>> Anne McLean: Good evening. We are so excited tonight to be wrapping up our season with this really extraordinary concert. And I know you're going to love it, with Orpheus Chamber Orchestra, Jan Laszewski [assumed spelling], and a new piece by Valerie Coleman. And this piece is a new version of a work that Valerie has written for the library, a newly commissioned chamber-sized version. And we're going to talk about that, "Phenomenal women". We've had a few backs and forths in the last hour, because the musicians just arrived from New York very recently on two buses. So, the schedule has been changed a lot. But we have a lot of interesting things to talk about. And Valerie and I have just had a couple of fun exchanges about something I want you guys to look at in the cases tonight. There's a very, very charming letter from Maya Angelou to Max Roach, the great jazz drummer. And it's just very touching. And one of the things that we'd like to focus on tonight is your love for Maya Angelou, her poetry, and how this poem, Phenomenal Women, inspired you to write this work. So, let's start with just your love of Maya Angelou, you said you started when you were doing research on her poetry, you started thinking this music. >> Valerie Coleman: That's right. You know, actually, Maya has been the muse for me, posthumously for her, for a few of my works now. I just find that her words are music incarnate. And for any composer, oftentimes we have different sources of inspiration that allow us to transform that source into a creative world unto itself. So, Maya was that muse for me, and I decided to write a piece that was based on the poetry that she created in Phenomenal Women that basically talks about the sultriness of the hips, the power that is inherent within women, the sense of determination, and I decided to think about all the sheroes [phonetic] that have made a difference in my life as inspirational figures. And so, Michelle Obama, Serena Williams, in the original version, Katherine Johnson, who lives in Baltimore, I believe. Katherine Johnson is the NASA mathematician who basically wrote codes for NASA long ago when there were human computers and not, you know, not this. And also, a young lady who is currently a two-time gold medal champion, who lives in Flint, Michigan by the name of Clarissa Shields. So, these women just really -- just related to the poem in such a way that I thought that Phenomenal Women, the poem itself, would be that ground source from which all the other branches of the music of each movement would come. Other pieces that I've written based on Maya Angelou was a piece called "Elegy". That's for flute and choir. And it's all about her ancestry and how she as an ancestor, in the ground, you know, her progeny and just how they go into her like roots, finding their source of nourishment, that allows her -- that allows them to grow and to be. Another piece was just written, it was for flute and piano, and it's called [foreign language spoken], and it's called "Human Family" in Haitian Creole, basically, and that was written for the National Flute Association's annual convention for the high school competition. So, I felt it was necessary to bring Maya's words and her poem through music to life for these high schoolers who may or may not study her words. So, I thought it was a good gateway introduction into her. >> Anne McLean: Would you talk to us -- I was very interested in how much you were so responsive to things around you, not only as you say books, poems, paintings, words by Langston Hughes and Matisse, you mentioned, Josephine Baker and other African American expatriates and so on. But you also talked about your concern, deep concern for political and social issues that has been such a thread in your work throughout. And I was thinking about this comment you made about how composers are dangerous people. Because precisely because you have these reactions and yet, you don't just get angry or upset like some many people do, but you do something. Would you talk about that a little bit? >> Valerie Coleman: What I love about being a composer is that it allows us to dive into the darker nature of humanity, as well as all the good things. And sometimes that can affect composers granted, just like it affects actors when they take on roles of villains and different characters of darker natures. But for me, that is fuel. Every kind of element that is out there, the things are the most joyful but also the that things are the most horrific. I'd like to think it's my job to take those things and turn it into love. Turn it into a way of beautiful expression that teaches humanity to all who listen, or not even teaches humanity, because that implies that people don't know humanity but rather reminds them that even in the most desperate moments that humanity is still very much a part of who we are and very much a part of what we need to have within us implemented externally. So, yeah, it is a mission it is. It is the reason why I write really. >> Anne McLean: And you've said that music heals, informs, and bridges gaps between differences of opinion. >> Valerie Coleman: That's right. >> Anne McLean: So, we -- I'd love to talk on that, too. But I wanted to take a moment to welcome our guest who is the executive director of Orpheus, Alexander Scheirle, who's just come from New York. The whole orchestra has just arrived basically on two buses without a chance to have any snacks or anything. But it's just lovely to have you, and this helps us answer a question that Valerie and I were just talking about, how this piece, Phenomenal Women, came into being. I know that it was essentially a concerto Grosso for wind quintet and the American Composers Orchestra. And now I just found out from Valerie that it was actually a co-commission with Carnegie Hall, which I hadn't been sure about. But then it was you, Alexander, who steered the library to this, and we're very grateful to you for that. And what was the connection that you and Valerie had to make this come about? >> Alexander Scheirle: Hi, everyone. Thank you. I'm sorry, I'm late, but glad I made it to be here. But, well, Valerie and I swear we -- well, not me personally, but Orpheus, we were, you know, we've known each other for so many years. And we knew she writes beautiful music and meaningful music, which is always important for Orpheus. We commission at least one piece a year, and so we had this inquiry from the Library of Congress, and we thought this would be a perfect opportunity for us to engage with Valerie Coleman and get this piece written. And, I mean, we knew she had -- there was a commission, and we said, can we adapt it, so we can actually play it in a large orchestra? And I'm so glad it worked out. I heard some of the rehearsals, and I'm really excited about it, I have to say. It's beautiful, really beautiful. >> Anne McLean: This piece, in the original version it was four Imani Winds with the big orchestra. And so, now how -- you've recalibrated it for Orpheus. And I was curious about the power of those woodwinds. If you've never heard the Imani Winds, of which Valerie was the founding flutist and is amazing as a flutist, you really should look at their videos. And found out, they've been galvanizing the music world for 22 years. And it's fascinating because they have this style, it's like a conversation, a very quick, fascinating, fantastic conversation among friends at all times, powered by incredible technique. But you hear that in the way that she writes for this combination. So, I really hope that you have a chance to listen to it. But back to the piece a little bit. Let me think. There was -- in terms of the way that it's structured, when you wrote the piece originally was the caravan movement in it or no? It was. Okay. Talk about that a little bit. So, it's Michelle Obama, Serena Williams, and Maya Angelou. And then there's another movement that I want you to talk about. >> Valerie Coleman: That is correct. Well, the original Phenomenal Women version, that's with wind quintet in orchestra has six movements to it. And so, for this particular commission, I decided to really expand upon four of the movements and make them the forceful movements within the piece and one of which is "Caravana", which is basically dedicated to the mothers and the children of the caravan migrant families that are, you know, coming in steady streams to the border seeking asylum. And that movement came about in a wave of inspiration just as we started to learn more and more about the separation of families at the border and in the children being put into their own camps. And so, it really hit me, because I'm a mom of a five-year-old daughter. And, you know, back to humanity, part of what I do is I try my best to put myself into another person's shoes, no matter how dark their circumstance may be. And in doing so, I was just so distraught that I felt that it had to be -- there had to be something that I could do. However, I wouldn't even say useless, but because, you know, I'd rather figure out a way of doing something directly that relates to making their struggle better. But I knew that on this side of things, I need to just really, once again, remind folks of the humanity involved. That these are children. These are parents. So, that's how that movement came about. And it's funny, because I retired from Imani Winds, not too long ago, this past August, and Brandon George, who is my successor, he's now the flutist of Imani Winds. He's also playing tonight with Orpheus. So, that's a special treat. And the connection of that is, when he played the piece, he felt that it was the heart of the group. It was the heart of not only the group, but the composition itself. And so, he felt that I was handing him the heart of Imani Winds. So, that's a really special thing. So, tonight you're going to hear a remix of that. It is extended; it has been expanded. I felt that with Phenomenal Women, the original version, that there were a lot of ideas on the table that I didn't really feel I had a chance to fully expand upon. So, with this version, the other ideas are coming into play. So, in a way it's its own new, original piece. >> Anne McLean: Wonderful and it's our good luck, and we thank you and you too for helping to bring it to the library. It's a very powerful and empowering piece. It has a lot of moments of lightheartedness and rhythmic involvement that makes you smile and so on. But there's a heart to the piece that I think you will find very, very touching. I wanted to acknowledge a man I don't know, I've never met, but we're having him with us tonight. And you're a horn player, right? >> Stewart Rose: Yes. I'm Stewart Rose, horn player with Orpheus. >> Anne McLean: And so, maybe -- it's very nice to have you. And we would love to actually draw you in as a player. And let me weave this together a little bit by saying that if you don't know, Orpheus is famous for, of course, being a conductor-less orchestra, and you, Alexander, have also worked for another conductor-less orchestra I understand. So, you're very, very adept in managing such a group. And what you read about and hear about is how the players work together to collaborate, and the pianist tonight has talked about the effortless rapport of the orchestra. And I'd like to talk about him too and your involvement with him. But regarding Valerie's piece in terms of the woodwind writing, what would you like to comment on about that? >> Stewart Rose: I'm actually not playing in the work, so-- >> Anne McLean: No, but just in general. >> Stewart Rose: Just in hearing it, it's -- I don't really know. To tell you the truth, I haven't heard it yet, so. >> Anne McLean: Well, yeah, the textures and the tones for the woodwinds really animate throughout in every possible way. And I-- >> Alexander Scheirle: I can comment on it a little bit, help you out here. >> Stewart Rose: Please. >> Alexander Scheirle: So, it was written for Imani Winds and a big orchestra, but the wind player at first were soloists up front. And so, when we got the music, then all of our wind blowers were pretty scared, because they said, wow, this is really -- that's a solo piece of five wind players. Is it five or six? Five, yeah. And so, they spent a lot of time just reading the score and practicing and making sure that they would get it, because again, as Anne said, we're an unconnected orchestra. I don't want to put too much focus on that. But yes, we do not have a conductor amongst other things, but -- so it's hard for us to, of course, you know, have five soloists and then a larger orchestra behind. And so, we found a way to do it. Now our wind soloists, I mean, they're more embedded now in the full score. That's the new writing, but they're -- like the wind players would be in a larger orchestra behind the string players, that's how we do it. So, they're not upfront, so not like you would feature soloists, and it works really well. And it sounds good. >> Stewart Rose: There was a little discussion about that too, because, amongst other things, we decide how we're going to set up each piece and how we'd like to have the sight lines between the players and everything. And I know there was discussion of originally having the soloists out front. And I guess there were technical issues with that and balance issues. So, it seemed to make more sense to put the soloists behind the strings. >> Valerie Coleman: Well, definitely, I'm glad about that, because the reconfiguration but the soloist parts embedded into the orchestra and some even some melodies are even reassigned to other instruments. The trumpet for example, has a much more expanded part to it, as well as French horn too. So, and the timpani player who -- the biggest challenge for reconfiguring, reimagining Phenomenal Women, was taking an orchestra large scale, and truncating it down into a chamber ensemble. And with chamber music, it is an art within itself. It takes a lot of communication; it takes a lot of patience within a rehearsal setting. And, you know, and I'm only speaking from my experience with the Imani Winds and other chamber music groups. When you're dealing with the Chamber Orchestra where everybody has a say, then I can only imagine the controlled chaos that could possibly ensue whenever there is, you know, a disagreement, or if somebody is playing a phrase a certain way and somebody else has another idea about it, or when you guys are going through mixed meters, you know, without a conductor. It's a really substantial undertaking, and I certainly applaud you for it. And so, for the piece itself, the idea of taking three percussion players and assigning it to one, the idea of taking all these strings and all of the brass and assigning it to just two players had its own unique set of challenges. There is no piano, there's no harp. So, you have to recreate those sounds using different combinations of instruments. And that is an exciting thing, because we composers, whenever we see a bunch of instruments in front of us, we're very much like a kid in a candy store. We want a little bit of that, a little bit that, you know, just blend it together and make a whole big beautiful mess. So, it's a lot of fun. And, you know, I'm really looking forward to tonight. >> Anne McLean: You know, I was thinking what you're saying that the pianist has said that he -- getting comments from his colleagues in the orchestra. He said, you're just as likely to get a comment from the timpanist as the concert master at any point. And that kind of flustered me. I was thinking, wait a minute. So, they're coming at you from all sides, but that's what it's about. That's what your connection, your collaboration, your process is about. And this is actually a good segue possibly to something that I wanted to mention to both you, Valerie, and Alexander and also maybe Stewart too, because you're the one who's doing this connecting. But regarding you, Valerie, you have a new position as Assistant Professor of Performance, Chamber Music, and Entrepreneurship at the University of Miami's Ross School of Music. So, hold the thought about the entrepreneurship. And, Alexander, you are involved as the managing director of a firm, essentially musical firm, that's famous for entrepreneurship and business. You teach business practices at Harvard and all around the world to institutions. So, I was wondering -- and, of course, you're the one who's actually doing the collaborating. I was wondering how -- the three of you would comment on music and entrepreneurship today, how you mentor young people? How do you teach these kinds of concepts, and how do you teach this to businesspeople? >> Alexander Scheirle: Should I go first? Okay. How much time do we have? >> Anne McLean: It's a big topic. >> Alexander Scheirle: So, when Orpheus started in 1972, it set out to -- the musicians set out to play orchestra, the orchestra literature just like they would play chamber music. The way you play chamber music, chamber music, as you know, is between two and 10 musicians on stage. There's no conductor, there's no hierarchy either. So, when you decide let's do the orchestra literature the same way, then they realized, well, if there's no hierarchy, and if you play it like chamber music, then there cannot be a conductor. So, every time I hear well, it's a conductor-less orchestra, I feel like, yes, we are a conducting-less orchestra, but that's just a side effect. Because the reason why we don't have a conductor is because we wanted to do it in a more collaborative way and in a way where every musician can play with its full potential in the full creativity of each individual musician, which you don't have in a symphony orchestra. It's just, you know, realize that when you have twenty violins, you shouldn't hear every single violin player. That's just -- that wouldn't make an orchestra. So, with Orpheus, that's a completely different approach. So, that would eliminate a conductor. And we all know that if you give an employee or anyone in your company more responsibility or more decision-making authority, then that person will feel more being part of the company and feel more responsible and potentially create a better product or more excellent service. And back to the musicians, you know, if you let them be creative and let them be who they are, very creative people and very hardworking and talented people, then the output on the other end, which for us is the concert, the end product is, of course, a lot more emotional and a lot more creative and a lot more, you know, something that you would realize when you are in the -- or notice when you're in the audience. It's just like with a good wine, and you don't need to be wine connoisseur, and you say, well, I like this win. You may not even know why you like it, but you do like it. And same with the music, you know, something touches you and something gets to you. And you may not even know what it is, but with Orpheus, I can promise you, it's the emotion and it's like the collaborative feeling of experiencing music, which you not always have with orchestral experiences. >> Stewart Rose: If I could add to that, too, there's a level of personal involvement for each and every musician in the group. A real responsibility towards the end product that you kind of lose in a hierarchical situation where a conductor is telling everyone how to play, this is what you do here, and we follow orders. In Orpheus, it's quite the opposite, where we're all contributors, and we don't have the usual hierarchy of principle, second, third players. We all change roles, and you'll notice when we perform each piece will have a different setup of performers, different concert master, different first cello different first bassoon, etcetera, etcetera. And in that way, everyone has an opportunity and a responsibility to be kind of a leader in the orchestra as opposed to a follower. In a big symphony orchestra, you tend to be more of a soldier following the dictates of a conductor. Here it's a much more personal responsibility that we bring to the music, which makes it much more gratifying and satisfying for us as players too to be that much more connected to it. >> Anne McLean: So, does this resonate with you in terms of what you're teaching your students these days? >> Valerie Coleman: Absolutely. Well, you know, I have two lives. My one life is that of a chamber musician, that speaks directly to everything that has been said, the idea of a partnership, how to keep the communication going within an ensemble so that the energy and the artistic merit is very much built upon, which is a very exciting thing. But more importantly, really understanding the eccentricities and the personalities of each and every single person being able to read every single gesture, knowing the person's tells, what they're going to do in advance, and developing yourself as an ensemble to the point that there is a certain level of ESP. Now granted, there are new pieces that come to the table like Phenomenal Women, where ensembles are relegated to basically getting through it, conducting themselves through it, and staying together as much as possible. But there's something beautiful that happens when a group has been together for a long time and they're working on a new piece. All those tells all those communication things that they've learned start to apply themselves into the new piece itself. So, they're miles ahead of any pickup group or any freelance ensemble that is put together. There's an automatic communication that happens that is -- that becomes even more savored once they start to play the piece more and more and more. Then the ESP, I always call it ESP, it really sets in. On an academic standpoint, students today, and it's a really -- it's one of the biggest reasons why I got into academia as of this year, and that is students do not understand how chamber music can inform our total musicianship and how it can empower the entrepreneurship side of what we do. So, they're, you know, these students, they're doing orchestra, they're doing band. But with chamber music, they do like an hour a week, and maybe they get a coaching once a week on top of that, so they really don't understand the empowerment that comes from building your own artistry through chamber music. How you are a soloist, how you are you your own conductor. But at the same time, you have to work to learn how to get along with a person, you have to work to get a musical idea across, and which is a parallel for everyday life. No matter whether or not you play an instrument, you have to learn how to communicate with people. So, that's my job. first and foremost, is to really build up the sense of chamber music for these students to let them know that it is a viable, sustainable source of income. It is an art form that builds their artistry and empowers them to commission; it empowers them to learn works both old and new. But most importantly, it teaches them how to build an interpretation that is their own. They don't have to wait for their professor -- for ownership of an idea. They can create on their own, and that's the way it's supposed to be. So, it's a very exciting time. Once I get these students, and I say these students, not just for the Frost School of Music, but for the whole dang country. We have to look -- this generation has to look at chamber music differently. And I think they are. With the age of social media, there's this this do it, DIY attitude that the millennials have. So, chamber music really does have an excellent platform with these millennials. So, it's my job to really reframe chamber music to them and give it more importance. And when that happens, I'm going to tie in everything you're talking about. >> Anne McLean: That's wonderful. I hadn't thought of some of these aspects before. And you were really the person to do it. I had wondered why you were making this switch into academia now, because she's very much in demand as a composer. This year, I mean, among other things, you've received the Herb Alpert Ragdale Residency and Prize, which is very prestigious. You were named by the Washington Post at the top -- among the top 35 women composers, which is pretty exciting. So, Valerie has to slip out and hear the rest of her piece being rehearsed. So, I'm just thinking maybe a nice way to have her disappear is to read the poem of Phenomenal Women, part of this excerpt. This will inhabit the piece you're about to hear. >> Valerie Coleman: I cannot do it justice the way Maya does her phrasing, her lilt, her rhythm, but, "Pretty women wonder where my secret lies. I'm not cute or built to suit a fashion model size. But when I start to tell them, they think I'm telling lies. I say it's in the reach of my arms, the span of my hips, the stride in my step, and the curl in my lips. I'm a woman, phenomenally phenomenal woman. That's me." [ Applause ] >> Anne McLean: Straight, and we'll just ruthlessly keep right on while you're slipping into the rehearsal here. But thank you so much. To mention something I was saying to Valerie earlier, not only there's a letter from Max Roach in the collection -- in the cases there, but there's a beautiful photograph of Maya Angelou dancing. And I hadn't known until I read an article by Valerie that she was a Calypso dancer and artist for quite a while. I had no idea. Did you know that? Yeah, it was fascinating to me. So, to continue along some of the lines that we were just talking about very quickly, because I know your time is limited too, back to the business model and how you guys put together this tour. They've just come off a massive tour. First three weeks in Asia I understand, and then back to back two weeks in Europe. They just came back three days ago. And you were in Prague, Dresden, Cologne, and nonstop. Is this something that you helped to engineer this tour? Because for any orchestra, that's a big thing. Were you the instigator? >> Alexander Scheirle: I guess so. I mean, my office has always been a touring orchestra, and we have been touring the world for decades now. Almost forty years. Yeah, this year, we celebrated thirty -- having been to Japan thirty years. And so, yeah, and Europe is still -- I mean, I'm from Europe, I'm sure you can tell. And so, it's the core of the classical music is all the composers Beethoven, Mozart, Schumann, all these guys, they were from Europe and so music appreciation, concert halls, all of that sort of stuff. It's just very -- I mean, it's -- music is appreciate -- classical music is definitely appreciated, too. And so, for us, it's very important to have a presence in Europe, and so we go there very regularly. I mean, it's been a second time this year that we've been to Europe. We go again in October in the major halls, and it's -- yes, it is actually my job to put this together. And we have management there that helps us, of course, and it was a great tour, great success. >> Anne McLean: This Mendelssohn, the project that you'll hear tonight is, I think [inaudible] microphones. The Mendelssohn Program is just stunning. As you'll see in the program, of course, Mendelssohn Piano Concerto Number One, and the Italian Symphony, and in our hall, you can imagine how glorious this is going to sound. It's just stunning in there. And I wondered how you hooked up with the pianist? How did you meet him? Did he approach you? And now, by the way, they have recorded this to [inaudible] for [inaudible] gramophone, which is quite an achievement. >> Alexander Scheirle: So, Jan Laszewski, our pianist for tonight, he has been on our radar for a long time. He's been with [inaudible] since he's 16 years old, he's now 24. So, he's been extremely successful. He's Polish Canadian, born and raised in Canada still lives there, but Polish parents. He's a wonderful performer. He's just a very humble, wonderful human being and a terrific artist. And so, he has been on our radar for a while. We switched management for our European bookings, and so happened that he has the same management there. And that's how we got together. And then [inaudible] gramophone asked if we could record both Mendelson concertos with him, which we did. It was released this February. And so, we went on the CD release tour, which was just this month, and so we are bringing it here too. >> Anne McLean: It's wonderful when -- you'll be able to hear this. Do you have any questions for these gentlemen this evening? Anybody have a particular question or idea they want to pursue? No? >> Stewart Rose: Back there. >> Anne McLean: Okay. >> Raise your hand. >> Since you were talking a little bit about business of classical music, I just wondered if any of you had comments on the sudden announcement by the Baltimore Symphony to cut their summer programming? And maybe in general, just what can orchestras like the Baltimore Symphony do to survive? >> Stewart Rose: Yeah, that's a good question. It's really a tough time in the classical music industry in that way. Concerts don't pay for themselves, generally. Ticket sales usually don't cover the costs of an actual concert. So, there's a whole area of fundraising that's probably at least sometimes more than half of the revenue needed to put on performances you'll need to be subsidized by almost a half or more. It sounds like Baltimore has gotten into this over the course of the last couple of years, into this kind of trouble. It's very disturbing though. Musicians there are expecting to work year-round for this symphony, that's their full time job 52 weeks a year, and they were just told the other day, well, 12 weeks of your year is being chopped off, as of now. And it has all kinds of implications in terms of whether people will stay with the orchestra or they'll audition for better paying positions with better conditions elsewhere. But it's troubling everywhere. The Chicago Symphony was just on strike for a month, which is really kind of unbelievable that maybe the leading orchestra in the country is still having to resort to that kind of, you know, labor management strife and, you know, but it is tremendous financial pressure that we all feel. And it's, you know, kind of a balancing act of everything coming in together so that can actually work out hopefully and be well funded too. >> Anne McLean: You know, this reminds me of something that I've read I wanted to ask both of you about, and that was a statement that said, while symphony orchestras are in dismaying situations sometimes even decline in some cases, chamber orchestras are thriving. And I hadn't known that or hadn't thought about that. Do you perceive that too? Is it the small -- the format to manage? >> Alexander Scheirle: Well, I know most of the chamber orchestras here. I don't know exactly how they deal with this. But I can tell you from our perspective, as a chamber orchestra, you are more nimble. You're also closer to your musicians. Most of the major orchestras, us included, are unionized, which, of course, makes it hard in some level to deal with, especially labor disputes. But for us, Orpheus, it's very different, because we are -- we have musicians, we have administrations. As I said, on stage, there's no hierarchy. On the administration, we have titles. I'm the executive director, but we only have the titles for the outside. We don't really practice them internally. And so, we are very collaborative, also between musicians and management and board. And so, we all get together. We, for instance, have three artistic directors. And these people are musicians elected by the musician, body, and they sit in the administration. And so, we're very close. We also have three musician board members. And so, when we negotiate our new contract, then we basically negotiate with ourselves and that's because we don't negotiate with the union, we negotiate with our musicians that are union representatives. But they're all musicians. So, the last round we had, we had to tell them, look guys, we will be going on more tours, and so the touring we have to reduce some, you know, the salaries or whatever. And it was totally acceptable and everyone, you know, understood it was important for the organization. So, we're a lot more nimble, so it's harder for a large orchestra. And you can't compare it. So, that's why I think that the chamber orchestras have it a little easier, I guess. It's also, you know, when we tour, I mean, we tour with -- this summer we were 34 musicians, compared to eighty or ninety when the New York Philharmonic tours. You know? I mean, that's a huge undertaking. It's very costly. And yeah, and every concert is highly subsidized. So, we do, we're in a business, and we're losing money. >> Stewart Rose: But we don't have to pay a conductor. So, that saves us a lot [laughter]. >> Anne McLean: Well, it's our good fortune that you have such a remarkable structure and format and camaraderie. You will hear all of this is the formidable music making tonight, and I hope you'll enjoy the concert. Thank you so much. >> Alexander Scheirle: You're welcome. Thank you all [applause].