1. Hymn 567 from the Pyramid Texts, for voice & choir 
2. Iba Dance, for voice, choir, flute, 2 harps & percussion 
3. Hymn to the seven Hathor, for voice, choir & percussion 
4. Hymn 573 from the Pyramid Texts, for 2 voices & flute      play
5. Pair Dance, for arghul & percussion                          
6. Hymn 510 from the Pyramid Texts, for voice & choir 
7. The Three Seasons (Ashet - First Season), for flute 
8. Processional Hymn to Hathor, Dendera 2002, for voice, choir & percussio 
9. The Palace is Beautiful, for flute & 2 harps              play

Ensemble Hathor 
Rafael Pérez Arroyo – conductor

In collaboration with Syra Bonet, musicologist Rafael Pérez Arroyo, former director of the acclaimed Sony Hispánica collection, has just released the first fruit of many years of research into the music of Ancient Egypt. The result is a spectacular CD entitled Music in the Age of Pyramids, performed by Arroyo's Hathor Ensemble. Realization of the music by Arroyo was based on study of the metric structure of hymns which survive in writing, discussion of music theory from heiroglyphics, sonic descriptions by ancient authors, and iconography. Arroyo has also made an effort at decoding a partial chironomy (hand gestures, the same source claimed for Biblical music), and discovered three basic modes for Ancient Egyptian music.

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1. Nenchefka's Orchestra
2. Road to Wadi el Hol           play
3. Ambient Winds
4. Procession at Thebes          play
5. The Banquet
6. Lotus on the Nile
7. Bes
8. Sun Boat Drifting

Performer: Douglas Irvine

Inspired by the ancient Egyptian musical world, Ambient Egypt explores the rich, timeworn sounds of surviving and reconstructed musical instruments. Over 70 minutes of music weave traditional and contemporary elements, evoking the sense of mystery that surrounds ancient Egyptian civilization.

Douglas Irvine obviously loves the sounds these instruments make; he has created a beautiful CD of "New music from ancient Egyptian instruments and surviving instrument specimens." Perfect mood music, perfect meditation music, AND - perfect "white noise" at the office. I bought my original at the Metropolitan Museum and have listened to it at least 300 times since then. I still hear something new everytime I play it. ---Maura Enright

Douglas Irvine's debut CD, Ambient Egypt features thesoothing and time-worn sounds of the ancient world, with the pulse of today's world music. Composed with rare, ancient Egyptian instrument replicas and survivinginstrument specimens, Ambient Egypt has been featured as soundtrack music for museums internationally. Ambient Egypt has also appeared on numerous public radio programs and remains a best-selling CD at museum venues in the US and Canada.

About the Artist:Douglas Irvine is a composer, sound artist and instrument maker who lives and works in New England. His music and sound work has been featured internationally through museums, art galleries, public radio, film, video and computer-based media. With a background in the musical traditions of ancient Middle Eastern cultures, Doug teaches and lectures about the musical practices of civilizations including ancient Egypt and Mesopotamia.

As a performer, Doug specializes in Middle Eastern percussion instruments including the Arabic tabla and frame drums. He also plays a variety of string and wind instruments from the Near East and Africa. His independent recorded works include the radio documentary, "Lost Sounds of the Nile," his self released CD, "Ambient Egypt," and the natural history recording, "Soundscapes of the Dinosaurs".

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1. The Lamentations of Isis	3:07               play
2. The Land Of The Blessed	6:55
3. Hymn to Osiris	5:28
4. The Boat of Millions of Years	4:52
5. The Holy Lotus	3:38	                   play
6. Funeral Procession	5:06	
7. Hymn For The Sunrise	5:23
8. The Triumph Of The Deceased	5:30

Performer: Ali Jihad Racy

Ali Jihad Racy is an established performer, ethnomusicologist, and specialist on music of the Near East. He has performed extensively in his country of birth, Lebanon, as well as in the U.S. and Canada. Racy is a virtuoso on the nay and buzuq, and also plays the violin, rababah, daff, and arghul.

This musical tribute to ancient Egypt was originally composed in 1978 for the King Tutankhamun Exhibit at the Seattle Art Museum. It was inspired by the artistry of the ancient treasures and the religious symbolism of the Egyptian Book of the Dead which suggested the titles of the compositions. Played continuously during the exhibit, the music had a distinctively haunting and meditative effect. The recording is unique in that it is the creation of an accomplished Arab artist who captures the essence of Near Eastern sound and presents it in a contemporary innovative musical idiom.

Only traditional Near Eastern instruments were used in making this recording. The nay, an open-ended reed flute, can be heard throughout either as a solo or a background instrument . On selection number 6, the nay is replaced by a salamiyyay, a small reed flute which in Egypt accompanies Sufi songs and dances. The buzuq, a long-necked fretted lute with metal strings, plays a major role, including a long solo on selection number 2. Other instruments featured are: the 'ud, a short-necked non-fretted lute; the tar, a large frame drum; the sajat, small brass finger cymbals; the mijwiz, a double clarinet made from reed; and the mizmar, a type of oboe made from wood.

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1. O Pimenon Ton Ishrahil, alleluia
2. Haec Dies, gradual
3. Pascha nostrum, alleluia
4. Terra Tremuit, offertory
5. Epi Si Kyrie, alleluia
6. Pascha Nostrum, communion
7. O Kirios ke Basileusen, alleluia

Ensemble Organum
Marcel Pérès – conductor

Old Roman chant occupies a central position. It provides the key to the musical affiliation between Jerusalem and the Greek heritage, while also enabling us to understand the treasures of Koranic cantillation. The mystery of the incarnation of the Word irrigates the chants presented here. Through the magic of music, sung texts become icons. The Word is deployed with a sovereign slowness which confers on the sound a hieratic immanence in which time and space are united in a single vibrant truth.

The mystery of the Incarnation of the Word lies at the heart of the Christian faith. It is celebrated just after the longest night of the year, when (in the Northern Hemisphere) the days begin to lengthen until we reach the summer solstice, which is associated with the figure of John the Baptist. To celebrate this moment, the Church deploys an exceptional - virtually uninterrupted - liturgical cycle in which the usual Offices are interspersed with four Masses. The musical anthology presented here traverses some of the great moments of these four Masses of the Nativity. The music is that of the ancient chant of the Church of Rome, one of the oldest repertories of which traces have remained in the collective memory of mankind. Up to the thirteenth century this repertory accompanied the papal liturgy. It disappeared with the installation of the papacy in Avignon, and sank into oblivion. Rediscovered in the early twentieth century, it aroused little enthusiasm among musicians, and only began to be studied properly, first from the liturgical, then from the musicological perspective, in the second half of the century. At this time, to distinguish it from Gregorian chant, it was named 'Old Roman chant'. Old Roman chant occupies a central position. It provides the key to the musical affiliation between Jerusalem and the Greek heritage, while also enabling us to understand the treasures of Koranic cantillation.--- harmoniamundi.com

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1. The Gradual Of Eleanor Of Brittany: Kyrie Orbis Factor - Gilberte Casabianca
2. 12th Cent Polyphony in Aquitaine (St. Martial De Limoges) - Dominique Vellard
3. Chant Of The Church Of Milan: Caticum Ecce Quam Bonum Et Jocundum - Josep Benet/Josep Cabre
4. Cistercian Chant (12 Cent Monodies): Alleluia Inter Natos Mulierum - Marcel Peres
5. Josquin Desprez: Hymn Pange Lingua - Marcel Peres/Ens Organum
6. 18th Cent Plainchant Of Auxerre Cathedral: Alleluia - Josep Benet/Josep Cabre/Malcolm Bothwell
7. The Chantilly Codex: Adieu Vous Di - Marcel Peres
8. The Faenza Codex: J'Ay Grant Desepoir - Gerard Lesne				play
9. The Faenza Codex: J'Ay Grant Desepoir - Marcel Peres
10. Notre-Dame School: Mass For Christmas Day. Sanctus - Josep Benet/Josep Cabre/Gerard Lesne
11. The Play Of The Pilgrims To Emmaus: Antiphon Ego Sum Alpha Et Omega - Marcel Peres/Ens Organum
12. Carmina Burana, The Great Mystery Of The Passion: Hymn Gloria Laus - Marcel Peres/Ens Organum
13. The Mass Of Tournai: Agnus Dei - Josep Benet/Josep Cabre/Malcolm Bothwell                 play
14. Chants Of The Roman Church: Office For Good Friday Improperia - Malcolm Bothwell/
     Lycourgos Angelopulos   

Organum Ensemble
Marcel Peres – conductor

The Ensemble Organum, the French early-music choir directed by Marcel Pérès, has explored a rich repertory that runs from old Roman chant to Josquin, with occasional detours to examine Sufi and other Middle Eastern traditions. Mr. Pérès’s research and his view of history as a fluid continuum in which diverse influences mingle have led him to unusual and sometimes provocative ideas about how early church music might have sounded in its time.

Mr. Pérès has argued that ornamentation is the engine that drives this score: an odd assertion, given that medieval embellishment is purely conjectural. But his point, proved repeatedly in the group’s performance, is that these unwritten vocal flourishes can define a movement’s rhythm and underscore its harmonic tension. His best guess about how those additions should sound can be startling: he draws on the modal turns of Syriac and Byzantine chant, as well as Jewish and Islamic styles, to give this early Christian setting a Middle Eastern accent.

The group has also jettisoned modern notions of refined vocal production. The singing is straightforward and plain, at times even a bit rough-hewn, with no vibrato or unnatural polish, and no sense that a homogenous blend is an absolute value. Even in the chordal settings of the Gloria and Credo, where the group’s ensemble was solid and precise, individual vocal timbres rang out clearly. The singers present this music not as a concert choir but as if they were a group of monks making a devotional offering.

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1 - Akousate/Argos
2 - Melomai
3 - Sappho
4 - Eros
5 - Mater
6 - Nomos M
7 - Tenge Pleumonas Oino
8 - Dithyrambos
9 - Gaia
10 - Daktylos Amera
11 - Makrotatos               play
12 - Anakreon
13 - Perikleitos
14 - Agallis
15 - Dialogos
16 - Mona
17 - Protos                    play
18 - Ekleipsis
19 - Proteron
20 - Hypne Anax
21 - Kretikos

Ensemble Melpomen:
Conrad Steinmann – aulos, direction
Arianna Savall – soprano, barbitos
Luiz Alves da Silva – altus, kymbala
Massimo Cialfi – tympanon, krotala, salpinx

The Western tendency to place melody at the center of musical experience has meant that the music of ancient Greece, which survives only in a few disjointed fragments of an imperfectly understood notation, has been written off for lost. But of course it's not lost. Greek instruments have come down to museum collections here and there, and many of the missing pieces related to their construction can be filled in by examining the numerous representations of instruments in Greek art. It is known on what occasions the Greeks sang; the works on this album form an imagined entertainment at a symposium, essentially a party with entertainment. It is known that their attitude toward music involved what Bruno Nettl has called the "athletic ideal" -- Greek music was virtuosic, and might have been structured in such a way as to allow players to compete with one another. It is known what the Greeks sang about; love and wine were common themes in song texts as well as in art. And finally there are theoretical texts, giving basic information about melody, scales, and especially rhythm. The task this disc sets itself is to synthesize all this information and come up with a best estimate of what the music may have sounded like.

Specialists will no doubt weigh in on Melpomen, but for the average listener the results are impressive. The instruments constructed by ensemble leader Conrad Steinmann sound sometimes familiar (the aulos, a long tube with two mouthpieces and two reeds, is not so far from the Middle Eastern reed instruments that were the ancestors of the modern orchestral winds) and sometimes like nothing you've ever heard before (check out the rhombus, a sort of wind machine, on the very first track). Soprano Arianna Savall, the only vocalist except for a few responsorial passages, is gorgeous. And the album passes the test generalists will apply: it feels like it belongs in the ancient Greek culture one experiences in plays and prose essays. The Greek worldview revolved around a system of divinities that recognized the power inherent in natural forces. There's a lot of percussion on this disc, and all the selections have the rough intensity one would expect from worshippers of the fox-skin-wearing god Dionysus. This is by nature a speculative piece of music-making, but it is less speculative than some others from many centuries later. ~ James Manheim, All Music Guide

Lyrics and the instruments on this record are authentic. Music is composed by Conrad Steinmann. So it is contemporary "newly imagined" music in Ancient Greek style. His reconstruction based on 2 main sources: 1. careful re-creation of the instruments, which helps to understand playing techinc; 2. Ancient Greek language, because "Ancient Greek is subject to rhythmical rules that regulate the lengh of the syllables...[These rules were] reconciled with tonal order of the respective instrument". The result of this re-construction could be described in one word - beautiful! Arianna Savall (soprano) so beautifully sings well-known lyrics by Sappho ("He Seems to Me Like Unto Gods That Man Who Sits Opposite You", "Eros Shook My Heart") and Anacreon, Alcaios so you could buy this CD only to understand how beautiful and melodic was Ancient Greek language. As example, many sources stated that verses by Sappho were sung and these songs seemed to Ancient Greeks very melodic, delicate and beautiful. And when you are reading modern translation or even original - you have to have great imagination to understand this musical aspect of the poetry. Here you have original lyrics, English translation and the singing, so this CD could be a kind of the textbook for the student-historian of the Antiquty. This CD-hypothesis could be also viewed not only as academic experiment but also as best CD of New Age World music in Ancient Greek style.

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   Greek Music from Egypt
     
   1. Musical excerpts

      Anon., 2nd or 3rd c. A.D., POxy. 4465
   2. Lament

      Anon., 2nd c. A.D., POxy. 4462
   3. Fragment 1

      Anon., 3rd or 4th c. A.D., POxy. 4466
   4. Paean

      Anon., 3rd c. A.D., POxy. 3162
   5. Trochaic fragment

      Anon., 3rd c. A.D., POxy. 3705
   6. Four settings of a line from "Epitrepontes" by Menander

      Anon., 2nd or 3rd c. A.D., POxy. 4462
   7. Excerpts mentioning Eros and Aphrodite

      Anon., 3rd c. A.D., POxy. 4467
   8. Musical excerpt                                               play

      Anon., 2nd or 3rd c. A.D., POxy. 4464, lines 3-8
   9. Hypolydian excerpt

      Anon., 3rd c. A.D., POxy. 3161 verso fr. 3
10. Fragment 3
  
 Sumero-Babylonian Music
      Anon., copied by Ammurabi (c. 1225 B.C.), R.S. 15.30 + 49, 17.387
  11. Hurrian Hymn 6: A zaluzi to the gods                         play

      Anon., c. 1225 B.C., R.S. 19.149 and 18.282
  12. Hurrian Hymns 19 and 23

      Urhiya/Anon., copied by Ipsali, c. 1225 B.C., R.S. 19.164d and 19.147
  13. Hurrian Hymns 13 and 12

      Anon., c. 1225 B.C.
  14. Hurrian Hymn 2

      Urhiya, c. 1225 B.C., R.S. 19.84
  15. Hurrian Hymn 8

      Puhiya(na), c. 1225 B.C., R.S. 14.18
  16. Hurrian Hymns 5

      Anon., c. 1225 B.C., R.S. 14.15, 19.154 and 19.164c
  17. Hurrian Hymns 4, 21 and 22

      Anon., c. 1225 B.C., R.S. 19.155 and 19.148
  18. Hurrian Hymns 7 and 10

      Anon., c. 1225 B.C., R.S. 19.164a and 19.164b
  19. Hurrian Hymns 16 and 30

      Anon., c. 1950 B.C., N. 3354
  20. Musical instruction for "Lipsit-Istar, King of Justice"

 Egyptian Music
      Anon.
  21. Trumpet call

      Anon.
  22. Isis sistrum rhythm

      Anon., 7-6th c. B.C., Brooklyn Museum 58.34
  23. Harp piece I
  24. Harp piece II

Ensemble De Organographia:
Gayle Stuwe Neumann (strings, voice, percussion), 
Philip Neuman (winds, strings, percussion, voice)

Music from c. 1950 B.C. to 300 A.D. (Including the world's oldest notated music) performed on voice, lyres, kithara, pandoura, double reed pipes, flutes & other ancient instruments.

This is the album by Ensemble De Organographia (Gayle Stuwe Neuman and Phlip Neuman). Probably you had heard thier CDs "Music of the Ancient Greeks" and "Carnevale! Festive Music of 16th century Italy". Disc consists of 3 sets of Antique World music. Ancient Greek Music newly founded at Oxyrhinchus in Egypt (world premiere recording); music from ancient city Ugarit (XIII century B.C.) - Sumero-Babylonian music (including oldest notated music in the history of humankind); music of the Egyptians reconstructed after descriptions by Plutarch and Apuleius. Ensemble De Organographia re-creates this music with such love and unerstanding of the ancient cultures, that you nearly feel the breezes of the Mediterranean sea and see the landscapes of its shores. They perform it as a music of still living folk tradition. Of course you wouldn`t find here ancient analog of the 5th Beethoven`s symphony:)

The value of this music is that you could understand internal world and spirituality of the ancient people. It`s a miracle... I had heard different "restorations" of the Music of the Ancient World - and this work by Ensemble De Organographia is simply the best!!! A must for the lover of the Antique culture. And it`s hard for me to understand why works by Synaulia and Atrium Musicae De Madrid are so popular. You could find CDs by Ensemble De Organographia on website by North Pacific Music. There you would find sound samples. My real rate of this CD - 10 stars!!!! ---Sergey Lenkov

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1. Pavor	2:38
2. Anima Vagul	2:34
3. Etruria	2:01
4. Baccus	2:29
5. Magna Mater	2:30
6. Mare nostrum	2:43
7. Imperium	3:34	                  play
8. Diana	1:06
9. Arena	1:22
10. Lares	2:09
11. Acutus	1:25
12. Pastorale	1:27	
13. Tibiae Impares	1:45	
14. Pompei	3:11	
15. Aetherius	3:14
16. Venus	4:24
17. Isis	3:13	                  play
18. Fortuna	1:08
19. Oraculum	2:47	
20. Tibia Duplex	2:23
21. Tympanum	3:31
22. Ludi Inter Pana Atque Nymphas	1:56	
23. Neniae	2:52	
24. Juppiter	1:45	
25. Salii	1:06

Synaulia:
 Athon Veggi, Caterina Welffens, Cristina Majnero, Elvira Impagnatiello, Gaetano Delfini, Luce Maioli,
 Natalia Van Ravenstein, Renata Chiesa, Roberto Stanco, Romeo Mangino, Wjnand Simons
Performer, Research, Text By – Walter Maioli

Synaulia is a team of musicians, archeologists, paleorganologists and choreographers dedicated to the application of their historical research to ancient music and dance, in particular to the ancient Etruscan and Roman periods. The name comes from the Greek synaulia, which in ancient Rome referred to a group of instruments consisting mainly of wind instruments.

This is CD-hypothesis. You would hear the modern "newly imagined" music written mainly by Walter Maioli for Ancient Roman instruments. You would hear the sounds of the antique music, not the music from the Roman sources itself. And the music performed by Syanaulia on this CD is very lively, interesting, theatrical, visible, so you would start to believe that this music is really authentic. It would help you to understand the spirit of the Pax Romana (Peaceful Universe of the Roman Empire). Beautiful booklet with the colour illustrations is included with this CD. So as a modern art form this record is very impressive. Well, it is a kind of fantasy music, but it gives you 3D vision of Roman Empire. Second CD by Synaulia with the music for strings is less interesting - this record sounds more fresh and emotional. But it wouldn`t satisfy your hunger for the real music of the Antiquity. I highly recommend you CDs by ENSEMBLE DE ORGANOGRAPHIA "Music of the Ancient Greeks", "Music of the Ancient Sumerians, Egyptians and Greeks"!!!

Also try other CD with modern "newly imagined" music in Ancient Greek style -"Melpomen" by Conrad Steinmann and Schola Cantorum Basilensis. Try also European CDs with the music from the Greek and Roman sources (I think that Ensemble De Organographia - the best performers of this music, but to compare different approaches to Antique music is also very interesting): Ensemble Kerylos and Annie Belis "Ancient Greek Music" (label K 617); Musica Romana "Mesomedes" (maxi-single with the music by Mesomedes of Crete) and "Symphonia Panica" (label Emmuty Records; these CDs available only directly from this label). ---Sergey Lenkov

This CD is a wonderful collection of music for wind instruments from ancient Rome's imperial period played on accurate replicas of various Roman instruments. This is a great buy for anyone interested in ancient music or the study of ancient Rome. There are unfortunately few direct sources on the composition of Roman music. Most of the work in this CD is a recreation of what the music would have sounded like based on the range of the instruments, various classical sources, and anthropological studies of present Mediterranean cultures. I strongly disagree with a previous reviewer's giving of a low rating on the basis that the music is not the direct product of Roman sheet music. Although there may be certain inaccuracies in the recomposition of such music, the number of different scholars who participated in producing this work from various disciplines probably makes such inaccuracies rather slim. Furthermore, since there is no direct source for such music nor is it likely that we will ever uncover any, it's better to have this than nothing at all. The music is primarily brass and percussion but it also has string accompaniments for certain pieces. The music is charming and makes one feel as if they are reclining on their sofas, eating dates, and drinking wine in praise of Baccus. The package makes this CD worth every penny as it has a very detailed synopsis of all the instruments, the works themselves, and the work that was involved in this music: the pamphlet is also filled with photographs and drawings of the instruments as well as various Roman frescoes from Pompey depicting Roman social life and the instruments in question. This is a great contribution to the study of antiquity and a valuable tool for teachers of ancient music, antiquity, or anthropology. This also a great buy for anyone who has broad interests in music and its development. For what you get with this CD it's a steal. ---Octavius

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1. Invocation To Mercury
2. Ludus
3. Ode To The Lyre
4. The Villa Of Mysteries
5. Synphoniaci
6. Orpheus
7. Lyra And cithara
8. Erato
9. Sambuca Silences
10. Sacred Step
11. Syriac Dance              play
12. Pandura
13. Cithara And Sambuca
14. Tiasus                    play
15. Pheobus
16. Cordae Obliquae

Synaulia is a team of musicians, archeologists, paleorganologists and choreographers dedicated to the application of their historical research to ancient music and dance, in particular to the ancient Etruscan and Roman periods.

First of all, you wouldn`t hear real re-created music from Roman sources. The correct title of the CD could be "Music by Walter Maioli Composed in Antique Roman Style and Played on Reconstructed Instruments". You would hear reading and singing of lyrics by Horatio and Ovidio in Latin, sounds of ancient lyra and cithara and really magical sound of the ancient angular harp (track 16 - Cordia Oblique). So as scientific project this CD is very interesting and because of it I gave it 5 stars. CD was made with love to the listeners. Beautifully illustrated book (about the history of string instruments in antique world) included with it. I never saw such luxurious edition of CD like this before. One statement of the author couldn`t be read without a smile: "... Nero was a fair and WELL-BALANCED man, an artist, patron of the arts and GENIAL performer...". The author really loves Ancient Rome. And the love is blind...

If you want to hear real re-created antique music (including music by Mesomedes of Crete, musician of the Roman emperor Hadrian) I could recommend you CDs by Ensemble De Organographia ("Music of Ancient Greeks" and "Music of Ancient Sumerians"). Their restoration of antique world music is the best!!! P.S. You could try also CDs (released in Europe) by Ensemble Kerylos and Annie Belis "Ancient Greek Music" (label K617) and by Musica Romana "Mesomedes" (maxi-single with the music by Mesomedes of Crete) and "Symphonia Panica" (you could find them on Emmuty Records website). ---Sergey Lenkov

This CD is an exploration of ancient Roman music utilizing what is known by scholars and putting this knowledge into a performance practice. The CD is presented in the form of a booklet (with a nice cover taken from one of the frescos in the Villa of Mysteries) of 33 pages that provides an excellent introduction to origins of music and the instruments that are being played in these recordings. The booklet is nicely illustrated with photographs of the instruments played in these recordings and depictions of them in ancient sculpture and paintings.

The music played on this CD does not come from any ancient compositions but have been composed based on what is known of ancient Roman music and performance. The man behind this CD and an earlier one based on wind instruments (two tracks of which were used in the film Gladiator) is Walter Maioli. He is described as an artist-researcher and has given concert performances of ancient music. This music on the CD is described in detail in the booklet and what instrument(s) are being played. There are purely instrumental tracks and some that include chanting by one or more performers. The first track, Invocation to Mercury, includes a text from book 5 of Ovid's Fasti and one of the love poems is the basis of the Erato track. While stringed instruments are dominate in this collection, drums and cymbals are also plays in some of the compositions, notably in the first and fourteenth tracks. There is a variety to the music: some for multiple instruments, some demonstrating the playing of string instruments and those with chanting providing with an overall sense of what ancient music sounded like. So while this CD is a scholarly attempt to re-create ancient music it is also entertaining to hear. You can use your imagination to be transported back in time, reclining on a couch following dinner in a richly decorated trinclinium. I recommend this disc to anyone interested in ancient music and its recreation. ---D.A. Wend

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