Beethoven: Sonata No.3 in C Major, Op.2 No.3 (Jumppanen, Biret)
HTML-код
- Опубликовано: 9 июл 2024
- The third of the Op.2 Sonatas is the virtuoso showpiece of the set: it’s brilliant, extroverted, and gently humorous, filled with striking, motivic themes of the sort that are easily bent to developmental treatment. Its textures are distinctly concertante in nature: there are many passages that mimic orchestral tutti (0:19) or quartets (1:10), and there are Emperor-concerto-esque cadenzas at two points in the first movement (4:51; 8:00). The humour can be broad, as at 4:10 and 8:43, or subtle, as in the opening run of the 4th movement, the dissonances in the 3rd, or the false D major recapitulation and sudden harmonic changes in the 1st. Also notable about this sonata is the diversity of textures and figuration it contains: the 1st movement is symphonic, the 2nd Bachian (10:27), the 3rd delicate, with biting accents, and the 4th alternately impish and lyrical.
MVT I, Allegro con brio
00:00 - Theme Group 1, Theme 1. The first 2 measures contain M1 in RH
00:19 - Theme Group 1, Theme 2. Like an orchestral tutti
00:31 - Theme Group 1, Theme 3
00:40 - Theme Group 2, Theme 1. G min/D min/A min
00:57 - Sequential move to G min
01:09 - Theme Group 2, Theme 2
01:32 - TG1, T2 interrupts, with new closing material
01:56 - Theme Group 2, Theme 3 (cadential theme), closing with broken octaves reminiscent of TG1, T2
DEVELOPMENT
04:39 - TG2, T3, moving into C min, F min, then reaches
04:51 - Cadenza beginning on dominant 7th of Eb. Bass rises by semitones, bringing us though remote harmonies
05:08 - TG1, T1 (in Ebb maj, but might as well call it D)
05:16 - Development of M1
05:40 - Dominant preparation, still using M1
RECAPITULATION
05:57 - TG1. At 6:10 the tail of M1 is developed in octaves with syncopation
06:32 - TG2
CODA
08:00 - Cadenza, moving from Ab to a C 6/4
08:38 - More development of M1, followed by typical cadential trill
08:46 - Return of TG1 T1. At 8:52 the tail of M1 is developed
09:14 - The movement ends using TG2 T3, much as the exposition did.
MVT II, Adagio
09:26 - Main Theme
10:27 - Episode, Theme 1
11:03 - Episode, Theme 2
11:36 - Episode T1, repeat
12:26 - Episode T2, repeat (preparation for return of MT)
12:57 - Main Theme
13:57 - Bridge with main theme in C maj
14:09 - Episode, T1
14:30 - Episode, T2
15:10 - Main Theme
16:13 - Coda
MVT III, Scherzo: allegro
16:57 - Scherzo, Strain 1
17:15 - Scherzo, Strain 2, ending with dominant preparation
17:29 - Scherzo, Strain 3, with codetta at 17:38
18:14 - Trio
18:47 - Scherzo
20:04 - Coda, with some delicious dissonances
MVT IV, Allegro assai
20:22 - Theme, with 3 main ideas: (a), a rising scale, (b), the rocking figure (F-E-F-E-D) immediately after, and (c), a rapid semiquaver theme
20:39 - Transition, using the main theme
20:48 - Episode 1. At 21:12 dominant preparation, ending with (a) in dialogue
21:23 - Theme
21:30 - Transition. (a)+(b) in bass, moving into (ii), then (iii). At 21:39 the initial RH accompaniment is developed in a way that recalls (a) and (b).
21:53 - Episode 2. The second strain enters at 22:09. The return of the first strain at 22:31 harmonically rapidly diverges from the original, before dominant preparation using the second strain is reached at 22:53, ending with quotations of (a)
23:04 - Theme. At 23:11 it looks like the modulation will be repeated, but now the theme stays firmly in the same key throughout.
23:36 - Episode 1, in C. A brief foray into C min is followed by a sequence which rises instead of falling as it did earlier.
24:14 - Theme/Coda. Theme enters in LH, beneath trill. (b) is repeated thrice.
24:22 - Chromatic descent based on (b), followed by rising figure and further scales = (a), then lengthy dominant trill which is doubled and tripled as (a) decorates
24:48 - Theme in A, then re-attempted in A min, diverted to dominant, then (a) in LH answered by RH. 
Видеоклипы
Jumppanen:
00:00 - Mvt 1
09:26 - Mvt 2
16:57 - Mvt 3
20:22 - Mvt 4
Biret:
25:08 - Mvt 1
35:04 - Mvt 2
43:27 - Mvt 3
46:46 - Mvt 4
Jumpannen has a vigorous, no-nonsense approach to this sonata that sees him take remarkably fast tempi in the 1st, 2nd, and 4th movements: this is playing of incredible swagger and confidence, with a general inclination in favour of propulsiveness over in-the-moment textures. Biret’s account of this sonata is one of the most gorgeous things I’ve ever heard: despite the extreme technical demands of this sonata, her playing is hyper-expressive, featuring carefully judged phrasing and a whole bunch of moments that make you go, “Wow - what did she just do?”. Some examples: she plays the opening motif with a tiny accelerando to make it more exciting (most obvious at 34:02), the trills are tight and shuddering, there are wonderful accents at 30:38 + 43:58 (and all through the 3rd movement); 37:31 sounds practically organ-like; and the chord voicing at 48:32 is luminously beautiful.
hey. i love your vids and i use them for my projects. i finished a string quartet transcription/arrangement for piano sonata no. 1 to string quartet. i'm gonna post it soon and would love your opinion. mind you, the sounds are purely artificial so dynamics can get weird! it's my belief that many of his sonatas can be easily transcribed to string quartet, and I plan on doing many more. do you think it's heresy? haha
Thank u bitch
wow, beautiful! thank you!!
2;20
sorry to be so off topic but does any of you know of a way to log back into an instagram account..?
I somehow forgot the password. I love any tips you can offer me
0:40-0:57 You can't tell how much I love this. Every single note is perfect
It’s so..beautiful
Yes…I agree❤😮
I like to mountain-bike. One the trail networks I like to ride has an advanced loop, and there's a really difficult feature right at the start of the advanced loop; if you can't manage the beginning, you won't be able to handle the rest of the loop. The double-trill in the opening measure of the 1st movement feels exactly like that. "Can't handle this? Then jump off the ride before it kills you."
This sonata really is a ride. Look, even the first movement looks like a roller coaster with the broken octave "hills"
@@kingjensen8091 ㅋㅋㅋㅋ "롤러코스터"가 눈에 띄게 들어오는군요. 빵 터졌습니다 ㅎㅎ
@@kingjensen8091 "roller coaster" great!! wow!! haha~~
Tim Ward... the difference is is that you can practise it slowly, get a feel for it with imperfections, give your body/mind a feeling for the patterns and construction. You can lay the foundations as an experience. If you don’t, it is always out of reach. If you fall off, you don’t get hurt. Maybe the big challenge is patience
honestly? i feel like the double thirds are the hardest thing in this piece. Nothing else in this piece comes close to the technical difficulty in that passage.
I never knew 'swagger' was a word that would ever describe someones playing, until i heard Jumppanen. He can truely go beast-mode
The word swagger was surprisingly developed by William Shakespeare!
Beethoven had swagger
@@isaacdorio yoo that's sick, is the meaning of the word different or same though?
@@Trooman20 Shakespeare defined 'swagger' as a word that signifies noisy bragging or boasting. If that's what you're thinking, than yes, same definition!
@@isaacdorio it's a bit different than what I thought of what but that's really cool
The entrance of the e-minor section at the 2nd movement might possibly be the first instance in classical music history where such expression was heard, it is extremely expressive and romantic. I can imagine the first time somebody from the late 18th century got this score and was practicing at their piano when the e-minor section begins, they would be amazed, the texture of the music is created almost purely for expressive effect, yes I know that there are pretty dramatic minor shifts in the baroque and classical style, such as Vivaldi's summer concerto or various Bach partitas, and in Haydn and Mozart sonatas, but this is just on another level, first of all, the theme suddenly shifts and the original theme is dropped and you only hear this gorgeous flow of notes that are vague in structure. I believe that this point right here was the beginning of the Romantic movement.
Burak Ünsal I like to think it’s the first time real love was put to music. Ever. Before beethoven, all love expressed was a strain of pseudo-love. This 14 year old expressed what never had been before.
Beethoven was 25 when he wrote this. You are thinking of the WoO 47, or the elector sonatas he wrote at age 13.
Theres a short passage in the 4th movement of the 1st sonata that is extremely passionate...probably the most passionative passage that i could find in all of his cminor compositions.
@@ludwigvanbeethoven8164 bish please pathetique sonata
>You're listening to the second movement
>You get to that transition
>You find this comment right on time
>There's an ad
I've had the fortune of studying with Ms. Biret many times, and still to this day I have no idea how she achieves to do that tiny fraction of a staccato at 43:49 ... I asked her many times, her answer was something like "eh, it just happens". It's something so little yet it requires a very delicate and precise technique to do. She's definitely one of the most underrated pianists of her generation.
Yo u look kinda familiar 🤔
actually she is very famous but not a media balloon :) she sold more than 3 million albums worldwide. She was also famous even in 1957 to 1967 when nobody knows about the pianists from her generation (many of them are the media balloons of our time) I think she is way better than the pianists of her generation.
Hm I don't struggle with it but can't say I can really explain how I do it either lol
this Biret performance is one of the best of her Beethoven sonatas cycle. I love it!
🎵 The second movement (09:26) from this sonata has to be one of the most beautiful pieces of music ever written... Such touching and haunting music.
I've heard better
@@samuelschnaider6954 oh well
@@samuelschnaider6954 jk :)
1:05 that transition and the section following is just amazing.
The 1st movement is clearly a concerto for solo piano ! That orchestral beginning, the cadenza at the end, and the clearly virtuosic codetta shows my point!
Biret is absolutely amazing here! Woefully, she is so underrated even in her own country...
actually she is a worldwide known pianist and quite famous; but she is not a media balloon like many overrated pianists of our time.. I think she is the greatest living pianist with a huge career.
Nice profile picture Charlie
Quite like Perahia
My piano teacher is forcing me to learn one of these in just 3 months and as a bad piano player that procrastinates about everything, I really want to punch the wall every time I remember that I have a limit of 3 months before showcasing the whole movement to my teacher.
My god the 2nd movement.
Is the second movement really 4 pages but 8 minutes? I want to make sure i have the right version its 4 pages right. No repeats or second endings
richter said in his autobiograph quote, "the sound of the heaven"
@@jskim2510 but it's too dark for me :-
@@anthonyc6017 yes its right
@@anthonyc6017 if you play it at the right tempo it'll be around 8 mins
My favorite early Beethoven sonata!
Mine is the sonata that comes just after this :)
10:59 is heaven
Ok, Herr Haydn, you may not be ready for this. .. but your kids are gonna love it
Is that a quote from Bach to the Future?
This is one of my bucket list piano pieces
2nd movement is legend she should be famous
Who's she?
Juddah Symon Singson İdil Biret
@@EmreNurbeyler oh thanks
Great sonata. Thanks for post.
Сердце замирает от восторга! Великолепная музыка! 🙏
3:52 my favourite part!!
Love this Sonata!!
Much gratitude for all the beauty you abundantly provide on your wonderful channel!
0:39 - 1:32 A wonderful modulatory theme followed by an energetic transiton to the string quartet section.
10:26 A beautiful dark romantic theme enters, and then a more playful version again at 14:10
😭❤️ I agree! They’re so ✨beautiful ✨
I remember learning this piece as an undergrad. The night before the jury I memorized the 16 page first movement. Ah good times.
I did things like before festivals.
16 pages in one night? wow.
Actually the first movement has a little less than 10 pages.
@@Bluce it maybe a different edition
Many a Bach invention learned this way
The first minor key theme in the first movement is reminiscent from his piano quartet in C- I love it when composers do that!
My god, I love the 4th movement so much!
Thank you, I really appreciate your analysis of the Sonata!
10:25 my god
So dark. Oh the horror/despair/grief
my teacher wants me to play this and i lowkey want to yeet myself off a bridge but the song still really really beautiful lmao
lmao felt the same when i played it
ah same!!!
it seems easy at first but then you have to speed up and then. oh god.
17sonata is more fun
@@ludwigvanbeethoven8164 No.
Your description is very professional, well done.
The best interpretations of this materpiece.
"The easiest key"
The hardest key for me
C major is not the easiest key to play in! Chopin thought it was one of the *hardest* because you have no black keys as reference points for your fingers. That's probably why the first of his op. 10 études is in C major (one of the reasons it's so difficult)
@@timward276 whilst you're completely right about that, i just want to make sure you know he was making a joke - c major is not an easy key!
Tim Ward op 10 no 2 is harder imho
@@lololoololdudusoejdhdjswkk347 Not really, imo. I find the chromatic runs in Op. 10 No. 2 a little easier than the "thumb-under
action for Op 10. No. 1, but maybe that's just because my third, fourth, and fifth finger are relatively strong.
Yes, my favourite sonata!
真的，但超難😢
I was smiling almost instantly. Of course :)
9:02 I laugh every time at the vi chord.
hahahahaaaaaa so funny
@@jinucee "Remember that vi chord from the first movement of Beethoven's third sonata? funniest shit i've ever heard"
@@miguelisaurusbruh1158 makes me chuckle every time
Nothing funny about that part. I guess you want us to ask you why it's funny so you can unleash some musical knowledge upon us ?
yeah, you dont go "haha deceptive cadence funny" but i get what you mean
The description uses the term "Bachian" for the second movement. Specifically, it quotes the C-Major prelude from the Well-Tempered Clavier, Book 1.
Idil Biret is legendary.. what a great artist..
Mozart is the king of operatic. melodies and modulatory developments and connecting phrases but Beethoven is the king of motivic manipulation and inventiveness. First movement. The recap here is not a carbon copy of the exposition. Also there is inexplicable tenderness and turns of phrase and emotion in the slow movements. Of course Bach has all of this as well. All three are geniuses in their own time periods.
Beethoven knocks the socks off of Mozart.
9:19 Jumpannen here extends the broken octaves in the left hand upto the C1 in the low register (an octave below what's written) as in the Eugen d'Albert edition which could be because of the limitation that the lowest note on Beethoven's piano was F1. Same at 11:36. That's possibly how Beethoven would have written those passages had he had the piano with the range of keys we have today or even that which Chopin had.
I also play it that way. I also play the last chord of the entire sonata with the bottom C. Sounds better.
I can't help but see the ruminations of the Op. 109 theme and variations in the opening bars of the second movement. Perhaps it's just the shared E major tonality, but I think the maturity of that movement is exceptional.
I absolutely agree! The pieces have a very similar emotional effect. Also, I think that in Beethoven's music the pieces in the same key are usually very similar in nature. Aside from this sonata's second movement and the third movement of sonata Op. 109, his approach to the key of c-minor is notorious. Then there are also works in G-major that share a degree of playfulness and lightheartedness.
Good to remember that Beethoven was already a young adult when he wrote the first early set of three sonatas, at age 25.
1:50 the chord progression is really for 19th century
1795
liked, mainly for the detailed description
11:03 sublime 💫
I like the jazzzy taste qhich sometimes emerges from the humorous traits, like that syncopation at the 19th beat of 1st Mvt.
I only just noticed that the section beginning 4:51 is very similar to the ecstatic conclusion of the op. 109 sonata -- if there were some trills in the bass, the textures would be even more similar. Just goes to show how radical early Beethoven actually was
Wow, you're actually right! The same figuration going up and down the keyboard.
@@classicore22 and the figuration in the Scherzo anticipates Brahms' Scherzo op.4. The quarter notes and the unsynced 8th notes that is.
I love the sherzo of this sonata. It's very contrapuntistic, funny and unstable
This channel is amazing
Thanks for the sharing,I like the Jumppanen's play on 1st Movement and the others by Biret😃
MVT 2 is so BLYATIFUL
Just what can you say about an organisation that interrrupts a beethoven slow movement after eight bars to advertise some absolute crap!!!!
Yes, and the other movements too!
“oH, sAlOn De PrO, jApAn’S nUmBeR oNe hAiR cOmPaNy”
Great!!
When I want to listen to something classical, before I go to mozart or Haydn, I'll listen to beethoven opus 2 no2 and no3 first. Usually after listening to them I'm satisfied and I never reach for mozart or Haydn.
Delightful!
I love your videos & analysis so much Ashish. Do you know of any studies of thematic connections between Beethoven's sonatas, and/or between his sonatas and symphonies? Like, in in the scherzo of the no.3 sonata, there is obviously so much prefiguring the scherzo of symphony 9, right? Someone must have plotted out all these connections at some point in the last 200 years..
Amazing!
20:18 Why does the last bar skip the last three 8th notes? Bar 16 (8:57) *is* already half as long, because together with the upbeat it results a whole measure.
"ah its in c major the easiest key"
>thirds trill in the first measure
Don’t even mention bar 23
A forma sonata em plenitude com Beethoven.
I really like this form
Thank you!!
no.2,3,7 is just love!!!!!!!!!!
Hello!!! I wanted to ask whether I could use part of this piece in a short documentary film?
이제 내년에 콩쿨나가는데 이게 이런 노래였다고 다시 한번 생각돼게 만드네요
I honestly really love the second movement.
Holy shit the score reminds like the 'eazy' guide to Quantum Mechanics, very 'easy' to read, 'eazy' to understand, 'easy' to comprehend, overall its beautiful all round.
I've been waiting so long for you to post this. It made me sad you went in reverse order. This and the G major (cuckoo) sonata are probably my favorite major key sonatas.
@Cato Wang, They're fine. I've just heard them too much.
@@cwzqzj What about op. 110 or op. 101? Does anyone like my favourite sonatas? xD
도돌이표 2:20
3페이지 3:53
4페이지 4:40
5:09
5:16
Thanks~🌟
7:43 is that an augmented triad? It literally is
has everyone noticed that at 3:53 the descending arpeggio is played with the first 4 notes (F, D, B, G) with eighths and then with sixteenths with a descending scale from F to F? Which is the right one? as is written or as it's played?
I think that's just a little embellishment on the part of the performer as that's the second time he's playing that part, because of the exposition repeat. The first time at 1:31 is played as written.
The Biret rendition is stunning. Jumppanen's is beautiful, however I can't say I prefer it to the barenboim rendition.
Poxa 😞! os anúncios interrompem em meio à uma esperiência de introspecção! É uma lástima mesmo!
7:42
A few of my thoughts on this one...
1. I like how this prefigures some motifs we'll hear in later sonatas. This is the first sonata to my ears that let's us know where Beethoven is going.
2. Except I didn't like the abruptness leading into the ending, and more generally the looseness with the narrativity; although he's still already developing themes well here. So it's not that it was poor; only that it's paler in comparison with his mastery of it that will come later.
3. That said, I loved the dynamism throughout, the structure of the movements, and I can't overstate how much I love the figures starting from 10:27. Simple, haunting, and moving. Looking at these comments, I'm evidently not alone in that.
(I'm not claiming any expertise. These are just my impressions as a enthusiastic amateur pianist & listener.)
23:07 is so light and twinkle melody.
Where can you buy music like this? (preferably on cd)
I found my answer a few days later: in the bookstore! It is quite expensive new, though, so if you don't have a job, maybe you're better off buying at thrift stores.
The beginning of the fourth movement sounds a lot like the Nutcracker.
beethoven is crazy composer! beethoven and mozart are very great genius composer. So, I love thems Sonata and other music. Specially, My favorite music is Mozart's K.265~ "Twinkle Twinkle little star~~" that played piano by me. haha!
Anyone else hear 2nd mvt of Schubert 8 at 10:30-ish? Even more so when it comes back ff later on.
This sonata sounds like a piano concerto.
2. 09:26
3. 16:57
4. 20:22
Just curious: Why did Beethoven write that bit in 24:48 in A major? Does it play a significance, or is it "just because I can" thing?
And on 13:57, the sudden loud C major theme in a movement of E major. Is it simply to show a link to the rest of the movements that were in C major?
There are many cases where Beethoven shows a relationship between a 3rd. In the first instance you mention, A major is the difference of a 3rd from C major. In the second instance, C major is the difference of a 3rd from E major. He does similar things in several pieces of his. In fact, the 2nd movement is in E major, while the first is in C major, again a relationship of a 3rd.
piano1500 I thought he showed relationships with the third only if in was in a triad? Like the E major movement with the C major as a whole I understand, but not the abrupt A major theme in the C major movement.
Thanks for the reply btw!
Edit: And why the sudden reappearance? They come in rather prominently (especially the C major bit in the Adagio movement) too. I'm curious
If you listen to his Emperor Piano Concerto, most of the third movement he is changing keys based on thirds. Also in the instance of the 4th movement of this sonata, he's only in A major for just a few measures, so I wouldn't even say he modulated really. More like a borrowed chord. He then quickly goes to Am, and uses that as the common vi chord of C major. Another example is the intro of the "Les Adieux" piano sonata. By measure 8, he's gone from Eb major to Cb major, using a common tone modulation, similar to what he used here.
piano1500 So it's kind of like his signature move?
I Came Here Because This Piece Used Material From His Third Piano Quartet, WoO 36 Composed In 1785 (First Movement)
Love Listening To It On Fridays, Specially The 3rd Movement
This is the easiest key signature - that is until the advanced level. Chopin believed that due to the lack of structure, C major is tedious and hard
So Beethoven used double thirds trills in this sonata @@ And ~ 50 years later Chopin wrote the Thirds etude. I don't think Chopin hated Beethoven sonatas like some people claim.
The 2nd Movement of this sonata reminds me a bit of the slow movement of the 3rd sonata from chopin
Happy birthday Beethoven!
When is he's birthday ???
@@shibamusique We assume it's December (16th) 17th, 1770.
it's almost that time of year again!
@@giocosovelasco nice :D
Great sonata! I wish I could play those double notes.
Try playing 4 and 5 on the same key so for the first chord, 2nd finger on C and both 4 and 5 on E. Then 1-3, 2-(45), 1-3, 2-4, 3-5 etc... That sometimes helps organize the hand better for double notes.
Wow! Where would you get the score?
The score?
Try imslp.org
try la campanella
mysticism, beauty of
한국 영역표시중(쉬이이...)
ㅋㅋㅋㅋㅋㅋ아닠ㅋㅋㅋㅋㅋ 영역표시ㅋㅋㅋㅋㅋㅋㅋ
뒤를 부탁해.. 3번치는 입시생들이 보고 웃길ㅎ
.
@@user-xw3gu2rc3p 입시생입니다... ㅎㅎ
@@user-dw6xd3yz9e 파읻팅ㅜㅜ
Cu cool
너무좋다 ㅜㅡㅜ
한국인이닷
안녕하세요! 반가워요!!!
한국인 환영
那為什麼我在这里
10:40 is quite reminiscent of mendelssohn's song without words n.1
Also reminds me of the darker theme in Fauré, Nocturne no. 2
You both should be saying it the other way around.
The other way around
10:38 it reminds me of the beginning of Eliza's song “Burn” in “Hamilton: An American Musical”.
“why” are you “using so” many “quotation” “marks?”
Drosophila Melanogaster It's not the way you talk on the internet. Talking like that makes you look like a boomer. And nothing is worse than a boomer.
Drosophila Melanogaster Believe it or not the majority of people do.
Drosophila Melanogaster Good thing I'm not one of them. I'm not sure about you though. 🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️🤷🏻♂️
Drosophila Melanogaster You're really good at writing angry paragraphs at kids about... grammar.
what a sonata! 48:32 from Brahms Bag of Ballades :)
Brahms wasn’t even born yet by the time Beethoven died haha
37:55 why not a nice E octave on the left hand
Were you really asking about changing the D to E at 37:55? I thought you would be asking whether Biret should have played the low E at 37:32 as many do. (including Jumpponen) If that was your thought, I would offer Donald Tovey's observation that we can alter some notes where we know Beethoven's piano had limited range, but it is always interesting the way that Beethoven solves the problem. In this case the bare E has some expressive power, with the richness of the following octave G enhanced as a result.
Jummpmaannon sounds like he plays an octave e even though he doesnt, it sounds so powerful and when I play it it sounds nothing like what he plays
From Bee Smart Baby Vocabulary Builder vol 5 Ludwig Van Beethoven Music Arranged by Robert J. Sottile Mastered By Prelude Productions
Nice