Mario Castelnuovo-Tedesco wrote that ‘the cello is an instrument I’ve always particularly loved,’ and this is reflected in the deft way he exploits its colors and techniques in chamber works recorded here that include unpublished gems and a world premiere. The sophisticated Cello Sonata and Sonatina also reveal the composer’s skill as a pianist, giving equal roles in a symbiotic relationship that tests both players’ virtuosity. Impressionist flavors in I nottambuli or ‘Night Owls’ contrast with a Toccata that blends fireworks with lyricism, as does the Jewish soulfulness of the popular Chant hebraique with the playful Scherzo that uses the English traditional tune ‘Sumer is icumen in.’

Classical Music

The latest Tactus CD from I Solisti Laudensi features works by six Italian composers (two by Vivaldi) active from the Baroque to the 20th c., in transcriptions for organ and strings accomplished in the 19th c, as well as a 20th c. piece for identical forces by the 20th c. composer Cardenio Botti. Founded in 1970, the I Solisti Laudensi ensemble’s many standout appearances have taking place at festivals and in concert halls throughout Italy and across Europe.

� A legend in British concert halls, Sir Malcolm Arnold was also in demand as a composer of film music in Hollywood and beyond. � Including an overture for the New York premiere, the score for The Roots of Heaven adds drama and atmosphere to the story of one man's crusade to save African elephants from extinction. � David Copperfield was Arnold's last film score and one of his most expressive and memorable, summed up as 'truly amazing' by director Delbert Mann. � Classics Today.com has described this recording as 'a treat for Arnold fans and movie buffs alike. ' � Recorded at the Mosfilm Studio, Moscow, 4-7 April 2000 by the Moscow Symphony Orchestra conducted by William Stromberg. � The score restorations were realized by John W. Morgan, who, with Mr. Stromberg amongst others has, since the early 90s, worked in reconstructing and re-recording the great symphonic film scores composed during Hollywood's Golden Age of the mid 30s to the late 50s.

Includes work(s) by Jean Sibelius.

Classical Music

For his debut album on Delos, the brilliant emerging virtuoso Sean Kennard has chosen a captivating program featuring solo piano music by two of America’s most iconic composers: Samuel Barber and Aaron Copland. While neither composer’s body of work includes a great many pieces for solo piano, each has left a legacy of superb piano compositions to memorable effect.

Of the five works on this album, Barber’s finger-twisting Sonata for Piano and Copland’s stunning Piano Variations stand as enduring masterpieces of twentieth-century American piano music. Both pieces incorporate broad spectrums of modernist musical language and styles, as well as degrees of difficulty that only the finest and most technically accomplished artists can master. And most of the shorter pieces offer delightfully evocative treatments of musical Americana.

REVIEWS:

A triumphant debut from a brilliant young pianist.

America still produces superb pianists and one is Sean Kennard, whose first recording this is. (He studied at Juilliard with Boris Berman and Richard Goode.) Not only is Kennard’s technique flawless, his understanding of the music’s expressive requirements is second to none… This marvellous debut disc is a triumph.

-- Limelight

Sean Kennard places familiar works by Barber and Copland in a mutually illuminating dialogue. This achievement in programming is matched by very fine playing indeed. His penetrating sense of structure in Barber’s Piano Sonata and Copland’s Piano Variations is balanced by an infectious sense of fun in Copland’s 4 Piano Blues.

-- Fanfare

Marek Szlezer, who is well known to the Polish audience, is highly appreciated for his interpretations of Fryderyk Chopin’s works. In 2015, on the occasion of the composer’s 205th birthday, he performed at the famous Carnegie Hall in New York. On a number of occasions, he has also been nominated for the most important music award in Poland, Fryderyk. In 2021, the pianist from Cracow expands his discography with another album with piano works by Karol Szymanowski. The nearly 80-minute release covers pieces written over ten years (1924–1934), although belonging to different periods in Szymanowski’s output.

Alexandre Tansman’s guitar music was almost exclusively created as the result of his friendship with the legendary Spanish guitarist Andres Segovia. The true extent of this catalogue has only recently become apparent, with unknown works emerging from archive sources. Performed after careful research into the original manuscripts, Andrea De Vitis’s programme brings together pieces that reference Tansman’s favorite musicians from history, in particular Bach and Chopin- masterfully intertwining personal affections with sophisticated techniques to create some of the most important guitar repertoire of the 20th century.

2020 holiday release. It's Christmas. Graham Ross invites you to explore the highly individual conception of traditional carols offered by Twentieth Century British composers and, notably, the most eminent among them, Benjamin Britten. Arranged around his famous Ceremony of Carols is a selection of wonderful choral pieces with or without organ, each of which testifies in it's own way to the meticulous care Britten brought to these musical gems, most of them deriving from English folk tradition.

Two super groups - the strings led by violinist Markus Däunert (leader of the Mahler Chamber Orchestra), and the winds led by oboeist Nicholas Daniel (whose distinguished career began with him being named BBC Young Musician of the Year) - combine in this, their second recording for Linn. A counterpart to the Aldeburgh Strings course, whose recording of Britten’s Serenade for Tenor, Horn and Strings launched this partnership in 2016, Aldeburgh Winds offered an opportunity for exceptional wind and brass players to work intensively alongside leading international professionals. Strauss poured out some of his most heartfelt inspiration in Metamorphosen, a 25-minute string masterpiece written as an elegy in the wake of Germany’s destruction in the Second World War. In complete contrast the Serenade radiates Mozartian bonhomie combined with Strauss’s exquisite chamber scoring which provides a tantalising glimpse of the composer to come. The Symphony for Wind Instruments (‘Fröhliche Werkstatt’) adds a third clarinet, basset horn and bass clarinet to the Serenade’s line-up and is very important work in the wind ensemble repertory. The Aldeburgh Strings/Wind ensembles are a product of the Britten–Pears Young Artist Programme, founded over forty years ago by Britten and Pears, in order to provide high-level performance training for the world’s best emerging professional musicians. Tutors are drawn from some of the world’s finest orchestras, such as the Berlin Philharmonic, Leipzig Gewandhaus, Philharmonia and Scottish Chamber Orchestra, and direct the ensemble sections from within, in an inspiring dual role of mentor and performer.

Both Black Pentecost and Stone Litany share a symphonic scale and an Orkney setting. Premièred by Simon Rattle in 1982, Black Pentecost is an impassioned plea against environmental destruction, taking its words from Orcadian author George Mackay Brown’s novel Greenvoe, and cast in the form of a vocal symphony. Chamber-like restraint is matched by tense, dark writing that embraces threnody and cataclysm. Beautifully orchestrated and featuring elaborate melismas from the vocal soloist, Stone Litany, subtitled ‘Runes from a House of the Dead’, evokes the haunted landscape of a Neolithic burial mound plundered by Vikings.

One of Respighi’s masterpieces, Gli uccelli (The Birds) includes transcriptions of birdsong and music of the seventeenth and eighteenth centuries in writing of evocative, captivating lyricism. Trittico botticelliano, an illustration of three paintings by Botticelli, employs dance rhythms, modal melodies and a variant of the medieval hymn Veni, Veni Emmanuel in deft, often sublime fashion. The Suite in G major, cast for strings and organ in the form of a Concerto grosso, is heard on this première recording in its original edition.

French pianist Lise de la Salle's new album is an outstanding, shining and subtle concept album built around Bach's music. Lise de la Salle selected pieces of Bach and works composed as a tribute to the giant of Leipzig: Busoni, Liszt, Roussel e.a. Four additional pieces have been commissioned to French classical and jazz pianist Thomas Enhco. Since 2001, Lise de la Salle has enjoyed an impressive international career that has seen her perform in every leading concert hall in Europe, the United States and Asia. She works closely with the conductors Fabio Luisi, James Conion and Osmo Vanska, among others, and has also played under the direction of Ludovic Morlot, James Gaffigan, Sir Andrew Davis, and others. She is regularly invited to perform with orchestras such as the Los Angeles Philharmonic, and the London Symphony Orchestra. Her previous albums have garnered her critical acclaim.

Classical Music

Berg's masterful and thought-provoking opera tells the gripping story of the rise and fall of an alluring, destructive but vulnerable woman, culminating in her death at the hands of Jack the Ripper. Christof Loy's austere, minimalist production allows the complexities of the drama to unfold through the sumptuous, taut beauty of the score. Agneta Eichenholz and Michael Volle lead an all-star cast under Antonio Pappano. Recorded in High Definition and true surround sound.

Lulu : Agneta Eichenholz
Dr Schön/Jack the Ripper: Michael Volle
Alwa: Klaus Florian Vogt
Countess Geschwitz: Jennifer Larmore
Prince/Manservant/Marquis: Philip Langridge
Orchestra of the Royal Opera House
Conductor: Antonio Pappano
Director: Christof Loy
Recorded live at the Royal Opera House, Covent Garden, London, in June 2009

Extra features:
Cast gallery
Interview with Antonio Pappano
Interview with Agneta Eichenholz

“It is immaculately rehearsed and executed – one doesn't often see opera acted with such freedom and honesty and absence of flummery. And its unsparing analytic clarity forces one to confront the bitter truth about Lulu's inner life and the corruption and idiocy of the men who are infatuated by her. … Antonio Pappano's electrifying conducting is razor-sharp in the manner of Pierre Boulez, and the orchestral playing is magnificent. … Singing with an extraordinary grace and insouciance, Eichenholz manages to make this monster chillingly real and hauntingly beautiful.”
The Telegraph

Regions: All Regions
Picture Format: R 16:9 Anamorphic
Sound Type: 2.0 LPCM & 5.1 DTS Digital

An American in Paris is one of Gershwin’s most vivacious works, an orchestral ballet saturated in homesickness and the blues. This recording, however, uses the new 2019 critical edition and offers Gershwin’s original orchestration, unheard for 75 years- leaner, more angular and transparent, it also employs the correct use of the iconic taxi horns, for a new sonic experience. The breezy vitality of Copland’s An Outdoor Overture is balanced by Bernstein’s Songfest- written to celebrate the Bicentennial Year in America, setting the verses of 13 of the country’s poets.

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REVIEW:

Songfest is in many ways a portrait of its composer in that the music is multi-faceted and ranges from the simple and lyrical to the flamboyant. Not every movement works as well for me on a level of subjective taste—I’m not a big fan of the tenor solo, ‘Zizi’s Lament’, for instance—but overall, the work is entertaining and full of life. The present performance is excellent with six fine singers expertly partnered by James Judd and his outstanding orchestra.

This new recording of An American in Paris has a particular allure in that it uses the new (2019) critical edition. The edition has been prepared by Mark Clague, the Editor-in-Chief of the George and Ira Gershwin Critical Edition. In an absorbing note in the booklet, he explains that there are two significant differences between this score and the version to which we’re accustomed. One concerns the use of saxophones. Gershwin specified no less than eight different saxes in his original orchestration, including a trio of soprano saxes. Unfortunately, well-meaning editorial work in the 1940s reduced the eight saxes to three—and even these were designated as optional. Here, the full octet is restored and, boy, do they make a difference at times! (Try the episode beginning at 7:23, where they’re smooching in the background. Even better, listen to them in the exuberant passage from 11:39.) The other changes concern the famous taxi horns. Gershwin was, apparently, very specific as to the pitches of the horns but an editorial misunderstanding after the composer’s death meant that the horns were notated at incorrect pitches. Now we can hear what Gershwin intended.

Copland’s An Outdoor Overture acts as a filler; it receives an alert and entertaining performance.

I’ve encountered the work of the National Orchestral Institute Philharmonic on several previous Naxos CDs of American music. I’ve never been disappointed by their performances and this latest programme evidences the same professionalism, polish and commitment that I’ve heard before. James Judd guides them expertly through the music.

I enjoyed this disc very much. It’s especially recommendable for Songfest, not least because to the best of my knowledge it’s the only single-disc version currently available and it’s a work that is very well worth getting to know, especially in this fine performance.

– MusicWeb International

Charles Ives 150 (1874-1954)

REVIEW:

Of all the composers on whom modern musicology is inflicting its current "completion mania", the cause of Ives makes more sense than most. His manuscripts were a mess, his decision-making random, and much of his music consists of "works in progress". He was working on a Third Set for orchestra in the late 1920s when he gave up composing, and with the exception of the last movement--that at 12 minutes lasts way too long--this collaboration between David Gray Porter and Nors Josephson comes across as pretty convincing. Certainly this is true of Porter's reconstruction of the first two movements (of three).

James Sinclair conducts Ives with unflagging confidence and expertise. He uses the first version (1914) of Three Places in New England--less angular than the chamber orchestral revision, with its prominent piano part--and the result sounds markedly less radical, more "late Romantic", and that's a refreshing change. Now that the shock value of Ives has largely worn off, we need to be able to experience his works simply as good music, and Sinclair makes that case here, as he also does in the Second Set. This neglected piece is every bit as fine as the more popular Three Places, and it deserves as much attention. Warmly detailed engineering keeps the often dense textures clear, and the Malmö orchestra plays with an easy naturalness that goes hand in hand with Sinclair's sure guidance.

--David Hurwitz, ClassicsToday.com

Sergiu Celibidache conducts the Orchestra Sinfonica di Torino della RAI in works by Prokofiev and Strauss in this rare footage recorded for TV in 1970.

A 2021 GRAMMY Nominee for Best Opera Recording!

Melodious and charming, The Cunning Little Vixen is a work rooted in Czech history and folk music; a sentimental journey through the cycles of life. For Sir Simon Rattle, it’s a deeply personal and emotional work. "It’s the piece that made me want to become an opera conductor... and still one of the pieces that reduces me to tears more easily than any other," says the LSO's Music Director. Towering fanfares open Janá?ek’s Sinfonietta, an ode to the composer’s hometown of Brno in the now Czech Republic. It’s a portrait composed for a national celebration of Slavic culture, with Janá?ek’s love of musical tradition evident in dancing strings and celebratory brass.

François-Xavier Roth, Principal Guest Conductor of the London Symphony Orchestra, displays his deep affinity with the music of Debussy and Ravel on his latest LSO Live album. A fascination with his Spanish heritage would be a recurring theme in many of Ravel's creations. Mysterious melodies weave delicately throughout his early work Rapsodie espagnole, punctuated by bursts of Spanish-inspired fanfares and Habanera dance rhythms. The voluptuous flute opening of the Prélude à l'après-midi d'un faune immediately conjures a world of luxurious fantasy, weaving through the music's changing scenes with effortless spontaneity. Every instrument adds something unique, and the whole work appears to float free of form and convention. In La mer, Debussy tells the story of the eternal odyssey of the ocean. He sails through storm and calm, wind and rain, in music that rises and falls with the rhythms of the sea. The score is so vivid that you can almost smell sea salt and see the crests of the waves.

Classical Music

The three works in this programme reflect different aspects of Strauss's compositional life. The tone-poem MacBeth, written between 1888 and 1891, offers a grippingly taut narrative. The Dance of the Seven Veils from the 1905 opera Salome is one of it's most exciting and intoxicating moments. Towards the end of his life, facing the ruin wrought by World War II, Strauss took inspiration from Goethe and wrote Metamorphosen, one of the most moving of all twentieth-century works.

Der Rosenkavalier, the most successful opera of Strauss and von Hofmannsthal's partnership, is a story of love, lust and human frailty. The story is not complicated but it soars and dips on Strauss' music with Hofmannsthal's expressive libretto. With Barker in the role of the Marschallin, who can fail to be moved by her poignant portrayal of facing the final loss of youth and her young lover? Count Octavian, (Carby), is a young man who has his life to enjoy with no thought of anything but pleasure and the Marschallin's company - until he meets the beautiful and innocent Sophie von Faninal (Pearson). The boorish Baron Ochs auf Lerchenau is superbly exposed by Hemm, his Viennese accent lending authenticity. Led by conductor Litton and staged by Oberle.

Rodrigo’s Concierto de Aranjuez is the most celebrated classical guitar work of the 20th century, music that conjures up the color, sophistication and glories of eternal Spain. The founding father of Mexican music, Manuel Ponce, wrote his Concierto del sur for Segovia, and it is a work of vivid grandeur, Sevillian dances and melodic richness. To complete the programme, prize-winning international virtuoso Junhong Kuang plays a piece dedicated to him – Gerald Garcia’s China Sings! – a rhapsody inspired by two popular Chinese tunes. Darrell Ang is the artistic director and chief conductor of China’s Sichuan Symphony since December 2016. He regularly conducts the Radio France Philharmonic Orchestra, Royal Liverpool Philharmonic, Philharmonia Orchestra, London Philharmonic Orchestra, ‘Giuseppe Verdi’ Symphony Orchestra, Munich Radio Orchestra, NHK Symphony Orchestra, Queensland Symphony Orchestra, National Taiwan Symphony Orchestra, Singapore Symphony and at the Mariinsky Theatre in St Petersburg. Darrell Ang received a GRAMMY Award nomination for his Naxos debut recording of Symphony ‘Humen 1839’ by Zhou Long and Chen Yi (8.570611). His most recent albums feature Kabalevsky’s First and Second Symphonies (8.573859) and d’Indy’s incidental music Médée (8.573858), among others.

Many eminent 20th-century composers have been fascinated by the expressive capabilities of the harpsichord, and this selection unites the instrument's traditional idioms with progressive and highly personal sensibilities. Sir Lennox Berkley's music evinces a distinct French influce, while Howell's Clavichord is a series of musical portraits of the composer's distinguished friends. Gavin Bryars has deep roots in the avant-garde, but After Handel's "Vesper" is virtuosic yet expressive, while John Jeffrey's Four Little English Dances are delightful tributes to the harpsichord's lyricism. Christopher D. Lewis performs.

Kristina Fialová’s Supraphon debut will undoubtedly be a welcome treat for lovers of the velvety dark timbre of the viola. A gauntlet thrown down to previous recordings can be deemed her singular account of Bohuslav Martinu’s wistful Sonata for Viola and Piano (1955), one of the pieces in which, towards the end of his life, the composer, aware that he would never return to his homeland, ever more frequently reflected his nostalgia for his native Czech-Moravian Highlands region. The other three works featured on the album are virtually unknown (two of them have been recorded for the very first time) yet nevertheless worthy of attention. Karel Husa wrote his Suite for Viola and Piano (1945) prior to leaving his country for good. A winner of the Pulitzer Prize (1969), today Husa’s is perhaps the most frequently performed music by a contemporary Czech composer worldwide. The featured works by two of his contemporaries too are newly discovered viola gems. The Sonata by Jindrich Feld is connected with that of Martinu’s in terms of the year of its origin (1955), as well as its nostalgia, while Viktor Kalabis created his piece almost half a century later (1997). A rising viola star, Kristina Fialová has won several international competitions, debuted at the Tonhalle Zürich and performed at prestigious festivals. Her vigorous approach has found an ideal partner in the seasoned pianist Igor Ardašev, a laureate of the Tchaikovsky Competition in Moscow, the Queen Elisabeth Competition in Brussels and other contests.

Both already accomplished soloists, violinist Judith Ingolfsson and pianist Vladimir Stoupel began an outstandingly successful collaboration in 2006, devoting their partnership to chamber music and cultivating uncommon repertoire. The music on this album is dedicated to composer Louis Vierne (1870-1937), whose life was marked by unfortunate events and was influenced greatly by the first world war. This album includes Vierne’s Sonata for Violin and Piano in G minor, and his Piano Quintet in C minor. Ingolfsson and Stoupel are joined by violinist Rebecca Li, violist Stefan Fehlandt, and cellist Stephan Forck for this recording.

Mario Castelnuovo-Tedesco’s two Piano Concertos form a contrasting pair. Concerto No 1, written in 1927, is a vivid and witty example of his romantic spirit, exquisite melodies and rich yet transparent orchestration. Concerto No 2, composed a decade later, is a darker, more dramatic and virtuosic work. The deeply-felt and dreamlike slow movement and passionate finale are tinged with bleak moments of sombre agitation, suggestive of unfolding tragic events with the imminent introduction of the Fascist Racial Laws that led Castelnuovo-Tedesco to seek exile in the USA in 1939. The Four Dances from ‘Love’s Labour’s Lost’, part of the composer’s recurring fascination for the art of Shakespeare, are atmospheric, richly characterised and hugely enjoyable. This is their first performance and recording.

R E V I E W:

CASTELNUOVO-TEDESCO Piano Concertos: Nos. 1, 2. Love’s Labour’s Lost: 4 Dances • Alessandro Marangoni (pn); Andrew Mogrelia, cond; Malmö SO • NAXOS 8.572823 (76: 43)


Naxos’s two discs of this composer’s Shakespeare overtures really turned a lot of heads, mine included, a couple of years ago. Therefore, it was inevitable that the label would add to its Castelnuovo-Tedesco discography. The two piano concertos are not new to CD. However, as happens with greater frequency these days, alternative recordings have either gone out of print or are prohibitively expensive imports. This new release makes a lot of sense then, and it has been made all the more attractive by the addition of the four dances from Love’s Labour’s Lost , in not only their first recording but also their first performance!


That’s probably a good place to start. Castelnuovo-Tedesco composed these in 1953, but apparently Boosey & Hawkes, to which they were offered, did not publish them, and neither did Ricordi. Thus, they remained in manuscript, and unheard, until they were lent by the composer’s niece, Lisbeth Castelnuovo-Tedesco, to Alessandro Marangoni, who prepared a performing edition. This utterly delightful music should not have waited 60 years for a performance. The composer’s affinity for Shakespeare, already demonstrated in the concert overtures, also comes forward here. There is a gently ironic, somewhat Ravel-like and somewhat cinematic approach to old dance forms here. A lush Sarabande (for the King of Navarre) is followed by a mocking Gavotte (for the Princess of France) and a quietly loquacious Spanish Dance (for Don Adriano de Armado). Last is a Russian Dance—the flavoring is subtle—which corresponds to the scene in Shakespeare’s comedy in which the King and his scholarly companions disguise themselves as Muscovites to woo the Princess and her three ladies. Again, it floors me that this music had to wait so long to be heard.


A similar situation applies to the Piano Concerto No. 2. The original score appears to have been lost, but Marangoni found a copy in the Library of Congress and prepared a performing edition of the piano part. (The orchestral parts were found somewhere else—talk about pieces and parts!) Both of the concertos are an unusual marriage of virtuoso writing and Castelnuovo-Tedesco’s relatively relaxed compositional style. The second concerto is the darker of the two; it was composed in 1936–37, shortly before the composer, who was a Jew, left Italy, ending up in Hollywood. It is, however, not a tragic work, but it lacks the lightness and wit of the other two works on this CD. For me, its romantic gestures don’t add up to a lot, given the not very distinctive quality of the melodic writing. Also, Castelnuovo-Tedesco’s longer works don’t have the structural strength of the Shakespeare overtures, for example, and this also contributes to the sense that the music is always going somewhere but never quite arriving. It is, by the way, proudly tonal. I am reminded of Respighi’s comment, around this time, that “dissonance has its place as a medium of tone-color, and polytonality has important uses as a means of expression, but for their own sake, they are completely abhorrent to me.”


So, as suggested, the Piano Concerto No. 1 (1927), which opens the CD, is less moody. As Graham Wade writes in his booklet note, it “was written in a spirit of optimism and ebullience.” Like the second concerto, its middle movement is a Romanza, although here, its introspection is less merited, and perhaps driven simply by the need for contrast. As I relisten to both of these concertos, I think the best way to describe them would be “Nino Rota meets Rachmaninoff,” although the First, in particular, is less impressive than either of those composers usually managed to be.


Away from the piano bench, Marangoni appears to be putting unusual effort forward on behalf of the composer, and I have no reason to believe that his pianism is holding either of these concertos back. He seems to enjoy their romantic lushness, and he has the fingers to make the most of that quality. Andrew Mogrelia, a familiar name from many Naxos releases, is associated with ballet music, and so it is not surprising that color and transparency are two strong features of these recordings. The Swedish orchestra is just fine, as is the engineering.


This is most desirable, I think, for the 16 minutes allotted to the dances from Love’s Labour’s Lost. I don’t reject the possibility, however, that the two piano concertos might grow on me, in time.


FANFARE: Raymond Tuttle

Camillo Togni loved the piano and fully understood the instrument’s great potential for colour and virtuosity. This final volume in the series explores Togni’s very first piano works, redolent of Chopin and Liszt, as well as pieces from his formative years of development. They include the Pezzo per pianoforte and the Fantasia a quattro voci e pedale where his use of chromaticism and contrapuntalism is vividly audible. His two cadenzas for the Mozart piano concertos reflect Togni’s endless admiration for his erstwhile teacher, the great pianist Arturo Benedetti Michelangeli. Pianist Aldo Orvieto has recorded and performed for the main European radio broadcasters, including the BBC, Rai, Radio France and German radio. He has a discography of more than 70 albums including his ongoing series of Togni’s piano music on Naxos, all of which have garnered much critical acclaim. As a member of Ex Novo Ensemble, Orvieto appeared in a recording of Togni’s chamber works (8.572074).