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Palestrina: Canticum Canticorum / Picotti, Et Al
Release Date: 06/20/2006
Label: CPO Catalog #: 777 142 Spars Code: DDD
Composer: Giovanni Palestrina
Performer: Vittorio Zanon, Pietro Prosser, Enrico Bava, Marco Scavazza, ...
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Number of Discs: 1
Recorded in: Stereo
Length: 1 Hours 9 Mins.
EAN: 0761203714223
Works on This Recording
1. Osculetur me osculo oris sui by Giovanni Palestrina
Performer: Vittorio Zanon (Organ), Pietro Prosser (Archlute), Pietro Prosser (Lute),
Enrico Bava (Bass), Marco Scavazza (Baritone), Marco Scavazza (Countertenor),
Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor), Alessandro Carmignani (Alto),
Ulrike Wurdak (Soprano)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1854; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 19 Secs.
Language: Latin
2. Trahe me post te curremus by Giovanni Palestrina
Performer: Pietro Prosser (Archlute), Enrico Bava (Bass), Marco Scavazza (Baritone),
Marco Scavazza (Countertenor), Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor),
Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano), Pietro Prosser (Lute),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 30 Secs.
Language: Latin
3. Nigra sum sed formosa by Giovanni Palestrina
Performer: Pietro Prosser (Archlute), Pietro Prosser (Lute), Enrico Bava (Bass),
Marco Scavazza (Countertenor), Marco Scavazza (Baritone), Gianluca Ferrarini (Tenor),
Makoto Sakurada (Tenor), Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 29 Secs.
Language: Latin
4. Vineam meam non custodivi by Giovanni Palestrina
Performer: Pietro Prosser (Archlute), Pietro Prosser (Lute), Enrico Bava (Bass),
Marco Scavazza (Countertenor), Marco Scavazza (Baritone), Gianluca Ferrarini (Tenor),
Makoto Sakurada (Tenor), Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 4 Secs.
Language: Latin
5. Si ignoras te, o pulchra by Giovanni Palestrina
Performer: Pietro Prosser (Archlute), Pietro Prosser (Lute), Marco Scavazza (Baritone),
Enrico Bava (Bass), Marco Scavazza (Countertenor), Gianluca Ferrarini (Tenor),
Makoto Sakurada (Tenor), Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 30 Secs.
Language: Latin
6. Pulchrae sunt genae tuae by Giovanni Palestrina
Performer: Vittorio Zanon (Organ), Pietro Prosser (Archlute), Pietro Prosser (Lute),
Enrico Bava (Bass), Marco Scavazza (Baritone), Marco Scavazza (Countertenor),
Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor), Alessandro Carmignani (Alto),
Ulrike Wurdak (Soprano)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 31 Secs.
Language: Latin
7. Fasciculus myrrhae dilectus meus by Giovanni Palestrina
Performer: Pietro Prosser (Lute), Enrico Bava (Bass), Marco Scavazza (Countertenor),
Marco Scavazza (Baritone), Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor),
Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano), Pietro Prosser (Archlute),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 10 Secs.
Language: Latin
8. Ecce tu pulcher es by Giovanni Palestrina
Performer: Pietro Prosser (Archlute), Pietro Prosser (Lute), Enrico Bava (Bass),
Marco Scavazza (Countertenor), Marco Scavazza (Baritone), Gianluca Ferrarini (Tenor),
Makoto Sakurada (Tenor), Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 10 Secs.
Language: Latin
9. Tota pulchra es, amica mea by Giovanni Palestrina
Performer: Pietro Prosser (Lute), Enrico Bava (Bass), Marco Scavazza (Countertenor),
Marco Scavazza (Baritone), Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor),
Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano), Pietro Prosser (Archlute),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 13 Secs.
Language: Latin
10. Vulnerasti cor meum by Giovanni Palestrina
Performer: Vittorio Zanon (Organ), Pietro Prosser (Lute), Pietro Prosser (Archlute),
Enrico Bava (Bass), Marco Scavazza (Baritone), Marco Scavazza (Countertenor),
Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor), Alessandro Carmignani (Alto),
Ulrike Wurdak (Soprano)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 24 Secs.
Language: Latin
11. Sicut lilium inter spinas by Giovanni Palestrina
Performer: Vittorio Zanon (Organ), Pietro Prosser (Archlute), Enrico Bava (Bass),
Pietro Prosser (Lute), Marco Scavazza (Baritone), Marco Scavazza (Countertenor),
Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor), Alessandro Carmignani (Alto),
Ulrike Wurdak (Soprano)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 35 Secs.
Language: Latin
12. Introduxit me rex in cellam by Giovanni Palestrina
Performer: Vittorio Zanon (Organ), Pietro Prosser (Lute), Pietro Prosser (Archlute),
Enrico Bava (Bass), Marco Scavazza (Countertenor), Marco Scavazza (Baritone),
Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor), Alessandro Carmignani (Alto),
Ulrike Wurdak (Soprano)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 10 Secs.
Language: Latin
13. Laeva ejus sub capite meo by Giovanni Palestrina
Performer: Pietro Prosser (Lute), Enrico Bava (Bass), Pietro Prosser (Archlute),
Marco Scavazza (Baritone), Marco Scavazza (Countertenor), Gianluca Ferrarini (Tenor),
Makoto Sakurada (Tenor), Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 18 Secs.
Language: Latin
14. Vox dilecti mei by Giovanni Palestrina
Performer: Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano), Makoto Sakurada (Tenor),
Gianluca Ferrarini (Tenor), Marco Scavazza (Countertenor), Enrico Bava (Bass),
Marco Scavazza (Baritone), Pietro Prosser (Archlute), Pietro Prosser (Lute),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 5 Secs.
Language: Latin
15. Surge, propera amica formosa mea by Giovanni Palestrina
Performer: Makoto Sakurada (Tenor), Gianluca Ferrarini (Tenor), Marco Scavazza (Baritone),
Vittorio Zanon (Organ), Pietro Prosser (Lute), Pietro Prosser (Archlute),
Enrico Bava (Bass), Marco Scavazza (Countertenor), Alessandro Carmignani (Alto),
Ulrike Wurdak (Soprano)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 15 Secs.
Language: Latin
16. Surge, amica mea by Giovanni Palestrina
Performer: Vittorio Zanon (Organ), Pietro Prosser (Lute), Pietro Prosser (Archlute),
Enrico Bava (Bass), Marco Scavazza (Countertenor), Marco Scavazza (Baritone),
Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor), Alessandro Carmignani (Alto),
Ulrike Wurdak (Soprano)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 29 Secs.
Language: Latin
17. Dilectus meus mihi by Giovanni Palestrina
Performer: Marco Scavazza (Countertenor), Marco Scavazza (Baritone), Gianluca Ferrarini (Tenor),
Alessandro Carmignani (Alto), Makoto Sakurada (Tenor), Ulrike Wurdak (Soprano),
Pietro Prosser (Lute), Enrico Bava (Bass), Pietro Prosser (Archlute),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 14 Secs.
Language: Latin
18. Surgam et circuibo civitatem by Giovanni Palestrina
Performer: Alessandro Carmignani (Alto), Makoto Sakurada (Tenor), Gianluca Ferrarini (Tenor),
Marco Scavazza (Baritone), Marco Scavazza (Countertenor), Enrico Bava (Bass),
Pietro Prosser (Archlute), Pietro Prosser (Lute), Vittorio Zanon (Organ),
Ulrike Wurdak (Soprano)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 1 Minutes 59 Secs.
Language: Latin
19. Adiuro vos, filiae Hierusalem by Giovanni Palestrina
Performer: Alessandro Carmignani (Alto), Makoto Sakurada (Tenor), Gianluca Ferrarini (Tenor),
Marco Scavazza (Countertenor), Marco Scavazza (Baritone), Enrico Bava (Bass),
Pietro Prosser (Lute), Pietro Prosser (Archlute), Ulrike Wurdak (Soprano),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 51 Secs.
Language: Latin
20. Caput ejus aurum optimum by Giovanni Palestrina
Performer: Ulrike Wurdak (Soprano), Vittorio Zanon (Organ), Pietro Prosser (Lute),
Pietro Prosser (Archlute), Enrico Bava (Bass), Marco Scavazza (Baritone),
Marco Scavazza (Countertenor), Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor),
Alessandro Carmignani (Alto)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 14 Secs.
Language: Latin
21. Dilectus meus descendit by Giovanni Palestrina
Performer: Pietro Prosser (Archlute), Enrico Bava (Bass), Marco Scavazza (Countertenor),
Marco Scavazza (Baritone), Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor),
Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano), Pietro Prosser (Lute),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 18 Secs.
Language: Latin
22. Pulchra es amica mea by Giovanni Palestrina
Performer: Pietro Prosser (Archlute), Pietro Prosser (Lute), Enrico Bava (Bass),
Marco Scavazza (Countertenor), Marco Scavazza (Baritone), Gianluca Ferrarini (Tenor),
Makoto Sakurada (Tenor), Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 7 Secs.
Language: Latin
23. Quae est ista quae progreditur by Giovanni Palestrina
Performer: Pietro Prosser (Archlute), Enrico Bava (Bass), Pietro Prosser (Lute),
Marco Scavazza (Baritone), Marco Scavazza (Countertenor), Gianluca Ferrarini (Tenor),
Makoto Sakurada (Tenor), Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 17 Secs.
Language: Latin
24. Descendi in hortum meum by Giovanni Palestrina
Performer: Pietro Prosser (Archlute), Vittorio Zanon (Organ), Enrico Bava (Bass),
Pietro Prosser (Lute), Marco Scavazza (Baritone), Marco Scavazza (Countertenor),
Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor), Alessandro Carmignani (Alto),
Ulrike Wurdak (Soprano)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 19 Secs.
Language: Latin
25. Quam pulchri sunt gressus tui by Giovanni Palestrina
Performer: Pietro Prosser (Lute), Enrico Bava (Bass), Pietro Prosser (Archlute),
Marco Scavazza (Baritone), Marco Scavazza (Countertenor), Gianluca Ferrarini (Tenor),
Makoto Sakurada (Tenor), Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 30 Secs.
Language: Latin
26. Duo ubera tua sicut duo hinnuli by Giovanni Palestrina
Performer: Pietro Prosser (Archlute), Pietro Prosser (Lute), Marco Scavazza (Countertenor),
Marco Scavazza (Baritone), Enrico Bava (Bass), Gianluca Ferrarini (Tenor),
Makoto Sakurada (Tenor), Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 53 Secs.
Language: Latin
27. Quam pulchra es, et quam decora by Giovanni Palestrina
Performer: Pietro Prosser (Lute), Enrico Bava (Bass), Marco Scavazza (Baritone),
Marco Scavazza (Countertenor), Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor),
Alessandro Carmignani (Alto), Ulrike Wurdak (Soprano), Pietro Prosser (Archlute),
Vittorio Zanon (Organ)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 43 Secs.
Language: Latin
28. Guttur tuum sicut vinum optimum by Giovanni Palestrina
Performer: Vittorio Zanon (Organ), Pietro Prosser (Lute), Enrico Bava (Bass),
Marco Scavazza (Countertenor), Pietro Prosser (Archlute), Marco Scavazza (Baritone),
Gianluca Ferrarini (Tenor), Makoto Sakurada (Tenor), Alessandro Carmignani (Alto),
Ulrike Wurdak (Soprano)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 35 Secs.
Language: Latin
29. Veni dilecte mi by Giovanni Palestrina
Performer: Ulrike Wurdak (Soprano), Pietro Prosser (Archlute), Marco Scavazza (Baritone),
Marco Scavazza (Countertenor), Makoto Sakurada (Tenor), Enrico Bava (Bass),
Pietro Prosser (Lute), Vittorio Zanon (Organ), Gianluca Ferrarini (Tenor),
Alessandro Carmignani (Alto)
Conductor: Livio Picotti
Orchestra/Ensemble: La Capella Ducale
Period: Renaissance
Written: by 1584; Italy
Date of Recording: 03/2003
Venue: Siena, Italy
Length: 2 Minutes 31 Secs.
Language: Latin
Notes and Editorial Reviews
AllMusic Review by James Leonard [-]
The two formative events of his life -- the death of his first wife and the Council of Trent -- were two decades behind Palestrina when he turned to Solomon's Song of Songs prior to his joyful second marriage in early 1584. Setting the Bible's rapturous songs of sacred love to music brought out the most attractive aspect of the Roman composer's art: his gracefully arching melodies, his elegantly sensual harmonies, and his inspired ability to set texts to exactly the right music. In this 2006 recording of the Canticum Canticorum, the intimate couplings of Solomon's poems and Palestrina's music are sweetly, lovingly, and very expertly brought to life by the Capella Dvcale Venetia. Under director Livio Picotti, the six-voice Capella sings with warmth of tone, purity of intonation, and irresistible passion while Pietro Prosser and Vittorio Zanon provide discrete but exquisite accompaniments on the lute and positive organ. While those who prefer their love music to sound like Wagner's Tristan und Isolde may be disappointed by modesty of the instrumental forces and the relative restraint of the expression, those who know the composer only for his many glorious mass settings may be surprised and delighted to hear Palestrina in a more amorous mood. CPO's sound is clear, close, and honest, no bad thing when the performers are as skilled as these.
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Palestrina's cycle of motets on texts from The Song of Songs was published in 1584 as his fourth book of motets, but the works are far closer to his madrigal style. On this new recording, Livio Picotti and Capella Ducale perform the pieces very much in the madrigal style, using just one voice to a part and using discreet continuo support from Pietro Prosser on Lute and Archlute.
The motets set 57 verses selected from a total of 116 verses in The Song of Songs. Numerous contemporary printings of the work testify to its popularity during Palestrina's lifetime. But of course, great works do not necessarily make easy recording projects.
The cycle has not been a frequent visitor to the record catalogue, perhaps because recording a sequence of 29 sacred madrigals is rather a daunting prospect. The various recordings - by the Hilliard Ensemble, Magnificat, Pro Cantione Antique, the Cambridge Singers - have brought out different aspects of the cycle and, so far, no single recording manages to encompass the complete work in all its various aspects.
Capella Ducale are very much a vocal ensemble in the modern style, with distinctive voices and characterful delivery rather than blended perfection. Judging by their names, four of the six singers would seem to be native Italians so I had high hopes for the recording. Two of the singers, soprano Ulrike Wurdak and alto Alessandro Carmignani, have profoundly distinctive voices, perhaps too distinctive for the good of the work. Both have a significant edge to their voice and not everybody will like the resulting, slightly edgy tone.
But the group sing well together, responding to the music and imbuing it with a delightful madrigalian feel. There were occasionally smudges in the fioriture but nothing too disturbing. More worrying is the lack of intensity that the group gives to verbal and dramatic issues. Their performance is not bland, but they seem to respond neither to the words nor to the innate drama in the work. The text is, after all, a dialogue between bride and bridegroom and could be rendered quite dramatically. Even if you choose to emphasise the more sacred aspects of the work, the text could be projected with greater intensity than it is here.
The group use one singer to a part and change the voices allocated to the parts depending on the tessitura of the printed works. This means that in the first half, soprano Ulrike Wurdak is on the top line and in the second half, alto Alessandro Carmignani is on the top line. I found the Carmignani's voice a little too squeezed and edgy, I was not comfortable with him singing the top line. But there is a musicological objection to this. Though the pieces are printed with the second half of the cycle using different clefs and keys, I had always understood that this was a common convention in the 16th century. All the pieces should be sung in harmonised keys with the same line-up of voice types throughout the work.
The definitive recording of Palestrina's Song of Songs has yet to be made. Whilst this one has some attractive qualities, it is not really a recording that I would want to live with.
Robert Hugill
musicweb-international
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Rezensionen
Sunday Times: "Konzentriertes, wiederholtes Hören lässt einen Überfluss an Feinheiten erkennbar werden. Ein wundervolles, ausgefeiltes Werk." Toccata 11 / 06: "Wer die Gruppe und deren Leiter kennt, ist vom superben Ergebnis wenig überrascht." Concerto 11 / 06: "Ein sehr angenehmes und transparentes Klangbild. Jede Stimme der raffinierten Polyphonie ist klar zu hören, nichts geht in einem breiigen Tutti unter. Auch die Tempi wirken frisch und unverkrampft: Insgesamt aber handelt es sich um eine rundum erfreuliche Neueinspielung."
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