Fantasia in F minor (Schubert): Difference between revisions
→First movement: link Dotted rhythm |
|||
(22 intermediate revisions by 13 users not shown) | |||
Line 6: | Line 6: | ||
|filename=Fantasia_in_F_minor_by_Franz_Schubert,_D.940_(Op._posth._103).ogg |
|filename=Fantasia_in_F_minor_by_Franz_Schubert,_D.940_(Op._posth._103).ogg |
||
|title="Fantasia in F minor" |
|title="Fantasia in F minor" |
||
|description=[[The Latsos Piano Duo]] ([[Giorgi Latso]] and Anna Latso) perform [[Franz Schubert]]'s [[piano four |
|description=[[The Latsos Piano Duo]] ([[Giorgi Latso]] and Anna Latso) perform [[Franz Schubert]]'s [[piano four hands]] Fantasia in F minor, at historic Greystone Mansion in Beverly Hills, California. (Live recording April 13, 2019) |
||
|filetype=[[Ogg]]}} |
|filetype=[[Ogg]]}} |
||
The '''Fantasia in F minor''' by [[Franz Schubert]], [[List of compositions by Schubert|D]].940 ([[Opus number|Op]]. posth. 103), for [[piano four |
The '''Fantasia in F minor''' by [[Franz Schubert]], [[List of compositions by Schubert|D]].940 ([[Opus number|Op]]. posth. 103), for [[piano four hands]] (two players at one piano), is one of Schubert's most important works for more than one pianist and one of his most important piano works altogether. He composed it in 1828, the last year of his life. A dedication to his former pupil [[Caroline Esterházy]] can only be found in the posthumous first edition, not in Schubert's [[Autograph (manuscript)|autograph]].<ref>{{Cite web |last=Schubert |first=Franz |title=Fantasie f-Moll |url=https://schubert-online.at/activpage/manuskripte.php?top=1&werke_id=10065&werkteile_id=&image=%27ONB_MusHs19491_D940_001.jpg%27&groesse=50&aktion=einzelbild&bild_id=4 |access-date=2023-02-27 |website=schubert-online.at}}</ref><ref>{{Cite book |last=Schubert |first=Franz |title=Fantasie f-Moll |publisher=Willi Kahl |year=1976 |pages=Preface |ismn=979-0-2018-0180-3}}</ref> |
||
Musicologist Christopher Gibbs has described the work as "among not only his greatest but his most original" compositions for piano duet.<ref name="Gibbs161">[[#Gibbs|Gibbs]], p. 161</ref> |
Musicologist Christopher Gibbs has described the work as "among not only his greatest but his most original" compositions for piano duet.<ref name="Gibbs161">[[#Gibbs|Gibbs]], p. 161</ref> |
||
Line 19: | Line 19: | ||
==Structure== |
==Structure== |
||
The Fantasia is divided into four movements, |
The Fantasia is divided into four movements, which are interconnected and played without pause. A typical performance lasts about 20 minutes. |
||
# Allegro molto moderato |
# Allegro molto moderato |
||
# Largo |
# Largo |
||
Line 25: | Line 25: | ||
# Finale. Allegro molto moderato |
# Finale. Allegro molto moderato |
||
The basic idea of a fantasia with four connected movements also appears in Schubert's ''[[Wanderer Fantasy]]'', and represents a stylistic bridge between the traditional [[sonata form]] and the essentially free-form [[tone poem]].<ref name="Weekly72"/> The basic structure of the two fantasies is essentially the same: allegro, slow movement, scherzo, allegro with fugue.<ref name="Frisch75">[[#Frisch|Frisch]], p. 75</ref> The form of this work, with its relatively tight structure (more so than the fantasias of [[Ludwig van Beethoven|Beethoven]] and [[Wolfgang Amadeus Mozart|Mozart]]), was influential on the work of [[Franz Liszt]],<ref name="Gibbs161_2">[[#Gibbs|Gibbs]], pp. 161–162</ref> who arranged the ''Wanderer Fantasy'' as a piano concerto, among other transcriptions he made of Schubert's music.<ref name="Todd138">[[#Todd|Todd]], p. 138<!--Liszt arrangement of Wanderer--></ref> |
The basic idea of a fantasia with four connected movements also appears in Schubert's ''[[Wanderer Fantasy]]'', and represents a stylistic bridge between the traditional [[sonata form]] and the essentially free-form [[tone poem]].<ref name="Weekly72"/> The basic structure of the two fantasies is essentially the same: allegro, slow movement, scherzo, allegro with fugue.<ref name="Frisch75">[[#Frisch|Frisch]], p. 75</ref> The form of this work, with its relatively tight structure (more so than the fantasias of [[Ludwig van Beethoven|Beethoven]] and [[Wolfgang Amadeus Mozart|Mozart]]), was influential on the work of [[Franz Liszt]],<ref name="Gibbs161_2">[[#Gibbs|Gibbs]], pp. 161–162</ref> who arranged the ''Wanderer Fantasy'' as a piano concerto, among other transcriptions he made of Schubert's music.<ref name="Todd138">[[#Todd|Todd]], p. 138<!--Liszt arrangement of Wanderer--></ref> |
||
⚫ | |||
[[File:SchubertFantasieFMinorAutograph.jpg|thumb|right|A page from the autograph manuscript, showing a portion of the secondo (left-side) part from the fourth movement]] |
[[File:SchubertFantasieFMinorAutograph.jpg|thumb|right|A page from the autograph manuscript, showing a portion of the secondo (left-side) part from the fourth movement]] |
||
===First movement=== |
===First movement=== |
||
The piece opens with a lyrical melody with dotted rhythms that is reminiscent of the Hungarian style.<ref name="Einstein281"/> The theme is eventually repeated in F major, before briefly repeating in F minor, and transitioning into a somber, almost funereal, second theme. After developing the two themes, he eventually returns to a version of the second theme in F major, which modulates into F{{music|sharp}} minor for the start of the second movement.<ref name="Henle">[[#Henle|Henle score]]</ref> |
The piece opens with a lyrical melody with [[Dotted rhythm|dotted rhythms]] that is reminiscent of the Hungarian style.<ref name="Einstein281"/> The theme is eventually repeated in F major, before briefly repeating in F minor, and transitioning into a somber, almost funereal, second theme. After developing the two themes, he eventually returns to a version of the second theme in F major, which modulates into F{{music|sharp}} minor for the start of the second movement.<ref name="Henle">[[#Henle|Henle score]]</ref> |
||
===Second movement=== |
===Second movement=== |
||
Line 42: | Line 40: | ||
===Finale=== |
===Finale=== |
||
The finale begins with a restatement of the first movement's primary theme in both F minor and F major, before transitioning into a fugue based on its second theme. The fugue builds to a climax, ending abruptly on the C major dominant, instead of resolving into either F major or minor. After a bar of silence, the first theme briefly reprises, building rapidly to concluding chords that echo the second theme before subsiding into a quiet end.<ref name="Henle"/> It has been called "the most remarkable cadence in the whole of Schubert's work", as he manages to condense the dichotomies of the two themes into the final eight bars of the work.<ref name="Frisch78">[[#Frisch|Frisch]], pp. 78-79.</ref> |
The finale begins with a restatement of the first movement's primary theme in both F minor and F major, before transitioning into a fugue based on its second theme. The fugue builds to a climax, ending abruptly on the C major dominant, instead of resolving into either F major or minor. After a bar of silence, the first theme briefly reprises, building rapidly to concluding chords that echo the second theme before subsiding into a quiet end.<ref name="Henle"/> It has been called "the most remarkable cadence in the whole of Schubert's work", as he manages to condense the dichotomies of the two themes into the final eight bars of the work.<ref name="Frisch78">[[#Frisch|Frisch]], pp. 78-79.</ref> |
||
==Transcriptions== |
|||
⚫ | |||
==Recordings== |
==Recordings== |
||
Line 58: | Line 59: | ||
*[[Vronsky & Babin|Vitya Vronsky and Victor Babin]] on [[Decca Records|US Decca]] |
*[[Vronsky & Babin|Vitya Vronsky and Victor Babin]] on [[Decca Records|US Decca]] |
||
*[[Robert Casadesus|Robert]] and [[Gaby Casadesus]] on [[Columbia Masterworks Records|Columbia Masterworks]] |
*[[Robert Casadesus|Robert]] and [[Gaby Casadesus]] on [[Columbia Masterworks Records|Columbia Masterworks]] |
||
*[[Alexandre Tharaud]] and [[Zhu Xiao-Mei]] on [[Harmonia Mundi]] Fr |
*[[Alexandre Tharaud]] and [[Zhu Xiao-Mei]] on [[Harmonia Mundi]] Fr |
||
⚫ | |||
⚫ | |||
⚫ | |||
⚫ | |||
*[[The Latsos Piano Duo]] ([[Giorgi Latso]] and Anna Fedorova- Latso) for BHNT |
*[[The Latsos Piano Duo]] ([[Giorgi Latso]] and Anna Fedorova- Latso) for BHNT |
||
*[[Emil Gilels]] and Orchestra Sinfonica Di Milano della RAI, conducted by Franco Caracciolo, for Archipel Records. Live recording of the Schubert-Kabalevsky orchestrated version. ("Emil Gilels in Italy") |
*[[Emil Gilels]] and Orchestra Sinfonica Di Milano della RAI, conducted by Franco Caracciolo, for Archipel Records. Live recording of the Schubert-Kabalevsky orchestrated version. ("Emil Gilels in Italy") |
||
*[[Michael Korstick]] and [[NDR Sinfonieorchester]], conducted by Alun Francis, for Chandos Records. Studio recording of the Schubert-Kabalevsky orchestrated version |
*[[Michael Korstick]] and [[NDR Sinfonieorchester]], conducted by Alun Francis, for Chandos Records. Studio recording of the Schubert-Kabalevsky orchestrated version |
||
*[[Sergio Tiempo]] and [[Martha Argerich]] for Avanticlassic |
|||
*[[Lucas and Arthur Jussen]] on Deutsche Grammophon |
|||
Recordings on 19th century pianos include the followings: |
|||
{|class="wikitable" |
|||
!Pianists |
|||
!Fortepiano |
|||
!Label |
|||
|- |
|||
⚫ | |||
|- |
|||
| Nicolas Callot and Lucas Blondeel || Conrad Graf (1826) || Klara |
|||
|- |
|||
⚫ | |||
|- |
|||
⚫ | |||
|- |
|||
| Inge Spinette and Jan Michiels || R. J. Regier (1989) after Conrad Graf (1828) || |
|||
|- |
|||
⚫ | |||
|- |
|||
| Jan Vermeulen and Veerle Peeters || Johann Nepomuk Tröndlin (1830-1835) || [[Etcetera Records|Etcetera]] |
|||
|- |
|||
| [[Richard Egarr]] and Alexandra Nepomnyashchaya || [[Ignaz Pleyel|Pleyel]] (1848) || [[Linn Records]] |
|||
|- |
|||
|- |
|||
| [[ Seth Carlin]] and Maryse Carlin || || Naiad Records |
|||
|} |
|||
==Notes== |
==Notes== |
||
Line 74: | Line 99: | ||
*{{cite book|last=Einstein|first=Alfred|author-link=Alfred Einstein|title=Schubert: A Musical Portrait|publisher=[[Oxford University Press]]|year=1951|location=[[New York City|New York]]|ref=Einstein|oclc=602553}} |
*{{cite book|last=Einstein|first=Alfred|author-link=Alfred Einstein|title=Schubert: A Musical Portrait|publisher=[[Oxford University Press]]|year=1951|location=[[New York City|New York]]|ref=Einstein|oclc=602553}} |
||
*{{cite book|last=Weekly|first=Dallas A|author2=Arganbright, Nancy| title=Schubert's Music for Piano Four-Hands|publisher=Pro/Am Music Resources Inc|location=White Plains|year=1990|ref=Weekly|isbn=978-0-912483-55-9}} |
*{{cite book|last=Weekly|first=Dallas A|author2=Arganbright, Nancy| title=Schubert's Music for Piano Four-Hands|publisher=Pro/Am Music Resources Inc|location=White Plains|year=1990|ref=Weekly|isbn=978-0-912483-55-9}} |
||
*{{cite book|title=Schubert: Critical and Analytical Studies|url=https://archive.org/details/schubert00walt|url-access=registration|first=Walter |
*{{cite book|title=Schubert: Critical and Analytical Studies|url=https://archive.org/details/schubert00walt|url-access=registration|editor-first=Walter|editor-last=Frisch|publisher=University of Nebraska Press|year=1986|ref=Frisch|isbn=978-0-8032-6892-0}} |
||
*{{cite book|title=The Life of Schubert|url=https://archive.org/details/lifeofschubert00gibb|url-access=registration|first=Christopher Howard|last=Gibbs|publisher=Cambridge University Press|year=2000|isbn=978-0-521-59512-4|ref=GibbsBio}} |
*{{cite book|title=The Life of Schubert|url=https://archive.org/details/lifeofschubert00gibb|url-access=registration|first=Christopher Howard|last=Gibbs|publisher=Cambridge University Press|year=2000|isbn=978-0-521-59512-4|ref=GibbsBio}} |
||
*{{cite book|title=Nineteenth-century piano music|first=R. Larry|last=Todd|publisher=Taylor & |
*{{cite book|title=Nineteenth-century piano music|first=R. Larry|last=Todd|publisher=Taylor & Francis|year=2004|isbn=978-0-415-96890-4|ref=Todd}} |
||
*{{cite book|title=Schubert studies|first=Brian|last= Newbould|publisher=Ashgate|year=1998|isbn=978-1-85928-253-3|ref=Newbould}} |
*{{cite book|title=Schubert studies|first=Brian|last= Newbould|publisher=Ashgate|year=1998|isbn=978-1-85928-253-3|ref=Newbould}} |
||
*[[Elizabeth Norman McKay|Norman McKay, Elizabeth]], ''Schubert's string and piano duos in context''. in Newbould, Brian (1998). Schubert studies, Ashgate, 1998, p. 62-111. |
*[[Elizabeth Norman McKay|Norman McKay, Elizabeth]], ''Schubert's string and piano duos in context''. in Newbould, Brian (1998). Schubert studies, Ashgate, 1998, p. 62-111. |
||
==External links== |
==External links== |
||
* [https://digital.onb.ac.at/RepViewer/viewer.faces?doc=DTL_9420562&order=1&view=SINGLE Schubert's manuscript], Austrian National Library |
|||
*{{IMSLP2|work=Fantasie, D.940 (Op.103) (Schubert, Franz)|cname=Fantasia in F minor for piano four-hands}} |
*{{IMSLP2|work=Fantasie, D.940 (Op.103) (Schubert, Franz)|cname=Fantasia in F minor for piano four-hands}} |
||
*[https://web.archive.org/web/20060831220648/http://www.jmc.co.il/music/3-4.mp3 Recording of Fantasia] from the [[Jerusalem Music Centre]] in [[MP3]] format, performed by Sivan Silver and Gil Garburg (archived on the [[Wayback Machine]]) |
*[https://web.archive.org/web/20060831220648/http://www.jmc.co.il/music/3-4.mp3 Recording of Fantasia] from the [[Jerusalem Music Centre]] in [[MP3]] format, performed by Sivan Silver and Gil Garburg (archived on the [[Wayback Machine]]) |
||
*{{cite web|url=https://www.youtube.com/watch?v=-Hd9JjcF5Ig|title=Vienna and Schubert: Fantasy in F Minor, D. 940 - Professor Christopher Hogwood CBE (Discussion and performance)|publisher=[[Gresham College]]|date=11 October 2012|access-date=10 November 2018}} |
*{{cite web|url=https://www.youtube.com/watch?v=-Hd9JjcF5Ig |archive-url=https://ghostarchive.org/varchive/youtube/20211215/-Hd9JjcF5Ig |archive-date=2021-12-15 |url-status=live|title=Vienna and Schubert: Fantasy in F Minor, D. 940 - Professor Christopher Hogwood CBE (Discussion and performance)|publisher=[[Gresham College]]|date=11 October 2012|access-date=10 November 2018}}{{cbignore}} |
||
{{Schubert piano compositions}} |
{{Schubert piano compositions}} |
||
{{Portalbar|Classical Music}} |
|||
{{Authority control}} |
{{Authority control}} |
||
Latest revision as of 14:56, 15 May 2024
The Fantasia in F minor by Franz Schubert, D.940 (Op. posth. 103), for piano four hands (two players at one piano), is one of Schubert's most important works for more than one pianist and one of his most important piano works altogether. He composed it in 1828, the last year of his life. A dedication to his former pupil Caroline Esterházy can only be found in the posthumous first edition, not in Schubert's autograph.[1][2]
Musicologist Christopher Gibbs has described the work as "among not only his greatest but his most original" compositions for piano duet.[3]
History
[edit]Franz Schubert began writing the Fantasia in January 1828 in Vienna.[4] The work was completed in March of that year, and first performed in May. Schubert's friend Eduard von Bauernfeld recorded in his diary on May 9 that a memorable duet was played, by Schubert and Franz Lachner.[5] The work was dedicated to Caroline Esterházy, with whom Schubert was in (unrequited) love.[6]
Schubert died in November 1828. After his death, his friends and family undertook to have a number of his works published. This work is one of those pieces; it was published by Anton Diabelli in March 1829. The original manuscript resides at the Austrian National Library.[4]
Structure
[edit]The Fantasia is divided into four movements, which are interconnected and played without pause. A typical performance lasts about 20 minutes.
- Allegro molto moderato
- Largo
- Scherzo. Allegro vivace
- Finale. Allegro molto moderato
The basic idea of a fantasia with four connected movements also appears in Schubert's Wanderer Fantasy, and represents a stylistic bridge between the traditional sonata form and the essentially free-form tone poem.[5] The basic structure of the two fantasies is essentially the same: allegro, slow movement, scherzo, allegro with fugue.[7] The form of this work, with its relatively tight structure (more so than the fantasias of Beethoven and Mozart), was influential on the work of Franz Liszt,[8] who arranged the Wanderer Fantasy as a piano concerto, among other transcriptions he made of Schubert's music.[9]
First movement
[edit]The piece opens with a lyrical melody with dotted rhythms that is reminiscent of the Hungarian style.[10] The theme is eventually repeated in F major, before briefly repeating in F minor, and transitioning into a somber, almost funereal, second theme. After developing the two themes, he eventually returns to a version of the second theme in F major, which modulates into F♯ minor for the start of the second movement.[11]
Second movement
[edit]The second movement opens with an angry, somewhat turbulent fortissimo theme in F♯ minor. While marked largo, the frequently double-dotted first theme lends a great deal of tension to this movement. Eventually the first theme gives way to a quiet, lyrical second theme. The first theme is reprised, ending on the C♯ major dominant.[11] Schubert had recently heard Paganini's second violin concerto, whose second movement inspired the themes here.[10]
Third movement
[edit]Following the F♯ minor, agitated second movement, the third movement scherzo is a bright, lively movement in the same key, reminiscent of the scherzos of other works Schubert wrote at this time, like those of his piano trios. After a delicate D major trio, the scherzo returns, at first seemingly in F♯ minor. The repeat of the scherzo shifts between A major and F♯ minor, ultimately ending on C♯ octaves that drive into a transition back toward F minor for the finale.[11]
Finale
[edit]The finale begins with a restatement of the first movement's primary theme in both F minor and F major, before transitioning into a fugue based on its second theme. The fugue builds to a climax, ending abruptly on the C major dominant, instead of resolving into either F major or minor. After a bar of silence, the first theme briefly reprises, building rapidly to concluding chords that echo the second theme before subsiding into a quiet end.[11] It has been called "the most remarkable cadence in the whole of Schubert's work", as he manages to condense the dichotomies of the two themes into the final eight bars of the work.[12]
Transcriptions
[edit]In 1961, Russian composer Dimitri Kabalevsky orchestrated the work, producing a virtuoso piece for one piano soloist playing with a symphony orchestra.
Recordings
[edit]The fantasy has been recorded numerous times, including by the following notable performers:
- Alfred Brendel with Évelyne Crochet on Vox Box
- Sviatoslav Richter and Benjamin Britten on Decca Records/BBC Legends
- Evgeny Kissin and James Levine on RCA Victor
- Katia and Marielle Labèque on Kml Recordings
- Bracha Eden and Alexander Tamir on Brilliant Classics
- Justus Frantz and Christoph Eschenbach on EMI
- Radu Lupu and Murray Perahia on Sony Classical
- Evgeni Koroliov and Ljupka Hadzigeorgieva on Tacet
- Duo Tal & Groethuysen on Sony Classical
- Aloys and Alfons Kontarsky, Emil and Elena Gilels, and Maria João Pires with Ricardo Castro on Deutsche Grammophon
- Jörg Demus and Paul Badura-Skoda several times, including on Westminster, Auvidis Valois, and Audax
- Vitya Vronsky and Victor Babin on US Decca
- Robert and Gaby Casadesus on Columbia Masterworks
- Alexandre Tharaud and Zhu Xiao-Mei on Harmonia Mundi Fr
- The Latsos Piano Duo (Giorgi Latso and Anna Fedorova- Latso) for BHNT
- Emil Gilels and Orchestra Sinfonica Di Milano della RAI, conducted by Franco Caracciolo, for Archipel Records. Live recording of the Schubert-Kabalevsky orchestrated version. ("Emil Gilels in Italy")
- Michael Korstick and NDR Sinfonieorchester, conducted by Alun Francis, for Chandos Records. Studio recording of the Schubert-Kabalevsky orchestrated version
- Sergio Tiempo and Martha Argerich for Avanticlassic
- Lucas and Arthur Jussen on Deutsche Grammophon
Recordings on 19th century pianos include the followings:
Pianists | Fortepiano | Label |
---|---|---|
Jos van Immerseel and Claire Chevallier | Conrad Graf (1826) | Alpha |
Nicolas Callot and Lucas Blondeel | Conrad Graf (1826) | Klara |
Malcolm Bilson and Robert D. Levin | Conrad Graf (c. 1830) | Archive |
Andreas Staier & Alexander Melnikov | Christopher Clarke (Maître d'art) after Graf | Harmonia Mundi |
Inge Spinette and Jan Michiels | R. J. Regier (1989) after Conrad Graf (1828) | |
Wyneke Jordans and Leo van Doeselaar | Friedrich Hoxa (c. 1826) | Globe |
Jan Vermeulen and Veerle Peeters | Johann Nepomuk Tröndlin (1830-1835) | Etcetera |
Richard Egarr and Alexandra Nepomnyashchaya | Pleyel (1848) | Linn Records |
Seth Carlin and Maryse Carlin | Naiad Records |
Notes
[edit]- ^ Schubert, Franz. "Fantasie f-Moll". schubert-online.at. Retrieved 2023-02-27.
- ^ Schubert, Franz (1976). Fantasie f-Moll. Willi Kahl. pp. Preface. ISMN 979-0-2018-0180-3.
- ^ Gibbs, p. 161
- ^ a b Weekly, p. 71
- ^ a b Weekly, p. 72
- ^ Gibbs, pp. 150-151
- ^ Frisch, p. 75
- ^ Gibbs, pp. 161–162
- ^ Todd, p. 138
- ^ a b Einstein, p. 281
- ^ a b c d Henle score
- ^ Frisch, pp. 78-79.
References
[edit]- Schubert, Franz (1986). Kahl, Willi (ed.). Werke für Klavier zu Vier Händen, Band III. Munich: G. Henle Verlag. OCLC 3681881. Musical score.
- Einstein, Alfred (1951). Schubert: A Musical Portrait. New York: Oxford University Press. OCLC 602553.
- Weekly, Dallas A; Arganbright, Nancy (1990). Schubert's Music for Piano Four-Hands. White Plains: Pro/Am Music Resources Inc. ISBN 978-0-912483-55-9.
- Frisch, Walter, ed. (1986). Schubert: Critical and Analytical Studies. University of Nebraska Press. ISBN 978-0-8032-6892-0.
- Gibbs, Christopher Howard (2000). The Life of Schubert. Cambridge University Press. ISBN 978-0-521-59512-4.
- Todd, R. Larry (2004). Nineteenth-century piano music. Taylor & Francis. ISBN 978-0-415-96890-4.
- Newbould, Brian (1998). Schubert studies. Ashgate. ISBN 978-1-85928-253-3.
- Norman McKay, Elizabeth, Schubert's string and piano duos in context. in Newbould, Brian (1998). Schubert studies, Ashgate, 1998, p. 62-111.
External links
[edit]- Schubert's manuscript, Austrian National Library
- Fantasia in F minor for piano four-hands: Scores at the International Music Score Library Project
- Recording of Fantasia from the Jerusalem Music Centre in MP3 format, performed by Sivan Silver and Gil Garburg (archived on the Wayback Machine)
- "Vienna and Schubert: Fantasy in F Minor, D. 940 - Professor Christopher Hogwood CBE (Discussion and performance)". Gresham College. 11 October 2012. Archived from the original on 2021-12-15. Retrieved 10 November 2018.