Domenico Cimarosa's operas were remarkably successful, being staged and re-staged in opera houses all over Europe. Success in his hometown of Naples led to court appointments and royal commissions, including his best-known work Il matrimonio segreto ('The Secret Marriage') composed for Austrian emperor Leopold II. Other hits include L'impegno superato ('The Broken Engagement'), an instant success and soon to become one of the most frequently performed of Cimarosa's comic works, and Penelope that was produced as far away as London in 1817. The Cantata per Ferdinando IV was, however, written as an act of repentance, Cimarosa having made the mistake of backing the failed republican government in 1799.
Clarke: Mysteries of the Horizon / Grimethorpe Colliery Band
Naxos
CD
$9.99$19.99Save 50%Apr 10, 2020
Nigel Clarke has always been fascinated by virtuosity and timbre- it is the brass band genre that has lent itself most to his passion for musical athleticism. ‘Dial ‘H’ for Hitchcock’ is an imaginary film score in the film noir vein, complete with classic and chilling sound effects, while the heroic, brooding and violent ‘Swift Severn’s Flood’ was inspired by a line from Shakespeare. Cornet concerto ‘Mysteries of the Horizon’ examines the atmosphere of paintings by Rene Magritte, and ‘Earthrise’ celebrates one of the most iconic photographs in history and the drama of the Apollo 8 mission.
Angelo Berardi (1636–94) maintained in his day that modern music had reached “greater perfection compared to the past” and that the practice of music was more important than theory; he asserted, moreover, that a good composition should also elevate the soul to virtuous thoughts. In terms of his stylistic profile, Berardi shows great richness of inspiration, so much so that this, his only work assigned to the violin, seems to cover the entirety of the instrument’s abilities and expressive variety.
Various: Christoph Croisé - The Solo Album / Croisé
Avie Records
CD
$9.99$19.99Save 50%Aug 27, 2021
Modernism. Multiculturism. Multi-tuning. Lockdown. These are among the elements that bind the works on The Solo Album by award winning cellist Christoph Croisé, who took the opportunity of 2020’s coronavirus isolation to work intensively on a variety of solo works and also turn his hand to composition. At the heart of the album is Hungarian composer Zoltán Kodály’s epic Sonata, the first major work for solo cello after the suites by Johann Sebastian Bach which were written two centuries earlier. The virtuosity demands of the soloist re-tuning two of the cello’s strings, double-stop trills and simultaneous bowed and plucked passages, all of which Christoph dispatches with aplomb. Framing Kodály’s Sonata are works by two compatriots, György Ligeti’s two-movement Sonata which draws inspiration from Béla Bartók, and the more recent Stonehenge by cellist, composer and pop-music producer Péter Pejtsik which includes intimations of electric guitar. A “sandwich filler” is Christophe’s first composition for solo cello, Spring Promenade, which is infused with boogie-woogie, reggae, swing and techno. He took inspiration from Sicilian composer-cello virtuoso Giovanni Sollima whose Concerto Rotondo incorporates electronics and extended techniques. Closing out the album, Sollima’s short work Alone gives way to the album’s “encore”, the exuberant Some like to show it off by Croatian cellist-composer Thomas Buritch.
Matthews: Piano Concerto; Music For Piano / Mikkola, Vass, Orchestra Nova
Toccata
CD
$10.49$20.99Save 50%Mar 26, 2013
In his piano music, as in his symphonies and string quartets, the English composer David Matthews (b. 1943) marries the idiom of classical tradition with that of his own day. His 2009 Piano Concerto, Mozartian in spirit, contains both a tango and a blues; his Piano Sonata of 1989 includes jazz elements, and his 1997 Variations feature both further blues and a homage to Beethoven. The mood of the music on this CD ranges from contemplative introspection to fiery, rhythmic energy. David Matthews describes the Finnish pianist Laura Mikkola as ‘a marvellous exponent of my music’. This disc is released to mark David Matthews’ 70th birthday in March.
REVIEW:
David Matthews’s 2009 Piano Concerto, with string orchestra, is an approachable, joyfully tonal work that should appeal to pianists and audiences seeking a diverting, fresh 20-minute extension of the worlds of Britten and Tippett, with excellent craftsmanship and minimal complication. It would take an act of desperation not to enjoy it, and unless you are a firebreathing modernist you will.
Speaking of “firebreathing”, the earlier Piano Sonata (1989), in three continuous movements, is far more acerbic and breathlessly dramatic. Prokofieff may be a distant influence, but the language is more relentlessly dissonant, and some would call it “advanced”. It’s pretty exciting, and like most of this composer’s work is unfailingly musical.
The 1997 Variations is an imaginative and very effective set built on a theme of descending thirds very distantly related to Brahms, but its treatment is very much of our time. Always with a distant flavor of tonality in the background, the seemingly improvisatory work holds the attention until the quiet, bluesy close.
Dionysus Dithyrambs (2007, 2004) are two brief pieces inspired by Nietzsche. Scriabin lurks, especially in the pieces dealing with Nietzsche’s insanity, most obviously in the wild final piece (‘Esultante’) with its whiffs of Tristan toward the end. Tristan gets up to dance in the final piece on the program, ‘One to Tango’ (1990, rev 1993), a pleasant but not trivial coda.
This should be of interest to pianists looking for high-quality end of century repertoire.
The excellent Finnish pianist Laura Mikkola acquits herself nobly.
In celebration of the 20th anniversary of their first stage appearance, Singer Pur presents it's first and only pop production release. Singer Pur has won various awards including the first prize in the 1994 Deutscher Musikwettbewerd and a year later, the Grand Prix for vocal ensembles at the international Tampere Music Festival. They have toured in over 40 countries and performed with orchestras such as the Rundfunk Symphony Orchestra Berlin and the WDR Symphony Orchestra Cologne.
The firm of M. Welte and Söhne’s NYC branch on 5th Ave. lasted from 1865 until 1917, under the name M. Welte and Sons. Established by the founder’s son, Emil Welte (1841–1923) lived in the USA permanently, only rarely visiting Freiburg. A recording studio with a grand piano for making piano recordings and a recording organ as well occupied this fine 5th Ave. address. Piano recordings of the Welte firm were thus not only made in Freiburg im Breisgau from 1905 until 1932, but also in New York. Featuring organists Clarence Eddy, Samuel Atkinson Baldwin, Lynnwood Farnam, Richard Epstein and Edwin H. Lemare.
Louis-François Dauprat was a French horn player, horn teacher and composer. He was born in Paris in 1781 and died there in 1868. As a child he was a chorister at Notre Dame Cathedral in Paris. From 1794 he was taught to play the horn by Philip Kenn, a cor basse (low horn); first at the Institut National de Musique and later in the first horn class of the Conservatoire. In 1797 he was the first horn player to be awarded the premier prix. After touring Italy and Egypt with various musical groups between 1799 and 1801 he settled in Paris, where he decided to study again at the Conservatoire, this time harmony and composition. He also studied with Anton Reicha, who composed the horn parts for Dauprat in his quintets for woodwinds. Dauprat can be seen as the pioneer of the Parisian horn tradition. His compositions move stylistically between the classical and romantic periods. In addition to operas and symphonies, he composed a whole series of works for solo horns: horn duets, horn trios, horn quartets, horn sextets, horn with string quartet and much more. For horn players and the interpretation of Dauprat's works or those of his contemporaries, the Méthode de cor alto et cor basse (Paris, 1824) is particularly significant. This recording presents works for horn in various groups: solos, duets, a horn sonata, and a quartet for four horns. David Fliri is solo hornist in the Staatskapelle Weimar and Professor at the Mozarteum Salzburg.
Volker Mainz - Mainz Studio Recordings (1963-1969)
SWR
CD
$13.99$27.99Save 50%May 14, 2021
When the Darmstadt teenager Volker Kriegel (1943-2003) officially debuted his first chords in the late 1950s, the guitar was still an outsider instrument in jazz. It could boast a few luminaries, but actually everything was still open when, in 1963 and 1964, the autodidact from Hessen won first prizes as guitarist and soloist at the amateur jazz festival in Düsseldorf. The debut recordings in 1963, which Südwestfunk (SWF) recorded with the nineteen-year-old guitarist in trio at the Deutschhaus in Mainz, and the 1969 studio sessions in the Kammersaal Studio, are worlds apart. For one thing, the guitar itself had carved out a career. On top of this, Kriegel had gained in self-confidence. But above all, he had found a counterpart in Claudio Szenkar, who opened up perspectives not only in terms of communication and composition but also through Kriegel’s own instrument. The combination of vibraphone and guitar was then still fairly new. In 1968, Kriegel decided to make music his main profession. Thanks to "With A Little Help from My Friends" and an appearance at the German Jazz Festival in Frankfurt, he achieved the breakthrough into public recognition. Together with the vibraphonist Dave Pike, the bassist Hans Rettenbacher and the drummer Peter Baumeister, he founded the Dave Pike Set, which became for four years his artistic center and a beacon combo of European jazz rock. And for the SWF (Südwestfunk, today SWR) he went twice into the sound studio. With the exceptions of The Beatles’s anthem "Norwegian Wood" and "Mother People" by the young guitar berserker Frank Zappa, hardly any pieces by other musicians are still to be heard in these recordings.
Vaughan Williams: The Poisoned Kiss / Hickox, Bbc National
Chandos
SACD
$21.98$43.99Save 50%Oct 01, 2003
This is the premiere recording of Vaughan Williams's opera The Poisoned Kiss. This romantic extravaganza contains some of the composer's finest music, and a sense of fun runs through the delightful score. Vaughan Williams began writing The Poisoned Kiss, his fourth opera, in 1927. He was also working on Sir John in Love and had begun sketching the first scenes of Job. he was at the height of his musical powers, yet The Poisoned Kiss has remained unperformed, unrecorded and unknown. The reason for this neglect lies mainly in the rather dated text and the lengthy sections of spoken dialogue (some of which is omitted in this recording). It did not help that the composer and the librettist were uncertain about the balance between comedy and drama in the opera, a dilema that led to major revisions of the work by Vaughan Williams in 1936 and again in 1956-57. In the final version the composer's lyricism dominates the humour and we are treated to an extraordinary wealth of expressive and heart-felt music whcih does not deserve to be ignored. Recorded in: Brangwyn Hall, Swansea 3-6 January 2003 Producer(s) Brian Couzens Sound Engineer(s) Ralph Couzens Matthew Walker (Assistant)
Myrtle & Rose: Songs by Clara & Robert Schumann / Stegall, Zivian
Avie Records
CD
$9.99$19.99Save 50%Jul 05, 2019
Myrtle and Rose- the title taken from the Heinrich Heine poem which Robert Schumann set as the final song of his Liederkreis, Op. 24- features two of Robert Schumann’s most beloved song cycles (the other being Liederkreis, Op. 39) along with several rarely-recorded songs by his wife Clara. The album beautifully captures the artistic partnership of tenor Kyle Stegall and fortepianist Eric Zivian, who first collaborated at the Valley of the Moon Music Festival in Sonoma, California. Stegall’s “lovely tone and ardent expression” (The New York Times) and Eric Zivian’s original 1841 Rausch fortepiano from Vienna- built exactly when the songs were written- combine in these inspired and illuminating interpretations. “a gentle tone that melted the hearts of all” (OperaWire) “the last word in low key virtuosity” (San Francisco Classical Voice)
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REVIEW:
This little recording has a great deal worth recommending. The gentle singing of tenor Kyle Stegall and the circumspect but active accompaniment by Eric Zivian are strong points. The program is elegant. The real star of the show, however, is not Stegall or Zivian, but Zivian's period piano, an 1841 instrument by the Viennese builder Franz Rausch. Many historical performances featuring pianos from this period use French or English models, and the name of Rausch is not much known. However, it fits this music admirably, producing a subtle, silvery tone that brings out the poetry without retreating into the background. Continuing credit to the Avie label for uncovering distinctive little-known performers.
The programme performed here by baritone Christopher Maltman and pianist Joseph Middleton was born whilst Maltmann was studying at the Royal Academy of Music. The compositions have been selected to form a coherent but flexible narrative that produces a touching memoir to all those affected by war. One composer chosen for the record, George Butterworth, was a casualty of the First World War: in September 1915 he want to the trenches and was killed, aged 31, in the Battle of the Somme on 5th August 1916. The use of his composition, A Shropshire Lad, is touching in this instance. It gives the listener a more sensitive perspective of the loss in World War One, almost allowing the listener to see the faces of those who passed away, most of whom were young 'lads' from various parts of the country.
‘Christmas In Ireland’, featuring guitarist, multi-instrumentalist and singer Noel McLoughlin & multi-instrumentalist, singer, teacher, composer and arranger Ger O’Donnell offers real traditional Christmas favorites from Ireland and ‘all over’, inviting listeners to sing along in the true spirit of Christmas. + Among its thirteen seasonal tracks are ‘The Holly and the Ivy’, ‘O’ Little Town of Bethlehem’, ‘Oh Christmas Tree’ (an English translation of the German carol ‘Oh Tannenbaum’), ‘God Rest Ye Merry Gentlemen’ and ‘Auld Lang Syne’.
Last Silence / Martha Aarons, Lev Polyakin, Frances Renzi
Azica Records
CD
$9.49$18.99Save 50%Feb 05, 2021
Performed by the trio for whom it was written, Paul Schoenfield's new composition "Last Silence" picks up where "Cafe Music" left off. A show stopping tour de force of excitement and emotion. Schoenfield's "Four Souvenirs" is finally released here by violinist Lev Polyakin and pianist Frances Renzi, who commissioned the work. Beautiful trios by Rota and Cui round out the album. Paul Schoenfeld‘s music is widely performed and continues to draw an ever-expanding group of fans. According to Juilliard’s Joel Sachs, “he is among those all-too-rare composers whose work combines exuberance and seriousness, familiarity and originality, lightness and depth. His work is inspired by the whole range of musical experience, popular styles both American and foreign, vernacular and folk traditions, and the ‘normal’ historical traditions of cultivated music making, often treated with sly twists. Above all, he has achieved the rare fusion of an extremely complex and rigorous compositional mind with an instinct for accessibility and a reveling in sound that sometimes borders on the manic.”
Con-ri-sonanza - Simaku: Chamber Works / Houston, Quatuor Diotima
BIS
SACD
$10.99$21.99Save 50%Nov 06, 2020
Born in Albania in 1958, Thomas Simaku studied composition at the State Conservatory of Music in Tirana. He moved to England in 1991, where he was able to immerse himself in the music that had been banned in his native country, and especially that of Ligeti and Kurtág. This, as well as his earlier experience of working with Albanian folk musicians, had a lasting effect on his own music – but as Simaku himself puts it: ‘when it comes to creativity, one should at least try to speak with one’s voice, however small that might be.’ He often composes for specific performers and the present album highlights his collaborations with Quatuor Diotima and with the pianist Joseph Houston. Catena I, the opening work as well as the most recent one on the programme, was written for Houston, while the String Quartets Nos. 4 and 5 were destined for Diotima, of which Simaku has said that ‘one cannot fail to notice their individual and sensitive approach to sound and color, and their huge range of expression. I have tried to embody these idiosyncratic qualities in both quartets.’ Houston also plays two works written by Simaku as tokens of his respect for two composer colleagues: L’image oubliée d’après Debussy and Hommage à Kurtág. These frame the piano quintet con-ri-sonanza which has also given its name to the entire album, after the sonic qualities it embodies: consonanza, risonanza, con risonanza …
Elgar: Piano Quintet & Sea Pictures (Orch. Fraser) / Woods
Avie Records
CD
$9.99$19.99Save 50%May 01, 2016
It's an initially disorientating experience to hear Sea Pictures in a version with choir. The Rodolfus Choir are an elite SATB group and have a wonderfully smooth and often lulling sound; there's a lot of that mood in Sea Pictures. The choir's diction is a marvel although the sung words are in any event at the back of the booklet. The singers are attentive to dynamic contrast and register some superbly poetic effects. Open-minded Elgarians who can get over the heresy of unfamiliar forces will find much to enjoy here. Where Corals Lie is a delight and works exceptionally well with choir.
A lazy unobservant glance at the details of this disc had me assuming that the Piano Quintet had been re-engineered into a Piano Concerto to join the Elgar/Walker. No such thing. What we have here is something of symphonic proportions and character. While there are some dark and dramatic moments and even some hints of the Second Symphony this now comes across as reflective and in the same territory as Falstaff. The first movement has an air of halting even fearful uncertainty. It's all very smooth though, suave even. A Viennese lilt at 10.00 is one of several instances where things become quite Brahmsian. The second movement is almost Finzian as details entwine much as they do in the woodland Interludes in Falstaff. The finale has its exciting moments but is overall quite nostalgic, philosophical, and regretful.
These two works in new colors should give many more opportunities to hear this music although ironically each requires a greater number of performers than the originals. Of the two Sea Pictures strikes me as the more attractive.
Rimsky-korsakov: Legend Of The Invisible City Of Kitezh / Vedernikov, Kazakov, Panfilov
Naxos AudioVisual
DVD
$18.99$37.99Save 50%Dec 13, 2011
RIMSKY-KORSAKOV The Legend of the Invisible City of Kitezh and the Maiden Fevronya • Vitaly Panfilov (Prince Vsevolod); Tatiana Monogarova (Fevronya); Mikhail Gubsky (Grishka Kuterma); Mikhail Kazakov (Prince Yury); Gevorg Hakobyan (Fyodor Poyarok); Marika Gulordava (Page); Valery Gilmanov (Bedyay); Alexander Naumenko (Burunday); Alexander Vedernikov, cond; Cagliari Th O & Ch • NAXOS 2.110277/78 (2 DVDs: 187:28) Live: Cagliari 5/2–4/2008
I wanted to see this video because, for many years, I’ve heard exorbitant praise from certain critics regarding Kitezh, yet in listening to the commercial recording conducted by Valery Gergiev I felt let down. The music seemed to me flat and characterless, lacking drama, development, and momentum. Surely, I said to myself, a good stage production would change my mind, as it did with Mussorgsky’s Khovanschina.
Yet opinions on The Invisible City of Kitezh (to abbreviate its title) are divided. Although many critics wax ecstatic over Rimsky-Korsakov’s magnificent orchestration for this work, few outside Russia are very impressed by the opera as a whole. It is an overlong, derivative grand opera in which two old tales of magic were welded together by librettist Vladimir Belsky, and finally presented intact in 1908. Even the first Russian audiences didn’t care much for it, finding it very old-fashioned in concept and musical style as well as overly rambling, though it is still periodically revived, mostly within Russia.
This production gives us a rare glimpse of the opera as performed in Italy. The audience reaction is not enthusiastic; on the contrary, when the applause comes at the ends of acts, it sounds like perhaps 80 to 100 people half-heartedly clapping.
One glance at the production tells you why. Although it is not Regietheater—the characters are, thankfully, clad in traditional-looking costumes—Eimuntas Nekro?ius’s idiotic staging has too much symbolism and too little that resembles reality. The first act, set in the “woods,” presents a stage littered with “wooden” structures, bird houses and the like. Get it? Woods. The presentation of Little Kitezh, where the maiden Fevronya is to marry Prince Vsevolod, is cluttered with giant, tinfoil-covered bell-like objects with people popping out of their tops. Get it? Bells. This kind of idiocy continues throughout a production of a work in which the music itself is also static and rarely wedded to the text. In act IV, scene 1, where Fevronya and Grishka are supposed to be wandering in the woods, what you see is a plain blue-tiled floor with two Erector-set structures in the background. Apparently, Nekro?ius ran out of birdhouses, but not to despair! When Grishka runs off into the woods and Fevronya is left alone, two giant, hideous bird creatures sneak out of the woods and behind her as she sleeps. Perhaps Nekro?ius has seen too many of the Alien movies. In the final scene, supposed to represent Kitezh triumphant, the stage is filled with objects that look like rocket silos.
Musically, many passages sound like leavings from Boris Godunov, and not good leavings at that, so even when the singers are excellent the plot crawls along. It is an opera more about characters who stand there and sing than about characters creating a musical drama. Compare, for instance, the first act to the similar situation in Verdi’s Don Carlo. A prince meets a beautiful woman in the woods, and they fall in love. Verdi miraculously manages to wed lovely music, some of it even memorable, to a flexible musical structure in which the orchestra comments on or moves the action. Rimsky-Korsakov creates a static structure wedded to pretty but undistinguished melodies that just toodle along, and do so for half an hour.
Moreover, the plot is remarkably dismal and depressing for a magic or fairy-tale opera. Everyone sings about death even before the Tartars invade Russia, and several characters die except Fevronya and the seedy drunkard Grishka Kuterma, who becomes a traitor, willing to turn Kitezh over to invading Tartars and finger Fevronya as the snitch just to save his own worthless hide. Prince Vsevolod goes off to battle for Kitezh, not to win it but to die in it. (I’m guessing he flunked military school.) He does so, but returns in the second half of act IV as a ghost, and at the end of the opera Fevronya marries the ghost. And you talk about overlong … each of the first two acts runs over a half hour, but each of the last two acts runs more than an hour apiece.
Getting to the performance, Tatiana Monogarova is simply magnificent as Fevronya, not only vocally but histrionically, which is important because this is a rare Russian opera in that the soprano dominates everything. Here is a woman who fully understands how to inhabit a role. You come to believe wholeheartedly in her character within the first five minutes she is onstage, and she holds you in her thrall to the end. As for her voice, it is a remarkably rich lyric soprano, close to spinto in power, exactly the kind of voice Rimsky wanted for this part. Her midrange, in fact, reminds me strongly of Mirella Freni at her best, only with more power. The top range is not as lovely as Freni’s, but it has its own interesting luster and more metal. Monogarova made her American debut as Lisa in Pique Dame in Houston in 2010, and also began singing Cio-Cio-San around the same time in Europe. She is signed with IMG, and I really do wish her well in what I hope will be a major career.
Vitaly Panfilov, as Prince Vsevolod, is neither an interesting actor nor a particularly fine singer. The voice is fluttery, dry, and percussive. He sings on pitch and phrases well, but that is all one can say of him. His stage presence registers somewhere between nil and mediocre. On the other hand, Mikhail Gubsky as the nefarious Grishka Kuterma is a superb stage actor, though his voice is strictly that of a good comprimario. Nevertheless, the world needs good comprimarios, and he is certainly one of them. His pathetic wheedling is completely believable.
A word of praise is also due Marika Gulordava in the somewhat thankless role of the Page. The Page is analogous to Cassandra in Les Troyens or the Simpleton in Boris, someone who warns of danger to come. Though her role is important it is not as long as either of the other two, yet Gulordava is simply stunning in her one big scene. Her voice is not as beautiful as Monogarova’s, but it has a laser-beam focus with a bright, perhaps over-brilliant top. As a musician and singing actress she is first-rate. I also hope for her to have a good career. Mikhail Kazakov, singing the role of Vesvolod’s father, Prince Yury, has a nice voice but an uneven flutter and a constricted low range, a real detriment for a Russian bass.
Alexander Vedernikov is a fine conductor who obviously loves and understands this music. He brings out all of the wonderful orchestral subtleties of the score and moves the opera about as well as can be expected under the circumstances. Indeed, his conducting here is finer for this particular work than Gergiev’s.
My copy of the DVD may have been defective, but all through the first two acts the video is out of synch with the audio, as if one were watching something in which the video was on a two-second tape delay. On the second DVD, most of it is in synch, yet there are still strange moments when the picture freezes for a couple of seconds, only to jump ahead and eventually catch up with the audio.
Thus there are good and bad points to be taken into consideration in approaching both the work and the performance, but if you are fond of Kitezh I would recommend this for the excellent acting of a handful of participants and the excellent singing of the two sopranos.
FANFARE: Lynn René Bayley
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THE LEGEND OF THE INVISIBLE CITY OF KITEZH AND THE MAIDEN FEVRONYA
Opera in 4 Acts. Sung in Russian Libretto by Vladimir I. Belsky
Prince Yuri Vsevolodovich – Mikhail Kazakov Hereditary prince Vsevolod Yuryevich – Vitaly Panfilov Fevronya – Tatiana Monogarova Grishka Kuterma – Mikhail Gubsky Fyodor Poyarok – Gevorg Hakobyan Page – Marika Gulordava Two notables – Gianluca Floris, Marek Kalbus Bedyay – Valery Gilmanov Burunday – Alexander Naumenko
Orchestra e Coro del Teatro Lirico di Cagliari (chorus master: Fulvio Fogliazza) Alexander Vedernikov, conductor
Eimuntas Nekrošius, stage director Marius Nekrošius, set designer Nadezhda Gultiayeva, costume designer Audrius Jankauskas, lighting designer
Recorded live from the Teatro Lirico di Cagliari, Sardinia, 2 and 4 May 2008
Picture format: NTSC 16:9 Sound format: PCM Stereo / Dolby Digital 5.0 / DTS 5.0 Region code: 0 (worldwide) Subtitles: English Running time: 187 mins No. of DVDs: 2 (DVD 5 + DVD 9)
