speaking, the waltz as genre did not come into being until later, and thus its appearance here was somewhat anachronistic. The work is part bedroom farce on the scandalous order of Mozart’s Figaro, part archetypical bourgeois satire in the Molière vein. Adapted from a French novel by Louvet de Couvray (a contemporary of Beaumarchais, on whose work Mozart and Da Ponte based Figaro ), it is a tale as full of intrigues and subplots as any 18th- century comedy. On the surface it is simply a story of bourgeois manners surrounding love, marriage, and alliances of noble families created through arranged (and often loveless) marriages; beneath the froth, however, are serious musings on the nature of fidelity, kinship, aging, and altruism.

At the center of the drama is the Marschallin Marie Thérèse, who at the opening of the opera (and of the Suite heard on tonight’s concert) is engaged in a love-tryst with the strapping young Count Rofrano (Octavian)—while her husband, the Field Marshal, is away on duty. Later that same day her cousin, the oafish Baron von Ochs, comes to visit, announcing that he would like to marry Sophie, the young daughter of the Faninal family; he aims to propose to her by presenting her with a silver rose. The Marschallin suggests sending young Octavian as envoy to present the rose, and Ochs agrees. In the second act, when the young man presents the rose to the lovely Sophie, the two fall immediately in love. (It is Octavian, then, who is the “rose-knight,” or Rosenkavalier. Because of his youth, his is a “trousers role,” sung by a mezzo-soprano.) Octavian and Ochs duel for Sophie’s love, and the younger man wounds Ochs’s arm. The third act begins with a typical farce designed to “teach Ochs a lesson,” complete with an attempted seduction by Octavian, dressed in drag as “Mariandel.” At the scene’s culmination, in which policemen are called in to shame the Baron, the wise and authoritative Marschallin breaks in to restore order. Renouncing her own dalliance with the young man (she knows he will ultimately leave her for a younger woman anyway), the worldly Marie Thérèse gives Sophie and Octavian her blessing, content with the knowledge that the couple will marry for love and not—as in her own case—for reasons of expediency.

A Closer Look The music of Rosenkavalier is full of wistful romance, with a palpable undercurrent of tristesse, an awareness of life’s brevity. Several have been spawned from this glorious music, including a background score for a silent-film version of the opera prepared in 1926 by film assistants and conducted (rather reluctantly) by Strauss himself. The composer arranged a set of waltzes from the opera for concert performance, but was never moved to gather a more broadly encompassing suite of the most important moments of the work. In 1945 the conductor Artur Rodzinski prepared an orchestral suite for performance with the New York Philharmonic, which was possibly approved by Strauss and quickly became a favorite of Eugene Ormandy as well and of The Philadelphia Orchestra’s audiences. (Rodzinski’s authorship of this arrangement is subject to dispute. Eugene Ormandy’s own score of the Suite has been inscribed with the following: “Opera score made into a suite. [Arr. by] Rodzinski?, Ormandy?, Dor[ati]?” This score includes paste-ins and written-out transitions, suggesting that it had been used in modular fashion by guest conductors, each of whom altered it according to his own taste.)

In the version published by Boosey & Hawkes in 1945, the Rosenkavalier Suite comprises much of the Prelude to Act I; the presentation of the silver rose (accompanied by the striking and justly famous chromatic chords consisting of piccolo, flutes, celesta, harp, and solo violins); the arrival of Baron von Ochs in Act II; the second-act waltzes; and finally the duet (the “Ist ein Traum” culmination of the love drama—possibly the opera’s most beautiful music); the trio; and the big waltz from Act III.

—Paul J. Horsley

Der Rosenkavalier was composed from 1909 to 1910.

Eugene Ormandy conducted the first Philadelphia Orchestra performances of the Rosenkavalier Suite, in February 1945. The work was a favorite of Ormandy’s, who performed it many times, especially on tour. Its most recent appearance on a subscription performance was in January 2004, with Carlos Kalmar on the podium.

The Philadelphians recorded the Rosenkavalier Suite four times, all with Ormandy: in 1947, 1958, and 1964 for CBS, and in 1974 for RCA.

The Suite runs approximately 20 minutes in performance.

Program notes © 2010. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. GENERAL TERMS Cadence: The conclusion to a phrase, movement, or piece based on a recognizable melodic formula, harmonic progression, or dissonance resolution Chanson de geste: any of a group of epic poems of medieval France written from the 11th through the 13th centuries Chord: The simultaneous sounding of three or more tones Chromatic: Relating to tones foreign to a given key (scale) or chord Coda: A concluding section or passage added in order to confirm the impression of finality ContraContrapuntal:puntal: See counterpoint Counterpoint: A term that describes the combination of simultaneously sounding musical lines Fugato: A passage or movement consisting of fugal imitations, but not worked out as a regular fugue Fugue: A piece of music in which a short melody is stated by one voice and then imitated by the other voices in succession, reappearing throughout the entire piece in all the voices at different places Legato: Smooth, even, without any break between notes Minuet: A dance in triple time commonly used up to the beginning of the 19th century as the lightest movement of a symphony Mode: Any of certain fixed arrangements of the diatonic tones of an octave, as the major and minor scales of Western music Op.: Abbreviation for opus, a term used to indicate the chronological position of a composition within a composer’s output. Opus numbers are not always reliable because they are often applied in the order of publication rather than composition. Ostinato: A steady accompaniment, repeated over and over Rondo: A form frequently used in symphonies and concertos for the final movement. It consists of a main section that alternates with a variety of contrasting sections (A-B-A-C-A etc.). Scherzo: Literally “a joke.” Usually the third movement of symphonies and quartets that was introduced by Beethoven to replace the minuet. The scherzo is followed by a gentler section called a trio, after which the scherzo is repeated. Its characteristics are a rapid tempo in triple time, vigorous rhythm, and humorous contrasts. Singspiel: A type of German opera established during the 18th century; usually light and characterized by spoken interludes Sonata form: The form in which the first movements (and sometimes others) of symphonies are usually cast. The sections are exposition, development, and recapitulation, the last sometimes followed by a coda. The exposition is the introduction of the musical ideas, which are then “developed.” In the recapitulation, the exposition is repeated with modifications. Tone poem: A type of 19th-century symphonic piece in one movement, which is based upon an extramusical idea, either poetic or descriptive Tonic: The keynote of a scale

THE SPEED OF MUSIC (Tempo) Allegro: Bright, fast Andante: Walking speed Con moto: With motion

TEMPO MODIMODIFIERSFIERS Molto: Very