{"product_id":"walton-facade-portsmouth-point-siesta-scapino-the-wise-virgins-1954-pasc291","title":"WALTON Façade, Portsmouth Point, Siesta, Scapino, The Wise Virgins (1954) - PASC291","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWALTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFaçade\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWALTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePortsmouth Point\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWALTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSiesta\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWALTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eScapino\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH\/WALTON\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Wise Virgins - Ballet Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1954\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:42 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDame Edith Sitwell\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePeter Pears\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEnglish Opera Company Ensemble\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAnthony Collins, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Philharmonic Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Adrian Boult, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eEdith Sitwell began publishing the poems that make up the collection that was eventually called \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFaçade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nshortly after World War I. For a while, William Walton was sharing a\nhouse with the Sitwell family and someone thought of adding music to\nsome of the poems. The eventual result was that 21 of Sitwell’s poems\nended up with musical accompaniments by Walton. After Sitwell’s death,\nWalton produced accompaniments to several of the poems that had been\ndropped between the 1922 private performance and the publication of the\ndefinitive score in 1951. This particular recording, like other\n“complete” ones, consists of the 21 poems that made the cut, so to\nspeak. It was previously issued on CD a few years ago on the Alto label\nin very good transfers. The Eloquence reissue is of comparable quality\nand, because it is authorized by Decca, includes Sitwell’s original\nannotations for the 1954 LP. What it does not have are the texts of the\npoems, which were also provided with the original LP. Let me point out\nthat you don’t really have to understand the words in order to enjoy the\npiece. The meaning of the poems is much less important than the sheer\nsound of the words; Sitwell treats the narrators as extra\ninstrumentalists. Perhaps people who acquire this release will already\nown a recording that includes the texts. The narration is sometimes\nperformed by a single speaker, but the first (incomplete) recording,\nwhich was conducted by Walton in 1929, used two speakers, Constant\nLambert and Sitwell herself (she read four of the poems). I admire this\n1954 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFaçade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e a\ngreat deal (Peter Pears does a virtuoso turn rattling off some of\nSitwell’s nonsense), but my all-time favorite recording featured\nHermione Gingold and Russell Oberlin with Thomas Dunn conducting. I\nsuppose everything comes out again sooner or later, so I have hopes that\nit will finally make it to CD. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eHere’s yet another excellent transfer of the\nCollins recording that you would not go wrong with. The three shorter\npieces had been previously released in an excellent Decca Eloquence CD\ncollection with works by Bax and Bliss. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScapino \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\nwas written for the 50th anniversary of the Chicago Symphony Orchestra\nand recorded shortly after the premiere with Frederick Stock conducting.\nIn the event that you know the piece and manage to ever hear the\npioneering Stock recording, you will notice some unfamiliar passages.\nSure enough, Walton, as was his custom, continued to fuss over the music\nafter it had been published. All the subsequent recordings use the\nrevised edition, and Boult’s, single channel or not, is as good as any\nof them. The same can be said of his recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiesta\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the bustling \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePortsmouth Point \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture, which occupied the same LP as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScapino \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePortsmouth Point \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\nwas considered sufficiently tricky that, in 1932, Constant Lambert made\nan arrangement (presumably authorized) for reduced orchestra and\nsimplified the multiple time signatures “which, in the original version,\nafforded a certain source of vexation to both orchestra and conductor,”\nas Lambert put it. If you’re curious, Bryden Thomson’s recording of\nLambert’s edition is on Chandos 9148. In a previous issue, I expressed\nmy disappointment that Decca Eloquence had not included the three\npieces’ LP discmate, Boult’s stately but sufficiently spirited recording\nof \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Wise Virgins \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eballet\nsuite, all that survives from a Bach-derived score Walton wrote in 1940\nfor the Sadler’s Wells Ballet. Good for Pristine for returning it to\ncirculation. I learned the piece on Walton’s 78s, which I thought\nsuffered from what seemed to be an attempt to squeeze the piece onto\nfour sides. Boult’s isn’t the only good one, and those who must have two\nchannels have an excellent EMI alternative by Robert Irving. This would\nbe my narrow choice over the Alto and Eloquence reissues, largely\nbecause of the inclusion of Boult’s\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Wise Virgins. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:3 (Jan\/Feb 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC291.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eThe definitive Walton-Sitwell Façade completely rejuvenated\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003ePlus four classic Walton recordings from Sir Adrian Boult\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThe 1954 Decca recording of Walton's Façade is perhaps the closest thing we have to an authentic performance, not least thanks to the recitals from the author of the poems, Dame Edith Sitwell. Although Walton, an eternal fiddler and reviser of his works, was later to add further to his Façade numbers, the version here is the definitive version published with Sitwell in 1951, and unaltered until after her death.\u003c\/p\u003e\n\u003cp\u003eIf Decca's recording sounds just a little dim and dusty some 57 years later, this was easily lifted by an XR remastering which brings a new clarity and directness to these performances - they really burst into life!\u003c\/p\u003e\n\u003cp\u003eThe Boult recordings here are among the finest I've heard from the mono era - full-bodied, rich and deep (and I'm in danger here of describing a bottle of fine wine!), they're also bursting with vivacity and possess a fabulously clear top end. Pristine's 32-bit XR remastering has worked here on further definition of the fine inner detail, while leaving the overall impact of the original largely intact and unchanged.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWALTON \u003c\/strong\u003eFaçade - \u003cem class=\"body\"\u003eAn Entertainment \u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eProducer: Peter Andry\u003cbr\u003eRecorded 7\/8 July \u0026amp; 10\/11 August, 1954, West Hampstead Studios, London\u003cbr\u003eTransfer from Decca LXT2977 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eDame Edith Sitwell\u003cbr\u003ePeter Pears\u003cbr\u003eEnglish Opera Company Ensemble\u003cbr\u003eAnthony Collins\u003c\/span\u003e\u003c\/strong\u003e conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWALTON \u003c\/strong\u003ePortsmouth Point - \u003cem class=\"body\"\u003eAn Overture\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWALTON \u003c\/strong\u003eSiesta\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWALTON \u003c\/strong\u003eScapino - \u003cem class=\"body\"\u003eA Comedy Overture\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 19 October, 1954\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBACH\/WALTON \u003c\/strong\u003eThe Wise Virgins - \u003cem class=\"body\"\u003eBallet Suite\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 20 October, 1954\u003cbr\u003e\u003cbr\u003eProducer: James Walker\u003cbr\u003eEngineer: Kenneth Wilkinson\u003cbr\u003eKingsway Hall, London\u003cbr\u003eTransfers from Decca LXT5028 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eLondon Philharmonic Orchestra \u003cbr\u003eSir Adrian Boult\u003c\/span\u003e\u003c\/strong\u003e \u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, May 2011\u003cbr\u003eCover artwork based on a photograph of Edith Sitwell\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 76:42 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC291.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC291.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\"It was time for a new edition of what is now\nseen by all (\"even by the firemen\" as Dame Edith would say) as much more\nthan a highbrow jape. Façade, popularised by the ballet made from the\nmusic, is now accepted and has weathered the indifference which usually\nsits on once ultramodern manifestations for a space after they have\npassed into history. The truth is the music and the poetic experiment in\nthe use of melodrama (in the strict sense of the word) are both of\nlasting value, quite apart from the nostalgic smiles they will bring to\nthe now greying Bright Young Things of the twenties, and also the\namazement which the voices of these two intensely English narrators will\noccasion in the ladies' clubs of Maryland and the cultural unions of\nNew South Wales. For that alone, for these examples of poetic diction by\nDr. Sitwell and Mr. Pears, of whom the lightest criticism would be\nlèse-majesté, but who happily for the reviewer earn no rebuke, this\nissue is to be prized. \u003cbr\u003e\u003cbr\u003eThe other reason why a new edition is\nwelcome is that with modern full frequency recording it is at last\npossible really to balance the music and the voices so that the words\nget through clearly and one does in fact listen to sound and sense in\nboth departments simultaneously. There were still a few places where I\nwould have liked to have by me the pamphlet of words priced at 9d. and\nobtainable from the Decca Company, but generally the texture is\nbeautifully clear. \u003cbr\u003e\u003cbr\u003eAs in the older version, the author shares\nthe narration: here it is Mr. Pears instead of the late Constant Lambert\n; where the latter was inclined to shout, the former is inclined to\nsound nasal, even \"coldified\". Dame Edith's interpretation of her own It\npaterns \" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e[\u003cem\u003esic. - from Gramophone's scans\u003c\/em\u003e]\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e of\npoetry which on the record's sleeve she compares with the\ntranscendental studies in pianism by Liszt remains unique. No\ndisappointment in any respect.\"\u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cb\u003eP. H.-W. The Gramophone, Nov. 1954\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":47172296048839,"sku":"wer1789307271526","price":12.44,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":47172296081607,"sku":"kwg1789307271527","price":8.8,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":47172296114375,"sku":"mpk1789307271528","price":10.21,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":47172296147143,"sku":"vis1789307271529","price":6.26,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0702\/7923\/3735\/files\/walton-facade-portsmouth-point-siesta-scapino-the-wise-virgins-1954---pasc291_1.jpg?v=1789307275","url":"https:\/\/nextstylefashion.shop\/products\/walton-facade-portsmouth-point-siesta-scapino-the-wise-virgins-1954-pasc291","provider":"My Store","version":"1.0","type":"link"}