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16785 results in Music: General Interest

Page 315 of 840

Liszt and England
  • Volume 16
  • Wright William
  • Published by:
    Boydell & Brewer
    Published online:
    12 February 2019
    Print publication:
    12 April 2016
  • The first comprehensive study in book form of Liszt's visits to England, replete with copious illustrations, appendix, and fascinating details of several previously unknown Liszt compositions. This volume certainly breaks new ground. It is full of arcana of his life and work, of the music he played, wrote, improvised, 'corrected,' or 'lost in a fire.' William Wright charts the course of the reception history given to Liszt and his music in England from 1824 to the present day. He includes all known premiere performances of Liszt's works in the country, and offers this must-have publication, providing a wealth of material about Liszt found in no other Liszt book, to scholar and general reader alike.

  • Preface

  • Wright William
  • Book:
    Liszt and England
    Published by:
    Boydell & Brewer
    Published online:
    12 February 2019
    Print publication:
    12 April 2016, pp xi-xii

  • Summary

    Today the name “Franz Liszt” (1811-1886) is even more often associated with Hungary than it was a century ago, and it remains associated with France, where Liszt lived from 1824-1835, and with Germany, where he lived from 1848-1861 and intermittently until the end of his rather long life. England isn't so frequently thought of as a “Liszt place,” but it was one—and continues to be one even today. Liszt paid repeated visits to the British Isles during the mid-1820s and the early 1840s, and in 1886 he returned for a final visit shortly before his death. Performers of his music and advocates of his compositional and pedagogical legacy kept the Liszt banner flying throughout the nineteenth century and into the twentieth and twenty-first centuries as well.

    In 1974-1975, when I lived and worked in Bonn with support from the German Academic Exchange Service (the “DAAD,” or Deutscher Akademischer Austauschdienst), I read a lot about Liszt but little about his English sojourns. Only in 1980 did an article appear devoted entirely to one of Liszt's visits to London: Adrian Williams's collection of reports concerning the composer's 1886 London activities. From the early 1980s until the present day, however, the name most often associated with investigations into Liszt's English and Scottish activities is that of William (“Bill”) Wright. I reported on his earliest publications in my own contributions to Acta Musicologica, and I have summarized most—but, as this is written, by no means all—of his subsequent studies. I remain amazed at Bill's enthusiasm for digging up Lisztiana in places most of us would never have thought to look: Cheetwood, for instance, and “Adampol,” an Asian forest enclave for exiled Polish soldiers. In this last settlement and the neighboring “farm of the Lazarist monks,” Bill managed what most of us considered an impossible task: learning anything more of substance about Liszt's only visit to Istanbul. This visit, still shrouded in mystery, is now a bit better understood, thanks to Bill's interest in Irish travel journals, English diaries, and private papers.

    For specialists, perhaps, Bill Wright's contributions to Liszt studies are not obscure. But they aren't always readily available either. The Liszt Society Journal (hereafter “LSJ”), published in Great Britain since 1975, has hosted many of them, the Journal of the American Liszt Society (hereafter “JALS”) has hosted others.

  • Chapter 6 - Mister Liszt in London, 1827

  • from LISZT AND ENGLAND
  • Wright William
  • Book:
    Liszt and England
    Published by:
    Boydell & Brewer
    Published online:
    12 February 2019
    Print publication:
    12 April 2016, pp 83-98

  • Summary

    SYNOPSIS

    Probably the most remarkable aspect of Liszt's public music-making during his time in London in 1827 was the significantly high number of chamber performances he is known to have engaged in with over a score of instrumentalists and within a period of twenty-six days. Of the twelve 1827 London concerts that Liszt is known to have taken part, nine or more included performances of chamber works by him. This fact becomes clear when one considers that three of the twelve concerts were entitled “Séance Musicale,” chamber music events, when Liszt would surely have played on at least one occasion with violinists Anthony Oury and Charles de Beriot, violists John Moralt and Samuel Lyon, ‘cellist “Mons Poignie,” and harpist Théodore Labarre.

    CALENDAR OF EVENTS

    8 April Liszt and his father arrive in London.

    19 May Liszt performs at a Philharmonic Society concert rehearsal at the New Argyll Rooms.

    21 May First “Séance Musicale” at the address of violinist, Antonio James Oury, 15 Wigmore Street, Cavendish Square, commencing at 3 p.m.

    21 May Liszt's Philharmonic Society Concert.

    25 May Liszt performs at Nicholas Mori's New Argyll Room Concert. Performed were a set of “New Grand Concertante Variations for Voice, Violin, Pianoforte and Guitar” performed by “Miss Stephens, Mr. Mori, Master Liszt and Mr. Huerta.”

    28 May Second “Séance Musicale” at 15 Wigmore Street, commencing at 3 p.m.

    2 June Liszt and Mori perform a duo at the Royal Society of Musicians Grand Festival at the New Argyll Rooms.

    2 June Liszt plays at the Theatre Royal, Covent Garden.

    4 June Third “Séance Musicale” at 15 Wigmore Street, commencing at 2.30 p.m.

    5 June Liszt and Minasi perform a duo at Braham's “Benefit” at Theatre Royal, Drury Lane.

    8 June (a.m.) Liszt performs at Nicholas Bochsa's New Argyll Room Benefit concert.

    8 June (p.m.) Liszt performs at Catherine Stephens's Benefit Concert at Theatre Royal, Drury Lane.

    [?9 June] Liszt distributes tickets at the Edward Théleur Dancing Academy, 46 Great Marlborough Street, for all wishing to attend his New Argyll Room Benefit Concert on 9 June.

    9 June Liszt's Argyll Room Benefit Concert.

    14 June Liszt visits Charles Kensington Salaman at 19 Charing Cross.

    14 June Liszt performs at a New Musical Fund Festival Dinner.

    14 June Liszt performs at Trinidad Huerta's Argyll Room Benefit Concert.

  • Chapter 5 - Czerny and Liszt, 1823-1825 and 1826

  • from LISZT AND ENGLAND
  • Wright William
  • Book:
    Liszt and England
    Published by:
    Boydell & Brewer
    Published online:
    12 February 2019
    Print publication:
    12 April 2016, pp 77-82

  • Summary

    SYNOPSIS

    The following chronicle of works and accompanying text reveal the crucial significance of Czerny's involvement with Liszt's early European tours. Some of the material below refers to material also presented in Chapter 1.

    WORKS composed by Czerny for Liszt to perform:

    Reichstadt Waltz with brilliant variations for piano, Op. 14.

    Reichstadt Waltz with brilliant variations for piano and orchestra, Op. 14. Both versions were probably composed and published in 1823.

    Grande Polonaise brillante in B-flat for piano, Op. 18. Probably composed and published in 1823.

    COLLABORATIVE WORK, edited by Czerny and published in London (1824), promoting Liszt as composer:

    “A Favorite Waltz [the Diabelli Waltz] with variations for piano…”

    The legacy of Liszt's early repertory includes four works composed by Carl Czerny, one for piano and orchestra with available orchestral parts and three for solo piano. All are held in British libraries. A fifth piece by Czerny, played by “Master Liszt” and also scored for piano and orchestra, is presently untraced. They were cited collectively for the first time in Liszt literature in 2007 by Belgian scholar, Malou Haine as ”un Concerto, des Variations, un Thème varié et une Polonaise … [et] “les Variations sur un thème de Rode (“La Ricordanza”) de Czerny.” Regarding the Polonaise, again see Illustration 1.

    There can be little doubt that Czerny played a pivotal role in Liszt's development as a performer and composer. Unfortunately, Czerny's influence on Liszt has only recently begun to be recognized.6 Liszt's biographical legacy is therefore incomplete, and Czerny's influence deserves its place within that legacy. Consider Liszt's youthful repertory. Since the publication of two Theatre Royal, Manchester, playbills in Lina Ramann's Liszt biography, it has been accepted as fact that Liszt performed Hummel's Concerto in A minor with the Theatre Royal orchestra on 16 June 1825. This did not happen. Instead, the 25 June issue of the Manchester Courier and Lancashire Advertiser clearly states that Liszt played Czerny's Grand Concerto [in F Major, Op. 28] “instead of” Hummel's A-minor Concerto. As the paper reported:

    In the Course of the Evening [i.e., 28 June 1825] Master George Aspull will play on the Grand Piano Forte Czerny's Grand Concerto (with Orchestral Accompaniments) as played by him at his Second Concert at the Hanover-Rooms [on 14 June 1824].

  • Appendix A - Previously Little-Known Liszt Letters Relating to England, 1837-1886

  • Wright William
  • Book:
    Liszt and England
    Published by:
    Boydell & Brewer
    Published online:
    12 February 2019
    Print publication:
    12 April 2016, pp 239-264

  • Summary

    All letters appear below with the addressee's name and the date and place of the letter, if provided by Liszt, at the beginning of the translation. Occasionally Liszt also included date and/or place at the ends of letters. Dates and/or places in square brackets are merely suggestions.

    The letters that appear below, dated 1840 or 1841, do not appear in Michael Short's edition of Liszt letters in the Library of Congress.

    Letter 1: To the Queen's most Excellent Majesty [Queen Victoria]

    [1837 or 1838]

    Madam,

    In laying before the Lovers and Patrons of Instrumental Music the accompanying production entitled ‘Soirées de Rossini’ for the Student and Amateur of the Piano Forte I cannot but feel an equal pride and thankfulness in acknowledging the being privileged by your Majesty's gracious and especial permission to Dedicate to your Majesty the humble product of my professional pen.

    Allow me, Madam with the deepest sentiments of gratitude, to subscribe myself with the profoundest respect, Madam,

    Your Majesty's most dutiful,

    most humble and most devoted Servant,

    F. Liszt.

    Letter 2: To Julius Benedict5

    Paris, 27 April 1840.

    Sorry for the delay my dear Benedict but I have had a multitude of problems these past few days that I will at best only be able to tell you about – I will definitely leave next Monday, the 4th of May. Érard has been kind enough to offer me an apartment and I have accepted, so our reunion will be at 18 Great Marlborough Street. I am already very much looking forward to it. As regards the terms, we will say 30 guineas if that is acceptable to you. Mrs. Anderson6 and Mr. Parry7 who have also asked me to play at their concert are paying me this amount and I do not want to accept public engagements for any less.

    I do not know how to thank you for going to so much trouble for me prior to my arrival – I am not very familiar with London – There may not even be an opportunity to give a concert – what do you think? I will follow your advice on the matter. In the meantime, I see that it makes good sense to set aside a day for a potential concert – thank you for thinking about it.

  • Chapter 2 - Master Liszt in Manchester, 1824

  • from LISZT AND ENGLAND
  • Wright William
  • Book:
    Liszt and England
    Published by:
    Boydell & Brewer
    Published online:
    12 February 2019
    Print publication:
    12 April 2016, pp 35-50

  • Summary

    SYNOPSIS

    From the end of July toward mid-August 1824 Liszt and his father visited the Manchester area, including the village of Cheetwood; there Liszt gave several performances and lost some—perhaps most—of his youthful compositions to fire. It may be assumed that Liszt became totally au fait with the Logerian system of pianoforte instruction when based at the home of Andrew Ward and his apprentice, Richard Hoffman Andrews in Cheetwood village near Manchester: a system that Ward introduced to the local community, Friedrich Kalkbrenner modified, and Liszt occasionally adopted. And given the “general playing” by Ward's “numerous pupils” at his Manchester Logerian school of works by “Clementi, Scarlatti, Mozart and Beethoven” it is not surprising to find Liszt entering publicly into the field of piano teaching two years later by publishing Books II and III of Muzio Clementi's Préludes et exercices with his added fingering and metronome marks.

    CALENDAR OF EVENTS, July-August 1824

    31 July Liszt and his father arrive at Andrew Ward's house in Cheetwood village.

    1 August Liszt's Érard piano arrives at the Theatre Royal in Manchester.

    2 August Liszt performs at the Theatre Royal, Manchester.

    4 August Liszt performs at the Theatre Royal, Manchester.

    6 August Liszt performs at the Theatre Royal, Manchester.

    7, 8, or 9 August Liszt and his father leave Cheetwood village for the Port of London.

    CORRESPONDENCE

    There are no known letters from or to Liszt or his father during this period.

    WORKS PERFORMED BY LISZT

    2 August Hummel: Grand Concerto No. 3 in B minor, Op. 89.

    2 August Moscheles: Grand Variations on The Fall of Paris with orchestral accompaniment.

    4 August Czerny: Reichstadt Waltz with Brilliant Variations for piano and orchestra, Op. 14.

    6 August Nothing is known of the works Liszt performed on 6 August.

    Liszt and his father left the White Horse Inn, Fetter Lane, London, in an Edward Sherman “Telegraph” coach on the afternoon of 30 July. After travelling through Barnet, St. Albans, Northampton, Leicester, Derby, Leek, and Macclesfield, they arrived in Market Street, Manchester, twenty-four hours later. It was a tedious journey of some 186 miles, euph-emistically described in the Manchester Mercury as “expeditious.”

  • Chapter 9 - The Hidden Years, 1842-1865

  • from LISZT AND ENGLAND
  • Wright William
  • Book:
    Liszt and England
    Published by:
    Boydell & Brewer
    Published online:
    12 February 2019
    Print publication:
    12 April 2016, pp 179-200

  • Summary

    SYNOPSIS

    Belgian pianist Marie Pleyel's amazing success as pupil of Liszt at popularising his works in England during the “Hidden Years,” particularly with Les Patineurs, S. 414/2, effectively mobilized a small army of lady pianists to include this work in their concert programs and—to increasing acclaim - in the English provinces. The British capital, however, was for them and almost all of similar pursuit, a hazardous place to play. Despite this fact, the heroic challenge of promoting the music of Liszt in London was eagerly accepted by Walter Bache in 1865. Bache also found willing recruits to the cause at the school for The Higher Development in Pianoforte Playing founded by Oscar Beringer, and by kindred spirits Edward Dannreuther, Fritz Hartivson, and Karl Klindworth. These men battled against intimidating odds to perform Liszt's music in England prior to Bache's capital crusade.

    Liszt's cause was greatly helped by his promotional work in London by August Manns, by similar gains on the part of Charles Hallé in Manchester and the work of William Cusins and, during the Edwardian era, by the sterling work of Wilhelm Ganz, Dan Godfrey, George Henschel, Hans Richter, Henry Wood, and others. These last individuals secured a place for Liszt's symphonies and symphonic poems on the programs of orchestral concerts in London and the provinces during the later nineteenth century, while more than occasional performances of Liszt's oratorio, St. Elisabeth were given in England during the Edwardian era.

    Performances of Liszt's chamber music were also heard at semi-private concerts held in the exclusive Athenaeum and Crichton Clubs of London during the same period.

    SELECTED WORKS OF LISZT's PUBLISHED IN ENGLAND, 1842-1865

    1842 Fantasie sur des motifs favoris de l'Opera “La Sonnambula” de Bellini. Boosey & Co.

    1842 Morceau de salon, S. 142: the Etude de perfectionnement originally published by Breitkopf & Härtel; S. 142. Chapel Copy published by Schlesinger of Berlin and owned by the John Rylands Library, Manchester University.

    1842 Réminiscences des Huguenots, possibly S. 412iii. Chapel.

    1843 [Overture to] Guillaume Tell. Goulding & D'Almaine.

    1843 Harmonies poétiques No. 1. Wessel: reprint.

    1843 Réminiscences de Don Juan de Mozart. Cramer & Co., plate no. 3075.

    1845 Faribolo Pastour, S. 236/1. Addison & Beale.

    1846 “Reveries Religieuses de Beethoven et Schubert.” An anthology of Liszt's transcriptions. Wessel; plate nos. 6525-6534.

  • Appendix C - Gleanings from the Press and Online Sources

  • Wright William
  • Book:
    Liszt and England
    Published by:
    Boydell & Brewer
    Published online:
    12 February 2019
    Print publication:
    12 April 2016, pp 275-278

  • Summary

    Etude en douze exercises of 1826:

    “Etudes op. 6, by Le Jeune Liszt … the same book also including Books 11 and 111 [?] of Clementi's Préludes et Exercices fingered and metronome by Le Jeune Liszt also.”

    Musical Standard (21 October 1911): 257.

    Of the Consolations:

    Liszt's Consolation [No. 3] for the Pianoforte sent free on receipt of 12 post-age stamps – “Pure, melodious, and full of sweet and soothing expression” – Daily News. “One of the most charming things of the kind” – Athenaeum. [An advertisement published by] Ewer and Co. 390 Oxford Street, London.

    Times (5 April 1858): 4.

    Of Liszt pianos:

    An entry in the Broadwood daybook for 4 August 1826 records the sending of a 6 ½ octave grand piano no. 10982 addressed to Monsieur la jeune Liszt pianiste, Rue Chantereine no. 6, Paris (ref: 2185/111/42/17). It was apparently provided as a present for the young Franz Liszt by Thomas Broadwood since it is recorded as being’ a present by order of Mr. T. Broadwood.’ The relevant number book for this piano (ref: 2185/JB/42/233) provides another entry for the piano for 11 January 1827. Unfortunately the page for that date in the number book (ref: 2185/JB/42/18b) is so badly faded that it is unreadable.” An email, dated 13 April, 2005 from Margaret Griffiths, History Centre, Surrey.

    See also the Musical World (14 March 1863): 164.

    Of Die Legende von der heiligen Elisabeth:

    “… the first part of St. Elisabeth has repeatedly been given at the Athenaeum [in Manchester] by the finished choir over which Dr. [Henry] Hiles [1826-1904] formerly presided, a great desire was excited to hear the complete work written in so serious and thoughtful a strain…”

    Musical Times (1893): 603.

    Of Liszt's death mask:

    Liszt's Death Mask held in The Royal Academy of Music in London. Committee of Management meeting, Wednesday 26 January 1921, 5.30 p.m.

    “Sir Alexander Mackenzie presented a death mask of Liszt, explaining that there were but four or five of those in existence, and he thought it would be more suitable for a Public Institution than a private house. The gift was accepted with acclamation.”

  • Chapter 10 - The Later Victorian and Edwardian Eras, 1865-1911

  • from LISZT AND ENGLAND
  • Wright William
  • Book:
    Liszt and England
    Published by:
    Boydell & Brewer
    Published online:
    12 February 2019
    Print publication:
    12 April 2016, pp 201-212

  • Summary

    SYNOPSIS

    In his autobiography My Life of Music, Henry Wood cites his performance of Liszt's Faust symphony at the Queen's Hall, London, on 20 November 1897 as “the beginning of my determination to make Liszt's music more widely known.” The fact that Wood claims to have conducted Liszt's oratorios Christus and St. Elisabeth in Nottingham shortly afterward (although no trace of the latter events have come to light) shows just how highly, like Walter Bache before him, Wood viewed Liszt's music from early on.

    During the “Fallow Years” Wood continued his Lisztian quest by conducting four performances of the Faust symphony, two of the Dante symphony, seven of the symphonic poem Orpheus (with several other tone poems); he also added his own orchestral arrangement of the three Liebesträume to the orchestral repertory. Sir Malcolm Sargent and Sir Thomas Beecham shared Wood's high view of Liszt, a fact clearly revealed by their respective direction of Christus in Leeds in 1934, the year Ernest Newman wrote his fierce and damaging monograph against Liszt and his music.

    WORKS OF LISZT's PUBLISHED IN ENGLAND, 1865-1886 (selected, and exclusive of: 1) compositions published during or immediately after Liszt's last visit to London in April 1886; 2) keyboard anthologies; and 3) compositions reprinted repeatedly both in England and other nations).

    This list does not include the original titles of many works, nor does it provide plate numbers or other bibliographic details.

    1868? “O Star of Eve,” S. 444. William Czerny.

    1870 Bijou de Preciosa. Edwin Ashdown.

    1870 William Tell overture. Ashdown & Parry.

    1870 Soirées de Vienne No. 7. Ashdown & Parry.

    1874-1887 Franz Liszt Songs Series, with lyrics translated into English by Constance Bache. Many of the songs below feature lyrics translated into English by Bache.

    1874 “Mignon's Song” (F-sharp Major), S. 275. Stanley Lucas, Weber & Co.

    1874 “The Fisherboy,” S. 292/1. Stanley Lucas, Weber & Co.

    1874 “The Herdsman's Song,” S. 292/2. Stanley Lucas, Weber & Co.

    1874 “The Alpine Hunter, S. 292/3.” Stanley Lucas, Weber & Co.

    1874 “Thou bloomest like a flow'ret,” S. 287. Stanley Lucas, Weber & Co.

    1874 “By Rhine's fair waters,” S. 272. Stanley Lucas, Weber & Co.

  • Introduction: Liszt and England, Past and Present

  • from LISZT AND ENGLAND
  • Wright William
  • Book:
    Liszt and England
    Published by:
    Boydell & Brewer
    Published online:
    12 February 2019
    Print publication:
    12 April 2016, pp 3-16

  • Summary

    The present volume is based on diary entries, playbills, programs, press reports and archival material, mainly from British and European sources. As such it represents the first comprehensive analysis of Liszt's executant, compositional, and literary activities in London and the English provinces. Also incorporated is a detailed listing of the composer's London publications and selected correspondence while in England. A final chapter focuses on major developments on the Lisztian front from 1945 to the present day.

    In order to approach the subject with clarity and ease the following subdivisions are adopted:

  • Documents and secondary material, published between 1835 and 2000, relative to Liszt's early visits to England, plus reviews of pre-1865 performances of works of Liszt, published before 2000.

  • Documents and secondary material relative to Liszt's final visit to England published between 1886 and 2000.

  • Documents and secondary material relative to Liszt's visits to England published between 2000 and 2013.

    • Documents and Secondary Material: Early Visits

    When I began the research more than twenty years ago that has grown into Liszt and England. I commenced by investigating what had appeared in print during the nineteenth and early twentieth century on Liszt's English activities. I examined Joseph d'Ortigue's 1835 biographical study, the encyclopaedic Liszt essays of Gustav Schilling and François Fétis, the six letters from Liszt's father, Ádám Liszt, published in the Münchener Propylàen, Charlotte Moscheles's Aus Moscheles’ Leben, the first of the two installments of Lina Ramann's Franz Liszt als Künstler und Mensch, Liszt entries in the various editions of Grove's Dictionary up to the 1927 edition, and Volume 1 of the Correspondance de Liszt et de la Comtesse d'Agoult edited by the late Serge Gut and Jacqueline Bellas—all this before re-reading what Sacheverell Sitwell, Humphrey Searle, Alan Walker, Adrian Williams, and others had written about Liszt's pre-1842 visits to England.

    A cache of playbills and a rich vein of press and journal material lay waiting to be unearthed. They would soon provide me with evidence of several unknown performances by Liszt in London in 1824, 1825, 1827, 1840, and 1841. More important: a few uncatalogued compositions that Liszt wrote with others would also be brought to light.

  • Chapter 11 - The Fallow Years, 1911-1944

  • from LISZT AND ENGLAND
  • Wright William
  • Book:
    Liszt and England
    Published by:
    Boydell & Brewer
    Published online:
    12 February 2019
    Print publication:
    12 April 2016, pp 213-222

  • Summary

    SYNOPSIS

    During the 1910s, 1920s, 1930s, and 1940s Liszt's popularity in England waned. A few compositions received repeated performances but a great many works were neglected.

    Eleven performances of Liszt's Dante and Faust symphonies were heard in England before 1912. During this period more than fifteen complete or partial productions of his oratorio St. Elisabeth were given, as were seven of his Psalm 13, twenty-one of his symphonic poem Tasso, and twenty of Mazeppa. Scores and scores of performances of his tone poem Les Préludes, plus fifteen of his symphonic poem Orpheus, were also heard in concert halls throughout England at this time. All welcome news for Wilhelm Ganz, who observed that by the close of the Edwardian era Liszt's symphonies and symphonic poems were in the programs of the orchestral concerts in London and the English provinces.

    Then Liszt's popularity began to wane in England. A single performance of Liszt's Dante symphony, conducted by Dan Godfrey, was given in Bournemouth in 1914, another in Bath directed by Frank Tapp in 1917. Four performances of Liszt's symphonic poem Orpheus were conducted by Sir Henry Wood at the Queen's Hall Promenade Concerts between 1913 and 1921. Two performances of Psalm 13 took place: one directed by Sir Alexander Mackenzie at a Royal Academy of Music in 1912, the other conducted in Manchester by Thomas Beecham three years later, together with a performance of Liszt's Psalm 137 by Charles Kennedy Scott and the Oriana singers in 1915. By 1925, however, resident conductors in England rarely rose to the challenge of directing the music of Liszt. This failure to give due recognition to the Hungarian composer and his works prompted the following letter from Charles Ovenden of St. Edward School, Oxford, to appear in the May issue of the Musical Times:

    Neglect of Liszt's Music

    Will you allow me to express my gratitude to Mr. [Michel-Dimitri] Calvocoressi for his admirable articles on Liszt. The lamentable ignorance of Liszt's works in this country is, of course, due to the fact that we never have any opportunities to hear them.

Page 315 of 840