Rachmaninov: Piano Concertos 2 & 3 (CD review)

Stewart Goodyear, piano; Heiko Mathias Forster, Czech National Symphony. Steinway & Sons 30047.

There was a time--and not too long ago--that many concert pianists shied away from playing the Rachmaninov concertos, especially No. 3, because of their difficulty. Then there was also a time when record companies shied away from releasing both Nos. 2 and 3 on the same disc because the popularity of the pieces was such that they knew they could sell two albums if they issued them separately. Times change.

The relatively young Canadian pianist Stewart Goodyear provides both of Rachmaninov's well-loved concertos with Heiko Mathias Forster and the Czech National Symphony on a Steinway & Sons CD. But this shouldn't surprise anyone; Goodyear's last time out, he gave us both the Tchaikovsky and Grieg concertos on a single disc. You can't say Goodyear shies away from anything.

For those of you who don't know him, Stewart Goodyear began his studies at the Royal Conservatory of Music in Toronto, Canada, received a B.A. from the Curtis Institute of Music in Philadelphia, and completed an M.A. at the Juilliard School of Music. He now calls New York his home and performs with the major orchestras of the world, including the New York Philharmonic, Los Angeles Philharmonic, Royal Liverpool Philharmonic, Toronto Symphony Orchestra, and the Philadelphia Orchestra. As one of the hottest new pianists around, he is very good.

Sergei Rachmaninov (1873-1943) premiered his Concerto No. 2 in C minor, Op. 18 in 1901 after the composer underwent hypnotherapy. It seems the failure of his First Symphony so shook him that he feared he'd never write another note of music, so decided he'd try anything. The hypnotherapy apparently worked because the Concerto No. 2 became an immediate success.

Goodyear plays with a good deal of heart, which is exactly what Rachmaninov needs, particularly the Second Concerto. There's a fine lyrical sweep to Goodyear's interpretation, without exaggerating rubato or contrasts, and his articulation remains refreshingly clear and clean. Moreover, the  Czech National Symphony play with great assurance, always welcome when one considers that the Rachmaninov concertos rely a good deal on the orchestra for long stretches.

The pianist's handling of the central Adagio flows along peacefully, with no undue jolts or jitters. And in the finale we get a properly robust and Romantic projection of Rachmaninov's sentiment. Yet Goodyear eschews any overt sentimentality, presenting the music directly and cogently.

By the time Rachmaninov wrote the Piano Concerto No. 3 in D minor in 1909, it seemed like a continuation of the Second Concerto. The composer had apparently found his voice. He said he wanted the first movement to "sing," and so it does, in a soaring, graceful manner. The music is a little more serious and demanding than the Second Concerto, and even though Goodyear has his hands full, to be sure, he comes out relatively unscathed.

Stewart Goodyear
Still, as I say, with the Third Concerto we enter a more dazzling (and longer and more complex) musical world, the piano showing off the soloist's dexterity at the keyboard more so than the Second does. There is no question that Goodyear is up to the task, his finger work impressive in playing the work complete. Nevertheless, I never felt quite as thrilled with his performance as I have with those of several other pianists, most notably Martha Argerich and Vladimir Horowitz. Goodyear's reading seems more subdued, more cerebral, and less explosive. Not that there is anything wrong with this; it's surely a valid approach. It's just that I expected the pianist to uplift and inspire me more than he did.

The question one must ask of any new recording of an old favorite is, surely, Is it any better or any different than existing, competing albums? Does the new recording provide a better performance than those that preceded it, or is the sound any better? In this case, not really. While these are certainly good interpretations from Goodyear in reasonably good sound from Steinway & Sons, unless one is simply an avid collector of all things Rachmaninov, I'd have to recommend the first-time buyer also consider the alternatives in this repertoire: Argerich, Horowitz, Cliburn, Ashkenazy, Janis, Wild, and the like, as well as Rachmaninov himself if one doesn't mind monaural sound.

Producer Keith Horner and engineer Jan Kotzmann recorded the concertos at CNSO Studio No. 1, Prague, Czech Republic in October 2014. The piano sounds fine, if a little too wide compared to the orchestral contribution. In fact, the piano sounds as though it's as broad across as the orchestra is, which is not exactly how a piano would appear in a real setting. But this is a mere quibble; the sound generally seems pretty good, warm and smooth. Except for the rather large effect of the piano, it would all be most natural and lifelike. As to the piano sound itself, it, too, is fairly warm and natural, yet with decent definition and a modest impact. Perhaps a greater degree of depth and dimensionality would have helped the aural presentation as well, I don't know. In any case, the modest ambient bloom of the hall further helps make the sound easy on the ears. If the perspective doesn't bother you, you might enjoy it.

JJP

To listen to a brief excerpt from this album, click here:


Wagner: Preludes and Interludes (CD review)

Fabio Luisi, Philharmonia Zurich. Philharmonia Records PHR 0102 (2-disc set).

Do we really need another recording of Wagner orchestral excerpts, as in Fabio Luisi's 2014, two-disc recording of the composer's preludes and interludes? After all, you can find most of this material from such heavyweights in the field as Otto Klemperer, Georg Solti, Herbert von Karajan, George Szell, Adrian Boult, Klaus Tennstedt, Leopold Stokowski, and others. Does Maestro Luisi and his Philharmonia Zurich bring anything new to the table in the way of performance or sound? Needless to say, the answer is a very personal matter, and it may depend entirely on either your love for Wagner or your devotion to collecting everything of his ever recorded. For me, Luisi's collection is OK, but I wouldn't say it displaces the sets from any of the aforementioned conductors. Let's start with what's in the set.

Disc 1:
Parsifal, Act I: Prelude
Gotterdammerung (Twilight of the Gods), Act I: Siegfried's Rhine Journey
Gotterdammerung (Twilight of the Gods), Act III: Siegfried's Funeral March
Die Walkure, Act III: Ride of the Valkyries
Die Meistersinger von Nurnberg (The Mastersingers of Nuremberg), Act I: Prelude
Tristan und Isolde, Act I: Prelude
Tristan und Isolde, Act III: Isolde's Liebestod

Disc 2:
Lohengrin, Act I: Prelude
Tannhauser: Overture
Rienzi: Overture
Das Liebesverbot (The Ban on Love), Act I: Overture
Die Feen (The Fairies), Act I: Overture

As you can see, most of the program includes the old favorites. However, Luisi does finish up the album with music from two early and relatively little-known Wagner works, Das Liebesverbot and Die Feen (his very first opera), and we'll get to those in a minute.

In the booklet notes Maestro Luisi tells us that he chose to record these opera preludes and interludes because "Wagner was a genius not only in the dramaturgical construction of his works, but also because he used the orchestra in a way it had rarely been used in an opera before. One can see an evolution in the language of the orchestra. Over the course of his creative career Wagner came to regard and use the orchestra less and less as an accompaniment to the action, and to give it an increasingly prominent role in the whole artistic creation." Fair enough, if a tad vague on details. But the music's the thing, and here Luisi does fairly well, especially with Wagner's more-subtle moments, as with the opening selection, the Parsifal Prelude, which sounds mostly subdued and atmospheric.

Siegfried's Rhine Journey appears likewise moody and subdued, which may seem an odd way to begin an album of Wagner orchestral music because there are no seriously big thrills here; yet Luisi does set the scenes up nicely and builds to some heavy-duty climaxes.

Then we get Siegfried's Funeral March, which does carry some serious thrills, which Luisi handles at least adequately. Perhaps his sense of propriety holds him back a little, though, because his reading of the segment's biggest moments lack some of the urgency and excitement of competing recordings.

Fabio Luisi
So, how does the famous Ride of the Valkyries come off? Pretty well, actually. It's here, however, that the sound lets it down a bit. The music needs more bass and greater impact than the engineers provide it. Oh, well....

And so it goes, with Luisi emphasizing the music's Romantic mood swings and lyrical qualities over its more overtly exciting or emotional outbursts. Thus, the power of Wagner's music gets somewhat shortchanged. I wouldn't necessarily count this a disadvantage, though, as there are plenty of conductors who give one primarily the throbs of excitement in Wagner. At least Luisi tries to get to the more introspective side of things, even if it does rob the music of some of its pulse.

If any of this makes sense to you, then, it will not surprise you that I found Isolde's Liebestod one of the highlights of the disc. Luisi captures the passion, beauty, and grace of the piece with a fine, flowing ease.

The Lohengrin, Tannhauser, and Rienzi tracks come off comfortably if a bit prosaically. Then the two seldom-heard concluding pieces remind us why people seldom hear them. They seem rather ordinary, if not a little bombastic, compared to Wagner's more-mature output. But Luisi gives them splendid workouts, and the music can be invigorating at the very least.

Producer Andreas Werner and engineer Jakob Handel made the recording at Goetheanum, Dornach, Switzerland in November 2014. The best thing about the sound, among other things, is its depth of image. You can actually listen into the orchestra and appreciate its front-to-back perspective as well as its left-to-right stereo spread. Yet with a modestly distanced miking the stereo spread remains realistically between the speakers, providing a lifelike seating arrangement for the listener. The hall itself adds to the illusion of realism by providing a soft resonance; not enough to obscure the sound's detailing but enough to offer a little ambient bloom. Quibbles? as I hinted before, I would have liked a deeper bass and a stronger dynamic impact. They would have contributed to an even more-powerful presentation. Nevertheless, what we get is still welcome, if a touch underwhelming.

JJP

To listen to a brief excerpt from this album, click here:


Classical Music News of the Week, April 19, 2015

Listen Magazine Features Olga Kern - Spring 2015

Listen: Life With Music & Culture releases its spring 2015 issue. Olga Kern, "The Worth of a Strad," "Orchestral Anarchy," "Great American Classical Music Moments," "Cooking Music," the "Village Vanguard at 80," and the "Pinball Wizard at 40."

Classical music collides with Billy Joel, Broadway and ballet rehearsals, not to mention Freud and the fuzz in the scintillating Spring 2015 issue of Listen: Life with Music & Culture. Awaken your senses with one of dozens of recordings or pieces recommended by our crackerjack critics, gorgeous illustrations and historic photos, and tantalizing interplay between music and haute cuisine.

For more information, visit http://listenmusicmag.com/

--Amanda Sweet, BuckleSweet Media

Getty Opera Premiere in May: The Canterville Ghost
A new opera by Gordon Getty, The Canterville Ghost, will receive its world premiere at the Leipzig Opera (Germany) on Saturday, May 9, 2015, with additional performances in May and June. The opera, part of a double bill, will be paired with Leoncavallo's Pagliacci. This marks the first premiere of a contemporary work at the Leipzig Opera House during Ulf Schirmer's tenure as general manager.

The Canterville Ghost, with libretto by the composer, is based on the 1887 short story of the same name by Oscar Wilde. In Wilde's story, an American family moves into an English castle inhabited by a centuries-old ghost who ultimately winds up terrorized by the very family he is trying to haunt.

Mr. Getty states: "The dos and don'ts of romantic comedy are pretty much eternal. In The Canterville Ghost Wilde has given us, in short story form, one such romantic comedy of unique beauty and genius, though with heartbreak and redemption along the way. We laugh and cry, and are enriched. I added music, and some words, with the same intention.

"All of its characters who actually sing are meant as endearing. The Otises and Sir Simon are sent up, but we must want to hug them all. Virginia sees most deeply, gets the ideas and makes things happen. Sir Simon would still be lugging his chains but for her. The girl in a romantic comedy must make the audience want to protect her, all the more so for her spunk and moxie.

For more information, visit http://www.oper-leipzig.de/en/programm/the-canterville-ghost-pagliacci/54660

--Shear Arts Services

Five Works Commissioned by YPC for Radio Radiance Premiere April 25
On Saturday, April 25, at 7 p.m., SubCulture, New York City's intimate new downtown performing arts venue, will be transformed into a radio recording studio, when the Young People's Chorus of New York City conducted by Artistic Director/Founder Francisco J. Núñez sings the world premieres of five compositions commissioned for its Radio Radiance broadcast/digital new music series. The music is being recorded that evening for later broadcast by WWFM, The Classical Network, other public radio stations, and digitally through podcasts.

The series was created by YPC in 2009 to excite and challenge the music perceptions of young people by reaching them through the kinds of audio technology they use every day: iPods, iPhones, sound pods, MP3's, laptops, as well as the time-honored medium of radio. In their compositions, each of the composers-Samuel Adler, Ryan Lott (aka Son Lux), Caroline Mallonée, Frank Oteri, and Aaron Siegel-have been challenged use new ideas and ways of thinking to write for today's young people and in the way they are most likely to enjoy music, not only in concert halls, but on the go.

Tickets for the April 25 Radio Radiance concert/recording are $25 and are available on the SubCulture website at http://subculturenewyork.com/event/ypcnyc/

--Angela Duryea, YPC

Gunther Schuller to Receive 2015 Edward MacDowell Medal
Former New England Conservatory President, composer, conductor, author, publisher, historian, record producer, virtuoso hornist, educator and polymath, Gunther Schuller has been selected to receive the 2015 Edward MacDowell Medal. Schuller will receive the medal on Sunday, August 9­ at The MacDowell Colony grounds in Peterborough, New Hampshire.

The MacDowell Colony has awarded the medal every year since 1960 "to an individual artist who has made an outstanding contribution to his or her field. He joins a notable list of past Medal recipients, including Aaron Copland (1961), Robert Frost (1962), Georgia O'Keeffe (1972), Leonard Bernstein (1987), Stephen Sondheim (2013), and Betye Saar (2014)." As Augusta Read Thomas, chair of the Edward MacDowell Medal Selection Committee notes in their press release: "It was easy for the selection committee to choose Gunther. He's a composer's composer with laser-sharp ears, a sensitive, fertile, creative mind, endless energy, and a generous, humane soul."

Schuller steered New England Conservatory through one of the most turbulent and formative decades of American and Conservatory history, beginning with NEC's centennial year. During his tenure as President from 1967-1977, as the Western world rocked to the rhythms of social upheaval and burgeoning youth culture, Schuller formalized NEC's commitment to jazz by establishing the first fully accredited jazz studies program at a music conservatory. Shortly thereafter, he instituted the Third Stream department (which lives on today as Contemporary Improvisation) to explore the regions where the two musical "streams" of classical and jazz meet and mingle, and hired the iconic Ran Blake to be its chair. Early jazz hires included the legendary Jaki Byard and George Russell.

For more information, visit http://necmusic.edu/

--Lisa Helfer Elghazi, Media Relations

National Philharmonic Announces Its 2015-16 Season at the Music Center at Strathmore
Music Director and Conductor Piotr Gajewski and the National Philharmonic announced its 2015-2016 season today, as it enters its second decade of performing at the Music Center at Strathmore. The National Philharmonic's  new season at Strathmore kicks off in mid-September with American 20th-century masterpieces: Leonard Bernstein's Symphonic Dances from West Side Story and Gershwin's American in Paris and Concerto in F with pianist Thomas Pandolfi, a leading interpreter of the works of Gershwin. Tenor Issachah Savage, who this year made his Metropolitan Opera debut, sings the title role in the powerful concert opera Rienzi by Wagner. Pianist Brian Ganz, who is halfway through his journey to perform all of Chopin's works, will be joined by Polish soprano Iwona Sobtka in an evening dedicated to the rarely performed songs of Chopin.

Other soloists returning this season include violinist Chee-Yun, who performs Mozart's Violin Concerto No. 4, cellist Zuill Bailey, who plays two Vivaldi concertos, and soprano Danielle Talamantes, who is showcased in Haydn's Lord Nelson Mass. In addition, National Philharmonic concertmaster Colin Sorgi will play Bach's Violin Concerto No. 2, and Mr. Ganz will perform Mozart's Piano Concerto No. 20 in D minor.

The season also features such choral works as Handel's Messiah, Vivaldi's Gloria and Brahms's Nänie. In addition, the National Philharmonic will perform Tchaikovsky's Pathétique Symphony and Serenade for Strings; Mozart's Haffner Symphony, and Grieg's Holberg Suite.

In its twelfth year of residency at the Music Center at Strathmore, the National Philharmonic is performing to nearly 50,000 people each year. The Philharmonic will continue its commitment to education and outreach by offering free concerts to every second grader in Montgomery County Public Schools, free pre-concert lectures, master classes with renowned guest soloists and high quality summer string and choral programs.

The success of the Philharmonic over the past 31 years is largely credited to its critically acclaimed performances that are filled with great, time-tested music and its family friendly approach. All young people age 7 to 17 attend National Philharmonic concerts free of charge through its unique ALL KIDS, ALL FREE, ALL THE TIME program.

Single tickets go on sale in August 2015. Call 301-581-5100 or visit nationalphilharmonic.org

--Deborah Birnbaum, National Philharmonic

Are YOU the Next C&V Composer or Librettist?
Receive free training in the fundamentals of opera!

American Opera Projects (AOP) is now accepting applications for the 2015-17 season of its popular Composers & the Voice program. We will select 6 composers and up to 4 librettists for a two-year fellowship working collaboratively with singers on writing for the voice and contemporary opera stage.

The Composers & the Voice Workshop Series is a competitive biannual fellowship offered to composers, librettists, and composer/librettist teams. Created and led by Composers & the Voice Artistic Director Steven Osgood, the two-year fellowship includes a year of working with the company's Resident Ensemble of Singers and Artistic Team followed by a year of continued promotion and development through AOP and its strategic partnerships. Since launching in 2002, C&V has fostered the development of 44 composers & librettists.

With each new group of fellows, "Composer Chairs" make themselves available to our fellows for one-on-one discussions and feedback. Past "Composer Chairs" have included composers Mark Adamo, John Corigliano, Tan Dun, Daron Hagen, Lee Hoiby, John Musto, Richard Peaslee, Tobias Picker, Kaija Saariaho, and Stephen Schwartz.

Deadline for applications is May 15, 2015. Fellowships will be announced by July 1, 2015.

For more information, visit http://operaprojects.org/composers_voice_application.html?utm_source=C%26V+applications&utm_campaign=C%26V+Apps+2015&utm_medium=email

--Matthew Gray, American Opera Projects

Gregg Kallor - Inaugural Composer-in-Residence at SubCulture
Downtown music venue and cultural center, SubCulture, announced their inaugural composer-in-residence earlier this season. The first of three concerts highlighting Gregg Kallor as a composer and pianist kicked off with much success.

Upcoming concerts feature new Songs on April 28 celebrating National Poetry Month and the150th anniversary of William Butler Yeats. On June 11, Gregg will be joined by acclaimed artists Joshua Roman, cellists and Miranda Cuckson, violin for a night of new ChamberMusic.

For more information, visit http://subculturenewyork.com/

--Ely Moskowitz, Kirshbaum Demler & Associates

American Bach Soloists Present Bach, Vivaldi, & Leo
Bach: Concerto for Two Violins in D Minor
Bach: Orchestral Suite No. 4 in D Major
Bach: Gott soll allein, mein Herze haben Cantata 169
Vivaldi: Nisi Dominus
Leo: Concerto for Violoncello in A Major

Ian Howell countertenor
Gretchen Claassen violoncello - 2015 Jeffrey Thomas Award Recipient
Elizabeth Blumenstock & Cynthia Black violinists
Jeffrey Thomas conductor

Friday May 1 2015 8:00 p.m. - St. Stephen's Church, Belvedere, CA
Saturday May 2 2015 8:00 p.m. - First Congregational Church, Berkeley, CA
Sunday May 3 2015 4:00 p.m. - St. Mark's Lutheran Church, San Francisco, CA
Monday May 4 2015 7:00 p.m. - Davis Community Church, Davis, CA

For more information, visit http://americanbach.org/seasons/14-15/2015-03.html

--American Bach Soloists

NEC Marks Official Start of Construction with Celebratory Groundbreaking on May 5, 2015
Celebrating the start of construction on its Student Life and Performance Center (SLPC), New England Conservatory will host a joyful groundbreaking ceremony on May 5, 2015 at 3:30 PM. Open to the public, the event takes place on the construction site located at 241 St. Botolph Street, near the corner of Gainsborough St. The ceremony will include remarks by Conservatory and government leaders interspersed with music performed by NEC students.

The first new construction at NEC since 1959, the $85 million SLPC is scheduled to open in 2017, to coincide with the Conservatory's 150th anniversary. It will house a new residence hall with 250 beds, a two-level library for audio and print resources, a new dining commons, a black box opera studio, large orchestra rehearsal space with acoustics mimicking Jordan Hall, and a small ensemble room with recording studio suited to jazz and contemporary improvisation.

For students, the new building will have a powerful impact on their experience at NEC. "Having everything in one place will be a wonderful way to bring people together," said student violinist Robyn Bollinger '13, '15 M.M. "Being able to practice, rehearse, and relax will be so much easier. One can go back and forth quickly. You can take some down time and then jump back in. It will offer a great benefit for the health and happiness of the student body."

For more information, visit http://necmusic.edu/give-nec/slpc

--Lisa Helfer Elghazi, Media Relations

Sacred Music in a Sacred Space Presents Bach's Mass in B Minor, May 6
Sacred Music in a Sacred presents Bach's Mass in B Minor at NYC's Church of St. Ignatius Loyola on May 6 at 7:00 p.m.

Conductor K. Scott Warren, the acclaimed Choir and Orchestra of St. Ignatius Loyola and a lineup of exceptional vocal soloists perform one of classical music's most revered works.

On Wednesday, March 16, 2015, at 7 p.m., New York audiences are in for a delight as Sacred Music in a Sacred Space presents J.S. Bach's masterwork Mass in B Minor. Monumental, intricate and full of insight into the widest spectrum of human experience, Bach's B Minor Mass is widely considered the greatest composition in the Western classical canon. Although completed in 1749, the work was never performed in its entirety during the composer's lifetime, and did not receive its first full performance until over 100 years later in 1859.

Tickets range from $25-80 and may be purchased at http://www.brownpapertickets.com/event/682202 or by calling 212.288.2520.

--Amanda Sweet, BuckleSweet Media

Dover Quartet Residency at Northwestern University's Bienen School
The Dover Quartet--the young American string ensemble that catapulted to international stardom after winning the grand prize plus all three special prizes at the 2013 Banff International String Quartet Competition--will be headed to Northwestern University this fall as "quartet-in-residence."

The University's Henry and Leigh Bienen School of Music has announced that the Dover Quartet has been appointed to a three-year residency on the Evanston campus starting in October 2015. During those three years, the ensemble will coach chamber music ensembles and perform one concert each quarter.

The award-winning ensemble is comprised of violinists Joel Link and Bryan Lee, violist Milena Pajaro-van de Stadt and cellist Camden Shaw. Members of the Quartet have appeared as soloists with some of the world's finest orchestras, including the Philadelphia Orchestra and the Tokyo Philharmonic.

For more on the Bienen School, visit www.music.northwestern.edu

--Liza Prijatel, Rebecca Davis PR

John J. Puccio

John J. Puccio

About the Author

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (moviemet.com, formerly DVDTOWN) from 1997-2013. Music and movies. Life couldn't be better.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.

Contact Information

Readers with polite, courteous, helpful letters may send them to pucciojj@gmail.com.

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to pucciojj@recycle.bin.