I thought if I skipped it might help my nerves, but I'm actually having a paradoxical reaction to that, so that was a bad idea. (Laughter)
Mislio sam da će mi poskakivanje pomoći sa nervozom, ali u stvari imam paradoksalnu reakciju na to, pa je to bila loša ideja. (Smeh)
Anyway, I was really delighted to receive the invitation to present to you some of my music and some of my work as a composer, presumably because it appeals to my well-known and abundant narcissism. (Laughter) And I'm not kidding, I just think we should just say that and move forward. (Laughter)
Kako god, zaista mi je bilo drago da primim pozivnicu da predstavim deo svoje muzike i svog rada kao kompozitora, verovatno zato što to odgovara mom dobro poznatom i obilnom narcisizmu. (Smeh) Ne šalim se; samo mislim da bi trebalo to da kažemo i krenemo napred. (Smeh)
So, but the thing is, a dilemma quickly arose, and that is that I'm really bored with music, and I'm really bored with the role of the composer, and so I decided to put that idea, boredom, as the focus of my presentation to you today. And I'm going to share my music with you, but I hope that I'm going to do so in a way that tells a story, tells a story about how I used boredom as a catalyst for creativity and invention, and how boredom actually forced me to change the fundamental question that I was asking in my discipline, and how boredom also, in a sense, pushed me towards taking on roles beyond the sort of most traditional, narrow definition of a composer.
Stvar je u tome da se brzo javila dilema, a to je da mi je muzika stvarno dosadila i da mi je stvarno dosadila uloga kompozitora, pa sam odlučio da stavim tu ideju - dosadu - u središte moje današnje prezentacije. Podeliću svoju muziku sa vama, ali se nadam da ću to uraditi na način koji priča priču, priču o tome kako sam koristio dosadu kao katalizator za kreativnost i inventivnost i kako me je dosada u stvari naterala da promenim osnovno pitanje koje sam postavljao u svojoj disciplini i kako me je dosada u nekom smislu pogurala da prihvatim uloge van najtradicionalnije, uske definicije kompozitora.
What I'd like to do today is to start with an excerpt of a piece of music at the piano. (Music) Okay, I wrote that. (Laughter) No, it's not — (Applause) Oh, why thank you. No, no, I didn't write that. In fact, that was a piece by Beethoven, and so I was not functioning as a composer. Just now I was functioning in the role of the interpreter, and there I am, interpreter. So, an interpreter of what? Of a piece of music, right? But we can ask the question, "But is it music?" And I say this rhetorically, because of course by just about any standard we would have to concede that this is, of course, a piece of music, but I put this here now because, just to set it in your brains for the moment, because we're going to return to this question. It's going to be a kind of a refrain as we go through the presentation.
Želeo bih da danas započnem odlomkom iz muzičkog dela na klaviru. (Muzika) OK. Ja sam to napisao. (Smeh) Ne, nisam. (Aplauz) Oh, pa hvala vam. Ne, ne, ja to nisam napisao. U stvari, to je bilo Betovenovo delo, te nisam funkcionisao kao kompozitor. Upravo sam bio izvođač i eto me - izvođač. Izvođač čega? Muzičkog dela, zar ne? Međutim, možemo postaviti pitanje: „Da li je to muzika?" Kažem ovo retorički jer, naravno, prema svakom standardu se moramo složiti da je ovo, naravno, muzičko delo, ali stavio sam ovo ovde sada, čisto da ga imate na umu na trenutak, jer ćemo se vraćati na ovo pitanje. Biće to neka vrsta refrena kako budemo išli kroz prezentaciju.
So here we have this piece of music by Beethoven, and my problem with it is, it's boring. I mean, you — I'm just like, a hush, huh -- It's like -- (Laughter) It's Beethoven, how can you say that? No, well, I don't know, it's very familiar to me. I had to practice it as a kid, and I'm really sick of it. So -- (Laughter) I would, so what I might like to try to do is to change it, to transform it in some ways, to personalize it, so I might take the opening, like this idea -- (Music) and then I might substitute -- (Music) and then I might improvise on that melody that goes forward from there -- (Music) (Music)
Dakle, ovde imamo Betovenovo muzičko delo, a moj problem s njim je - dosadno je. Mislim, vi - ja samo - ššš, ššš - to je kao - (Smeh) To je Betoven. Kako možeš da kažeš nešto tako? Pa, ne znam. Poznato mi je. Morao sam da ga vežbam kao dete i muka mi je od njega, pa - (Smeh) Možda bi mi se dopalo da ga promenim, transformišem na neki način, da ga učinim ličnim, pa bih mogao uzeti uvod, kao ovu ideju - (Muzika) a onda bih mogao da zamenim - (Muzika) a onda da improvizujem sa tom melodijom koja ide odatle - (Muzika)
So that might be the kind of thing -- Why thank you. (Applause) That would be the kind of thing that I would do, and it's not necessarily better than the Beethoven. In fact, I think it's not better than it. The thing is -- (Laughter) -- it's more interesting to me. It's less boring for me. I'm really leaning into me, because I, because I have to think about what decisions I'm going to make on the fly as that Beethoven text is running in time through my head and I'm trying to figure out what kinds of transformations I'm going to make to it. So this is an engaging enterprise for me, and I've really leaned into that first person pronoun thing there, and now my face appears twice, so I think we can agree that this is a fundamentally solipsistic enterprise. (Laughter) But it's an engaging one, and it's interesting to me for a while, but then I get bored with it, and by it, I actually mean, the piano, because it becomes, it's this familiar instrument, it's timbral range is actually pretty compressed, at least when you play on the keyboard, and if you're not doing things like listening to it after you've lit it on fire or something like that, you know. It gets a little bit boring, and so pretty soon I go through other instruments, they become familiar, and eventually I find myself designing and constructing my own instrument, and I brought one with me today, and I thought I would play a little bit on it for you so you can hear what it sounds like.
Dakle, to bi mogla biti stvar - Oh, pa hvala. (Aplauz) To bi bilo ono što bih uradio i to ne mora da bude bolje od Betovena. U stvari, mislim da nije bolja. Stvar je u tome - (Smeh) da je meni interesantnija. Manje mi je dosadna. Moram se osloniti na sebe, jer ja moram da mislim o tome koje ću odluke doneti u trenutku dok taj Betovenov tekst teče kroz vreme u mojoj glavi i ja pokušavam da shvatim kakve ću promene da primenim. To je, dakle, poduhvat koji me angažuje, a zaista sam se oslonio na zamenicu prvog lica ovde, pa se sada moje lice pojavljuje dvaput, da ćemo se složiti da je ovo u osnovi solipsističan poduhvat, (Smeh) ali zahteva angažovanje, pa mi je neko vreme interesantan, ali mi i to onda dosadi, a pod tim podrazumevam klavir, zato što postane - to je poznat instrument. Domet boje njegovog zvuka je u stvari prilično zbijen, bar kada svirate na klavijaturama, osim ako ga ne slušate pošto ste ga zapalili ili nešto slično, znate. Postane dosadnjikav i prilično brzo se okrećem drugim instrumentima, pa oni postanu poznati i na kraju zateknem sebe da dizajniram i gradim sopstveni instrument, a ovaj sam danas doneo sa sobom i mislio da vam malo sviram na njemu da biste mogli da čujete kako zvuči.
(Music)
(Muzika)
You gotta have doorstops, that's important. (Laughter) I've got combs. They're the only combs that I own. (Music) They're all mounted on my instruments. (Laughter)
Morate da imate šarke; to je važno. (Smeh) Imam češljeve. To su jedini češljevi koje posedujem. (Smeh) Svi su montirani na mojim instrumentima. (Smeh)
(Music)
(Muzika)
I can actually do all sorts of things. I can play with a violin bow. I don't have to use the chopsticks. So we have this sound. (Music) And with a bank of live electronics, I can change the sounds radically. (Music) (Music) Like that, and like this. (Music) And so forth.
Mogu da radim različite stvari; mogu da sviram gudalom violine. Ne moram da koristim štapiće za jelo. Imamo ovaj zvuk. (Muzika) A sa bankom žive elektronike, mogu radikalno da promenim zvukove. (Muzika) Ovako i ovako, (Muzika) i tako dalje.
So this gives you a little bit of an idea of the sound world of this instrument, which I think is quite interesting and it puts me in the role of the inventor, and the nice thing about — This instrument is called the Mouseketeer ... (Laughter) and the cool thing about it is I'm the world's greatest Mouseketeer player. (Laughter) Okay? (Applause) So in that regard, this is one of the things, this is one of the privileges of being, and here's another role, the inventor, and by the way, when I told you that I'm the world's greatest, if you're keeping score, we've had narcissism and solipsism and now a healthy dose of egocentricism. I know some of you are just, you know, bingo! Or, I don't know. (Laughter)
Ovo vam donekle daje predstavu o svetu zvukova ovog instrumenta, za koji mislim da je prilično interesantan, a što me stavlja u ulogu pronalazača, a lepa stvar u vezi - Ovaj instrument se zove „Mišketar" - (Smeh) a super stvar u vezi sa tim je da sam najbolji svetski svirač „Mišketara" na svetu. (Smeh) U redu? (Aplauz) U tom pogledu, ovo je jedna stvar, jedna od privilegija, a evo i druge uloge, izumitelja, a uzgred budi rečeno, kada sam vam rekao da sam najbolji na svetu, ako neko vodi evidenciju, imali smo narcisizam i solisizam, a sada i zdravu dozu egocentrizma. Znam da su neki od vas rekli - bingo! Ili, ne znam. (Smeh)
Anyway, so this is also a really enjoyable role. I should concede also that I'm the world's worst Mouseketeer player, and it was this distinction that I was most worried about when I was on that prior side of the tenure divide. I'm glad I'm past that. We're not going to go into that. I'm crying on the inside. There are still scars.
Dakle, ovo je vrlo prijatna uloga. Treba da priznam da sam i najgori svetski svirač „Mišketara" i zbog te odlike sam najviše brinuo dok sam bio na prethodnoj strani podele mesta. Drago mi je da se to završilo, Nećemo više zalaziti u to.
Anyway, but I guess my point is that all of these enterprises are engaging to me in their multiplicity, but as I've presented them to you today, they're actually solitary enterprises, and so pretty soon I want to commune with other people, and so I'm delighted that in fact I get to compose works for them. I get to write, sometimes for soloists and I get to work with one person, sometimes full orchestras, and I work with a lot of people, and this is probably the capacity, the role creatively for which I'm probably best known professionally. Now, some of my scores as a composer look like this, and others look like this, and some look like this, and I make all of these by hand, and it's really tedious. It takes a long, long time to make these scores, and right now I'm working on a piece that's 180 pages in length, and it's just a big chunk of my life, and I'm just pulling out hair. I have a lot of it, and that's a good thing I suppose. (Laughter)
Plačem iznutra; još imam ožiljke. Pretpostavljam da je moja poenta da me svi ovi poduhvati okupiraju svojom raznovrsnošću, ali kako sam vam ih danas i predstavio, oni su u stvari usamljeni poduhvati te uskoro želim da komuniciram sa ljudima, pe sam oduševljen što mogu da komponujem dela za njih. Mogu pisati, nekada za soliste, te radim sa jednom osobom, a nekada sa čitavim orkestrima, pa radim sa puno ljudi. Ovo je verovatno kapacitet, kreativna uloga po kojoj sam verovatno najbolje poznat u poslu. Neki od mojih kompozitorskih tonova izgledaju ovako, drugi ovako, a neki ovako. Sve ih ručno zapisujem, a to je stvarno dosadno. Treba puno, puno vremena da se ovi tonovi zapišu, a trenutno radim na delu koje ima 180 strana. To je dobar deo mog života i jednostavno mi dođe da počupam kosu.
So this gets really boring and really tiresome for me,
Imam je puno, a to je, pretpostavljam, dobra stvar.
so after a while the process of notating is not only boring, but I actually want the notation to be more interesting, and so that's pushed me to do other projects like this one.
Dakle, ovo postaje stvarno dosadno i zamorno za mene. Posle nekog vremena, proces zapisivanja nota nije samo dosadan, već u stvari poželim da zapisivanje postane zanimljivije.
This is an excerpt from a score called "The Metaphysics of Notation." The full score is 72 feet wide. It's a bunch of crazy pictographic notation. Let's zoom in on one section of it right here. You can see it's rather detailed. I do all of this with drafting templates, with straight edges, with French curves, and by freehand, and the 72 feet was actually split into 12 six-foot-wide panels that were installed around the Cantor Arts Center Museum lobby balcony, and it appeared for one year in the museum, and during that year, it was experienced as visual art most of the week, except, as you can see in these pictures, on Fridays, from noon til one, and only during that time, various performers came and interpreted these strange and undefined pictographic glyphs. (Laughter)
To me je navelo da radim projekte kao što je ovaj. Ovo je odlomak iz notnog zapisa koji se zove „Metafizika zapisivanja nota". Celokupni notni zapis širok je 22 metra. To je gomila ludih piktografskih notnih zapisa. Hajde da uvećamo jedan deo ovde, Možete da vidite da je prilično detaljno. Sve ovo radim preko skiciranih obrazaca, pravih uglova, francuskih krivih linija i slobodnom rukom, a tih 22 metra bilo je podeljeno na 12 ploča širine 1,8 metara koje su postavljene oko balkona u predvorju muzeja Centra Kantorove umetnosti, a bili su izloženi godinu dana u tom muzeju. Tokom te godine, doživljavani su kao vizuelna umetnost većim delom nedelje, osim, kao što vidite na slikama, petkom, od podneva do jedan, i samo tokom tog perioda dolazili su različiti izvođači i izvodili ove čudne
Now this was a really exciting experience for me. It was gratifying musically, but I think the more important thing is it was exciting because I got to take on another role, especially given that it appeared in a museum, and that is as visual artist. (Laughter) We're going to fill up the whole thing, don't worry. (Laughter) I am multitudes. (Laughter)
i nedefinisane piktografske znakove. (Smeh) Ovo je za mene bilo veoma uzbudljivo iskustvo. Bilo je muzički prijatno, ali mislim da je važnija stvar da je bilo uzbudljivo jer sam preuzeo drugu ulogu, posebno zato što je izloženo u muzeju, a to znači - vizuelni umetnik. (Smeh) Popunićemo celu stvar; ne brinite. (Smeh)
So one of the things is that, I mean, some people would say, like, "Oh, you're being a dilettante," and maybe that's true. I can understand how, I mean, because I don't have a pedigree in visual art and I don't have any training, but it's just something that I wanted to do as an extension of my composition, as an extension of a kind of creative impulse.
Ja sam mnogostruk. (Smeh) Pa, jedna od stvari je - mislim, neki ljudi bi rekli nešto kao: „Oh, ponašaš se kao diletant", a možda je to i istina. Mogu to da razumem jer nemam diplomu iz vizuelne umetnosti i nisam prošao obuku, ali je to nešto što sam želeo da uradim kao proširenje svoje kompozicije,
I can understand the question, though. "But is it music?" I mean, there's not any traditional notation. I can also understand that sort of implicit criticism in this piece, "S-tog," which I made when I was living in Copenhagen. I took the Copenhagen subway map and I renamed all the stations to abstract musical provocations, and the players, who are synchronized with stopwatches, follow the timetables, which are listed in minutes past the hour.
kao proširenje kreativnog impulsa. Ipak, mogu da razumem pitanje: „Ali, da li je to muzika?" Tu ne postoji tradicionalno zapisivanje nota. Takođe mogu da razumem i implicitnu kritiku u delu „S-tog" koje sam stvorio dok sam živeo u Kopenhagenu. Uzeo sam mapu kopenhaškog metroa i preimenovao sve stanice u apstraktne muzičke provokacije, a izvođači, koji su sinhronizovani sa štopericama
So this is a case of actually adapting something, or maybe stealing something, and then turning it into a musical notation.
prate rasporede, koji su izlistani po minutama tokom jednog časa. Ovo je, dakle, slučaj adaptiranja nečega ili možda krađe nečega,
Another adaptation would be this piece. I took the idea of the wristwatch, and I turned it into a musical score. I made my own faces, and had a company fabricate them, and the players follow these scores. They follow the second hands, and as they pass over the various symbols, the players respond musically. Here's another example from another piece, and then its realization.
a zatim njegovog pretvaranja u zapisivanje nota. Druga adaptacija bi bila ovo delo. Uzeo sam ideju ručnog sata i pretvorio je u muzičko delo. Napravio sam sopstvena lica i dao kompaniji da ih proizvede, a izvođači prate ove note. Prate kazaljke za minute i dok prelaze preko različitih simbola, izvođači reaguju kroz muziku. Evo još jednog primera dela
So in these two capacities, I've been scavenger, in the sense of taking, like, the subway map, right, or thief maybe, and I've also been designer, in the case of making the wristwatches. And once again, this is, for me, interesting.
i njegove realizacije. Dakle, u ova dva slučaja, bio sam skupljač otpada u smislu uzimanja, recimo, mape metroa i možda lopov, a bio sam i dizajner u slučaju stvaranja ovih satova.
Another role that I like to take on is that of the performance artist. Some of my pieces have these kind of weird theatric elements, and I often perform them. I want to show you a clip from a piece called "Echolalia." This is actually being performed by Brian McWhorter, who is an extraordinary performer. Let's watch a little bit of this, and please notice the instrumentation.
Ponovo, ovo je za mene bilo zanimljivo. Još jedna uloga koju volim da preuzmem je uloga izvođača performansa. Neka od mojih dela imaju čudne pozorišne elemente, a ja ih često izvodim. Želim da vam pokažem snimak iz dela pod imenom „Ekolalia". Izvodi ga Brajan MekVorter, koji je izuzetan izvođač.
(Music)
Pogledajmo malo ovo i molim vas, primetite instrumentaciju.
(Muzika)
Okay, I hear you were laughing nervously because you too could hear that the drill was a little bit sharp, the intonation was a little questionable. (Laughter) Let's watch just another clip.
OK, čujem da se nervozno smejete jer ste i vi čuli da je bušilica previše oštra; intonacija je malo upitna. (Smeh) Hajde da odgledamo još jedan snimak.
(Music)
(Muzika)
You can see the mayhem continues, and there's, you know, there were no clarinets and trumpets and flutes and violins. Here's a piece that has an even more unusual, more peculiar instrumentation.
Možete videti da se haos nastavlja. Nema klarineta i truba, flauta i violina. Evo dela koje ima još neobičniju, čudniju instrumentaciju.
This is "Tlön," for three conductors and no players. (Laughter)
Ovo je „Tlön" za tri dirigenta i bez izvođača. (Smeh)
This was based on the experience of actually watching two people having a virulent argument in sign language, which produced no decibels to speak of, but affectively, psychologically, was a very loud experience.
Bazirano je na iskustvu posmatranja dvoje ljudi koji se žestoko svađaju na znakovnom jeziku, što ne proizvodi decibele, ali je afektivno, psihološki, bilo veoma glasno iskustvo.
So, yeah, I get it, with, like, the weird appliances and then the total absence of conventional instruments and this glut of conductors, people might, you know, wonder, yeah, "Is this music?"
Da, kontam, sa svim tim čudnim uređajima i potpunim odsustvom konvencionalnih instrumenata i gomilom dirigenata, ljudi bi se mogli zapitati: „Da li je ovo muzika?"
But let's move on to a piece where clearly I'm behaving myself, and that is my "Concerto for Orchestra." You're going to notice a lot of conventional instruments in this clip. (Music) (Music)
Hajde da nastavimo sa delom gde se lepo ponašam, a to je moj „Koncert za orkestar". Primetićete puno konvencionalnih instrumenata u snimku. (Muzika)
This, in fact, is not the title of this piece. I was a bit mischievous. In fact, to make it more interesting, I put a space right in here, and this is the actual title of the piece. Let's continue with that same excerpt. (Music)
U stvari, ovo nije naziv ovog dela. Malo sam bio nestašan. Da bi bilo interesantnije, ostavio sam prazno mesto ovde, a ovo je pravi naslov dela. Nastavimo sa istim isečkom. (Muzika)
It's better with a florist, right? (Laughter) (Music) Or at least it's less boring. Let's watch a couple more clips. (Music)
Bolje je sa cvećarom, zar ne? (Smeh) (Muzika) Bar je manje dosadno. Hajde da odgledamo još par snimaka. (Muzika)
So with all these theatric elements, this pushes me in another role, and that would be, possibly, the dramaturge. I was playing nice. I had to write the orchestra bits, right? Okay? But then there was this other stuff, right? There was the florist, and I can understand that, once again, we're putting pressure on the ontology of music as we know it conventionally, but let's look at one last piece today I'm going to share with you.
Sa svim pozorišnim elementima, ovo me stavlja u još jednu ulogu, a to je, moguće, dramaturg. Lepo sam se ponašao. Morao sam da napišem delove za orkestar, zar ne? OK? Međutim, postojale su i ove druge stvari, zar ne? Tu je cvećar i mogu razumeti da, ponovo, stavljamo pritisak na ontologiju muzike kakvu tradicionalno poznajemo. Pogledajmo poslednje delo za danas koje ću podeliti sa vama.
This is going to be a piece called "Aphasia," and it's for hand gestures synchronized to sound, and this invites yet another role, and final one I'll share with you, which is that of the choreographer. And the score for the piece looks like this, and it instructs me, the performer, to make various hand gestures at very specific times synchronized with an audio tape, and that audio tape is made up exclusively of vocal samples. I recorded an awesome singer, and I took the sound of his voice in my computer, and I warped it in countless ways to come up with the soundtrack that you're about to hear. And I'll perform just an excerpt of "Aphasia" for you here. Okay? (Music) So that gives you a little taste of that piece. (Applause)
Ovo je delo pod nazivom „Afazija" za pokrete ruke koji su usinhronizovani sa zvukom, a ovo predstavlja još jednu ulogu, poslednju koju ću podeliti sa vama, a to je koreograf. Note za delo izgledaju ovako, što meni, izvođaču, daje instrukcije o različitim pokretima ruku u određenim trenucima koji su sinhronizovani sa audio trakom, a ona je napravljena isključivo od vokalnih uzoraka. Usnimio sam sjajnog pevača i prebacio zvuk njegovog glasa u svoj kompjuter i izvitoperio ga na bezbrojne načine da bih dobio snimak koji ćete čuti. Izvešću samo deo „Afazije" za vas. U redu? (Muzika) To vam daje mali uvid u to delo. (Aplauz)
Yeah, okay, that's kind of weird stuff. Is it music? Here's how I want to conclude. I've decided, ultimately, that this is the wrong question, that this is not the important question. The important question is, "Is it interesting?" And I follow this question, not worrying about "Is it music?" -- not worrying about the definition of the thing that I'm making. I allow my creativity to push me in directions that are simply interesting to me, and I don't worry about the likeness of the result to some notion, some paradigm, of what music composition is supposed to be, and that has actually urged me, in a sense, to take on a whole bunch of different roles, and so what I want you to think about is, to what extent might you change the fundamental question in your discipline, and, okay, I'm going to put one extra little footnote in here, because, like, I realized I mentioned some psychological defects earlier, and we also, along the way, had a fair amount of obsessive behavior, and there was some delusional behavior and things like that, and here I think we could say that this is an argument for self-loathing and a kind of schizophrenia, at least in the popular use of the term, and I really mean dissociative identity disorder, okay. (Laughter) Anyway, despite those perils, I would urge you to think about the possibility that you might take on roles in your own work, whether they are neighboring or far-flung from your professional definition.
Da, OK, to je malo uvrnuto. Da li je to muzika? Evo kako želim da zaključim. Odlučio sam, na kraju, da je ovo pogrešno pitanje, da ovo nije važno pitanje. Važno pitanje je: „Da li je interesantno?", a ja pravim ovo pitanje, ne brinući o tome „Da li je muzika?" - o definiciji stvari koju kreiram. Dozvoljavam svojoj kreativnosti da me pogura u pravcu koji mi je interesantan i ne brinem o tome da li rezultat liči na neku ideju, paradigmu o tome šta bi muzička kompozicija trebalo da bude i to me je u određenom smislu podstaklo da preuzmem gomilu različitih uloga. Ono o čemu bih voleo da razmislite je dokle biste vi mogli da promenite osnovno pitanje u vašoj disciplini. Staviću još jednu dodatnu belešku ovde jer sam shvatio da sam pomenuo neke psihološke defekte ranije i da smo usput imali priličnu količinu opsesivnog ponašanja, deluzionih poremećaja i sličnih stvari, pa mislim da bismo mogli reći da je ovo argument za samopreziranje i vrstu šizofrenije, bar u popularnoj upotrebi ovih termina, a stvarno mislim kad kažem disocijativni poremećaj ličnosti. (Smeh) Uprkos tim opasnostima, zamolio bih vas da razmislite o tome šta biste preuzeli od uloga u vašem radu, bilo da su srodne ili daleke od vaše profesionalne definicije.
And with that, I thank you very much. (Applause)
Sa tim, hvala vam. (Aplauz)
(Applause)