Bach - Cantatas for Eastertide cont. "Good Shepherd Sunday"

Following on from my previous post on Bach Cantatas for Easter this post focusses on the fourth Sunday of Easter, also known as "Good Shepherd Sunday". The name derives from the gospel reading for the day, which is taken from the tenth chapter of John's Gospel. In this reading Christ is described as the "Good Shepherd" who lays down his life for his sheep.

From what I can ascertain, the fourth Sunday of Easter is also known as Jubilate Sunday, although there seems to be some contradiction on the Wikipedia page . In the first paragraph says Jubilate Sunday is indeed the fourth Sunday of Easter, then in the table below on the same page says it is the third Sunday of Easter! There are online dates for both 26th April 2020 and 3rd May 2020 for Jubilate Sunday. I would love to hear from anyone who can offer clarification! 

The incipit of the Gregorian chant introit Jubilate Deo, from which Jubilate Sunday gets its name.

Cantatas for Good Shepherd Sunday
Bach was able to compose three Good Shepherd cantatas, all alluding to Psalm 23;

1. Cantata 104, “Du Hirte Israel, höre" (You Shepherd of Israel, Give Ear), in 1724; 
2. Cantata BWV 85, “Ich bin ein gutter Hirt” (I am a Good Shepherd), composed in 1725, 
3. Chorale Cantata BWV 112, “Der Herr ist mein getreuer Hirt” (The Lord is my faithful Shepherd), completed in 1731 for a special Easter presentation of otherwise previously-composed church-cycle cantatas, the only time of Bach documented repeat performances following the Good Friday premiere of the St. Mark Passion, BWV 247. 

Cantata 104 offers contrasts of hope and joy with doubt, reflecting the mood of the apostles when Christ appeared to them after his resurrection. Cantata 112 in Wolfgang Meuslin's alternate setting of the melody "Allein Gott in der Höh sei Ehr" (To God alone on high be glory) and offers a pastoral mood of calm to meet the increasing anxiety of the disciples. Cantata 112 is the only complete chorale setting for Easter that Bach composed, although he composed chorale choruses and internal settings in other cantatas.

In BWV 85 “Ich bin ein gutter Hirt” The poet opens the cantata with the beginning from the Gospel, verse 11. The second movement explains that being a Good Shepherd was realised in the Passion and is a paraphrase of Psalm 23. The only recitative is a miniature sermon, accompanied by the strings which accent phrases of the text. Movement 5 is the only movement in the cantata which has a pastorale rhythm. The tenor part frequently appears as the highest part, beginning with three times "Seht" (look). This is reminiscent of an alto aria (movement 60) of the St Matthew Passion, Sehet, Jesus hat die Hand, The similarities in both the theme "pastoral love emanating from the cross", and the music, described as "rich, flowing melody and gently rocking rhythm" were described by Sir John Eliot Gardiner CBE. The closing chorale is a four-part setting.

There is a recording of BWV 85 directed by Nikolaus Harnoncourt below:-



For Good Shepherd Sunday our choir have this week recorded "The Lord is my Shepherd" by Howard Goodall (with permission), a beautiful arrangement of Psalm 23.

Psalm 23
The LORD is my shepherd, I shall not be in want. he restores my soul. He guides me in paths of righteousness for his name's sake. Even though I walk through the valley of the shadow of death, I will fear no evil, for you are with me; your rod and your staff, they comfort me.


I won't lie, this is an incredibly emotional piece for me this week. Amidst a pandemic bringing premature death to hundreds of thousands of people this Spring, it's going to be emotional listening for anyone. A beautiful arrangement and one of my favourites.

Now the Green Blade Riseth

Now the green blade riseth, from the buried grain,

Wheat that in the dark earth many days has lain;

Love lives again, that with the dead has been:

Love is come again, like wheat that springeth green.

John MacLeod Campbell Crum (1872-1958) wrote this text to be paired with the popular French carol melody "Noël Nouvelet", sometimes referred to as "French Carol".

During his life, Crum was highly active in the Church of England. After his education at Eton and New College in Oxford, he took Holy Orders becoming Deacon in 1897. He held various positions including chaplain to the Bishop of Oxford, Francis Paget (1901-1910), assistant curate at Windsor, vicar of Mentmore at Ledburn (1910-1921), and finally canon at Canterbury (1928-1943).

While serving the church, Crum worked in a variety of theological areas and wrote on biblical and architectural topics, as well as studying historical works, and writing children's books. He wrote many hymns which ranged from translation of Latin hymns by the fourth-century poet Aurelius Clemens Prudentius to children's hymns. He published a "Songs of Praise for Boys and Girls" in 1929 and a play (The Play of St. George in 1911), and a pageant, (Children's Missionary Pageant in 1910) with musical score.

This hymn text first appeared in the 1928 edition of the Oxford Book of Carols. For those in the northern hemisphere who live in areas where springtime usually coincides with Easter, the image of growing plants and vegetation speaks clearly as a metaphor for Jesus' resurrection.

The vivid imagery of the hymn is biblically based on selected verses. 1 Corinthians 15:37-38 connects the image with the resurrection: "And that which sowest, thou sowest not that body that shall be, but bare grain, it may chance of wheat, or of some other grain: But God giveth it a body as it hath pleased him, and to every seed his own body." (KJV)

Notably, in the fourth verse, Crum emphasises that no matter what we are going through, "Jesus' touch can call us back to life again."

Our choir have recorded a multi-tracked version of "Now the Green Blade Riseth" arranged by Terry.

J.S. Bach - Cantatas for Eastertide

Johann Sebastian Bach (March 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he is generally regarded as one of the greatest composers of all time.

Below is a whistle-stop-tour of Bach Cantatas, of which I'm no expert! I've thoroughly enjoyed my research for this post however and have listened to some beautiful music in the process.

Cantatas
Cantata means "sung" or "to sing". It is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir. The meaning of the term changed over time, from the simple single voice madrigal of the early 17th century. Cantatas for use in the liturgy of church services are called church cantata or sacred cantata; other cantatas can be indicated as secular cantata. Several cantatas were, and still are, written for special occasions, such as Christmas cantatas.

The Bach Cantatas are a body of work consisting of over 200 surviving independent works, and at least several dozen that are considered lost. J. S. Bach composed cantatas for both secular and sacred use, his church cantatas composed for use in the Lutheran church, mainly intended for the occasions of the liturgical year.

Bach started composing cantatas around 1707, when he was still an organist in Arnstadt. Bach's early cantatas are "Choralkonzerte" (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format that he began to use for church cantatas in 1714 when in Weimar.
The texts for the early cantatas were drawn mostly from biblical passages and hymns. These early cantatas include 17th-century elements such as motets and chorale concertos. Recitatives and arias on contemporary poetry were not yet present, although Bach may have heard them in oratorios by Buxtehude who was his teacher, or even earlier.  His early cantatas often begin with an instrumental sinfonia or sonata. Bach worked at the ducal court in Weimar from 1708 to 1717 and from 1714-1717 he was commissioned to compose one church cantata a month. In the course of almost four years there he thus covered most occasions of the liturgical year. These cantatas have become known as the "Weimar Cycle".

Bach was appointed Thomaskantor, (director of music) in Leipzig 1723, and was responsible for the Thomasschule and the church music at these main churches. A cantata was required for the service on Sundays and additional church holidays of the liturgical year, and Bach composed many, preserved in five annual cycles. The Lutheran church of Bach's time prescribed the same readings every year, a Gospel passage and, recited before this, a corresponding section from an Epistle. A connection between the cantata text and the readings (or at least one of the prescribed hymns for the occasion) was the aim, facilitated by repetition and prescription with readings and hymns linked to the church cantata for each occasion.

A typical Bach cantata from his time in Leipzig follows the pattern below:

• Opening chorus 
• Recitative 
• Aria 
• Recitative (or Arioso) 
• Aria 
• Chorale

The opening chorus is usually a polyphonic setting, with the orchestra presenting the themes or contrasting material first. Most arias follow the form of a da capo aria, repeating the first part after a middle section. The final chorale is typically a homophonic setting of a traditional melody.

Eastertide
Eastertide is the period of 50 days, spanning from Easter Sunday to Pentecost Sunday, celebrated as one great event. Each Sunday of the season is treated as a Sunday of Easter. Following the Sunday of the Resurrection, they are named Second Sunday of Easter, Third Sunday of Easter, etc. up to the Seventh Sunday of Easter, concluding with Pentecost Sunday. Bach wrote cantatas each year for each of these Sundays whilst in Leipzig. Our girl choristers recorded "Den Tod niemand zwingen kunnt" (BWV 4) for the first Sunday after Easter, embedded below:-




Misericordias Domini 
This Sunday (26th April) is the Third Sunday of Easter, known as Misericordias Domini Sunday.

The gospel readings for Misericordias Domini is Luke 24:13-35 (Walk to Emmaus) and a suggested Bach Cantata for this reading is Cantata 66, "Erfreut euch, ihr Herzen" (Rejoice, you hearts)

Bach composed this cantata for the Second Day of Easter in Leipzig and first performed it on 10 April 1724. The cantata was Bach's first composition for Easter as Thomaskantor in Leipzig, first performed in Köthen on 10 December 1718. You can read more about it here and listen below! A translation is available here.



If you enjoyed reading this post, then you can read part 2 here!

Singing at Home opportunities

My inbox has been flooded with opportunities to sing at home during the lockdown. Granted, it's absolutely not the same singing alone in front of your computer, and my heart yearns to sing with my choir here in church again, but in the current situation I have found them a reasonably good alternative!

Most of these options are linked from the home page of this blog, but to update you all on some exciting new opportunities I have included the following update:-

John Ireland

Apologies for the radio silence, I took a few days off!! Another favourite today - John Ireland. Pupil of Stanford, teacher of Benjamin Britten and with a significant compositional repertoire, his music ranges through choral, orchestral, chamber, song, organ and piano genres, with over 200 published pieces and around 400 CDs already made representing his work.

Biography
John Ireland was born August 13, 1879, in Bowdon, Cheshire. His father, Alexander Ireland, was a publisher and newspaper proprietor, John was the youngest of five children from Alexander's second marriage, and Alexander was already aged 69 at John's birth. John's mother died when he was 14, and his father a year later, leaving the young John with sufficient means to study music at the Royal College of Music.

Samuel Sebastian Wesley

Born in London on 14 August 1810, Samuel Sebastian was the son of the celebrated organist and composer Samuel Wesley, grandson of Charles Wesley the hymn writer and great nephew of John Wesley, the founder of the Methodist church. (His middle name was given as a sign of his father's lifelong admiration for the music of Bach.) Despite the stigma attached to being illegitimate – a very considerable burden at the turn of the nineteenth century – Samuel Sebastian Wesley was to become the most important English church composer between Purcell and Stanford. 

His father Samuel frequently found himself in debt, burdened by substantial maintenance payments, with an ever-growing family and an inability to live within his means. In 1817 he jumped from a first floor window to escape imagined creditors and for his own safety was placed in a private asylum for close on twelve months. It was then that his seven year old son’s formal musical education began with his acceptance as a Child (chorister) of the Chapel Royal, St James’s Palace, by the Master of the Children, William Hawes. 

Although beginning to make a name for himself in London at the time, Samuel Sebastian accepted an appointment as organist at Hereford Cathedral in 1832. During his career he held appointments at Leeds Parish Church (now Leeds Minster), Winchester Cathedral, Winchester College and Gloucester Cathedral. In 1839 he received both his Bachelor of Music degree and a Doctor of Music degree from Oxford, becoming Professor of Organ at the Royal Academy of Music in 1850. He died at his home in Gloucester on 19 April 1876 aged 65 and is buried next to his daughter in St. Bartholomew's Cemetery in Exeter by the old City Wall. There is a wonderfully full and interesting biography of his life here on The Church Music Society. 

Music

Famous in his lifetime as one of his country's leading organists and choirmasters, he composed almost exclusively for the Church of England, which continues to cherish his memory. Wesley himself considered that his best work was the 1853 collection of Anthems and all of these pieces would become cornerstones of the Anglican Church repertoire. Wesley produced 38 anthems in all, and almost 20 works for the organ. He composed service music in both Latin and English, secular songs, a tiny bit of orchestral music, and a handful of works for the piano. Certainly the originality of Wesley’s work stands out, but rather than blaze a trail he tempered his originality with conservatism as he represented the summit of old traditions of composition, musical technique and organ composition. One notable feature of his career is his aversion to equal temperament, an aversion which he kept for decades after this tuning method had been accepted on the Continent and even in most of England. Despite this he made substantial use of chromaticism in several of his published compositions which would have sounded quite different from a performance on a modern organ. SS Wesley, with Father Willis, can be credited with the invention of the concave and radiating organ pedalboard, this joint idea was adopted as an international standard for organs. 

His better-known anthems include "Thou wilt keep him in perfect peace" and "Wash me throughly". He also wrote several rather late examples of verse anthems, which contrast unison and contrapuntal sections with smaller passages for solo voice or voices. Blessed be the God and Father is an example of this and a favourite here. 

Blessed be the God and Father

Wesley composed this piece to be sung at Easter Sunday 1834 in Hereford Cathedral where only a small number of trebles and a solitary bass was available to sing. Rumour persists that the only bass present was in fact the Dean's butler! It sets the verses from I Peter i. 3-5, 15-17, 22-25 in the Bible to music and reminds us of Jesus' final commandment to his disciples at The Last Supper to love one another. I have extremely fond memories of my youngest son singing the treble solo in this wonderful verse anthem three years ago. 

Good Friday

Our choir has made two recordings for Good Friday, first part of  Pergolesi's "Stabat Mater",



and a whole choir recording of Tallis' Salvator Mundi.



A Liturgy of the Last Hour live-streamed service is available via our Twitter feed @stmaryletower at 2pm today.

Maundy Thursday

Today is Maundy Thursday - also known as Mandatum Thursday, Holy Thursday and Commandment Thursday. Maundy is the name of the Christian rite of footwashing, which traditionally occurs during Maundy Thursday church services. Most scholars agree that the English word maundy in that name for the day is derived through Middle English and Old French mandé, from the Latin mandatum (also the origin of the English word "mandate"), the first word of the phrase "Mandatum novum do vobis ut diligatis invicem sicut dilexi vos" ("A new commandment I give unto you: That you love one another, as I have loved you, that you also love one another.") This statement by Jesus in the Gospel of John 13:34 by which Jesus explained to the Apostles the significance of his action of washing their feet.

Another theory is that the English name "Maundy Thursday" arose from "maundsor baskets" or "maundy purses" of alms which the king of England distributed to certain poor at Whitehall before attending Mass on that day. Thus, "maund" is connected to the Latin mendicare, and French mendier, to beg.

Holy Thursday is the beginning of the Easter "Triduum" which commemorates the passion, death and ressurrection of Jesus. Our choir would have been singing Shephard's "A new commandment" and Morley's "Nolo mortem peccatoris" at our Maundy Thursday Eucharist of the Last Supper this evening. Instead, our online choir have separately recorded Tallis' "O Salutaris Hostia" which our multi-talented music director has multitracked into the recording below.

 

You can read more about Tallis on an earlier post here and details of streamed services from our church on the website here.

Allegri's Miserere Mei

So proud of our Choral Scholars! Here is a verse from Allegri's "Miserere Mei", which they recorded individually and sent to our Music Director to be multitracked.

Charles Villiers Stanford

Biography
Much has been written about Stanford, undoubtedly one of the leading musicians of his generation who had a profound effect on the development and history of English music as a performer, conductor, composer, teacher and writer.

Sir Charles Villiers Stanford (30 September 1852 – 29 March 1924) was an Irish composer, music teacher, and conductor. Born and raised in Dublin, he was the only son of a prosperous Protestant lawyer. Stanford was educated at the University of Cambridge, initially as an organ scholar at Queen's College, before studying music in Leipzig and Berlin. While still an undergraduate, Stanford was appointed organist of Trinity College, Cambridge. In 1882, aged 29, he was one of the founding professors of the Royal College of Music, where he taught composition for the rest of his life. From 1887 he was also Professor of Music at Cambridge. You can read more on the pages of the Stanford Society here.

As a teacher Stanford was sceptical about modernism, and based his instruction predominantly on classical principles as exemplified in the music of Brahms. (Brahms' music is firmly rooted in the structures and compositional techniques of the Classical masters. The diligent, highly constructed nature of his works was a starting point and an inspiration for a generation of composers. Embedded within his meticulous structures, however, are deeply romantic motifs.)

Stanford was a traditionalist during his teaching career. Ironically though his own rejection of conservatism in his youth in favour of Brahms' style was precisely the route adopted by many of his pupils, who diverged from the path he instructed them on and with considerable success. Surely this is the fundamental role of the teacher though, to provide a secure foundation for pupils from which to launch their own careers? This was certainly the view of George Dyson.

"In a certain sense the very rebellion he fought was the most obvious fruit of his methods. And in view of what some of these rebels have since achieved, one is tempted to wonder whether there is really anything better a teacher can do for his pupils than drive them into various forms of revolution."

Among his pupils were rising composers whose fame went on to surpass his own, such as Herbert Brewer, George Dyson, Gustav Holst, Ralph Vaughan Williams and Charles Wood. (The latter succeeded him as Professor of Music at Cambridge University.) As Professor at the Royal College of Music Stanford taught Herbert Howells, and also Ivor Gurney and George Butterworth, both casualties of the Great War. His legacy in my view is as the grandfather of twentieth century Anglican music.


Music
Stanford's best-remembered pieces are his choral works for church performance, composed in the Anglican tradition. (Choral Wiki has a list here. )He was a prolific composer, although many of his non-ecclesiastical works declined in popularity after his death this was not true of his church compositions. Anthems such as "Beati Quorum Via", "Justorum Animae", "Coelos Ascendit Hodie" and "For lo I raise up" are staples in the repertoire of many churches and cathedrals.  Who hasn't sung his Evening Canticles in B flat, C and G? His services in A (1880), F (one whilst at Queen's, Cambridge and known as the "Queen's Service" (1872), a second in F Op36 (1889) and C (1909) are less well known to me, although considered the most important and enduring according to historical musicologist Nicholas Temperley. His second Magnificat in F is beautiful, listen to it here . 

As with all composer's, Stanford's style did change over time - no matter how conservative his stylistic views. Compare his Queen's Service Magnificat in F (Op2) written in 1889 here :-



With his well known Magnificat in B flat written in here :-




Here is his Magnificat in A Major, complete with score to sing long to :-

The Silver Swan - Orlando Gibbons

So it seems yesterday's choice of Thomas Weelkes' setting of "Hosanna to the Son of David" was significantly downvoted in favour of that by Orlando Gibbons'! Thing is... I had already planned to write about Gibbons today, so Weelkes was the natural choice for Palm Sunday!

Orlando Gibbons was appointed a gentleman of the Chapel Royal by King James I around May of 1603 and a senior organist by 1605. By 1606 he had graduated from King's College, Cambridge with a Bachelor of Music and received an honorary Doctor of Music from Oxford in May of 1622. In 1623  he was appointed organist at Westminster Abbey, a position which he held for 2 years until his death on the June 5th, 1625.

Due to his untimely death Gibbons was not such a prolific composer as his (older) contemporary William Byrd, but he still managed to produce many secular and sacred polyphonic vocal works, including consort songs, services, motets, more than 40 full anthems and verse anthems, a set of 20 madrigals as well as at least 20 keyboard works and various instrumental ensemble pieces including nearly 30 fantasies for viols. his most famous works are "This is the Record of John", "O Clap your Hands Together" and "The Silver Swan".

Gibbons was a key transitional figure in the early seventeenth century, bridging the later Renaissance to early Baroque eras. Dubbed by the composer Frederick Ouseley as "the English Palestrina" and many believed he paved the way to the new era of music.

Music
The Silver Swan is a famous and much loved madrigal which presents the legend that swans sing only just before their deaths. The words might be Gibbons creation or more likely, that of his sponsor Sir Christopher Hatton . Whilst not "sacred", it is a hauntingly beautiful piece deserving of inclusion here!

It's a beautiful piece, and there are many recordings online. My favourite is the one below by The Gesualdo Six.  (We tried to record our own at home but are missing a reliable bass part!!) 

The score can be downloaded from Choral Wiki here.

The Silver Swan who, living, had no note, 

When death approach'd, unlock'd her silent throat. 

Leaning her breast against the reedy shore, 

Thus sung her first and last, And sung no more: 

"Farewell all joys, O death come close mine eyes. 

More geese than swans now live, more fools than wise."

Palm Sunday - Hosanna to the Son of David

Palm Sunday marks the beginning of Holy Week, the last week in Lent, the Sunday before Easter. In the Palm Sunday Gospels crowds play a significant role as they acclaim Jesus Son of David, the one who comes in the name of the Lord - yet soon after the same crowds are shouting for his condemnation and execution.

John's gospel, "they took palm branches and went out to meet Him" (12:13 HCSB)

As an historian I know it was far from unusual for men of note (particularly local Roman governors) to be fêted in this way, riding on horseback with an entourage; crowds lining the route into Jerusalem or indeed any significant city at the time. What was so significant about Jesus' arrival into Jerusalem on Palm Sunday was that he did not enter by the main gate; neither did he ride a noble steed - but instead chose a humble donkey.

One of my favourite books as a child - now sadly out of print - was "Donkey's Glory" by Nan Goodall, the tale of a family of donkeys who were there servicing Jesus. The grandmother donkey who carried Mary, the donkey who helped them flee in the dead of night from Herod's men, and the donkey who carried Jesus into Jerusalem. It's a beautiful story about humility and service, reminding us that neither requires show or ostentation. Jesus drew crowds without request, without Caesar's instruction and people chose to celebrate him as their King laying palm branches in front of him- an act of particular symbolism in the ancient world.

The palm branch is a symbol of victory, triumph, peace, and eternal life originating in the ancient Near East and Mediterranean world. The palm (Phoenix) was sacred in Mesopotamian religions, and in ancient Egypt represented immortality. In Judaism, the lulav, a closed frond of the date palm is part of the festival of Sukkot. The palm has meaning in Christianity as well Christian iconography to represent victory, i.e.,the victory of the spirit over the flesh, Revelation 7:9.. Wikipedia 

Photo courtesy of Adam Birkett, Unsplash

Palm Sunday questions our modern interpretation of the word "King". The crowds recognised Christ riding a donkey into Jerusalem as a declaration of victory and salvation. The word "Hosanna" in Hebrew literally means, “I beg you to save,” or “please deliver us.” Solomon was David’s first descendant to ride the king’s mule, and be celebrated as the next King of a kingdom that would have no end (1 Kings, Chapter 1). Jesus would be David’s last descendant to be King of the Jews forever. The prophecy from Zechariah 9:9-10, riding into Jerusalem on the foal of a donkey was an unmistakable fulfillment of God’s word, declaring to all he is the rightful successor to the King, from this moment on, and that his kingdom would be eternal.

Palm Sunday 2020
The image of crowds is a sobering one for us during this period of lockdown. With churches closed we are deprived of our usual route of celebration. However Palm Sunday also marks victory over sin, and the end of Jesus' earthly ministry. We can be present in our hearts as we remember this, because in reality Palm Sunday was indeed a procession of a virtual kind - one that celebrated a king who would die not only to save his people, but to redeem the whole world.

There are so many anthems to choose from to mark Palm Sunday, but one of my favourite is "Hosanna to the Son of David" by Thomas Weelkes which I've linked via YouTube below.

Hosanna to the Son of David is a famous example of the English 'full' anthem – as opposed to the 'verse' anthem, and opens with a majestic six-voice proclamation. It's glorious thick texture shows how effectively music can conjure up an image, it's a joy to sing!

You can read more on Weelkes here.



Alternatively you might like to listen to Gibbons' anthem of the same name - but more on Gibbons tomorrow!

How to record virtual choir contributions

There are currently so many opportunities to participate in virtual choirs, a superb creative response to the lack of real choir opportunities during the lockdown. The nation's singers are being asked to record their contributions and send them to choir directors who have the unenviable task of layering and editing to produce a "whole choir" sound. If we are really lucky, the result is one which sounds as if there is some level of acoustic (even if it's not quite a cathedral) rather than a group of individuals singing in their bedrooms! (Members of our choir might find this a novelty, our church is known for its lack of acoustic!)

The video below, via YouTube, is an excellent tutorial made by our Music Director on precisely how such a recording can be made. It takes a few minutes to get the hang of the set up, but it's actually really straitforward. (What is perhaps most disconcerting is hearing your voice played back to you afterwards!!) Our choir members have had the benefit of written instructions and a video tutorial already, but I thought the latter was worth sharing here since it's extremely clear and well-paced.