Neal Colgrass is producing a documentary of the life and work of his father, Toronto-based composer Michael Colgrass. He has shared a fascinating clip, that follows his father to the Arctic in 1989, to explain the birth of Arctic Dreams, a suite born of geography mixed with Inuit customs and lore.
I love the relationship between Colgrass’s score and its original inspiration — the relationship is clear, but the depiction is all about the composer’s own imagination.
Cartoon courtesy of The New Yorker
Today’s post was going to be about inspirational people encounters. But much of my year was about encountering profound changes in our society and culture. Continue reading
The spirit of creating lists and my favourite performances of 2011 converged on this funny update on “I’ve got a little list” from Gilbert & Sullivan’s The Mikado (from the Last Night of the Proms in 2004 — the conductor is Leonard Slatkin. Note that it’s only applause after the song).
Now, seriously, folks…
I don’t care if I’m watching a sitcom, a film, a play, an opera or sitting at a concert. What I care about is being led on a journey so compelling that it excludes any other thought or distraction during that span of time.
Technique and a basic outline of the contours are givens.
In a time when we soak in recorded music from dawn to dusk, the performer needs to slap us in the face and remind us that THIS is why nothing can replace a live concert.
I sat in on at least four-dozen truly great concert and opera performances in 2011, but some are more special than others:
DAZZLING SOLOISTS
The classical nod goes to Thomas Allen, whose remarkable July 26 performance at Koerner Hall for the Toronto Summer Music Festival is one I’ll cherish for a long time.
I wrote in the Toronto Star:
Allen, who is 66, is no longer at the peak of his vocal powers. His rich, honeyed baritone is a bit frayed at the edges. But his command of the craft is so powerful, and his personal charm so present, that instead of getting in the way of the music, the occasional scratchy note merely served to intensify the experience.
I covered some performances at the Toronto International Jazz Festival, which exposed me to remarkable globetrotting pianist Jackie Terrasson at the Glenn Gould Studio on June 26.
He rocked my world:
Besides showing off incendiary technique both on the keys and inside the guts of the piano itself, Terrasson wasn’t shy about making us smile.
You have to love a guy who can craft a solo symphony out of the theme from the Harry Potter movies, Michael Jackson’s “Beat It” and vintage schlock-pop song “Smoke Gets in Your Eyes” – and then end his concert with “Just a Gigolo.”
Despite the material, there wasn’t even the thinnest slice of cheese in Terrasson’s music as he wove a mesmerizing spell from melodic licks landing and taking off on unfamiliar harmonic terrain.
Terrasson often seemed oblivious to whether his right hand knew what the heck his left was doing. But, of course, he was in full control of every detail.
Lifetimes of memories are made up of music that packs this much emotional and intellectual punch.
Check this guy out:
MAGICAL COLLABORATIONS
The Royal Conservatory of Music’s ARC Ensemble, a semi-flexible chamber group made up of the school’s finest teachers, has been making a name for itself with an ongoing series of recordings and tours of music and composers from the 19th and early 20th centuries who have fallen into obscurity.
But it’s rare to hear them together at home, which made the two concerts I attended at Koerner Hall particularly happy occasions. Both left me dazzled by the depth of musicianship. The first was with the Kalichstein-Laredo-Robinson Trio, on April 26. The second was with baritone Russell Braun and members of Smithsonian Players, Oct 22 in an all-Mahler program.
Braun deserves an additional bouquet for a gorgeous rendition of Franz Schubert’s Winterreise Cycle with Pentaèdre, at Walter Hall, for the Women’s Musical Club of Toronto, on April 14.
All were total-immersion experiences.
Here are two members members of the ARC Ensemble, pianist David Louie and violinist Benjamin Bowman (who is also National Ballet Orchestra concertmaster and assistant concertmaster with the Canadian Opera Company Orchestra) performing a recently discovered D minor Violin movement by Felix Mendelssohn. The score was reconstructed by Louie:
A ‘PROUD TO BE A TORONTONIAN’ MOMENT
Aside from cringing at the antics of the two brothers in charge of our burg, I’m proud to be a Torontonian. (I think Sarnia or Sault-Ste Marie would be better suited to a Ford Weltanschauung.)
I felt a hot surge of pride as I sat in Carnegie Hall for the Toronto Symphony Orchestra’s concert under music director Peter Oundjian, on March 26.
As a pride and reality check, I had invited a Russian-born professional pianist who has been around the block a couple of times, and clearly thought she had better ways to spend a free Saturday night in Manhattan, a city she had only recently moved to.
I was transfixed. And my companion was transformed, suddenly becoming a lot more interested in what other treats Toronto might have in store.
Here’s a snippet from my Star review:
Realizing that here was Toronto sitting on one of the most storied musical stages in the world made the opening notes of the first piece, Benjamin Britten’s 1945 Sea Interludes suite from the opera Peter Grimes, especially tense.
Britten sets out a series of angry little figures for the violins that, like every note in the rest of the suite, leaves every musician fully exposed. Each violin needs to come in at exactly the right split-second. It’s enough to make a musician’s palms sweat.
For the audience, the opening needs to be a short, sharp call to attention. The first movement is sweetly called Dawn, but the hoped-for quiet shimmer of a new day on the sea portends something deep, dark and menacing.
Oundjian and the orchestra captured the notes — and the mood — perfectly, leading us on to an emotionally and physically stormy musical voyage.
In less than 20 minutes, we heard an orchestra in full technical control, beautifully balanced and sounding rich and succulent in Carnegie Hall’s flattering acoustics.
Equally stunning for both its mix of technical clarity and careful artistry was a deep and affecting reading of Ralph Vaughan Williams’ bleak Symphony No. 4, which dates from 1934. This is not a piece that orchestras frequently put on their season programs, making the concert an even more valuable treat.
Here, in all it’s lengthy glory, is my roundup of seven favourite CDs of 2011.
Click on the album cover images for all the album details.
A skeptic might accuse me of local boosterism. I admit I would rather applaud than jeer local artists, but my favourite album of 2011 is, I’m convinced, a standard of reference — and just happens to star a Toronto musician.
That would be period-instrument violinist Julia Wedman’s recording of the Mystery Sonatas by Heinrich von Biber, released on the Sono Luminus label.
The first listen was a revelation, and each subsequent visit with these interpretations has revealed new layers of craft from both performer and composer.
Here is what I wrote about it in my Toronto Star review, in August:
Toronto violinist Julia Wedman, a member of the Tafelmusik Baroque Orchestra for six seasons, has pulled off an astounding feat in this two-CD set of all 15 Mystery Sonatas (also known as the Rosary Sonatas) by Baroque composer Heinrich von Biber. This music is at once beautiful, provocative and profound, guaranteeing years of listening pleasure. It would take hundreds of words to describe the powerful yet transparent textures that Wedman and her cohorts have conjured out of Biber’s minimal musical instructions. It would take hundreds more to describe the intensely spiritual significance of each sonata, which corresponds to a section of the Rosary. And that doesn’t even touch on the weird and wonderful alternate violin tunings that most of the sonatas require. The world is a better place for Wedman’s interpretation of this remarkable music.
CHAMBER MUSIC
Another favourite chamber-music disc, which also features Wedman, moves from the Baroque to the Classical era, also featuring period instruments: The Eybler Quartet’s recording of music of Backofen and Mozart, with clarinettist Jane Booth, for the Analekta label.
In my review, which ran in my old Toronto Star blog, I wrote:
Clarinettist Jane Booth and Toronto’s Eybler Quartet, one of the few such ensembles in the world to work on period instruments (violinists Aisslinn Nosky and Julia Wedman, as well as violist Patrick Jordan belong to the Tafelmusik Baroque Orchestra, and cellist Margaret Gay is a frequent guest), bring an affecting elegance to this album that features two quintets by Johann Georg Heinrich Backofen (1768-1839) — one for basset horn and strings, the other for clarinet and strings (where Max Mendel sits in as extra violist) — and Mozart’s A-Major Quintet for Clarinet and Strings, K. 581. Booth’s seamless, silken woodwind solos glide over the strings with uncommon grace. The combined effect on is an almost supernatural translucence. This is music of the ether, not the earth.
I also want to give a nod to the the U.K.’s Gould Trio, for a slice of fine Romantic pudding in their Naxos recording of Charles Stanford’s Piano Quartet No. 2. In the Star, I wrote:
From concert programs or classical CD offerings, you’d hardly know that Irish-born composer Charles Villiers Stanford (1852-1924) was the toast of the British Empire in his day. But thanks to dedicated enthusiasts like England’s Gould Trio (pianist Benjamin Frith, violinist Lucy Gould and cellist Alice Neary), we can roll around in some of his most engaging music through gorgeous interpretations. The highlight on this CD is the Piano Quartet No. 2, first performed in 1914, then abandoned, unpublished. After listening to the Goulds (joined by violist David Adams) elegantly serve up the four-movement outpouring of late-Romantic musical pudding, I can’t understand why the Quartet isn’t part of chamber-music concerts everywhere. Other treats on the album are the sparkling, spacious Piano Trio No. 1 and some light stuff — a Legend and two of a set of six Irish Fantasies — that serves as the whipped cream, with cherry on top.
PIANO SOLO
Two albums stand out in a crowded field:
The finest tribute to the 200th anniversary of the birth of Franz Liszt came from Montreal-born pianist Janina Fialkowska, who mixed transcriptions with original compositions, well-known pieces with less-often-heard ones in interpretations at once elegantly understated and magnetically compelling. Her flawless technique is breathtaking, but no less impressive is her ability to gorgeously shape every musical phrase and thought on this ATMA Classique disc.
Korean-born pianist Minsoo Sohn, a laureate of the Honens International Music Competition in Calgary, released a seductive interpretation of J.S. Bach’s Goldberg Variations on Honens’ own label that magically balances a clarity of structure with a storyteller’s knack for building and relieving tension amidst the composer’s studies in counterpoint, cloaked in Baroque structures and dance forms. This is another one of those recordings that reveals fresh insights into both the composer’s and the interpreter’s art with each listen. (Don’t take my word for it: Click through to the Honens site for free streaming audio of this wonderful performance.)
VOCAL/OPERA
A pantheon of prime-time talents assembled for the world-premiere recording of Antonio Vivaldi’s opera Ercole with conductor Fabio Biondi and the Europa Gallante ensemble, somehow managing to still produce a whole much greater than its glittering parts. In my Star review, I wrote:
Fabio Biondi and his period-instrument orchestra Europa Gallante are joined by a Mount Olympus of today’s opera gods and goddesses in this two-CD, world-premiere recording of Ercole (Hercules), a long-forgotten, 2 1/2-hour opera by Antonio Vivaldi 1678-1741). The composer presented this work during Carnival season in Rome, in 1723, as a supersized sampler of his compositional skills. As was the habit of Baroque composers, much of the music here is adapted — with great skill — from earlier works. The opera was such a hit that Vivaldi became the toast of the former imperial capital. This recording, created from a reconstruction from a variety of sources, features long stretches of recitative, but the all-star vocal cast (tenor Rolando Villazón in the title role, along with Joyce Di Donato, Diana Damrau, Philippe Jaroussky and Topi Lehtipuu) never ceases to dazzle. The booklet includes much background history, as well as the full libretto (with translations) by Antonio Salvi.
ORCHESTRAL/NEW MUSIC
I posted last week about the hip joys of England’s Aurora Orchestra and its conductor, Thomas Collon. Earlier this year, they charmed the earbuds out of my head with a Decca album that neatly blurs the boundaries of old and new, courtesy of hot young New York City-based composer Nico Muhly.
Here is a bit of what I posted on my Star blog:
Muhly has interwoven his own works (Elizabeth II) with instrumental arrangements (enriched with the young composer’s own embellishments) of works by William Byrd and Orlando Gibbons (Elizabeth I).
The aesthetics are, of course, vastly different, but they share the trait of pre-dating and post-dating J.S. Bach’s conventions of harmony and counterpoint. As “new” alternates with “old” on the disc, it quickly became apparent to me how much devotion and love Muhly has for the Renaissance masters. His composerly interventions (an extra shimmer of piano or celeste here, an embroidery of clarinet or oboe or English horn there) are elegant and respectful while making the music sound fresh and beguiling. The vast majority of listeners will have no idea that these pieces started off as motets — and, in the case of Muhly’s arrangements, it hardly matters.
John Terauds
British accompanist, conductor and vocal coach Martin Isepp died on Christmas Day, aged 81.
Here is the obituary notice, as published in The Times of London on Dec. 29:
Martin, peacefully on Christmas Day at the Royal Free Hospital. Beloved of Rose, sons Matthew and Peter, Debbie, Seb and Lily. Thanks to Dr McNamara and the Haematology team, The Park End Surgery NW3 and to Dr Carmel Coulter for her care over the last sixteen years. Above all, thanks to the power of Music. Funeral private, Memorial concert to be announced.
There is hardly a working singer in the English-speaking world that wasn’t, at some point, touched by Isepp’s work. Several generations of audiences knew him as one of the great accompanists. And although he worked around the world — including making regular visits to Canada, especially the Banff Centre and Toronto — he will be remembered as one of the stalwart forces that helped make the reputation of the Glyndebourne Festival as a magical place that both artists and audiences wanted to return to year after year.
I had the pleasure of meeting him a few years ago. I arrived nervous, and he had me laughing in less than a minute.
Martin Isepp was one of those remarkable people who knew everyone and had so many decades of experience (he pretty much grew up amidst his mother’s vocal students) that he inhabited the world of song and opera the way Jamie Oliver knows his herb garden. Yet he wore his art lightly.
A small imp of a man, he had a twinkle in his eye and an anecdote at the ready. He inspired me not with an air of authority or as an oracle, but as a partner and cheerleader who would plop you down next him on the piano bench for a hands-on demonstration. I could also quicky tell that fools had better not venture in his direction.
He loved new music, working extensively with Benjamin Britten, yet could navigate a harpsichord accompaniment of a Handel opera with ease. He especially loved art song, in his prime accompanying Elisabeths Schwarzkopf and Söderström, Janet Baker and Jessye Norman, among many, many others.
I was also impressed with someone nearing 80 years of age having the energy and enthusiasm of a 30-year-old.
Nicholas Phan, an immensely talented young tenor who passed under Isepp’s mentorship, wrote eloquently of his personal connection on his blog. Here’s a snippet:
After years of neglecting the world of Lieder and Art Song while running the beginner’s operatic rat-race, through our sessions together I rediscovered my passion for the music that made me fall in love with the art of singing. At a time in my life when I felt that I was starting to lose touch with my wonder, respect, and love for music, Martin rekindled the fire inside of me, reconnecting me with the calling that pushed me to pursue a life in music in the first place.
The news of his passing on Christmas day is a true loss for our musical community, and he will be sorely missed. As the person who delivered the sad news to me on Monday said, “it is difficult to imagine a person with greater integrity, musical instincts and knowledge, and kindness. There is quite simply, no replacement for him.” I could not agree more.Martin, I cannot thank you enough for the inspiration, encouragement, and mentorship you have given me and the musical world around me. May you rest in peace, and may we remember you forever in our world of song.
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There isn’t much of Isepp in action on publicly available video, so I thought I’d share this private performance with tenor Paul Austin Kelly from last year (for a cancer charity in England), because of the poetry in the song, a setting by Benjamin Britten of W.H. Auden’s “On This Island”:
Look, stranger, on this island now
The leaping light for your delight discovers,
Stand stable here
And silent be,
That through the channels of the ear
May wander like a river
The swaying sound of the sea.
Here at a small field’s ending pause
Where the chalk wall falls to the foam and its tall ledges
Oppose the pluck
And knock of the tide,
And the shingle scrambles after the suck-
-ing surf, and a gull lodges
A moment on its sheer side.
Far off like floating seeds the ships
Diverge on urgent voluntary errands,
And this full view
Indeed may enter
And move in memory as now these clouds do,
That pass the harbour mirror
And all the summer through the water saunter.
John Terauds
How’s this for youthful enthusiasm?
That’s the 2011 contingent of the National Youth Orchestra of Canada, entertaining Montrealers with a flash mob in front of Notre-Dame basilica.
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It’s the week of yearly critical reminiscences.
In my first installment, I want to recall my favourite visit of 2011, when the National Youth Orchestra invited me to their pre-concert-tour boot camp at University of Western Ontario.
I had a literal blast — as much from the swirl of youthful energy, as from the devotion of the group’s leaders, mentors and small army of support staff that allow logistical challenges like this to come of smoothly.
As an aide-mémoire, here is the story I wrote in the Star last summer:
LONDON, ONT.—“When I write my autobiography, I’m going to call it, ‘I Woke Up Screaming,’ ” says Barbara Smith.
She then breaks into laughter as she ponders the joys and challenges of being in charge of the country’s flagship summer project for young musicians.
Smith really should call her book “I Discovered the Fountain of Youth.” But it takes a few hours for me to realize that.
We’re sitting in the Faculty of Music’s Talbot Hall on the pastoral campus of the University of Western Ontario, surrounded by a mad jumble of sights and sounds as the National Youth Orchestra congregates for one of its twice-daily full-ensemble rehearsals. Coming close to the end of three weeks of intense work that Smith aptly calls a boot camp, the stage in front of us still buzzes with inexhaustible energy and enthusiasm.
These young people, who range in age from 16 to about 25, are culled by rigorous audition from 500 applicants. All are first-class artists, even though many of them haven’t yet begun university. Many are kids, meaning they need far more oversight than grown-ups.
“This is a microcosm of what you’ll find out there,” Smith says, detailing the personal crises endemic to hormonal teens, gathered from the four corners of Canada.
There are physical challenges, too.
Many of the younger orchestra members are not used to the hours of daily practice time — on their own, with a mentor, in small ensembles and as a full orchestra preparing two separate, substantial concert programs. Achy joints and sore muscles are common.
“We started with about 12 ice packs,” Smith smiles. “I think we have a couple left.” Apparently, the resident nurse had to put up a sign-out sheet on the refrigerator to keep track of who needs cold therapy.
So there have been lectures about saving precious limbs from injury. Tips on proper nutrition arrive alongside suggestions on how to smoothly bow long, sustained notes in a Mahler symphony.
It’s life skills and music skills all rolled into one, big, bouncy ball.
Acting on their own initiative, members of the brass and percussion sections even organized a musical flash-mob surprise to greet this year’s conductor, Vancouver Opera music director Jonathan Darlington.
There aren’t too many places where teens and young adults can enjoy a summer of good, clean fun while challenging their creative side and learning the joys of collaboration. Then they get to step in front of a paying audience who wants to hear the classics done well.
Despite the need to stay on top of a gruelling schedule and the logistics of a 10-city tour, Smith wouldn’t trade this yearly marathon for anything.
Here are some of Canada’s top orchestral musicians, who could easily choose a few weeks’ rest, travel or embark on their own summertime music projects. Instead, they have turned their July over to passing along hard-won wisdom and expertise to a new generation.
It’s almost a rite of passage for classical musicians in Canada: Four out of every 10 orchestral players in the country were once members of the National Youth Orchestra. Most eagerly pay the joy forward: So much so that after each full day of teaching, faculty members present a concert of their own.
On this night, principal and assistant principal players from the Vancouver, Montreal, Toronto and Kitchener-Waterloo symphony orchestras have prepared a program of chamber music that includes R. Murray Schafer’s Theseus — a piece that would tax the finest musicians after hours of practice time.
After a hooting, hollering standing ovation from the kids, everyone retires to the same university dorm.
As the young people (hopefully) drift off to sleep as midnight looms, the adults congregate in a student lounge, passing wine, crackers and cheeses as they share a stream of anecdotes and helpful shop talk distilled from decades of life in the trenches.
As retired Vancouver Symphony principal horn Brian G’froerer recalls from his stints with the National Youth Orchestra in the early 1960s, and his musical adventures in the intervening decades, I realize that each of these seasoned veterans gets as much out of the young people as the students get out of their mentors.
The clock doesn’t just magically stop for a few summertime weeks, but moves backward as experience bumps up against a thirst for knowledge and adventure. While the young players charge, the mentors recharge. This really is the fountain of youth.
John Terauds
Toronto Symphony orchestra concertmaster Jonathan Crow
The Toronto Symphony Orchestra’s new concetmaster, Jonathan Crow, continues to be an active chamber musician, including taking part in the three-day Vancouver Winter Chamber Music Festival in November.
CBC Radio 2′s extensive list of concerts on demand includes a very slightly ragged, but still magnetically compelling performance of Franz Schubert’s C Major Quintet, featuring Crow with Curtis Institute violin student Timothy Chooi alongside great chamber veterans: viola player David Harding and cellists Peter Wiley and Nicholas Canellakis.
It’s seems like a fine way to recover from Boxing Day madness.
Check it out here.
It’s amazing what busy musicians can get up to in their free time.
In the case of Toronto’s Ensemble Polaris, it has led to four CDs and quite a bit of touring for their adventurous blend of old and new music from countries where the Winter Solstice means several extra hours of darkness.
In the spirit of ensembles old and new, the gang prepares many of its own arrangements, and does a lot of improvising.
They present their own twist on a programme of seasonal music Friday evening at cozy and acoustically friendly Heliconian Hall, in Yorkville. Tickets max out at $20, at the door.
“Get away from mall Muzak and join us for some Grog,” they say in invitation for a freewheeling program of Russian folk music, including their own arrangements of a well-known ballet score that rhymes with bushwhacker.
Check out who they are and what they do here.
Here’s a sample of what they do: an improvisation on an Italian tarantella at the Gladstone Hotel in June, 2010, with Marco Cera, guitar, Debashis Sinha, percussion and Ben Grossman on the hurdy gurdy (cellist Margaret Gay looks on):
John Terauds
STUDIO DE MUSIQUE ANCIENNE DE MONTREAL
Musica Vaticana (ATMA Classique)
Montrealer Christopher Jackson and his Studio de Musique Ancienne (pictured above) have made one of their most ambitious recordings, taking on a cross-section of sacred music written to be sung by the Cappella Giulia (the Julian Choir — the Pope’s personal ensemble at the Vatican) in Rome.
The pieces on this album were written between the mid-16th century to the early-18th century. Most are for 12 or 16 parts, meaning three or four four-part choirs.
That alone says much about the complexity of the music presented here.
Jackson has chosen well, with the help of organist Réjean Poirier, who arranged the Missa Beata es Virgo Maria by Vincenzo Ugolini (1570-1638), and Noel O’Reagan, who must have spent hours in the Vatican libraries transcribing manuscripts of 12-part motets by Giovanni De Macque (d. 1614) and Francesco Soriano (1549-1621).
The two best-known composers on this disc are Orlando di Lasso (d. 1594), who contributes the 12-part motet, Domine, quid multiplicati sunt, and Orazio Benvoli (1605-1672), who is represented by two motets for sopranos and continuo and a 16-part (plus continuo) creampuff, Laudate pueri Dominum.
The intricacy of the music is entrancing, and this disc is worth savouring multiple times to truly appreciate the craft behind this music. But the overall effect falls a bit short of the ideal, because the choral sound is not as rich as it could be.
Even the best recording techniques and home sound systems can’t fully capture the wonder of hearing multiple choirs dispersed in an ancient building. Also, Jackson’s 16 choristers (four of each voice), all experienced professionals, can’t hide the fact that, much of the time, there is little more than one voice per part.
On the other hand, it’s not as if we can dash out and hear a live performance in Montreal or Toronto anytime soon.
Fortunately, we can enjoy what’s here, and use our imagination for the rest.
The ATMA Classique site has all the details, notes, audio samples and downloads, here.
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Here’s a sample of Ugolini’s polychoral work, the motet (unrelated to the mass setting on the ATMA disc) Beata es Virgo Maria, sung by the Choir of new College, Oxford, led by edward Higginbottom:
John Terauds
I know that this place is called Musical Toronto, but I want to direct your attention across the frigid Atlantic to London, in the hope that you might be as ticked and inspired by the Aurora Orchestra as I’ve been.
I wrote about this new group on my old Toronto Star blog, and Monday’s live, web-streamed performance at 3:30 p.m. ET (8:30 p.m. GMT) of Mozart’s Requiem with the choir of Kings College, Cambridge, is a good excuse to mention them for the first time here.
The Guardian is behind this webcast (I’m hoping we can see it here; BBC Television blocks their on-demand and some streaming broadcasts in North America), and you can read all about it here.
Besides having the coolest-looking season brochure I’ve ever seen (as accessed through the Guardian’s article), the Aurorans are mixing up the old ways of programming classical music — and doing it at the highest possible level of quality.
They’re young, they’re keen and, hopefully, will keep on succeeding.
Conductor Nicholas Collon (pictured above, also assistant conductor with the London Philharmonic Orchestra) is full of energy and bright ideas.
Here’s a promotional video for the Aurora Orchestra’s just-released 2012 season, followed by Collon speaking on one of the group’s first concerts, Mozart Unwrapped.
If you have time, check out Aurora’s website to hear a heart-melting little audio snippet by Erich Korngold, the Intermezzo from this Much Ado About Nothing Suite. Click here.
